Halftime Magazine November/December 2011 by Halftime Magazine

ZZZ November/December 2011

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Volume 5, Issue 6 www.halftimemag.com $4.95

Spi rit of America in Africa Scenes From a Stadium Fraternal Order

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ISSN 1939-6171

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Volume 5, Issue 6 November/December 2011 ISSN 1939-6171 ®

Publisher & Editor-in-Chief Christine Ngeo Katzman christine@halftimemag.com (310) 594-0050

Art Director Jana Rade, impact studios

Assistant Editor/Web Editor Elizabeth Geli

Editorial Interns Jeremy Chen and Lydia Ness

Marketing Intern Jonathan Harrison

COVER PHOTO Photo courtesy of Spirit of America

Contributing Writers Lane Armey, Chris Casteel, Haley GreenwaldGonella, Sara Hodon, Matt Jones, Chase Sanborn, Jim Snyder, Billy VanDelinder

Contributing Photographers Gabriel DiMartino, Ken Martinson/Marching.com, Dave Whitaker

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

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 now only $1 per student per year with a minimum of 25 copies sent to the same address. Cover price is $4.95. Send subscription orders to: Halftime Magazine P.O. Box 15247 North Hollywood, CA 91615 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 Printed by Royle Printing Company in Sun Prairie, Wis. 4

s soon as I stepped foot as a freshman on the Northwestern University campus, I was bombarded by “student life”—meaning the plethora of clubs and activities that were suddenly available to us. These included ethnic networking groups, religious groups, student publications, theater and sororities, just to name a few. I remember taking the tour of the fraternity/sorority quads and knowing pretty much right away that Greek life was not for me. However, as I became more entrenched in marching band, I realized that there was another sorority on campus that sounded interesting. If I had to guess, I would say that at least half of the female marching band members were sisters at Sigma Alpha Iota (SAI), an international music fraternity for women. SAI offers music as a common bond and as an organizational mission. A great number of my best college memories occurred at SAI or because of SAI. Through SAI, I had musical experiences that I might not otherwise have had. Though I continued to play flute as my primary instrument, I also learned the oboe. I sang in choir. And I led a co-ed a capella number for one of our recitals. We also gave back to the community. For example, we donated concert proceeds to national and local organizations, such as the People’s Music School—a Chicago-based not-for-profit that gives free music lessons to lower-income youth. And I participated on SAI/Phi Mu Alpha’s Dance Marathon team, raising several thousand dollars for pediatric AIDS. Most importantly, though, I made lifelong friends—not only among marching band members but also with very talented

singers and orchestral players in both SAI and Phi Mu Alpha. These are friends who I still keep in touch with. They are friends whose weddings I’ve been to (or been a bridesmaid for) and whose children are friends with my children. My experience is not unique. Each year, thousands of undergrads join a music fraternity—whether Kappa Kappa Psi, Tau Beta Sigma, Phi Mu Alpha or SAI. Our article, “Fraternal Order” (page 26) shares a few of their stories and gives you a glimpse of what being in a music fraternity could mean for you. So if you think being in a fraternity or sorority may not be for you, think again.

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Love in WES, Christine Ngeo Katzman Publisher and Editor-in-Chief

Photo courtesy of MetLife Stadium.

Features Scenes From a Stadium . . . . . . . . . 18 Whether on your home field or a state-of-the-art professional football stadium, your body fills with adrenaline when you’re standing at attention, ready to perform in front of thousands of spectators. Some characteristics of a stadium, however, can make your experience even more positive and memorable. By Sara Hodon

Spirit of America in Africa .. . . . . . 22 Sharing hope, teaching underprivileged youth, performing nightly and starting a community band … just a day in the life of the Spirit of America band members on their recent three-week trip to South Africa. By Elizabeth Geli

Fraternal Order . . . . . . . . . . . . . . . 26 Colleges and fraternities go hand in hand and often do for marching band members as well. Mixing music, philanthropy and social functions, the four major music fraternities—Kappa Kappa Psi, Tau Beta Sigma, Phi Mu Alpha and Sigma Alpha Iota—give university students an even greater connection to music, their school and each other. By Elizabeth Geli

Departments Publisher’s Letter. . . . . . . . . . . . . . . 4 Noteworthy. . . . . . . . . . . . . . . . . . . . 8 MENC Becomes NAfME; The Real Cost of Marching?; “Glee” Pledges $1 Million for Music Ed; Minnesota Brass, Govenaires Win DCA; Tournament of Bands All-Stars

18 Web Exclusives

Need more marching band Sectionals. . . . . . . . . . . . . . . . . . . . . 12 material? Listen Up for Winds; Tongue Levels for Brass; Winter Time for Percussion; Ready for Winter? for Guard

Read online-only articles at http://halftimemag.com/articles/web-exclusives/index.html

Gear Up. . . . . . . . . . . . . . . . . . . . . . . . 14 Zero-G Anti-Gravity Drumstick Holder; Marcher’s Directional Set System; MarchingBandPlumes.com

Regionals. . . . . . . . . . . . . . . . . . . . . . Calendar of events organized by region Direct From. . . . . . . . . . . . . . . . . . . . Stevenson University Mustang Marching Band Behind the Baton. . . . . . . . . . . . . . . A Lesson in Humility Fitness to the Max. . . . . . . . . . . . . Eye-Opening For Fun. . . . . . . . . . . . . . . . . . . . . . . .

16 30 32 34 36

Crossword: Fraternizing

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Next Issue 5th Annual Bowl Game Coverage • What NCAA Realignment Means to Marching Bands • Tournament of Roses Photo Spread • And More ...

MENC Becomes NAfME

The organization formerly known as MENC is now NAfME, the National Association for Music Education. Founded in 1907, the Music Supervisors National Conference later became the Music Educators National Conference (MENC). In 1998 the name changed to “MENC: National Association for Music Education.” “We just found, at this point, it took too much time to explain what MENC as an acronym in front of our name meant,” says Elizabeth Lasko, assistant executive director of NAfME’s Center for Members and Constituency Relations. “When you go to see a senator, congressman, sponsor or celebrity, you don’t want to spend a lot of time explaining why your name doesn’t make any sense.” NAfME was chosen to reflect the organization’s 100-year history and because NAME is already used by a number of organizations. The new logo incorporates the “f” as a forte music symbol. “Most people are very positive—it’s not anything that should have been done frivolously, and it definitely wasn’t,” Lasko says. “It was a decision made by the members, not staff.” The name change officially went into effect on Sept. 1, 2011. “We’re in the midst of a year-long transition,” Lasko says. “We have extensive communication with our state affiliates, and many of them have taken the steps to transform. They’re moving full speed ahead.”

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The Real Cost of Marching? It’s no secret in the marching arts community that participation and competitive experiences don’t come cheap. Students and parents are very familiar with band fees, scrip, fundraisers and booster budgets. But what does it all add up to? Business website Bloomberg recently published an article claiming to have quantified “The Real Cost of High School Marching Band” at $7,110.77 per year. The sum includes an instrument, clothing, medical supplies and fundraisers as well as travel expenses for Bands of America Grand Nationals and the Tournament of Roses Parade. From the story: “Being in a marching band takes more than coordination and stamina. · $550.00: Band membership fee · $400.00: Spring concert season fee · $700.00: Private lessons (minimum amount; half-hour sessions, once per week for 28 weeks)” Personal Finance Editor Suzanne Woolley’s nephew participates in high school marching band in Texas and is going to perform at Carnegie Hall this February. Supporting his fundraisers gave her the idea for the story. “It seemed like there might be something there in seeing how much it could cost a parent to have a child in a marching band—not to make any point pro or con about the value of that experience, but just out of interest,” Woolley says. “We were curious.” The article has been criticized by some readers as not being representative of the average band member’s experience and not detailed enough in sourcing or specifying which costs come from individual students and families as opposed to the band budget. “There was debate about the methodology in the comments section on the story,” Woolley says. “There were people who thought the costs cited were too high or too low and others that said the costs were spot on.” Sources listed in the story include the Avon (Ind.) High School Marching Band, Marching.com, summer camps at Auburn and Florida State Universities, and private teachers and students in New Jersey and Indiana. “Someone made a very valid point about the instrument being a one-time cost if you do indeed own the instrument, and that was an oversight on our part that has informed our thinking going forward,” Woolley says. “We are thankful to critical readers for sharing their views and knowledge and that they are passionate enough about the topic to engage in a debate that informs everyone involved.” According to Woolley, Bloomberg would be interested in further researching the costs of marching bands in a more detailed manner and welcomes any suggestions (although it would be a while before they could revisit the topic). For a link to the original article, visit the Web Exclusives section at www.halftimemag.com.

