Halftime Magazine January/February 2021 by Halftime Magazine

Fall 2020 HS Wrapup

Intercollegiate Marching Band

Q&A with Michigan State University JANUARY/FEBRUARY 2021

SIGHTS, SOUNDS & SPIRIT OF THE MARCHING ARTS

Bowls DURING

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SIGHTS, SOUNDS & SPIRIT OF THE MARCHING ARTS

EDITORIAL INTERN Kacie Brown GRAPHICS INTERN Hadley Deputy COVER PHOTO Courtesy of the University of Notre Dame Band CONTRIBUTING WRITERS Amy Brown, Jeff Coffin, Jeff Conner, DJ Corchin, Jamie Lee Cortese, Frank DiMaria, Justin Eberly, Samantha Jennings, Matt Jones, Savy Leiser, Killian Weston, Adam Wiencken CONTRIBUTING PHOTOGRAPHERS Ed and Karen Crockett; Lisa Gemperline; Alexander Hamilton, II; Mark Hansen Photography; Imagine! Studios; Chris Maher, Corpsreps Photography; Jeremy Weber CONTRIBUTING ILLUSTRATOR Dan Dougherty WEB DEVELOPERS Karen Eborall and Mike McCullen ADVISORY BOARD Dr. Arthur C. Bartner, 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, SpinMedia Steve Goldberg, Empirical Media CHIEF TECHNOLOGY OFFICER Joshua Katzman LOGO DESIGNER Timothy Watters, Teruo Artistry SUBSCRIPTIONS: Halftime Magazine is published six times per year. Subscribe at halftimemag.com. Send subscription questions to hafcs@magserv.com. Halftime Magazine is published by Muse Media LLC P.O. Box 428738 Cincinnati, OH 45242 Phone: 310-594-0050 Website: www.halftimemag.com 4

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he start of every year brings us a chance for a new beginning. This year is certainly no exception as we all hope for declining COVID-19 cases and look toward a new president and our first female vice president to bring about positive changes. With Halftime Magazine, you will see many transformations but also many similarities to the past. Although this issue is completely digital, you’ll find the same type of stories and layout that you know and enjoy. With an electronic interactive format, we are excited to embed videos to supplement print content. You’ll find them in two of the three feature stories. Many college bands ended 2020 or began 2021 without traveling to their football team’s bowl games. We take a look at how bowl organizers incorporated “Bands at the Bowls During COVID” (page 14). In addition, Halftime Magazine is proud to be a founding partner of the College Band Directors National Association Intercollegiate Marching Band (page 18), uniting nearly 1,500 nominated performers—not only in

a virtual show for the College Football Playoff National Championship game but also in an ongoing community. We also recap the fall 2020 marching season (page 24), including the in-person Texas University Interscholastic League and Utah Music Educators Association marching champions. For our “For Fun” department (page 34), we have changed out the crossword puzzle to bring you a dose of humor: the syndicated comic strip “Tales from Band Camp” and an excerpt from The Band Nerds Book Series. Because we all need a reason to laugh, and the marching arts can be pretty funny. We are also building up our YouTube Channel with broadcast versions of our stories, band parodies, and videos shared by marching ensembles. If you or your marching group have videos to share, tag us with them on social media, and we may add them to one of our playlists. Subscribe to our YouTube channel, so you don’t miss any video content. If you haven’t yet subscribed to the magazine, remember to do so at halftimemag.com, so you can get it delivered straight to your inbox. As we all continue to experience uncertainties in the months ahead, look for ways to stay creative, make a positive impact, and put one step in front of the other. Perhaps Amanda Gorman, the first National Youth Poet Laureate and the youngest inaugural poet in U.S. history, said it best in her poem “The Hill We Climb”:

When day comes, we step out of the shade, aflame and unafraid. The new dawn blooms as we free it. For there is always light, if only we’re brave enough to see it, if only we’re brave enough to be it. Keep on Marching, Christine Ngeo Katzman Publisher and Editor-in-Chief

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Audition season is right around the corner. Worried about making a good first impression? Looking for pro tips on how to stand out and succeed? Enroll in the VIRTUAL AUDITION ACADEMY and our staff from The Blue Devils and RCC Indoor will help take the pain out of your preparation!

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This is your chance to learn from the same people who evaluate hundreds of auditions each year, so it’s the perfect way to get your foot in the door and find out exactly what they are looking for. And remember; the Virtual Audition Academy isn’t only for students interested in joining BD or RCC. The skills and knowledge you’ll gain through the course will apply to almost ANY ensemble or institution.

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BANDS AT THE BOWLS DURING COVID 2021 New Year bowls incorporated marching bands as best as they could, using audio and video recordings to add to the game’s atmosphere. By Frank DiMaria

INTRODUCING THE INTERCOLLEGIATE MARCHING BAND The CBDNA Intercollegiate Marching Band unified performers in a virtual show for the College Football Playoff National Championship game as well as on more personal, deeper levels. By Savy Leiser

A FRAGILE FALL 2020 MARCHING SEASON With everyone focused on safety and community, Texas and Utah pulled off in-person high school marching competitions while most other band circuits turned to virtual events. By Kacie Brown

32 34

PUBLISHER’S LETTER NOTEWORTHY USBands and BD Performing Arts Join Forces; Collegiate FA Ntastic Winners; DCI and DCA 2021 Season; HBCU Homecoming Programs

SECTIONALS Continue to Create; What’s Next?; In the Best Light; Not Just the Flick of a Wrist

GEAR UP Electric Marimba; Collab App; Blue Devils’ Sound Library

DIRECT FROM Michigan State University

BEHIND THE BATON Leading in a Global Pandemic at Temple University

HEALTH AND SAFETY Don’t Break a Leg

FOR FUN Tales from Band Camp Comic; “The Unscalable Wall” from the Band Nerds Book Series

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JANUARY/FEBRUARY 2021

Photo courtesy of Anita Ney.

BY JAMIE LEE CORTESE

USBANDS AND BD PERFORMING ARTS JOIN FORCES

BD Performing Arts (BDPA) in Concord, California, and USBands in Allentown, Pennsylvania, have combined to create a nationwide pageantry arts network. USBands will become one of several organizations operating under the BDPA umbrella. BDPA already manages Riverside City College Indoor Percussion, the Diablo Wind Symphony, Western Band Association (WBA), and of course the Blue Devils Drum and Bugle Corps, among other programs. According to Shaun Gallant, BDPA CEO, working with USBands extends both organizations’ reach to connect more student marching bands to each other through competition circuits. Having WBA and USBands under the same umbrella will allow the organizations to “facilitate great events and create opportunities for young people across the country,” Gallant says. USBands will continue to have a direct role in facilitating competitions. The top priority while establishing the new relationship was ensuring continuity in USBands’ current work, says Sean King, executive director of USBands. “The number one thing was that [we] would remain consistent in service to the music education community.” In fall 2020, USBands had established a virtual season for schools and educators. King recalls band directors telling him, “We wouldn’t have had a season if it weren’t for this eight-week virtual competitive season.” USBands will take the concept into the winter with a virtual music festival that can include marching groups in “the Creative Class,” King says. While the relationship is making strides, Gallant knows that a piece is still missing— performing together on the field. “We’re looking forward to getting back on the field of course,” he says. 8

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COLLEGIATE FANTASTIC WINNERS With COVID-19 distancing marching members and putting crowds on the other side of a screen, competitions like the Collegiate FANtastic for twirlers and majorettes have stepped in to fill the void. The contest was founded by an informal group of friends who wanted to give twirlers and majorettes the opportunity to perform during the pandemic. Individuals and groups competed in a seeded style, similar to NCAA’s March Madness. Now the Collegiate FANtastic has announced a High School Edition, with championships to be crowned in mid-March. Anita Ney, University of Cincinnati feature twirler, won the college individual competition, which ended in November. Ney worked with her coach over FaceTime to revive and update a routine she had retired. Each competitor filmed a performance video of an outdoor routine as well as a personal statement. As participants advanced through the brackets, they submitted additional recordings and did a live performance through Zoom for the “Final Four.” Ney says that she is grateful for “very patient friends who were willing to help” when filming as well as for her mom who drove her from Northeast Ohio to Cincinnati several times in order to use the campus field. Her mom’s assistance is “just a testament of how supportive twirling moms can be,” she says. The University of Florida Gatorettes took home the awards for Best Team Statement, Best Video Production, and 1st Place in Extra-Large Division (more than nine team members) out of a total of 14 teams that competed. According to Gatorettes instructor June Stoeber, the competition made the team work harder to get to where it usually would be at that time. She also hopes that the event inspired schools to push forward and do what they could, even within COVID-19 restrictions. “[It’s] truly an honor to do something like this and to compete,” Stoeber says. The upcoming Collegiate FANtastic High School Edition allows group to submit indoor or outdoor performances and offers critique for college audition routines as an option. Both the fall and winter contests offered cash scholarships, gifts cards, and other prizes.

