June 2009 Archives - The Instrumentalist

Rediscovering Cycling

theinstrumenta — Fri, 10 Jul 2009 01:16:05 +0000

    As a child who grew up in the country, I frequently rode my bicycle to town during summer to get ice cream or meet friends. Like many teenagers in my area, I stopped riding my bicycle the day I got my drivers license. Regretting those lost years, I bought a new bike last fall.
    One of the Chicagoland trails begins on the same street our office is on, and I frequently come to work shortly before sunrise to get in a quick ride. On weekends I often visit other trails or explore the local one further. I have developed a great appreciation for the exercise, the wind in my face, and the solitude found on the bike trails when everyone else is still sleeping.
    In a way owning a bicycle is similar to owning a musical instrument. It takes regular work to improve and consistent maintenance to keep it in good shape – and there are always fascinating new accessories to buy. The recent excitement of one friend in discussing her new bike pedals was matched by the excitement of another showing off his new saxophone neck strap.
    This same saxophonist friend suggested I get a smaller case for my bari sax, but I prefer the protective one I have now, even if it is roughly the size of a small car. I had a gig bag for my tuba and learned the hard way that someone as clumsy as I am needs all the protection he can get. I would rather do what seems best for me than follow everyone else. To that extent, there are certain aspects of cycling that I plan to avoid as well. I will not ever:

1. Wear lycra. I understand that cycling apparel is designed to reduce drag and wick away sweat, but I would rather wear something comfortable than something so tight.

2. Get shoes that lock to the bike pedals. They work wonders for increasing efficiency, but I am more interested in being able to catch myself when I tip over.

3. Travel in a pack. Hardcore cyclists often ride extremely close behind one another (called drafting) to reduce drag. Cycling with others is fun, but I want them to be a few feet away, not a few centimeters behind me.

4. Bike through mountains. Al-though the reason for not wanting pedal up a mountain is obvious, what I didn’t know until recently is that going down is almost as tiring. Coasting down a mountain sounds fun, but it is necessary to hit the brakes frequently. If you go too fast, the break pads will overheat as they rub against the rim and can cause your tires to explode.

5. Ride on Chicago streets. I don’t care what the law says. Cars are bigger, heavier, and faster than bicycles, and right-of-way won’t mean much if I get sideswiped by somebody’s Hummer. I will stick to the trails and be content.
Whether you are a cyclist, golfer, or just someone who enjoys a walk on a sunny day, I hope you are taking advantage of the beautiful summer weather. I know I will be.

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Musical Trivia

theinstrumenta — Thu, 04 Jun 2009 20:48:07 +0000

Maybe it’s my strange and nerdy side, but I enjoy learning obscure facts. Much of what I know is admittedly impractical and useless, unless you plan on becoming a game show contestant. Perhaps one of these entries will be the answer for final Jeopardy. I have attempted to verify the authenticity of each entry on Wikipedia, Snopes.com, and Uncle John’s Bathroom Reader. In one instance you will just have to take my word on it.

Scooby Doo’s name is taken from Frank Sinatra’s song, “Strangers in the Night.”

In 1914 the Vatican condemned the turkey trot and the saxophone.

The harmonica is the world’s most popular instrument.

In Stalin’s Great Terror of 1937, many saxophonists were shot or exiled. The saxophone was considered a dangerous capitalist instrument and a symbol of the tsarist past.

John Lennon’s first girlfriend was named Thelma Pickles.

Arnold Schoenberg suffered from triskadecaphobia, the fear of the number 13. He died on Friday the 13th.

In a 1921 article in the Ladies’ Home Journal, an author cited scientific evidence conducted in insane asylums that showed “jazz on the normal brain produces an atrophied condition on the brain cells of conception, until very frequently those under the demoralizing influence of the persistent use of syncopation, combined with inharmonic partial tones, are actually incapable of distinguishing between good and evil, right and wrong.”

The fear of music is called melophobia. Its symptoms include breathlessness, excessive sweating, nausea, dry mouth, feeling sick, shaking, heart palpitations, inability to speak or think clearly, a fear of dying, becoming mad or losing control, a sensation of detachment from reality, or a full-blown anxiety attack. (Note: This sounds like what I have around contest time.)

“He Ain’t Heavy, He’s My Brother” was inspired by Father Flanagan’s Boy’s Town poster. The poster had a picture of a priest on one side and two kids facing him, one sitting on the other’s shoulders. The caption read, “He ain’t heavy Father, he’s my brother.”

The longest parade in the world is the Marksmen’s Parade that takes place in Hanover every year during the Shutzenfest. The parade is more than seven miles long with 12,000 participants from all over the world and more than 100 bands and 70 floats and carriages.

Sir Georg Solti, who conducted the Chicago Symphony for 22 years, holds the record for most Grammy awards won by an individual. He was nominated 74 times and won 31 awards.

Carnegie Mellon University offers a bagpipe major.

The first double album was Benny Goodman’s Live at Carnegie Hall (1938).

The comedian Tommy Cooper once said, “I inherited a painting and a violin, which turned out to be a Rembrandt and a Stradivarius. Unfortunately, Rembrandt made lousy violins and Stradivari was a terrible painter.”

The first CD pressed in the United States was Bruce Springsteen’s Born in the USA.

The mother of Monkees member Michael Nesmith invented Liquid Paper correction fluid.

John Coltrane, Duke Ellington, Charles Mingus, Thelonius Monk, Jelly Roll Morton, and Charlie Parker have appeared on postage stamps.

In 2006 scientists at the Blackpool Sea Life Center in England couldn’t get two of their sharks to mate. They tried piping in Barry White music through the speakers above the shark’s tank, but this failed. Other attempts using music by Beethoven, Mozart, and Puccini were also unsuccessful. The song that finally worked was Celine Dion’s “My Heart Will Go On” from the movie Titanic.

Violinist Joshua Bell plays in the subway.

Ulysses S. Grant liked to tell people, “I only know two songs: one is ‘Yankee Doodle’ and the other one isn’t.”

The world’s largest musical instrument is the Great Stalactite Organ, located deep in Luray Caverns in Virginia’s Shenandoah Valley. Stalactites covering more than three acres of surrounding caverns produce tones of symphonic quality when electronically tapped with rubber-tipped mallets. The in-strument was invented by Leland Sprinkle of Springfield, Virginia.

Lawrence Welk had a number one hit in 1961 with Calcutta.

Rhythm is the longest English word without a vowel. It is tied with syzygy.

Mick Jagger attended the London School of Economics for two years.

My dad went on a date with Ellen Taaffe (Zwilich) when they were both in college at Florida State University.