Photo courtesy of Rachel Garcia.

While the hit television show “Glee” chronicles the challenges and triumphs of a high school’s vocal performance group, the show has provided plenty of opportunities for marching and instrumental musicians and now is pledging $1 million to benefit music education. Show creator Ryan Murphy, Twentieth Century Fox Home Entertainment and the National Association for Music Education (NAfME) have partnered together for the Glee “Give a Note” campaign to provide funds for at-risk public school music and arts programs. “We were working with Glee to get something going for about two years,” says Elizabeth Lasko of NAfME. “Ryan Murphy is very interested in music education; he wanted to leverage the show to raise awareness and spread it across the country.” Schools submitted videos, and a public voting phase took place through Nov. 7. The winners will be announced in mid-December. The $1 million of prize money will be split between 73 winning schools, with three grand prize winners earning $50,000 each. Proceeds from Glee DVD and Blu-rays will help fund the contest. As for the show itself, marching bands have been featured in three musical numbers so far (the show is midway through the third season). The University of Southern California Trojan Marching Band portrayed the McKinley High School Band twice. Most recently an all-female marching group played by members and alumni of the Riverside (Calif.) Community College Marching Tigers performed as part of the Beyonce song “Run the World (Girls).” “It was kind of funny because we filmed it so many times and hoped to be in the episode,” says Rachel Garcia, a first-year trumpet player. “I was wondering how it would all come together, and it was amazing. I see how our part as the band made it better.” Visit www.gleegiveanote.com for more information about the “Glee Give a Note” campaign.

Minnesota Brass, Govenaires Win DCA The Land of 10,000 Lakes is now the land of a Drum Corps Associates (DCA) Championships sweep, with Minnesotan corps Govenaires and Minnesota Brass placing first in A and Open Class, respectively. “So many people were surprised and delighted, lots of crying and tears of joy and happiness,” says Eric Molho, director of Minnesota Brass from St. Paul. “We shared the field awhile with the Govenaires. The two Minnesota corps ended up winning; it was a cool feeling.” Minnesota Brass scored 98.35, ending the unprecedented six-year reign of the Reading (Pa.) Buccaneers, which came in second wth a score of 97.45. The Empire Statesmen of Rochester, N.Y., came in third with a score of 95.55. “It was the best work our design team has ever done as far as pulling all the elements together,” Molho says. “Being in second place for three years is nothing that we’re disappointed in, but when I look at the shows, there’s always been one piece that hasn’t held together. This year the design team did a great job with the story, visual and musical pieces; we needed to tie it all together.” In A Class, the Govenaires from St. Peter, Minn., earned its third straight championship with a score of 84.93. Fusion Corps of Morris County, N.J., came in second (83.93), and Carolina Gold of Greensboro, N.C., was just behind with 83.85. Star United from Indianapolis, won the Mini-Corps competition and earned a perfect score of 100. After six years in Rochester, N.Y., the DCA championships will move to Annapolis, Md., for the next two years. “I think it’s really exciting that DCA continues to grow,” Molho says. “It’s tough when you’re far away from your peers, and DCA is continuing to find ways to make that viable and improve, so that when we come to finals, it’s anybody’s game. No matter where you’re traveling from, there’s an opportunity there. They’ve come a long way in creating a really big playing field.” Photo of the Minnesota Brass Drum and Bugle Corps by Dave Whitaker.

“Glee” Pledges $1 Million for Music Ed

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November/December 2011 9

Photo courtesy of the Tournament of Bands.

Tournament of Bands All-Stars

Thanksgiving: a time for family gatherings, turkey with all the trimmings … and marching bands! Along with the famous Macy’s Thanksgiving Day Parade, many other Thanksgiving parades take place across the country. Tournament of Bands (TOB), a competitive marching band circuit in the northeastern United States, celebrates each year by creating an All-Star Band to perform in the ABC6/ IKEA Philadelphia Thanksgiving Day Parade. Students at TOB participating schools submit their applications along with approval signatures from their band directors and principals, signifying that they are the best candidates to represent their band, school and community. After they pay a $100 application fee, they can download the music and begin practicing. The four Atlantic Coast Championship drum majors will lead the group. “I wanted it to be the kids who really wanted to participate,” says Tom Beebe, director of the All-Star Band. “Like a day of college, where everybody in the room can really play in the band. We’ve had kids blown away by the amount of good players in the room. The fellowship is what they seem to be walking away with.” With the group now in its third year, 2011’s band is 200 members strong and growing. “For the first time, these kids can come together and are not competing; they come to make music and have fun and entertain,” Beebe says. “Entertainment is a really important thing to teach kids. They need to be entertaining the audience. When there’s no competition, that’s when the entertainment really does shine through.” TOB partnered with several sponsors to create the look and instrumentation of the band: DeMoulin Brothers, Beck Design, A Wish Come True, Progressive Music and Jersey Surf Drum and Bugle Corps. And due to the heavy snowstorms in 2011, the National Judges Association has stepped up to provide travel stipends to students in need of assistance. “There are so many great moments for all of us who work hard to make this happen,” Beebe says. “There’s a moment when we’re among the skyscrapers, and the band’s playing, and you just can’t believe how loud and full it is—and then they pass their families who are so proud of them, and you see them march an inch taller, and that’s beautiful for kids and families to share.”

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Listen Up By Jim Snyder

Teaching at a music camp this summer, I asked my students who their favorite clarinet player was. No response. I asked if they’d ever heard anyone who plays professionally. No one had. So I asked why they were playing the clarinet if they’d never really heard what it was capable of. The responses were, “It was my mom’s/uncle’s/neighbor’s”; “The case fit in my backpack”; “The band director said we needed more clarinets”; etc. Hmmm. Logically, my next question would be, “How do you know what to practice if you don’t know what this instrument can do?” Changes in Musical Experience. When I was a kid, listening to music was a family thing—whether we wanted it to be or not. The way we listened to music was through a stereo system with records or cassette tapes. Headphones weren’t readily available, so no matter how “un-cool” we thought our parents’ and grandparents’ music was, we heard it. Nowadays, we have portable music devices that speak to us through ear buds. Now, you and I and our parents are listening alone, and we don’t seem to be sharing any of these musical experiences with each other. Ideas for Today. It’s time to explore, to hear, to imitate! Or we may be relegated to thinking that just getting an “A” on scales and arpeggios in band class is what it means to play the clarinet. Some suggestions: Use YouTube. Here are some names of artists with great commercial success—Benny Goodman, Pete Fountain, Eddie Daniels, Buddy DeFranco, Kenny Davern, Stanley Drucker, Richard Stoltzman. Go hear live symphonies, chamber groups, jazz bands, ethnic music festivals, etc. Parents/grandparents: Get some speakers and blare that music! The clarinet is a remarkably expressive instrument with an incredible tonal range. As you discover how it’s used in various forms of music from all over the world, you’ll discover that different musical styles require different sounds from the horn. Then you’ll know why you’re playing the clarinet!

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. Visit www.theclarinetguy.com.

brass

winds

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

Tongue Levels By Chase Sanborn

In the July/August 2010 issue, I touched on tongue levels briefly (“Tongue Talk”). This column will expand on the topic. The tongue works in conjunction with the breathing muscles to determine air velocity. You control the arch of your tongue by using syllables: • “aa” places the tongue low in the mouth. • “oo” raises the tongue to the middle of the mouth. • “ee” or “ich” raises the tongue high in the mouth. Register. As you arch the middle/back of your tongue upwards, the air speed is increased, thus it stands to reason that “aa” is for low notes, “oo” for the middle register and “ee” for the upper register. The tongue level is infinitely variable, however, and there is no absolute tongue position for a given note. What might be a high note for one player, requiring a raised tongue position, might not be so high for another. If you were to slur an octave between two notes in the mid-register, you would emphasize the syllable change (“aa-ee”) to help execute the slur, even though both notes might individually be played with a medium tongue level. Pitch. The effect of syllables on pitch can be readily demonstrated with your voice. Sing a low note with the syllable “aa.” Quickly change to a high note with the same syllable (“aa-aa”). Now try the same thing with an “ee” syllable for the high note (“aa-ee”). Go back and forth (“aa-ee-aa-ee-aa”). Aside from the fact that you sound like a donkey, notice how much easier it is to sing the high note when you change the syllable and how much more strain is involved when you don’t, particularly in the throat and neck. The effect is exactly the same when playing: a higher tongue level will contribute to a sense of ease when playing notes in the upper register. Tone. The syllables have an effect on tone as well. The lower tongue position emphasizes the lower partials and creates a darker, more resonant sound appropriate to the low register. The higher tongue position emphasises the upper partials, giving it a bright edge, appropriate to the upper register.

