Editor’s Note: Composer Robert W. Smith passed away in September. As a tribute, we have reprinted this interview from December 1997, which contains his fascinating insights on music, composing, and education.

���� Robert W. Smith has composed and arranged more than 300 works for winds and percussion, including Africa: Ceremony, Song and Ritual, and his symphony The Divine Comedy. His works have been performed at Japan’s welcoming ceremonies for President Ronald Reagan, opening day at Dodger Stadium, the Macy’s Thanksgiving Day Parade, the Ringling Brothers and Barnum & Bailey Circus, and the Olympic Games. Director of bands at Troy State University in Alabama and a frequent clinician throughout the world, Smith offers his perspectives as both a creator and interpreter of musical scores.

Directors often talk about the importance of choosing literature, but what specifics should they look for to find works of high quality?
���� When choosing music, look for works with other than the standard doublings so that students have an opportunity to hear some different textures and timbers. I look for music with different small group ensembles, such as piccolo, bass clarinet, and congas. In Africa: Ceremony, Song and Ritual, a piccolo solo plays the first melody with a bass clarinet and some percussion underneath, a sound most people would not expect to hear from a band or orchestra. I understand the need for doublings, but must the tenor sax always double the baritone?
���� Fine literature has parts that interact rhythmically. In The Tempest, for example, instead of all the woodwinds playing the same rhythm, the flutes play two eighth notes followed by a quarter, then the clarinets play a quarter followed by two eighth notes. The end result is a groove between musical parts, making the sum total much more exciting than the individual parts.
When examining a new work, directors should evaluate individual parts for levels of interest and educational content. Although a band composition may be rated grade 5, only some of the parts are actually at that level, most are easier. Conductors should choose repertoire to fit the maturity and the instrumentation of their ensemble rather than just choosing a grade level. Look for great music that features the strong players in the ensemble and is kind to those who are still developing. A grade 4 band can actually play some grade 6 pieces depending on individual strengths and weaknesses. There is a whole world of literature that many directors just completely avoid because somebody at some point said that it was a particular grade level.
���� I look for different styles of music to introduce students to a wide range of musical and historical periods. The music industry is going through a multi-cultural wave right now. In fact, sales of Africa have gone through the roof because students learn about different sounds and colors. Music is by far the most universal language, and directors should feed students a wide variety of literature.
I try to hook as many students as possible with educational works that are intense and energetic. My assessment is that young students have a lot of energy and are generally drawn to the intense forms of music written for jazz ensembles, marching bands, and hard rock bands. However, composers and directors of concert bands and orchestras don’t feed on this energy often enough. They should write and program works that hook students and channel their energy into the right direction. Then directors can serve students Frank Erickson’s Air for Band.

What are some of the common programming mistakes directors make?
���� Too often directors try to take a teaching piece and have it fulfill the maximum daily teaching requirements, but I encourage directors to select music in the context of the entire concert, not piece by piece. If some requirement isn’t fulfilled by one piece, the next one will cover it. One of the raps on educators is that all of the music sounds the same. What sells in the marketplace is often redundant in form. I’ve written as many ABA overtures as anyone; but to be perfectly honest, I wouldn’t care if I ever wrote another one.

Can you give some details of your programming tactics?
���� My view of programming in context is that after an overture in ABA form the next piece might be a lush chorale that calls for good tone, phrasing, and balance. When it comes to programming, I am a traditionalist, and I want literally everybody to leave the concert having enjoyed and truly connected with at least one piece. One concert might open with a fanfare and be followed by a march I am a great believer in the march because of its historical importance to the origins of bands. Without a standard repertoire, playing in band is not a legitimate art form, so I always program a march. From there I might schedule something more serious in nature.
���� Being a composer I like the concept of new, contemporary music, but students should be able to play all the standards in the band repertoire at some point during their high school and college careers, so I try to balance contemporary literature with staples of the repertoire. Next, I might cleanse the palate with a chorale or a second march before programming something lighter, such as a medley or a solo feature. I try to close with a wonderful finale. This is a very traditional program, but my point is that it is a mistake to look at every piece on the basis of its educational function.
���� Music educators have license to select their curriculum, to choose their textbook, while English teachers are often told what materials to cover. I’m not sure that all directors understand the responsibility of selecting material carefully. When I was a young teacher, a music supervisor told me to be on the lookout for the next Mozart and to select music that would inspire him to develop so the world would benefit from his incredible artistic talent. This pearl of wisdom has stuck with me for all these years. Just imagine the responsibility if Mozart sat in your classroom.

Directors often contend that music publishers print mediocre music because indiscriminate educators buy it. What is your view?
���� This is a two-way street. It will be the composer who can expand upon the educational guidelines now considered to be cast in stone, and educators should demand high-quality music. The publishing businesses only print what people buy, so consequently, speaking as an educator, the buck stops there. Conductors determine the make of the marketplace by what they program. As a young composer working for Columbia Pictures Publications, I went to the Texas Music Educators Association convention, where many major music retailers literally bring their entire store, filling massive tables with music. I found all of my titles and then took off my name tag and observed people perusing the music. It was amazing how quickly a score was put back if it wasn’t in the standard keys of Eb, Bb, and F, or was in compound meter. Since then, I write in 34 and use accidentals because 68 and odd key signatures scare directors.

Do you think that composers take the easy way out by writing that way?
���� If I write a piece and nobody buys it, the musical message is not heard. Established composers are obligated to push directors because people buy their publications for the name attached. I’m still in the proving stages and have to give into the realities of the marketing and commercial side of composing. My job as a composer, particularly in writing educational music, is to give an ensemble and its conductor a wonderful musical experience. If I do my job, they will say, “What a great band we’ve got.” If I don’t do my job they will say, “That’s really bad music.”

