ASTA Awards
Artist Teacher Award: Paul Rolland (posthumously)
Elizabeth A.H. Green School Educator Award: Anne Guevara
Isaac Stern International Award: Pinchas Zuckerman
National String Project Consortium Award: The South Georgia String Project at Valdosta State University, Lauren Burns, Director
Traugott Rohner Leadership in the Music Industry Award: Jeff Van Fossen
Emergent String Researcher Award: Joshua Russell
Most Improved ASTA Student Chapter: The Mansfield University (PA) student chapter 

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When you first got to River City, there was some resistance and skepticism about your work. How did you feel about being called a “bare-faced double-shuffle two-bit thimble rigger”?
   Whenever you’re new somewhere, there are many people who will resist change and give you a hard time, so it’s not anything that surprised me. Being called a bare-faced double-shuffle two-bit thimble rigger didn’t bother me at all. I’ve been called worse; besides, I’m still not even sure what that means.

Your success in River City was pretty dramatic. What are some of the keys to building a good band program quickly?
   First, you have to create a need. Of course, I didn’t have to create anything in River City. When I first arrived I saw nothing but trouble right there, right there in River City.

By trouble you mean pool?
Yes. Trouble with a capital T and that rhymes with P and that stands for pool!

Did you see other problems?
   Oh, yes. I saw boys rebuckling their knickers below the knees, reading dime novels, and telling jokes from Captain Billy’s Whiz Bang. They even had nicotine stains on their index fingers. And worst of all, the language – so many “swells” and “so’s your old man.” I could see the need for a way to keep the young ones moral after school.

What are some of your other ideas about building a band program?
   Well, you have to communicate with those parents. Particularly the moms, because they are usually the ones who really know what is going on around the home. Dads often have the “boys will be boys” mentality but the moms will have none of that.

What kind of advice would you give a first-year band director?
   First, you gotta know the territory. Second, you gotta have a system. I started with the Think System which I admit had its faults, one of them being that the only song we learned the first year was Beethoven’s Minuet in G. My second year I supplemented the Think System with a beginning band method, and we did much better. Our sports teams were excited when we learned more; Minuet in G never did get them pumped up.
   Third, keep learning. When I started teaching, I didn’t know a bass drum from a pipe organ, but I kept learning. Before you could say “bare-faced double-shuffle two-bit thimble rigger” I was teaching boys to play copper-bottomed timpani, big bassoons, and double-bell euphoniums. One thing I always say is that the idle brain is the devil’s playground.
   Fourth, don’t ever have 76 trombones in your band.

What are some of the qualities a band director must have to be successful?
When I started, my detractors said I couldn’t make a living selling big trombones, but I didn’t let that stop me. A band director has to have confidence and optimism. I never let anything, even a lack of knowledge, hurt my confidence.

I suppose you have to be a motivator as well.  Someone once said of you that when you dance the piper pays you.
   Well (chuckles) I don’t know about that, but enthusiasm can certainly make up for a lot of weaknesses.

There was a part toward the end of the movie when someone very loudly asks, “Where’s the band? Where’s the band?” What was it like when the band marched in right after they yelled that?
   I’ve never had a prouder moment than when those kids marched in wearing those brand new uniforms. And oh, the music they played. Not perfect by any means, but the parents sure loved it. Even today, the band at River City does its best to please the home folks. Interestingly enough, a long-standing tradition began that night. At the annual Fourth of July parade, the whole event begins with the crowd yelling, “Where’s the band?”

Who has directed the band since your retirement?
   After I retired my stepson Winthrop conducted the band for many years.

Winthrop’s the one who bears a striking resemblance to actor and director Ron Howard?
   Yes, he’s still kidded about that. Hardly a week goes by that some jokester doesn’t call him Opie or Richie. But thanks to me, his mom always gets called Marian the Librarian. I don’t think she’s ever forgiven me for that one. Winthrop’s daughter Winthropietta took over after he retired. Times have changed. Not only are there girls in the band now, they’re even conducting.

Why did the girls get to join the band?
   After we got all the boys busy with the band, we found that the girls started picking up the bad habits. You wouldn’t believe the trouble we had with those girls down at the pool hall. Once we got them in the band all the problems went away, and adding all those girls really beefed-up the woodwind section and helped me balance the 76 trombones, 110 cornets, and cannonade.

What are you up to now? Have you slowed down any?
   Haven’t slowed down at all. I spend lots of time at the library with you-know-who. I still work on ideas every day; I never could get the salesman out of me. I’ve been working on what I call the Sleep System. It’s a way to practice while you’re asleep. Students can go to bed at night, practice in their sleep, and then tell their parents and the band director that they practiced all night. As for other inventions, I’m still working on a good way to hold music while marching with a piccolo.

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Exercise 1: The Attack
   Students know when they chip the front of a note, but they may not realize how often this occurs. On the other hand, they may never have been told that the goal is always to produce a clean attack. This simple one-minute exercise produces excellent results and is fun for students. Set the metronome on 72. Select an easy note, such as F, for the student or class. Have each student play the F alone, one after another with the metronome tick. The student should concentrate on producing a perfect attack exactly in time with the metronome. After the first round of Fs, review the concepts for producing a clean attack, embouchure, fingering and breathing, and emphasize creating a beautiful tone. In other words, remind students what they should focus on when playing a note.
   Then play another round of quarter note Fs as students strive to make each note sound as good and clean as possible. If the class is large, have two or three students play at a time.
   The constant tick of the metronome also teaches students to play on the beat. Make a competition out of this exercise to see how many times students can pass the note around the room without anyone missing a beat.

Exercise 2: Keep the Air Moving
   Most beginning students do not keep the air moving through the duration of a note. The typical scenario is the student chips the front of the note but eventually gets the pitch. Then he forgets to continue blowing to move the air through the note, so the note is poor in tone quality and ends flat in pitch. A tuner or a tuning app on a cell phone is an excellent aid to teach support or moving the air through the note. Have students play a note (F) and keep the needle still. At this point do not worry if the pitch is flat or sharp. The goal is to keep the needle still. To do this, the air has to be spent evenly through the duration of the note. Have each student play at least one pitch keeping the needle still. It may take several tries for students to have good results. After one class when I was teaching this exercise, almost every student asked me where I downloaded the app. Since it was a free app, most downloaded it immediately, and I am sure many of the students practiced playing with even air that evening.