About the Author Chase Sanborn is a jazz trumpet player based in Toronto. He is on the faculty at the University of Toronto and is the author of “Brass Tactics,” “Jazz Tactics,” “Tuning Tactics” and “Music Business Tactics.” Chase is a Yamaha Artist. Visit his website at www.chasesanborn.com.

By Lane Armey

Congratulations on completing another fall marching band season! The doldrums of winter are upon us, but the season never ends for the marching percussion enthusiast. Shopping List. Trying to decide what to ask for this holiday season? Ask for the gift that keeps on giving: a good metronome with subdivision built in. I’m noticing two trends in young drummers these days; they have way more chops than ever before, and, wow, they can’t keep time. Don’t fall into this trap! Get a met! Already got one? Then make sure you’ve got a quality drum pad that prevents you from drumming on the kitchen table. Bowl Games. There’s a whole lot of good drumming going on during your winter break that you may not be aware of—think college bowl games. Just like the football teams that have been practicing for a month to prepare for the games, the marching bands that support them are at their best during bowl season. Catch them on TV; there’s a lot of good camera time given to drum lines these days. And while traditionally there were relatively few really good college lines, these days there are talented college lines galore because of the explosion of drum corps and WGI. Audition Season. Winter is where the rubber meets the road in terms of auditions for next summer’s drum corps and this winter’s WGI lines. Attend as many camps as you can, even if you don’t think you have a good shot to make it. You will learn a ton and know what to expect for next year. And my biggest piece of advice is to keep your ears open, be flexible and be open to new techniques. Every instructor has his or her own style, and the performers that get called back and have the most success are those that immediately adapt their technique and show a willingness to change and improve. So use this winter to get the tools you need, check out some fun drumming lines and improve yourself along the way.

About the Author Lane Armey is the battery percussion coordinator for Homestead High School in Cupertino, Calif. During the past 10 years, he has worked with various groups including Northwestern University and the Bluecoats Drum and Bugle Corps.

guard

percussion

Winter Time

Ready for Winter? By Chris Casteel You cannot approach a winter guard performance as you would a field show. Time to adjust your process.

Sense Everything.

Visualize everything while rehearsing. Make the vision a constant part of your rehearsal process. Understand the close proximity of lighting as it relates to routine responsibilities. Know that the audience is within feet of the competition area and can see every detail you present (for better or for worse). Hear the music as if it were pulsing through the speakers and bouncing off the gym walls. You may rehearse on blacktop but imagine the slick feeling of the gym floor beneath your feet. Realize it is very easy to get distracted by the audience. Train yourself to focus at all times. Own It. Know every bit of the routine/staging/performance like it is the back of your saber-tossing hand. Confidence is key in performance, and at an up-close perspective, the audience and judges can tell if you are not confident. It is your responsibility to not only know the content but own it as well. You are the component that brings the choreographer’s vision to life. Without the performers truly owning, or making it theirs, routines fall flat. The only way to make that happen is to consistently rehearse that way. You need to make an emotional and cognitive commitment. Be prepared to bring this aspect into your rehearsals and performances over and over again. Perform for the Audience, Not Judges. Do not allow yourself to be intimidated by the judges. Realize that there will be five to six judges (depending on your circuit) in the gym. However, while the judges provide an essential purpose and service in our activity, your primary focus should be performing to the very best of your ability for the audience. Be aware that judges run a digital commentary throughout every show. Due to the judges’ close proximity, you may overhear some of their dialogue. Do not allow yourself to be distracted. Focus on the fact that you are a performer whose responsibility is to execute a routine with precision and entertain the audience before you.

About the Author Chris Casteel has been involved in the color guard activity since 1981 as a performer and an instructor. She has a master’s degree in education. She has instructed several medaling guards for the Winter Guard Association of Southern California (WGASC). Currently, Chris is an adjudicator for the Southern California School Band and Orchestra Association and the WGASC as well as a guest adjudicator for many other circuits. She also holds the position of education coordinator for the WGASC.

November/December 2011 13

MarchingBandPlumes.com

Marcher’s Directional Set System

Zero-G Anti-Gravity Drumstick Holder

By Elizabeth Geli

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

on a drum set without rattling or sliding. The GelGrip-RotoTip mounts on stands, booms, snare and tom hoops, floor tom legs, drum racks, bass drum hoops and more. “I have my gear set up with a few cymbal booms across me,” says Graham Bradford, creator of the Zero-G and president of Maxonix. “I can grab a stick on the way and hit the next beat. It’s a huge leap forward that the sticks can be right there.” The Zero-G is currently being used by Ray Luzier of KoRn, Felipe Torres of The Monkees, and Tommy Lee of Mötley Crüe, who uses them while in “The 360”—a rollercoasterlike device that takes him and his

whole drum set upside down and sideways in circles as he plays. “Ray Luzier of KoRn is throwing sticks out to the audience all the time,” Bradford says. “It gives him more showmanship that he can reach up and left and right and all over the place instead of just digging down in the stick bag.” Bradford hopes to create a version of the Zero-G specifically for marching drums in the future. Maxonix’s GigTrix Drum Key Holder Clips have been popular with marching groups. Also in development are the QwikSpin Cymbal Nut, which replaces wing bolts, and custom graphic designs on the Zero-G. Visit www.maxonix.com.

any students complain about learning drill, but few go out and develop their own alternate system. High school senior Kevin Karol created the Marcher’s Directional Set System (MDSS) to give his band and others a different way to learn drill. “A lot of time would be wasted on people missing pages or not having their location memorized,” Karol says. “You can explain the new system and do five sets within five minutes.” The MDSS tells you the location of your spot and also focuses on the angle and number of steps needed between sets. “It gives you a general feel,

rather than just looking at each set; it’s much more helpful,” Karol says. “It’s a process of working through from the marcher’s perspective instead of the director’s perspective, so that by the time you get to the end, you haven’t forgotten the beginning.” Karol studies at High Technology High School, a magnet school in Lincroft, N.J., which gave him the programming skills to create the MDSS computer program. Since the magnet school has no music program, he marches at the nearby Rumson-Fair Haven Regional High School. “Our band implemented it and

liked it a lot; it’s increased efficiency by as much as eight times,” Karol says. “People were asking for it, so I decided to put it on the Internet. Now people all over the world can use it to make their practices more effective.” Visit www.marchingsystem.com.

were an afterthought, but now they’re really becoming the focus.” According to Campbell, 10-inch plumes are out of date, and 14- or 16-inch plumes are in fashion. In addition to height, styles have been changing to fountain or upright style plumes, multi-colored plumes and mylar plumes. “We’ve got to be really careful that you don’t think they will just keep getting bigger,” Campbell says.

“Drum corps are fairly mature adults; they can handle a taller plume, but a little freshman in a high school band can only handle so much.” Campbell previously worked as a high school band director and uniform designer at DeMoulin. And what kind of plumes does he predict may be popular in the future? “Soon, in the next 10 years, I think we will see an LED plume,” Campbell says. Visit www.marchingbandplumes.com.

ut your spare sticks wherever you want, even upside down, with the new Zero-G Anti-Gravity Drumstick Holder from Maxonix. The patent-pending design and FlexiGrip-Clips allow spare sticks of all shapes and sizes to be put anywhere

lumes have sometimes been ignored as part of a uniform design, but in the last few years, they have become more prominent and varied. “I’ve noticed how the trends in plumes have changed really dramatically in the last two or three years,” says Keith Campbell of Band Today and MarchingBandPlumes.com “They’ve gotten a lot taller and fluffier. For years you designed a uniform and stuck something on top of it; plumes

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Major Events by Region West Tradeshows Jan 4-7—Albuquerque, NM—New Mexico MEA Jan 12-15—Eugene, OR—Oregon MEA Jan 19-22—Anaheim, CA—NAMM, the International Music Products Association Jan 25-28—Colorado Springs, CO—Colorado MEA

Miscellaneous Nov 19—Thousand Oaks and Santa Barbara, CA—Western Band Association Championships Nov 19—Huntington Beach, CA—California State Band Championships Nov 25—Honolulu, HI—Waikiki Holiday Parade Dec 3—Location TBA—Southern California School Band and Orchestra Association Championship Dec 10—Los Angeles, CA—Los Angeles Unified School District Championship

Midwest Bands of America Nov 5—Indianapolis, IN—Super Regional— Lucas Oil Stadium Nov 9-12—Indianapolis, IN—Grand National Championships—Lucas Oil Stadium