Drum Corps International (DCI) and Drum Corps Associates (DCA) are marching again though in a different direction. Both organizations had their 2020 seasons canceled due to COVID-19. In 2021, with more time for preparations, both have put together plans for their ensembles to resume performing again. DCA is going fully virtual with the possibility of a live championship if conditions are safe. “Right now, we’re looking at a virtual format to keep the corps safe, to have a competitive season, and to provide drum corps for the fans,” says John Carr, DCA president. DCA will hold eight shows during July and August with about six or seven competing corps and an alumni exhibition in each. Corps will upload their shows, which will stream live with the help of Box5 Media through a paid subscription service. Judges will score and critique each performance while fans vote for their favorite group of the evening. At the conclusion of the contest, the scores and “Fan Favorite Feature” will be announced. © 2021. Photo of the Reading Buccaneers Drum and Bugle Corps in 2019 by Chris Maher, Corpsreps Photography. All rights reserved.

The decision whether to hold live championships will be reevaluated in the spring. No matter what, champions will be crowned, according to Carr. “If we do not have a live championship, we will have a virtual championship,” he says. DCI plans to hold a series of events at Lucas Oil Stadium in Indianapolis, Indiana, from Aug. 12 to 14. “The coming season will, by necessity, be ‘different’ to say the least; but we are determined to safely create a stage like no other in order to offer performance opportunities in the summer of 2021 as a ‘bridge’ to a tour in 2022 and the celebration of DCI’s 50th anniversary season,” said Dan Acheson, DCI president, in a press release. At its January 2021 annual meeting, DCI announced that its Tour Reopening Task Force will gather data and determine riskmitigation strategies to ensure safe and successful activities. So far, the Blue Devils and Santa Clara Vanguard have decided to opt out of the 2021 competitions in favor of other opportunities.

HBCU HOMECOMING PROGRAMS For so ma ny col leges a nd universities this year, “homecoming” became “stay at home.” Going into 2021, performers in Historically Black College and University (HBCU) bands also missed out on the canceled Honda Battle of the Bands. Luckily, Black Entertainment Television (BET) and iHeartRadio showcased HBCU bands in virtual homecoming events. BET’s HBCU Homecoming 2020: Meet Me on the Yard, which streamed live on YouTube on Oct. 24, featured hip hop and R&B stars as well as the Alabama State University, Jackson State University, and Florida A&M University marching bands. With a similar format, the iHeartRadio HBCU Homecoming Celebration on Nov. 12 also showcased professional musical artists and marching bands from Hampton University, North Carolina A&T State University, Prairie View A&M University, and Florida A&M University. Alabama State performed with 2 Chainz, who once attended the school, in the rapper’s 2020 song, “Moneymaker.” Dr. James Oliver, Alabama State director of bands, says that he is impressed with the result, which included choreography. “The performance was amazing,” he says. Hampton University had a connection to iHeartRadio through Pepsi, which is both a university and iHeartRadio show sponsor. The performance involved original music as well as existing school repertoire. Pepsi and iHeartRadio also collaborated to design choreography for the bands. Dr. Thomas Jones, Hampton University director of bands, says he understands the importance of the virtual Homecoming. “[Homecoming is] not just about the football game,” he says. “It’s pretty much a family reunion.” © 2021. Photo of Hampton University band by Alexander Hamilton, II. All rights reserved.

DCI AND DCA 2021 SEASON

JANUARY/FEBRUARY 2021

WINDS

CONTINUE TO CREATE BY JEFF COFFIN

I’m a workaholic. I love making music and being on the road, teaching, writing books, composing, engineering, giving clinics, and running a record label. Yet, here we are, more than 10 months into a global pandemic with an essential shutdown of nearly all aspects of live music. How do we stay motivated with no real end in sight? For me, these months have been an incredibly creative period because I have continued to create. The shutdown has made me question many things, but I have continued to create. I have been sad, angry, disappointed, and confused, but I have continued to create. I have also had moments of great joy, clarity, happiness, laughter, friendship, connection, and love, and I have continued to create. I create because I choose to. I will find creative ways to be creative, and you should too! IN SOLITUDE AND SYMBIOSIS. I have been self-publishing through Ingram Spark the last few years and published a book called “10 Improvisational Flute Etudes” in August 2020. I have since released versions for clarinet, alto saxophone, and tenor saxophone with trumpet and piano coming soon. See jeffcoffin.com/etudes. I have recorded four full-length albums during the pandemic and released an EP called “Songs of Solitude” in April. For 2021, I have two duo projects, “Symbiosis” with saxophonist Derek Brown and “Let It Shine” with New Orleans cellist Helen Gillet. I have finished a children’s book, set for release in April, and have written three more. And I am working on nearly 40 more songs. I have continued to create. YOUR CREATIVE SELF. Creativity can exist on a piece of paper. On a recording. In a line of poetry or prose. In a story or song that you share with everyone or no one. Creativity can exist in a photograph or an arrangement of flowers. Do not lose your creative self during this time. Do not give up or give in. Do not go gently into that good night. Continue to create and let your creativity shine. We need you.

BRASS

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

WHAT’S NEXT? BY JEFF CONNER

“The West Wing” is one of my favorite TV dramas. The show features the lives of staffers in the White House with fictional President Josiah “Jed” Bartlet played brilliantly by Martin Sheen. One of Bartlet’s characteristic lines was: “What’s next?” Once a goal or task was accomplished, he wanted to keep moving forward. Back in March 2020, Boston Brass’s accomplishments throughout the past 34 years all of a sudden felt unimportant. We had absolutely no control over the coronavirus’s effects on live music. All we could do is say, “What’s next?” How do we keep the wheels turning, stay creative, and continue to leave a musical footprint? That was our challenge, and we had to persevere. To stay creative, Boston Brass created Flex Arrangements for high school and college bands. These arrangements give music programs the opportunity to rehearse and perform as small ensembles. TAKE STOCK. 2020 is done. As we get into 2021, we are crossing our fingers that all of us are able to share the stage and begin performing live together again. No matter the circumstances, we can all say, “What’s next?” We must look back and take inventory of our successes and failures from the past year and start focusing on the future. Create shortand long-term goals to stay on track. If you’re not sure where to start, think about your answers to the following questions: • Why are you still playing your instrument? • What do your music and your ensembles mean to you? • What’s your favorite kind of music and why? • What would life be like if you couldn’t play anymore? These general questions will hopefully bring you to your next chapter. LEAVE YOUR MARK. I challenge each and every one of you to be creative, be positive, be resilient, and make the world a better place. No matter your ability level, you can create a positive musical footprint. Perhaps create a short video or offer a live musical performance, try a new arrangement or write a new composition, or just encourage younger musicians. The world needs you now! Let’s all think about what’s next and bring smiles to our audiences—no matter the size.

ABOUT THE AUTHOR Jeff Coffin is a three-time Grammy Award winning saxophonist, composer, educator, and author. He has been a member of Dave Matthews Band since 2008. Jeff also teaches at Vanderbilt University in Nashville, Tennessee. Jeff has published “The Saxophone Book,” co-wrote “The Articulate Jazz Musician” with Caleb Chapman, and released “The Road Book” in late 2019. Jeff is a Yamaha and D’Addario Performing Artist and Clinician. Visit jeffcoffin.com and earuprecords.com for more information. 10

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ABOUT THE AUTHOR Jeff Conner is the only original member of Boston Brass. He has more than 30 years of experience building and branding the Boston Brass name in the world of chamber music. As a Yamaha Performing Group, Boston Brass has performed in 49 states and 30 countries, is a featured participant in conferences and conventions, and leads master classes and artist residencies around the world.

