Happy Newyear

Bandmasters Review An Educational Publication of the Texas Bandmasters Association

Happy NewYear

2012-13 Patron Sponsor

MARCHING SHOW December 2012 • Volume 14, Issue 2 CONCEPTS Professional Development Outreach Program Presented by Texas Bandmasters Association for directors. CPE Credit offered. Register on site on the day of the clinic. Check the TBA website for updates.

Sponsors:

Vertical Alignment in the Band Hall: Methods, Strategies, and Curriculum to Energize Your Band • David Brandon • January 26, 2013 • Lindale High School

Preparing for Success at UIL Contest • Michael Brashear, Brian Merrill • February 25, 2013 • United ISD, Laredo The Midwest Clinic Performances Congratulations to these Texas schools on their performance at The Midwest Clinic in Chicago this month!

Bands Chamber Ensembles Cinco Ranch Junior High Honors Band Shadow Ridge Middle School Haltom High School Percussion Ensemble Rory Davis, director Honor Winds Rene Rosas, director Katy, TX Chris Meredith, director Haltom City, TX Flower Mound, TX Faubion Middle School Henry Middle School Trombone Ensemble Symphonic l Band The Woodlands High School Robert T. Herrings III, conductor Brian Beck and Brittney Williams, Wind Ensemble Ryan M. Staten and Rachel A. Lynn, directors Joni Perez, director assistant conductors McKinney, TX The Woodlands, TX Cedar Park, TX

Lone Star Wind Orchestra University of Houston Moores School Keller High School Chamber Winds Eugene Migliaro Corporon, Wind Ensemble Darla McBryde, director music director and conductor David Bertman, director Keller, TX Dallas, TX Houston, TX McCallum Knights of Steel Marcus High School Wind Symphony Matt Ehlers, director Amanda Drinkwater, director Austin, TX Flower Mound, TX Westwood Percussion Ensemble Sarah Santa Cruz, director Austin, TX Bandmasters Review An Educational Publication of the Texas Bandmasters Association

Features TBA News

Inside Inside front cover The Midwest Clinic Performances front cover Professional Development Outreach Program 9 Developing Positive Practice Habits by Dr. Tim Lautzenheiser 3 From the Board

10 The National Association of Military by Richard Herrera, 2012-13 TBA President Elect Marching Band Contest 5 From the Board by Steven Moore, 2012-13 TBA Treasureer 11 Life Is Short. Do What Matters. by Randy T. Gilmore 6 Proud Of Texas Bands! by Michael Brashear, Executive Director 13 Teaching Musicianship in Band by Fred J. Allen 22 What Would You Like To See At The 2013 Convention/Clinic? 17 Clinicians: What Are They Good For? 22 2012-13 Region Representatives by Merlin “Pat” Patterson, Randy Vaughn 23 Getting “That Sound” by David Brandon 27 Trumpet Fundamentals by Will Strieder 32 Congratulations to the UIL Marching Contest State HappyHolidays Champs from the Texas Bandmasters Association

TBA publishes these educational articles for your use in the classroom and rehearsal hall and to share with your students as you wish. The opinions and teaching methods are those of the authors and not necessarily shared by all members of the TBA staff and Board of Directors. BANDMASTERS REVIEW is an educational publication of the Texas Bandmasters Association. The magazine’s purpose is to assist TBA members in achieving the highest standards of instrumental music education. bandmasterS review is a quarterly publication and is mailed to current Active/Retired and Business Members of TBA. If your address has changed, please contact the Texas Bandmasters Association office: 1002 Central Parkway South, San Antonio, TX 78232 Ph: (210) 492-8878 Fax: (210) 492-8996 www.texasbandmasters.org

Bandmasters Review • December 2012 1 Texas Bandmasters Association Bandmasters Review • December 2012 2 Texas Bandmasters Association Texas Bandmasters Association From the Board 2012-13 Board of Directors Richard Herrera, 2012-13 TBA President Elect

Alfredo Vélez III President Lone Star College-Kingwood Each year I have served on the TBA of the best ways to facilitate this is by 20000 Kingwood Drive Kingwood, TX 77339-3801 Board of Directors has been a memorable having each band member evaluate the 281-318-4335 [email protected] experience. Being Vice President last year program after every concert, contest, or

Richard Herrera was the most rewarding. It was my privilege grading period. Evaluation can be done President Elect to chair the Malcolm Helm in several different ways Brandeis High School 13011 Kyle Seale Pkwy. Memorial Scholarship. The including a questionnaire, San Antonio, TX 78249 210-397-8300 scholarship is funded by online survey, and [email protected] contributions from TBA group discussion. These Bruce Beach members. Through the techniques create student Vice President Franklin High School generosity of our donors, ownership of the program 900 N. Resler El Paso, TX 79912 the scholarship doubled and encourage them to be 915-832-6608 [email protected] in value from $2000 to involved in the assessment $4000. process. Try calling a Steven Moore Treasurer Twenty-eight outstand- “family meeting” and ask Lindale High School ing men and women for student feedback and P.O. Box 370 Lindale, TX 75771 applied for this scholarship. Each one suggestions. For example, I’m asking 903-881-4140 [email protected] had a wonderful story to share about why students to evaluate our marching season. Jeff King they chose to study music and become One of the most important questions I Secretary educators. Each candidate wrote of their ask is, “What could the band directors Duncanville High School 900 W. Camp Wisdom Road love of music, but more importantly, have done differently in order for the Duncanville, TX 75116 972-708-3732 about the teachers that encouraged and band to achieve our goals? “Will you [email protected] motivated them to pursue a career in get some flippant wisecracking answers? Chico Portillo music education. Sure, that’s part of the process, but for Sergeant-at-Arms Pflugerville ISD Fine Arts Their personal essays caused me to the most part, you will receive valuable 1401 W. Pecan Pflugerville, TX 78660 reflect on how we, as teachers, have feedback. In a beginner band setting, 512-594-0187 [email protected] the potential to empower and inspire you might ask, “What do you feel was young adults. The amount of time spent the most important fundamental we were Tom Harrington Past President with our students has an immeasurable trying to achieve the first six weeks and Spillane Middle School 13403 Woods Spillane Blvd. impact. It’s imperative to be positive role did we achieve it?” You will be surprised Cypress, TX 77429 models to our students. at some of the answers. Either way, you 281-213-1782 [email protected] Students find inspiration and will get incredible responses and perhaps Michael Brashear acceptance in our “band family”. As the realize that you may need to change your Executive Director director you are the head of the family. teaching method or approach. Whether Texas Bandmasters Association 1002 Central Parkway South Each band member needs to “buy in” you take the students advice or not, San Antonio, TX 78232 210-492-8878 to the program. Allow students to be an this will help them feel like they have [email protected] active part of the evaluation process. One a voice in helping the band’s successes.

Bandmasters Review • December 2012 3 Texas Bandmasters Association Mission From the Board - Richard Herrera Statement

The purpose of the Texas Bandmasters Association, Inc. is to: Due to time restraints, this process does exemplifies what we all should strive for. Continually assist its not have to include the entire band, He wrote, “The musical and educational membership in achieving the highest standards but perhaps only the leadership team. process we provide our students, along of instrumental The more your students are involved in with who we are as a person, is by far more music education. decision making, the more successful they impactful than the end musical product.” uuu are in every rehearsal and performance Fred hit the nail on the head with that Promote the place venue. Successful directors evaluate their statement and a sentiment we should all and value of music program on a daily basis. The students live by as educators! Continue to remain education in our society should evaluate themselves daily as well a positive role model, a consummate and the important role instrumental music plays with director guidance. This is a recipe professional, and most importantly, an in our cultural, intellectual, for success. inspiration to your students. You never and social lives. I hope you have had a successful first know who will one day write about you uuu few weeks of school and have impacted as their inspiration of a positive educator. Foster goodwill, the lives of many students. TBA President I wish you continued success throughout fellowship and a collegial, Fred Vélez wrote the following which the year. fraternal spirit among its members.

uuu Provide its membership with an annual Convention/Clinic which introduces new music, tried and proven teaching methods and materials as well as instruments and equipment.

uuu Provide Educational Publications of instructional 2013 TBA Convention/Clinic methods and materials for TBA members and Sunday through Wednesday, July 21-24. aid them with their personal development Online Membership, Registration, and and leadership. Housing opens February 11, 2013. uuu Provide information for the university music student preparing to become a band director.

Bandmasters Review • December 2012 4 Texas Bandmasters Association From the Board Steven Moore, 2012-13 TBA Treasurer

Greetings to all from the TBA Board. Happy encourage you to be visible in your community during Holidays! this time. Not only with your annual Christmas or By the time you read this article, my high school Winter Concert but by going out into your community colleagues will have made the transition from marching and performing at the mall, elementary schools, band to concert band with many of you having enjoyed community events or nursing homes. During marching the “Second Season”—playoff games. season the band is out in the public eye every week for To all, I hope you had a rewarding ten weeks or more. Let’s work to keep marching season and that you were the band visible to our community and able to meet the goals you set for to our administrators. Some examples your program and your students at the of things we do in Lindale are concerts beginning of the year. Remember that at the elementary schools, playing at the the process and progress are just as local Christmas tree lighting, creating important as ratings and awards. our own “Tuba Christmas” group and I would like to take this opportunity performing both locally and in Dallas. to congratulate all the bands that During February, we have a Solo and performed at both the NAMMB Ensemble Concert to display the work Marching Contest on November 3rd and the UIL State our students do during the first part of the second Marching Contest. What a fine display of everything semester. Many times we will couple that event with that is right about education in Texas. The level at a dinner or something as simple as coffee and dessert. which these bands performed displayed the exemplary There are so many ways to give back to the community talent and dedication of both students and directors and promote your kids and programs. Remember that all across the state as well as showcasing the diversity out of sight is out of mind. of style that exists not only between corps style and The TBA Board has been working hard to put military style marching but the diversity that is evident together a great summer convention for you in 2013. among the corps style itself. Again, congratulations Let me remind everyone of the new dates for TBA. The to all. (See page 10 for a list of NAMMB Marching new dates are July 21-24, 2013. Let me encourage you Contest winners and page 32 for the school bands to go ahead and put this on your calendar and make who participated in the 2012 UIL State Marching Band plans to attend. We have events for directors, spouses, Contest.) and the whole family. Also don’t forget about our Now we enter that time of year of Christmas Student Day, TBA Academy, and Booster Workshops. Concerts, All Region Tryouts, All Region Concerts, TBA has something for everyone. Area Tryouts, and Solo and Ensemble competition. In closing, let me wish everyone a wonderful It is easy to go into “hibernation” in the band hall holiday season and a productive spring semester. See working with students on all these activities. Let me you at the TBA Convention/Clinic in July!