The song “Happy Birthday” is a copyrighted song written by Patty Hill and Mildred J. Hill, Kentucky teachers from the 1890s. This is why you rarely hear the song in movies and on television. Royalties would have to be paid.

On second thought, this information might not be useless after all. If you find a conversation lagging at a band convetion, pull out some of these fascinating tidbits. At best you could become the life of the party. At worst (which is more likely), you will soon have a table all to yourself in a crowded restaurant.

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Publicity for the Music Program

theinstrumenta — Thu, 04 Jun 2009 19:51:15 +0000

    One of the best ways for music educators to promote their ensembles is to communicate information to the local media. Newspapers, including weekly advertising journals, radio, and television stations, both network and cable, are always looking for upbeat stories to report, and this includes activities, awards, or achievements related to school music programs. Many communities even have a cable access channel devoted to broadcasting local events.
    Print and broadcast media have different style formats and limitations, so the first step in establishing a relationship with the local media is to find out what the guidelines are for submitting written materials or requesting event coverage. This should include information about deadlines and the appropriate person to contact.
Any written information you submit should answer the questions who, what, when, where, why, and how. Be sure to structure the article in the order of declining importance, with the most relevant information first, followed by additional interesting items, quotes, and side notes. The ends of articles are often cut or shortened for space considerations. It may be helpful to ask the advisor of your school newspaper for guidance or to assign a student to cover the activities of the music program.
    It is of utmost importance to double check the accuracy of names, places, and dates. If you are giving an interview, spell out any specific names and places so the reporter is sure to have the correct information. Usually the only detail out of a director’s control are headlines, which are often the last part of the article to be written, but it is acceptable to request that editors avoid unintended or humorous juxtapositions.
    When preparing for a radio or television broadcast, ask the station what you can do to prepare for their arrival. If a news crew is coming to the school campus, notify and obtain permission from the school administrators ahead of time. You may also have to secure copyright permission in advance for a station to air music that is not in the public domain.
    After the media has published or aired information about your organization, send a note of thanks. For radio or television appearances, ask for a copy of the tape for archival or future promotional purposes, and let the station know that they will be given credit if the information is used. Continue to inform the media of any significant honors or events. This type of promotional activity is always appreciated by community news organizations. In return, the increased visibility greatly benefits your music ensemble as well as the school. Consider taking advantage of local publicity if you have not already done so.

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Double Reed Care

theinstrumenta — Thu, 04 Jun 2009 19:35:52 +0000

     Directors often observe young double-reed players struggling with their reeds. Reeds will break or suddenly stop working at the most inconvenient times, but some basic techniques
of reed care can help the reeds last longer and play better.
     A double reed is small and fragile, subjected to tremendous pressures dur-ing normal playing. As an organic object it decays further every time it gets wet and dries again. The combination of mechanical strain and biological change means that reeds need to be replaced often. Even beginning students who practice 30 minutes a day outside of rehearsals should use a new reed at least once a month. With the price of reeds and cane rising rapidly, students are likely to use reeds for a longer time than desirable.
     Good care can extend the life of a reed. The parade of horrors on overused reeds can include cracks, separated blades, unraveling string, chipped corners, lipstick stains, and even streaks of black mold. Much of this can easily be prevented.
     First, never store a reed in the container in which it was bought. These airtight containers are designed to protect the new reed from the environment before it is sold. However, such conditions are harmful for storing a damp reed. If a reed is not allowed to dry completely, it will mold. Each student should have a reed case that holds reeds safely and allows air to circulate around them.
     Many beginners, when instructed to wet their reeds, will hold the reed in their mouth for a few seconds or wet it under a running faucet. Neither of these methods will soak the reed adequately. A reed should not merely be dipped or rinsed but should be submersed the entire height of the vibrating blades in still, warm water. A dry reed cannot vibrate easily and rapidly, and playing on one causes cracks, chips, and a coarse, uncontrolled sound. Saliva is too thick and does not penetrate the cane. Running water is better but still does not soak the cane enough.
     Each student should have a small sealable container of water. The first stage of putting the instrument together is placing the reed in water. By the time the instrument is assembled, the read will be ready to play. The student should fill the container with fresh water every day.
     Reed cleanliness can be a recurrent problem. A thumbnail scraped along a reed’s surface will likely pick up a layer of gray or pink slime: a combination of saliva, food, decaying cane, and lipstick. There may not be time for all reed players to brush their teeth before rehearsals, but girls should wipe off their lipstick. All should take a drink of water to rinse their mouths on the way to rehearsal. At the end of rehearsal, they can rinse their reeds under water or dip them into the water container. Saliva is the first stage in digestion and breaks down the carbohydrates in the cane. Cleaning the reed after playing slows this process and keeps the reed fresh longer.
     Students can learn to prevent most mechanical damage by always keeping the reed in sight when it is not soaking or in the reed case. If the reed stays off the instrument, someone will certainly bump it. If a bassoonist rests by holding the bassoon against the body with the reed and bocal over the shoulder, eventually the reed will be crushed against the back of a chair. This will most likely happen during a concert in an unfamiliar hall, a bad time to break a reed. A safer position is to let the bassoon rest diagonally across the body, keeping the reed where the player can see it. If students leave their instruments on their chairs during breaks, double-reed players should take the reed off the instrument and leave it in the water container (for a shorter break) or in the reed case (for a longer break).
     Even with the best of care, reeds change. At first they play hard, bright, and loud. Although new reeds can be difficult to control the tone is strong and clear. A few days later, the reed softens and sounds pleasant throughout the student’s range. Eventually, a reed will become weak and soft. The high register becomes fuzzy, the low register sounds sharp, and students can no longer play with good dynamics even in the middle register. Still, the failing reed feels safer and more reliable than a new one and most students won’t start playing on a new reed until the old one is completely dead. This means students spend two thirds of their playing time fighting a new reed or coddling an old one.
     The ideal time to start playing on a new reed is just when the old one begins to sound good. By setting aside the comfortable reed to start breaking in a new, raucous one students will benefit from having at least two reeds in prime condition. Also, by dividing playing time between two or more reeds, each one can dry out thoroughly and last longer.
     These basic techniques of reed care may seem elementary, but students who do not study privately have no way of knowing these things. Even if the director tells players to soak the reed, detailed instructions are needed to explain what this means. If they learn to care for their reeds, they will find that reeds last longer in better condition. This, in turn, makes band much more pleasant and rewarding.

