Halftime Magazine November/December 2010 by Halftime Magazine

November/December 2010

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Volume 4, Issue 6 www.halftimemag.com $4.95

Music for All Celebrates Starting A Band From Scratch Life in the Pit Plus: A Tribute to George N. Parks

35 Years $4.95 U.S.

$5.95 Canada

ISSN 1939-6171

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Volume 4, Issue 6 November/December 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

Editorial Intern Kellie Graham

COVER PHOTO Ken Martinson/Marching.com

Contributing Writers Catina Anderson, Lane Armey, Haley GreenwaldGonella, Matt Jones, Chase Sanborn, James Snyder, Aaron J. Staluppi

Contributing Photographers Chino - Indianapolis, IN; Al Graff; Pat Mahon; Art Morales; Eric Sullano; David Summers

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

A Legend: George N. Parks, who died on Sept. 16, 2010, left behind a legacy through his Drum Major Academy and 33 years directing the band at the University of Massachusetts Amherst. © 2010. Al Graff, UMass Band Parents Association. All rights reserved.

ccording to the U.S. Census Bureau, the average person holds 11 jobs between the ages of 18 to 42. Even removing the odd jobs that someone holds right after high school or during the college transition, an individual may have six to seven jobs by middle age. That statistic may not be surprising given the ups and downs of the economy, the changing corporate culture of American business or just human nature’s desire for change and new challenges. In the music education world, some have bucked this trend, staying at one place for their entire career. This issue of Halftime Magazine pays tribute to two such individuals: George N. Parks (page 26), who had spent 33 years as director of the University of Massachusetts Minuteman Marching Band prior to his

death in September 2010, and Jeffery “JR” Richardson (page 24), who has been with the Needham B. Broughton High School Band in Raleigh, N.C., also for 33 years. Both men dedicated their lives to help thousands of students not only to perform better but also to lead better lives. On a national scale, Music for All celebrates its 35th anniversary this season (page 16). Through its many programs— including Bands of America, Summer Symposium, the National Concert Band Festival and Orchestra America—it has provided “positively life-changing experiences” for 1.25 million students. And these students—many now adults— have given back. In 2008 during a time of financial crisis, the organization raised $250,000 in 81 days from its alumni, enabling Music for All to reach this milestone anniversary. As these three have experienced, such longevity can only be achieved with community support and a winning philosophy. On the flip side, starting something from scratch (page 20) can be just as worthwhile and challenging. Halftime Magazine profiles new bands at three schools—Georgia State University, Marian University and Yorba Linda High School—and the directors who were willing to take a leap of faith. So, to borrow the thoughts of George N. Parks, “Do something spectacular, so your spirit lights up the room when you leave”—no matter if you’re starting something new or fulfilling a legacy. Musically Yours, Christine Ngeo Katzman Publisher and Editor-in-Chief

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

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Features Life in the Pit. . . . . . . . . . . . . . . . . . 12

First Steps: The Georgia State University marching band took the field for the first time this year. Photo courtesy of the Georgia State University band.

Music for All Celebrates 35 Years .. . . . . . . . . . . . . . . . . . . . . . 16 With events and advocacy for marching bands, jazz bands, orchestras and individual students, Music for All has been a leading music education organization for the past 35 years. Here’s a look at the past, present and future as the organization celebrates this major anniversary. By Elizabeth Geli

Starting From Scratch. . . . . . . . . . 20 Every band has to start somewhere, and starting a band is no small task. All the little details—such as having uniforms, instruments, traditions, even a fight song—that established bands may take for granted need to be developed from scratch. Here’s how three recently formed bands accomplished this feat. By Elizabeth Geli

Web Exclusives

Departments

Musical Growth Spurt While Traveling • “Pandemonium: The Lost and Play” CD; DCI Tour Changes Found Orchestra” Sectionals. . . . . . . . . . . . . . . . . . . . . . 6 • Nation’s Top Drummer Contest Lessons From Klose, Baermann for Clarinet; Multiple Tonguing for Brass; “Flam”-Boyant for Percussion; Showmanship: Write It In for Guard • And More ... Read these stories and more exclusively at Gear Up. . . . . . . . . . . . . . . . . . . . . . . . . 8 www.halftimemag.com/articles/web-exclusives/index.html Model 15 Scissor-Lift Podium by Jarvis Industries; Artist Series Publisher’s Letter. . . . . . . . . . . . . . . 2 Noteworthy. . . . . . . . . . . . . . . . . . . . 4 Jacksonville State Bound for London; Book ‘em Danno; “I Wanna

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Deluxe Drum Bags by Gator Cases; H1 Handy Recorder by ZOOM

Regionals. . . . . . . . . . . . . . . . . . . . . . 10 Calendar of events organized by region Direct From. . . . . . . . . . . . . . . . . . . . 24 Needham B. Broughton High School Band Behind the Baton. . . . . . . . . . . . . . . 26 Starred Thoughts About George N. Parks Fitness to the Max. . . . . . . . . . . . . 30 Fit Feet, Ankles & Knees For Fun. . . . . . . . . . . . . . . . . . . . . . . . 32 BOA Regionals

Next Issue • 4th Annual Bowl Game Coverage • Fundraising in the Off-Season • Going Green • And More ...

Jacksonville State Bound for London By Elizabeth Geli

London Calling: Ken Bodiford (left) receives an invitation from the Honourable Roger Bramble—Lord Lieutenant of Greater London—for the Jacksonville State University to lead the 2012 New Year’s Parade in London. Photo courtesy of the Jacksonville State University band.

The Jacksonville (Ala.) State University Marching Southerners will take its show on the road—and across the sea—to perform in the 2012 New Year’s Parade in London. “I think it’s going to be a great way to expose the kids to different cultures,” says Kenneth Bodiford, director of bands. “A lot of kids have never left the South. This is very huge for them to be able to travel to London.” The band was nominated and selected by a committee that scouts bands in the United States on behalf of the parade organizers. The Honourable Roger Bramble, Lord Lieutenant of Greater London, traveled to Jacksonville to present the band with a formal invitation.

“We had a fanfare written for his arrival on fanfare trumpets, and they really got a kick out of that,” Bodiford says. Bramble surprised Bodiford and the band by announcing that they had been selected not just to march in the parade but also to lead it. The 2012 parade holds extra significance because it will serve as the first official event for Queen Elizabeth’s II’s Diamond Jubilee, celebrating her 60 years on the throne, and the first official event associated with the London 2012 Olympics. Other than the parade, the marching band will perform several standstill concerts, and the concert band will perform in several cathedrals. Students will also take part in four different sightseeing tours. “I am very excited,” Bodiford says. “I thought that it would be a great opportunity for the band to get some national exposure, and it’s a great opportunity for recruiting for the future. This is a great reward for all of the hard years of work.” Over the next year, JSU will be working hard to raise the required $3,000 in travel costs for each band member. The group is already planning two CD releases and several concerts as well as hosting high school marching contests to help offset the costs. “That’s just scratching the surface for things,” Bodiford says. “The students are more than willing to fundraise and come up with the money to make this thing happen.” 4

Book ‘em Danno By Elizabeth Geli

Hollywood Meets Hawaii: To promote the new television series “Hawaii Five-O,” CBS network executives shot a promotional music video with the University of Southern California Trojan Marching Band (pictured). CBS also launched the “Hawaii Five-O Marching Band Mania” video contest, won by the University of Maryland. Photo courtesy of CBS.

The University of Maryland made a splash in the recent “Hawaii Five-O Marching Band Mania” contest, winning $25,000 from television network CBS to promote the new series remaking the 1970s classic. “We knew we had something very special with the ‘Hawaii Five-O’ theme song because it is one of the most recognizable TV themes of all time,” says George Schweitzer, CBS marketing chief. “I knew it was a great marching band song. I decided we should encourage bands to do it.” To promote the contest, Schweitzer contacted the marching band at his daughter’s school, the University of Southern California (USC). CBS filmed the USC Band in a “5-0” formation in Los Angeles and several weeks later did a shoot with the senior class on the beach in Hawaii—where they happened to be for the school’s football opener against the University of Hawaii. “We were out in the sunshine playing and having a good time,” says Tim Larson, USC drum major. “It was an organized trip to the beach with instruments.” A few members got to meet and film a short scene with the show’s stars, Daniel Dae Kim and Grace Park. All the footage was edited together to create a “Hollywood Meets Hawaii” promotional spot. The nationwide “Hawaii Five-O Marching Band Mania” contest invited college bands to play the theme song and enter a video. Fans voted for their favorites to win the $25,000 prize and have their video shown during the series premier. “Those who participated really did so with a lot of energy and gusto; the formations were great,” Schweitzer says. “It’s really about the spirit of ‘Hawaii Five-O’ and the iconic music and theme song, great brass, great drums; it really resonated with all the schools.” In its winning performance, The University of Maryland spelled out “Hawaii Five-O” and the show’s catchphrase “Book ‘em Danno” across the field during a halftime performance. “We just put in all the iconic values that we possibly could and would be familiar to those who knew the show,” says Dr. L. Richmond Sparks, director of bands at Maryland. The band plans to use the prize money to replace its 13-yearold uniforms.