BY ADAM WIENCKEN

Microphones, cameras, and ring lights—can you imagine a year ago that these items could all be important purchases for auditions, classes, and even interviews? You may find yourself needing to submit video recordings for upcoming music auditions, juries, or playing tests. Consider the following technology add-ons to present yourself in the best possible light. QUALITY MICROPHONE. Quality doesn’t necessarily mean expensive; in fact, most good microphones for music recordings fall in the $100 to $150 range. The easiest plug-and-play option is a USB cardioid microphone, such as the Blue Yeti, which retails at $129.99. A cardioid microphone has a uniform response to sound coming from the front and minimal sound pickup from the back. The Blue Yeti is also great for podcasting and interviews; you can change settings at the turn of a knob for multiple applications. Regardless of what you choose, a quality microphone will perform exponentially better than a built-in microphone through a phone or laptop. QUALITY VIDEO CAMERA. Depending on the type of phone or laptop you use, you might not need to make an external purchase to have a quality camera. Most of the latest iPhones and MacBooks have great video quality; however, if you want to drop some change on a new GoPro or Nikon/Canon camera, it certainly will serve many useful purposes. RING LIGHT. Most of us will not have optimum lighting when recording indoors from home. Ring lights are especially helpful for recording at night and/or in dark rooms to bring more clarity to you or whatever you want in focus. Position the light where you can see your entire face and find an angle and height that isn’t distracting. Then adjust the camera angle to suit both your needs and the submission requirements. These few simple considerations will make the audio and video quality of your submissions more professional, and your evaluators will certainly notice.

ABOUT THE AUTHOR Adam Wiencken is the percussion specialist for Broken Arrow (Oklahoma) Public Schools. He is an alumnus of the Madison Scouts and The Cavaliers Drum and Bugle Corps and is an active percussion arranger and adjudicator throughout the United States. He is a Yamaha Performing Artist and an educational artist for Innovative Percussion Inc., Remo drumheads, Zildjian cymbals, and MEINL Percussion.

GUARD

PERCUSSION

IN THE BEST LIGHT

NOT JUST THE FLICK OF THE WRIST BY KILLIAN WESTON

When I was a performer, we never really talked about wrist strength and flexibility, so I never realized their importance until I started coaching. Plenty of guard fundamentals will work on one or both, but you can also enhance wrist strength, flexibility, or both when you don’t have or can’t use your equipment. WRIST FLEXIBILITY. Increasing your wrist’s range of motion will allow you to do more safely with your equipment. The wrist moves up and down as well as side to side. Working on both directions opens up more rotational range and makes working through different planes easier. In my experience, most people understand how to stretch the up-and-down motion but tend to forget about the side-to-side mobility. Try this exercise: In both hands, curl the three middle fingers toward your palm while keeping the pinkies and thumbs extended. Rotate your arms, so that your pinkies are pointed down toward the floor. While in that position, bend the wrists down toward the floor, then back up to the ceiling, several times for 30 to 60 seconds. WRIST STRENGTH. All the flexibility in the world can’t accommodate for a lack of strength. If you haven’t built the muscle to support your equipment, some skills can be dangerous to attempt. The following exercises focus on working through your wrist’s full range of motion while adding resistance using free weights or a band looped under your foot. Holding a weight or the resistance bands in your hand, rest your forearm on your thigh with your hand and wrist extended past your knee. Carefully bend your wrist through its full range of motion, up and down. Do this resistance exercise with your hand positioned in three different ways—palm up, palm down, and thumb up. Work toward three sets of 20, adjusting to more or less weight as needed. Repeat with the opposite hand. Whatever work you’re doing to build strength and flexibility, be sure to move at your own pace and adjust exercises as needed to avoid injury. While you want to challenge yourself, you should not be struggling or in pain.

ABOUT THE AUTHOR Killian Weston is a color guard instructor and designer in southeast Michigan. She began performing with her high school marching band in 2002 and continued with college marching band and collegiate winter guard. She has taught several guard units and is a prospective judge in the Michigan Color Guard Circuit. JANUARY/FEBRUARY 2021

Check out the following cool products before your next practice, show, or competition. BY LEE CORTESE ByJAMIE BY Emily SAVY Moneymaker LEISER

arimbas are about to become more accessible, portable, and less expensive, with an electric marimba from Mode Marimba Inc. Mode Marimba’s electric marimba solves several challenges—including volume and portability—faced by traditional acoustic marimbas. Since the electric marimba plugs into an amplifier just like an electric guitar or bass, now the marimba can be easily heard. “It solves the amplification problem,” says John Glowka, the company’s founder and president. The electric marimba also eliminates the need for long resonating tubes, allowing musicians to sit or stand while playing the instrument. Mode Marimba designed the

COLLAB APP

ove over Vine a n d T i k To k ; here comes Collab. T he Collab mobile app may be the next best thing in short music creation, according to Ben Ash, content marketing manager for music retail giant Sam Ash Music Corp. and a beta tester for the new app. Launched in December 2020, Collab allows musicians to create their own layered track or collaborate with others. Users upload

music performance videos— whether playing an instrument, singing, or just banging on pots and pans—of up to 15 seconds. Then they or other users add more videos to play over the original one, eventually resulting in a multilayered track with up to three videos playing together. “If you’re in marching band, yeah, you should be on the app,” Ash believes. “You can do this while you’re doing drills, or you can do this while you’re at home practicing.” Collab is different from other apps because it doesn’t have com menting or messaging features, allowing musicians to

roducers, composers, and musicians can now add the Blue Devils drumline to their virtual sound libraries. The original audio collection, “Drumline,” can be downloaded through Spitfire Audio, which collaborates with composers, musicians, and engineers to provide sound and scoring tools for the film and television industries. Spitfire Audio libraries work within Digital Audio Workstation (DAW) programs. “We’re really excited to be partnered with them,” says Shaun Gallant, CEO of BD

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ELECTRIC MARIMBA frame to be collapsible and foldable, so the instrument can be easily transported—even in a personal vehicle. Glowka says he hopes that all of these features make marimbas more accessible—not just to percussion musicians but for all musical settings. The instrument is still in the beta phase. Its suggested sale price will be in the $5,500 to $5,800 range whereas typical marimbas cost $10,000 to $20,000. “The cost issue is also hacked away at,” Glowka says. Visit @modemarimba on Instagram for videos of the electric product. The company’s website is modemarimba.com.

focus on being creative without being bullied or trolled. “It’s fun, it’s easy, and it’s a completely focused app for musicians.” In fact, Ash believes one of Collab’s strongest features is its ease. “If you have iPhone headphones, you’re golden.” Ash believes Collab is the next big thing for music artists and can even be a place to be discovered. “I’m just excited to see where this app goes,” he says. Collab was created by the New Product Experimentation (NPE) Team at Facebook. Roland and Sam Ash helped market the app. Find it in the Apple App Store for free.

Performing Arts—the Blue Devils’ parent organization. Gallant adds that Spitfire Audio is known for its high-end work, and he is impressed with the quality of the recordings. The “Drumline” recording was produced at The Newman Scoring Stage at 20th Century Fox in Century City, California. Anyone who purchases and downloads the library can expect to hear “the true sounds of high-quality recorded marching percussion,” Gallant says. The Blue Devils already had a relationship with Extreme Music, which also creates audio

BLUE DEVILS’ SOUND LIBRARY libraries for entertainment studios, with an album called “Bang to Rights.” Extreme Music connected the Blue Devils to Spitfire Audio. Gallant says that the Blue Devils will continue to work with both Extreme Music and Spitfire Audio to produce more sound libraries. “Drumline” can be downloaded online for $29, or in four payments of $7.25, at spitfireaudio.com/originals/#drumline.

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Bowls DURING BANDS AT THE

COVID

Photo courtesy of the University of Alabama band.

HALFTIME MAGAZINE

BY FR ANK DIMARIA

Photo courtesy of The University of Notre Dame band.

hen the clock struck 12 a.m. on Jan. 1, 2021, no doubt many Americans felt elated to finally put 2020 in their rearview mirrors. As the new year dawned, though, 2020’s gloom and the pandemic that will forever be linked to it, still cast a long, dark shadow upon the landscape. New Year’s Day traditions, such as college bowl games and parades that generations of Americans have long taken for granted, seemed far different than what football and marching band fans have come to expect. The management committee of the College Football Playoff (CFP) decided that it would not allow spirit groups, cheerleaders, marching bands, or mascots at any of the playoff games or the championship game. “It was easy to see that coming, especially late in the season as the number of virus cases continued to increase around the country,” says Jeff Hundley, chief executive officer of the Allstate Sugar Bowl. Although bowl organizers waited as long as possible to make their announcements, the bands knew the inevitable. Even before the Atlantic Coast Conference championship game, Dr. Ken Dye, director of bands at Notre

Dame, knew his students would not go with the team to a possible CFP game for the Rose Bowl, which eventually moved from Pasadena, California, to Arlington, Texas. “It was a forgone conclusion,” Dye says. While several traditional bowl games had to be canceled, all of the New Year’s Six and many other popular bowls forged on. “The safety of our participating players and coaches as well as team fans, media, stadium workers, and our staff was our top priority,” says Gary Stokan, chief executive officer and president of the Chick-fil-A Peach Bowl. “We were very fortunate to be able to work with MercedesBenz Stadium, our partner conferences, and medical experts to create game-day protocols that ensured the safest environment possible for all those in attendance.”

