Halftime Magazine, Vol. 3 Issue 3, May/June 2009

May/June 2009

速

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ISSN 1939-6171

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Volume 3, Issue 3 May/June 2009 ISSN 1939-6171 ®

Publisher & Editor-in-Chief Christine Ngeo Katzman christine@halftimemag.com

Advertising Account Executive Erich Steinert erich@halftimemag.com (310) 577-6104

Art Director Jana Rade, impact studios

COVER PHOTO Jolesch Photography, www.jolesch.com

Assistant Editors Catina Anderson and Gregory M. Kuzma

Editorial Interns Eddie Carden and Elizabeth Geli

Contributing Writers Catina Anderson, Dennis DeLucia, Karen Jashinsky, Matt Jones, Jenna Lewis, Chase Sanborn, Jim Snyder

Contributing Photographers Jim Carden, Rene DeLucia, Allen Einstein, Jolesch Photography, Sarah Lewis, Dan Scafidi, Bill Smith, John Watkins

Web Developers Mike McCullen and Jeff Grant Integrated Communications

Advisory Board Dr. Arthur C. Bartner, University of Southern California “Spirit of Troy” Trojan Marching Band Tony Fox, University of Southern California “Spirit of Troy” Trojan Marching Band Anthony L. White, Los Angeles Unified School District Charles F. Whitaker, Northwestern University Medill School of Journalism Peter G. Riherd, Entertainment Weekly Steve Goldberg, University of Southern California Marshall School of Business

Editorial Advisors Janella Chiang and Nick McWilliams

Chief Technology Officer Joshua Katzman

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his month, many students will don caps and gowns to receive their diplomas.

With graduation comes the anticipation of new experiences and sometimes the end of beloved activities.

After leaving Northwestern University where I had been a part of the Wildcat Marching Band, I lamented the fact that my marching career seemed to be over.

Luckily, I managed to find a few other ways to stay involved in playing music.

When I moved from Chicago to Minneapolis, my husband and I searched out a community concert band. Our director had received his doctoral conducting degree from Northwestern, so we shared a history in common.

But after another move to California, career growth and children, I gradually lost touch with my instrument. Right now, my flute sits sadly in its case on a top shelf of my closet. Some of your instruments might have already suffered the same fate or soon will. But it doesn’t have to be that way.

Most likely, concert groups or other small ensembles exist in your area. But if marching is your one true love, there are still opportunities beyond college.

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Senior drum and bugle corps compete during the summer, ending in the Drum Corps Associates championship in Rochester, N.Y. Visit http://www.dcacorps.org to find a corps in your area.

If you’d rather have a less structured environment or play only wind instruments, find out if your high school, college or corps has an alumni band. While almost all schools gather alums at homecoming, some have more active groups that get together for parades, community functions and trips. Get ideas for how to stay more involved with your alma mater on page 30.

You could also research your local sports teams. Professional football, basketball and even soccer organizations have drum lines or pep bands. Just like high school and college marching bands, these ensembles pump up the crowd and support their teams. Learn about some of these high-energy groups in “Taking the NBA Court,” page 18.

And if there isn’t a marching band in your area, consider starting one. Get inspired by the story of Get a Life Marching Band, page 42. The group recently marched in the presidential inaugural parade and has performed in other events all over the United States. Many other major cities have similar all-age bands.

Finally, you can stay involved by teaching, volunteering, judging or working for a marching-related company. The story “Women in Percussion,” page 36, tells how four influential female percussionists stay ahead in the marching field.

So if you think that marching ends at college, think again. I hope this issue inspires you to keep your instruments warm long after you receive your diploma.

Musically Yours, Christine Ngeo Katzman Publisher & Editor-in-Chief

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Features Taking the NBA Court.............................................18 Professional drum lines have increasingly become a popular staple of professional basketball with team managers, fans and even the ball players themselves taking note.

By Eddie Carden

Winning WGI.......................................................................24

Congratulations to the 2009 World Champions from the WGI Sport of the Arts. Enjoy these snapshots from each of the winning guard and marching percussion performances.

Photos by Dan Scafidi, courtesy of WGI Sport of the Arts

How to Keep Alums Involved..............................30

Having an organized alumni group that gets together and performs beyond homecoming weekend can prove rewarding for the graduates, current students and the school’s marching program as a whole.