   A variation to this exercise is to have each student play the note with legs off the floor and positioned straight out in front. When the legs are in this position, the abdomen is as tight as it ever should be when playing. Playing in this position develops tonal production maturity by the minute. Beginning bands do not have to sound like beginning bands.

Editor’s Note: This new feature offers quick ideas for techniques to improve basic aspects of playing. Regular application of these ideas in just a few minutes each rehearsal can yield great benfits. Directors are invited to share their favorite exercises and activities. Email: editor@theinstrumentalist.com.

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Crash Cymbals
   Nothing changes the sound of an ensemble as much as a good pair of crash cymbals. When I taught high school I always put my best percussionist on cymbals for marches. The sound is extremely important. A brief survey of any major distributor will show that there are hundreds of different crash cymbals available with such names as French, Germanic, Viennese, Symphonic, or Concert. These names deal with thickness, weight, and tone color. A Germanic cymbal will sound dark and rich while French cymbals will be lighter and sound more delicate.
   Ideally an ensemble should have at least three pairs of cymbals to choose from as is appropriate for the music. However, if there is only enough in the budget to buy one pair of cymbals, find a pair that is capable of producing several different sounds and colors. A good pair of crash cymbals can produce a huge variety of timbres, limited only by the imagination of the performer and conductor.
   If I could only own one pair of cymbals, they would be 18" medium heavy or heavy Viennese or Germanic. These will work well for marches and allow for soft or loud crashes. The second pair I would purchase would be light 16" French cymbals for soft crashes. These could double as suspended cymbals if necessary. My third pair would be 20" heavy cymbals for big, cadential crashes.
   To find the best cymbals, take a trip to a local music dealer and ask someone (preferably a percussionist) to play several pairs while you stand several feet away and listen. Ask for both loud crashes and soft, and listen for the colors in the ring and for how long the sustain lasts. Good cymbals should produce a wide variety of overtones. Also, longer rings are better. Such instruments can be dampened if the sound must be cut off, but it is impossible to extend the ring time of cymbals that decay quickly.
   Listen for the initial attack; some instruments produce a big crash while others may only give out a splash. Also listen to whether the ring has the same sound color as the attack. Have the demonstrator play several notes in rapid succession to see whether you hear each attack or they start blending together. Are they too big for your students to handle comfortably or too small to be heard through your ensemble?
   When listening to a professional recording, pay close attention to the different sounds coming from the cymbal players. Do not hesitate to call a local professional or college percussion instructor to ask about equipment. Percussionists are notorious for being picky about their equipment, and for loving to talk about it with anybody who will listen.

Triangles
   I have heard far too many otherwise carefully detailed performances considerably diminished by poor quality triangles. Just as a student-model clarinet sounds significantly different from a professional instrument, a cheap triangle sounds like a lead pipe when compared to a carefully crafted model. Much like cymbals, a good triangle should be able to produce a wide variety of tones and ring for at least four seconds. An instrument that gives anything less should not be considered.
   The beater is important, but the world’s best beaters cannot make a bad triangle sound good. On the other hand, I have heard very good triangles sound wonderful when played with a large nail. Any percussionist will be happy to share opinions, but in the end trust your ear to get the sound you like. If I only owned one triangle it would be 6". After that I would choose an 8" or 9" triangle that sounded noticeably different from the first one.

Mallet Selection
   In his book Effective Performance of Band Music Francis McBeth wrote, “Whenever a mallet note is written, it is to be the predominant sound heard by the audience.” In the 40 years since that book was written, mallet writing has grown exponentially and it is now common to have glockenspiel, vibraphone, xylophone, marimba, and chimes featured as prominently as clarinets and trumpets.
   However, I still regularly attend performances where I see players striking the instruments but cannot hear a single note coming out of them. There are two reasons for this. First, players and conductors tend to take dynamics too literally. If a composer writes a p for a marimba part, the intention is for the audience to hear it at a piano dynamic. In order for that to happen the player may have to play at a mp, mf, or possibly even f. If the conductor cannot hear the part clearly there is almost no chance that the audience will.
   Second, mallet selection is often problematic. Budgets can be tight, but purchasing appropriate mallets for keyboard percussion instruments is a worthy investment. If you do not trust students to care for them properly, simply insist that they be returned to you after class every day and stored in your office, but do not have students rehearse with one set of mallets and perform with another. That would be akin to having the clarinet section rehearse on #2 reeds and then use #4s for the concert.

At a minimum, a well-stocked mallet selection will include the following:

2 pairs of hard rubber/plastic/ acrylic that can be used for xylophone and glockenspiel
1 pair of brass mallets that should be used on glockenspiel only
1 pair of medium hard and 1 pair of hard vibraphone mallets
1 pair of medium hard and 1 pair of hard marimba mallets (soft marimba mallets are wonderful for solo playing, but nearly impossible to hear over a band)
1 pair of multi-use (two-headed) chime mallets

   Many (if not all) contemporary composers feel the same way as McBeth. When asked his opinion, John Mackey replied, “I completely agree with McBeth. If I write a note on the page, I want to hear it. With mallets, this is especially true because the colors are so unique. In Aurora Awakes, one of the biggest problems in performance is that the 16th-note vibraphone ostinato gets covered up, but I never want that to happen. If I ask for bowed vibraphone, I really need to hear it, because the bowed attack within a wind ensemble will change the perceived attack of an entire chord throughout the ensemble, tricking the ear, for at least a moment, into thinking you’re hearing a string section. If you cover up that bowed attack, the effect is lost. I also can’t tell you how crazy it makes me when I write a bowed vibe, crotale, or marimba part only to hear it played with a mallet because the player either doesn’t have a bow or is uncomfortable bowing. Playing a bowed part with a mallet is just as wrong as playing a bass drum roll with a pair of triangle beaters.”