GAME-DAY MUSIC?

Much of the college football atmosphere is created when opposing bands play pep music from the stands and march their elaborate pregame and halftime shows. Though nothing can take the place of a really good live marching band, bowls provided the homeviewing audience and those few football fans in

2021 New Year bowls incorporated marching bands as best as they could, using audio and video recordings to add to the game’s atmosphere. attendance with a taste of that atmosphere by playing prerecorded music and videos, Hundley says. “That part of the game-day experience is hard to replicate and was certainly missed,” he says. To fill that void, the Sugar Bowl played “a lot of canned music.” At the Outback Bowl, organizers played recorded fight songs periodically throughout the game. “We hoped that the fans that were able to attend or watch the game on TV could have a few hours of normalcy during a difficult year,” says Mike Schulze, director of communications and sponsorships for the Outback Bowl. “We are proud of the many people that made the game possible in very difficult circumstances and that we were able to do it in a safe environment.” At the Peach Bowl, the University of Georgia and the University of Cincinnati bands were “integrated into the game-day experience” with a video pregame and halftime performance as well as audio after each score, Stokan says. Prior to the Rose Bowl, presented by Capital One, and Sugar Bowl games, the CFP asked bands from the top teams to submit various video segments. The University of Alabama submitted prerecorded video and audio such as narrative blurbs and the National Anthem, JANUARY/FEBRUARY JANUARY/FEBRUARY 2021 2021

according to Dr. Ken Ozzello, director of bands at Alabama. Notre Dame provided a newly recorded version of its Oct. 12, 2019, halftime show dedicated to the 1969 Apollo 11 Moon Landing. To make the new video, his students physically marched to the drumline but mimed playing their instruments. Subsequently Dye dubbed audio that he recorded as his band played in concert formation. “They did not want us marching through aerosols,” Dye says. For the Allstate Sugar Bowl, Clemson University submitted an eight-minute pregame video and its “Legacy” halftime show from Oct. 30, 2020, honoring historical and inspirational Black figures. The Ohio State University submitted videos of its traditional ramp entrance and Script Ohio. It also provided its 2018 Queen show, a program that the band played at the 2019 Rose Bowl that season. At halftime, however, the Sugar Bowl did not air the submitted marching band videos. Because of its ties to New Orleans, the Sugar Bowl paid homage to the city’s musical legends 16

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in a 10-minute recording. Trombone Shorty introduced the segment, which featured a compilation of performances by Fats Domino, Irma Thomas, and Allen Toussaint. The Ohio State and Alabama teams later squared off at the National Championship game, which not only played both bands’ submitted halftime shows but also premiered a show by the College Band Directors National Association (CBDNA) Intercollegiate Marching Band (IMB). The IMB featured nearly 1,500 nominated performers from 200 college bands in 45 states and Puerto Rico, combining together virtually to play Beyonce’s “End of Time.” “We are grateful to the CFP for including college bands in the semifinal and championship games even when we can’t be there in person,” says Dr. Mark Spede, director of bands at Clemson University and president of the CBDNA.

REIMAGINED ROSE PARADE

Like this year’s bowl games, the Tournament of Roses “reimagined” the 2021 Rose Parade.

Rather than featuring live marching bands and fresh floral floats as it has since 1890, The Rose Parade’s New Year Celebration, presented by Honda, featured live-to-tape musical and marching band performances, segments about parade history, a look at floats from the past, and celebrity guests. The Pasadena City College Tournament of Roses Honor Band accompanied Tori Kelly on the opening number, the “Gift That Keeps on Giving,” and played for various transitions; the Southern University Human Jukebox performed via a recorded segment; and Kermit the Frog conducted a virtual segment of “Everything’s Coming Up Roses,” showcasing senior students from bands that had been invited to march this year. The two-hour special also featured musical performances by Cheryl Crow, Lady A (formerly Lady Antebellum), and Rita Moreno, among others. Former Grand Marshals including celebrity chef Emeril Lagasse, actor Gary Sinise, and legendary baseball broadcaster Vin Scully also made appearances. For the

A WELCOME DISTRACTION

Overall, bowl organizers and bands dealt with the ever-changing conditions with grace. “We all had to learn a number of lessons from the pandemic,” Hundley says. “Chief

among them is flexibility and the need to focus on what can be controlled and not so much on what can’t.” Alabama’s students demonstrated a flexibility and “stick-to-itiveness” that can’t be overstated, Ozzello says. For six weeks before the regular season started, they practiced without knowing how the season would unfold. “Their commitment to the program is unbelievable,” Ozzello says. “As the semester went on, I began asking students what percentage of their classes were online versus face-to-face, and [they said], ‘Band is the only class I’m taking face-to-face,’ The opportunity to get outside and gather with your friends, even though it was with a four-step interval and with a mask on, was an important diversion for our students.” Typically, The Million Dollar Band limits members to marching for only four years. Ozzello is waiving that rule and inviting seniors who are at Alabama for a fifth year to audition for the 2021-2022 band.

Dye shares Ozzello’s view, calling band “a bit of normalcy in a time that was not normal.”

ABOUT THE AUTHOR Frank DiMaria is a middle school computer teacher and a freelance writer currently residing in Fort Mill, South Carolina. On weekends he plays guitar for a progressive funk band called McGroover. His daughter, Briana, marched clarinet for the Fort Mill High School band, winning two state championships and a Bands of America regional. Frank worked pit crew for four seasons with Fort Mill.

Photo courtesy of the Pasadena Tournament of Roses.

broadcast, the Tournament of Roses teamed up with Feeding America to raise money for 21 million meals. “It was a unique opportunity to not only entertain our worldwide audience in new, dynamic ways but also to honor the Rose Parade’s 130-year tradition,” says David Eads, executive director and chief executive officer of the Tournament of Roses. “It was a fun-filled entertaining special that we think helped people kick off the New Year with that hope of new beginnings and joy.” Eads calls the TV special a six-month labor of love. “As soon as we announced that we would not be able to host the Rose Parade this year, we began work with our broadcast partners to develop what this TV special could be,” he says.

JANUARY/FEBRUARY 2021

INTRODUCING THE

INTERCOL

MARCHIN BY SAV Y LEISER

The CBDNA Intercollegiate Marching Band unified performers in a virtual show for the College Football Playoff National Championship game as well as on more personal, deeper levels. 18

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LLEGIATE

NG BAND Photos courtesy of the CBDNA Intercollegiate Marching Band.

arching band members at Ball State University in Muncie, Indiana, have long anticipated a bowl game performance. Though they could not accompany the football team to the Arizona Bowl—the school’s first bowl game in nearly seven years and first-ever bowl win—on Dec. 31, 2020, two of its members still had a bowl game performance through the College Band Directors National Association (CBDNA) Intercollegiate Marching Band (IMB). According to Caroline Hand, director of athletic bands at Ball State, she and her students are grateful for “getting the opportunity to do the Intercollegiate Marching Band since they had to miss the bowl performance.” The CBDNA IMB, presented by GPG Music and Our Virtual Ensemble in partnership with Halftime Magazine, Guard Closet, StylePlus, and

CollegeMarching.com combined nearly 1,500 nominated performers from almost 200 college marching bands in 45 states and Puerto Rico. Yamaha Corporation of America, DeMoulin Bros. and Co., Cousin’s Concert Attire, FlipFolder, FansRaise, and Tresona also supported the endeavor. The band’s premiere performance occurred virtually during halftime of the College Football Playoff National Championship game on Jan. 11, 2021. The show aired simultaneously on video screens at Hard Rock Stadium in Miami Gardens, Florida, and on the IMB YouTube channel. “I had high expectations when the project was first mentioned to me last fall [by CBDNA], and … the students have exceeded them!” says Bill Hancock, executive director of the College Football Playoff. “This makes me want to pull out my clarinet and go eight-to-five again.”

JANUARY/FEBRUARY JANUARY/FEBRUARY 2021 2021

Photo courtesy of the CBDNA Intercollegiate Marching Band.