Tradeshows Nov 9-12—Indianapolis, IN—Percussive Arts Society International Convention (PASIC) Dec 14-17—Chicago, IL—Midwest Clinic Jan 19-21—Fort Wayne, IN—Indiana MEA Jan 25-28—Peoria, IL—Illinois MEA

Miscellaneous Nov 5—Detroit, MI—Michigan Competing Band Association Championship Contests Nov 5—Various Locations, OH—Mid-States Band Association Championships

Northeast Tournament of Bands Oct 30 and Nov 6—Hershey, PA—Atlantic Coast Championship

USSBA Nov 5—Bridgeport, CT—USSBA New England State Championships 16

Nov 5—Various Locations, NJ—USSBA New Jersey State Championships Nov 5—West Chester, PA—USSBA Pennsylvania State Championships Nov 11-13—Allentown, PA—USSBA National Championships A Class

Tradeshows Dec 1-4—Rochester, NY—New York State School Music Association

Miscellaneous Nov 11-12—Hershey, PA—Cavalcade of Bands Championship Nov 12—Bridgeport, CT—Musical Arts Conference Championships Nov 24—New York, NY—Macy’s Thanksgiving Day Parade

South Bands of America Nov 4-5—San Antonio, TX—Super Regional— Alamodome

USSBA Nov 5—Sykesville, MD—Century HS Nov 5—Irving, TX—North Texas State Championship Nov 5—Shenandoah, TX—USSBA South Texas Championship Nov 5—Chattanooga, TN—USSBA Southern States Championships Nov 5—Glen Allen, VA—USSBA Virginia State Championship Nov 11-13—Annapolis, MD—USSBA National Championships Open Class

Miscellaneous Nov 3-4—Hot Springs, AR—Arkansas MEA Nov 10-13—Winston-Salem, NC—North Carolina MEA Nov 17-21—Baton Rouge, LA—Louisiana MEA Jan 11-14—Tampa, FL—Florida MEA Jan 19-21—Montgomery, AL—Alabama MEA Jan 26-28—Savannah, GA—Georgia MEA

Miscellaneous Nov 18—Orlando, FL—Florida Classic Battle of the Bands Nov 19—St. Petersburg, FL—Florida Marching Band Coalition State Finals

Bowl Games & Events Dec 17—Albuquerque, NM—Gildan New Mexico Bowl Dec 17—Boise, ID—Famous Idaho Potato Bowl Dec 17—New Orleans, LA—R+L Carriers New Orleans Bowl Dec 20—St. Petersburg, FL—Beef ‘O’ Brady’s St. Petersburg Bowl Dec 21—San Diego, CA—San Diego County Credit Union Poinsettia Bowl Dec 22—Las Vegas, NV—MAACO Las Vegas Bowl Dec 24—Honolulu, HI—Sheraton Hawaii Bowl Dec 26—Shreveport, LA—AdvoCare V100 Independence Bowl Dec 27—Detroit, MI—Little Caesars Bowl Dec 27—Charlotte, NC—Belk Bowl Dec 28—Washington, DC—Military Bowl Presented by Northrop Grumman Dec 28—San Diego, CA—Bridgepoint Education Holiday Bowl Dec 29—Orlando, FL—Champs Sports Bowl Dec 29—San Antonio, TX—Valero Alamo Bowl Dec 30—Dallas, TX—Bell Helicopter Armed Forces Bowl Dec 30—Bronx, NY—New Era Pinstripe Bowl Dec 30—Nashville, TN—Franklin American Mortgage Music City Bowl Dec 30—Tempe, AZ—Insight Bowl Dec 30—Glendale, AZ—Fiesta Bowl Band Championship Dec 30-31—Pasadena, CA—Tournament of Roses Bandfest Dec 31—Houston, TX—Meineke Car Care of Texas Bowl Dec 31—El Paso, TX—Hyundai Sun Bowl Dec 31—Memphis, TN—AutoZone Liberty Bowl Dec 31—San Francisco, CA—Kraft Fight Hunger Bowl Dec 31—Atlanta, GA—Chick-fil-A Bowl Jan 2—Dallas, TX—TicketCity Bowl Jan 2—Tampa, FL—Outback Bowl Jan 2—Orlando, FL—Capital One Bowl Jan 2—Jacksonville, FL—Taxslayer.com Gator Bowl Jan 2—Pasadena, CA—Rose Bowl Presented by VIZIO Jan 2—Glendale, AZ—Tostitos Fiesta Bowl Jan 3—New Orleans, LA—Allstate Sugar Bowl Jan 4—Miami, FL—Discover Orange Bowl Jan 6—Arlington, TX—AT&T Cotton Bowl Jan 7—Birmingham, AL—BBVA Compass Bowl Jan 7—San Antonio, TX—U.S. Army All-American Bowl Jan 8—Mobile, AL—GoDaddy.com Bowl Jan 9—New Orleans, LA—Allstate BCS National Championship Game

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Scenes From W

hile well-rehearsed marching units can play in virtually any type of setting, some environments are a little more conducive than others. This is especially true for a band’s primary performance space—the stadium. A stadium provides the biggest platform for marching units to show off their playing skills and the aesthetics of their field shows. Although bands don’t have much control over the layout or physical characteristics of a stadium, it certainly helps if the facility is designed with the needs of the thousands of marching units who will make their way across its field in mind. Not every school has the resources to build a state-of-the-art stadium with the amenities needed for a marching band, so a unit has to simply work with what is available in the performance space. But according to Tim Gallagher, band director at Horseheads (N.Y.) Senior High School and former events and transportation coordinator with the U.S. Scholastic Band Association—which has held competitions in more than 200

Whether on your home field or a state-of-the-art professional football stadium, your body fills with adrenaline when you’re standing at attention, ready to perform in front of thousands of spectators. Some characteristics of a stadium, however, can make your experience even more positive and memorable. stadiums—certain characteristics of a stadium make it more band-friendly than others.

Synthetic Turf Natural grass is softer and has more “give,” which is a definite advantage for a football player who wants to minimize the impact on his body, but synthetic turf is the best choice for a marching band’s purpose. The turf stays dry, so the group can still perform in inclement weather; mud is not an issue, so the color guard can kneel on the ground without worrying about ruining their uniforms or causing grass-stained knees; and the turf is less

hazardous than real grass. “Real turf has had hundreds of people walking on it, so over the years it flattens down and becomes slick,” Gallagher says. If the lime used to create the yard lines gets wet, it can also become slippery and potentially dangerous.

Awe-inspiring Part of the fun of participating in marching band is getting to travel and perform in different venues. For many student musicians, playing in a location that is different from their home school is exciting enough, but when they have the opportunity to play in a world-famous stadium, it only heightens their overall experience.

Photo courtesy of MetLife Stadium.

By S a r a H o d o n

m a Stadium That sense of awe doesn’t just come from the huge, state-of-the-art fields that have every modern amenity. Although the Rose Bowl in Pasadena, Calif., may be one of the biggest, most inspirational and well-known stadiums, some intimate venues with a sense of history can have a special “wow” factor of their own. Bill Givens, director of operations at the Navy-Marine Corps Memorial Stadium in Annapolis, Md., says that his venue is more than just a stadium although recent upgrades and renovations have made the facility impressive enough in that regard. “It’s a monument, a memorial and a museum to everyone who served in the Navy and Marine Corps,” he says, adding that the sense of tradition is obvious throughout the facility. There are monuments, battle and class arches, a Flag Bridge, a Memorial Plaza, and a Memorial Plaque Wall at various locations throughout the venue that tell the story of the United States Navy and Marine Corps.

The Navy-Marine Corps Stadium has hosted the USSBA championships for a number of years and will soon be the venue of the Drum Corps Associates championships. Ron Van DeVeen, senior vice president of events and guest experiences at the new MetLife Stadium in East Rutherford, N.J., says that video screens are a huge “wow” factor for many student groups. “We have four huge video boards, so the band is onscreen during their performance,” he says.