Bandmasters Review • December 2012 5 Texas Bandmasters Association Proud Of Texas Bands! Michael Brashear, TBA Executive Director

Greetings from your TBA office! I hope that your and have spent more time since then reflecting on why fall semester has been very productive and that your I believe Texas band programs have experienced great groups have achieved and even surpassed the goals growth and success. I hope my thoughts will cause you set back in August. Whether your main focus you to consider how much we have to be thankful for is running a marching band, teaching university, and will challenge all of us to be diligent to protect our high school, or middle school bands, or teaching programs and to continue the success story. beginning students, we all share the incredible joy of • School band programs started developing in music making with our students. Never communities across Texas after World underestimate the influence you have War II primarily to provide entertain- on each and every one of your students. ment at football games. A community’s Congratulations to all the outstanding pride in “their” band was very important bands that were selected to perform at and bands developed in small farming the 2012 UIL State Marching Contest! communities and towns as well as in We are pleased to recognize these larger cities. (Music advocacy at the groups on page 32. Each year it seems local level is still extremely important. as if the bands continue to get better Strong community support is a major and better. Congratulations also to the reason Texas bands have survived huge many other outstanding bands that cuts. Take care of your football crowd, performed at the Area and Region UIL Contests. Your school board, and community!) hard work is definitely reflected in these performances. • During the past 50 years, education and training Recently, Robert Floyd and I were invited to visit for band directors has greatly improved. Universities the Conn-Selmer plant in Elkhart, Indiana. We were across the state developed music education programs guests of John Stoner, CEO and President and Dr. Tim and graduated more and better trained band directors. Lautzenheiser, Vice President-Division of Education. Dedicated college band directors and music education In addition to touring their woodwind and brass faculty, past and present, have had a major impact on factories, we had the opportunity to spend time the quality of band directors and Texas band programs. visiting with their staff. My takeaway from this visit Universities have also offered summer band camps for is that Conn-Selmer is very committed to serving and years with thousands of high school and middle school supporting music education. Obviously, the market students attending and learning from some of the most for selling their fine instruments increases as the outstanding band directors of the time. number of outstanding band programs in the world • During the 50’s and 60’s, band programs began grows. Therefore, Conn-Selmer’s investment of time to flourish even with meager staffing. Many programs and money into music education support is a win-win had “a” director and were fortunate if there was also for them and us. They were very interested in hearing a junior high director. Beginners were all taught in about current challenges and trends in Texas band one class. A high school band of 100+ members was programs. Over and over they made it clear that Texas large. These great pioneers of our profession laid a is where it is happening for band. As a lifelong Texas solid foundation for the future growth of Texas bands. band director and cheerleader for Texas bands, this Fast forward to today’s staffing standards where many message is one I was glad to hear. programs have like-instrument classes for beginners, One of the questions asked by the Conn-Selmer at least two directors at middle schools, and a high staff was: “Why are there so many great band programs school staff of several directors with percussion and in Texas? How do you do it? Other states have guard specialists available to many larger programs. outstanding bands, but no other state has so many fine Outstanding private lessons are available for many programs.” I was happy to share some of my thoughts students and several programs take advantage of

Bandmasters Review • December 2012 6 Texas Bandmasters Association Proud Of Texas Bands!

clinicians and consultants. A direct result of better • The UIL Music program has had a major impact and more teachers is the unprecedented growth in on the development of Texas bands. By using the quality and size of Texas band programs. Great band rating system at region level competitions where bands instruction equals great bands! are evaluated against a standard, rather than declaring • Music instrument manufacturers and retail one winner, UIL created an environment which companies have improved the quality and availability of encouraged directors to help each other by sharing instruments, especially student line horns. Instrument best practices. Under the outstanding leadership of rental programs, improved products and support from Richard Floyd, the UIL has provided competitions local music retailers and their road men have all contri- for thousands of band students throughout the years, buted in a great way to the development of Texas bands. setting a high standard of excellence which is the envy • The quantity and quality of band music by of the nation. Training and education of UIL judges outstanding composers has impacted the quality of through the Texas Music Adjudicators Association bands. Availability of educational materials continues continues to refine and improve band contests. The to grow and improve. UIL Prescribed Music List is widely respected and • Technology including tuners and metronomes, used by many other states as their approved list. Using sophisticated recording equipment, online educational input from various committees and working closely materials (and now apps) continues to contribute to the with school superintendents, Mr. Floyd has overseen development of bands and challenges the 21st century the development of a band contest system that has band student to reach even higher performance levels. consistently produced more great bands than any • Bands have more choices than ever for performances other state in the nation. at various music festivals, marching contests, and • TBA assists band directors by providing the largest a variety of travel opportunities. Many and varied fundraising opportunities now exist for bands. Quality summer band convention in the country offering travel/festival companies and fundraising companies outstanding clinics, concerts, exhibit hall, leadership have contributed to the success of Texas bands. training for students and booster clubs, and the TBA • Band parents are organized into booster clubs that Academy for young teachers. TBA also offers additional many times operate like small non-profit businesses. professional development outreach clinics throughout This parental support is a key to further growth of the school year, the Bandmasters Review, and a wealth band programs. of instructional materials on our website. • TMEA has contributed in many ways to the As Texas band directors, we have much to be growth of bands. The Honor Band process was thankful for and much to be proud of. By reflecting developed to showcase outstanding bands and has on our history, one thing becomes very obvious to defined the standard of excellence for many years. me. The unparalleled growth and development of The All State audition process has provided a vehicle Texas bands is a result of great teaching and learning for developing musicianship by providing audition as well as partnerships and relationships developed etudes and fostering audition skills for thousands of over a period of years between many individuals and students. There is no way to overstate the importance organizations. As directors today, we stand on the of music advocacy provided by TMEA leadership, shoulders of those giants who came before us and hold especially Executive Director Robert Floyd. During the awesome responsibility to make our contribution challenging economic and political environments, this to further the success of Texas bands. Based on my advocacy has protected and enhanced band programs. observations the past few years, we have a bright The TMEA Convention is the world’s largest and offers future indeed! Have a Happy Holiday, get lots of rest, directors outstanding concerts, clinics, and an exhibit and KEEP UP THE GREAT WORK! hall second to none.

Bandmasters Review • December 2012 7 Texas Bandmasters Association RBC MUSIC COMPANY

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Bandmasters Review • December 2012 8 Texas Bandmasters Association Developing Positive Practice Habits …The Pathway to Quality Music Making…

Dr. Tim Lautzenheiser

Remember the first time you is always interesting to learn about fellow looked up and responded, tried to ice skate, or water ski, or their off-stage habits. What do they “Practice, man, PRACTICE!” There roller blade, or PLAY A CLARINET? do that others do not do? All of is more truth than humor in the Can you recall how awkward it these wonderful players are firmly shared answer. felt, how awkward YOU felt? entrenched in a rigorous practice There is no shortcut to playing We all know mastering any skill schedule; nothing a trumpet; it is requires time-on-task. (Aside deters them from While every student matter of putting from those choice few individuals this important would love to the instrument who we have labeled “naturals.”) aspect of their open-the-case and have to the lips and Can you remember your college daily activities. the wherewithal to beginning the curriculum requiring “the learning And what are they play whatever music endless journey- of other instruments” and the practicing? They is put on the stand, it of-exercises. struggle you experienced trying are playing those simply doesn’t work Once the mind become proficient at performing a same exercises we that way. accepts this long stroke roll or developing an all learned in our ...as teachers, [we] can reality, it is acceptable sound on the bassoon? various methods bring to their lives a matter of What is it that puts some people classes in college. the understanding of DEVELOPING ahead of others? Certainly “talent” Their execution the priceless value of POSITIVE plays into it. Some people have an is nearly flawless, DEVELOPING POSITIVE PRACTICE innate ability to throw a football but they do not PRACTICE HABITS; HABITS and and/or play a piccolo, but—for deter from the it is a GIFT that will being true to the most part—it is a matter of ongoing repletion serve them throughout the on task time embracing the fundamentals of of those tried- their lives. commitment. practicing. Doing the same thing and-true basics Thirty to forty- over-and-over to map the mind that have served five minutes so the given process begins to feel many artists throughout history. each day can (and will) produce “natural.” To date we have found You probably recollect the a measurable difference within no substitute for repetition, so the popular old anecdote about the a month; within six months it key to developing greater expertise young trombonist who visited is dramatic, and after a year it lies in the willingness to invest New York City to hear his favorite can be astounding. Buying a new personal time-and-energy with a musical hero in concert. As he trumpet won’t do it; buying a new disciplined desire to accomplish a made his way through the streets of technique book won’t do it; talking higher degree of competence. NYC he got lost, so he walked up about playing the trumpet better Having enjoyed the opportunity to an elderly gentleman sitting on won’t do it. There simply is not any to observe some of the finest a park bench and inquired, “How instant success back doors to better professional musicians in action, it do I get to Carnegie Hall?” The old trumpet playing.