By Elizabeth Geli These days, more and more women are entering the field of marching percussion. While opportunities seem to be more level, a 2005 study cited in the December 2008 issue of “Percussive Notes” found that male percussionists still outnumber female percussionists in every continent except Asia. In North America, the results showed a ratio of 62.8 percent male to 37.2 percent female. Find out how four inspiring and influential female percussionists rose to the top of the ranks and hear their advice for young percussionists today.

By Dennis DeLucia

Departments Publisher’s Letter........................................................4 Readers’ Letters.............................................................6 Noteworthy........................................................................8 Top College Alumni Bands: Results; 2009 DCI Rule Changes; Claim Your FAME; 65th D-Day Celebration; Bob Morrison FollowUp; Throw It Down!; Book Excerpt from “A Fine Line”

Sectionals...........................................................................12

Tools of the Trade for Clarinet; Set a Musical Budget for Brass; Q&A With Tom Aungst for Percussion; Perfect Your Drop Spins for Guard

Gear Up....................................................................................14 Eco-Friendly Percussion; Stanbury XtremeDri Fusion Uniforms Regionals..............................................................................16 Calendar of events organized by region Direct From........................................................................42 Get a Life Marching Band Behind the Baton....................................................... 44 Life as a Den Mom Fitness to the Max................................................... 46 Passing Over the Carbs?

For Fun...................................................................................48 Crossword: She Plays the Drums

© 2009. Bill Smith. All rights reserved.

Women in Percussion....................................................36

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Web Exclusives . NAMM’s Music Monday Celebration . The Agony of Giving Up Band . Seattle’s Soccer Band . And More ...…

Visit http://halftimemag.com/articles/web-exclusives/ index.html Also, check out Halftime Magazine’s new Digital Edition, a web-based interactive version of the magazine!

Next Issue • The Cadets’ 75th Anniversary • International Bands • Technology On and Off the Field • And More ...

Halftime Magazine exists to serve you, and we look forward to more of your comments. Send your letters to christine@ halftimemag.com.

Readers’ Letters Photo courtesy of WGI Sport of the Arts.

Reading Webb’s experience [“Marching Black and Gold,” Web Exclusive] as a first-year teacher and knowing that it was rough helps me feel more at ease. I myself am in the process of rebuilding a program that used to have a reputation for making sweepstakes. It’s hard sometimes to see the light at the end of the tunnel, especially with kids thinking they know it all and questioning your motives. Reading this article has helped me feel better as far as improving with each passing year.

— Arnold Menchaca from Banquete, Texas

Nice to see this development [“Marching Outside the Box,” Mar/Apr 2009] in the U.S. too! Here in The Netherlands, we have contests in this kind of marching [parade marching although presented on a field] for several years now. You should see some examples on YouTube from the Pasveerkorps (winner of the World Music Contest 2005) and Advendo Sneek (runner-up at the same contest, winner in 2001). By the way: The next WMC is this year (2009) again.

— Evert Kipp

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DC

take

What a great article [“Flanagan World Guard,” Mar/Apr 2009]!! I can’t imagine what it’s like to have your school and its principal be so supportive of its color guard team. Flanagan High School is indeed fortunate. It just goes to show how helpful it can be to a team to have its school behind them. Good luck in Dayton! I was there last year (to see my son perform) and hope to go again some day.

— Maria Pergely from Monroe, Conn.

I have to agree with Maria, to see how supportive your school is of the guard, the principal went to Ohio?!?! That is fabulous! I’m a “guard dad” of a group in San Diego getting ready to head to Ohio ourselves. Have a great time, and as they say in the “color guard world” …

GOOD SKILLS!!

— Matthew Van Court from San Diego

ON I P M A H C I WORLD

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By Eddie Carden

Photo courtesy of West Virginia University Alumni Band.

Top College Alumni Bands: Results

Recently Halftime Magazine asked for your nominations for the “Top 10 College Alumni Marching Bands.” We received a few nods of approval for Ohio State University’s (OSU) “The Best Damn Band in the Land” Alumni Club and an overwhelming display of enthusiasm from alumni band members of West Virginia University (WVU).

According to one alum: “The WVU Alumni Band carries on the traditions of the Pride of West Virginia long after we have graduated. We perform for alumni functions throughout the year, including fundraisers and wedding receptions. Our pre-game show is the highlight of homecoming weekend for all, with alumni returning annually from as far away as Japan. We have entertained crowds in more than a dozen countries worldwide on three concert tours, proudly representing WVU and the state of West Virginia.”

We celebrate the OSU and WVU alumni bands and a few other ensembles in this issue’s “How to Keep Your Alums Involved,” starting on page 30.