Performance Practices
   The mistake that bothers me more than any other is when cymbal players play a choke by hitting the two plates together and leaving them there. While this is a widely used and accepted technique in the marching and indoor percussion worlds it is entirely incorrect in concert performance. The correct technique for playing a choke is to perform a normal crash and then dampen the cymbals immediately into the stomach. This allows the cymbals to actually produce an acceptable tone before being dampened; the brief instant of ring before the stop is crucial. A perfect example would be the two sword-fighting scenes in Tchaikovsky’s Romeo and Juliet Overture-Fantasy. The only time the cymbals should remain touching each other is when the composer writes “ala hi-hat” or “plates together” in the part.
   When playing cymbals, triangle, tambourine, cabasa, whip, or practically any instrument that does not sit on the floor or on a stand, percussionists should hold the instrument high enough to be seen by the audience and to project over the wind and string players. Not only does that allow the sound to cut through the ensemble, but it also helps with technique and is visually appealing as well.
   Finally, although this is not often discussed, facial expressions matter. While almost everybody else in the band has a horn blocking their lips, this is obviously not true with the percussionists. As a judge, conductor, and audience member I much prefer watching percussionists who are engaged and animated than those who look bored or uninvolved. I’m not asking that they channel Jim Carrey, but simply that they appear to enjoy what they are doing and are absorbed in the music they are producing.
   Percussionists can only add the interesting colors, textures, and visual enhancement unique to their instruments if given the correct implements to do so. Directors who provide high-quality cymbals, triangles, and mallets for their players, and who are clear with their expectations will reap the rewards of more vibrant timbres, more engaged players, and more exciting performances

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   Most young students struggle to play with correct jazz style because of limited exposure to the music. I remember studying in college that babies learn to speak through imitation, not detailed instruction. The words and tone that parents use will have an important effect on how a child speaks. The same concept applies to jazz.
   As teachers we can give students all of the right information, but if they never listen to jazz, they will not make a strong connection between what they have learned and how the music should sound. We cannot expect students to play with good style without providing a concept of how they should play it. Our job becomes easier when we realize that the most important learning occurs outside the rehearsal room. Transcribing jazz is one way for students to listen actively to the music. It engages them and helps them identify the elements of great music that are difficult to teach.
   Although there are several methods of transcribing music, I have found it most effective for students to figure out the music on their instruments. While there are enormous benefits to working out each rhythm on paper, students gain a better understanding of the correct style by recreating the music on their instruments. In jazz students may play every rhythm and chord change correctly but still have the style sound completely wrong. When students imitate good players, they start to play with correct style. It gives them a tangible goal to strive for in their playing. As they listen to professional recordings they should identify ways that their playing is different.
   I like to start with melodies when teaching students to transcribe. To get their ears working, I might start with a familiar song like “Take Me Out to the Ballgame.” We find the first note and talk about intervals. Even if students are unable to identify that the first interval is an ascending octave, they all know it is a big jump. We talk about melodies moving by step or by skip, and students have the skills to figure out what notes are played.
   We go slowly until most students get the gist of it. Then I give a different starting pitch for the same tune. This encourages them to think about the relationship between the pitches, an essential skill for transcribing effectively. Initially, students should play melodies that are mainly diatonic. The aforementioned “Take Me Out to the Ballgame” works well because it is based almost entirely on the major scale.
   Another useful activity is to give students a melody on paper, possibly  from a Real Book or something out of the Aebersold catalog. Then, I will have them listen to an all-time great on their instrument and practice playing along with the recording. One of my favorite players for this activity is the great saxophonist Dexter Gordon. He has a unique way of playing with the time that is tough to write down, but not too difficult to play along with if you listen critically and look at the music. His album, Ballads, contains expertly crafted solos and some of the most beautiful melodic interpretation in jazz history. Students are instructed to write the chord changes over the measures they are transcribing. This gives a blueprint of the notes the soloist is playing over. Not all of the notes will fall in there, but the notes of the arpeggio are a great place to start.
   Once students are ready to start transcribing solos, the sheer amount of music available can be daunting. Without further direction, the chances are miniscule that students will follow through with transcribing a solo. Especially in the beginning, it is essential that students work on solos that will lead to success with the activity. You crawl before you can walk, and you have to learn the blues before having a shot at transcribing Coltrane’s Giant Steps. For inexperienced directors with limited jazz knowledge, the prospect of finding solos that are easily transcribed can be scary and time consuming. Here are some solos that I recommend for beginners.

• Miles Davis’s trumpet solo on Freddie Freeloader, from the Kind of Blue album is frequently the first solo suggested by jazz musicians for players learning to transcribe. Miles has a way of saying a lot with few notes, and no one has ever done it better. Like a great blues musician, he plays for a few measures and rests for a few, giving jazz novices an easy introduction into transcription. His use of space is unparalleled.

• Curtis Fuller’s trombone solo on Blue Train is the title track of the classic Coltrane album. The first chorus is easy for students to follow and gives beginners quite a few leading and non-chord tones to get their ears working.

• Kenny Dorham’s trumpet solo on Una Mas, from the album of the same name has many bluesy lines, and even the faster lines move stepwise. The solo directly following (by Joe Henderson on sax) has a first chorus that is easily transcribed as well.

• Dexter Gordon’s solo from Daddy Plays the Horn, from the album of the same name is full of licks and small chunks of tasty melody that work great in any key. Young players can work out the solo in all keys.

• Gene Ammons’ tenor sax solo on Seed Shack, off the album Jug is a slow blues tune with tons of great material. Rich Moore, sax professor at Northern Illinois recommends this recording. Ammons plays with a lot of space, inflection, vibrato, and other nuances that are difficult to notate, and gives students a phenomenal opportunity to play with some expression.

• Miles Davis’ solo on Autumn Leaves, from Cannonball Adderly’s album, Somethin’ Else is another good choice. I could suggest dozens of Miles solos for their ease in transcription. I particularly like this one because while there is a lots of space typical of Miles, there are also longer lines that are mainly scalar. It also contains lots of that dorian minor sound (major sixth on a minor scale) that is great for young students to hear and learn to use when appropriate.