Bandmasters Review • December 2012 9 Texas Bandmasters Association Developing Positive Practice Habits

What’s the point? We live in a fast-paced society and Dr. Tim Lautzenheiser is a well-known name in the music education world as a teacher, clinician, author, composer, consultant, often our eagerness to get-to-the-destination blurs the adjudicator, and above all, a trusted friend to anyone interested in requisites of-the-journey. While every student would working with young people in developing a desire for excellence. His own career involves ten years of successful college band directing love to open-the-case and have the wherewithal to play at Northern Michigan University, the University of Missouri, and whatever music is put on the stand, it simply doesn’t New Mexico State University. Following three years in the music industry, he created Attitude Concepts for Today, an organization work that way. The very best understanding we, as that manages workshops, seminars, and convention speaking teachers, can bring to their lives is the understanding engagements focusing on the pathway-to-excellence. Tim presently of the priceless value of DEVELOPING POSITIVE holds the Earl Dunn Distinguished Lecturer position at Ball State University. Tim is the Executive Director of Education for Conn- PRACTICE HABITS; it is a GIFT that will serve them Selmer, Inc., and he serves as the national spokesperson for MENC’s throughout their lives. “Make a Difference with Music” program. His books The Art of Successful Teaching, The Joy of Inspired Teaching, Music Advocacy and Student Leadership, and Everyday Wisdom for Inspired Teaching are best sellers. He is co-author of Hal Leonard’s ....Strike up the band.... popular band method Essential Elements - 2000.

2012 National Association of Military Marching Band Contest The Colonel Joe Tom Haney Outstanding Performance winners are:

CLASS A 1st Place San Augustine CLASS AA 1st Place New Boston 2nd Place - New Diana 3rd Place - Hemphill CLASS AAA 1st Place - Henderson 2nd Place - Cleveland 3rd Place - Carthage CLASS 4A 1st Place - Lindale 2nd Place - Vidor CLASS 5A 1st Place - Atascocita 2nd Place - Kingwood 3rd Place - Lufkin

Bandmasters Review • December 2012 10 Texas Bandmasters Association Life Is Short. Do What Matters. Six words. A Lifetime of wisdom.

Randy T. Gilmore, Owner/President, Marching Show Concepts, Inc.

Six words: Life is short. Do what before we take on the personae of a 1. Determine what really matters—A lifetime of wisdom. super hero. matters today. Make your After the unexpected death of Super heroes fearlessly face expectations known. Don’t clean my vibrant sister and then my insurmountable challenges, out the uniform closet if you expect other sibling’s serious battle which we all do. Unfortunately, that to hand out new music tomorrow with cancer—all within the last is as close to and you haven’t had two years—I’m starting to think assimilating the Do you remember a look at it yet. differently about life…and death. I superhero identity why you pursued a 2. Be inten- don’t mean to be morbid here, but, most of us will career in teaching? tional. Make as they say, one out of every one come. More likely, Remember that deliberate and person dies and no one can predict we will take on inspired choices desire to cultivate when our day will come. Reason more than we can about your work. enough to validate the statement handle, get lost in music to make Look at your Life is short. the urgency of the a meaningful schedule and Tragedy has a way of slicing away present and become contribution in the intentionally filter the frivolous and mindless routines bogged down lives of others? out those things of life and throwing questions in our in the practical How do we stop that are not relevant face like, “What does this matter?” necessities—all the muddling through and focus on what Leaning back into a striped lounge while losing sight and start doing what is. Keep it simple, chair with a cold drink in my hand of those things that direct and to matters? and the vast expanse of ocean really matter. the point—don’t stretching out before me usually But what really overload. evokes a “Life is good” comment, matters? Do you remember why 3. Be positive. Be good at but lately it’s tag-teamed with, you pursued a career in teaching? finding the good in others. Find “What does it matter?” Remember that desire to cultivate ways to reinforce positive behavior. Of course, idea-makers like music to make a meaningful Honor commitment and validate myself, band directors and the contribution in the lives of others? strong character. like, are eternal optimists and tend Or to help others find meaning 4. Learn to say “no.” toward feeling virtually invincible. and purpose through music Sometimes we have to say “no” After all, we create winning performance like you did? even to good opportunities and performances, transforming How do we stop muddling suggestions to stay focused on what average students into admirable through and start doing what is required at the moment to create young people with strong character matters? How can we be sure our the greatest impact in our current and more, year after year. Doing efforts will make a difference in the strategy or program. You may the impossible with limited time, long run? Here are a few standards disappoint someone, but honesty budgets and personnel; it’s not long to hold up to our daily schedule. and not overloading yourself and

Bandmasters Review • December 2012 11 Texas Bandmasters Association Life is short. Do what matters.

others is the key to increased productivity and satisfaction. Be courageous! Let go of what others think. 5. Make connections. Don’t confuse communication with connection. You have made a connection when others feel they have been seen, heard, and valued. Your students (and others) are wired for connection. This is what they remember. This is what changes them forever. Remember you’re leaving a legacy for these impressionable students. What do you want them to remember from your class or the marching band experience? Consider these questions and five points and you’ll be well on your way to doing what matters. After all, there’s no time to waste. Life is short. Focus on the big picture and impact your world with intentionality and significance. Do what matters!

Randy served ten years as a nationally recognized high school band director and assistant marching band director at West Chester University. For over 20 years Randy has developed Marching Show Concepts as a nationally known company for quality marching band products and exceptional one-to-one services. Randy exemplifies an expertise and standard of excellence that is well known and respected throughout the music industry. He is an accomplished clinician, adjudicator and drill designer who continues to display his talents in the MSC collection of products and services.

Bandmasters Review • December 2012 12 Texas Bandmasters Association Teaching Musicianship in Band: Finding Music Among the Notes

Fred J. Allen

Many of the objectives in a band artistic happen, individual players One of the most basic forms in rehearsal are concerned with the and ensembles must go beyond music and architecture of Western “craft” of music: playing the correct merely reproducing the symbols Civilization is the arch, and one note in the correct place at the correct on the page: a true musician of the most basic ways to show volume with the correct articulation. brings something more to the musicianship is to apply this to a But isn’t this just musically painting performance. I propose that “being phrase: a crescendo followed by a by number? It is possible to integrate musical” means creating something diminuendo. This is a fundamental musicianship into every level of artistically surprising when playing way to show tension and release instrumental music education, a piece. in music, and can even be taught from beginning band to university Both individual and ensemble in beginning band exercises. Why ensembles. Playing in an artistic musicianship can be taught! not add some dynamics to lines manner is possible at every level, Individual musicianship is in the beginner book? It would be and we teachers should commit to demonstrated in solo performance, more interesting for the players and doing so. in the standard solo repertoire or certainly more interesting for the What is musicianship? It is etudes or even within ensemble teacher! easy to think good musicianship literature. Ensemble skills require Beginner books are full of lines means playing all the right notes sections and groups to unify like the one below. Either version with correct rhythm at the right elements to demonstrate good is more musically interesting than dynamic level. To make something musicianship. the line is as printed. Why not add shaping to teach musicianship?

Beginner Book Line FJA As printed in book œ œ œ b œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ & b b 4 œ œ

Version 1 œ œ , œ b œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ & b b Add:

Version 2 9 (no break) œ œ œ b œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ b b œ œ &Add:

Bandmasters Review • December 2012 13 Texas Bandmasters Association

One may vary the amount of crescendo and Of course, the melody itself must be predominant. diminuendo. Many players follow the outline of the As Aaron Copland said, “The melody is generally what range of a melody, rising and falling in dynamic with the piece is about.” the line. In tonal music, most phrases group easily into It is best if these items are not allowed to dominate: 4-bar or 8-bar units, and longer phrases may rise and •Accompanimental parts fall twice in shape. •Repeated figures Chord progressions in tonal Choose a score. . .that How can you teach musicianship music often provide opportunities to has a standard 4-bar in an instrumental music ensemble? emphasize tension and release. When or 8-bar melody. Unify. Ensemble is French for playing a piece with easily identifiable This is a perfect place “together.” Together, we unify time chords, look for chord progressions to teach musicianship (tempo, pulse), style, volume and that can help you provide shaping. in your band! volume contour, phrasing, and every Choose a score to a piece you want Add shaping to the other element encountered in the to play that has a standard 4-bar or line and it will be work. Let’s examine a few of these 8-bar melody. Often a phrase like this more musically more closely: has no dynamic contour indicated, satisfying and Articulation must be unified. perhaps just a beginning dynamic. This interesting to hear. There are four main ways to begin a is a perfect place to teach musicianship Composers and note: legato, staccato, ^ accents and > in your band! Add shaping to the publishers EXPECT accents. Personal note: I once heard line and it will be more musically musical teachers a clinician at a TBA convention say satisfying and interesting to hear. to exercise some “never use the word ‘attack’—do you Students can appreciate the role of judgment: they do really want your students to ‘attack’ a good musicianship more when they not want to legislate note?” Sorry, I don’t remember who experience it, and it will demonstrate an every nuance for you. changed my life with that statement! I important principal: it is ALWAYS per- broke a 20-year habit of using a word missible to add musicianship to pieces. that did not describe how I want Composers and publishers EXPECT musical sound to begin. Avoid using the word “attack!” teachers to exercise some judgment: they do not want This guide works for most music: to legislate every nuance for you. Apply the idea of Legato: full dynamic, full value. Delicate but “shaping” a line to strains in a traditional march for a defined start to note, note has equal sound through its duration. more musical interpretation. Staccato: ½ dynamic and ½ value. Delicate but These items are often emphasized in tonal music for defined start to note, detached but resonant, “lifted,” a more expressive performance: usually lighter in character. •Moving lines and figures ^ Accents: 2X dynamic and ½ value. Full energy at •Lines with chromatic movement front of note, quick decay (lift). •Countermelodies > Accents: 2X dynamic at front of note, longer decay •Sequences usually crescendo, especially if they rise to be determined by conductor/performer. This one in pitch can vary a lot, based on usage in the piece.