UNITY AND VISIBILITY All marching bands experienced an unusual season in 2020. Some college ensembles played in the stands at games while some couldn’t step foot in the stadium at all. Other bands had their seasons canceled entirely. “A variety of programs have been sidelined due to COVID,” says Barry Houser, chair of the CBDNA Athletic Band Committee and director of athletic bands at the University of Illinois at Urbana-Champaign. “[The IMB] is an opportunity for our students … to participate in something marchingband-esque on a national scale.” CBDNA sought to create a post-season bowl game performance that many bands were denied in 2020. According to Houser, the IMB had two main goals: “to unify college band programs throughout the country” and “to make sure college bands were still visible.” As the director of a Big 10 band, Houser appreciated the performance opportunities for his students. “The Big 10 Conference did not allow fans, bands, or dance teams to be a part of the season this fall,” he says. “We were primarily confined to Zoom rehearsals. The IMB provided a chance to perform again, the ability to practice and work toward a goal.” For the combined performance, the IMB played Beyonce’s 2011 hit song “End of Time.” Scott Boerma, director of bands at Western Michigan University, and Chuck Ricotta, the percussion instructor/arranger for the University of Michigan Marching Band, created the marching band arrangement for the IMB. Houser cites the “natural marching band sound” in “End of Time” as a reason for selecting the song. “First, there were some ideas about [performing] something patriotic in nature,” Houser says. “We wanted to do something different, something that was going to spotlight one of the great artists of today’s time.” Color guard and dance team members received 10 to 15 seconds of choreography designed by Michael Rosales, lead choreographer for Santa Clara Vanguard Drum and Bugle Corps, while twirlers and majorettes performed segments designed by Lexi Duda, a national and World Champion twirler previously with the University of Maryland. Dissecting the choreography into shortened segments helped highlight the different styles of schools across the country and streamlined the 20

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video editing process. Each band could nominate up to five musical performers, including winds, brass, and percussion, as well as five auxiliary performers, including guard, dance team, drum majors, and twirlers, to participate in the IMB.

BEHIND-THE-SCENES LOGISTICS

Compiling a performance with nearly 1,500 members required some logistical planning. IMB producers suggested that students wear uniforms to showcase their school colors, creating a unique but worthwhile challenge for band directors. “We had not checked out uniforms this year because we’d have to be gathered inside,” Hand says. Nominated students from Ball State retrieved their uniforms “one at a time with a staff member who was also masked.” At Northwestern State University in Natchitoches, Louisiana, members of the Tau Beta Sigma band sorority set up a series of pickup times for students to safely retrieve their uniforms. For recording their individual parts, students and bands also needed to problem-solve. “Some did it in their apartment or dorm; some did it out on the practice field with a video or phone,” says Daniel McDonald, assistant director of bands at Northwestern State. Students found a plethora of interesting places to record. “My band director takes up photography and videography as a hobby; he let everyone who was recording instrumental parts [go] to the band room, where he had a black backdrop for his photography,” says Carl Walden, a trumpet player from the University of Alabama at Birmingham. “We had a laptop [set] up to the side and had headphones behind us.” Some bands allowed students to record in their stadiums. Hadley Deputy, a color guard member from Old Dominion University in Norfolk, Virginia, went to the stadium with a music stand, a camera, and a laptop. “My boyfriend would start the camera [and] push play on the computer [with] the audio,” Deputy says. “It took three hours to film it all.” Other students had to record from home. “For the video, I did the rifle work. I went outside in my backyard and set up a camera,” says Maeve St.Onge, a color guard member from Sacred Heart University in Fairfield, Connecticut.

Students submitted their videos using Our Virtual Ensemble, a program created by GPG Music. The program walked students through the process of recording. “They make the recording to a video of a conductor, which has a backing track with a metronome click,” says Steve Martin, owner and chief executive officer of GPG Music. “It’s almost like being in the recording studio.”

HOURS AND HOURS OF CLIPS

Through Our Virtual Ensemble, Martin had edited many virtual performances before; however, he says IMB was 10 times bigger than most of his other projects. “Normally we work with … maybe 50 [to] 120 videos,” Martin says. One of Martin’s goals during editing was to keep the spotlight on the students themselves rather than on special effects or graphics. “Our goal was to show as many people’s faces as much as possible,” Martin says. Martin used Adobe Premiere to edit the video clips. “When the students create the videos, … there’s dead space” based on when students start playing after pressing record, Martin explains. “We line up the videos horizontally. … Then we start pulling the audio out separately and send it to the sound engineer to balance things.” Martin hired John Meehan, brass caption head for the Blue Devils, as the project’s audio engineer. Meehan edited the audio in Logic. Three editors worked on the video during a span of more than two weeks. Martin says that he spent about 60 hours editing the video while his other team members spent at least 70 hours each. Some students also helped in the video editing process. Hannah Butler, a trumpet player for the University of Northern Iowa in Cedar Falls, worked on the video introduction and the outro credits. “I worked with Florida A&M University [FAMU] to get footage of their drum major doing a field entry,” Butler says. “[We edited] it together to have a virtual field entry to start the show.” Deputy also helped organize the credits in her role as student logistics team lead. “We went through a list of the [registrations] and cross-referenced them with the video submissions,” Deputy says. “I had to type up a really long list of people to send over to the video editors to make sure they [got] it all in the credits.”

MORE THAN JUST ONE SHOW

The IMB is not only about one halftime performance; the organization also built a band community online. “The halftime performance is the shining star to say, ‘We’re here,’ and everything that follows is going to be much bigger,” says Walden, who also worked as the student programming lead for the IMB. Walden’s work included planning a pregame livestream before the official video debut as well as organizing a series of roundtable discussions. After the initial halftime performance, the IMB released the roundtable interviews, one per day for several weeks, on its YouTube channel. “We discussed band traditions, how COVID affected [their] season, [and] tips and advice for high schoolers wanting to audition up to the college level,” Walden says. “There’s some really good information I wish I had coming into college.” To promote the big halftime performance and all of IMB’s new video content, social media teams worked to build up IMB’s Facebook, Twitter, Instagram, and YouTube pages. As the student spotlight leader, St.Onge produced social media graphics highlighting individual students from each participating school. Deputy, who also works on the student public relations team, emailed each band director with a customizable press release, photos of their students, and social media graphics. A student team also created the IMB website at cbdna-imb.com. Nicholas Ziolkowski, a trumpet player for Temple University in Philadelphia, Pennsylvania, and the student leader for the web develop-

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ment team, worked with Deputy and two other students to showcase the IMB’s bands, sponsors, videos, and performance information on the site. “I am a management information systems major,” Ziolkowski says. “This was an opportunity to have a real-life project that could possibly have a huge impact on an organization as well as this upcoming community.”

PRESENTING PARTNERS:

ONE BIG COMMUNITY

As a byproduct of these student-led teams, performers across the country formed close relationships with one another and worked closely with IMB founding partners. “Not only do you get to work with people who are knowledgeable in their field, [but] it’s also cool to meet people across the country,” Walden says. “I’ve already made friends with the FAMU drum major.” Multiple student leaders say that they were glad to make industry connections and gain on-the-job experience. “Speaking as student spotlight leader, I’m getting connected with so many industry professionals,” St.Onge says. Deputy echoes the sentiment. “My major is graphic design, and I want to get into advertising in the future,” she says. “I figured this [experience] would help with skills, … especially with designing a website.” Even outside of teams and leadership positions, IMB members have formed friendships through full-band Zoom calls. “We’ve gotten to do breakout rooms and go to our instrument groups,” Butler says. “I got to meet trumpets from all over the U.S. We were talking like old friends and getting to know each other. Even though we go to different schools and have different experiences, we’re all one big band community.” These Zoom calls provided students with a much-needed sense of community. “I didn’t realize how involved, how elaborate [the IMB] was going to be, how much more than submitting a recording it would be for these students,” says Casey Goodwin, director of athletic bands at the University of New Hampshire in Durham. “They’ve been meeting on Zoom. There’s been more interaction. They’ve been having fun doing this.” Band directors, especially those outside of Division 1 schools, have enjoyed getting to work on a large-scale national performance. “Our students don’t necessarily get all those big D1 opportunities yet since we’re just now transitioning in,” says Dr. Gary Westbrook, director of athletic bands at Tarleton State University in Stephenville, Texas. “For our students to get an opportunity to participate in a virtual performance at the national championship, we’re gonna do it!” While the pandemic has been a dark storm cloud over the marching band season, the IMB has been somewhat of a silver lining. “COVID has [not] been a positive thing, but … we’ve reimagined what we can do,” Houser says. “We’ve been able to pull 200 programs together in a performance that’s going to unify almost 1,500 college students.”