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Solos with Band Accompaniment

theinstrumenta — Thu, 04 Jun 2009 19:23:47 +0000

As a special feature of the school year, many high school concert bands host a spring music festival that includes a concerto performance. While some directors feature their best senior instrumentalists or hold a concerto contest and present the winner, others invite a guest soloist or returning alumnus to perform with the band. No matter the approach, the responsibility of locating the right music – matching the ability of the soloist with the level of the accompanying ensemble – can be daunting.
The following selections can help. Most of these gems are available through music distributors, and you can find those that are out of print in fine university wind band libraries. Several selections are well known for their instrument and are easily available, and some include additional information about interpreting the music that will be helpful during score study. The longer list in the sidebar includes shorter and easier works that might be better suited to less-experienced soloists and accompanying ensembles.

Flute
Concertino, Op. 107 (Carl Fischer) is an eight-minute work for solo flute and piano accompaniment by Cécile Chaminade (1857-1944), arranged by Clayton Wilson for flute and wind band, published in 1960. Revolving around the key of D, the scoring suggests one to a part when accompanying the solo flute; however, the parts are straightforward and should not be problematic for a grade four high school band.
Romantic in nature, the piece features several themes and transitions that move between soloist and accompanying parts. The work has only a condensed score, a lengthy cadenza for the soloist, and an optional cut that eliminates a rhythmic section for the solo.

Oboe
Charles T. Yeago has transcribed two excellent oboe concertos for wind band. Alessandro Marcello’s Concerto in C Minor (BAS Publications), originally with accompanying strings, shows Yeago’s attention to detail and historical accuracy. This particular edition provides conductors with two versions of the oboe solo because of the inconsistencies Yeago found in his historical research. The soloist and conductor are left to decide which version to perform. The accompanying parts are interesting and playable while being transparent enough for the solo voice to be heard. While the publisher indicates a grade three for the wind parts, they appear to merit a more difficult rating of four because of the speed and lightness required for articulated passages.
Yeago’s second transcription, the Sonata in A Minor by Georg P. Telemann (BAS Publications), demonstrates the same excellent scoring with interesting colors and care for the soloist in which the texture of the accompanying parts are thinned out to allow the featured oboe to be heard with ease. Yeago suggests reducing the number of players throughout the work to allow the oboe solo to project. At a length of five minutes, this work is suitable for high school musicians to perform. BAS Publications includes recordings of these works at its website, www.baspublishing.com.

Clarinet
    Carl von Weber composed several works that have been transcribed for clarinet solo and wind band. Concertino, Op. 26 (Carl Fischer), arranged by M.W. Lake, is quite playable by a high school soloist and accompaniment, and at eight minutes in length it is not overly long to program. Featuring a variety of moods, the music will challenge directors to establish the correct tempo for solo and ensemble. The clarinets provide much of the background, continuing to play through the entire transcription. Woodwind players should easily master a few difficult notes that move quickly but are not as difficult as they appear. The final variation in 68 will require extra rehearsal time to solidify the rhythmic difficulty of the meter, however, the key of F makes this a playable selection.
    The Fantasia and Rondo (Kendor), arranged by Jack Snavely, is more difficult for the soloist because of longer, more exposed passages and more difficult technique, but it is as playable as the Concertino, which is just a little longer at nine minutes.
    T. Conway Brown’s arrangement of von Weber’s Second Concerto (Boosey & Hawkes) is the most difficult of the three works in this compilation for both the soloist and the ensemble. It is the most substantial in scope with three movements and 23 minutes of playing time.

Bassoon
The Allegro movement of the Concerto in B flat (BAS Publications) by W.A. Mozart, transcribed for wind band by Charles T. Yeago, requires a light articulation to represent the Classical style. The key is friendly to wind players, and the transcription has transparent parts that bring the soloist to the forefront.
The first horn part has high As during the theme and a sustained high G at a pp dynamic that could prove problematic to the performer. The solo part is easily mamageable; it includes alternate parts and an optional cadenza that make the work challenging.

Saxophone
The Introduction and Samba by Maurice Whitney (Bourne) for alto saxophone and band is a dramatic work and only available through rental. The soloist has the option to feature the brilliance of the altissimo register throughout the work. Double tonguing is required by trumpets, trombones, flutes, and by the soloist. This solo is not as technically difficult as other works within the cannon of saxophone music, and the accompaniment is not overly difficult. Full scoring of the ensemble is rarely used, allowing for easy balance between solo and ensemble.

Trumpet
    The Haydn and Hummel trumpet concertos (Chappell/Hal Leonard, Robert King) are widely regarded as two of the most well-known selections for the instrument and common in many standard solo lists. Both concertos have been transcribed for wind band and share several similarities. First, the solo trumpet parts are designed for an E-flat instrument and should be performed on one when at all possible. Second, the transcriptions are often thickly scored in the woodwinds, which substitute for the original string parts. These woodwind parts require strong performers, especially in the clarinet section.
    Finally, arrangements of one or two movements of these concertos with judicious cuts of the introductions or bridges make them more suitable for high school ensembles. James Curnow has arranged the middle movements of both selections, making the solo and ensemble accompaniment worthwhile for high school groups.
    The Concerto for Trumpet by Alexander Arutiunian, transcribed by Guy M. Duker (Thompson Music), is another standard work for trumpet. This rendition for the full instrumentation of the wind band is an endurance and technical challenge for the soloist. Duker’s transcription maintains the color changes of the orchestral piece, displaying transparency while keeping the parts playable. The Romantic flair of the composition requires numerous transitions and changes in style that will make this work an interpretive challenge for the conductor and solo.

Horn
Several Mozart concertos for horn and wind band (Southern), edited by Lorenzo Sansone, are transposed from the original key to accommodate modern horns. The transcriptions rely heavily on the clarinet section while eliminating parts for trumpet, trombone, and euphonium. The limited instrumentation creates good balance; however, players should keep Classical-era performance practice in mind and use a light articulation throughout. These concertos are sold with full scores for the conductor.

Trombone
    Waber Naillin transcribed Nicolai Rimsky-Korsakov’s Concerto for Trombone (Ludwig- Masters, Hal Leonard reprint), creating a playable work for most high school wind bands with the exception of a difficult clarinet part. Performers have to maintain a light articulation throughout the 11-minute transcription. Saxophones are optional. Directors may shorten the work by performing only the first movement or only the second and third movements.
     Alexandre Guilmant’s Morceau Symphonique, transcribed by Wesley Shepard, has been reissued by (Belwin-Mills/Alfred). It is a relatively short, six-minute selection that is playable by the soloist and wind band alike. The score’s abbreviated form should not prohibit directors from considering the selection for their next concert.
    Andante and Allegro by J.E. Barat is another fine selection for solo trombone or solo euphonium. Romantic in flavor, the arrangement by Robert L. Marsteller (Southern) features a variety of colors but can at times be too thickly scored. There are a few problematic measures for the woodwinds that will require extra attention, and the especially high parts for clarinets 1 and 2 include two introductions that will challenge the fingers. The low reeds play a difficult moving bass line early in the work that requires practice. Overall, the work will best be performed by a mature ensemble that can handle its transitions and changes, more than the technique required by the music.