Ease of Flow It’s no small task to get a marching unit and the equipment unloaded, assembled and put into formation in a short time, so the director’s job is much easier if the layout of the facility is conducive to this process. Ideally, the facility should have enough parking available to accommodate buses and equipment vehicles, with enough room to get everyone out of the vehicles safely. This ideal situation can be tough in major cities or stadiums situated in high-traffic areas, so the band

director should contact the facility prior to the scheduled performance date to learn the specifics about accessibility and any possible conflicts with load-in or staging. Gallagher says that he has performed with groups in huge stadiums that were great for performing, but getting inside the facility was a challenge. “I’ve experienced construction, subway stations and lack of parking,” he says of one stadium in a major metropolitan area. “There was also no room to warm up. If the place is hard to get in, even if it’s great inside, you may not want to play there.” Once the band is in place and warmed up, it helps if the facility encourages a smooth flow of traffic, particularly for events like festivals and adjudicated competitions that can draw literally thousands of performers who need to get on and off the field quickly and easily. MetLife Stadium has four field entrances, which make it easy for organizers to keep the traffic flow moving seamlessly during large-scale band events without anyone feeling pressed for space. November/December 2011 19

Lucas Oil Stadium in Indianapolis— host of numerous marching events including the Indiana State School Music Association Marching Band Finals, Bands of America Grand Nationals and Drum Corps International World Championships—has plenty of accessibility, with 11 bays on its loading dock and a number of other features that make it easy for bands to load in and out. This state-of-the-art facility can easily fit 63,000 people as well as accommodate smaller events for a more intimate feel.

Proximity to Audience Whether playing a halftime show at a football game or competing with other schools in a festival, proximity is extremely important to the musicians, director and audience. Some high schools and colleges have a multi-use field that often includes a track, which adds a distance of several feet between the musicians and the crowd. Other venues have oddly-shaped seating arrangements or have the majority of their seats on one side of the field or the other. Whether the stands can seat 250 or 250,000, it’s vital that the musicians connect with the crowd and set the proper tone for the event. “We can fit 10,000 folks between the 20-yard lines, so it’s kind of intimate,” Van DeVeen says of MetLife Stadium, which does not have a track around the main field. “There is a fabulous view of the field from the second level’s club level, which is where judges go. Every seat is a great seat.” 20

Dome or No Dome? Another structural aspect that can pose a challenge for directors is performing in a domed venue. Unlike playing outside, where the sound travels freely without much of an echo, in a domed venue the sound travels to the top of the dome or swirls around. Though having a dome has its obvious benefits—the ability to play in rain or shine, a level playing field for all competitors without the effects of wind or sun—it can also create acoustic difficulties, causing a director to change the arrangement of the field show to compensate. Justin Mertz, director of the Syracuse (N.Y.) University Marching Band, is all too familiar with the challenges of a domed venue. The university’s famous Carrier Dome is the band’s home base. “We have all metal bleachers and concrete surfaces, so when the venue is empty, the sound bounces around like crazy,” he says. “We have to make sure that our percussion is somewhere in the center of the field. When it’s empty, we’re very loud. When there are people,

we aren’t getting so much reverb, so it decreases their volume a little bit. When they’re on the field, a lot of the sound goes into the stands or goes up. The sound might bounce back at different times, so it’s difficult to hold things together metrically. It can be limiting in what we can do, but we’re used to it.” Mertz adds that the material the dome is built from effects the sound, too. The Carrier Dome’s older concrete cover causes less reverb than many newer domes, most of which are made of metal. He says that although performing in a domed facility has its challenges, he is grateful for the shelter. “Even with all of these challenges, with enough time and experience, you don’t even realize you have to compensate for them,” he says. “We are extremely lucky that we get to play and practice indoors. It makes everything else a lot easier.” While not every facility has all of the ideal amenities, most band directors agree that with enough practice, flexibility and preparation, a top-notch marching band can put on a stellar performance in any type of stadium.

About the Author Sara Hodon is a freelance writer and proud alumni of her high school band’s front silks squad. Her writing has appeared in a variety of print and online publications, including Match.com’s Happen Magazine, History, Lehigh Valley Marketplace, Pennsylvania and Young Money, among others. She is also a copywriter for corporate clients. She lives, writes and relives her band memories in northeast Pennsylvania.

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By Elizabeth Geli

Spirit of America in Africa

Photos courtesy of Spirit of America .

Sharing hope, teaching underprivileged youth, performing nightly and starting a community band â&#x20AC;Ś just a day in the life of the Spirit of America band members on their recent three-week trip to South Africa. 22

ZZZZZZZ

“

haring hope with youth through music and the creative arts” was the mission of the all-ages performing group Spirit of America (SOA) on its recent trip to South Africa. Through three weeks of performances and workshops, the members spread the power of music to the local children. After two years of preparation and fundraising, 150 members of the marching ensemble traveled to the cities of Durban and Johannesburg. In Durban, the group led a week of workshops to help establish a music ensemble in a nearby township and performed a one-hour field show every night. In Johannesburg, SOA continued daytime workshops for the local youth and performed its indoor stage show twice each day. “I think that one of the big reasons Spirit of America went there was to instill a sense of hope in some of the young people,” says Ian Hale, percussion master for SOA. “Through music and percussion, we wanted to give them another thing they could learn and feel good about doing.”

Personal Preparation To attend the trip, each SOA member had to raise $6,000 through fundraisers or donations and learn both the field show and the two-hour stage production. As the trip grew closer, the group rehearsed at 5:30 a.m. five days a week. “We had to do a lot of preparation,” says Paul Tingley, a trumpet player and adult member of SOA. “I was at my job during the day and during the rest of the time had to pull together a stadium and theatre show.” SOA is a musical organization based in Orleans, Mass., with members from ages 10 to 60. Founded in the early 1970’s as a hometown marching band, the organization now includes a field and marching band, winter percussion group, fife and drum unit, and wind ensemble. Many of the younger members are home-schooled, allowing them to integrate SOA training into their curriculums and attend the international trip throughout most of September. “This trip was part of our home-school curriculum,” says Kirsti Pugsley, a 17-year-old percussionist in her eighth year with SOA. “We studied South African history and had tons of fine art credit.” According to Tingley, whose own children are home-schooled and march with SOA, South African studies were built into a year-long curriculum, even including a guest speaker who talked about HIV and AIDS in South Africa.

“Part of the mission is to inspire and to educate young people,” Tingley says. “It was such a great experience for us to take our young people, share this experience and open their eyes to what a person in a foreign country without as many opportunities or the ability to make music goes through.”

Starting a Band in Kwamashu The first leg of the trip occurred in Durban, the third largest city in South Africa. SOA partnered with the Kwa Mashu Community Advancement Projects (K-CAP), a youth integrated arts and multimedia empowerment organization, to provide workshops and training to students and instructors in order for the Ekhaya Multi Arts Centre to start its own marching band in the KwaMashu Township (18 miles outside of Durban). During the day, SOA members and staff taught workshops on music, marching and color guard, introducing many of the students to instruments for the first time. “The best part about going on this trip was doing workshops with the kids,” Pugsley says. “They had so much energy and were so eager to learn and had so much fun that it made you have fun.” SOA was able to gift many instruments to the centre through its Re-Sound program, which collects, repairs and donates instruments to needy organizations. “That to me was a highlight because the kids were clearly underprivileged,”

Tingley says. “Some of the kids had no shoes. Although we did workshops with some kids, not every kid could participate, and there were kids outside the fences just watching. We handed out harmonicas to them, and the kids had huge smiles on their faces.” Each evening SOA performed “Exploration!”, its hour-long field show, at King Zwelithini Stadium for hundreds of local children and community members. A pivotal moment of the show features every member of the ensemble playing the drums, and the kids participating in the workshops learned that section and joined SOA on the field for the final performance. “I got the privilege of standing on the podium with the drum major and directing while there were 200 to 250 drummers on the field,” Hale says. “It was an awesome and very emotional experience; there were a lot of tears on the field on both sides. I think the exchange of information and the genuine response that both sides had is something that’s a pretty life-changing experience.” Now that they have the tools to start a band, the Ekhaya Multi Arts Centre will continue to communicate with SOA for guidance. “We hope to create a November/December 2011 23

Thinking Large

‘music revolution’ in KwaMashu Township as there is now a lot of enthusiasm amongst the youth about playing instruments and support from parents wanting their kids to learn how to play,” says Edmund Mhlongo, artistic director and founder of K-CAP. “It will be great for us to continue with this exchange program on an annual basis—even if it means fewer members of SOA coming over and at some stage sending our best students over to U.S. for further mentorship.”