“I Wanna Play” CD By Christine Ngeo Katzman “I’ve got a melody deep down inside of me. Gotta let it loose; oooh, I wanna set it free. I just need a chance and a little helping hand. I’ll give you something good. I know I can (I know I can). I wanna play some music. Yeah, I wanna play along. Oh, I wanna play some music. Yeah, I wanna play a song.”

So begins the title song in the newly released music compilation CD,” I Wanna Play: An Album to Put Musical Instruments Into the Hands of Every Child in America.” Created by former Arkansas governor Mike Huckabee— currently a political talk show host and part-time bass guitar player—as well as platinum artist Aaron Tippin and music producer James Stroud, the album benefits the NAMM Foundation’s Wanna Play Fund, which provides instruments to children who might not otherwise be able to afford one. The 10-track album includes performances by Tippin, George Jones, Ronnie Milsap, Neil Sedaka, Lorrie Morgan, John Anderson, Ray Price, Darryl Worley, Louise Mandrell and Tracy Lawrence. “This album was truly an experience-of-a-lifetime; we have such talent associated—including major music legends—it’s a dream come true for me to be part of this and will help to make dreams come true for young hopefuls,” said Huckabee in a press release. “’I Wanna Play! is a passion project for me. To be joined by Aaron, James and award-winning artists standing in support, is a victory for music education.” Released in October 2010, the CD is available via all major retail and digital outlets including iTunes and Amazon.com.

DCI Tour Changes By Christine Ngeo Katzman After some behind-the-scenes controversy leading up to the 2010 Drum Corps International World Championships (DCI), the DCI membership came together for its annual fall planning in September and had a meeting of the minds. As a result, DCI announced some major changes to its finals format and tour schedule. As part of its 2011 summer tour, DCI has agreed to produce a handful of experimental events inviting the top eight corps. The shows will “feature additional competitive and non-competitive performance material developed beyond the corps’ standard 11.5-minute production,” according to the press release. This decision followed a suggestion made by the top seven corps, which became known as G7. Back in May, these elite groups created an ad-hoc caucus asking DCI to create a series of events that would, in their words, “feature DCI’s ‘top acts’ in fully produced big stadium shows.” At the time, DCI expressed some concern over the proposal, and fans feared a separation of the top corps from the main organization. Luckily, for fans, instructors and participants, the DCI membership was able to come to a united front. DCI also announced changes to its finals format. A new oneday event on Tuesday of finals week will crown the Open Class champions. In turn, the World Championships prelims will feature all World Class corps as well as interested Open Class and International Class groups. The top 25 corps from the prelims event, regardless of class, will advance to semifinals, with the top 12 moving onto finals. “This was a very productive gathering of the World Class members and will help to chart our course well beyond the next several months,” said Dan Acheson, DCI’s executive director and CEO in a press release. “We’re already into the nitty gritty of the planning stages for the 2011 season and will be working to refine the tour as we prepare for another outstanding and exciting season.” In other news, DCI and MENC: The National Association for Music Education have been working toward creating “The National Standards for Marching Music.” The standards are focused on three subcategories in marching education: Visual, Health and Safety, and Music. The first draft of the proposal was released to the public for a public commenting period that ended Nov. 1.

November/December 2010 5

Lessons From Klose, Baermann By James Snyder

Hyacinthe Klose. Carl Baermann. Names, as a clarinet player, you need to know. One was a highly regarded teacher of the French School of Clarinet at the Paris Conservatoire; the other was the son of an iconic soloist and was, like his father, a virtuoso. Both left indelible marks on the development and performance of the clarinet. And the complete methods bearing their names should be in your library. Actually they could be your entire library because most every technical clarinet issue you’ll encounter in Western music is covered in these methods. A Bit of History. Most likely you own a Boehm System clarinet. Theobald Boehm had created a system of ring keys for the flute. Klose worked with instrument maker Auguste Buffet, Jr. (around 1839) to adapt the Boehm flute system to the clarinet. Baermann was the son of a star performer and succeeded his father as principal clarinetist with the Munich court orchestra in the 1830’s. Among other things, he helped develop duplicate keys, which allowed alternate fingerings on the clarinet. The Method Books. The method books that bear Klose’s name have been edited and expanded over the years by various artists, teachers and publishers, but the mission is the same: exercises in the chalemeau, clarion and altissimo registers; scale and arpeggio exercises; intervals, broken chords, orchestral passages and etudes. All are done in a very melodic form and designed to make you “one with the horn.” Today’s edited Baermann method, Book #3, is more mechanical than melodic, but it spells out the scales, arpeggios, intervals and broken chords in very basic terms. It’s my favorite warm-up book. With both methods, you have to start slowly and pick up the pace as you gain accuracy. “Yuck”, you say, “the print is small; there’re too many notes and lots of black ink; it’s maddeningly repetitious; and a metronome is a must!” I agree. But I grudgingly whip out my 35-year-old dog-eared copies every chance I get. Someday I hope to master them.

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

brass

winds

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

Multiple Tonguing By Chase Sanborn

In a previous column I discussed single tonguing, using the syllables “t” and “d” to start the note. This article will discuss double and triple tonguing. When you pronounce the syllable “t” or “d,” the tip of your tongue contacts the roof of your mouth and then pulls back to release the air. This produces a well-defined attack, but there are limits to how many times per second the tongue can strike in this fashion. To increase tonguing speed, we add a “k” or “g” (as in “girl”) syllable. The back of the tongue produces these syllables. By alternating back-of-the-tongue syllables with tongue-tip syllables, you can increase speed dramatically. (tu-ku-tu-ku / du-gu-du-gu or tu-tu-ku, tu-tu-ku / du-du-gu du-du-gu). Whisper the words “kitty, kitty, kitty” to experience the feeling of double tonguing. “Du-gu” produces a softer or more legato attack then “tu-ku.” The musical setting as well as the player’s personal style determines which is more appropriate. Raphael Mendez articulates sharply and percussively; Wynton Marsalis’ articulation is softer and smoother. Matching Sound. The key to effective multiple tonguing is matching the back-of-the-tongue syllables to the tip-of-thetongue syllables. Ideally, they should sound exactly the same. Start slowly, quarter notes followed by quarter rests, alternating syllables (tu-rest-ku-rest). At first the back-of-the-tongue syllables may be harsher and less defined. You may have difficulty getting the vibrations of the lips to speak right away. Some attacks will be completely botched. Don’t dismay; this is normal! Stay on one note initially; when you eventually incorporate changing notes, make sure the valves/slide and tongue are precisely coordinated. Slow and Steady. Set the metronome at the slowest tempo and increase speed slowly, one or two notches at a time. This may seem counter-intuitive since multiple tonguing is associated with fast playing. But slow, careful practice ultimately yields the quickest improvement. Even if you have no plans to ever perform “The Carnival of Venice,” developing your multiple tongue leads to an overall feeling of confidence and competence.

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

Flam rudiments are the most complex rudiments facing a marching percussionist. They are challenging to play and even harder to master. A random person on the street may not even be able to tell the difference between tap drags and flam drags. So why should you care about flams? Flams are what separate good from great. When adjudicating a drum line, a judge will look to make sure your drum line looks the same, uses the same technique, has good sound quality, plays clean and plays musically. What then sets apart all the good drum lines is which one is playing the most demanding music. And there’s nothing more demanding than flams. Besides that, flams are just a total blast to play. Focus on Flam Accents. The flam rudiment that all drummers should start with is flam accents, which are triplets with flams on each downbeat, with alternating sticking. Good flam accents include a strong accented flam followed by two low inner beats. Most complex flam rudiments like flam drags, cheeses, flam fives, pataflaflas, etc., are all based on flam accents. Just like you can’t run before you walk, you can’t play flam drags if you can’t play good quality flam accents.

Improving Flam Quality. The best way to improve your flam accents is not to practice flams at all but to practice each hand individually. During a flam accent, your right hand plays an accent followed by a low triple beat. Turn your wrist, play a strong accent and hold down the rebound for that low triple beat. Do this at a slow tempo, making sure that you are successfully holding down the rebound and playing with good sound quality on your triple beat. Do the same on the other hand, then with both hands, and increase the tempo. Now apply this into your flam accents and watch your quality soar.