   When my high school director first introduced transcription, it was a group project. He split the band in two, put us in different rooms, and we worked as a team to figure out Miles Davis’ Freddie Freeloader solo. That small competition made the activity fun and hooked me and many other students. Modern technology has added some valuable tools to facilitate transcription. There is a great app for iPhones and iPads called Amazing Slow Downer. This fabulous tool takes any of your songs in iTunes and lets students reduce the tempo to a quarter of the speed while keeping it in the same key. All of a sudden, solos that would have been too complex become fair game. Once the solo has been written down, you can speed it up incrementally to learn it at the real tempo.
   With a busy schedule of contests and festivals, making a commitment to improvisation, listening, theory, and transcription can seem like a waste of time and resources, but these activities make a band better. Directors should devote time to listening and transcription; in the long run this will improve overall musical skills and less time will be needed learning correct style. Their improvisation will improve, and students will not only hear tangible differences in their playing, but they will understand why it is better.    

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What should wind and percussion players know about teaching strings?
   When I was a student teacher, I had a terrific master teacher. Her name was Rosemarie Krovoza. I started watching, then little by little began playing and learning the jargon. I encourage wind players to watch as many string rehearsals as you can to learn what words to use. String players use a certain vocabulary that wind players should know.
   The biggest compliment I can get when I run clinics or guest conduct is when they think I am a string player and are surprised that I play clarinet. The drawback of being a clarinetist is that I cannot always grab an instrument and demonstrate something at a higher level. My students in the Oak Avenue advanced orchestra have passed me and they know it, so I use them to demonstrate. In other situations I have to explain things in a way that students can understand. That can be a challenge, but it should never stop someone from being a good string teacher.

How do you teach beginners when you only see them 45 minutes per week?
   It is quite difficult. Beginners are separated into violin, viola, and cello classes (we don’t start basses in elementary school), which range from 12 to 50 students, depending on the instrument and the school. Although fourth grade is the beginning year, students can begin in any grade after that. I start beginners with a rote-playing system based on a modified Suzuki method. There is no note-reading the first semester; I have a curriculum of four different songs that students are required to memorize. Once we learn how to hold the instrument, bowing, and a D scale, we start with the songs, which are “Twinkle Twinkle Little Star,” “French Folk Song,” “Are You Sleeping,” and “Song of the Wind.” This first-semester curriculum is also the beginners’ music for the spring concert. Every student is expected to come up in front of the class and play each song from memory when ready. I bring students up in groups of three or four and accompany them while watching for memory as well as reasonably good position and intonation. If students can play the song, they get an A. If not, or if the wrist or bow hold is poor, they have to try again the next week. Students can move at their own pace, so one student might still be on the first song while another is on the third.
   Second semester for the beginners is devoted to note reading and preparing to play in the advanced orchestra. The focus is for students to make sure they can stay with the class. The assignments are short and reasonable to learn and include thirds, arpeggios, the D-major scale, and a few songs that include slurs and hooks. Students are also expected to play half, quarter, and eighth notes in all combinations and to read music by the end of the year. If they can do that, I give them a golden ticket, similar to Willy Wonka, at the end of the year. This ticket allows them to play in the advanced orchestra next year.
   The advanced group meets twice a week for one hour with most rehearsals starting before school and dovetailing into the school day. We read out of the method book and play some Suzuki warmups. I test students periodically; they play in front of the group so I can give pointers on how to improve. This group also plays a lot of repertoire, although we do not perform all of it on concerts. Because all students can read music at the beginning of the year, we simply move through the method book and finish it by the end of the year. In sixth grade the curriculum is the same; the difference is that fifth graders sit toward the back of the section or play second violin, and sixth graders play first violin or become section leaders and are expected to set a good example for the younger students.

How do you start basses and balance instrumentation?
   At the end of their sixth grade year, we share with students the harsh reality that there are always too many violin players at the intermediate school, and it will be difficult to get on a first part or make the advanced group, even as an 8th grader. Many of them listen and switch to viola, cello, or bass during a 19-day summer program. Students who want to switch instruments join with those who were beginners the past year and want to be sure they can play well enough to move into the 5th-6th orchestra. Local high school students are required to complete 100 hours of community service to graduate, so they often earn some hours as coaches helping with this group.
   There is also an advanced summer orchestra, which is made up of the Oak Avenue seventh graders and the elementary advanced orchestra students. This is a reading orchestra and sightreads every day. They also play music theory games and students have the opportunity to conduct. I try to keep it fun, but the goal is to work on sightreading skills. No concerts, we just read. Going through repertoire is important.

How do you catch students who are poor readers?
   No student at Oak Avenue is a non-reader. If they somehow get into a group that is more advanced than they can handle, they go back down a level. The intermediate and beginning orchestras meet at the same time, and I have had students go across the hall halfway through the year because they fall behind on their reading.
   It can be difficult to figure out who can read music and who is playing by ear. I have to listen to every student, and I use tricks to check them. When testing students on a line in the method book, I never start at the beginning of the line. I might have them start in the middle of a phrase or just ask for the last three measures of a piece. This is a great trick because anyone who has the whole line memorized will falter if asked to start halfway through. Students who ask if they can start at the beginning give themselves away.

How do you divide the Oak Avenue orchestras?
   All of the classes at Oak Avenue are grouped by skill rather than grade. There are three orchestras: beginning, intermediate, and advanced. I audition all the sixth graders at the end of the year using a page of thirds and arpeggios that includes shifting and four key signatures. Most students join the intermediate orchestra as seventh graders. A few make it into the advanced orchestra; this year that group has 75 students, and 12 of those are seventh graders. Approximately 25% of the students in the top orchestra study privately; there is a good base of private teachers in Los Angeles. A number of our students also play in the Pasadena Youth Symphony, which I conducted for 16 years and is currently led by Jack Taylor, the band director at Oak Avenue. Jack also directs the school’s intermediate orchestra.
   Not every eighth grader makes it into the advanced group. Parents sometimes ask why their child was not selected for the advanced group, but a student who is not ready will struggle. I ask whether the parents want their child to get a D in advanced orchestra or be a leader and earn an A in the intermediate group. Parents usually appreciate such honesty.