Next issue, Halftime Magazine would like to hear your thoughts about the “Top 10 Band Festivals/Trips.” Visit www.halftimemag.com, click on “Web Exclusives” to look for our nominations page and post your comments by June 21, 2009, for your opinions to be counted. We will compile your responses for our July/August 2009 issue, so make sure to check back.

2009 DCI Rule Changes Drum Corps International (DCI) introduced three rule changes at its annual meeting.

The first increased the number of judges at regular season events from five to eight and reduced the number of judges at premier events and World Championships from 11 to 10.

The second rule change allowed for results to end in a tie.

The final change clarified the wording of several electronics rules, passed last year, that go into effect for the 2009 season.

Electronic music must be performed live; pre-recorded or programmed musical loops and sequences will not be allowed although pre-recorded sound effects and human voice may be used.

For more information about the rule changes, visit www.dci.org.

Claim Your FAME

If you’ve ever wanted to claim your FAME, now is your chance. Halftime Magazine and Metro-Goldwyn-Mayer Studios, Inc. are giving you the opportunity to win a private screening of the movie “FAME,” opening in theaters Sept. 25.

Check www.halftimemag.com for more details about this exciting promotion and visit www.generationfame.com for more information about the film.

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65th D-Day Celebration

Bob Morrison Follow-Up

Photo courtesy of the Holland American Legion Band.

On the 65th anniversary of D-Day, the Holland (Mich.) American Legion Band will travel to Normandy, France, to celebrate the 1944 Allied Invasion and eventual liberation of France.

Each year, Normandy celebrates the heroic and bloody invasion of June 6, 1944, and citizens from around France participate in local parades and celebrations. Through Gateway Music Festivals & Tours, band director Thom Working heard of the opportunity to be a part of the annual celebration.

“This one caught my eye because it’s so closely related to our relationship with the American Legion and various veterans’ organizations around Holland,” Working says. “I just thought it would be a natural kind of thing. … Everyone was very enthusiastic about it.”

Although the band features more than 75 performers during the summer when the group is most active, only about 45 members will make the trip, Working says. The band will perform at Utah Beach (one of the landing sites during the invasion) on June 6, and will then participate in a D-Day ceremony and concert in Saint-Lô, just 45 minutes south. During the band’s time in France, they will also perform at Omaha Beach (another landing site) in Carentan and in Arromanches.

“We really emphasize a very personal, very intimate way of experiencing history,” says Kate Pearce, who helped plan the trip with Gateway Music Festivals & Tours. “Having stepped on the soil of Utah Beach; having shaken hands and hugged veterans who were there; having seen the churches that were bombed out.

We use the phrase, ‘Coming face to face with history.’”

The band will also play two concerts in The Netherlands on the way back to the United States.

For more information about the Holland American Legion Band, visit www.hollandlegionband.org. To find out about Gateway Music Festivals & Tours, visit www.musicfestivals.com.

When Bob Morrison, founder and executive vice president of Music For All, departed the organization earlier this year, he endeavored to find a new way to support arts education through research.

On April 3, Morrison announced his partnership with MTD Marketing founder Mike Danforth to create Quadrant Arts Education Research to serve both commercial and not-for-profit entities.

“It’s all about bringing to the arts education community the same kind of qualitative analysis that are used in other aspects of education and other aspects of business in this country,” says Morrison. “The big thing that we have learned over the years is that better information about the status and condition of music and arts education programs at the state level leads to improved opportunities for students to become involved in music programs, arts programs and dance programs.”

Morrison laments the fact that so little is known about arts education, including how many students really have access. He calls it a “fundamental fairness” issue and hopes that Quadrant’s research efforts can help provide access for students nationwide.

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May/June 2009 9

Throw It Down!

Book Excerpt from “A Fine Line”

As normal as drum corps may seem to Drum Corps International and Drum Corps Associates fans and veterans, the activity may seem just a little bit crazy to outsiders looking in. Just ask documentary filmmaker John E. Maher, who recently completed “Throw It Down!,” a documentary chronicling The Bluecoats Drum and Bugle Corps’ 2006 season.

Initially, Maher wasn’t thrilled about the assignment when co-producer John Thomas Kelly—who had become interested in drum corps through a co-worker—approached him with the project. But after being exposed to the tour, Maher recognized the power of the activity.

“I think it is a little crazy,” he says. “I didn’t know anything about drum corps. … But what got me was the dedication … the incredible rush they got from working together.”

Maher hopes that the film can faithfully convey the grit and determination that go into a drum corps tour including being on a bus all summer. Following The Bluecoats also provided an opportunity to chronicle a rising corps looking to move up in the standings.