What skills do you find most students lack?
���� Many students don’t have basic ensemble skills. For example, they think of dynamics as decibel levels as opposed to matching intensity. If a line is passed from the flutes to the clarinets in a musical conversation the parts have to match intensity levels. To illustrate, I’ll have a student say, “Hi, how are you doing Mr. Smith,” then I’ll turn around and scream, “I’m doing just fine.” Most students will actually jump back because they don’t how to respond when the intensity varies in a conversation.
���� Students should develop a sense of rubato and realize that every musical phrase does not have to be metronomic. Some music calls for a strict beat, but most should be thought of in terms of timing. When speaking about the art and craft of being a comedian, Tony Randall demonstrated how he could control the size of the laugh by the timing of the delivery. He took a particular joke and changed the inherent meaning by altering the timing. The meaning of music also changes based on the delivery.
���� The concept of tone and matching color from instrumentalist to instrumentalist is often neglected. Musicians have to learn to change their sound the same way a person changes his vocabulary and tone depending upon the conversation. The best trumpet sound for playing the Hummel concerto is not the best sound for riding above a jazz ensemble, but a trumpet player should be able to achieve both sounds.
���� A beat is a duration of time, not a point in time, and many students don’t realize that. They think of a beat as a point. Is an inch the point on a ruler where it says one, two, or three or is an inch the space between the points? It is the space between the points. The concept of rhythmic placement should be based on the musical style. In a soft and subtle chorale playing on the front edge of the beat makes the music seem rushed, but in an exciting work, it is appropriate to play on the front edge of the beat.
���� More ensembles should focus on the concept of balance, which is three-dimensional. Each individual has to match tone color with the other members playing the same part, then each small section has to blend with like instruments, and finally choirs have to balance. In other words, the third clarinets have to balance with one another, then they have to fit with the first and seconds, and finally clarinet choir has to balance with the brass choir.

How do you develop balance in rehearsal?
���� I spend some time teaching traditional Western harmonies. Most people assume that the three notes in a major triad should be equal in dynamic intensity, and that’s not necessarily the case. To establish tonality, the tonic is most important. The third establishes color and should receive a little more dynamic weight than the fifth. If the fifth is weighted more heavily than the third the chord begins to sound hollow. In rehearsal I’ll take three clarinets or three trumpets so tone color is not an issues and explore this concept. Also, look at where a specific chord occurs within a bar. If it is on the downbeat and you want to establish the key, the tonic has to be prominent. Once that’s been established, you can concentrate on the third and fifth on beats two, three, and four. I spend time making sure students understand weight. If you have a dominant seventh chord, the most important tones are the third and seventh because they resolve and provide color. From there, I take passages from chorales and have students identify their harmonic role.

How do you approach learning a new score?
���� I look at scores from the outside-in, really trying to get inside the composer’s head to determine what is being said musically. In many instances what is notated on the page is not actually what the composers intended. I say that because Robert Smith the conductor and Robert Smith the composer don’t always agree, particularly after I’ve divorced myself as a composer from a piece. For example, I wrote Africa a few years ago, and now, when working on it as a conductor, I make adjustments to the music. It’s important to look at works from the outside-in, identifying all the musical elements on a page and evaluating their importance. In a march, some notes are accented and others are not, and there should be an inherent or implied crescendo up to the accented notes. That’s not notated on the page, but I believe if the composer was conducting, he would add crescendos at those points. I fear that less-experienced conductors do not fully grasp this point. As a composer, I give directors license to make my pieces work for their band.
���� What is written on the page is not cast in concrete, it’s an environment. Young conductors either diligently try to recreate or resurrect what is on the page and forget to be a musician, or they ignore the original intent and distort the original idea. It’s important to emphasize that the conductor and composer are partners. A composer notates the original intent and provides program notes, and a conductor studies a score to absorb the material and discover the intent, making adjustments when necessary. Directors are composers’ salesmen because they present music to the world. I want conductors to adjust dynamic levels based upon instrumentation, and I want them to adjust instrumentation to make an important line dominant.

There has been much debate about the value of a music degree. What do you advise music majors who don’t want to become conductors or performers?
���� I tell students to look at the items in a typical band or orchestra room: printed music, music stands, computer programs, recording equipment, and instruments. These items are all products of the music industry, which offers students an incredibly wide choice of careers based in music. Students who do not have the opportunity to study in a music industry program should continue with their music education or music performance degrees, but supplement their specialty with electives in general studies, such as economics, marketing, business, or accounting. No form of musical study is invalid if students are aware of the paths available to them and prepare for a variety of careers. Too many times higher education is viewed as a means to a job, when really it is a means for life.

Photos courtesy of Willis Glassgow,��UNC��Pembroke��

The post Music Worthy of Mozart An Interview with Robert W. Smith appeared first on The Instrumentalist.

�� ��Composer and life-long educator Robert W. Smith passed away on September 21, 2023. He has over 600 publications in print, with the majority composed and arranged during his long association with Warner Bros. Publication and the Belwin catalog. He was President and CEO of RWS Music Company, exclusively distributed by C.L. Barnhouse. Ensembles around the world have performed his compositions. He is also known for his pioneering compositions for the Suncoast Sound drum corps and his 1985 show, The Florida Suite, is considered the first to exclusively feature new works of music specifically composed for a drum corps. He was inducted into the DCI Hall of Fame in 2010. He studied composition at Troy University and returned to his alma mater as Director of Bands in 1997 and a second developing and leading the Music Industry Program beginning in 2006.

���� Rebecca Warren contacted some of his close friends and colleauges to share their reflections, and she included some of her favorite stories. These have been edited for space and clarity.