Bandmasters Review • December 2012 14 Texas Bandmasters Association Teaching Musicianship in Band: Finding Music Among the Notes

It is necessary to go deeper than this simple guide There are two main ways to end notes, a dramatic in more complex cases. Most good composers only release (last note of 1812 Overture by Tchaikovsky) use staccati in softer dynamics, as there is an implied or tapered (last note of Irish Tune from the County “lightness” to these notes. Ensembles that play staccati Derry by Percy Grainger). In a dramatic (square, quieter, not just shorter, will hear a really musical block) ending, the sound is equal in energy to the difference. I would like to offer a personal observation very end. All players release together and remain still about staccato markings. If the tempo is at 120 or for a bit to allow the note to resonate before faces faster (and sometimes just a little under or instruments move. In a tapered, that) any staccato marks on a quadruple quiet release, energized air is required subdivision are beyond the point: those to keep good sound during the taper. notes are already short! These passages Many fine ensembles use the “low leaves will sound better if the “light” aspect last” concept for added resonance in of staccato is used here, and tongue as tonal music. To do this, the higher legato as possible. Try it—you’ll like it! instruments release a millisecond before Transcriptions of certain orchestral and the lowest instruments leave a pieces show that older composers, millisecond after the middle of the editors and publishers seemed to treat sound. This is a high-level concept but a the ^ accent as to be played with more beautiful one to perform, as it allows the force than the > accent, but the majority fundamental of a chord to have presence of modern works are trending as in the during the release. guide above. Of course, all of these ideas are futile The standard “sideways” accent looks if a band performs without unifying like a little diminuendo. In marches and intonation, rhythm and balance. The fanfares, the overall style dictates that notes with that following statements are simple, but important: marking have separation, but in overture-style pieces, •Good intonation is a matter of getting rid of the it is more musical to expect more length, and therefore waves between two or more people. the musician should define a specific shape and length •Rhythm is about math. of taper. •Balance is hearing the proper amount of each part. For instance, in a given case the most musical It is enough to say that these aspects must be performance of notes marked this way may be to present in order to display good musicianship. play them 80% length, with moderate taper (or lift). Here are some miscellaneous tips I have learned On a longer note with a sideways, I often ask for the from watching outstanding teachers. ensemble to have the note taper but touch the next note. •Lead across the bar. Learning to play across bar For example, in the last movement of Moussorgsky’s lines can make passages more musical, and this can Pictures at an Exhibition, the magnificent Great Gate of apply to notes other than anacruses. Kiev, no one would want to hear those big chords with •The intake of breath should be like the music that big gaps between them. Not musical. follows, especially in regard to tempo.

Bandmasters Review • December 2012 15 Texas Bandmasters Association Teaching Musicianship in Band: Finding Music Among the Notes

•In lyrical music with slurred running notes, good music is lower (in range) or softer. Try 5 per second in musicians often hold the first note imperceptibly mid-range, mezzo forte. longer. (Individual musicianship skill.) •Wind instruments should not use much (or any) •The lower note of an upward leap should be vibrato when playing in ensemble passages (tutti and energized so the higher pitch can naturally float out of unison). Double reeds may use a bit, and flutes, even it. …and a related idea… less than that. No one else use it in ensemble unless •Higher notes in a passage can leap out of the you have a solo. The finest musicians in the world, texture: control the volume of these. members of major symphony orchestras do this. •Descending passages can get lost in the texture of •Short notes surrounded by longer notes need more the music: crescendo to define and project these lines. air to define and project them. •Grace notes are ornaments and should be noticed, Hopefully these tips will aid you and your students even though the weight must be felt on the principal in creating a more musical performance out of the note. Tongue the start of a grace note, even when “blueprint” of notes you see before you. No one will edited under a slur. ever accuse you of being “too musical!” •Vibrato waves should be faster when the music is either higher (in range) or louder and softer when the

Fred J. Allen is Director of Bands and Professor of Music at Stephen F. Austin State University in Nacogdoches, Texas. In addition to his conducting the Wind Ensemble, he teaches graduate conducting, orches- tration and music education classes. He oversees 300 band students involved in the band program, in four concert groups, the athletic bands and several chamber ensembles. He is a past recipient of the College of Fine Arts Teaching Excellence Award and has been a finalist for the SFASU Achievement in Teaching Award. Fred J. Allen is a product of music education in Texas, playing in the bands of Verna Covington and David Pennington in Austin, and under Don Turner, Paul Stroud and Jimmy Yancey in Longview before becoming a member of the Longview High School Band, under John C. “Pete” Kunkel. His undergrad-uate studies were at Abilene Christian University under Dr. Charles Trayler, who remains his primary mentor. After receiving a Master of Music Education at Texas A&M at Commerce, he undertook doctoral work at Texas Tech. Though his doctorate was never completed, he feels fortunate to have studied conducting and arranging under James Sudduth. Allen is proud of his years teaching public school, beginning in Dimmitt, TX, working with Ralph Smith, and continuing with eight years at North Richland Junior High in the Birdville School District. Under his direction, the Wind Ensemble at SFA has performed at conventions of the Texas Music Educators Association, the College Band Directors National Association, the National Association of Composers/USA, Texas Chapter and the South Central Regional Music Conference in Monroe, LA. Under his leadership the SFA Wind Ensemble continues its long tradition of commissioning new works from composers. Recent commissions have produced works from James Syler, David Maslanka, Samuel Zyman, Frank Ticheli, Jack Stamp, Mike Mower, Dan Welcher and Jonathan Newman. Allen has conducted All-Region and All-State Bands throughout Texas and the United States, where he is also an active concert clinician and adjudicator. He has often served as guest conductor for bands playing at the Midwest Clinic and the Texas Music Educators Association Convention, and has also conducted in Korea, Taiwan and Australia. He has published several pieces for band, orchestra and flute choir that draw upon his experience in teaching in the public schools in Texas. These works have been performed frequently at conventions and festivals across the United States and internationally. He has several commissioned works in progress. He was recently elected to member-ship in the American Bandmasters Association. He is also a member of Phi Beta Mu International Bandmasters Fraternity, College Band Directors National Association, ASCAP and Texas Bandmasters Association.

Bandmasters Review • December 2012 16 Texas Bandmasters Association Clinicians: What Are They Good For? Clinicians:Texas Bandmasters What AreAssociation They Convention Good For? July 22, 2012 Merlin “Pat” Patterson, Randy Vaughn presented by From the authors’ presentation at the 2012 TBA Convention/Clinic. To view and print the handout from this and other TBA Clinics, visit: www.texasbandmasters.org. Select Publication Archives located under RESOURCES in the menu bar. Then select ConventionRandy Handouts Vaugh fromn - Kleinthe upper ISD left corner.(Retired) ([email protected]) Merlin "Pat" Patterson - Cypress-Fairbanks ISD (Retired) ([email protected])

Clinicians: Why?  Improvement of an individual piece or entire contest program.  Improvement of fundamental skills.  Advice on programming and score preparation.  Advice on setting and reaching long-term and short-term goals.  Learn new techniques for solving old problems.  Assess strengths and weaknesses in the program and help formulate a plan for improvement.  Help inexperienced teachers identify their strengths and weaknesses.  Improvement of individual and ensemble teaching skills.  A fresh set of ears.  Taking your program to the next level.  Less than satisfactory UIL ratings to consistent first divisions  Consistent UIL first divisions to honor band competitiveness

How to pick a clinician and factors that may influence that decision:  Word of mouth.  Recommendations from the other directors in the field.  Your own research.  Where you live and cost may be a factor.  Personalities and priorities that fit your own.  Do you want to use more than one clinician?  Budget. How much do you want to spend? Cost ranges from $50.00 per hour to $125.00 per hour.  Use of more than one clinician; make sure you don't get conflicting information (see below).

Use of Clinician Services:  Varsity band only.  All competing bands.  Total program - vertical team.  Beginners.

Two Schools of Thought

Old School A clinician is used one or two times in the spring to help put the finishing touches on the band's UIL program.

New School ABandmasters clinician Review or even • December multiple 2012 clinicians are used throughout17 the school year, notTexas only Bandmasters to aid Associationin contest preparation, but also to help guide the director/band on fundamentals, development of technique, programming, etc.

Conducting vs. Not Conducting

The decision on whether the clinician will actually conduct the band during the clinic will vary with each situation and each clinician. Some clinicians insist on conducting; others don't want to. The following are things that should be considered.

Clinician Conducts  What is the preference of the clinician?  Allows director to step back and really listen to the band.  Is the clinician a good conductor?  Conducting may take away from the clinician's assessment/diagnostic abilities.  Has the band been trained to follow a conductor, not just YOUR conducting?  More of an "Old School" thing.