About the Author Lane Armey is the marching percussion arranger 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

“Flam”Boyant

Showmanship: Write It In By Catina Anderson

The best performers are those who take the leap to rehearse expressive qualities with every run-through. But let’s be real. When you’re first starting out, that’s easier said than done! The key is to approach your expression just like the rest of the elements of your show. Write it in! Get Over the Fear. Fear of looking silly is probably the first big hurdle. Start by practicing at home using a mirror and then combining expression with routine. Experiment with different ways of portraying emotion, exploring not only facial expression but also ways to incorporate the chin, shoulders and ribcage. Write It In. When you find what works, write it in. If it feels right to lift your chin along with an equipment lift on count six, then write the chin lift in as part of the routine, and do it every time. Test It Out. Your rehearsals are your safe zone to see whether you get a reaction from a supportive audience (your staff). Over time you will determine what gets the best reaction from staff and where you might need to add more. Breathe. Breathing is perhaps the most important expressive quality and the most difficult to control when nervous. Holding your breath makes your body appear stiff. When you watch experienced, expressive performers, you can almost feel when they breathe, expanding the rib cage and bringing life to the expression on their faces through the connection with their bodies. Target difficult equipment phrases. Write in controlled breaths coordinated with the routine: for example, four counts in through the nose and four counts out through the mouth. It’s often helpful to inhale slowly just before a toss and exhale on the release to avoid tensing up. It may seem tedious at first, but writing in your expressive qualities will help you work through competition day nerves and deliver a consistent, expressive performance. What is most exciting is you get to write this part of the routine on your own and add a bit of your own personal flair. With experience you will start to deliver these expressive qualities with less effort.

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.

November/December 2010 7

By Kellie Graham

he new Model 15 Scissor-Lift Podium by Jarvis Industries is a step above the rest. After being in business for more than 25 years, the company has produced one of the only 6-foot-tall, scissor-lift podiums currently being sold for the marching arts. The Model 15 offers easy transportability and operation. With built-in pneumatic cylinders, the podium can be lifted and lowered by just one person in a matter of seconds. It locks into place in the up position with safe mechanical locks. There are no pins or parts to lose. Made of lightweight aluminum with 10-inch lockable wheels, the structure can also be easily pulled by hand. The narrow 44-inch width allows it to be effortlessly transported through 4-foot-wide passages. It can even be used as a wagon when closed, and the ladder stows away on the platform when not in use. Jarvis claims the Model 15 Podium is “invaluable when it comes to the ease of transport and storage.” For more information, visit www.jarvisonline.com.

Model 15 Scissor-Lift Podium by Jarvis Industries Artist Series Deluxe Drum Bags by Gator Cases

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

o matter the size, shape or material, protection is the main feature that musicians want most out of their instrument case. Gator Cases’ Artist Series Deluxe Drum Bags provide a heavy-duty nylon exterior, yet have an ultra-soft, synthetic wool interior that perfectly cushions your drum. The “G-FLEX” liner includes several layers to protect against impact and a thin layer of plastic in the top and bottom lids, adding rigidity and durability. Despite layers of support, the cases remain lightweight and provide easy transport. Gator Cases rolled out the line of drum bags in mid-January and sells “standard” and “fusion” sets as well as individual cases for snares, quads and bass drums. Also included as part of the line are cymbal and stick bags. Gator is in the process of developing updated versions of the popular cases. The revamped drum bags will soon be released.

H1 Handy Recorder by ZOOM

“Our cases are unique because we try to provide the most lightweight, durable products possible,” says Brian Larsen, product specialist and web marketing manager at Gator Cases. “We are excited to introduce our newest improvements to the Artist Series in the coming weeks.” For more information regarding the Artist Series Deluxe Drum Bags, visit www.gatorcases.com.

OOM has recently introduced its smallest, most versatile recorder ever. The H1 Handy Recorder can be used to record everything from field rehearsals to seminars to interviews. ZOOM recorders stand out above most other devices because the X/Y pattern in which its microphones are configured allow it to capture stereo recordings with natural depth and accurate imaging. Its directional microphones also ignore unwanted noise behind them. ZOOM also reports that the new display screen is more user-friendly than previous versions. With levels from 1 to 100 as well as an AUTO LEVEL function, the controls have been simplified to allow the user to easily operate the device to capture superb, quality audio, ranging from “subtle nature sounds to a thunderous rock band.” The H1 includes a 2GB microSD card and has a Hi-Speed USB 2.0 port to allow uploading of files onto a computer. Also provided with purchase of the H1 Recorder is one AA battery, which allows 10 hours of operation. An optional accessory package includes an AC adapter, windscreen, a USB cable, a soft case, a microphone stand clip adapter and an adjustable desktop tripod. For more information, visit www.zoom.co.jp/english/products/h1.

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Major Events by Region West

Northeast

Bands of America

Tournament of Bands

Nov 6—St. George, UT—Dixie State College

Tradeshows Jan 5-8—Albuquerque, NM—New Mexico MEA Jan 13-16—Anaheim, CA—NAMM, the International Music Products Association Jan 14-16—Eugene, OR—Oregon MEA Jan 26-29—Colorado Springs, CO— Colorado MEA

Miscellaneous 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 Nov 6—Indianapolis, IN—Lucas Oil Stadium Nov 10-13—Indianapolis, IN—Grand National Championships—Lucas Oil Stadium

Tradeshows Nov 10-13—Indianapolis, IN—Percussive Arts Society International Convention (PASIC) Dec 15-18—Chicago, IL—Midwest Clinic Jan 20-22—Fort Wayne, IN—Indiana MEA Jan 26-29—Peoria, IL—Illinois MEA

Miscellaneous Nov 6—Detroit, MI—Michigan Competing Band Association Championship Contests Nov 6—Various Locations—Mid-States Band Association Championships

To list your event, email regionals@halftimemag.com.

Oct 31 and Nov 7—Hershey, PA—Atlantic Coast Championships

USSBA (major shows) Oct 30-31, Nov 6-7 and Nov 13-14— Allentown, PA—USSBA Northern States Championships

Tradeshows Dec 2-5—Rochester, NY—New York State School Music Association

Miscellaneous 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 USSBA (major shows) Nov 5-7—Annapolis, MD—USSBA National Championships Nov 6—Chattanooga, TN—USSBA Southern States Championships

Tradeshows Nov 6-9—Winston-Salem, NC—North Carolina MEA Nov 4-5—Conway, AR—Arkansas MEA Nov 18-22—Baton Rouge, LA—Louisiana MEA Jan 12-15—Tampa, FL—Florida MEA Jan 20-22—Montgomery, AL—Alabama MEA Jan 27-29—Savannah, GA—Georgia MEA

Miscellaneous Oct 30—Louisville, KY—Kentucky State Marching Band Championships Nov 20—St. Petersburg, FL—Florida Marching Band Coalition State Finals

Bowl Games & Events Dec 18—Albuquerque, NM—New Mexico Bowl Dec 18—Boise, ID—uDrove Humanitarian Bowl Dec 18—New Orleans, LA—R+L Carriers New Orleans Bowl Dec 21—St. Petersburg, FL—Beef ‘O’ Brady’s St. Petersburg Bowl Dec 22—Las Vegas, NV—MAACO Las Vegas Bowl Dec 23—San Diego, CA—San Diego County Credit Union Poinsettia Bowl Dec 24—Honolulu, HI—Sheraton Hawaii Bowl Dec 26—Detroit, MI—Little Caesars Bowl Dec 27—Shreveport, LA—AdvoCare V100 Independence Bowl Dec 28—Orlando, FL—Champs Sports Bowl Dec 28—Tempe, AZ—Insight Bowl Dec 29—Washington, DC—EagleBank Bowl Dec 29—Houston, TX—Texas Bowl Dec 29—San Antonio, TX—Valero Alamo Bowl Dec 29-30—Pasadena, CA—Tournament of Roses Bandfest 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—San Diego, CA—Bridgepoint Education Holiday Bowl Dec 30—Glendale, AZ—Fiesta Bowl Band Championship Dec 31—Charlotte, NC—Meineke Car Care Bowl Dec 31—El Paso, TX—Hyundai Sun Bowl Dec 31—Memphis, TN—AutoZone Liberty Bowl Dec 31—Atlanta, GA—Chick-fil-A Bowl Jan 1—Dallas, TX—Dallas Football Classic Jan 1—Tampa, FL—Outback Bowl Jan 1—Orlando, FL—Capital One Bowl Jan 1—Jacksonville, FL—Gator Bowl Jan 1—Pasadena, CA—Rose Bowl presented by VIZIO Jan 1—Glendale, AZ—Tostitos Fiesta Bowl Jan 3—Miami, FL—Discover Orange Bowl Jan 4—New Orleans, LA—Allstate Sugar Bowl Jan 6—Mobile, AL—GoDaddy.com Bowl Jan 7—Arlington, TX—AT&T Cotton Bowl Jan 8—Birmingham, AL—Birmingham Bowl Jan 8—San Antonio, TX—U.S. Army All-American Bowl Jan 9—San Francisco, CA—Kraft Fight Hunger Bowl Jan 10—Glendale, AZ—Tostitos BCS National Championship Game

Life in the T

he front ensemble or “the pit” in a marching band is an important section that adds to the visual and musical content of a field show. Mallet players and other non-marching percussionists have always maintained that they are a part of the band too—but being in the pit presents its own set of challenges, traditions, relationships and opportunities. The pit usually consists of a combination of mallet instruments such as marimbas, vibraphones and xylophones as well as other stationary percussion instruments such as suspended cymbals, large bass drums, Latin or ethnic percussion, electronics and other non-traditional instruments. “I just explain to people that our instruments look like xylophones, but some of them aren’t,” says Matisse Molden, a junior marimba player at Claremont (Calif.) High School. “We play with mallets and not sticks. People aren’t used to seeing pit with marching bands; they just see the marchers. We have to explain that we’re in the front and not marching with people.”