From your perspective as both a teacher and composer, what makes music good?
   A good piece should interest both students and teachers. I look at all the parts before I pick music and think, “Would I want to play this part?” I wrote an arrangement for full orchestra once, and as parts were printing I noticed that I had written almost nothing for third trombone; the part had only three notes with a bunch of rests. I realized I had to give this player more to do. Each part ought to be interesting and have some sort of melodic sense to it, even if it is an accompaniment part. It should move in a logical way rather than simply filling in all the extra notes, like one of the inside parts in a barbershop quartet. If you copy that idea over to string writing and just stick all the extra notes in the viola part, the music will sound terrible. A sense of melody, even for the accompaniment parts as they fill in chord tones, is important to me.
   When I write a new piece I make sure that everybody gets the melody at some point. I also reorchestrate themes when they reappear. As a string editor I see compositions in which a composer has essentially cut and pasted sections; a theme is orchestrated exactly the same way each time it appears. I prefer to change things or throw in something unexpected to make certain students are thinking and reading. Students love anything in minor or modal. I also try to write a lot for very low grade 1, especially music in 3/4 – there just isn’t enough.
   Grade 1 is the most difficult level for which to write interesting music. Anyone can write something easy, but to write something for that level that both students and teachers will remain interested in is difficult. Dr. Seuss once bet his publisher he could write a book with no more than 50 different words. He not only won the bet, the book he wrote with this restriction was one of his best, Green Eggs and Ham. Composers for young players obviously have a limited number of notes and rhythms at their disposal, but they still should make their work interesting and educational.

What do you recommend to aspiring composers?
   I encourage beginning composers to write music using a theme and variations form. Pick a strong folk theme and write variations on that; this is a good way to flex your composing muscles. I love this form because it keeps you on a certain path harmonically and melodically but also requires creativity. This is a good way to learn what sounds good on various instruments and what doesn’t work.
   Fast and minor is fun, but students should also learn how to play music that is slow or legato. This is another reason I like theme and variations; you can always have a slow variation. Composers can also vary time signatures. For young players, write a legato variation, a 3/4 variation, one where the fingers are flying, one in modal, and you have a finished piece.

What factors are most often overlooked when composing?
   The range of the instruments is important. When I start writing, I find a theme and come up with the harmony first, This can be difficult because there is no great key for a middle school symphony orchestra. A major causes trouble for the trumpets and clarinets, and flat keys may cause the string players to struggle. Often we have to meet in the middle at C major. F major is not the best key for strings, but they should learn that key in middle school. F major, G major, and C major are the best choices, with D major being a possibility depending on how busy the woodwind parts are. I have occasionally found what I thought was the perfect key only to discover that it put the trumpet part out of range by three notes.

What one bit of advice would you give to new teachers?
   Remember that you are teaching people, not music. The students in the back of the group for whom it doesn’t come easily or quickly are the core of the program, so make sure to give them enough attention and help. That took me a while to learn. I think young teachers want to prove what they can do by going to festivals, contests, and parades. I’ve taught for 32 years now and am getting towards the end of my career. I have made the Giving Bach program I started a priority for my students and the community. I’ve already done all the other stuff.

What is the Giving Bach program and how did it start?
   I started the Giving Bach program as a way to help build character in my students. I have seen it improve leadership skills, encourage empathy, and increase confidence. The program consists of concerts at which we demonstrate all the instruments, play pieces in which the audience can participate, and possibly bring an alumni soloist.
   The idea came from hearing a Yo-Yo Ma quote comparing performers to waiters; in both cases their job is to deliver an enjoyable product and make sure the customers are happy. Suspecting that my students had never considered their audience before, I asked them what was the number one reason they made music. Out of 76 students, only 6 mentioned the audience. The other 70 talked about themselves, as was expected, because that is every middle school student’s favorite subject. Common comments included, “It makes me feel good,” “Music lets me express my emotions,” or “I think music will help me get into a college.”
   I came back the next day with the results and two signs I had made. Both had the word music, but on one the i was highlighted in red, and on the other us was in red. I asked students what they thought the signs meant, and they all understood that the i referred to a self-centered approach to playing. For the us, students initially thought it referred to all of the ensemble members playing together. From that I led them to the idea that it was performers and audience.
After that conversation, I thought of the name Giving Bach and called a local therapeutic school, Five Acres, for foster children and students with learning disabilities such as Asperger’s or mild autism. They jumped at the offer of a performance although the principal was a bit wary about us interacting with her students at first.

How are the concerts set up?
   The concerts have two phases. The first part is to provide a great concert. Often the people in the audience have never been to a classical concert, so I go over how to behave, including when to clap. I explain that listening to a concert is something you do alone, similar to reading silently.
   We tune in front of them and show how and why students tune. Then we play a piece; I like to play a Bach piece because of the name of the program. Another good choice is an upbeat work such as Light Cavalry Overture, something that students can play confidently and the audience can get excited about. We might even do two pieces depending on the age of the audience and how much time is available.
   Next, we demonstrate each instrument. The violins stand and play a section feature, followed by the other instruments. I have written short pieces that highlight each section. Then we play another full-ensemble piece, something interesting or unusual. I sometimes program a percussion piece in this slot and invite a few students from the audience to come up and play maraca, claves, or woodblock while my students guide them. The next step is an audience walkthrough, where we have the audience walk through to hear and see the orchestra up close while we play.
   I experimented with this in my classroom, putting tape down so I know which way the audience will walk and so my students know how to spread out for this number to leave room along the path.
    An orchestra member leads the group through. I have often thought that adults and parents would enjoy the walkthrough as well, just to hear how it sounds in the orchestra. I give walking students two rules: don’t touch any instrument and try to keep moving.

   Side-by-side instruction comes next and is often the most powerful element of the concert. Sitting and listening to a concert is educational, but there is nothing like participation. To begin this, every other orchestra member goes into the audience while every other audience member takes the now-open seats in the orchestra.
   My students show their partner the parts of the instrument and how to hold it, followed by plucking the strings. Orchestra students show which string is the D string. I wrote a very short piece called “D String Blues.” A small core of our students play the orchestra parts while everyone else claps the audience part. Then orchestra students demonstrate how to play it by plucking the D string.