Euphonium
Robert W. Smith’s Willson Suite (Belwin-Mills/Alfred) has several unusual features, such as a solo part with four options for the conductor to consider: the euphonium solo as conceived by Smith and also a more difficult version as performed by re-nowned euphonium soloist Roger Behrend. Smith also provides a transcription of both versions for solo tuba, changing to the appropriate octave when necessary.
In addition, Smith captures the character and traits of his well-known compositional style for wind band in this composition. Performers’ parts include directions to create atmospheric effects, and the percussion scoring uses ample instrumentation that is integrated into the score; rhythm is an important element of the work. Ensemble members will have fun performing this work. The piano part is crucial to a representative performance.

Tuba
Don Haddad’s Suite for Tuba (Shawnee Press) has been scored, as the composer notes, to enable the solo to be heard by featuring the woodwinds. Brass have articulate moments, punctuating chords, and marking accents. The ensemble accompaniment is easily playable and the length – just over seven minutes – is easily manageable, allowing for many expressive moments by the tuba soloist. The biggest challenge is in the third movement where the rhythmic and technical difficulties will require careful practice.
Fantasia for Tuba by James Curnow (Curnow Music Press) is more challenging than the Suite for Tuba. The entire work is based on the development of a four-note motive heard in the free section that opens the piece. The scoring, which uses a full complement of percussion, features a variety of writing styles for the accompaniment, from tutti band to thin and transparent textures. Curnow designates specific dynamics in the wind band parts in an attempt to prevent inherit balance problems when working with a solo performer. A full range of style, dynamics, and emotional effects are explored in this work for tuba.

Percussion
Randy Eyles and Floyd Werle have combined forces to create two xylophone solos with band: Golden Age of the Xylophones and Rainbow Ripples (Meredith Music/Hal Leonard). Both solo xylophone parts have difficult rapid 16th-note passages, but the up-tempo themes and effect of the arrangements preserve the spirit of the ragtime piano themes made famous by xylophonist George Hamilton Green. Woodwinds play fast articulated passages, and the brass must avoid covering the soloist and woodwinds.
While this is not meant to be a comprehensive list, it should inspire band directors who have never before featured a soloist with their ensembles. Moreover, it will give students the thrill of performing as a soloist, and it will give ensembles the opportunity to collaborate with other musicians in a performance, creating lifelong musical memories for everyone. l

Contributors to this article are James Cochran of Shattinger Music, St. Louis, Missouri; Volkwein’s Music, Pittsburgh, Pennsylvania; and the following music faculty of Youngstown State University: Michael R. Crist, professor of trombone; Brian D. Kiser, assistant professor of tuba and euphonium; James C. Umble, professor of saxophone; and Kathryn Thomas Umble, assistant professor of flute.

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Steps to a Great Color Guard

theinstrumenta — Thu, 04 Jun 2009 18:59:55 +0000

The key to a great color guard is dedication to fundamentals. All color guard moves and work stem from correct techniques, and I love to focus on the basics. Every rehearsal of the Northern Illinois University color guard begins with a basics block.
    We go over the same skills every time starting with how to stand properly. There is no single, right way to stand as long as everybody is doing the same thing. My guard stands in third position with the left foot in front, which turns the hips slightly to the right. This is a flattering position and having the left foot in front makes it easier for step-offs.
    When they are at attention the bottom tip of the flag is about two inches away from the right big toe. The right hand should be at a comfortable break at the elbow, firmly holding the flag just below the tape (the bottom of the flag taped to the pole). The left arm should be at a 90-degree angle holding the pole as if there were an imaginary line directly out from the right shoulder. The left elbow is flat to the ground with the forearm flat against the front sideline.
    Teaching young students the proper way to stand is always difficult. They would rather slump at the shoulders and keep their heads down as if walking to class. To teach them to stand up properly I tell them to imagine there is a string attached to them just below the front two notches of their collarbones and someone up in the press box is pulling the string. By imagining that, their rib cages lift up off their hips, and the students immediately look a foot taller. Of course the head has to move with the chest, so I tell them to look at the press box with their chins, not with their eyes.
    The command “right shoulder” moves the pole into a preparatory position that can result in most moves. The left hand grabs the bottom of the pole and it firmly rests on the belly button. The pole must stay straight up, about two inches from the nose. From the right shoulder, students can do an angle exercise, figure eights, spins, double fast, and single tosses.
    Our angle exercise consists of top angles at a 45-degree angle, a parallel angle, and a lower 45-degree angle, otherwise known as a slam. We perform each of the three angles to the front, right, back and left side of the body, first every four counts, then two, and finally every count. By starting out slowly we can establish where the angles are supposed to be. Practicing these around our bodies establishes different planes that can be used.
    Figure eights are done in the same pattern as the angle exercise by breaking them down from four counts to one. Instead of doing straight and direct path like the angles, figure eights cover a circular motion encompassing the front, back, parallel, and slams of the angles in a flowing movement. We do these flat to the front and to the front right and left 45 degree angle.
    Spins are done in a series of eight counts, hold for four on the stop and up for four before starting over again. Otherwise known as a drop spin, the left hand lets go of the pole (from a right shoulder) and turns the wrist with the back of the hand twisting clockwise to the right with the palm open to the left, while staying at the waist.
    The right hand turns the pole a half-revolution counter clockwise and drops the pole into the left hand. The left hand grabs the pole right below the right hand and turns the flag upright counter clockwise. The pole is now in the left hand and once the flag is up again the right hand grabs just below the left. This continues for as many counts as desired. On the last count the pole will stop with a re-grab or a separation of the hands on the pole to ensure it stops strong with the flag on top. We then hold for four counts here, pull the pole up to a right shoulder for four counts, and start the spins again.
    Double fast is exactly that – double the amount of regular spin. The same principle applies as a drop spin but instead of a down/up count with the flag it is a down/parallel/up/parallel pattern. This means that first the flag is down, then parallel to the left, then up, and then parallel to the right. The first step is the same with the flag dropping into the left hand, but from there the flag is turned more than a drop spin; the right hand grabs next to the left with palms up. It drops again with the flag up this time instead of down and then again parallel with the palms up and the flag on the right. Just as with the drop spins we stop at count eight, hold for four, right shoulder for four, and start again.
    I always break a single toss down into individual moves first. Feet are in a small second position for stability and the flag is at a shoulder/hip angle with the flag down, the right hand under at least one fist length down into the flag and the left hand on top at the same height as the left shoulder. I tell the guard to push with all of their might down with the left hand and hit the floor with that tip as hard as they can.
    Many think that a toss is done with only the right hand sending it up into the air. It won’t have a good revolution unless the left hand pushes at the same time. I then ask them to push with the left and pull up simultaneously with the right hand holding the flag equal to the side of the head.
    Without letting go of the flag this part of the exercise can feel very uncomfortable as the right hand takes the brunt of the push. For this reason I don’t do this part of the break-down for too long. Once students get a good rhythm with these two steps, only then do I tell them to let go of the pole. More times than not members of the guard who have never before done tosses tend to forget everything they were taught about using the hands together and just throw the flags.
    The guard will panic a bit when flags go all over the place. The instructor will have to make sure that the first two steps are learned before ever letting go of the pole. The push of the left hand determines the amount of revolution in the air and the right hand’s height at the point of release determines how high the toss will go. Perfecting tossing takes time and practice, but if the technique is wrong from the start the tosses will never be correct.
    As an instructor I have noticed that not many members know where to watch to clean spins. It works best to put the guard in one, straight line at a two-step interval. As the members look down the line they need to watch the poles as they come up just off the right shoulder of the person in front of them. Many think they should watch the flag itself, but sometimes the flags are not exactly the same size and get caught at times. When the flag is coming up in a drop spin, it’s much easier to see the pole than the flag flying behind it. I am also able to see if they are turning their wrists on the ups of the flag if the flag starts to roll up and disappear. The flag should be out at all times.
    All of the basics are done to counts and the show is based on counts, not the music. A director once asked me why I didn’t write the guard work to the music. I explained that if the guard goes to the music they will be late in their work because they are listening for certain things in the music. If they go to the counts given to them, they will never be late and their work will match the music. Every count of the Northern Illinois color guard pregame and halftime shows has a certain place. This also shows how you can clean the work.
    Musicians will break down a section of the music slowly and then bring it up to tempo. The same is true with guard work. We break moves down count by count and then increase speed. There isn’t a lot of difference between the role of a clarinet and someone in the guard. We both march on a football field, making our contributions to the whole production. The key to success is a focus on the basics.