Enhancing the Show While not every band has a pit, when present they can support the band’s sound, add new levels to arrangements and introduce extra elements such as narration and sound effects. “I just think they are definitely a vital part of what we do,” says Melanie RileyGonzales, band director at Claremont. “It really helps to have that melody line and

By Elizabeth Geli

Being up front and center has its own sets of opportunities and challenges. With unique instrumentation and sounds, the front ensemble adds a new level of musical and visual interest for audiences and judges. However, pit members often need to work extra hard on avoiding phasing issues during performances, transporting heavy equipment, and perhaps most importantly, gelling with the rest of the band. the extra support of what’s being played by the woodwinds. It makes it more full in sound.” Pit percussion also adds unique musical depth due to the proximity to the judges and audience and the volume of the instruments. “A pit brings the musicality and nuance to it,” says Paul Sauberer, pit instructor at Jupiter (Fla.) High School. “When I listen to groups without the pit, all you hear is the horns and drum line. The pit brings certain little things that other bands don’t have. The pit brings a lot to the table.” The pit also offers new opportunities for people wanting to learn new instruments or bring in non-traditional instruments. “We use a keyboard, synthesizer, occasionally we used vocal narration,” says Guy Burns, a senior from Jupiter High School. “Last year we used sirens and sound effects; we had a laptop. This year we’re using a marching machine, troop blocks.”

At Cy-Fair High School in Houston, Texas, current senior drum major Nitish Kulkarni introduced the tablas, ethnic Indian hand drums, into the marching band world. “He was a clarinet player in our band program, and he kept telling me about the tablas,” says John Nelson, band director at Cy-Fair. “One day I told him I would hear him play, and I was totally amazed at his technique and sound quality. Kulkarni is a professional-level tabla player. Most performers train for 20 to 25 years before publicly performing, yet he already does several concerts a month. Nelson first used him in indoor drum line, and the response was so good that they brought him back on tablas for marching season. He played clarinet for 75 percent of the show and then joined the pit for his features. Now as a drum major, he conducts and does not play although he plans to return to tablas for winter drum line.

World Percussion: Nitish Kulkarni introduced the tablas, ethnic Indian hand drums, into the pit at Cy-Fair High School in Houston, Texas. Photo courtesy of Cy-Fair High School band.

“I had to come up with my parts on my own; I had to listen to the battery and the pit parts and the wind parts and come up with a fusion in my head,” Kulkarni says. The response from judges and audiences was overwhelmingly positive. “The directors really like it, and the judges love it, so it’s been a really neat experience,” Kulkarni says. “I had one of my coolest experiences at state championships. We were rolling out, and while we were setting up, a percussion director from another school came up to me and said, ‘I

just wanted to shake your hand because I think what you’re doing is awesome.’” Nelson says he appreciates the added educational and entertainment value provided by Kulkarni’s tablas. “It was a real good outlet for him—the students, parents and our whole community got exposed to a unique instrument.” The technique of pit can also add an exciting visual element. “They do some really cool tricks that add some really cool visual content to what we’re doing,” Riley-Gonzales says. “Being in the front, you can’t miss them. Their sticking is all

together, and it looks very cool.” The pit can also add to a show’s theme. Although its pit is normally stationed front and center, Jupiter got creative with its “Mob Mentality” show and put the pit on the field as a police station with all the members in uniforms. “They were over on the 40-yard line, 15 to 20 steps from the sideline,” Sauberer says. “The pit was the police—they were actually a part of the show, acting. They were in the police station and wearing police costumes. It was a bank robbery, and they were the cops trying to solve it.”

Keeping Time Since the pit is separated from the band, it can be difficult to keep the section in time and in tune with everyone else. Groups use a variety of techniques to prevent the show from tearing. “Usually they all listen in to the one center player, the section leader,” Sauberer says. “When she’s not playing, she’s conducting with her mouth; a lot of it is on her. She just goes to all the sectionals November/December 2010 13

and listens to certain parts, so she knows where they are on the field.” At Claremont, the pit members bob up and down to help keep the tempo. “Bobbing really helps us stay with each other; you can see the other people out of the corner of your eye,” Molden says. “It’s mostly listening back to the band to prevent sound delays, but we really balance between both listening back and looking up at the drum major.”

Moving Equipment Another challenge for the pit is moving the bulky yet delicate equipment. “We have so much stuff, we take about a truck and a half,” Burns says. “We have it down to a science where each person has their things, and everyone knows where what goes. It’s a big team effort, and we’ve got it down pretty fast.” Sometimes moving the instruments can be hazardous. “We don’t have many problems, but there is this big steep hill we have to go down to get to the field,” Molden says. “One time my friend let go of the marimba on accident, and it rolled down and almost fell down a flight of stairs.” At Claremont, a group of parents helps the pit move equipment for performances, but at Jupiter, the responsibility is all on the students. “When the parents did it a few years ago, it was tragic, so now the pit just takes care of their own stuff,” Sauberer says. “We have a few parents, but it’s up to each individual to make sure they have everything and to make sure it’s all in working condition. We also have an equipment officer who makes sure everything is ready to go when we travel.” Riley-Gonzales encourages the rest of the band to help the pit with its load. “I’m really trying to instill in everyone the feeling of family,” Riley-Gonzales says. “So that when we see someone moving a huge instrument, I encourage the people with smaller instruments to go help out. I have a few trumpet and wind players that help move the stuff.”

Instilling That Family Feeling Because the pit often practices away from the band, instilling that family feeling may take some extra effort. “I’m focusing with the kids and trying to make all the kids see that we’re all one, and there’s no section that is above the other,” says Riley-Gonzales, who is in her first year at Claremont. “I’m trying to change that 14

mentality in the band right now.” The perception that pit members don’t do anything because they don’t march can be hurtful; however, most of the time they know it’s tongue-in-cheek. “Sometimes people take pit for granted, like with jokes about us being lawn ornaments and stuff like that, but it’s harder than it looks,” Molden says. “But people are supportive if we ever need to ask for help; they’ll be there.” In actuality, the pit is far from lazy. Between moving the equipment and their physical playing style, pit members get plenty of exercise. Riley-Gonzales even has them running with the band. “We all exercise together, communicating to the band that we’re a family first, and you don’t pick on your family,” says Riley-Gonzales. “We’re doing a lot of unity and group games where we’re all mixed up together.” When Sauberer first started working at Jupiter, he had to overcome old stereotypes. “The pit was dumping grounds for kids who couldn’t march or couldn’t play—I changed it to be for serious percussionists,” Sauberer says. “Everyone now sees the pit as a very good section because they’re so skilled.” These negative perceptions can begin when the pit practices separately from the band and stays inside. “People think the pit doesn’t do anything and just sits in the air conditioning,” Sauberer says. “But when it comes down to who knows their music, the pit has grown, and it’s a group of good musicians.” While inside or apart from the band, the pit works on technique, warm-ups and etudes, and playing or memorizing their music. In the end, most pit students do feel they are a part of the band. “Most of our friends are in other sections; we’re not distant from the band at all,” Molden says. “When we go to percussion competitions, we have a lot of support from the band; they and the color guard people show up for our competitions.” Within the pit, members create close

Photo courtesy of Jupiter High School band.

connections. “The pit is a family, and the closest family that anybody’s going to encounter because they spend too much time together,” Sauberer says. At Claremont, Molden and her fellow pit members have a number of silly traditions—from jokes about arriving to practice extremely early, a secret pit handshake and a watermelon-avocadoyoga ritual to chanting about tigers and doing bird calls although their mascot is a wolfpack. And before every competition, pit members at Jupiter hold hands in a circle, recite a special poem and prayer, yell out chants and get a pep talk. Every year they get a bead color-correlated to the show’s theme to add to a necklace, which they all wear daily. Before each year’s state championships, Sauberer gives students a goodie bag with personalized dog tags, which they wear during the competition. “The pit likes to have fun and work at the same time,” Sauberer says. “Teaching the pit is—I never thought I would or expected it, but when I got the opportunity I said, ‘Sure, why not,’ and it’s the best thing I’ve ever done.”