Clifford (Ski) Winter
Robert W. Smith’s Band Director
����I met Robert in the makeshift band room of Daleville Jr. Sr. High School in 1973. The room was a normal size classroom that was partitioned by curtain to separate the math class from the band. I had no idea how much I was about to learn.
���� This was my first band job and at our first rehearsal, Robert came up to introduce himself. He was a short, unassuming student, and nothing stood out at first. In the fall of 1974. Robert and I were chatting, and he commented without bravado that he had perfect pitch. I thought he meant good relative pitch from playing piano since he was 3. There was a piano in my office, and I began to test him. He never missed a note. This was my first lesson.
���� The second lesson came while preparing for our first marching band contest in 1973 on the Troy field. Robert had learned all the trumpet parts, and our band was not strong. He volunteered to play the second part as it sounded the weakest. He did, but halfway through, I signaled him to go back to the first part. The judges commented that there was too much first trumpet.
���� The third is not related to band. My wife was teaching the choir, and she had Robert as the accompanist. As the choir was about to go on stage Robert suggested to Suzie that he should take the pitch for the selections up a half step to keep students from going flat in the heat of the moment. He was right, and it turned out great because young Robert could make this kind of change without practice.
���� The last story is that I asked Robert to write a marching band tune in the fall of 1974 for the Troy Band, The Wabash Cannonball. When we played it, I told him the bass line was wrong. Once again, I was taken to school by the young Robert W. Smith. If anyone asks what was the first composition by Robert W. Smith, you can now tell them. I sure wish I had kept that score.

Randall D. Standridge
Composer/Designer
���� My fondest memory of Robert happened several years ago at my first Midwest Clinic. I was helping at the Grand Mesa Music booth, and Robert came by and introduced himself. We talked for a second, and he asked if he could buy me a coffee.
���� We got coffees and sat down to talk about music and careers. I was surprised by how much of my music he knew. He gave me great advice on handling the pressures of the composition industry, how to work with conductors, and best practices for commissions. I asked him what I should change about my music.
���� “Change?” he asked, then laughed. “Randall, you don’t need to change a thing. Just keep doing what you’re doing. You’re on the right path.” We talked about drum corps, life, and spouses, and then he shook my hand and said “I’ll be in touch.” And he was. Every few years, he checked in on me by phone and text. He never wanted anything from me. He just wanted to encourage me. That validation was what I needed at the time, and I never forgot it.

Doug Brasell
Founder, All National Music
���� In the summer of 1997, at 22, I met Robert W. Smith as he arrived at Troy University. I helped him move into his new office, which set the stage for an inspiring friendship. Soon, I invited Robert and Susan to a golf championship, forging a bond that would shape my life. While I pioneered tech platforms and social media, Robert took the helm as Director of Bands at Troy University. He became a mentor, supporting my journey in music education and industry.
���� Beyond his adjudications and presence at my concerts, Robert encouraged me as I moved from music education to starting a business. He became godparent to my children. Deep-sea fishing adventures created lasting memories, filled with camaraderie and laughter.
���� In 2019 we introduced a vision of immersive composer-based festivals. As CEO of All National Music, this collaboration aimed to celebrate educational excellence. Robert’s wisdom brought it to life. His enduring philosophy of music education infused creativity, innovation, and mentorship. Robert’s legacy lives on in the music, students, and friendships he nurtured.

Larry Clark
Composer/Founder, Excelcia Music Publishing
���� It feels impossible to encapsulate what Robert W. Smith means to me and countless others. He was my teacher, mentor, and friend. If I have to pick one word to express his impact on me, it is expectation. Robert had high expectations for himself and his students. I was a young musician from small town USA, just like he was, and he saw something in me before I could see it in myself. He helped me to realize my potential by his own example, his teaching, his compositions, and how he lived his life. Robert was a change maker. As with so many others, he changed me, and any success I have had in my career goes back to Robert’s expectation that I could be more than I ever imagined. We can honor the legacy of Robert W. Smith by seeing the best in ourselves and others, and by expecting nothing but the best in all that we do.

Richard Crain
Past President, Midwest Clinic Board of Directors
���� I last saw Robert in March at the American Bandmasters Association convention in Lawrence, Kansas. He sat in the first row of the assembly with a twinkle in his eye and a devilish smile, ready to ring his cowbell and shut me down if I went too long on introducing Charlotte Royall, newest member of the ABA. Robert was the Sergeant-at-Arms, responsible for keeping the meetings on time and ending rambling speeches He was the greatest at fulfilling the responsibilities of this exalted office.
���� Around the year 2000, I served as a contributing author for the beginning band series Band Expressions. Robert led the group assembled to craft this series. I was amazed at his brilliant intellect and practical application of all the ideas and input. I couldn’t wait to get to these gatherings because it was so rewarding and fun. I found Robert humble despite his accomplishments and observed his great and devoted love for Susan and his daughters. He was a family man. As President of the Board of Directors of The Midwest Clinic I called on Robert for advice numerous times.

Mark Morette
Mark Custom Recording Service
���� Mark Recording and Robert W. Smith had a family relationship dating back to the early 1980s. Founder Vincent Morette worked with Robert when he was arranging for Suncoast Sound Drum Corps, 1985. Jerry Kelsey (1951-2023) was co-director of Suncoast Sound Drum Corps when they recorded A Florida Suite, an original and revolutionary show. As a former Drum Corps member, Vince knew Robert had a future in the business and he was right!
���� We worked with Robert many times over the decades, but working with him on the recording of his marching band arrangement of Michael Jackson’s Thriller was a highlight. This still may be the single largest selling marching band arrangement in history. While Robert was a superior composer and arranger of music, he was an even better human being
���� Robert was always a gentleman and never forgot his past. He grew older, but not “up.” He was serious yet knew how to enjoy life. Everyone knows how much fun we had with Robert, but there was one annual event that was the ultimate in fun – Greek Night – the Friday night dinner after the Midwest Clinic. This gathering at The Parthenon started in the early 1980s and continued until the restaurant closed in 2019. Robert was always boisterous, having fun with friends from the past and present. We will always remember the great times we had with Robert W.