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Big Plans for Band Camp

theinstrumenta — Thu, 04 Jun 2009 00:53:30 +0000

Seven Directors Share Their Thoughts on the Upcoming Season

The Full Effect

David Starnes
Kennesaw Mountain High School, Georgia

    We’re using a specialist just for visual effects this year. Visual is changing; the current trend is to use more body and foot movement, so we’re going to have wind players learn some dance moves. The show has more of a staged approach rather than just drill. Last year’s show had 145 sets of drill in it, and we’re trying to do less on-the-move playing and more choreography. We do posture breakdowns within our basics block and cover some basic ballet positions and tendu exercises, separating the upper and lower body in stretch exercises.
    Musically, we are using more electronic instruments in the front ensemble. We started using a Mallet Kat last year to get harp and guitar sounds, and this year we’ve added Drum Kats, three synthesizers, and MIDI wind instruments to create some different sonorities. This year we are considering an oboe/bassoon duet. Using MIDI winds makes it possible to get those sounds on the field without bringing these instruments outside. In addition, one of our pieces has some choral music in it, so we’re going to split soprano, alto, tenor, and bass up between the MIDI winds to create a choir by sampling each of those voices.
    We run everything through a digital 32-channel mixer, with numerous speakers placed in the front ensemble. Two are used as monitors, and there are four output speakers with two additional sub-mixers for bass resonances. Last year we miked all the acoustic keyboard percussion, so this year we’ll add one more layer to that with the electronic instruments. We run everything off a generator so we know we have power. We actually browned out a stadium one night because of how much power we ran through one outlet.
    Our program this year takes advantage of the colors on our uniforms. Our uniforms have a dark back from the bottom of the pants up to the collar, and the front is a dove gray with some gradations of darker green. By turning the entire band backwards we have a black curtain, and then we can have people turn to face front in any number of combinations, such as by section or by sound color. It makes it possible to showcase many different sound combinations.
    To work on making this effective, we will teach point and 180-degree turns that extend one leg or the other depending on direction but also amplifying the upper body and arms. Some of that stems from the ballet and tendu styles of movement that are increasingly prevalent. A couple of staff members are experienced in body and dance, so they will train the wind players from day one in a warm-up block that we will run music to. We’ll go through these different exercises and dance steps daily as part of the warm-up and will just adapt that vocabulary straight to the movement in the show.
    One unusual aspect of our program is that we don’t march trombones. I prefer an extremely dark, warm low brass sound, and to get that we march baritones. Typically we field 20-24 baritones, and our arrangements have three separate baritone parts.
    It’s not difficult to teach trombonists to double. In spring we start with next year’s freshmen. We teach three to four notes and create exercises based on these. Throughout the summer, before camp starts, they meet with section leaders and work further. We’ve actually grown some great trombone players who can double on valved instruments in symphonic bands. In Georgia you can play in two different ensembles at a district or GMEA festival, but the second instrument has to have different fingerings. This permits students to play trombone in an advanced ensemble and then play a valved instrument to help in a less-experienced group. In 10 years I’ve never had a student tell me that they didn’t like it. They push back at first, but once they figure it out, their trombone playing improves tremendously, simply because the bore size of a baritone is so much bigger. They go back to trombone in concert band and sound much more resonant.

Manual of Style

John Panella
Rochester Area High School, Pennsylvania

    We are adding a second band handbook this year. In talking with other directors, I have found a number of schools have a defined style that is written out in a manual. This typically spells out the style and how movements should be performed, along with pictures that show exactly how the correct form and posture look. We are going to define a style that’s unique to our band and try to perfect it.          We’re going to teach marching fundamentals differently, trying to be much more specific, especially with defining a style. The goal is complete uniformity. The style book includes marching basics and transitions, such as moving from parade rest to attention, as well as some of the unique things that make our band stand out.
    My visual coordinator is writing the manual. I’ve given her my thoughts, and she knows what we do, so she’s putting it together right now. I’ll look at her version and edit, but she’s doing most of it.
We have to start over, so all the veteran members are going to have to be patient and take what they’ve learned over the last few years, and while a lot of it will be the same, we’ll be paying much more attention to detail. I have a strong senior class this year and that’s going to make it much easier. During summer re-hearsals and band camp we will devote a lot of time to marching basics, probably an hour and a half to two hours every day.
   I have a fairly big staff for a band our size, but I usually have them all together during band camp and at performances. They’re not always all there at evening rehearsals during the school year; at some practices it’s just me. So I really rely on student leaders. I have a drum major, an assistant drum major, captains for brass, woodwinds, drumline, pit, two colorguard captains, each of which has a specific, written-out job description. They take over the role of a quasi-instructor when the instructors aren’t there, although student leaders have to understand they are not staff but still students, and there are authority lines they are not allowed to cross.
    One of the most interesting ideas I’ve seen is a circle drill. All the wind players stand facing each other in a circle, which can expand or contract by having students march forward or backward. The circle is also a good way to work on left and right slides. It forces students to look at each other and keep spacing, and it works especially well as a quick marching warm-up for an unlined field, because the goal is to keep the circle rather than all hit a marker at the same time.