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.

An Honored Past: Dr. William D. Revelli presents a trophy at the MBA Summer National Championship in Whitewater, WI.

35 Celebrates

With events and advocacy for marching bands, jazz bands, orchestras and individual students, Music for All has been a leading music education organization for the past 35 years. Here’s a look at the past, present and future as the organization celebrates this major anniversary.

Years

1975

1976

1980

Bands of America is founded as “Marching Bands of America,” a subsidiary of a band supplies company. Gary Beckner is the first executive director.

The first Bands of America marching band championship is held—the Grand National Championship in Whitewater, Wis., part of the Summer Workshop/Festival.

First fall BOA Grand National Championships held at the Gator Bowl in Jacksonville, Fla.

ver the past 35 years, more than 1.25 million lives have been positively changed through Music for All (MFA). This year, the organization commemorates the past and prepares for the future with an anniversary celebration at Bands of America (BOA) Grand National Championships—one of Music for All’s premier events. High school bands big and small have

1984

1988

1992

1995

Formerly part The Internal The National BOA website of a parent Revenue Service Concert Band www.bands.org is company, recognizes Festival debuts—a launched. BOA separates Bands of noncompetitive to become America, Inc. performance event a new selfas a not-forfor high school profit 501(c)(3) concert bands. supporting organization, organization renamed retroactive to Bands of 1984 when BOA America, Inc. filed for status.

1996

1997

Grand Nationals The Honor Band expands to 80 of America bands— travels to three-day prelims/ Europe for semi-finals/finals performances. format.

By Elizabeth Geli

Photos courtesy of Music for All

MFA Moments in Time: Founder Larry McCormick (far left) works on the logo for the new Marching Bands of America; Maynard Ferguson (top right) worked and performed with students at the BOA Summer Symposium; Then-executive director Scott McCormick (bottom right) awards Marian Catholic High School with the 1985 Grand National Championship.

benefited from participation in Music for All’s many activities, which also include Summer Symposium, Concert Band Festival and Orchestra America.

Providing High-Caliber Opportunities Marian Catholic from Chicago Heights, Ill., has participated in BOA for 34 of its 35 years and is the most decorated band in

1999

2001

The Honor Band of America presents a concert tour of Japan.

The BOA Summer Band Symposium hits enrollment of more than 1,900 participants.

2002

“Now my students have a different perspective on the activity of marching band,” says Jerell Horton, band director. “Their eyes were opened to creative possibilities. It’s a great starting place just to jump off and be who we want to be. It gave us an opportunity to aspire to more than what we see in our local area.” its history—earning five Summer National Championships, 10 Class AA National Championships and seven Grand National Championships. “Bands of America has provided us for a long time with a venue for our marching and concert bands of the highest caliber and profile,” says Greg Bimm, director of bands. “There is nothing more wellknown—they are giving us the best opportunity to play for the best audiences and the best adjudicators everywhere.” According to Bimm, participating in Grand Nationals is the ultimate goal for his group. “Our whole season is built around a great performance at Grand Nationals,” Bimm says. “We’re halfway through the season and still learning our show; almost everyone else is probably done. We perfect this marching show, so that when we go to Grand Nationals, we can bring the highest level of excellence.” On the other side of the spectrum, the Vestavia Hills High School Marching Band from Vestavia Hills, Ala., a suburb of Birmingham, competed in its first-ever BOA competition this year.

2003

BOA debuts BOA opens new headquarters in a program of Indianapolis. It also creates the Bands instruction for of America Hall of Fame, inducting the string musicians inaugural class. The BOA Honor Band at the Summer receives an invitation to perform in Symposium. the 2005 Tournament of Roses Parade. Music for All Foundation is founded with a mission to expand access to music and arts education programs through pioneering research, public policy and advocacy efforts.

2004

Engaging and Mobilizing Performers Marian Catholic and Vestavia Hills are just two examples among the hundreds of schools that participate in Music for All. “We feel we have contributed to America in terms of producing consumers and listeners of music,” says Eric Martin, MFA’s newest president and CEO. “Grand Nationals and all our events are opportunities for performers to excel and be defining moments in their lives, inspiring and encouraging others to recognize the importance of music and the arts.” One area that Music for All has recently stressed is alumni involvement. In 2008 during a time of financial crisis, the organization ran a fundraising campaign that raised $250,000 in 81 days. Since then, MFA has launched my.musicforall.org, an alumni social networking site and new fundraising campaign in honor of the anniversary. “It reminds people of our commitment to our mission, and it’s a celebration that over 35 years, we’ve had more than 1.25 million people come through our programming,” Martin says. “It’s a celebra-

2006

2008 2010

Music for All BOA and Music for All Foundation Foundation merge to releases a report create Music for All, Inc. documenting Music for All’s California a 50% decline research and policy efforts in music pay off: Governor Arnold participation in Schwarzenegger and the California schools. California State Legislature allocate $500 million as a reinvestment into music and arts education in public schools.

Music for All is awarded its largest grant to date, $495,000 from the Lilly Endowment.

Music for All celebrates 35 years of Positively Life-Changing Experiences!

November/December 2010 17

tion of what we can do in the future in terms of our growth and participating students. We can continue to further engage and mobilize current performers and our alumni to continue to be engaged in advocacy and be consumers of the performing arts.” At this year’s Grand Nationals, a number of special performers and guests will commemorate BOA’s 35th anniversary. A portion of the Army Old Guard will perform in exhibition—a tradition that dates back to the early years of Grand Nationals. The Riverside Community College (RCC) Marching Tigers will also put on a show. RCC has performed more times than any other exhibition group. For the second year in a row, a college band representing the Big Ten Athletic Conference will perform. The Michigan State Spartan Marching Band, led by former Bands of America high school director John T. Madden, will perform along with local Indiana universities Marian University and Indiana State University. Special guests will include Yoshi Doi, president of the Yamaha Corporation of America. In addition, the 2012 Tournament of Roses President Richard Jackson will be in attendance to present the Grand Nationals championship band with an automatic invitation to the 2012 Rose Parade. This new partnership with the Tournament of Roses will continue for at least three years.

Networking and Personal Growth

For Horton and Bimm, Grand Nationals and other MFA events not only provide musical growth, but they also provide opportunities for networking among students, parents and directors. “Some of the best bands perform at Grand Nationals and the Concert Festival, and it’s good to be around them,” Bimm says. “I’ve developed good friends among the staff and the other directors. It’s exciting to see what their creative minds and these kids around the country can do.” For Horton, taking parents along on the trip was a huge boost to their enthusiasm and helped him get additional support from the administration as well. Old-Timer and Newcomer: While Marian Catholic (top), pictured here in the year 2000 during one of its many championships seasons, has participated in Music for All for 34 of the organization’s 35 years, Vestavia Hills just recently performed in its first competition. Both groups have valued these experiences. Photos courtesy of Music for All and Vestavia Hills High School Marching Band respectively.

“My parents were talking to other parents in the parking lot, sharing ideas about food, transportation, clothing, how they raise funds; it turned into a big learning lab for all of us,” Horton says. “Now that my parents have seen how BOA is, they press the administration to support us in a different way.” The Summer Symposium also serves as a big draw for both directors. Horton was inspired to enter his band into BOA because the Summer Symposium created a “positively life-changing experience” for him—quoting the Music for All mission. Bimm sends a portion of his student leadership and staff to the event each year. Both groups plan to continue working with BOA and MFA for years to come. “Everyone was so encouraging and gave us a ton of great feedback, and they made us feel like we were a part of it already and respected for what we brought to the table,” Horton says. “My goal is to get the band to Grand Nationals.” For Bimm, alumni from that first year of BOA participation are now in their 50s and still coming back to talk about how band changed their lives for the better. “Happy anniversary—there have been very many people who have worked very hard; I guess I’d like to say thanks,” Bimm says. “It’s been a wonderful 35 years, and they’ve given a lot to an incredible number of people—so let’s go for 35 more.” According to Martin, some of Music for All’s short-term goals for the next few years include the continuing expansion of programming for orchestras and middle schools and to expand programming and advocacy to the scholastic level, underserved communities and new technologies. “We’re starting to look and be much more like our name, ‘Music for All,’ and to engage students in every aspect of music education and music making,” Martin says. “We want to use the next few years to make sure that when we celebrate our 70th anniversary, that we will have an organization that truly is an institution—strong and healthy and endowed to make sure the work will continue forever.”