Sightseeing Side Trips While the SOA members considered their South African adventure as a “working trip,” the group did have time for several side trips between their time in Durban and Johannesburg. Sites included the Apartheid Museum, Inkamana Abbey, African Crafts Market and Soweto Township. “We got a chance to see the living conditions, which are not very good to say the least,” Hale says. “To see all of that and how they sort of decide to live their lives in these difficult conditions was really cool. There’s so much joy in the people there because they have each other and the things that they do together, such as drumming, dancing, singing and music. We saw the real deal.” The group also went on a safari at Kruger National Park. “It was a phenomenal experience,” Pugsley says. “We saw wild dogs, cheetahs, giraffes and elephants—stuff people usually never get to see. We were really lucky.” 24

Theatre in Motion Once in Johannesburg, SOA unpacked their sets and jumped into rehearsals for its two-hour stage show, “Instrumental Theatre: in motion—The Fall and Rise of the Phoenix.” Soon the group would be giving two workshops and two performances each day as part of the Arts Alive Festival. Unlike the Durban workshops, where the same children returned daily, in Johannesburg SOA presented workshops to different groups of students each day. The children ranged from Kindergarten to high school students. Before viewing SOA’s matinee performance, they studied topics such as performing arts, costume design, makeup design, brass, woodwinds, percussion, set construction, backstage tech, mosaic design and instrument repair. “Instrumental Theatre: in motion” at the Mandela at Joburg Theatre was wellreceived by both the children in the matinee audiences and the paid festival audiences nightly. “It was a totally different show than what they’ve seen before,” Tingley says. “The show had so many different emotional things: crying, singing, flying, pyrotechnics. They understood it. They were big thinkers.”

Although SOA has taken many international trips and tours and won numerous accolades over the years, this South African trip will be a fond memory and life-altering experience. “I kind of came away realizing the things that I thought mattered don’t really matter as much now,” Hale says. “I think that the people of South Africa demonstrated that you can make great things happen out of some really awful things.” Pugsley enjoyed the workshops as well as the pure thrill of performing. “Just the experience of working with all the kids and everything they gave it—the whole experience—was amazing,” she says. “In Joburg Theatre it was so fun; we were back in the pit performing with all of our friends. Just performing together and seeing how much it came together felt great.” SOA hopes to continue providing musical training and instruments to those in need and inspiring others with their productions. “We grew musically and spiritually, and it keeps us motivated to do the next thing,” Tingley says. “This has us thinking large.”

About the Author Elizabeth Geli is the assistant editor and web editor for Halftime Magazine and a freelance journalist and communications professional in Los Angeles. She marched flute at Valencia High School in Placentia, Calif., and in the University of Southern California (USC) Trojan Marching Band, where she now works as a teaching assistant. She has a bachelor’s degree in print journalism and a Master’s in Specialized Journalism (The Arts) from USC.

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Fraterna Well-Deserved Rest: Students from Eastern New Mexico University take a break from band practice. Photo courtesy of the Kappa Kappa Psi national organization.

Colleges and fraternities go hand in hand and often do for marching band members as well. Mixing music, philanthropy and social functions, the four major music fraternities—Kappa Kappa Psi, Tau Beta Sigma, Phi Mu Alpha and Sigma Alpha Iota—give university students an even greater connection to music, their school and each other.

t’s the night before a West Virginia University home football game, and the marching band is rehearsing its patriotic field show—complete with a gigantic American flag to open up across the field. Suddenly, Old Glory suffers a huge rip! Mass confusion and chaos ensue amongst the band members. What are they going to do tomorrow? They certainly can’t bring out a giant ripped flag! Around the field, Adam Cantley and other members of the Kappa Kappa Psi fraternity make eye contact with each other. They knew what they had to do. They put aside any Friday night plans and channeled their inner Betsy Ross. “We stayed on the field hand-sewing the American flag for hours,” says Cantley, who, years later, now serves as the organization’s national president. “People in the stands had no idea we had sat there and sewn that flag the night before. We didn’t need any accolades, but we still laugh and talk about how we sat there with thread and needle. Sometimes it’s about doing things that are ridiculous but make a big difference.”

Uplifting: Phi Mu Alpha’s official philanthropy is the Mills Music Mission; students visit hospitals and nursing homes to perform for patients. Photo courtesy of the Phi Mu Alpha national organization.

al O rder By E l iz a b e t h G e l i

And it’s that kind of “ridiculous” dedication to their collegiate band programs or to music in general that characterizes the members of music fraternities and sororities. When applying to, choosing or attending colleges, students may want to consider the availability of music fraternities and sororities as a way to supplement their social experience and their participation in band or other music ensembles. These organizations focus on a love of music or dedication to the band while incorporating some of the social aspects associated with traditional (Panhellenic) fraternities and sororities. Kappa Kappa Psi (KKPsi) National Honorary Band Fraternity and Tau Beta Sigma (TBS) National Honorary Band Sorority are exclusive to band members, and their primary purpose is to provide service to the band. Both are co-ed although at schools that have both available, the membership can skew gender exclusive. The two groups are run together at the national level. Phi Mu Alpha Sinfonia is the world’s largest and oldest music fraternity, open to any males that simply have an appreciation for music and wish to work for music’s advancement in America. Although called an International Music Fraternity, Sigma Alpha Iota (SAI) inducts female musicians who have taken at least one music class at their college or university.

Helping the Music Program So what do these groups actually do? KKPsi and TBS are, first and foremost, responsible for assisting with the needs of the band. “We couldn’t function without them, in all honesty,” says Dr. Debra Traficante, assistant director of bands at the University of Oklahoma and national vice president for professional relations of TBS. “Between KKPsi and TBS, we have about 100 students that provide service—that’s one-third of the band. A tremendous chunk of responsibility for public events goes to them. I just can’t even imagine us doing any events without the group.” Their responsibilities include passing out plumes, water and box lunches at home games; distributing room keys, loading and unloading uniforms and luggage for away games; and ushering or hosting post-concert receptions for the indoor groups. While these tasks may seem unglamorous, these student leaders enjoy helping the band above all else. November/December 2011 27

“I just love helping people; any service that we get to do, I love it,” says Ashley Singleton, president of TBS at the University of Oklahoma. “I joined because I got to know a lot of the people that were in it and saw the kind of people that they were: self-motivated, humble, loved helping people and doing things for others—and that’s what I’m all about.” The activities vary from school to school. “They get there early to set up, stay late to tear down, raise money to commission musical pieces, put together reading bands, outreach to visiting bands,” Cantley says. “We do anything that the college band directors need.” Phi Mu Alpha, while not directly affiliated with collegiate bands, still works with the band as well as other on-campus musical organizations such as orchestras and choral groups. “We’re involved with band, choir, show choir, we’re a lot less focused on the band and are more broad,” says Ryan Case, a recent alum at Mississippi State University (MSU). “We’re not so focused that it drives us in one direction or another. We see a problem and step in to try and help.” In his years as an MSU Sinfonian, the fraternity cleaned and repainted the music department building, performed each year at band camp, provided ushers for concerts, and serenaded Sigma Alpha Iota and other sororities. “It varies from chapter to chapter; many have a men’s choir that all members can join even without a choral background, and most have smaller choral or instrumental ensembles too,” says Mark Wilson, director of communications for the national organization. “Once a year each chapter puts on an American Music Recital, and they perform entirely American music. You’re going to get a lot of different social activities that vary wildly [within] this common ground of being interested in the promoting of music.”

Serving the Community Chapters of Sigma Alpha Iota also serve their school’s music programs by ushering, hosting, performing or other tasks but primarily focus on their broader community service projects. Some of these include the People-to-People Project, which provides instruments or other music materials to those in need both domestically and internationally, or their special needs programs to translate music into Braille or provide large-print copies. “We’ve been around over 100 years, and we keep growing— it’s our mission to encourage, nurture and support the art of music,” says Christine Bruns, national vice president of collegiate chapters. “A lot of groups have different focuses, but we are focused on our love of music and the arts.” KKPsi and TBS chapters also participate in different community service projects outside of the university. For example, Oklahoma’s TBS chapter has participated in community concerts, a Veteran’s Day parade, planned a canned food drive for local needy families and volunteered with the Girl Scouts and Special Olympics. Phi Mu Alpha’s official philanthropy is the Mills Music Mission, started by the fraternity’s founder Ossian Mills. The brothers visit hospitals and nursing homes to perform for patients as well as perform and volunteer at children’s homes. Case specifically remembers performing for one elderly man who turned out to be a Sinfonian from the 1940’s. Although the man died a few days later, his family contacted the students to thank them for lifting their father’s spirits in his final days. “You get to see the tangible benefit of doing something for someone else out of the goodness of your heart, in our case it’s 28

Moving In: Students from Kappa Kappa Psi and Tau Beta Sigma help freshmen band students at the University of Oklahoma move into their dorms. Photo courtesy of Ashley Singleton.

bringing the gift of music,” Wilson says. “Talking to the person, singing or playing for them can really help them personally and spiritually.”