Carefully Crafted Exercises

Brandon Barrometti
Centerville High School, Ohio

    It can be a struggle to balance work on playing and marching fundamentals with learning the show; in the heat of the season, fundamentals are always the first to go. Our plan for fall is to emphasize fundamentals a bit more. We’re big on keeping the music and the visual very closely related. The way to improve in both areas is to go back to things you’re capable of doing in an isolated situation and then putting it in the context of the show.
    Our work each year starts with producing a good sound and continues with such basics as interval exercises or articulation exercises to the music. We relate everything back to concert F and do interval exercises based on that. One exercise we do is have half the band play interval exercises going up while the other half plays interval exercises go-ing down, so students can hear the relationships. It’s a way to get students to listen to things they may not be used to hearing. The key is relating the fundamentals to the music, but also relating the music back to the fundamentals.
    We also want to emphasize marching technique and style more and perfect these skills outside of the drill, so that when students do it in the drill it seems a lot easier. We like to have students do box or diamond exercises with multiple direction changes. We increase the tempo or change the step size to keep it closely related to what they do in the show. We get students comfortable doing isolated difficult moves and then make the focus of rehearsal a part of the show that has those same kind of moves.
    We have a week of mini-camp in late June to teach a lot of the fundamentals so that when we get to band camp we can spend some time getting into the show a little bit. We try to teach skills they’ll need to know for the drill before they even have drill in their hands.
    Drum corps do quite a bit of physical conditioning, so we also do physical conditioning in the June mini-camp but try to make it fun. We rehearse from 9-5, but after 5 we’ll hang out in the gym and play dodge ball or basketball – just different activities for students.
    We also line everybody up on the goal line and have everybody run one length of the field, do 20 jumping jacks, and then run back and do a different exercise. Later in the fall we run with a metro-nome to force students to keep their feet in time while they run. It trains them to get used to keeping their bodies in time as well. We’ll start at 100 beats per minute, which is a comfortable jogging tempo, but then when students get good at that we turn it up 10 clicks per week. At 140-150 beats per minute students are in a full run.
    In August band camp students start with basics in the morning, and once their memories have been refreshed they get into learning more things instead of reviewing basics. My favorite part of band camp is seeing how students change over the course of a week. It’s amazing what they’re able to do by the end of that week. We give a performance for parents on the last day to show what they’ve learned. It’s great to be able to show off what students have achieved after just a week together.

One Step at a Time

Ben Burge
Northwest Rankin High School, Mississippi

    This year we are marching in the Chicago Thanksgiving parade, so we will concentrate on block band fundamentals. Typically we do block band fundamentals, but we usually teach a concept, run it a few times, and then let students break into sectionals to work on it. This year we’ll spend a lot more time in the full-band fundamentals block. Specific things to practice in block band are step size and turns, both of which are relevant to our trip in the fall but also an important part of marching fundamentals. We’ll try to do parade-specific things at the beginning of each rehearsal before we start drill.
    Everything is sequential, and we add one technique at a time. We teach parade rest first, then we teach the command to move from that to attention. When we have attention down we move to mark time. Then we add them all together before moving to forward march, which is when we introduce the step size. From step size we go to moving forward, then the halt. If you teach these things sequentially, they make more sense, and students understand that they always have to come back to these points.
    To work on step size, we take the first step and pull the toe back. When the first step is consistent, add the second foot, then pull it back to the line. Then we do it again at a different tempo. The goal is to get students used to what that first step feels like. Then we add steps and vary the tempo more, and by the time students hit the next yard line they have a good feeling of how big the step size is. We work on alignment using peripheral vision.

A Strong Identity

Randy Greenwell
Lawrence Central High School, Indiana

    Judges want to see clear ideas and clear identities. The best thing any band can do is be true to its identity. Within that identity you can stretch yourself into different genres, but it’s the music that changes, not the ap-proach. I remember talking with a director who commented that some years he didn’t march any clarinets; he marched all saxophones. It made sense when he explained why, but it wouldn’t work for my group.
    Rather than try to imitate the sound of another band, it is better to make adjustments to produce the band sound you want. What we do probably wouldn’t work for anyone else. The goal is not to sound like someone else, but to find how much we can grow within our identity.
    The main thing is to formulate a plan and stick with it. Don’t blow off basics. Find the students who grasp your style well and use them as models so the others can see what it looks like when done right. Our goal is to have section leaders who can demonstrate those skills at a high level so that students know it is possible to excel at marching. Every four to five years it seems some teaching technique stops working, and we gravitate toward another method.
    People ask why our students have a carriage about them, and a lot of it stems from that concept of center of balance. It is important that our students be able to work both on and off center of balance, and to get there, students have to be trained in the elements of fundamental dance. During a two-week camp in June we work on basic dance training, and students learn a warm-up that we will use throughout the year. This warm-up uses many of the skills necessary to learn the choreography for the show. We pick and choose from techniques from modern dance and ballet – things we might need to learn based on what our visual coordinator suggests might fit the music well.
    The show dictates the changes we make to our basics program. In the last couple years we’ve ventured into moving forms while dancing. In basics block students learned how to take a basic form and move it left or right, maintaining intervals and spacing, so when we did it in the show, they’d already been doing it for 50 some days.

A Head Start

Jay Webb
Avon High School, Indiana

    Last year we were still learning our closer in the middle of the season. This has been typical for us lately, but it’s not ideal. We’re trying to get an earlier jump on the show. We want to avoid having students clean and perfect one part of the drill while they’re still learning another part.
    We have a pretty intensive June, with two or three three-hour evening rehearsals for four weeks. After three weeks off, students have two weeks of band camp. We go to a university for a week and hold the other week of camp at school. Between band camp and the start of school we have a few rehearsals.
    In June percussion, winds, and colorguard are usually separate; the band hardly ever practices together in June. We spend 90% of the early season on fundamentals. On the back half of the season that number falls to about 25%, but we never stop working on the basics. We really focus on breathing and producing a great sound and taking a great first step and having great posture. Everything falls into place once these fundamentals are well established. At band camp we will start pulling the show together.