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Every band has to start somewhere, and starting a band is no small task. All the little details—such as having uniforms, instruments, traditions, even a fight song—that established bands may take for granted need to be developed from scratch. Here’s how three recently formed bands accomplished this feat.

Georgia State University Marching Band Atlanta, GA Established 2010 Photo courtesy of Georgia State University Marching Band.

College football and marching band have always gone hand-in-hand—so when the Georgia State University (GSU) student body voted to start a football team, the 20

administration knew that meant starting a marching band as well. “The decision to start the band came with the students electing for an athletic fee increase to start a football program,” says band relations administrator Thomas McConnell. “There was never a question that there wouldn’t be a marching band.” McConnell and newly hired band director Dr. Chester Phillips began the task. “I really just looked at where the activity of marching band is in the country and around the world and wanted us to be at the forefront of that,” Phillips says. McConnell and Phillips purchased or created uniforms, instruments, flags, a fight song, pre-game show, halftime show, equipment and inventory. They also held auditions and recruited kids at conventions and high schools. “We had nothing, so we basically built the band from the ground up,” McConnell says. “We had to figure out what the direction was going to be with this thing, what we were going to do, and what was in the best interests of the kids.”

Rockin’ Out Based on internal recruitment through the school of music and the existing basketball pep band, Phillips was able to put together a student leadership team and recruit drum majors, including Jonathan Grogan, one of his former high school students who had completed college at the University of Tennessee and was transferring to GSU for a second bachelor’s degree in music education. “I had done college marching band for four years before,” Grogan says. “I knew it would be a great opportunity to start on the ground floor of something. It was really fun because it was new, and it was new for everyone, even the directors.” Phillips specifically wanted GSU’s repertoire to appeal to the students and give the crowds recognizable songs such as “All I Do is Win,” by DJ Khaled featuring T-Pain, Ludacris, Snoop Dogg and Rick Ross; “Shake Ya Tailfeather” by Nelly, P. Diddy and Murphy Lee; and Guns N’ Roses’ “Welcome to the Jungle,”

New Kids on the Block: (From left to right) Georgia State University, Marian University and Yorba Linda High School have successfully created new band programs in recent years. Photos courtesy of Georgia State University Marching Band; Photos by Chino - Indianapolis, IN; and Yorba Linda High School band, respectively.

By Elizabeth Geli

which has become somewhat of a signature song to fit the Panther mascot. “I think one of the neat things about our program is that we’ve taken a slightly different track with our instrumentation,” Phillips says. “Our front ensemble is electric guitar, bass guitar, piano/ synthesizer and drum set. It allows us to have a unique sound and is another part of our efforts to be modern with our approach to marching band.”

Marian University Marching Knights Indianapolis, IN Established 2008

Student Spirit The collective excitement over the new football team and marching band has energized the campus and created a new atmosphere of school spirit. “It’s somewhat about taking risks; if you risk nothing, then you gain nothing,” Grogan says. “It may have been a risk with the rock band, but we did it, and it’s been so popular. The crowd has loved it.” According to Phillips the response to the band has been overwhelmingly positive, and the future is bright. “I hear people yelling ‘We love the band!’” Phillips says. “I have the sense there is a real respect and appreciation of what the band is doing. Success breeds success, and people will want to come be a part of something good.”

name change to Marian University in 2009, a football team was formed and a marching band recreated. “This was a direct initiative from the president’s office,” says Angel Velez, the former band director who was tasked with creating the band. “The funding came from the university as a whole. With the nostalgia and history the drum and bugle corps already had, the president of the university had been pursued by the alumni to bring this back.”

Tiered Approach

Photo by Chino - Indianapolis, IN.

Marian University in Indianapolis was once home to one of the nation’s first collegiate drum and bugle corps; however, since its disbanding in 1976, the school (formerly known as Marian College) had been without any kind of marching music group. In preparation for the school’s

Velez got to work recruiting students currently enrolled at the university as well as high school students in the area. “We wanted the best students,” Velez says. “You’re going to come to the program because you can be an asset. Those were the beginnings of making the program successful and resourceful in creating a team.” Due to the humble beginnings, Velez chose a tiered approach to debuting the band, starting with wind ensemble, then a drum line and finally a full marching band. They also required all band members to take private lessons, regardless of experience level. “A lot of people were on a lot of different levels,” says Allison Boike, now a seNovember/December 2010 21

The Right People for the Right Reasons The band successfully debuted and was able to play some high-profile gigs, including an opening set for Wayne Newton at the Indianapolis Motor Speedway and a performance for the Indianapolis Mexican Consulate’s Mexican Independence Day Celebration. It also forged relationships with Indianapolis Public Schools, Bands of America and Drum Corps International. “Building the right team and associating ourselves with the right people for the right reasons allowed us to create a strong foundation for generations to come for this program,” Velez says. “Indy was the key. Being here gave us the ability to take a look at how marching bands and music programs are built, what are their successes and what can be improved upon.” For Boike, the most rewarding moment was the first football game. “Our first performance of marching band ever where we did the ‘Thriller’ dance at our first football game, that was pretty memorable,” Boike says. “The crowd exploded; they were so excited.” Velez has since moved to California to work for Cook Medical, a medical supply company owned by Bill Cook, founder of Star of Indiana Drum and Bugle Corps and “Blast!” The band is now under the direction of Dr. Sidney Hearn, who Velez hired during the band’s second year. “Starting a program from scratch is daunting, but it’s very exciting because you can mold this into whatever you think is best,” Velez says. “Quality will only manifest upon itself more quality, and if you have integrity with what you do, you’ll have them hooked for life.” According to Boike, it was an easy transition, and the band is still developing its own traditions and constantly improving. “It’s fun to start something and make it your own, but you’ve got to do it right,” Boike says. “We’re trying to develop a tradition of being awesome.” 22

Yorba Linda H.S. Mustang Band & Color guard Yorba Linda, CA Established 2009 Photo courtesy of Yorba Linda High School band.

nior bass drum player and mallet percussionist. “We had people we’d recruited who had been in marching band all four years of high school and also people who had never marched before in their life. It was a pretty big learning curve, and the biggest thing we had to overcome.”

Leap of Faith Garcia recruited students from the middle schools and brought some students from his former job as director at Esperanza High School (also a PYLUSD school). “I had a few students follow me over, but it was still difficult to convince some of them to take a leap of faith and start from scratch,” Garcia says. Flute player Rachel Vogel not only came to Yorba Linda with Garcia, but she also switched to tenor sax to help the band’s instrumentation and stepped up to become the band’s first drum major. “Being thrust into this position encouraged me to lead, and it changed my attitude,” Vogel says.

“The Incredibles”

Despite the dire situation in public music education, some new bands are being created even at the high school level. When Yorba Linda (Calif.) High School opened in 2009, starting a marching band was a no-brainer in the Placentia-Yorba Linda Unified School District (PYLUSD), one of NAMM’s Best Communities for Music Education. “The community has been wanting a school for the last 20 years,” says band director Bincins Garcia. “Being in such a strong district for music, [marching band] was one of the first things planned.” Once hired, Garcia got to participate in the planning of a state-of-the-art band facility and began ordering uniforms, instruments and equipment. “There are two separate budgets that I work with,” Garcia says. “The district had money through a bond measure to open the school and to populate the programs with uniforms and instruments. The district does not provide an operational budget, so where we had the challenges was starting the booster club and getting the funds for a trailer, entry fees, coaches for marching and color guard, and music.”

During the band’s first marching season, they performed at all the home football games, five parade competitions and other local events. Instead of a full field show, it did a standstill performance of music from “The Incredibles.” “It was upbeat music the students could understand and enjoy without the pressure of doing drill—we just got the students used to the idea of a halftime show,” Garcia says. In the high school’s first year, only sophomores and freshmen could attend, so the band started out small. Keeping the students positive was a challenge— being the “new kid” in a district with other very established band programs. “It was kind of discouraging at first because you had to realize it was a different standard,” Vogel says. “We were a new school and new band, but we could be just as good as all the other schools. Just because we’re new, doesn’t mean we’re always going to be last.” After a successful first year and on their way to a completed second season, hopes are high for the future. “There were a lot of fun experiences, and we definitely all bonded and have a really strong connection,” Vogel says. “At first it was hard, but I love Yorba Linda and would never change my mind. It’s my school, and I identify with that. I’m proud to be a Mustang.”

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By Kellie Graham

Needham B. Broughton Photo courtesy of Needham B. Broughton High School Band.