Photo courtesy of JEM Films.

“It’s very different than what you see out there with DCI and from the corps,” Maher says. “It’s not a ‘rah-rah’ film about drum corps. If you come away from the film thinking, ‘I think these people are nuts,’ that’s fine.”

Co-produced by Edward Maher, the film was released in December 2008 by JEM Films and was well-received by The Bluecoats in an early pre-screening last August.

For more information or to order the film, visit the website www.throwitdownthemovie.com.

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By Courtney Brandt

“A Fine Line,” a sequel to Courtney Brandt’s first marching band novel, “The Line,” continues into Lucy’s senior season and promises to solve the age-old question: Can jocks and band geeks really get along? Here is an excerpt from Chapter Nine.

Forest Hills HS band director, Mr. Izzo, addressed his musicians, “Well, I’m sure you all noticed the new addition to the show on Friday …”

Lucy looked over and rolled her eyes at Tom, who understood the gesture. “… I didn’t tell all of you because I wasn’t sure I wanted to go forward with things, but now that I’ve seen the crowd’s reaction, I want to officially include Tom and Lucy’s choreography into the halftime show. I think it will give us an edge at some of the competitions.”

There was a small round of applause and murmurs of approval through the crowd.

“Furthermore, I’d like to announce I’ve decided that we are going to attend the Lincoln County Marching Band Invitational. As some of you seniors can remember, this competition is far enough away that we will be incorporating it into an overnight trip. We will be passing out permission slips and information after practice.”

With that announcement a cheer went through the band.

The seniors had been doing their best to pass along the traditions and legends of the overnight band trip. It wasn’t that the band never went on trips, it just made the competition that much more intense. Lucy remembered back to her freshman year and how outstanding the show had been. Mr. Izzo only took the band on overnight trips when he thought they had a chance to compete against the region’s biggest and most talented bands.

Tom had joined Lucy, “No pressure on us, huh?”

Lucy swallowed as the enormity of the situation hit her. It was one thing to showboat in front of an excited football crowd, but it was another thing entirely to dance at a major marching band competition—especially with judges directly on the field.

Mr. Izzo finished up, “Okay, gang, let’s all get into the set at the end of the first song. I worked the drill over the weekend to make Tom and Lucy’s transition easier.”

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STAND OUT!

Tools of the Trade

By Jim Snyder

We clarinet players are always looking for the silver bullet—i.e., the “Magic Mouthpiece” or the “Perfect Reed.” Not gonna happen.

But I’m convinced there are three simple tools that will help make you a better player.

Metronome. Nothing will aggravate you more than this ticking little nag on your music stand when you’re playing scales and exercises. And yet nothing will help develop your sense of time and evenness like one of these. I’ve seen ’em as low as $10 and as high as $200 ’though for $200 bucks it ought to practice the clarinet for you!

Multiple Reed Case. The reeds produce all the vibrations that create your sound, so you need to protect them. And don’t just play one reed into the ground; instead pick three or four and rotate them.

Humidity, temperature and usage take their toll on these little strips of wood, so you need to be careful with them. Rinse them and blot them dry with a paper towel once in a while and always place them in a reed storage case.

The variety of reed cases out there will hold anywhere from four to 10 reeds. Some use glass and some use ribbed plastic, but all store the reeds flat to dry and prevent warping.

A Silk or Microfiber Swab (Not Cotton).

Eeewww! Please wipe that clarinet out every time you put it in the case! Granted, the moisture in your instrument is just condensation, but it’s still moisture. Things you can’t see (and some you can) like to grow in moist environments. This applies to all clarinets whether they’re made of wood, plastic or hard cheese. Any buildup in your tone holes or bore will affect control, intonation and sound.

And don’t just wad up the swab in your case and expect it to dry.

(Remember those moldy old socks in your gym locker after semester break?) Lay it out flat on top of your instrument in the case.

Now arm thyself with these tools, o clarinet-faithful, and pursue the greatest tool of all—the one true silver bullet: PRACTICE!

About the Author Jim Snyder has been the busiest jazz clarinetist of the last 30 years, performing in clubs, concert halls and jazz festivals in the United States and abroad. Jim played for many years in New Orleans, where he was also a member of trumpet virtuoso Al Hirt’s band. He is regularly featured as a guest artist in concerts and recordings and is a staff musician for the Walt Disney Company. His new CD, “Coliseum Square,” was recently released on the Apple Jazz label. For more information, visit www.theclarinetguy.com.