Something for Everyone

Andy Sigman
Waterford High School, Ohio

This year’s show theme has a bit of something for everybody, so hopefully it will be more entertaining for all our crowds. We’re going to chart some more complex drill moves – different formations and effects with feet and upper body.
We teach these techniques by showing them to the entire group, then everyone breaks into sections with section leaders and band camp staff teaching each group. Next we put it back together. Whenever you have the chance to put a visual in, whether it’s with music or with percussion or both, try to keep adding more in. The show is never finished until the end of the year, so always have something new and exciting for the adjudicators and the crowd to see.

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Carolina Brass, An Interview with Tim Hudson

theinstrumenta — Wed, 03 Jun 2009 23:41:46 +0000

    "Balance is always a problem with brass groups,” says Tim Hudson, founder of the Carolina Brass and an ardent believer in the value of chamber music ensembles for students. “Getting a homogenous sound – a group sound – with high school chamber ensembles is difficult because most of the time students are just trying to play the right notes in the right rhythm.”
    During masterclasses Tim talks to students about the difference between simply reading the notation in a part and the ability to create music from the notation. “In an ensemble you play the music, and it’s gone,” he continues, “in a sense there is no product. Students have to learn about the process of music making and that includes correct breathing, playing in a relaxed manner, and being very focused. It means listening across the ensemble and learning the parts of the other players as well as your own.”
    Through the years Tim has done his own share of listening across ensembles from his trumpet stand. After earning music degrees from Indiana University, the New England Conservatory of Music, and the University of North Carolina at Greensboro, he worked as an artist/educator performing in United States and abroad with such conductors as Lorin Maazel, Mariss Jansons, and Leonard Slatkin. He is currently professor of trumpet at Gardner-Webb University, plays frequently with the North Carolina Symphony, and freelances through the southeast.
    In 1997 Tim came up with the idea of starting a professional brass quintet – Carolina Brass – which now includes a percussionist. He regularly commissions composers to write for the ensemble, adding to an ever-growing library of over 300 works (“We rarely buy music,” he says). It is a musical treasure trove from which he designs some 130 performances each year. About half the concerts are organized through the ensemble’s Arts In Education program for students in kindergarten through 12th grade in addition to college residencies that include a concert, private lessons, and masterclasses.
    The primary goal of the Carolina Brass is getting more people, especially students, excited about music. During concerts the ensemble members share the spotlight as they talk to audiences, relate information about the music and composers in between pieces, or guide students through musical interpretations during brass quintet masterclasses.

School Audiences
    When the Carolina Brass performs in a school, Tim finds out the ages of the students and then tailors a program specifically for them. “For young audiences we might play one movement from several contemporary pieces, each lasting about two minutes. It is just enough to give everyone a taste of the work; and then we talk about the fundamentals of music – pitch, tone, melody, harmony, and dynamics. Music majors in college will hear a program of serious literature, pieces with unusual harmonies or odd meters that will challenge their ears.
    “We like to interact with audiences in different ways. Educational programs include an antiphonal piece, such as Giovanni Gabrieli’s Canzona per Sonare #4 or my arrangement of “O, Come Emmanuel” for winter holiday concerts. We musicians go out into the audience to play, whether the program is in a large auditorium, a small band room, or a gymnasium, whatever best suits the school.
    “The ensemble members walk right beside the students so they can see and hear the instruments up close, which is a treat for children who have never before seen brass instruments. Before each piece a member of the ensemble talks to the students about the music and gives them an idea as to what to listen for. Fortunately, we are all music educators and have children of our own, so we are accustomed to holding students’ attention at each age level. Elementary students are always an interesting audience, especially when the ensemble has a question-and-answer session after a performance.”

Sitting in on a Band Rehearsal
    During visits to high schools and middle schools, Carolina Brass members may sit in during a band rehearsal and play the students’ parts with them or they may stand and play over the students’ shoulders as the percussionist joins in. “We often talk about the new dimension in sound that results from adding percussion. For eighth-grade musicians we might talk about the importance of good rhythm or ask students to imagine what Bach was thinking about when he wrote a certain piece. ‘Why did he write it in this way? Ok, if that is the case, should you bring out that part from the others?’ We ask questions that make people think about the music.
    “For a session with a high school quintet or concert band, we may ask when a piece was written and what was going on in the world at the time. ‘Oh, this was written in 1695. Were there airplanes and cars then? No. In fact, the world was a quieter place; instruments in general weren’t as loud as they are today. Even though the dynamic level in the music is forte, it’s not the forte you may think of; a forte was softer in the 1600s.’ We’ll explain the difference between a forte in Mozart’s music and a Mahler forte.”
    Sometimes a high school band will watch as members of the Carolina Brass coach a quintet. The session becomes similar to a round-table discussion because of the interaction between the members of the Carolina Brass, the school’s quintet, and the band students; and there is music education going on because students can apply the chamber-music information to their work in band, orchestra, or choir.
    “College residencies are a favorite of ours because during masterclasses with the school’s brass quintet we can delve into the music more thoroughly. To get the players thinking about their sound and balance, we might comment, ‘What do you think about your performance? or What would make it sound better?’
    “Even at this level we often find that some students are working to get the notes and rhythms right, maybe adding just a forte here and there. I tell them that if they play all the right notes in all the right rhythms and there is no inflection, then as far as I’m concerned, they missed every note.
    “Making music is so much more. It’s a conversation – a dialogue. We explain that playing is a musical conversation that players have. If musicians are not articulate with the music, then they are not dramatic in what they are doing and they will lose listeners.”

Thoughts on Commissioning, Programming
    Tim commissions most of Carolina Brass’s music. In fact, he doesn’t remember the last time he bought a piece of music. He is a strong believer in seeking out the finest composers and commissioning them to write. “Arthur Frackenpohl is working on an arrangement of Carmen, and Jim Stevenson, another composer, will write a piece for us next year. Mark Scearce is also composing for the group; it is a commission the Carolina Brass plans to share with the Raleigh Chamber Music Guild for a grand reopening of the North Carolina Museum of Art. Other outstanding composers we have commissioned include Gwyneth Walker, David P. Jones, and Stanley Hoffman.
    “As far as programming, some musicians decide on a program and take it wherever they go. It works in many cases, but not every time. For me, I’ve always considered programming from the perspective that musicians are basically entertainers, whether they perform classical music, jazz, or pop. Some musicians lose sight of that. What we try to do through the Carolina Brass is entertain audiences – have some fun – while educating them at the same time.
    “In schools we start out with a wonderful arrangement that Arthur Frackenpohl created of ‘Carolina in the Morning,’ a tune everyone loves. If we are in another state, such as Bristol, Tennessee, we just adapt the words: ‘Nothing could be finer than to be in Bristol in the morning.’ We make it work everywhere. Elementary school programs may include an arrangement of “Frère Jacques” with the children singing it in a round; later we play a canon with our instruments so they better understand the idea of one voice following another voice.
    “For concert audiences we might begin with a nice rendition of Take the ‘A’ Train, then turnaround and perform an arrangement of a piece by J.S. Bach followed by a more contemporary work that might be more difficult for some listeners’ ears. Actually, we’ve found that some people become quite interested in contemporary sounds once they have a taste of it. A program may go from one genre to the next or from one century to the next. Sometimes the music is in chronological order, from Medieval and Renaissance works through to the present, sometimes not.
    “Some programs feature popular music or Jewish music by Jewish composers. Outdoor programs usually have lighter music, such as the Broadway tunes on our CD My Favorite Things, which has Jack Gale’s arrangements from West Side Story, Sound of Music, and The Phantom of the Opera.
    “Programming should excite listeners, whether they are primarily seniors, college students, or children. At the very least if audience members don’t play an instrument, good programming should stir people to become interested in music so that, if nothing else, they continue to support music. One thing I do at each concert is get up on my soapbox for 30 seconds and talk about the importance of attending concerts – supporting the arts – because doing so provides jobs for artists and enhances the lives of everyone present.”