Director Conducts  Allows clinician to use all of their energy on listening, assessment and improvement.  Students will be more comfortable with their own conductor.  Ensemble problems will not be created by unfamiliarity with the conductor.

A mix of the two can be very beneficial, IF the clinician is a good conductor and IF your students have been taught to follow conducting. Regardless of which way you go, make sure both the director and the clinician know exactly what is going to happen before the clinic.

Expectations for the Host Director

Communicate  Schedule clinics early to get the times and dates you want.  Discuss fees with your clinician and how and when the clinician will be paid.  Let clinician know your expectations - or if have no idea, consult with clinician regarding goals and needs; long term and/or short term.  A consultation with the clinician, prior to the school year, at which goals and expectations are discussed, is advised.  Communicate with the clinician regarding all financial matters (see below).

Old School A clinician is used one or two times in the spring to help put the finishing touches on the band's UIL program.

New School A clinician or even multiple clinicians are used throughout the school year, not only to aid in contest preparation, but also to help guide the director/band on fundamentals, development of technique, programming, etc.

Conducting vs. Not Conducting

Expectations for the Host Director

Bandmasters Review • December 2012 18 Texas Bandmasters Association Two Schools of Thought

Old School A clinician is used one or two times in the spring to help put the finishing touches on the band's UIL program.

Conducting vs. Not Conducting

Expectations for the Host Director

Communicate  Schedule clinics early to get the times and dates you want.  Clinicians: Discuss What fees Are with They your Good clinician For? and how and when the clinician will be paid.  Let clinician know your expectations - or if have no idea, consult with clinician regarding goals and needs; long term and/or short term.  A consultation with the clinician, prior to the school year, at which goals and expectations are discussed, is advised.  Communicate with the clinician regarding all financial matters (see below).

Clinic environment  Students need to be prepped on the purpose of the clinic and on how to behave.  Director may want to give a brief biography of the clinician prior to the clinic. This helps the clinician form relationships with students and director.  Have room set up, organized and ready to go.  Students and director should be on best behavior.  Students need to have instrument, mutes, Daily Drill, music, pencils, chorale, and all other needed material and equipment.  Student nametags are strongly recommended. Calling a student by name creates a better rapport and a more positive, productive working environment.  Director should not be a "translator." Many directors feel the need to repeat/rephrase the information the clinician gives. This just slows down the rehearsal and wastes time.  Don't make excuses.  Whenever possible, let the clinician determine the pace of the rehearsal.

Student Behavior  Eye contact with clinician when he or she is talking.  When asked questions, students should respond. The director may have to teach this skill.  Start and stop on time or keep instrument in playing position.  Mark music. Students and directors need to take notes and/or record clinic.  No talking.  Students should put forth a positive effort to do what the clinician asks, even if it is contrary to what they have been previously taught. They should be told that the clinician may ask them to do things differently. That's one of the reason you have a clinician - new ideas.  Special needs students. PLEASE make the clinician aware of these students. Doing so will eliminate many embarrassing and awkward moments.

Suggestions to help clinician have an enjoyable and productive time at your school.  Scores and any other music or Daily Drill on stand set up when the clinician walks into the room.  A chair or stool if it is a long day.  Water  Lunch and/or dinner if the clinician is there during those times.  After-clinic discussion. Ask/answer questions. Set goals for next clinic.

Expectations for the Clinician:

 Be reliable and be on time.  Proper attire  Positive attitude  Enthusiasm/energy  Ability to communicate Bandmasters High Review level • December of musical 2012 skills and knowledge19 Texas Bandmasters Association  A wide variety of strategies  High expectations  Caring attitude  Knowledge of literature  Absolute honesty  Professional conduct ALWAYS

 Have room set up, organized and ready to go.  Students and director should be on best behavior.  Students need to have instrument, mutes, Daily Drill, music, pencils, chorale, and all other needed material and equipment.  Student nametags are strongly recommended. Calling a student by name creates a better rapport and a more positive, productive working environment.  Director should not be a "translator." Many directors feel the need to repeat/rephrase the information the clinician gives. This just slows down the rehearsal and wastes time.  Don't make excuses.  Whenever possible, let the clinician determine the pace of the rehearsal.

Suggestions to help clinician have an enjoyable and productive time at your school.  Clinicians: Scores What and Are any They other Good music For? or Daily Drill on stand set up when the clinician walks into the room.  A chair or stool if it is a long day.  Water  Lunch and/or dinner if the clinician is there during those times.  After-clinic discussion. Ask/answer questions. Set goals for next clinic.

Expectations for the Clinician: “Always try to  Be reliable and be on time. associate yourself  Proper attire with and learn as  Positive attitude much as you can from  Enthusiasm/energy those who know more  Ability to communicate  High level of musical skills and knowledge than you do, who do  A wide variety of strategies better than you,  High expectations who see more clearly  Caring attitude than you.”  Knowledge of literature  Absolute honesty President Dwight D.  Professional conduct ALWAYS Eisenhower

Using Multiple Clinicians

Using more than one clinician can be a very beneficial thing. The obvious benefit is the access to more ideas, techniques, and points of view. Here are some guidelines.  Decide if you want to use one clinician or multiple clinicians.  Decide if you want to go "Old School" or "New School" or a combination of the two; depends on your goals and needs.  In general, it is best to have someone who shares your basic concepts of tone production, band sound, balance, articulation, etc. If you use more than one clinician, make sure their information does not conflict.  There are many different "paths to the mountain top," and a variety of views and techniques can be very beneficial, but "too much of a good thing" - i.e. too much conflicting information - can create confusion and loss of confidence.  Make sure all of the clinicians are aware of each other. This alone can avoid confusion and conflicting information and may even lead to a cooperative working "team effort" between the clinicians.

The Business Side  Communicate - before and after the clinic  Arrange all financial matters - i.e. clinician fees, expenses, payment schedule, etc. - prior to the (first) clinic. Make sure both the director and the clinician know exactly what to expect.  Pay the clinician in a timely manner, usually within two weeks of the clinic unless other arrangements have been made.

Final Thoughts

Clinician Anxiety There are directors who want help and know they need help, but are apprehensive about enlisting Bandmastersthe services Review of a• cliniciDecemberan. 2012 Some directors develop20 a great deal of anxiety overTexas the Bandmasters very thought Association of having a clinician. Many directors do not use a clinician because they are intimidated by the clinician, lack confidence in their own work, or they are afraid that the clinician will talk about them and/or their band. Don't be worried about what a clinician may think about you and your band. A clinician is there to help you, not to make judgments. He/she is on your side. You may have to step outside your comfort zone at first, but in the long run you and your students will benefit.

Don't Be Afraid to Pick and Choose Use the clinician's suggestions as you see fit. Changes or suggestions made by the clinician are not set in stone. If you do not like the clinician's suggestions, don't use them or modify them to something that will work for you. Remember, YOU are the director.

"Always try to associate yourself with and learn as much as you can from those who know more than you do, who do better than you, who see more clearly than you." - President Dwight D. Eisenhower

Special thanks to our wives, Cindy Vaughn and Susan Meyer Patterson, for their valuable assistance in offering suggestions and proofreading this handout. Using Multiple Clinicians

The Business Side Clinicians: Communicate What Are -They before Good and For? after the clinic  Arrange all financial matters - i.e. clinician fees, expenses, payment schedule, etc. - prior to the (first) clinic. Make sure both the director and the clinician know exactly what to expect.  Pay the clinician in a timely manner, usually within two weeks of the clinic unless other arrangements have been made.

Final Thoughts

Clinician Anxiety There are directors who want help and know they need help, but are apprehensive about enlisting the services of a clinician. Some directors develop a great deal of anxiety over the very thought of having a clinician. Many directors do not use a clinician because they are intimidated by the clinician, lack confidence in their own work, or they are afraid that the clinician will talk about them and/or their band. Don't be worried about what a clinician may think about you and your band. A clinician is there to help you, not to make judgments. He/she is on your side. You may have to step outside your comfort zone at first, but in the long run you and your students will benefit.