   I remind my students to lean toward their partners and get their eyes engaged. Then they pass the instrument over and play “D String Blues” again plucking. Then we show how to play it with the bow. We play “D String Blues” two more times, once with my students bowing and once with their students bowing. At the end we give students who try instruments a certificate, which always causes excitement. After the first concert, we heard many proclaim they were going to get it framed. One of my students demonstrated her instrument to a school administrator there, and he has his certificate hanging in his office next to his master’s degree.
   We play the final piece without changing places.  My students either have it memorized (because half of them will be playing from the bleachers) or their partner holds the music for them. We play something quiet to bring the excitement in the room back down to a manageable level.

How did you prepare your students for this?
   Before the first performance, the principal from Five Acres came and talked to my orchestra about the students at Five Acres and what they could expect to see. I also had my school’s counselor come in and talk about it, and we found a video from 60 Minutes about a student at Five Acres. We gave four concerts at the school that year.    The third concert was when we first brought the Five Acres students into the orchestra to try instruments. Watching the students from the two schools mingle and learn from each other is probably one of the most powerful experiences of my career.           

For more information on the Giving Bach program, visit .

   Richard Meyer is in his 32nd year of teaching and currently teaches orchestra at Oak Avenue Intermediate School and the elementary schools that feed into it in Temple City, California. He was the music director of the Pasadena Youth Symphony Orchestra for 16 years, conducting them in performances in New York, Washington D.C., Vienna, Australia, and Canada.
   He is also a prolific composer with 130 pieces in print and one of the string editors for Alfred Publishing. His composition Millennium won the 1998 National School Orchestra Association composition contest, and his Geometric Dances were awarded first prize in the 1995 Texas Orchestra Directors Association composition contest.

The post Give Everyone a Chance to Shine, An Interview with Richard Meyer appeared first on The Instrumentalist.

   Several years ago, after one of my high school marching bands had earned top honors at a prestigious state marching competition, I was interviewed about the band’s success by a local newspaper reporter. During the course of the interview, the reporter asked me what style of ensemble we patterned ourselves after, perhaps a college band or a drum corps. My reply was “We try not to copy anyone, we create our own style.”
   Having attended numerous high school football games, marching band competitions, and parades as both a spectator and adjudicator, it has become increasingly apparent in recent years that many high school marching bands have an identity crisis. Many bands are basically similar in regards to uniform style, marching fundamentals, and drill designs; to a certain degree, they also have similar philosophies used to select the repertoire. The best bands still stand out because of the quality of their musicianship and the precise execution of visual elements in their shows, but even many of these bands often project the same look, lacking a unique identity.
   In professional entertainment, such as television, a lack of identity is often a predictor of failure. Sameness in programming breeds boredom and results in a general sense of apathy toward the productions, from both audiences and those who fund it. If there is nothing that stands out about a show or cast, then ultimately the show is replaced by a more unique and entertaining product. It is important to note that the quality of the acting is usually not the reason for cancellation. At a time when many marching bands are seeing their roles diminished at football games due to the use of recorded music, as well as experiencing a decline in the number of participants, a diminished fan base, and budget cuts, perhaps it is time for directors to consider ways to make their marching bands distinctive.
   Image, branding, and reputation are key aspects of success in both professional entertainment and the business world, and they are equally important considerations as directors create unique identities for their marching bands. Consider the image the band projects at school, at football games, in competition, and in the community.

Marketing
   Communication and promotional materials should consistently project a certain image to the public. Create an official band letterhead by experimenting with fonts, because certain fonts convey distinct images. Once you have selected one, use that lettering style when referencing the band on every communication including letters, handouts, press releases, posters, promotional materials, and websites, as well as on uniforms, parade banners, and equipment vehicles.
   Consider developing a band logo. Most schools have an official mascot, so perhaps yours could be altered to convey a band image. If your school mascot is a lion, then the band logo could be a lion playing a trumpet or drum. Enlist the art teacher for help with this or hold a competition for a design with the winner receiving a cash prize or an invitation to guest conduct the band at a school function.