Student Chamber Ensembles
    Tim emphasizes that every school music program should include small chamber music ensembles because of what they do for the students, the band program, and the director. “If you have a brass quintet, a woodwind quintet, and a small percussion ensemble, just those three groups, then all of a sudden the playing ability of the concert band improves. The quintet members will probably be among the top players in the band anyway, but if you can get some of your other strong players motivated to practice and improve, it motivates other people in the section to improve.
    “It doesn’t mean someone playing third chair isn’t motivated or can’t play. It simply reflects the fact that students are in 9th grade instead of 12th grade and lack the experience and ability of upper classmen. School concert bands really do well if its members also play in a brass or woodwind ensemble.”
    Tim says that once students have the experience of playing in an ensemble, it becomes easier for them to learn their parts as well as the other parts, so they know exactly what is going on in the music. They learn to listen across the ensemble. In rehearsals a trombone player on one side of the room knows he has to listen for the second alto sax on the other side of the room because their parts may be doubled. Students also learn to rise to the occasion through chamber music because they realize they can’t rely on another player whose part doubles theirs.
    “Student musicians are encouraged by the other players. The better a student plays individually, the better he will play in a chamber music group, and the better the group will sound. As a result, the better a chamber ensemble plays, the better the band or orchestra will play.
    “Directors who lead orchestras but don’t have a string quartet or string ensemble should talk to their principals and ask for some way to include this in the curriculum. If it doesn’t fit in during the day, then make it an after-school activity. I know some music programs that schedule string quartet rehearsals before school begins and brass groups after school. I can’t say enough about how important it is to include chamber music ensembles as part of the music program.”

Introducing Chamber Groups
    Tim believes the best time to begin chamber music ensembles is in 9th grade after students have had at least two years of lessons. They should understand the fundamentals of music and have a good embouchure, good note-reading skills, and understand rhythm. While not much literature is available for middle school chamber ensembles, there is fine literature available for high school students that even professionals can play.
    “I recommend that middle school students play duets and work on their parts as a section or in sectionals. This happens naturally when the band director works with the flute section and everyone else has to be patient. Any work outside of class makes all the difference in improving the level of the band.
    “I would try to have groups with students of roughly the same ability, so as not to frustrate some players. A brass quintet might include a 9th-grade trumpet player who is quite good but just can’t keep up with a 12th-grade trumpet player. It can be frustrating for the 12th grader because there won’t be anything happening musically, and it can be equally frustrating for the 9th grader if the music is over his head and he can’t keep up. In some situations a director may want to have a young group and an older one. That would be fantastic. Of course, you can simply have a brass ensemble with all the brass playing together.”

Forming Carolina Brass
    During the 1995-96 school year, Tim had been living in Taiwan when he decided it was time to return home to North Carolina. He needed to create a job for himself to make the move and because of his experiences playing in brass chamber ensembles, he came up with the idea of forming a new professional brass quintet. Carolina Brass soon became a priority in his professional life.
    “I researched the market and contacted people through connections in the North Carolina area to see how viable a brass quintet would be. After looking at the pros and cons, I went ahead and chose people I knew personally – their playing and their personalities – for the ensemble. With a chamber ensemble, at least 80% of what the group does musically relates to the chemistry between the players. You can have the finest players on Earth, but if they can’t speak to each other, it doesn’t work.
    “It just so happened that some of the finest players in North Car-olina are also super people who I had previously worked with in some capacity. Every person I asked to join me in creating the Carolina Brass said yes. We’ve continued since 1997 with the same personnel – Bob Campbell on horn, David Wulfeck trombone, tubist Matt Ransom, and me on trumpet – except for several different players on the ad-ditional trumpet. When we started Antia Cirba was with us just for the first year and still substitutes on occasion. Then Steve Dube from Boston was with us for four or five years. He, too, occasionally flies here to fill in. Don Eagle then played with us for a season until we found Dennis de Jong as our permanent trumpet player.
    “Dennis and I trade off parts a bit, taking turns on who plays first and who plays second, although I tend to play most of the first trumpet parts just because that’s the way it worked out. Some groups have a specific first trumpet and second trumpet. Dennis and I are so compatible as players that when I hear our recordings, I sometimes can’t tell who is playing which part. We have individual playing styles, but when we come together as a group, we are able to match up our sounds and styles quite nicely.”
    For several years Carolina Brass performed as a brass quintet, but the members thought they were limiting themselves. Tim considered adding a saxophone player or a reed doubler who could play sax, flute, and clarinet, which was not entirely out of the question because he anticipated commissioning some pieces that would include a reed player.
After giving the matter much thought, he realized the most reasonable thing to do would be to add percussion. “With the abundance of music written for brass quintet in the last 25 years, it made sense because so many popular pieces, like ragtime, jazz, or Dixieland, can use percussion; and for much of the music that is written without percussion, we could find ways to add percussion, such as using finger cymbals in a Renaissance piece or a field drum for a Civil War-era work. The percussionist would not always play drum set, that’s for sure.
    “Further, when we commission music, many composers write for optional percussion. We’ve even request pieces where the brass players play some percussion. For one piece in particular we play bongos, cow bell, and quiro. After two years of working as just a brass quintet, John Beck joined as our percussionist.”
    When reminiscing about his career, Tim says he is fortunate to have such high-quality work. “Music is not a stuffy thing as many people think. If we can present music in an entertaining and fun way, that makes all the difference. People come up to us after a Carolina Brass concert as say, ‘On stage you look as though you are having the best time.’ I simply have to respond honestly, ‘We are.’”

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