FOUNDING PARTNERS:

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STRATEGIC PARTNERS: ABOUT THE AUTHOR ®

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Savy Leiser is a Chicago-based author, journalist, and freelance editor. In addition to writing for Halftime Magazine, she is the author of the “Furever Home Friends” children’s book series. Savy graduated in 2015 from Northwestern University, where she was a member of the Wildcat Marching Band. She recently received her Master’s in Writing and Publishing at DePaul University.

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Photo of Claudia Taylor Johnson band, courtesy of Texas University Interscholastic League.

With everyone focused on safety and community, Texas and Utah pulled off in-person high school marching competitions while most other band circuits turned to virtual events.

A FRAGILE FALL MARCHING SEASON

BY K ACIE BROWN

he Claudia Taylor Joh nson marching band is celebrating it s f i r s t Te x a s U n iv e r s it y Interscholastic League (UIL) 6A S tate Ma rch i ng Ba nd Championship. But the band’s ultimate victory—making it all the way through such a fragile 2020 season—took more dedication and sacrifice than ever before, according to Jarrett Lipman, director of bands. “There was a risk in pursuing a season, but it also gave the kids a sense of renewed

determination to overcome the challenges,” says Lipman, who was recently named one of Yamaha Corporation of America’s “40 Under 40” music educators in the country.

BALANCING SAFETY AND NORMALCY

Community sticks out as the driving force behind the efforts of competition circuits and band directors in the fall of 2020. Decisions about how the marching band season would look depended largely on regional health

conditions and guidelines. With safety as the preeminent factor, many decisionmakers also prioritized normalcy. After months of virtual learning and isolation endured by students in the prior spring, educators and supporting organizations across the country worked tirelessly to give marching band participants some sense of the communitydriven, music-filled fall that they would normally have. After lengthy discussions with band directors across the state, the Utah Music JANUARY/FEBRUARY 2021

Photo courtesy of Music for All.

Educators Association (UMEA) decided to move forward with in-person competitions. The organization left participation up to each individual band, and all but three groups decided to compete. “Our whole premise going into it was that if we’re going to have football, then we’re going to have marching band,” says John Miller, UMEA Marching Band Committee Chair. The Texas UIL felt similarly. “We didn’t want, at the state level, to tell every school and every student across the state that they could not participate,” says Dr. Jamey Harrison, Texas UIL deputy director. T hose ideas d rove st udents i n t he Thorndale (Texas) High School marching band, too. They hit obstacles like split schedules and COVID-19 cases early on. “We just had a hodgepodge of students to work with in the beginning,” says Michael Powers, director of bands. “They knew that other schools were meeting five days a week as normal, but they told me they would work harder, smarter.” On a national level, Music for All (MFA) waited as long as possible to cancel its Bands of America Grand National Championships but also knew that groups would have a limited ability to travel. Instead of its normal events, MFA streamed three live showcases open to any ensemble from drumlines to jazz bands. “We wanted to serve music programs where they were,” says Deborah Laferty Asbill, MFA’s vice president of 26

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marketing and communications. Higher case numbers and more restrictions meant a virtual season looked most plausible in the northeast. As part of a renewed commitment to serving bands’ specific needs, USBands formed a focus group of 12 band directors early on to help plan the season. The directors’ feedback was telling, says Sean King, USBands executive director. “In one conference call, we asked everyone, ‘What’s going on in your school district?’” King recalls. “The first person said, ‘We’ve got seven minutes ready to go,’ and the absolute next person said, ‘We haven’t been able to pick up our instruments in three months.’ We knew at that point that we were going to have to be responsive to whatever was going on in the communities.” Therefore, USBands built an eight-week virtual season that mirrored the rhythm of a normal competitive season. Every week, bands recorded performances at rehearsals or football games, sent their videos in, and received commentary. “We even did an awards ceremony, trying to make it as much of a real-feel as possible, even though you weren’t getting on a bus, going somewhere, or seeing other bands perform,” King says. Tournament of Bands (TOB), also based in the northeast, chose a virtual season as well. It featured more than 100 performances during a 10-week period. A unique panel of

judges each week gave groups feedback from many perspectives. They weren’t focused on competition, though. “Everything we did was based more on educational support and survival for band programs,” says Jeff Dent, TOB director. Last spring, Cavalcade of Bands planned to move for ward with live shows, but changes in the area’s health situation forced it to pivot. The organization offered two options to bands. Participating groups could either submit videos for commentary or have a live clinic through a partnership with West Chester University. Professors from the university led two-hour clinics personalized to each band’s needs or interests.

CHANGING EVENT PROTOCOLS

The states that allowed in-person marching events worked closely with health officials to create guidelines for students, supporters, and directors. UMEA asked show hosts to consult with local health department officials, school districts, and administrations to make sure they followed all the necessary guidelines. Miller says that each event operated a little differently, but that most hosts limited show seating to 25 percent capacity. They also had strict schedules for participating bands that prevented them from watching the other participants, but a local television station broadcasted all the events live.

The guidelines seemed to work. Brek Mangelson, director of bands at Farmington (Utah) High School, says that simply following protocols kept the band performing. The band was thankful not to have any student-tostudent COVID-19 transmissions and didn’t miss a show, he says. Farmington completed the season as 5A Utah state champion. “The students sacrificed a lot to stay healthy, so being able to compete and have the success they did meant everything to them,” Mangelson says. Effective, detailed communication between UMEA, directors, and parents led to the effectiveness of the season’s protocols. “I’m shocked to even say this, but we never got a single complaint,” Miller says. “I just think everybody knew that this was going to be a different year and that they had to have patience with this. They were just excited to be having marching band.” The Texas UIL collaborated with several agencies and its own medical advisory committee to create extensive guidelines for its bands and events. The organization capped stadium capacities at 50 percent, required everyone older than 10 to wear a mask, and suggested online programs and tickets to limit contact. Virtual events operated with safety in mind, too. USBands broke down divisions based on the number of participating students rather than school size. Judges took local regulations into account. Connecticut, for example, required a 12-foot space between students while most other states only required 6 feet of distancing. King says judges had to focus on what they were seeing rather than what they wanted to see.

DEALING WITH FINANCIAL RAMIFICATIONS

Band programs and marching organizations also adapted their seasons to limited funding. Most organizations focused on creating educational value rather than financially lucrative events. “We tried to create a program that would at least break even, so that we could afford to give our adjudicators something for their time and still make it affordable for the bands,” Dent says. Virtual programs were able to operate with relatively low budgets without venue and travel expenses. Referring to USBands’ decisions about creating an affordable, virtual season, King says, “It wasn’t going to do much more than keep the lights on, but it was a mission-driven decision.” To participate in Cavalcade of Bands programming, bands had to pay their yearly membership fees. To help offset those costs,

Cavalcade of Bands provided a free virtual adjudication for each band and paid half of the cost for each live clinic. Without major events and ticket sales, MFA did have to furlough staff. It reduced expenses and relied on donor support to stay afloat while trying to keep entry fees for its showcases modest. “There really was a community that pulled together to make sure we moved forward,” Asbill says. On the other hand, the canceled season opened up new educational avenues. “[Music for All] had to look at new ways to serve music educators and students that we normally wouldn’t have the time to develop,” Asbill says. MFA held several webinar series that focused on topics like career-related guidance for young music educators and teaching social-emotional learning through music. The organization hopes to continue these educational endeavors beyond the pandemic, Asbill says. MFA is also optimistic for next year. More than 260 bands have already registered for the 2021 season, Asbill says. With its virtual fall marching season being so well-received, USBands has created a virtual season for concert and jazz bands this winter. Marching groups can participate as well. The Tournament of Bands enjoyed the chance to support bands in a new way, Dent says. “We didn’t focus on what we needed to get more points; we focused on how students could perform better,” he says. Surprisingly, UMEA found a ticketing system that it might continue because of its success, Miller says. To limit crowd sizes and allow time to sanitize, show hosts sold tickets in blocks of four or five bands based on their classifications. “Every show made more profit this year than it ever had,” Miller says. For some bands, these opportunities didn’t just give students something to work toward. The activities kept their programs afloat. “One of the most gratifying things that came out of this was an email from a band director that said, ‘Thank you for putting this together because without this, we wouldn’t have marching band this year,’” King says.