Show Planning
   Next, examine the marching band’s image. Review the band’s competition show repertoire for the past four years, considering the style of music and how well the band played certain styles. Also, consider the band members and audience. Students may have enjoyed playing certain styles more than others, and the audience reaction, including those at football games, may have been greater for one style than another. If a trend emerges, then try including certain styles of music on a regular basis. Some bands only play jazz numbers every year, others classical works, and others play rock and other contemporary styles. It is their signature sound in competition, and band members and fans expect it. As a high school band director I developed a musical identity for my bands based on variety. We used classical music as an opener; jazz-rock, big band, or classic rock charts as production numbers; and a pop ballad or spiritual as a closer. There was educational value in the variety of repertoire for the students, and the band demonstrated to adjudicators their musicality and overall technique in the performance of contrasting styles, and – of equal importance – there was something for everyone in the audience. My bands routinely received high music scores as well as enthusiastic responses from audiences at competitions and football games alike.
   Concerning repertoire performed at football games, too many directors disregard the notion of entertaining the fans. Many bands only learn their competition show and perform it at every game. This breeds disinterest among football fans and the student body for the marching band. Successful band programs are part of the fabric of a community, and the only way to connect with the public is by performing a variety of music that a diverse group of listeners can appreciate.
   Several bands no longer even perform a pregame show. Some simply move onto the field into a block formation, play the National Anthem and occasionally the alma mater or school fight song, and exit. Others play these selections from the stands. Many directors feel that they do not have time to learn and rehearse a pregame show because it would take away from working on the competition show. Directors should examine their priorities and use the pregame show to put school traditions and school spirit on display through music and drill. At some schools long-time fans say that the traditional pregame show is one of the most exciting aspects of game pageantry. Pregame shows can be easy to learn and fun for band members to perform. The goal is to get the audience to participate in school traditions by clapping their hands, cheering, and singing along as the band performs the alma mater and the National Anthem. 
   Write a pregame show that incorporates basic marching fundamentals and make it the first thing the band learns at preseason rehearsals or band camp. Fundamentals learned in this show will carry over to the competition show. Keep the pregame show simple, but maintain the same music and drill execution standards as in the competition show by rehearsing the music and drill regularly. Pregame music and drill can be used for music and marching warmups at the beginning of rehearsals. Most school alma maters work well as a warm-up chorale. Make the show a school tradition by keeping it similar from year to year. This will aid in the creation of a band identity, and alumni will enjoy hearing music that was performed when they were students.
   At many schools, the band rarely performs in the stands during games, and many of those who do perform poorly because they fail to rehearse adequately. Directors often comment that they just don’t have time to learn other music when preparing for competitions. It is no surprise then that recorded music is taking the place of the marching band during games. This is common in professional football stadiums because of the absence of live bands, but this trend unfortunately spread to the college game more than ten years ago and an increasing number of high schools. Rather than allow recorded music to replace the high school marching band as a source of school spirit, work to develop a stands music tradition that becomes an integral part of the high school game.
   When selecting music for the stands, consider classic rock tunes and music cheers that will be recognized by parents and students alike, and repeat the tunes from year to year. There are many outstanding published charts available, but do not hesitate to create your own arrangements. Be sure to introduce new tunes on occasion, specifically contemporary pieces that appeal to the student body. Coordinate the band’s efforts with the cheerleaders, as songs and cheers that require audience participation are extremely effective. Select music a grade or two below the contest music so the band can learn the selections quickly. Be sure the music is high energy and scored in reasonable ranges. The students will enjoy the variety and become better musicians by reading more music. Watch the game, cheer, and play whenever appropriate. Also, do not leave the stands and spend the entire second quarter of the game warming up for the halftime show. Bands that have been playing regularly in the stands while demonstrating high musical standards do not need to do this. Remember, if the band is not playing, recorded music will be.
   For halftime performances, it is certainly possible to learn and perform more than just the competition show during a season. The philosophy of one show per year may be the single biggest contributor to community and student apathy toward the band program. So many directors have been permitted to embrace a one-show approach by school administrators and band program supporters that it has become the norm at most schools. Rehearsing and performing the same music program for several months is an ill-conceived concept. It certainly makes sense to showcase excerpts of the competition show early in the season to give the band members performance experience, but perform other shows as well. No one enjoys watching the same episode of a television show over and over, so why should directors think that fans will have any interest in watching the same halftime show repeated every week.
   Before the football season begins, plan multiple halftime shows. As a high school director, my bands usually performed excerpts of the competition show at the first two football games, a new show for the next game that featured classic rock music with multi-generational appeal, a homecoming show that often was simply background music for the introduction of the queen and her court, and a senior night show featuring contemporary music chosen by the band seniors. For any additional games at the end of the season and all of the away games, I usually programmed the competition show.
   The key to learning other shows is to remember that the music and drill do not have to be difficult, just entertaining. If you usually use custom charts for the competition show, use published music scored at a lower grade level for the other shows. Consider shows that consist of only three numbers – an opener, a concert selection featuring the flags, baton twirlers, or cheerleaders, and a closer. Remember, the marching band is in attendance at the game to support the team and entertain the fans. The average fan cannot discriminate between grade levels of music or difficulty of drill. Their opinion of the show, and ultimately their perspective of the band’s musical identity, depends solely on whether the band sounded good at halftime.

Visuals
   Also consider the band’s visual image when creating an identity. Begin by evaluating every detail of the band’s basic fundamentals, from the manner in which they hold their instruments to the style of the marching step used. Uniformity and precision are always the goal, but do not hesitate to make
changes in fundamentals for the sake of originality. For example, because most bands today use a glide step, consider a different approach and occasionally incorporate the traditional high step style. It will definitely set the group apart. 

   Take a close look at the band’s drill designs from the past few years, especially if you hire someone else to write shows. There was a time when nearly all band directors wrote competition show drills for their bands, and variety in drill design was normal. However, as competitions became the focal point for the high school marching bands, originality began to decline. Even some of the top bands, whose precise execution and stunning visuals are exciting to witness, often seem to have similar drill. The designs may be outstanding, but not always unique, as many seem to be copies of the latest trends seen in recent drum corps shows. I have attended competitions with as many as two dozen bands present and suspected that the shows were created by the same four or five drill writers, due to the similarity of the designs. On one occasion, while attending a competition featuring bands from several states, I even saw two bands perform the exact same show – both music and drill. Both band directors believed that they had purchased a custom show. 
   Consider designing a show, as it is the only way to truly create a unique visual identity. Although some directors may feel that their drill design techniques are inadequate, with practice and dedication anyone who has taken a marching band techniques course in college or marched in a college band or drum corps can do it. View drill design as an opportunity to showcase another aspect of creative artistry. It can be challenging and time consuming, but visual interpretation of music is highly rewarding, and directors who write their shows will know that no other band will perform the same thing.
   During the design process, strive to create a signature move and use it in the competition show every year. Early in my career I created what came to be known as a power wedge formation showcasing the brass section. It was so effective that I used it each year in competition as part of the show closer. The music was different each year, but the drill technique was nearly identical. Audiences and adjudicators alike knew what was coming at the end of the show, and soon the power wedge became the visual signature of the band. It was routinely met with standing ovations.

Uniforms
   Do not forget band uniforms when creating an identity. In recent years, some bands appear to have intentionally avoided their school colors, mascot, and even school name when selecting and designing uniforms, choosing instead to simply imitate the latest drum corps fashions. Celebrate school colors and mascots to create a unique uniform identity. The uniforms of top college bands have evolved over the years without completely forsaking traditional styles and colors; likewise, high school uniforms represent the band, school, and community and should showcase school pride and spirit to the fullest by developing a contemporary image that still embraces tradition.

Reputation
   Many bands can claim a reputation of performance excellence through the number of awards they have won, but it is also important to consider the band’s reputation in the school and community. When recruiting students to the band program, many directors routinely comment concerning the value of having band participation on high school transcripts when applying to college. No one argues with that, but other activities can be helpful as well, so avoid a band program that forces students to choose between band and other activities. My high school bands routinely had students who were athletes, members of clubs and organizations, and leaders in student government. Strive for a band program culture where students understand that excellence in every aspect of school life is expected. Seeing star band members fall short, jeopardizing their future opportunities after high school, is just as heartbreaking as seeing star athletes in similar situations.
   Finally, consider the band’s reputation in the community. If the public’s connection to the band program is only through newspaper articles or fundraising events, then the band is really not a valuable component of community life. When scheduling performances, balance football games and band competitions with local events, including parades. It is unnecessary to wait for an invitation to foster goodwill and program support. Seek performances that will showcase musicians to members of the community who may not see the band at games and competitions. For many people, a performance by band members at a local nursing home or retirement community creates a greater sense of pride in the band program than reading a media report of the band’s participation in a band contest held several hours away.
In most areas of modern life diversity and uniqueness are considered good things. For the future health of high school marching bands, perhaps it is time to embrace the same mindset.   