Lori Hart
President, Alabama Bandmasters Association
���� How do you pay tribute to someone you’ve known for 48 years? I met Robert Smith at Troy State University on the first day of Music Theory I, where, by chance, we sat next to each other. Throughout the next four years he became my little brother through Tau Beta Sigma/Kappa Kappa Psi, we worked on different projects, and become the dearest of friends. As adults, our children played together, and we enjoyed great meals, beach trips, and fireside chats. Early on I knew that he was truly someone special, and for 48 years I watched and listened as he made his everlasting mark on music education and the lives of thousands.
���� Robert Smith was a lifelong supporter of the small school band program, as it provided him with his very humble beginnings. Of the many speeches, clinics, and conducting events that Robert presented, and that I was privileged to be part of, the one I am most grateful for is the band banquet for my Wicksburg High School Band in 2022. Wicksburg High School is located in a small rural community in the southeastern corner of Alabama and is eight miles from Daleville, where Robert grew up.
���� When I called to invite him, he accepted without hesitation. That evening, he spoke of many things, but one of the most poignant was how he grew up in the same red clay as those Wicksburg students and told them, “The size of your hometown does not determine your destination. It’s the size of your dreams.” Robert shared with those students how music had given him an avenue to travel to all parts of the world, and the venue to work with some of the world’s most famous musicians. He spoke about the language and beauty of music and how it speaks what words cannot. He connected with all of those in attendance including a well known philanthropist, our Superintendent, Principal, future band directors, and many parents. Everyone left that evening changed because of the true inspiration he gave to all of us.
���� Robert Smith was a lifelong teacher to students of all ages. One of my favorite moments was in February 2022 during the SEUS Band Clinic in Troy. Prior to one of the concerts, I sat behind him as he shared his knowledge and advice with a young aspiring composer who had presented her latest work for him to review. He believed in investing in children through teaching and sharing his musical gifts.
���� Robert Smith was always the forward thinker, from his young days of composing and writing the first original music DCI show, to the creation and development of a highly successful Music Industry program at Troy University. One of Robert’s last clinics was this past June at the Alabama Bandmasters Association’s Summer Conference. Earlier in the year, Robert had asked what he could do to help me as I began my time as President of the ABA, and I quickly replied, “Please be the Keynote Speaker at our conference.” Once again, he accepted without hesitation.
���� Robert brought his forward thinking ideas to his presentation at our conference. He spoke of the responsibility that we as music educators have in our 21st Century classrooms and the importance of embracing this responsibility to assure there is music education in the future. He set the tone that we must be creative in our instruction, and how we must redefine the relevance for our collective future.

Rusty Courson
Director, Smiths Station Community Band
���� I have performed many of Robert’s compositions with students over the years, but Inchon has always been a favorite. This is not just because of the incredible music, but because Robert wrote it for his dad, who passed away just before the piece premiered with the Troy University Symphony Band.
���� I thought I knew everything about the song and the rationale behind the composition after performing Inchon multiple times, but Robert offered to come rehearse with my newly founded community band last year. Just before the rehearsal took place, Robert found he couldn’t attend but paid a visit through a Zoom call. They were doing a pretty good job with the piece for a group of volunteers that rehearsed once a week, but after listening to Robert for an hour, they gave an amazing performance the following week. His stories set the band on fire, and they played their hearts out that night. The band has members from all walks of life, ages 13-81, and you wouldn’t believe the musicianship expressed by this group. Robert truly advanced the cause of music education and was an incredible motivator. I was blessed to call him my friend.

Rebecca Warren
Band Director
���� I first met Robert when a mutual friend, Lori Hart, invited me to spend the afternoon with Robert and family on the beach in Destin, Florida.
���� “You mean THE Robert W. Smith?” I knew Lori and Robert had been in college together but never dreamed I would meet him in that way. Though we were nearly the same age, I acted like a star-struck teenager at first. The conversation quickly turned to life, dreams, goals, and band. I was amazed at how he really listened to me and was interested in what I had to say. Robert had that way about him. He always made me feel as if we were colleagues. It didn’t matter that he was an accomplished composer, arranger, publisher, guest conductor, collegiate professor, and known the world over. He viewed both of us as music educators who taught band to help make the lives of our students better. That’s what Robert did best. He helped make the musical lives of those around him better.
���� Over the years I spent other special times with Robert. I celebrated my 40th birthday at All-State with Robert and crew in tow. Greek Night with Mark Morette and company at Midwest included fun times and Christmas caroling with Robert. It was a great joy to watch Robert and how proud he was of Susan, Savannah, and Madison. We all should be grateful they shared him with us. As band directors, we hope that we make a difference. Robert W. Smith made a difference.

Photos on website of Robert W. Smith courtesy of Willis Glassgow, UNC Pembroke��

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���� In December 1993, I hopped into Jon Eckman’s parents’ suburban with Matt King and Todd Manson. We were headed toward Orlando and my first drum corps audition camp at Cypress Creek High School. I had seen drum corps broadcast on PBS and had watched one live show in Clearwater before embarking on this adventure but didn’t really know what I was getting into. From the first time I set foot in the horn arc, I knew this is where I was meant to be.
���� Robert stepped into the center of the arc and said “Good evening, how is everyone?” I remember feeling somewhat overwhelmed as a 17-year-old, not knowing anyone else in the room and holding a strange 2-valve horn. I could tell almost immediately that this was going to be a special place and at the center of it, a very special man. By the end of the weekend I was all in – this was what I had to do. The things that I saw him elicit from this group of young musicians that weekend were amazing, and I went home with a renewed purpose and determination.
���� My first year in DCI (1994) was a magical one. Through the creative genius of Robert and others like Karl Lowe, Michael Raiford, David Duffy, Paula Williams, John Campese, and Al Murray, Magic of Orlando made it to the Saturday night show. He guided 128 kids to a place we had never been before; he took us to an 11th place finish at Foxboro Stadium in the suburbs of Boston.
���� We had lots of reasons not to be very good. Magic’s horns were mismatched in everyway imaginable – some were chrome and some were silver plated. We even had two-piston rotor contras (I spent my first camp on one). We did not have a semi-trailer as a food truck or our own buses, but what we did have was Robert and nobody else could lay claim to that.
���� He did not settle for the excuses and refused to let us either. The summer for me was a blur as this was my first DCI tour, but Robert was there at every turn. There were so many musical moments over that summer. I had no idea that these experiences would continue to shape my future. Robert was a master of analogies and taught life lessons through music. He never missed an opportunity to make an example of or insert a life lesson, whether good or bad. You were going to learn from him one way or another.
���� As a friend of mine reminisced recently: “you were either going to do it the hard way or the easy way, but you were going to do it,” and if you listened to Robert, it would be smoother and easier in the long run. Robert cared about every one of us and knew how to pull out our best. He demanded excellence but didn’t leave you to figure it out for yourself. He showed you the way and took the time to see that you were successful in your endeavors.
���� He had a way of making simple music speak about life in a way that I had never before experienced. He captured our imaginations and our souls with his melodies, and his music made my heart soar to untold heights. Robert used textures and sounds in his writing that were unlike many others. He made his music speak to everyone. He knew how to make you understand his intent and what he wanted from his music.
���� Whether you were young and inexperienced or a seasoned veteran on your instrument, he would ensure you made the emotional connection that then connected with the audience. I will never forget how he taught me to think with my heart and to use music as a guide for my emotions, and for that, I will always remember the Magic.