CELEBRATING SUCCESS

The champion bands all emphasize student buy-in as a crucial factor in getting through the season. Lipman says his students committed to the phrase, “Stay positive, test negative,” to keep the season moving forward. He says students made sacrifices outside band, like avoiding gatherings and limiting

exposure to keep their friends healthy. The season’s challenges seemed to make its end even more meaningful. “With so much sadness in the world, the season gave them something positive to get up for everyday and look forward to,” Lipman says. “We said from day one, the victory of the season was making it to the end with everyone healthy and celebrating together.” Powers, who contracted COVID-19 himself, says his students’ steadfast dedication actually made the year more fulfilling than any other. “These kids just kept working,” he says, adding that section leaders stepped up to performance preparations. The students’ commitment led Thorndale to a 2A Texas UIL state championship. Powers says that walking off the field at the Alamodome filled him with emotion. “It all hit me—how hard they worked to get here, how many obstacles they had to overcome,” he says. “All of these things, and they were still able to make it to this moment.” Claudia Taylor Johnson’s band experienced similar feelings. “We felt an incredible sense of accomplishment and relief walking out of the tunnel,” Lipman says. For those that persevered, marching band filled an even bigger role in students’ lives than normal. “Students have faced isolation and uncertainty in ways they’ve never faced in their lives, so to have the opportunity to be with their cohorts in the marching band and work together to achieve a common goal really provided some additional benefits this year,” Harrison says.

ABOUT THE AUTHOR Kacie Brown is pursuing a Master of Music degree in saxophone performance at Indiana University, where she completed her Bachelor of Music with a certificate in journalism. In 2019, she won the inaugural Elise H a l l C o m p e t i t i o n fo r E m e r g i n g Saxophonists. She regularly performs with her chamber ensemble, the Kanaderu Saxophone Quartet, which appeared at the U.S. Navy Band’s International Saxophone Symposium in 2020. She was a member of the Broken Arrow (Oklahoma) High School band from 2012 to 2016. JANUARY/FEBRUARY 2021

Photo from Michigan State University 2019 Homecoming game.

MICHIGAN STATE UNIVERSITY BY SAV Y LEISER

PHOTOS BY MARK HANSEN PHOTOGRAPHY

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xxx

he 2019 to 2020 school year marked the 150th anniversary of the Michigan State University (MSU) band program. To celebrate, members of the Spartan Marching Band teamed up with alumni for a combined halftime performance at the fall 2019 Homecoming game. In the spring of 2020, concert band ensembles planned to play new pieces to commemorate the anniversary until the COVID-19 pandemic caused MSU—and practically all schools—to go completely virtual. Following the postponed celebration came a canceled 2020 marching band season. According to David Thornton, associate director of bands and director of the Spartan Marching Band, MSU is focused on the future and says that the Spartans’ family-like culture has helped the band move through this uncertain time together. Halftime: Congratulations on your 150th anniversary! What celebrations did you hold? Thornton: In the 2019-2020 school year, we had an alumni band reunion. … I was

responsible for coordinating what was the largest Alumni Band Day that we’d ever had. We had 900 people come to participate. … We had several former directors come back. We had folks that were in the band in the 40s and 50s come back and participate. That was really special. Last April [2020], we were supposed to have [an] indoor concert with each one of our concert ensembles. That was postponed. We scheduled it for this past fall, but we weren’t doing anything in person on campus, so we haven’t celebrated that part yet. These pieces that have been written for each one of our concert ensembles haven’t been played; that’s been a little frustrating, but we will have a celebration at some point. Halftime: How has the band program adapted to COVID restrictions? Thornton: MSU has been fairly reserved about allowing on-campus activities and classes in person. We’re doing a little bit more this semester, which is a step up from doing nothing in person last semester. Last fall, the whole university was virtual. … This semester, we have three in-person bands,

and we have a virtual ensemble. … The largest group that’s going to be [physically] together is 15 or 16 people. Halftime: Since Big Ten bands didn’t perform at football games during the 2020 season, what activities did the Spartan Marching Band do during that time? Thornton: We met [virtually] twice a month on our usual Monday evenings. We did some history nights where we talked about the band. We did some marching fundamental review. The students and the leadership teams organized various social events to create community. … Playing [music] over the internet doesn’t really work; we didn’t try to force a square peg into a round hole. … Those bimonthly events didn’t have 100% attendance. … We probably had about one-third of the band participate regularly, so about 100 students. Now, we’re focused toward 2021. We’ve elected our next leadership team. We’re going to try to transition from “I miss the 2020 season” and think more optimistically toward the 2021 season. Halftime: The Spartan band created a seven-page history section on the website at spartanband.net/history and has created a new highlights CD; what are your plans for releasing the album? The Michigan State University Strolling Spartans Alumni Band from 2019.

The band program at Michigan State University experienced extreme celebrations and extreme disappointments during its 150th season but already looks toward 2021 for new opportunities and the release of its commemorative CD. Thornton: We have the CDs; they look great. They’re highlights from two years ago. Some of the songs that we played at the 150th reunion are on there. … At some point, it’s supposed to be on Apple Music and Spotify. We recorded all of those things in the 2019 year. … It takes the spring to produce and edit. The CDs got here around October. We were a little delayed, given all the setbacks. They’re sitting here in my office, and they’re ready to be out in the world hopefully next fall. We sell them here locally and at tailgates. Halftime: You became marching band director in 2017. When you transitioned into that new role, what changes did you make, and what traditions did you uphold? Thornton: This is my fourth year as the director. I’ve actually been at MSU and involved in the program for nine years total. I came here in 2012 to do some graduate work. I ended up staying and getting both my Master’s and my Doctorate [degrees] here. I was in the assistant director role for a couple years. When I came here, I was overwhelmed with the ability level of the band. I will say that the transition was challenging, taking over for someone who had been here for so long. I was the young new guy. … When I look back on it now, I’m really proud of the work we’ve done in four years. Halftime: What advice would you offer other band directors taking over a program with such a long and rich history? Thornton: You’ve got to take everything one step at a time. Trust isn’t built overnight. You’ve got to be consistent about what you believe. Making wholesale changes in your first year at any new job is probably not smart. I have a lot of respect for the system we have in place here. A mentor of mine many years ago told me, “Only change what you can’t live with

in your first year.” Maybe you tackle those things [first], and over time, you start to shape the vision and culture. Halftime: Culture is clearly important to the Spartan Marching Band. How would you describe the band’s core values? Thornton: If you were to talk to my students and ask them one word to describe the marching band, I’d bet most of them would say the word, “family.” A lot of our students find a home in our marching band. I take a lot of pride in the way we treat each other and the amount of respect we have for each other. It’s really cool to be the second oldest band in the Big Ten. … We talk about our history. … The students take a lot of pride in that. I’m not sure the 19-year-old version of myself would’ve taken as much time to absorb some of that.

ABOUT THE AUTHOR Savy Leiser is a Chicago-based author, journalist, and freelance editor. In addition to writing for Half time Magazine, she is the author of the “Furever Home Friends” children’s book series. Savy graduated in 2015 from Northwestern University, where she was a member of the Wildcat Marching Band. She recently received her Master’s in Writing and Publishing at DePaul University. JANUARY/FEBRUARY 2021

Though challenges seemed daunting, the Temple University marching band forged ahead with innovations and unequivocal joy.

LEADING IN A GLOBAL PANDEMIC BY SAMANTHA JENNINGS

n March of 2020, I remember having countless conversations with members of the Temple University Diamond Marching Band saying, “I know this is hard now, but there is no way that things won’t be back to normal by football season. Just keep looking forward to band!” Boy, I couldn’t have been more wrong! When COVID-19 made its entrance in our lives, I don’t think anyone could really conceptualize for how long and by how much our lives would be impacted; but for so many marchers, we held on tight to just the IDEA of marching

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band in the fall. That idea, though, was beyond complicated to bring into fruition.

MEETING PROTOCOLS For Temple University, being located in the city of Philadelphia was our first challenge. While the state of Pennsylvania had its own overall COVID-19 guidelines, the city had even greater restrictions. With frequently changing parameters from the city and from our university, we weren’t cleared to begin planning our marching season until about two weeks before the start of band camp. We

were allowed to have only 50 participants together at a time. I remember thinking: “How the heck am I supposed to make band camp exciting for 200 people, cover everything, and have fun, but we aren’t allowed to play, have social gatherings, and can only have 50 people together at a time?” The task seemed impossible. We eventually created a rotating group schedule. For band camp, we split each section—with the exception of drumline and color guard—into an A group and a B group and evenly dispersed our leadership staff.