Parade of Roses: Needham B. Broughton marched in the 2008 Tournament of Roses Parade and has been invited back for its second appearance in 2012. Photo by Eric Sullano.

With plans to retire in 2012 after more than 33 years with the Needham B. Broughton High School Band and a capstone performance in the Tournament of Roses Parade, Director Jeffery “JR” Richardson discusses longevity and success in a program where everyone belongs and every opportunity is a high-powered chance to perform.

High School Band T

he Needham B. Broughton High School Band in Raleigh, N.C., has marched in major events including the Tournament of Roses Parade in Pasadena, Calif., and the St. Patrick’s Day Parade in New York, performed for three U.S. presidents and four North Carolina governors, and hosted the United States Marine Band at a school concert. In 2001, it traveled overseas and received the gold medal at the World Music Contest in Kerkrade, Holland. Locally, it competes in marching contests across the state. Jeffery “JR” Richardson has been the driving force behind this band for 33 years, making everything possible for these young musicians. He plans to retire in 2012, following its appearance in that year’s Rose Parade.

Halftime: Why did you become a band director? Richardson: I played clarinet in high school and went to Virginia Tech thinking I was going to become a veterinarian. But then I realized I missed playing, so I transferred to the University of Tennessee, where I received my degree in music education. Halftime: What’s it like to have taught at the same school for your entire career? Richardson: There have only been five band directors in the 81-year history of the school, and

there’s good reason to stay. Broughton is filled with traditions in academics, athletics and the arts. Band directors today usually stay at a school for about 10 years. I like to call them the “Popcorn Generation” because they put effort into something and want results two minutes later. I believe it takes a lot of work to get where you want to be and even more to stay there. It took me nine years to get my program to a level I was happy with and 24 more to keep it there. The end of December marks my 33rd year. I was originally going to retire at the end of this school year; however, the band has been invited to perform in the 2012 Rose Parade, so I’m going to stick around until then. Halftime: What are your secrets to success? Richardson: Make sure everyone has a place to belong. I’ve never thought we were the best program around, and we’ve never wanted to be. As long as you give me that 110 percent, you deserve a spot in my band. Too many groups nowadays are exclusive and only want the best of the best. These bands have become too competitive. You have to make it fun! Otherwise, the numbers will drop. Our retention rate is usually 96 to 97 percent

every year because our kids enjoy it. Halftime: What is the most important thing you discovered while teaching? Richardson: Don’t sweat the small stuff! My band recently competed, and one of my students couldn’t be there because of a family affair. Fifteen years ago, I would’ve flipped out, but now I realize that some things are more important than band. Halftime: You’ve been in several prestigious parades and performed for U.S. presidents and senators. What’s it like having these opportunities? Richardson: I look at every opportunity as a high-powered chance to perform. These were just extra-special performances we were allowed to do. Our school is located two miles from the state capitol, and the Governor’s Mansion is only a block past that. Because of our location in the city, we’ve had tons of opportunities and connections.

Former Governor Jim Hunt’s child was in the band, and people would see him at performances and say, “Hey! That’s the Governor!,” and I would respond, “No he’s not. Tonight, he’s a band parent.” Halftime: What did you and your students gain from these experiences? Richardson: A deeper appreciation for music, the chance to travel and the understanding that every time they put on that uniform, they’re representing their school, family, state, country, etc. I hope I’ve given every child a place to belong, shown them amazing things and changed their lives. Halftime: Any special retirement plans? Richardson: Sleep! I would like to travel. I’m the type of person who knows that when I retire, I won’t be able to give it up cold turkey. I would like to judge competitions or be a sub. It’s been a fun run. Now it’s time to sit back and enjoy.

About the Author Kellie Graham is a sophomore majoring in public relations at the University of Southern California. She has been playing the trumpet since the fifth grade and is a member of the USC Trojan Marching Band. After graduation, Kellie plans on joining a major public relations firm in Los Angeles or New York.

Behind the Baton By Aaron J. Staluppi

Starred Thoughts About George N. Parks

All Fired Up: George N. Parks and two of the University of Massachusetts drum majors, including Aaron J. Staluppi on the right, celebrate. © 2010. Pat Mahon, UMass Band Parents Association. All rights reserved.

“

tarred Thought: Do something spectacular, so your spirit lights up the room when you leave.” George N. Parks would emit hundreds of “starred thoughts” each summer to thousands of students at his Drum Major Academy (DMA). These thoughts were snippets of information and life lessons that he wanted his students to write down, so that they would never forget them. During his lectures, every time you heard the words, “Starred Thought,” all of his student’s heads were immediately buried into their notebooks eagerly notating the good word of George N. Parks. Here are my favorite “Starred Thoughts”: • Make sure you show support for others before they show support for you. • Dedicate yourself to being someone who cares for others. • Never let someone tell you not to believe in your dreams. • Every time you don’t do something because you’re afraid of failure, you failed. • The strength of the band is you, but sometimes the strength of you is the band. • You’re at your best when things are at their worst.”

George N. Parks, who passed away on Sept. 16, touched thousands of lives through his Drum Major Academy and 33 years as director of the University of Massachusetts (UMass) Minuteman Marching Band. One UMass drum major shares personal memories and lessons learned from his mentor.

Those last two have been stuck in the back of my mind for quite some time now. Every day after his sudden passing on Sept. 16, 2010, his legacy has become stronger and stronger through the people he has inspired and all of the lives he has touched. Each day those “starred thoughts” echo in my head louder and louder. Times have been at their worst, and his marching band has surpassed all obstacles to be the best it can be. Being drum major, I use the band for strength as much as they use me for strength—now more than ever.

Power and Class of New England George N. Parks was the band director of the “Power and Class of New England,” the University of Massachusetts (UMass) Minuteman Marching Band for 33 years. He was my band director, teacher, mentor and friend for less than five of the best years of my life. A title he pinned to the band early in his career, the “Power and Class” is composed of more than 350 students who experience the excitement of college marching band at UMass. The Minuteman Band has performed for Presidential Inaugurations in 1981, 1985 and 2001. In 1993, 2001, 2004 and 2007, the band performed at Bands of America Grand Nationals. In 1998, the Minuteman Marching Band received the Sudler Trophy, the most prestigious honor bestowed upon college bands. To this day, I still expect Mr. Parks to show up to rehearsal and get the band prepared and pumped for the next performance, screaming and jumping 50 feet up from the ground upon his royal throne, the infamous scissor lift. Every day at 4:40 p.m., marching band class began with the bellowing of the long rangers—drum majors instructing the band to begin warm-ups. When it came time for him to teach, Mr. Parks’ energy was unlike anything of this world, and his presence was simply mind-blowing. He always gave 150 percent, and when the band seemed like it was not having the best rehearsal, he would give 200 percent. Having fun and pouring your heart and soul into every moment of life was and still is a requirement for his students. Everything about rehearsal, right up until we were dismissed, was full of “Energy, Enthusiasm and Excitement.”

“The Big House” Mr. Parks was very much looking forward to our performance on Sept. 18 at Michigan Stadium, known as “The Big House,” due to our school’s deep connection to the University of Michigan and its absolutely fabulous marching band. The roots of the Minuteman Band are joined by the links of leadership extended from Dr. John Jenkins and John W. Lederle, the UMass’ former director of bands and president, respectively, both stemming from the University of Michigan. Leading up to this performance, Mr. Parks would always say that the band had performed many places and accomplished many extraordinary things, but “this band will be remembered as the band that went to Michigan!”

From that point on, we all knew that things would be different. It was the most surreal experience of my life.

The George N. Parks Drum Major Academy Mr. Parks loved to teach. At DMA he would display this natural talent like a performer on Broadway. I have had two years of experience with DMA thus far, once as a student and once as staff. My first year at DMA was my third year of college. I wanted more than anything in the world to be a drum major, so I asked Mr. Parks how I could accomplish that. He said to attend DMA. It was there where I learned to improve and develop my leadership, communication, conducting and marching skills.

Parting Ways: George N. Parks died on Sept. 16, 2010, at the age of 57 after the UMass band visited with the Cuyahoga Falls (Ohio) High School Marching Band on its way to an away football game at the University of Michigan. © 2010. Al Graff, UMass Band Parents Association. All rights reserved.

However, it seems now that this band will also be known for something else. In the early hours of Sept. 17, it came time to make a decision, which was not necessarily the easiest, but we all knew it was the right one. The band endured and proceeded as scheduled because Mr. Parks would expect nothing less. The Minuteman Band performed pregame, halftime as well as postgame and left everything they had on that field in Ann Arbor for Mr. Parks.