James Oliver
Huntingdon College
Montgomery, Alabama

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What inspired you to begin composing?
�� I started composing in high school but didn’t become serious about it until college. My greatest inspiration was Jim Carlson, my jazz band director and trumpet teacher at the University of Minnesota, Morris. One day during my sophomore year I came to a lesson and he had a trombone waiting for me. I didn’t know what it was doing over there, but he knew trombone would be a better fit for me than trumpet. So, I switched and as I underwent an embouchure change, I needed a distraction. He suggested writing for one of the university jazz bands so I wrote a piece for them to perform. I ended up writing all sorts of works for choir and chamber ensembles for subsequent concerts, and in my senior year wrote my first piece for band called In This Moment.
���� �� After graduating, I taught high school band for five years and took invitations from friends to write for their groups. Throughout that time, my passion for composing grew. I eventually went to graduate school to earn a Ph.D. in music composition, taught at the college level for seven years, and eventually left to compose full time.

What is your creative process for composing?
���� �� I live in northern Minnesota and am inspired living here. My compositions begin with nature, and my music is connected to this place. My studio has big windows that allow me to look out into the woods while I work. I often go on walks and am passionate about photography. Photography and composing music have many similarities. Both employ similar concepts such as color, texture, and contrast. It often comes down to both the visual inspiration of nature and poetry. I enjoy many poets, but my favorite is Ted Kooser. He was born in Iowa, and I feel connected to Iowa because I spent nearly ten years living and working there. His poetry feels like home and has inspired me the most. Every time I sit down with one of his poetry books, it provides so much imagery.
���� �� Once I know the direction I want to go with a piece, I begin sketching the form without notes yet. These early sketches include basic texture ideas to have something on the page so I’m not just jumping in cold. The last step is searching for notes and rhythms by sitting down at the piano with pencil and paper. I alternate between the piano and the full score on my computer, thinking about orchestration and the various colors and textures I can embed into the lines. I don’t play my trombone anymore, but I do play piano, and there is something about feeling it under my fingers that I enjoy. I gradually carve out the work until it’s finally ready.

Which compositions offer the best introduction to your work?
���� �� People tend to find Only Light and Pale Blue on Deep. Only Light was commissioned by the University of Iowa Symphony Band. It was recently performed at the CBDNA National Conference by the Florida A&M Symphonic Band Wind Ensemble and at the ABA Conference by the University of Iowa Symphony Band. I just finished arranging it for full orchestra and string orchestra, and am currently working on edits of the recordings. Pale Blue on Deep has been programmed by many high school bands and is on some state repertoire lists. April is another one that is played a lot. It is an expressive lyrical piece that young bands can handle.

When you write, what type of ensemble is your favorite?
���� �� Bands are great because there are so many good people in this community. I love that directors are willing to give you significant amounts of time when working with their groups. At my last residency, I spent six hours with a band before the performance. I was even able to tweak the parts on my computer before the premiere. To have that much time with an ensemble is less common in other genres.
���� �� Also, band repertoire doesn’t go back as far as some other genres, so there is a greater need for new music, which is good for living composers. Band conductors are always open to trying new and different things, and that’s something I try to do when I’m writing. I greatly enjoy the endless color palette, especially with the percussion. It’s common to have 6-8 percussion parts in band works, and I love all the color that adds.

What advice do you have for conductors performing your music?
���� �� It’s important to know the score really well. Sometimes I show up at a rehearsal, and a conductor is doing something different than I imagined, and it works better. When that happens, it’s because the conductor did their homework on the piece and understands its inner workings. I am particular about tempos, colors, and timbres and how they shade each other. Also, my music almost always has a melodic line, and sometimes it’s just a bit harder to find because it’s split between various instruments. Studying the score allows the conductor to find those relationships and figure out what makes the piece work.

How do you think the band tradition will develop in the future?
���� �� Bands can go in many different directions, and that’s encouraging. There seems to be more chamber music these days with a wide range of instrumentation. There is more diversity with composers and the music performed. The band profession leads the charge on all of these fronts, which makes me proud to be associated with it. With all that said, I appreciate the tradition that’s been established for bands. We have our war horses in the repertoire, and there seems to be a nice balance between new and old.

What changes do you see coming for music education?
���� �� Music education has to evolve or it may go away. We need to continue to get good people into the profession who are passionate about teaching, and we need to support them. Where I live, there aren’t many people applying for open positions, and some jobs have been cut. This environment is different from when I came out of school. Not long ago, it was highly competitive to get a teaching job. I do worry about music education, and I think we need to make some changes. I have kids in school right now participating in band. My daughter plays the trumpet and sings, and my son plays the euphonium. Looking at their teacher’s schedules, it’s not great. We need to find more resources for these teachers.
���� �� As a composer, there are small things I can do. I have written hardly anything suitable for middle school bands, and I want to help by writing more music at that level. I’m in a consortium with Joni Greene and Ivette Herryman Rodriguez, and we are each composing a work for young bands. It is an exciting project because none of us have written much grade 1 and 2 music, and more needs to be written to diversify the repertoire. I also try to help by being available for Zoom and Skype sessions for schools. As a composer, I want to be visible to students and greatly enjoy guest conducting.