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brass

winds

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

Set a Musical Budget

By Chase Sanborn

In business, a company will set a sales budget for the coming year. By projecting a reasonable expectation of growth, the company can compare goals to actual results.

Similarly, you can set a musical budget. Your goals can be long-term, such as things you hope to accomplish in the next year, or short term, things you hope to accomplish in the next hour.

Long-Term Goals. I tell my students to learn one new tune a week and one short phrase a day in 12 keys. A year from now, they should know 52 new tunes and 365 new musical phrases. By any measure, this accomplishment is substantial, yet the daily requirement of time is minimal. It shows the difference between doing a little each day and doing nothing: At the end of the year, the cumulative total is significant.

Short-Term Goals. Before the practice session, decide what you plan to work on. Think about what you practiced yesterday—keep track with a practice log—and practice something different today.

For example: If you practiced long tones yesterday, play flexibilities today. If you worked on double-tonguing yesterday, work on triple-tonguing today. If you practiced a technical etude yesterday, pick a lyrical study today. You don’t need to practice everything every day, but you do need to practice everything every week.

When practicing an etude, work on short segments, say four to eight bars with many repeats. As you play the same segment over and over, you become increasingly familiar with the notes and the order in which they appear, much as you become familiar with each turn on an oft-traveled road. The ingrained muscle memory allows you to increase speed without sacrificing accuracy and address musical concerns beyond playing the notes. In 10 minutes, you will sound like a better player.

Long-term growth consists of many short-term accomplishments. By setting a musical budget, you remind yourself what is on your agenda, give yourself something to strive for and provide a way to measure your progress. Aim high!

About the Author Chase Sanborn is a trumpet player and a member of the jazz faculty at the University of Toronto. He is the author of “Brass Tactics,” “Jazz Tactics,” “Tuning Tactics” and “Music Business Tactics.” Chase plays Yamaha trumpets and CS Signature Model mouthpieces from GR Technologies. For more information about Chase, visit www.chasesanborn.com.

By Dennis DeLucia

Tom Aungst is the director of percussion at Dartmouth (Mass.) High School—the 2008 and 2009 WGI Percussion Scholastic World Champions—and was the percussion arranger/caption head for The Cadets Drum and Bugle Corps from 1989 to 2008. He has been inducted into the Drum Corps International and The Cadets’ Halls of Fame.

He received his bachelor’s in music education from West Chester (Pa.) University and his master’s in jazz performance from Rutgers University in New Jersey.

DeLucia: What attracted you to marching percussion?

Aungst: The excellence! It was very cool to see that everyone was playing the same way. As a youngster, it sounded almost perfect! I was amazed by the technical flash and intensity of each group. As I grew, I became musically influenced by Thom Hannum, George Hopkins and John Rozum.

DeLucia: What do you love about teaching music?

Aungst: The idea of hearing something I wrote being played at such a high level of excellence and musicianship keeps me coming back for more. And seeing the growth of each individual in the ensemble makes it very rewarding for me as it would for any teacher.

DeLucia: What are the benefits of corps, band or drum line?

Aungst: As an educator, the obvious benefit comes from teaching the kids how to play. But to me, teaching them about life’s skills is even more important. As a student, learning the values of working hard as individuals and as a team in order to achieve a common goal, plus the lessons learned along the way, are the ultimate rewards.

DeLucia: How much “marching” percussion is too much?

Aungst: I’m not sure. At Dartmouth we try to have a well-rounded program. It’s not just about marching although I do believe that the work ethic learned from being in drum line transfers very well to other facets of our program and helps the other ensembles perform much better. Marching percussion helps each and every student develop not only his/her approach to playing but also his/her understanding of what it takes to succeed in any of life’s challenges.

Note from the Editor: Next issue, look for our Q&A with Paul Rennick from Phantom Regiment.

About the Author Dennis DeLucia is a percussion teacher, arranger, clinician and judge. A former member of the West Point Band, he is best known for his successes with championship corps and bands.

He has been inducted into three of the major Halls of Fame: Drum Corps International, WGI Sport of the Arts and the World Drum Corps Hall of Fame.

guard

percussion

Q&A with Tom Aungst

Perfect Your Drop Spins

By Catina Anderson

One of the first skills that new performers learn is the drop spin. It helps build strength in the forearm and flexibility in the wrist.

Check out these tips to help you avoid some common pitfalls.

Positioning. Arms should be extended forward and slightly downward, so the point of rotation is centered just below your bellybutton. Shoulders should be relaxed and the elbows pulled slightly away from the body. Allow enough space between your body and your hands, so you do not need to move your elbows up and down. No flapping wings!