Being a Leader For members that wish to get more involved beLifetime Members: Band yond their own school fraternities and sororities continue and community, there to exist after college through are numerous leadership numerous alumni chapters. Photo opportunities at regional, courtesy of the Sigma Alpha Iota national organization. state and national levels as well. “I watched people that were very unsure of themselves come out of their shell and become really excellent leaders through Sinfonia,” Case says. Many students become regional or state representatives and then go on to volunteer positions at the national level. Larger national conventions are planned and attended by students across the country. “I had the opportunity to help organize and plan a convention with more than 700 participants and alumni,” Cantley says. “Everybody gets a degree, but not everyone gets to plan a convention or raise money to commission a piece of music. Those out-of-classroom experiences make you a wellrounded person and more valuable when you leave college.” And alumni connections can come in handy, both in and out of the music industry. “Once they graduate, we have a large number of alumni chapters and opportunities for continued service and connections,” Bruns says. “When I was moving because my husband joined the military, I was able to network with alumni and find a job.” Even Case, who is a civil engineer, was able to use his alumni connections to start his career. “We’re a nationwide fraternity, and I have been in some of the most odd locations and crazy places, and Sinfonians have approached me,” Case says. “During my interview process for my first job, the guy was a Sinfonian.”

How to Join Students interested in joining a fraternity or sorority attend rush events where prospective members get to know the current members. If they meet the music involvement and basic GPA requirements, the organizations can choose to extend a bid to them. They then become a pledge and go through a probationary period where they continue to get to know the members and participate in social and philanthropy events. All four groups require an educational program where the new members study and learn about the history and mission of the organization and must pass a test. At the end of this period (usually one semester), the pledges are officially initiated as brothers or sisters.

Socializing It’s not all hard work and philanthropy for these organizations. All four have plenty of fun, social activities as well. “If you’re new to a university, joining any band immediately allows you to be part of a bigger family, but when you join a sorority or fraternity within your band culture, it makes the bond between those people even closer,” Traficante says. “We all play an instrument and all love music, but when you take a step further to give back to the organization, the students really become lifelong friends. They work hard and play hard together, and it becomes a lifelong endeavor for them.” Case even called on his fraternity brothers to help him propose to his wife. They serenaded her as he proposed and performed the same song at his wedding, where six of his eight groomsmen were Sinfonians. “Lifelong friends is a striking concept—as I continue to be a part of Sinfonia, it continues to give me a sense of belonging, and it makes me feel proud of something I can continue to be a part of and strive to work for,” Case says. “It’s not just a four-year thing; it’s a lifelong journey. Knowing that my fraternity goes on through me and around me is very heartening.”

Additionally, they all ban any sort of hazing. “KKPsi has a strict no-tolerance policy when it comes to hazing,” says Adam Cantley, the organization’s current national president. “It’s not consistent with the values of our program, the bands or the law, and we don’t tolerate it.” Ryan Case, a recent alum at Mississippi State University, said the same thing in regard to Phi Mu Alpha. “Our fraternity itself is one of the leaders in a movement fighting against hazing; we have a very strict policy,” he says. “If a probationary member sees anything wrong, they have all this contact information to report things, and our commission on standards will rectify the situation immediately.” Many schools or regions also have alumni chapters that stay heavily involved. “We have national alumni programming at our various conventions and retreats,” Cantley says. “We do more things like professional workshop building, family events. We might organize a baseball trip or a family day for alumni and kids while still getting them plugged into our national events.” If you think you may be interested in one of these organizations, make sure to look them up on your current or future campuses. For more information on the national organization or to start a chapter, visit www.kkpsi.org, www.tbsigma.org, www.sinfonia.org or www.sai-national.org.

November/December 2011 29

By Jeremy Chen

Photos courtesy of the Stevenson University Marching Band

Stevenson University

MUSTANG F

or many colleges and universities in the United States, marching band has been a part of the institutionâ&#x20AC;&#x2122;s long history, and many have become well known to the general public. One institution, though, is creating history right now with its very first marching band coinciding with the establishment of an official football team. Stevenson (Md.) University, founded as Villa Julie College in 1947, put director Mark Lortz to the task of forming a fully trained and disciplined band. Lortz used his previous experience as a successful high school band director to field the fledgling Stevenson University Marching Band in its inaugural season.

Earlier this month, the Stevenson University band completed its inaugural season. Find out how this fledgling band exceeded expectations and about its plans for future growth.

Marching Band 30

Halftime: How did you get your start at Stevenson? Lortz: Stevenson advertised nationally for the position of marching band director after the school formed its first official football team. I interviewed for the job and was chosen. Before coming to Stevenson, I had taught at Westminster (Md.) High School for 15 years; the band was a strong BOA [Bands of America] powerhouse. I’m also the director of the Buccaneers Drum and Bugle Corps at Drum Corps Associates. Halftime: What allowed the Stevenson University Marching Band to start forming now? Lortz: About two years ago, the university president wanted to have a football team, so what he said was that if you have a team, you have to have a marching band. Football started its first year last year, and this year I had to scramble in order to recruit people over the summer. We had a huge media blitz in which we had an article written about us in the local newspaper, formed a Facebook page, sent mailers and started our own website. We worked with university admissions to identify potential members due to their interest in band and dance. We are giving each person who joins the band a $500 grant as a form of encouragement to come join.

It was extremely hectic, but we accomplished the task and got the necessary members in time for August band camp. Right we have about 75 students in the band, which doubled our goal of about 34. We managed to get sponsored by Yamaha, Vic Firth and Zildjian. Halftime: How did you set up the band’s infrastructure? Lortz: The university will be funding the band to the point where the students have no expenses. I have also created a student executive board in which I have a band president and vice president, who were elected by the members of the band themselves. They function as the main liaisons from the directors to the members. I interviewed potential section leaders who usually were members with a lot of experience in marching band. Halftime: What is the band’s style? Lortz: We are going to be a contemporary corps-style band where members will learn the marching style like in drum corps. We will also incorporate urban style dancing with rock and roll music and contemporary hits such as Michael Jackson’s “Thriller,” so the students can enjoy themselves and feel connected. The bands that we look up to for inspiration would be bands like the University of Maryland or the University of Massachusetts, Amherst, as these East Coast bands have become staples of what people see … in the region. Halftime: What is your vision for the future? Lortz: I would like to have a band that is representative of three to five percent of the student population eventually. Right now we are at about two percent of the student body. Right now, we are just playing at home football games for our first year. I would try to have one road game a year to something like a divisional rival’s school. I would love to be at high school competitions where we can be showcased as an exhibition band. The same goes for BOA or USSBA [U.S. Scholastic Band Association] events. This will allow us to be known to even more people in the marching band setting.

About the Author Jeremy Chen is a sophomore majoring in broadcast journalism at the University of Southern California (USC). He marched cymbals for two years at Rancho Cucamonga High School before playing bass drum and snare at Upland High School. He is currently a cymbal player and office staff member for the USC Trojan Marching Band. He aspires to one day become a correspondent for the BBC. November/December 2011 31

Behind the Baton By Billy VanDelinder

Photo by Ken Martinson/Marching.com

One drum major finds out the hard way that good scores and accolades don’t always lead to feelings of success or self-worth.

A Lesson in

Humility O

ver the course of the past three years, I have been the drum major of three different organizations: the David Crockett High School Marching Band from Jonesborough, Tenn., Music City Drum and Bugle Corps from Nashville, and Middle Tennessee State University’s Band of Blue from Murfreesboro. My first experience in band was my freshman year of high school. I was in a marching band of about 60 people. Out of all of the members, there was one I admired most: the drum major. There was only one drum major in my high school band, and to me it was the coolest position. The drum major led the band on the field, started the show, did the cool salute, had all the awesome cues and got all the praise for being in charge. What I didn’t realize was how much work it really takes to be a drum major. Among printing coordinates for 380+

people, plunging toilets and enduring 18-hour workdays, I never would have thought such a glorious job could be such a humbling one.

Feeling Incomplete I was offered the position of drum major my senior year of high school. It was a stressful and difficult experience, but it wasn’t until much later that I learned what it takes to be an effective leader. My mentality—although I’m ashamed to admit it now—was one that involved intimidation. I thought it was effective to intimidate people into doing their jobs. I didn’t really try to be best friends with everyone in my band, and I divided myself from the group in my effort to lead through intimidation. I became frustrated when people disrespected my authority, and I had an awful case of the God complex.

In spite of receiving awards for conducting and getting high ratings at contests, at the end of my season, I felt incomplete, and I didn’t know why.