Why is writing easy music so difficult?
���� �� I recently wrote a grade 1 piece for string orchestra called Anna’s Star. The work is quarter notes, half notes, and whole notes, but not that many whole notes because of bow control. I try to write music that is melodic with great textures and nice harmonies, but there is a limited toolbox when writing for younger groups. Instead of focusing on the things they can’t do, you have to focus on what they can do and make it interesting. Finding something that inspires and motivates them to continue in music is what I want. They will never get to the more advanced repertoire without good early music that makes them think, inspires their imagination, and captures their attention.
���� �� I just finished a grade 2 band piece called Earthshine that was recently premiered by a South Carolina Honor Band. It teaches 68 time with very little hemiola, and it arrives at some nice harmonic moments. The voice leading is smooth, and the range is comfortable. Thinking about how to voice lead is a great challenge, but I also think about how to make the music sound like me. I want the same compositional voice just technically easier. Writing these pieces is a fun challenge.

What are your thoughts on composing with electronics?
���� �� I never expected to compose for electronics. In graduate school, I took electronic music at the University of Minnesota, and when I arrived at the University of Iowa for my doctorate I didn’t think I would take it again. At the encouragement of my teacher, I completed another year of electronic music. I enjoyed the class, and it changed the way I write. I love writing without bar lines and combining sounds to create new textures. There are many combinations of sounds between the acoustic instruments and electronics. Often, I use the acoustic instruments on just the attack, but the sustain and release can be different and combined in different ways.
���� �� The first piece that I wrote for winds and electronics is called the Long Light After Time. I originally wrote it to be premiered in the spring 2020. I worked frantically on it, and then COVID shut everything shut down. The premiere finally occurred in 2022 by the Michigan State University Concert Band, conducted by Arris Golden. That piece has fixed electronics with 50 or so cues but can be run without a click track. It doesn’t have to be exactly precise because the color is more impotant than the rhythm with those cues. The piece works as a stand-alone piece, but the electronics add a lot.
���� �� My second work to incorporate electronics is Bluebonnet Drift, which was premiered by the Wakeland High School Wind Symphony at the 2021 Midwest Clinic. I used a click track for half of it, and I had this idea of bluebonnets having a reedy sound and started thinking about a tenor sax early on. I collaborated with a friend, Joel Vanderheyden, who is a great tenor sax player. The piece is very free time, and the electronic cues can come and go as the director wants; the other half of the work is right in time. Going back to writing for young bands, as long as the technology is easy to implement, this is something that can get kids excited about music and also helps to fill out their sound. I want to keep dabbling with electronics.

What is your best advice for young composers?
���� �� The most important thing is to hear your music performed live so you can see what people can do with it. If possible, attend reading sessions from the beginning. With my first piece for jazz band, there was some notation that could have been written better. Getting involved early on allowed to me to make changes and saved rehearsal time, and was invaluable to my growth as a composer. During the performance, do your best to get a good recording. Afterward, evaluate the experience and then move on. Be patient and prepared for opportunities that might come your way if you’re in the right spot at the right time.
���� �� When you are at school spend as much time as possible looking through scores and listening. One teacher told me that when listening I should think, “wow and then how.” That means that after hearing something that was surprising and caught my attention, to then figure out how the composer accomplished that. This allows you to discover how others achieved certain colors and combine sounds. You can then go back and forth from listening to the score, and continue to learn. ���� �� It’s also important to network with the people you go to school with because they can become important connections that will help you later on. A few other things that are important include developing strong skills with the notation program to make the score clean for engraving, joining BMI or ASCAP so you can collect royalties, and being prepared and comfortable spending time in isolation composing.
���� �� Finally, it is important to understand the business side of publishing, especially if you self-publish. That is something you don’t normally learn in school. If you can, find a mentor to help guide you through the various business situations that inevitably arise.

For more information, visit

Nature photos by Aaron Perrine

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���� Years ago, one of my students complained to the dean that she didn’t like the way I taught scales. The dean asked what was the problem. Her answer, “She makes us do all of them. In my high school band, we only did Bb and Eb.” Of course the Dean took my side, and I continued to teach all of the scales. I wondered though how many students go through a band program and never learn every scale.
���� Soon after, in a conversation with the symphonic band conductor, I mentioned my concern for the lack of knowledge of scales and in honor of the upcoming Olympics, I suggested we have a Scale Olympics with the flute section (16 flutists) challenging the other sections of the band to play all of the major scales in unison, two-octaves, with slurred sixteenth notes.
���� The competition was held during band rehearsal, and since the flutes had challenged the other sections, they went first. I was really proud of how they played all the major scales, slurred, two-octaves, in sixteenths with excellent ensemble. We had practiced in the weekly studio classes, but on this day, they played better than they ever had. The challenge was picked up section by section. The flutes were declared the winners and were awarded a pizza party. Several students remarked that everyone was a winner because they had learned their scales.
���� Later that spring, this band presented a concert at the state music educator’s conference. The concert was scheduled to follow a banquet. As we were finishing our desserts, the band entered and the conductor said they were going to warm-up for a few minutes. The band started in F major, playing the scale with two octaves, slurred, and in sixteenths. The diners continued to talk until they realized that the band was playing every major scale. After several keys went by, the ballroom became very quiet until they finished the 12-key cycle. Then the room exploded with a standing ovation. A band director at my table remarked that this was probably the only band in the state that could play all twelve major scales. Their efforts working on these scales resulted in a fantastic learning experience for the band. Tone quality and intonation improved throughout the year as had their technical skills. Pedagogically it was definitely worth the effort to learn more scales than merely Bb and Eb.

Teaching Scales by Tetrachords
���� Using tetrachords is a quick and almost painless way of teaching major scales. Students can learn the concept in less than an hour and then improve their tone quality, intonation, and tempo in the following weeks.
���� A tetrachord is a group of four notes with the first and the last being a perfect fourth. In the case of a major scale, the tetrachord is comprised of a whole-step, whole-step and half-step.
To introduce this concept, draw a circle of fifths on the board as indicated below and also include the numbers as if this circle were a clock. By each number write out the tetrachord in alphabet letters.