Acclaimed as “one of the finest transcribers of all time” (James Randy Vaughn began his music career with the Gattis Junior Keene, University of Illinois-retired) and “without peer as a band High Band under the direction of Harold VanWinkle in Clovis, arranger”"Always (Eddie try Green, to associate University of Houston-retired),yourself with the windand learnNew Mexico. as muchAt Clovis as High you School, can his fromband director those was Norvil transcriptionswho know of moreMerlin Pattersonthan you have do, set whonew standards do better in Howell. than Duringyou, thiswho time see he studied more private clearly flute withthan Ted Raven. attainingyou." “the- President highest possible Dwight current degreeD. Eisenhower of attention to color and Mr. Vaughn is a 1968 graduate of West Texas State University with a imagination” (Jerry Junkin, University of Texas and Dallas Wind Bachelor of Music Education. While at WTSU, his band director and Symphony). Merlin Patterson received his formal musical training at private flute instructor was Dr. Gary Garner. Later in his career, he Sam Houston State University. Mr. Patterson has specialized in the also received instruction from Mr. Eddie Green at the University of worksSpecial of Aaron thanks Copland. to His our works wives, have been Cindy performed Vaughn by leading and Houston. Susan He Meyer has received Patterson, wonderful support for their from Cindy, valuable his wife of professional organizations,assistance including inthe offeringUnited States suggestions Marine Band, andthirty-five proofreading years. Mr. Vaughn this retired handout. in 2001 after thirty-four years the United States Air Force Band, and the Dallas Wind Symphony, as in the Texas public schools. Previous experiences include positions well as by major university ensembles. Recordings of his transcriptions at Klein High School and Strack Intermediate School (Klein ISD), are available on the Mark, DBP Audio, Albany, and GIA record Hereford High School and Stanton Junior High School (Hereford ISD) labels. His works are published by TRN, Manhattan Beach Music, and Claude High School (Claude ISD). Mr. Vaughn’s bands have been and Boosey & Hawkes. Most of Mr. Patterson’s transcriptions are recognized statewide and nationally for their musical excellence. available through his website www.merlinpatterson.com. Now They have earned 32 UIL sweepstakes awards as well as other top retired, Mr. Patterson ended his 28-year teaching career as Band honors at prestigious festivals. Some of these include the Bands of Director at Bleyl Middle School in the Cypress-Fairbanks school America Grand Nationals in Indianapolis, the Texas AAAAA State district. Mr. Patterson had previously taught in the Spring Branch Marching Band Competition and the Texas AAAAA Honor Band and Klein school districts. His bands have received numerous competition, the Bands of America National Concert Band Festival awards, including 22 UIL Sweepstakes, first division ratings at the in Chicago, performances at Constitution Hall in Washington, D.C., Buccaneer Music Festival, and on six separate occasions been named and Carnegie Hall in New York City. In 2002, Mr. Vaughn was “Outstanding Band” or “Runner Up” at the prestigious South Coast awarded the Lifetime Meritorious Achievement Award by the Texas Music Festival. In April 1998, the Klein Symphonic Band under his Bandmasters Association, and in 2010 was inducted into the Phi baton was honored to perform at the National Wind Band Festival in Beta Mu Hall of Fame. Mr. Vaughn’s professional affiliations include New York’s Carnegie Hall and his band at Bleyl Middle School twice TMEA, Phi Beta Mu, TMAA and is a past president of the Texas placed in the top ten in TMEA State Honor Band competition. He Bandmasters Association. He maintains a busy schedule as clinician, continues to remain active in the band world as clinician, adjudicator, guest conductor and adjudicator across the United States. and of course, arranger.

To view the handout from this and other TBA Clinics, go to: www.texasbandmasters.org. Select Publications Archives located under RESOURCES in the menu bar.

Bandmasters Review • December 2012 21 Texas Bandmasters Association What Would You Like To See At The 2013 Convention/Clinic?

Do have an idea for a clinic you would like to see at the convention this summer? Have you recently heard an excellent speaker? The Texas Bandmasters Association is now accepting clinic proposals for the 2013 Convention/Clinic. Visit the website www.texasbandmasters.org to submit your suggestion online or contact a TBA Board member (see page 3 for information) or your Region Representative as listed below. 2012-13 Region Representatives

1...... Joe Barrow...... [email protected] 2...... Kathy Johnson ...... [email protected] 3...... Benny Davis ...... [email protected] 4...... Richard Lovelace ...... [email protected] 5...... Will Ludlow...... [email protected] 6...... Daniel Todd ...... [email protected] 7...... Bryan Wright...... [email protected] 8...... Van Henry ...... [email protected] 9...... Jerriald Dillard ...... [email protected] 10...... Richard Clem ...... [email protected] 11...... John Dominguez...... [email protected] 12...... Mark V. Buley...... [email protected] 13...... Michael Roberts...... [email protected] 14...... Chuck Young...... [email protected] 15...... Eric Donalson ...... [email protected] 16...... Jerod Hon...... [email protected] 17...... Robert Munoz ...... “[email protected], [email protected] 18...... Mark Gurgel...... [email protected] 19...... Ben Gollehon ...... [email protected] 20...... Jed Maus...... [email protected] 21...... Bene K. Davis...... [email protected] / [email protected] 22...... Ruth Allen ...... [email protected] 23...... Rory Davis ...... [email protected] 24...... Paul Schmidt...... [email protected] 25...... Jason Tucker...... [email protected] 26...... Cathy Humphrey...... [email protected] 27...... Eric Rettig ...... [email protected] 28...... Marcos Telles...... [email protected]

Bandmasters Review • December 2012 22 Texas Bandmasters Association Getting “That Sound” David Brandon

It was the week after my very had taken place on stage. And I was consolidate the things I’ve learned first concert as a band director responsible. I went into mourning from all the people who have helped when my quest for “that sound” for having made the very, very me into a package my students began. My middle school second bad choice of becoming a band and I can quickly understand and band had performed a piece called director as well as having wrecked guide us in everything we do “Christmas Collage”. It was a typical Christmas. in our rehearsals one where many of the more famous The following What are the to develop the holiday tunes are wrapped into one week was when elements that make sounds we want enjoyable package. Not too long for the quest started. one individual or from our band. the dads, yet just long and varied That was the ensemble sound Have sound enough for the distracted siblings week our sister better than another concepts clear to look up from their doodling school performed and how can those in your own on the program (Facebook and their December elements be described head and the smartphones were not around at concert. I sat in so students can vocabulary to that time.) to crack a smile of the audience trying easily understand communicate recognition before returning to to make myself as them and know them to your coloring in all of the “Os” in the small as possible when they are students. program and giving the Santa Claus because I thought achieving them? Can you put picture on the front a new and everyone knew I your finger on improved beard. was the destroyer what makes one But none of this happened at my of Christmas. As the concert person sound better than another? concert. progressed I could not believe Most of us have a pretty clear It started off fine since the first what I was hearing. The second idea what constitutes a good tone eight measures or so were what we and third bands from across the for each of the instruments, but had played the most in rehearsals. same district were playing the most what are the elements that make You always start at the beginning, unbelievable concert I had ever one individual or ensemble sound right? As we continued to play, heard! They not only knew their better than another and how can the polite audience began to shift notes and rhythms (I guess they those elements be described so in their seats as they sensed they started some rehearsals working on students can easily understand were about to witness one of those the middle and ends of their music) them and know when they are uncomfortable events from which but the sounds the bands made achieving them? there is no escape. It happened so were unbelievable to me! I had no I apply five basic hierarchical fast there was no time to excuse idea young bands were capable of concepts, or rules, to everything. themselves from the audience to sounding so great! I decided then The first rule must be achieved visit the restroom or step out to get and there that I had to figure this before the second, the second some fresh air. No, what occurred thing out…or go sell insurance. before the third, etc. This provides a on stage was wrapped up in a single Twenty-four years later, and fundamental and easily understood phrase a fellow colleague later although I’m still trying to figure structure to evaluate our playing. provided. A “Christmas Collision” it out, I think I’ve been able to The first three “rules” are the

Bandmasters Review • December 2012 23 Texas Bandmasters Association Getting “That Sound”

individual player’s responsibility, although we must I must admit that as a player I didn’t really start to first teach the concepts and continue to reinforce them understand this until my senior year in college and every day. These, when achieved, create the basic then only with the other person playing the same horn “palette” of section sounds. The fourth and fifth rules part as me. I’m sure I was made aware of this by my are more our responsibility. How we “mix” the colors teachers but until then it didn’t click. We must keep of the sections establishes our own reminding our students to be aware unique ensemble sound. of the people in their section and • Rule one: make one note I encourage you to to actively listen side-to-side at all sound the same from beginning to listen to as many times. This one concept, if properly end with a mature tone. different bands as understood and achieved clears This sounds elemental but if you you can, especially up “noisy” sounding bands almost think about the things that must hap- bands of the same immediately. pen just to get a clear note start on each level as yours, and • Rule four: match section of the instruments you soon realize especially if you are to section to produce a mature it’s no easy task! Then you must figure a young director. ensemble sound. out how to describe it in the simplest Find the groups that Again, a simple sounding concept way so your students can achieve it. get “that sound” but what does it sound like when This is a lifelong quest in itself! for you and ask the trumpets are really in balance with • Rule two: make two or more directors if you trombones? Oboes with saxophones? notes sound the same to produce a can come watch a Lower octaves with upper octaves? mature individual sound. rehearsal to see the How we as directors respond to Now we’re deep into it. I like to process they use to these balance questions determines think what Judy Garland would have teach their students. our band’s ensemble sound. Some sounded like singing the octave leap directors like a darker, more unified at the beginning of “Somewhere Over The Rainbow” sound while others may prefer to hear each individual if she had the vocal technique of Roseanne Barr. As section equally. This can and should change depending directors, we must first learn for ourselves what needs on the pieces being played. Finding the right mix for to happen to make higher and lower notes sound the each piece can be yet another quest that can last a same on each of the instruments and then effectively lifetime! communicate this to our students. What vowel sound/ • Rule five: Balance to the most important part. shape needs to be created in the mouth when you Other than Rule Three, this is the most neglected change from one note to another note? What changes one of all. Who has the melody and can you hear it? happen in air speed/shape from high to low? It’s not When you hear a band that is “noisy” or sounds like as simple as pressing down the octave key! This is a free-for-all is going on onstage, it’s probably because another lifelong quest! the players have no understanding of their listening • Rule three: match tone, pitch and energy and balance responsibilities. Once they are made with others in your section to produce a mature aware of their role in the music the ensemble sound section sound. calms down and becomes clearer to the listener.