For ongoing rehearsals, we split the band into four small ensembles, each with full instrumentation as well as drumline and color guard. That way, we would be able to practice with all parts. About halfway through the season, we switched people around within the groups, allowing different members of the band to get to play together. By creating four small groups, we minimized the amount of drill that each ensemble learned, expediting the show learning process as best as we could under the circumstances.

REMAINING UNDETERRED! In the Temple University Diamond Marching Band, we learn a new show for each home game, and COV I D-19 did not stop us! Throughout the season, we put together a modified pregame show, a show of band standards (songs we keep every year), a Britney Spears show, and our annual Senior Show when the senior class selects four songs from their past years in the band. To complete each show, the amazing video committee—comprised of students within the band—recorded each group and then worked tirelessly to unite all four bands onto the screen together as one. Often the video team had very little turnaround time to send the completed shows to athletics. All of our shows were played in the stadium at halftime and streamed with the game online and then on our band’s YouTube channel. Since we never got the full band together on the field, the premiere of each show on game day proved extra special because we could see the whole band perform as one unit! At one point, the city’s restrictions opened up a bit, so that we could consolidate our four bands into two. That was a huge moment for our band as more of us could play together on the field but also a little scary as COVID-19 cases were rising at

the time. About 100 members of the band performed pep tunes in the stands at the Nov. 7 game and also played along to the muted video recording during halftime. Shortly after our only game-day appearance at Lincoln Financial Field, we found out the unfortunate news that the final two games would eliminate fan attendance and that our season would end prematurely. While the abrupt shift upset many people, especially fellow members of the senior class, I don’t think any of us were truly surprised, especially since Temple University had started the season without fan attendance. I am always taken away by the kindness within our band, but in this heartbreaking moment for so many of us, the outpouring of love from one another was beautiful. It reminded me that, yes, we do band because we love performing and cheering on our teams, but we also come back every year because we are a family, and we love being on the field together.

CONNECTING ACROSS THE COUNTRY In late October, I found out about the College Ba nd Directors Nat iona l A ssociat ion Intercollegiate Marching Band (IMB) from my band director, Dr. Matthew Brunner. He had nominated me to perform as a drum major with the IMB, which would unite performers from colleges across the country in a virtual performance. One of my favorite parts of band has always been getting to travel and meet other ensembles, so the idea of connecting and performing virtually with so many marchers from all across the country seemed incredible! After submitting my performance, I also became a member of the logistics staff, which helped verify all of the performers’ names to

be listed in the end credits! Getting to work firsthand with the logistics staff and seeing all the names of performers and universities/ colleges that were a part of this performance was an exciting and incredibly humbling experience!

LOOKING BACK Even though this season was not what we were expecting or what we necessarily wanted, it was unforgettable. Many moments in this season were far from perfect and often made me wonder: “How are we still doing this? Are people even having fun? Am I doing enough for my band?” But I would think back to what I kept saying in March: “Just keep looking forward to band.” I remember when we played together for the first time in the first week of the semester. I saw my friends without masks on to prepare to play. When I stood on the podium and looked across the field, I saw smiles of unequivocal joy. This feeling is why we always come back to band. Being on the field together as a family brings incomparable happiness that no mask, no guideline, and not even a pandemic could take from us.

ABOUT THE AUTHOR Samantha Jennings from Allentown, Pennsylvania, is a fifth-year senior, double majoring in clarinet performance and music education at Temple University. Samantha has been a member of the university’s marching band since her freshman year. Originally a member of the clarinet section, she then served as a drum major for three years. She has also arranged music for the ensemble.

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JANUARY/FEBRUARY 2021

Avoid slips, trips, and falls, especially during the indoor marching season.

DON’T BREAK A LEG BY JUSTIN EBERLY

For future seasons where you may be a show host and planning on opening a concession stand, monitor for spills on the floor and clean up promptly. Designate an area for spectators with limited mobility to avoid stairs, utilizing ramps if available.

lips, trips, and falls happen. For some of us, they occur more f re q ue nt ly t h a n for ot her s ! According to the Occupational Safety and Health Administration, slips, trips, and falls account for the majority of workplace injuries in the United States each year. We can speculate that these incidents account for a large number of injuries at indoor marching rehearsals and performances too. A simple risk assessment and a few proactive steps can prevent incidents this season.

SLIP HAZARDS

T he g y m na siu m a nd h a l lw ay s t h at surround it have no shortage of waxed and polished floors. These surfaces can easily become a slip hazard. In the event of inclement weather (snow, ice, or rain), deploy all-weather floor rugs and hazard signs near entrances. If tarps are used as part of the show design, be sure that they are taut on all sides and adequately secured to the floor. If possible, add traction to the mat surface. Performers could also wear slip-resistant footwear as part of the uniform design. 32

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TRIP HAZARDS

Trips are most often caused by obstructions in walkways. The same all-weather floor rugs that can stop slip hazards have the potential to create a trip hazard if the rugs are not firmly secured to the floor. If electronics are being used for front ensembles, audiovisual and electrical cables should be routed to avoid walkways used by performers or spectators. Use of cable guards or tape can help to prevent trips and equipment damage. Finally, conduct a walk-through inspection to identify and address trip hazards, including unnecessary clutter. A walkthrough inspection is a great time to check the general emergency preparedness of the facility, especially before hosting your next event. Know the locations and accessibility of emergency exits, fire alarm pull stations, fire extinguishers, first aid kits, automated external defibrillators (AED), and emergency call boxes. Make sure that evacuation routes are clearly posted near each exit.

FALL HAZARDS

Props used by indoor ensembles may include ladders, steps, platforms, or ramps. Any height above ground level presents

a vertical fall risk. Add traction to these surfaces to prevent slip hazards or falls. As the distance of vertical ascent or descent increases, drill design should consider the use of a spotter while the equipment itself should have adequate railings or handles. Unfortunately, the pandemic has sidelined our activity for nearly a year. With so many other precautions on our minds, take a moment to ensure that a slip, trip, or fall injury does not sideline anyone in your ensemble this season. Whenever your next performance may be, break a leg! Wait … don’t do that!

ABOUT THE AUTHOR Justin Eberly is a volunteer firefighter and active emergency medical technician in Cumberland County, Pennsylvania. He presents emergency services educational and training programs locally and nationally. Eberly has played trumpet for 15 years, previously performing with Cumberland Valley High School in Mechanicsburg, Pennsylvania, and Shippensburg (Pennsylvania) University. He also serves as a marching band instructor.

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Because we all need a reason to laugh, and the marching arts can be pretty funny.

TALES FROM BAND CAMP

AMY BROWN

Written by DJ Corchin Illustration by Dan Dougherty

Amy Brown is the author of “Tales From Band Camp,” a webcomic featuring marching band and music in general. She lives in Simpsonville, South Carolina, with her husband, two cats, and two daughters, one who plays flute and the other who plays tuba! Amy plays bassoon and is still active in the University of Georgia Redcoat Band Alumni Association along with serving as co-president of the Hillcrest High School Band Booster Club. She also considers herself a "professional" Girl Scout volunteer.

The Unscalable Wall My marching band and I reached an unscalable wall. We tried to climb over but it’s impossibly tall. It’s a million feet wide, and a billion yards up. We tried to march through it but that wasn’t enough. There were words on the wall that were scattered about. Words like difficult, impossible, fear, and self doubt. Sometimes we’d feel like we wanted to quit. That the wall was much bigger than we’d like to admit. But we’d pick ourselves up, and break down our parts. We’d drill in our moves ‘till we knew them by heart. The judges would judge us show after show, The wall’s shadow upon us wherever we’d go. But when Finals arrived the words were not taunting. The wall was still there but it wasn’t as daunting. In the end it was us that the audience crowned. We made a wall of our own, a wall of our sound. 34

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DJ CORCHIN DJ Corchin, otherwise known in the band world as The 13th Chair, has been involved in music education since learning to play the viola in third grade. And by learning, he means immediately forgetting how to play it the following year when he started on trombone. Growing up in the band world, DJ graduated from DePaul University in Chicago, Illinois, with a degree in music education and immediately did not use it. Instead he became a featured performer riding a unicycle and playing the trombone in the Tony and Emmy award-winning Broadway show, “BLAST!,” as one does. Shortly after, he became a high school band director developing BAND NERDS for future world domination. When a takeover didn’t materialize, he stared a career as a children’s author, writing books about kindness and communication. As one does.

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