The post Making the Marching Band Stand Out appeared first on The Instrumentalist.

   I often tell people that I work a 12-month job in the span of 9 months. Between administering a band program, filling out countless school forms, and responding to hundreds of emails, it is nothing short of a miracle that we actually have time to teach music. Holiday breaks provide a respite from never-ending to-do lists that keep me busy throughout the school year. They let me recharge my batteries so that I can return with renewed energy.
   Sometimes the best break from the normal routine is to travel with our music groups. Even though I might not get the same rest and relaxation, the benefits of an educational tour are too great to miss. Nothing can replace the camaraderie that is created among the students. New friendships emerge, and old friends become much closer. The most important aspect of any successful trip, however, is the balance between performances, cultural experiences, and downtime.
   This spring vacation I traveled to Sydney, Australia, with the top band, choir, and orchestra at New Trier High School – 180 students in all. For close to 30 years, New Trier has maintained a foreign exchange program with our sister school, Pittwater High School, located twenty miles north of Sydney. While there, our students stayed with host families and experienced Australian customs first hand.

   Several of our students were housed by families that lived on an island directly across the bay from Pittwater school. They were transported to and from the school by boat each day. Because Pittwater is directly on the ocean, the families’ lives revolve around water activities. One student said that his host father would awaken at 4 am every morning to go running and then swimming. Upon returning, he would fix them a full breakfast before school.
   The New Trier directors spent one morning visiting the Knox Grammar Private School. While there, the directors were treated to morning tea, which is apparently served every day to the teaching staff. Around 10 am, all of the teachers convene in the staff cafeteria to enjoy several trays of sandwiches cut into small triangles along with hot tea. All of the snacks were served free of charge. I didn’t think to ask what the students were doing while the teachers had their break.
      We coordinated multiple school performances throughout the Sydney area, but the highlight of the trip was a concert in the Sydney Opera House. The Australian audiences displayed a deep, almost reverent, appreciation for our music. It was both humbling and immensely satisfying at the same time.
   The band also had the opportunity to work with Russell Hammond, who is widely regarded as the father of the Australian band movement. Prior to his influential work there, the bands in Australia were still largely aligned with British Brass Bands. Russell brought over many of the best American conductors and composers to introduce a concert band sound. I was regaled by stories of such luminaries as Alfred Reed, Francis McBeth, Fred Fennell, and Harry Begian.
   It was interesting to note differences in the sounds of the bands. Many of the Australian bands used electric bass as a standard part of the concert band instrumentation. This is partially due to the difficulty in acquiring adequate instruments like tubas. Very few schools have performance stages, much less sound shells as the cost of shipping them overseas is exorbitant.
   Through our travels, I was reminded of the cliché that music is the universal language. Truly, it transcends time, culture, and languages. While we spent only 10 days in Australia, I know that our students experienced a lifetime of memories.
   At the conclusion of the trip, I plugged back into school time by opening my email at the Sydney airport. There amongst the countless emails was an invitation to perform at the 66th annual Midwest Clinic. It was the perfect ending to a perfect trip. I look forward to our next adventure as a band.

From a Student’s Perspective

“The Best 12 Days of My Life”

   The only way I can describe the twelve days I spent in Australia with the New Trier Symphony Orchestra is as the single best vacation I have ever taken. Each day there was something that we had never done before. From going to huge, beautiful beaches to playing at the Sydney Opera House, the trip was full of amazing experiences.
   I particularly enjoyed the plane ride, which might seem odd because it took over a full day of travelling to reach Sydney. First there was a five-hour flight to Los Angeles. On that flight I got to know some of the older students in the orchestra. As a freshman I really didn’t know many people because the majority of the students in Symphony Orchestra are sophomores, juniors, and seniors, all of whom go to the other New Trier campus. (New Trier has a separate freshman campus, and the freshmen who make the top orchestra commute to the other campus for one period each day.) My trip would not have been anywhere near as enjoyable if I had not become friends with more people on the plane and during our five-hour layover in Los Angeles.
   We then got on the plane for Australia, a flight that took 16 hours. On this plane there were touch screen TVs on the back of each seat and a library of hundreds of movies, books, songs, and games. I tried hard to sleep but kept waking up, so I spent most of my time watching movies.
   When we arrived in Australia, we met our host families, and the first thing we did was visit the beaches. Living on Lake Michigan for my entire life, I had never seen waves bigger than a foot or two. The waves in Australia were up to 15 feet high, and extremely fun to body surf. There were times when the waves could be a little dangerous. You needed to make sure you weren’t washed over to the side by the riptide, and if you were where the waves were breaking, you could get flipped and speared into the sand head first! For the rest of the trip, when we weren’t performing or sightseeing, we were at the beach.
   On a more musical note, the Sydney Opera House was an amazing experience. We arrived in the back and were given passes and shown to the Green Room that had a cafeteria, vending machines, pool tables, a ping pong table, and free drinks. We spent about two hours here. Then we had to cram 20 people into tiny changing rooms that were meant for one person. After changing into concert clothes, we watched the choir and band perform for three hours. It was quite late when we finally played, but the sound was unbelievable. The resonance in the Opera House was mind blowing; the notes we played seemed to ring without ceasing.
   The Australia Trip was one of the most amazing things I have ever done. I can honestly describe the trip as the best twelve days of my life; I still cannot fully take in the notion that I played at the Sydney Opera House as a freshman in high school. The only bad part is that all future trips won’t come anywhere close to Australia.

– Ryan Callis (cello)
Great-grandson of Traugott Rohner,
Founder of The Instrumentalist

The Sydney Opera House performance may be heard at

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