Bandmasters Review • December 2012 24 Texas Bandmasters Association Getting “That Sound”

Have an established daily drill that allows Every exercise you choose must have an understood your students to learn the rules and put purpose and goal. As directors we must first understand them into practice. what those are and how to achieve them then be able The Daily Drill is not “warm-up” and should to communicate them to our students. We must keep never be thought of as such. It is the portion of the them engaged at all times through asking questions rehearsal designed to teach and apply the Rules of as simple as: “What are we trying to achieve on this Sound to exercises that address the fundamentals exercise?” “Was that better or worse than yesterday?” of playing the individual instruments as well as “Who knows how to make this better?” Keep them playing as an ensemble. The overall goal is to make engaged by applying more advanced concepts to an the tonal concepts second nature while at the same exercise. For example, a simple 8 count note becomes time addressing the physical skills necessary for their more interesting if you apply Rule 3: Listen to your achievement. section. Then apply Rule 4: Balance to another section. Below is an outline of the important aspects of Then experiment with Rule 5 by listening for different a Daily Drill that should be covered everyday… sections or individuals with the full ensemble playing. that is the “daily” in Daily Drill! Choose an exercise It becomes easier to “sell” this process as they begin for each of the main areas to work every day: Long to hear and recognize differences and improvement in Tone, Flexibility, Articulation/Style and Interval Tuning their playing. (including unison). The Chorale at the end is used to It is not necessary to spend 45 minutes on your Daily apply the Rules of Sound skills to a simple harmonized Drill every day! Find the one exercise that addresses band arrangement. You can find specific exercises that the level of long tone your band should be working on address your band’s level in many places although I’ve based on their level of understanding of the Rules of used “Foundations for Superior Performance” by Jeff Sound as well as their physical skills readiness. Make King and Richard Williams for over sixteen years. a little improvement on it from the previous rehearsal then move on to the next fundamental skill or concept. Daily drill structure: When they are ready for a more advanced long tone • Long Tones add a new one and either keep the previous one or o Single Note Exercises drop it from your regular routine. (Be realistic in your o Multiple Note Exercises: Chromatic, Diatonic exercise choices. It makes no sense to work on a fast and Expanding Intervals moving lip slur if simpler ones cannot be played with • Flexibility the correct fundamentals.) o Brass Lip Slurs Keep the developmental nature of this process o Woodwind Octaves, Harmonics and Register in mind. A little improvement each day adds up to Key Exercises quite a bit by the end of the year. If we want real • Articulation and Style learning, understanding and achievement from our • Interval Tuning students we must take the time and effort to design • Chorale appropriate exercises, engage them mentally and give them opportunities to be participants in the rehearsal over the course of the entire year.

Bandmasters Review • December 2012 25 Texas Bandmasters Association Getting “That Sound”

Continue to apply the concepts when developing David Brandon is currently an assistant director at Duncanville High School where he is responsible for the Honors Band and the your band’s technical and rhythmic abilities. The DHS Marching Band. Mr. Brandon first taught for seven years as an overall goal must be to make these listening skills a assistant director at Bammel Middle School in the Spring ISD before natural part of playing the instrument at all times. It moving to Byrd Middle School and subsequently Duncanville High School in the Duncanville ISD. Bands under his direction have been is much more fun and rewarding consistently recognized for their achievements, to work on music when all the including continuous UIL Sweepstakes Awards, Best In Class and Outstanding necessary skills are already in place. Band awards at various festivals as well as This opens the door to developing advancing to the state levels in the TMEA Honor Band competition and UIL Marching true musicianship in our students— Contest. The 2004 Byrd Band was named yet another journey for a lifetime. the Texas CCC Honor Band and the DHS Marching Band earned Bronze Medals at the Finally, I encourage you to listen State Marching Band Contest in 2006 and to as many different bands as you 2010. Mr. Brandon received his Bachelor of Fine Arts degree from Stephen F. Austin State can, especially bands of the same in 1987 and his Master of Music Education level as yours, and especially if degree from The University of Southern you are a young director. Find the Mississippi in 1989. Since beginning his teaching career he has benefited greatly from groups that get “that sound” for the teaching and guidance of Eddie Green. Mr. you and ask the directors if you Brandon has served as the Region XX Junior High Chairperson and is an active clinician can come watch a rehearsal to see and adjudicator in Texas. He has presented the process they use to teach their several clinics for the Texas Bandmasters Association and has been on the faculty for students, keeping in mind that it’s a the Music For All Summer Symposium held annually at Illinois one day “snapshot” of a multiple year process. University in Normal, Il. Mr. Brandon is a member of the Texas Bandmasters Association, the Texas Music Educators Association Make the most out of the lifelong learning and Phi Beta Mu Bandmaster Fraternity. opportunities afforded you through the TBA and TMEA conventions. As mentioned many times already, this is a profession of which any one miniscule aspect could occupy a lifetime to master. I think that’s way more fun than selling insurance.

Bandmasters Review • December 2012 26 Texas Bandmasters Association Trumpet Fundamentals: A Comprehensive Guide to Starting Them Right and Keeping Them Right Will Strieder

The challenge of teaching differently to different stressors. Concerning the correct usage beginners and developing students His/her body will respond of air, we are trying to counteract is that our bodies have instincts that differently at different times. The the body’s natural response to are counterintuitive for efficient body WILL become exerting force, the performance practice. Playing complacent. As teachers, grunt. You hear a the trumpet should be as easy One major our job is lot of grunts in the as forming an embouchure and argument among to solve problems weight room. That blowing air. However, with many students and and find ways to red face might not students there are roadblocks that teachers is the topic help the student get in the way of prolong a student from becoming of whether or not overcome their your bench press, successful. certain exercises are limitations. but it will definitely The difficulties students face in the same as playing Choosing the right stop a student from their playing are caused by stressors. the trumpet. Most trigger for the playing a high C! Stressors are situations that are of the exercises are student can make Known as the experienced as a perceived threat similar, but not all the difference valsalva reflex, this to one’s well-being or position in exactly the same, in the world. is triggered every life, when the challenge of dealing to actually playing time we try to give with which, exceeds the person’s the instrument. our air that extra perceived available resources. When They are designed to help your push. The key to good air is a very one encounters stressors, the body’s body trigger the correct, healthy fine line between releasing the air stress response is triggered, and response to the stressor. They and blowing the air. The closer we a series of physiological changes create muscle confusion. They can come to releasing the air rather takes place to allow the person to make you stronger. You don’t see than blowing the air, the more fight or run. In etymology, the word football players arguing about efficiently we can play. The yawn is stress is from estrecier, to tighten. the benefits of lifting weights or the ideal breath. The inhalation is Common trumpet stressors doing exercises off the field. Many easy, deep and without restriction. include: range, dynamics, popular workout systems discuss The release is just as perfect. Most endurance, articulation, technique, muscle confusion as the key to of us do an excellent job of teaching rehearsals, and auditions. Basically, continuing improvement. a great inhalation. However, it’s the we stress our bodies by trying When working with students, exhalation that gets the student in to play higher, faster, louder, I break down the physical side of the most trouble. and longer. Teaching students trumpet playing into: The problem with the trumpet is to overcome these stressors is a • The correct usage of air the back pressure. The body tends challenge because every student is • The center of pitch to match the air to the resistance unique. Each student will respond • The suppleness of lips of the embouchure and of the

Bandmasters Review • December 2012 27 Texas Bandmasters Association Trumpet Fundamentals

instrument. As teachers, we usually answer this by register. The pinwheel should keep spinning when we using the trigger of telling the student to use more articulate. The pinwheel gives both a visual and an air. Initially this can have great results. However, it aural trigger to achieve the correct response as we play. can also set a student up for future struggles. The The other element of the equation is the resistance. body tries to stay in balance. We use the amount of The embouchure should be the only thing creating air to balance against the amount of tension it takes to the resistance. The resistance increases as we ascend play a certain note. If we increase the amount of air, into the upper register and decreases as we descend we overcome the tension and the note gets better. It’s into the lower register. The air has to be buoyant just a matter of time, however, before the tension gets against this changing resistance and needs to be able stronger. We then continue the cycle by continuing to to respond to the different registers of a piece of music. increase the air. Unfortunately, there is an inevitable This is why we often have problems with flexibility. I point where the student can no longer overcome the am a big believer in free buzzing. Most teachers are tension and they just lock down. That is why we need very opinionated as to the validity of free buzzing. Free to teach our students to trigger the correct response buzzing will strengthen the embouchure muscles. It is against the resistance. NOT the same as playing the trumpet. And that is OK! I use blowing exercises to teach the body to not fight It is harder than playing the trumpet (lifting weights). itself when working against the resistance. Exercises It will increase endurance. If you do too much at first, like blowing a dollar bill against the wall, blowing up it will make you stiff (lifting weights). You should start balloons, blowing out candles, or blowing pinwheels with only a minute a day and gradually build up over or baby mobiles, work well to help the body feel the a period of months. We are basically small muscle correct response for releasing the air. The key to these athletes. All of the same rules apply to the embouchure exercises is not how much force you can use, but how muscles as you would apply to any workout routine. easily you can use the air to get the job done. There are two basic types of embouchures: I also use a straw and pinwheel attached to the embouchures formed by the muscles (free buzz) and instrument while playing. The straw fits through the embouchures formed by the mouthpiece (pressure). embouchure into the oral cavity. It samples the air as When teaching beginners, the easiest way to start a we are playing. The leaking air student is by having him/her say the letters “M&M”, disrupts the balance between the as in the candy. The student then says “M&M” with air and embouchure. Usually, a coffee stir straw between the lips. This helps set up we can barely play. It helps us the correct aperture and embouchure. The student to learn to use more air without then should hold the “M” and blow. As he/she does extra tension. As a result of this, I slide the mouthpiece through the straw to the playing with the straw, when lips. Next, as the student continues to blow, I gently we remove the straw we have pull the straw from the mouthpiece. Most students extra air. We can also see how are successful with just a little coaching. If you do the body is using the air. For this approach concurrently with free buzzing, you example, the pinwheel should will maximize the student’s chances for success. accelerate going into the upper Straw and pinwheel (See photos on the next page.)