I soon found out that this academy was not just about band, however, it was about living life to the fullest, inspiring others to be extraordinary to each other and always giving your all. Each summer more than 3,000 participants in various locations around the country attend the academy, which is equipped with an all-star staff unlike any other team that has ever been assembled. November/December 2010 27

The Teacher Mr. Parks and I met when I was an undeclared freshman at UMass Amherst with the intent on becoming a music education major. I auditioned twice before being accepted into the music program. In the spring, he learned about my unsuccessful first audition and approached me about private lessons. We met once a week. With hard work, persistence and practice, my next audition was successful, and I owe it all to him. During our lessons, he would mention how he should pick up his horn more and “get back at it.” For the past two years at DMA, he had been performing solo excerpts for the students. This past spring, he went to Texas to perform a tuba solo with a high school symphonic band and did the same at Salem High School here in Massachusetts. When the subject of playing tuba came up, he would turn, look at me and say, “It’s all your fault.” I was astounded when I looked at the Department of Music and Dance calendar earlier this year to see “Faculty Recital—George Parks” entered

in the database for April 2011. I was really looking forward to that performance.

Pushing Forward Despite the loss of Mr. Parks, the band is continuing on with the season in fantastic fashion. In Mr. Parks’ absence, Associate Director and DCI Hall of Famer Thomas Hannum, Assistant Director Frederick Omega Pye, musical arranger Michael Klesch, and percussion instructor Colin McNutt are leading the UMMB. I will say that being drum major of the organization that Mr. Parks has built has been an honor, and I am glad to share that position with Sean Donnelly, Bonnie Harper and John Mange. Oct. 16 was Homecoming at UMass Amherst. A mass band assembling more than 1,200 students—including 900

alumni going as far back as Mr. Parks’ first UMass band in 1977—took the field in the Celebration of the Life and Legacy of George N. Parks. It was truly a special place to be and a special moment to experience. This date has been chosen by Gov. Deval Patrick as “George N. Parks Day,” with flags lowered to half-mast in his honor. Mr. Parks’ final performance was the evening of Sept. 16, 2010, in Cuyahoga Falls, Ohio. The last piece he conducted was “My Way,” our traditional closing piece, and his last words to me as I took the podium in Ohio were: “Now remember, having fun is just as important as anything else that we do.” George N. Parks did spectacular things with his life, and his spirit will forever light up the hearts and souls of the thousands of lives he has touched.

About the Author Aaron J. Staluppi is a senior at the University of Massachusetts Amherst, majoring in music education and tuba performance. He currently serves the University of Massachusetts Minuteman Marching Band as one of four drum majors for the 2010 season. He performs with the Wind Ensemble and University Orchestra and is a member of the Epsilon Nu Chapter of Kappa Kappa Psi, National Honorary Band Fraternity.

Eastern Color Guard Championship Ryan Center in Kingston, Rhode Island Southwestern Color Guard Championship Thomas Coliseum in Dallas, Texas area Mid-South Percussion Championship McKenzie Arena in Chattanooga, Tennessee

Mid-South Color Guard Championship Lipscomb Arena in Nashville, Tennessee Southeastern Color Guard Championship Sundome Arena in Tampa, Florida Western Color Guard Championship Jenny Craig Pavilion in San Diego, California Western Percussion Championship Coussoulis Arena in San Bernardino, California

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Fitness to the MAx

By Haley Greenwald-Gonella

Fit Feet, Ankles & Knees

hen training our bodies, we often concentrate on targeted muscle groups—upper body, lower body, abdominals, back and so on. However, we cannot forget the small ligaments and muscles that are attached to the larger muscle groups. Because marching involves a great deal of movement within the legs and lower body, let’s focus there.

Prevent injuries from your knees down to your feet— important joints and muscles used in marching—with these simple exercises. 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.

Foot Foundations The feet are the body’s foundation. There are many different moving parts within the foot and, therefore, many different things that can go wrong. Genetics come into play here as well. Find out if your parents and grandparents had problems with their feet, so you can be more aware of potential issues. Due to the fact that marching utilizes a rolling heel-toe step, it is especially important to stretch through the arch of the foot. Standing next to a wall for support, point all 10 toes forward and stand on the balls of the feet. Inhale. Then as you exhale, slowly lower the right heel all the way down to the ground; press the heel firmly down. With the next inhale, switch sides. Repeat for six to 10 breaths. Next, grab a resistance band. Sit on the floor with your legs straight out in front of you. Place your foot in the center of the band, press through the ball of the foot—make your foot look like a Barbie shoe. Your foot should be pointed and the toes flexed. This stretch will work the arch of the foot.

Awesome Ankles Like the foot, the ankle has many little bones and moving parts. Ankle circles are a great way to maintain fluidity and strength. Circle to the right (five breaths) 30

and left (five breaths) on each foot. Using the resistance band again, sitting on the floor with your legs straight out, put the band under the ball of your foot. Push through your right heel and move your toes to the right and back to center. Then move the toes to the left and back to center. Repeat five to 10 times on each foot.

The Bee’s Knees The knees are also prone to injuries because of all the use that they endure. Watch your feet when you walk. Are your toes pointed slightly out to the sides? If so, then you are putting unnecessary pressure on your knees. Walk with your toes forward and think about wrapping the outside muscles of your knees around to the back of your knees. Also, when you are standing, use a slight bend. Continually locking the knees weakens the ligaments, making your knees more prone to injury. Try this exercise to strengthen your knees: Standing up straight, slightly bend your knees. Lift your toes up, lift your kneecaps up, and then put your toes back down. Marching requires a lot of work from your legs and feet, so you need to maintain them. You wouldn’t perform without cleaning your instrument, so make sure your legs are ready too.

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(and home of a Regional competition) 28. Curved lines that join two musical notes together 29. “Precious” actress Gabourey 31. LeBron James’s organization 32. “¿Cómo ___ usted?” 34. “Why am ___ aware of this?” (2 words) 35. Snakelike swimmer 36. Texas home of Cowboys Stadium (and home of a Regional competition) 40. Sheepish sound 43. “The Tale of Despereaux” animals 44. Scruff of the neck 47. www.halftimemag.com, for instance (abbrev.) 48. “Rigoletto” and “Carmen,” for two 51. Toothpaste container 53. Missouri home of the Gateway Arch (and home

Across 1. Daisylike flower 6. Place for an orchestra 9. Singer Clapton 13. Letter-shaped opening in a violin’s body (hyph.) 14. Marching uniform accessory that goes over the shoulder 15. Opposite of starboard, on a boat 16. Home of the Kentucky Derby (and home of a Regional competition) 18. Visual signs from the director 19. Surgery sites, for short 20. Actors McKellen and McShane, for instance 21. Cheer (for) 23. Georgia home of CNN (and home of a Super Regional competition) 25. Michigan home of a namesake GM brand

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of a Super Regional competition) (2 words) 55. Texas home of NASA’s Johnson Space Center (and home of a Regional competition) 57. Bring in a paycheck 58. “___ Flux” (MTV cartoonturned-movie) 59. Abbreviation after a business name 60. Necessary omelet ingredients 62. Texas home of the Spurs (and home of a Super Regional competition) (2 words)

65. “Tales of a Librarian” singer Amos 66. “Some ___ of Wonderful” 67. Prefix before “national” or “collegiate” 68. Pigeon noises 69. George Gershwin’s brother 70. Like clothes one size too big Down 1. Bobbing on the water 2. Nickname not often given to basketball players 3. Scatters around, like hair 4. Peyton Manning’s brother 5. Varnish ingredient (and not the violin bow powder) 6. Best buddies 7. Australia or Aruba, for example (abbrev.) 8. Jerky dance often seen in pop ‘n’ locking (2 words) 9. Center located at Disney World 10. Choreographed set of movements 11. Intense anger 12. Dollar divisions (abbrev.) 14. Peninsula near the Mediterranean 17. Big tanks for dyeing fabric 22. It equals 2,000 pounds (2 words) 24. Dog in “The Thin Man” 25. ___-pong 26. Honest ___ (Lincoln nickname) 27. Baseball Hall-of-Famer Ripken, Jr. 30. Truck stop restaurant 33. Hot dog brand that looks like something a British knight would wear 37. 1998 Olympic gold medalist in figure skating Tara

38. Puts a cold pack on a sprain 39. MLB team from D.C., slangily 40. Transportation for some band tours 41. Museum offering 42. Brisk and lively, on sheet music 45. Add something to the mixture (2 words) 46. Keys interspersed with ivories on a piano 49. In the lead 50. In just a little while 52. Request at the concert’s end 54. “Champagne Supernova” band 56. “Innocent ___ proven guilty” 58. Actress Paquin 60. List ender (abbrev.) 61. Slimy stuff 63. You can’t play clarinet without it 64. Yoko who married John Lennon

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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