���� Have students practice playing the 12 tetrachords slurred one after another until each tetrachord is played quickly and on one blow of air. After a week or so, put two tetrachords together to play a major scale. So, to play a G major scale, students would play the G tetrachord – the 1 o’clock tetrachord – followed by the D tetrachord – 2 o’clock. These notes comprise the eight notes of the major scale.
���� Students will then continue the cycle by playing 2 o’clock plus 3 o’clock; 3 plus 4 o’clock etc. Proceed around the circle of fifths playing all twelve tetrachords. This simple drill teaches all 12 major scales in one octave in an understandable way. From here is it easy to add the second octave and the descent. As the year progresses, vary the articulation patterns and dynamics to keep this exercise challenging.

Choral Study
���� As a young band member, I always enjoyed playing chorales. I loved being engulfed in the richness or sonority of the sound. From one rehearsal to the next, I noticed how the band’s tone production improved as the instrumental sections learned to blend with each other. Our band director said that if one person was playing piccolo and another oboe, we should not hear the individual instruments but a blend of the two which he called picc-boe.
���� He had us play the contour of the hymn tune and showed that if one voice had a held note and another section had moving notes, then the held note should be played softer to let the moving notes sing through. Probably the biggest improvement though was in the area of intonation. Our director talked a lot about listening to the bass and setting the intonation from the lowest notes on up. Sometimes we played the hymn tune over the bass line omitting the alto and tenor lines to help us hear up the chord quality. At times we sang rather than playing our instruments. Looking back, it is evident how these pedagogical exercises contributed to the development of the ensemble.
���� There are many excellent chorale band books on the market. Some focus only on the works of J.S. Bach, who in his career harmonized over 400 chorales, while others are newly composed. One especially clever chorale book is Leonard B. Smith’s Treasury of Scales, published by Alfred. While the name of the book implies scale exercises, in essence it is a book of 96 chorales in four parts. The band instrumentation is grouped into four parts (soprano, alto, tenor and bass) with a scale (major or minor) written ascending and descending in one of the parts. All 12 major and 12 minor (melodic form) keys are presented. It is published with a conductor’s score with individual books for each instrument. An example from the book (Db Major) is shown below. Notice that the scale is in the soprano line.

��

From The Treasury of Scales for Band, Published by Alfred By Leonard B. Smith

���� While the chorale was a Baroque form, most bands do not follow Baroque performance practice when playing them. Usually, chorales are played in a Romantic-era glued style with molto rubato. Playing with rubato means students have to follow the conductor’s baton.
���� The three major areas of development from studying and playing chorales are sonority and blend, intonation, and rhythmic ensemble performance. The following are lesson plans to spur creative and engaging rehearsals. These ideas may also be used with woodwind quintets, brass ensembles and string chamber ensembles.

Sonority and Blend
���� Play the chorale through so each student understands what a chorale or hymn is. While no dynamics are indicated, use a mf level remembering to play the contour of the hymn tune. Play at various tempos such as quarter = 60, 72, 88. Once students are familiar with the chorale concept, then add rubato. Remember that Chopin said if a piece is two minutes long without rubato, it will still be two minutes long with rubato. Rubato means robbed and paid back. Then try the following:
���� Ask which instruments play a scale in the chorale and then have all students play that scale.
Play the chorale again but have students who have the scale in their music sing the scale.
Have everyone sing the chorale using la. If your program teaches solfege, then have students sing in solfeggio.
���� Have the soprano line play with bass line. Repeat with the alto playing with the bass line. Finally have the tenor play with the bass line. Since intonation is set from the lowest note, this helps students hear the bass line.

Repeat playing all parts.
���� If there is a moving part, ask who has that part. Remind students that moving parts should be a bit louder than held notes.
���� Have students play the chorale with their legs extended out in front of them. This exercise improves tone production because playing in this position shows how tight the abdomen should be when playing.

Intonation
���� Have students download a tuning app on their phones so they can practice intonation at home as well as at school. The first step in working on intonation is being able to play a note keeping the needle on the tuner still. This means the needle is still on the attack and duration of the note. At this stage, don’t worry if the note is sharp or flat, the goal is to simply figure out how to keep the needle still. An even air stream is the key. Practicing with the legs extended often helps at this stage. Once students can keep the needle still, you can pay attention to the pitch of the specific note. Often the attack is sharp and then settles to pitch. Have students practice breath attacks (HAH) to start the note. Then gradually add the T while still keeping the needle still. Remember the tongue releases the air stream.
���� Have students work in pairs to make a pitch tendency chart for each note on their instrument. With less experienced players, this exercise may need to be repeated depending on how much control a student has on the instrument.
���� Play each chord of the chorale one note at a time followed by a rest. Arpeggiate the chord (1, 3, 5, 3, 1) so that each student can mark in the part whether it is the 1st, 3rd, or 5th of the chord. For the major third, the third is lowered, and for the minor third, it is raised. To explore this idea, have the bass line play the note, then add the fifth and finally the third. Listen and explore to get the most resonance or ring.
���� Good intonation is fluid. For example, the clarinet section might finish a phrase playing sharp. Then the flutes take over the phrase in the lowest octave where they are often flat. The solution is for the clarinets to try to finish on the lower side of the pitch and for the flutes to try to enter on the sharp side of the pitch. It should never be approached as an “I am right and you are wrong” type of thing. A good ensemble is always compromising with intonation.

Rhythm and Ensemble Performance
���� The goal of every group is to play with good ensemble. This means that each student plays on the same part of the beat. Because most groups have players varying abilities, this means that the weakest instrumentalists generally play early on the beat, and the better ones play on the beat. Whoever plays first calls where intonation is, which may mean that the weakest players are setting intonation for your group. If the strongest instrumentalists set intonation, imagine how much better it could be.
���� The next exercise develops playing exactly on the beat by counting and playing the subdivision. Notice that the first part of the beat is always a rest. After playing the chorale with the indicated subdivisions, play it again straight through and notice how beautifully aligned the attacks are on the beat notes. A follow-up exercise is to play the chorale and fill in each beat with a background of eighths and sixteenths in simple meter and then again with eighths in compound meter.