Bandmasters Review • December 2012 28 Texas Bandmasters Association Trumpet Fundamentals

and rhythms. The instructor can then focus on their student’s musicality and production of sound. The last thing I would like to address is mouthpiece pressure. As students, we learn early that a little bit of mouthpiece pressure helps get the next harmonic to come out. For example, we may press a little to go from low C to middle G. We use a little more pressure to get the next C out. We use even more pressure Straw Mouthpiece through the straw to get E. The next thing you know, we don’t need Buzzing should be part of every brass player’s diet braces anymore! The embouchure works in balance for success. Every exercise should be sung and then with the air. As the air blows, our lip muscles grip buzzed first before playing it on the instrument. This the air and we get the air oscillating to create the is necessary to develop the center of pitch. sound. As the lip muscles tire, the air blows them out The key is to use a program such as Smart Music to and apart. We use the mouthpiece to help hold the assess the student’s progress at each stage of singing, aperture together by using mouth-piece pressure. The buzzing, and playing. Smart Music is a great program. best approach is to teach students to use quality air You can introduce the coolness factor of playing the while encouraging them song with the accompaniment, but the essential work to free buzz the full begins when practicing with just the solo line and range of the instrument. metronome click. It is important to have the student The free buzz helps matching the unison every time. You can then turn off strengthen the embouch- the solo line and have the program assess the student’s ure muscles to with progress with just the metronome click. For a special stand the air pressure challenge, have the student asses themselves without blowing against them. the click and without looking at the screen. This will A great tool to help also assess how well he/she can keep a steady pulse. encourage the student to

For some reason, some teachers refuse to use this use less pressure is the Mouthpiece placement method because they think that it doesn’t teach the “Pressure Reducer”. It is student to read music or that it is too much rote available various places online including Ebay. You can learning. But isn’t this exactly how kids learn in band also purchase one at Osmun.com. Search for “pressure rehearsal? This approach helps a student change their adaptor, trumpet”. The device is spring loaded and practice approach from time based practice to result helps the student realize when and where they start based practice. Students enjoy seeing green notes to use pressure. With a little practice, the student can versus red notes and get a lot of satisfaction from start feeling the spring. Without the pressure reducer, getting a 100% on an exercise. Granted, Smart Music we should still be able to feel the spring being replaced can’t teach a student to play with a great sound or to be by the suppleness of the muscles in the embouchure. musical. However, lessons are so much more productive The idea is not that we don’t use pressure, but in when a student is already playing the correct notes knowing which note the pressure kicks in.

Bandmasters Review • December 2012 29 Texas Bandmasters Association Trumpet Fundamentals

I have found that we can play about a fourth higher I teach students that there are four basic questions at that point where the pressure reducer kicks in. If we they need to ask themselves if they want to improve. press at middle G, for example, we can’t seem to play 1. Do they practice every day? 2. How much do they any higher than the C above. If we can delay pressing practice? 3. What do they practice? 4. How do they to the G on top of the staff, we are limited to the high practice? The most important question is always the C. The problem is that if we start pressing on the G, first that they can’t answer correctly. Hopefully, with every note above it is basically being played with a some encouragement, we can get students to focus on tourniquet. The blood supply to the embouchure is the quality of their practice. greatly reduced and it is as if the muscles are being There are many other triggers too numerous to killed. Another benefit of the pressure reducer is that discuss in this short article. As teachers, our job is if we do press as we go up from F to G, it encourages to solve problems and find ways to help the student us to release the pressure when we descend. We often overcome their limitations. How we effectively teach continue to press. This is why most trumpet players students to train for a measured and accurate response have a permanent ring on their embouchures. as opposed to a primal reaction is the key to success. Choosing the right trigger for the student can make all the difference in the world.

Special thanks to Mr. Strieder’s sons Sean and Noah for demonstrating their dad’s teaching techniques in the photos with this article.

Will Strieder is Professor of Music at Texas Tech University. He studied at Northwestern University, where he received the Masters of Music degree in Trumpet Performance and was winner of the Northwestern Concerto Competition. He also studied at the University of Houston, where he received the Bachelor of Music in Music Education. He is principal trumpet of the Lubbock Symphony Orchestra as well as second trumpet of the Houston Ballet Orchestra. Mr. Strieder performs at Texas Tech with the Faculty Brass Quintet and also conducts the Trumpet Choir. He is active as a soloist and chamber musician throughout the United States, Mexico, Europe and China. He has performed with groups such as the Houston Symphony, Houston Grand Opera, Santa Fe Pro Musica, Clear Lake Symphony, Texas Opera Theater, Society for the Performing Arts in Houston, and the Millar Brass Ensemble. He has recorded Incantations for Trumpet and Piano, Rhapsody for solo trumpet and harp, and Trio Italiano by Mary Jeanne van Appledorn with the Opus One recording label. Also, Mr. Strieder recorded Fisher Tull’s Concerto for Trumpet with the Nurnberg Symphony Orchestra in Nurnberg, Germany on Albany Records. Mr. Strieder has recently appeared twice as a soloist with UADY Chamber Orchestra of Merida, Mexico. His students have had success in the education and performance fields. The trumpet studio at Texas Tech has attracted talented students from throughout the United States. These students have been accepted into prestigious music festivals and graduate programs nationwide. In addition, many of his former students are successful teachers and performers.

Bandmasters Review • December 2012 30 Texas Bandmasters Association Wanted: Used Band Instruments!

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Bandmasters Review • December 2012 31 Texas Bandmasters Association Congratulations to the U.I.L. Marching Contest State Champs

Congratulations to all who qualified to participate in the 2012 U.I.L. State Marching Band Contest. All of the bands who performed at State deserve special recognition. These bands have been practicing since last summer, working hard on their marching program. All have made their schools and community proud! The U.I.L. marching competition started in October with hundreds of bands competing at the Region level. The top bands were then chosen to compete at the Area level. Finally, the top 3A and 5A bands were chosen to compete for the coveted state title in November. Congratulations to these students and directors for their commitment to excellence.

3A Congratulations to all the 3A Bands and Directors who competed in the state competition:

Argyle HS...... Kathy Johnson Grulla HS...... Oscar Gonzalez Rio Hondo HS...... John Garza Atlanta HS...... Keith L. Sanders Henderson HS...... Tommy Moore Spring Hill HS...... Randall R. Kiser Burnet HS...... Kevin Heckaman Hidalgo HS...... Jorge Lozano Springtown HS...... Chris J. McLellan Canton HS...... Rob Toups Kennedale HS...... Erol K. Oktay Wills Point HS...... John S. Young Castleberry HS...... Dave Daniel Monahans HS...... Gerardo Loya Wylie HS...... Michael Lunney China Spring HS...... Pam L. Hyatt North Lamar HS...... Randy Jones Cooper HS...... John G. Mayo Port Isabel HS...... Scott Hartsfield Fredericksburg HS.....John Rauschuber Princeton HS...... Brandon D. Brewer

5A Congratulations to all the 5A Bands and Directors who competed in the state competition:

Bell HS...... Van Mathews Duncanville HS...... David Brandon O’Connor HS...... Roland Sandoval Berkner HS...... Frank Troyka Fossil Ridge HS...... Brad Allen Pearland HS...... Tom Beil Bowie HS...... Kimberly L. Shuttlesworth Hanna HS...... Dennis Ewing Plano East Sr. HS...... Evelio C. Villarreal Brazoswood HS...... Brian Casey Harlingen HS...... Ronnie Rios Reagan HS...... Levi Chavis Central HS...... Kevin L. McNulty Harlingen South HS..Shane E. Shinsato Richland HS...... Jason Bird Clear Brook HS...... Michael D. Ary Hebron HS...... Andy Sealy Rowiett HS...... Phillip Alvarado Clear Lake HS...... Joe Munoz Hendrickson HS...... Garth Gundersen San Benito HS...... Wilberto Perez Clements HS...... Daniel Galioway Johnson HS...... Jarrett E. Lipman Seven Lakes HS...... Damon Archer Coppell HS...... Scott Mason Keller HS...... Mark McGahey Spring HS...... Terri Risinger Coronado HS...... Mark Saenz Lake Travis HS...... Kenneth D. Vise The Woodlands HS.....Joni Perez Cy-Fair HS...... Mark Veenstra Langham Creek HS...Gloria Ramirez United HS...... John J. Mallon Dickinson HS...... Trevor Braselton Lopez HS...... George A. Trevino Westlake HS...... Kerry Taylor Donna HS...... Armando Robledo Marcus HS...... Amanda Drinkwater

Bandmasters Review • December 2012 32 Texas Bandmasters Association Congratulations to the 3A Band State Champion: Argyle High School

Director: Kathy Johnson Assistants: Michael Lemish, Lucy Pascasio, Evan Fletcher, James McNair, Sarah Ross, Tim Biles, Kaylee Hardiman and Steven Olmstead Drum Majors: Lindsey Johnson, Randi Martin and Cameron Schafer Selections: Moving Parts: Moving Parts, Shifting, ‘N’ Motion, Transient and Kinetikos

Congratulations to the 5A Band State Champion: Marcus High School

Director: Amanda Drinkwater Assistants: Kennan Wylie, Dominic Talanca, David Simon and John Leonard Drum Majors: Scott Van Gundy, Sarah Jones, Abigail Gregory, Daegi Lee and Amanda Wang Music selections: Gilded Melodies - BWV 2012 Non-Profit Org. Bandmasters Review U.S. Postage PAID San Antonio, TX Texas Bandmasters Association Permit No. 2406 1002 Central Parkway South • San Antonio, TX 78232