Breaking the Wall As my high school band season drew to a close, I sought the next level of marching athletics: drum corps. I admired the intensity and passion associated with the organization, and I wanted so badly to be involved with it. In my desire to be at the highest level, I auditioned for Phantom Regiment to be a drum major. Because of my lack of experience and my bad attitude, I was cut from the auditions early on. Befuddled, I didn’t know what to do, so a friend and I ended up auditioning for a mellophone position at Music City Drum and Bugle Corps in Nashville. It turns out that Music City was looking for a head drum major because the

previous one was unable to return for the season. I auditioned and was offered the spot. That was my first step to realizing why I felt incomplete at the end of my senior year of high school. Still ignorant, I felt the effective way to lead a group of people was by intimidation. This attitude did not bode well for me, especially as a rookie head drum major for a Drum Corps International organization. I received a lot of disrespect, and people did not respond well to my efforts as a leader my first year in the corps. It was definitely a frustrating time for me. If you talk to any drum corps vet, they will tell you about “walls.” In drum corps, a wall is a mental obstacle. It happens during tour or training camp. Your mind starts telling you that you can’t do it: “There’s no way you can lead these people. Your conducting is awful. You messed up that rep. How can you expect them to be perfect if you’re nowhere near perfect?” The wall is the most difficult part about drum corps, and, if it isn’t overcome, the wall can lead to the end of a marcher’s drum corps career. My wall happened during my first season with Music City. It took some time,

but eventually I got past the mental block and came away with a completely different mindset. What I learned is that a leader can only be so effective through intimidation, but with optimism, so much more can be accomplished. Because of what my rookie year in Music City taught me, I was able to lead much more effectively my second year. Everyone responded much more positively to any sort of direction I had to give.

Bursting Ball I was able to carry this positive attitude into my college marching band career. This year, I am one of the drum majors of the Band of Blue at MTSU. With 385 members, we take pride in being big, loud and funky! It’s amazing how maintaining a positive attitude can really influence a rehearsal or performance environment, and I have had an awesome time doing what I do here because of it!

My advice to any drum major or leader is: Be positive—no matter what. In the end, one of the only things you can determine for yourself—one of the things that no one else can choose for you—is your attitude, and if you can give off even just a little bit of positive energy, no matter how difficult it may seem, that synergy will multiply throughout the group. The tensions of a stressful rehearsal become more manageable, and it becomes much easier to deal with mental errors should they occur. People always ask: What is the role of a drum major in an organization? It is our duty to be a bursting ball of positive energy. Our optimism has to outshine any negativity present. If we can accomplish that, all the other jobs (keeping tempo, having rehearsal environments set up, helping staff) become a walk in the park. It is up to you to decide how a rehearsal (or your life in general) will go, so why not start right now? Get in the right mindset!

About the Author Billy VanDelinder is studying instrumental music education at Middle Tennessee State University, where his primary instrument is piano. He would like to be a middle school and high school band director and eventually go on to earn a master’s degree in music education and conducting.

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Fitness to the MAx

By Haley Greenwald-Gonella

EYeOpening Eye health is extremely important for a marching musician though the eyes are probably one of the most forgotten organs. The following tips and exercises will keep your eyes in as great a shape as the rest of your body.

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.

our eyes have to do a lot of work— they help with memorizing music and learning how to play a new instrument; they also help you learn formations and drills and help keep band members in line with each other.

Morning Refresher When you wake up, try sprinkling a few drops of cool water on your eyes and blinking them open. This refreshing way to wake up will leave your eyes refreshed as well. After sprinkling the water on your eyes, look up and hold for a beat, look to the right as far as your can, hold for a beat and then return to looking straight ahead. Then look to the left as far as you can, hold for a beat and return your eyes looking straight in front of you. Then look down and repeat the previous sequence looking to the upper and lower corners of your periphery.

Sun Protection During summer practices, wear sunglasses whenever allowed. Your eyes take a beating under the sun’s rays, especially if your drill practices take place on asphalt or cement—the sun reflects back up from the hard surfaces.

Break Time On breaks, in addition to relaxing and grabbing a drink of water, try to close your eyes with intention. You are not 34

trying to fall asleep or take a nap. Sit up tall and close your eyes with purpose. Your eyelids should be relaxed and soft. Be sure that the rest of your face is relaxed and that you are not holding tension in your jaw. Try to sit with your eyes closed and your breath even for three to five minutes. Even one single breath with your eyes closed can relax the muscles around the eyes immensely.

Home Remedies If your eyes feel incredibly tired of overworked, a great remedy is taking two large cotton balls and soaking them in some milk at a cool temperature and placing them on your eyes as you lie on a flat surface. Try to keep them on your eyes for about five minutes. Repeat as needed. If your eyes are puffy, try a few slices of cucumber. Be sure to take it right out of the fridge and only slice up what you are going to use—otherwise it will dry out. The slices of cucumber will draw out the moisture from under the skin. Place a slice over each eye and lie down on a flat surface. Try to keep the slices on for about five minutes. Repeat as needed. Always be mindful of squinting and furrowing your brows as this can cause undo strain on the eyes. If you wear contacts or glasses, be sure to check with your doctor before adding these practices to your daily routine.

CAKE joins forces with the USSBA for

“The Federal Funding March” Contest

Win ollars D nds of nts a s u o h T rume of Inst ssories & Acce r Band! for You A Virtual Band Competition Between High School and College Marching Bands Performing CAKE’s “Federal Funding March” Submit Your Videos Beginning This September! Grand Prize Winning Band will Appear in the Video for “Federal Funding March” Plus, plenty of other great CAKE-related prizes for the Winning and Finalist Bands.

Download Rules, Musical Arrangements and Charts at www.yea.org/cake

www.yea.org/cake • www.cakemusic.com

Check for Details and Updates

By Matt Jones

Fraternizing 1

44 50

52 56 60

Across 1. Dog in the movie “The Thin Man” 5. Postgrad degrees in fine arts (abbrev.) 9. Take a little drink 12. Do really hard physical labor 13. Cowboy of South America 15. Fair ___ laws 16. Former president and member of Kappa Kappa Psi (2 words) 18. Treasure hunt need 19. Prefix before “crats” (or “cats,” in a Disney movie title) 20. Country between Iraq and Saudi Arabia 22. Campground shelters 23. Trendsetting 24. “When Harry Met Sally” writer Ephron

51 53

18 20

8 14

63 65

27. Sonic the Hedgehog’s former home 28. Congressional vote 29. Pediatrician or surgeon, e.g. 31. R&B singer and member of Tau Beta Sigma (2 words) 34. Digital camera variety, for short 37. Got first prize 38. Abbreviation meaning “friends ‘til the end” 39. “Viva ___ Vegas” 40. Rapper/singer/actress and member of Tau Beta Sigma (2 words) 44. Say it has to be a certain way 45. Twisted, like a smile 46. Linear, unlike holographic images (hyph.) 50. Broadway light 51. Pea holder 52. Put peanut butter on bread, maybe

53. Spiral galaxy, for instance 56. Icky feeling 57. “Burn Notice” network 59. Tough-guy actor and member of Kappa Kappa Psi (2 words) 61. Yoga practice need 62. Pee-wee’s girlfriend, in “Pee-wee’s Big Adventure” 63. Salt Lake City college athletes 64. Lumberjack tool 65. Throw a party 66. Likely to pry

Down 1. Slugger’s stats (2 words) 2. Fancy nighttime party 3. Decorating a bathroom floor, perhaps 4. Type of game with the best players of the league (hyph.) 5. ___-tai (fancy cocktail) 6. More like a James Brown song, perhaps 7. Malfunction (2 words) 8. Word after art, game or halftime 9. Redundant way of saying “result” (2 words) 10. “Love ___ Battlefield” (Pat Benatar) (2 words) 11. Rally subject 13. Day___ paint 14. “Cat ___ Hot Tin Roof” (2 words) 17. Dollar divisions (abbrev.) 21. Abbreviation on packages meaning “contained” 23. Laughing animal 25. Almond ___ (confection in a pink can) 26. Boats like the one Noah had 28. Like ___ from the blue (2 words) 29. Bugs Bunny’s duck friend 30. “Take a long walk ___ short pier” (2 words) 32. Takes control of 33. Car mentioned in The Beach Boys’ “Fun, Fun, Fun” (hyph.) 34. Measurement unit for some baking pans (abbrev.) (2 words) 35. Debussy’s “Clair de ___”

36. Ring out, like a trumpet’s sound 41. “___ Kleine Nachtmusik” 42. Pretty short duration for a play (2 words) 43. Big baseball score (2 words) 47. “It’s something that’s ___ my heart” (2 words) 48. After “speak,” they were places where alcohol was sold illegally, during the Prohibition 49. Unlike Casual Fridays 51. It used to be one of the nine planets, until a few years ago 52. ___-cone (state fair cooler) 54. Letters after A 55. “That’s not good” (hyph.) 56. One, in French 57. Actress Thurman of “Kill Bill” 58. Adolphe who invented a marching band instrument 60. Model maker’s need

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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