��

Chorale Soprano Line

���� Play the chorale in quarter-note beats with each of the above subdivisions. Then create other subdivision patterns based on rhythmic passages in the literature the band is studying. This rehearsal technique may be applied to many passages in the literature, especially lyrical sections.

���� Leonard B. Smith writes in the preface to The Treasury of Scales, “Scale mastery is the basis and only lasting foundation for true musicianship. Since many of the student’s difficulties in sightreading, ear training and technical proficiency stem directly from his lack of familiarity with all of the scales, both major and minor, it follows that the principle is wrong which places demands upon the performer in excess of his ability.” One of my students commented that I not only teach scales but I practice scales. What a great observation.

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Daily Maintenance: After each practice or performance, take a few minutes to perform basic daily maintenance tasks:

1. Begin by shaking and blowing out any residual moisture. A clarinet swab can clean the slides thoroughly. Additionally, gently use a mouthpiece brush to remove any debris from the mouthpiece. Afterward, wipe the mouthpiece with disinfectant spray to keep it clean and ready for use.
2. Use a soft white cotton t-shirt or lint-free cloth to clean the outside of the instrument. This will remove accumulated dirt, dust, fingerprints, and watermarks. Be careful not to rub too harshly to avoid scratching or marking the instrument.
3. Proper valve, slide, and rotor maintenance is crucial for optimal instrument performance. Before each practice session, apply a few drops of valve oil to each valve. Remove each valve completely to allow the new oil to clean the existing debris and create a clean surface for everyday playing. For trombones, wipe the inner slide tube to remove dirt or debris, and reapply a small amount of slide oil.
   Horns and rotary tubas require unscrewing the top cap from the rotor body and placing a few drops of rotor oil on the raised spindle. Ensure that the caps are screwed back on securely but not too tightly. After oiling the valves and slides, play a few notes to circulate the oil throughout the instrument and blow out any excess oil through the water key. Neglecting this step can lead to poor intonation and slow responsiveness due to oil build-up in the tuning slide.

Bi-Weekly Maintenance: In addition to daily maintenance, set aside time every week for more thorough cleaning and maintenance:

1. Remove each slide from the instrument and wipe them off with a soft clean cloth. After removing all oils and grease, reapply fresh oil and grease to all slides. Slides that mainly stay stationary are referred to as slow slides and require grease, while slides used for tuning and moved by hand are referred to as fast slides and require oil.
2. Consider using linkage oil to lubricate all other moving parts outside the valve body for horns and rotary tubas. This will ensure that your instrument is working properly inside and out.
3. Repeat step 2 of daily maintenance, but emphasize cleaning the outside of the instrument. Polishing the instrument is not necessary and can be done every four months. However, it is crucial to remove water spots, stains, fingerprints, and sweat from your hands to prevent the lacquer or silver from wearing down.. Areas where raw brass begins to show are no longer protected and the instrument’s deterioration will accelerate in those places.
4. Clean the mouthpiece weekly by soaking it in warm, soapy water for 10-15 minutes. Use a mouthpiece brush to gently clean the inside of the mouthpiece, paying attention to the inner shank and throat area where deposits accumulate. Rinse the mouthpiece thoroughly in warm water to remove any soap or oil residues, and dry it with a clean, soft cloth.

Four-Month Maintenance: It is essential to give your brass instrument an intense deep cleaning every four months to remove grime and germs. Follow these steps for effective four-month maintenance.

1. Fill a bathtub or large container with lukewarm water and add a small amount of liquid dish detergent. Mix the solution gently. Liquid dish detergent is safe for cleaning brass and effective against germs, grime, and oil build-up.
2. Before disassembling your instrument, students should receive guidance from a private lesson teacher or music director on handling this delicate process with care. Disassembly can vary depending on the instrument, and instruments with rotors, such as horns and rotary tubas, can be more challenging. Disassemble the instrument completely, removing all valve caps, slides, valves, rotors, mouthpieces, and other detachable parts. Place these parts in the container, ensuring they are submerged in the soapy solution. Let them soak for 30 minutes to allow the soap to penetrate and loosen stubborn grime and residue.
3. After soaking, use an instrumental cleaning snake for the specific instrument’s slides and a soft valve body brush to clean the tubing, slides, and valve ports thoroughly. Pay attention to hard-to-reach areas where grime is common, including leadpipes and tuning slides. Apply gentle pressure to avoid damaging delicate slides and causing internal friction from scratching.
4. Rinse each part thoroughly with lukewarm water to remove any remaining residue inside or outside the instrument. This is crucial to ensure that no traces of detergent or cleaner are left behind. Test each part by rubbing a finger on the metal; if it makes a squeaky sound, it is clean and can be safely reattached to the instrument once completely dry.
5. Dry all cleaned parts with a soft, absorbent towel or cloth. Avoid carrying loose parts over hard surfaces to prevent accidental damage. Be careful that each part is dry inside and out, paying attention to valve casings and slides. Any remaining moisture can lead to corrosion and damage, even over a short period.
6. Reassemble the instrument, applying a small amount of valve, rotor, and linkage oil as needed to ensure smooth slide, valve, and rotor actions and prevent corrosion or premature wear.
7. Optionally, polish the entire surface of the brass instrument using a quality brass polish and a non-abrasive cloth. This step is not primarily for beauty but to protect against tarnishing and corrosion.

Regular cleaning and maintenance are crucial for keeping a brass instrument in optimal condition and performing at its best. Following the straightforward steps outlined in this guide, you can easily maintain an instrument’s cleanliness and longevity for up to 50 years or longer. Proper care and attention will reward you with a well-maintained instrument that has the potential to bring the music inside you to life.

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