Also, your hands should remain near your bellybutton throughout the spin. Avoid moving your hands upward toward your face on count two.

Rolling. Probably the most frustrating problem for new performers is having the silk roll around the pole as you are spinning, most often due to bending the wrist as the flag is passed from one hand to the next. Keep your wrist and hands in line with your forearm. Making sure that there is space between your hands and your body will help. If you hold the flag too close to your stomach, your wrists will bend as you pass the flag, causing the silk to roll.

Pitch. Occasionally the top part of the flag will lean forward causing the pole to be “pitched” or tilted at an angle instead of vertically.

Make sure you’re not pushing your arms too far downward. If the elbows are too stiff and pulled in too far, it can cause your wrists to tilt forward. Relax the shoulders and elbows and try lifting your hands and forearms slightly while still keeping the wrists in line with the arm. Then watch as you bring the spin upward on count two to make sure you are staying in the vertical plane.

Over the course of your time in color guard, you will probably perform thousands of drop spins. Be patient with yourself when you’re first learning this technique. While challenging at first, you’ll be an expert in no time!

About the Author Catina Anderson has been involved in the color guard activity, first as a performer and then instructor, for the past 20 years. She is currently on staff at Broad Run High School in Ashburn, Va. She is also the founder and editor of www.colorguardeducators.com, a website for color guard coaches. She earned a bachelor’s degree at Towson University and a master’s degree in education from Marymount University.

May/June 2009 13

Eco-Friendly Percussion

By Eddie Carden

H

Q Percussion Products from D’Addario & Co. recently entered the realm of environmentally responsible drumming with its new Eco Pad, a drum pad made entirely from recycled materials.

The Eco Pad uses rubber from recycled tires for the surface and wood waste material for the base. The product is available in three sizes: a 6” one-sided mountable pad, a 12” two-sided pad and a 9” pad with adjustable snare simulator.

Stanbury XtremeDri Fusion Uniforms

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Check out the following cool products before your next practice, show or competition.

s Stanbury Uniforms CEO Gary Roberts finished up a round of golf in the stifling August heat in Missouri, he had a revelation. That day Roberts had decided to wear a moisture-wicking polo shirt and found himself mostly dry while his unfortunate friend who wore a standard cotton T-shirt was drenched in sweat.

The long-time uniform manufacturer thought to himself: “Why don’t we have this material for marching bands?”

From that experience, Roberts initiated a research and development project that led to the September unveiling of Stanbury’s XtremeDri fabric. In addition to being lightweight and comfortable in high temperatures, the material is washable and comes in more vibrant colors— even custom colors—than standard fabrics.

“This is kind of a dinosaur industry that hasn’t changed in a long time, and this could be the kind of breakthrough that we’re looking for,” Roberts says.

The Eco Pad is shaped in the mold of the standard six-sided recycling logo.

HQ’s Eco Pad isn’t the percussion industry’s only foray into environmentally responsible drumming, though.

Remo Inc. has been awarded the California Waste Reduction Award every year since 1997, and the company prides itself on its environmentally conscious fabrication processes. According to Sue Kincade, marketing and media coordinator, Remo has used eco-friendly practices for the past 50 years. This year, it released a logo called ECO-Seal to brand the company’s efforts.

“Remo Belli [Remo’s founder] himself is a very socially conscious person,” Kincade says. “His concern about helping other people with their health, the environment, it’s just in his personality. He’s a very compassionate person, and he’s molded us in the same thought. It’s in our blood. It’s just what we do.”

Remo’s drum shells are made from a lightweight, durable material called Acousticon, comprising recycled wood fibers. The company developed the material in 1983.

To read more about Acousticon and Remo’s other environmental ventures, visit www.remo.com. For more about the Eco Pad, visit www.hqpercussion.com.

“For drum corps, marching bands in the South and competitive marching bands, it’s perfect.”

To take advantage of the new material, the company announced a line of uniforms called Fusion.

The uniforms are about 20 percent less expensive than wool blend uniforms and entirely washable, which presents an added savings for bands.

“We decided to make an original fully constructed uniform with all of the components being lighter weight and washable,” Roberts says. “The lining is called AeroCool. It’s a very porous lining and a washable lining.

We added the coat canvas—we call it the internal suspension of the uniform.

Typically those have always been hot, heavy dry cleanable materials. We introduced a washable, breathable inner construction again.”

According to Roberts, the material has been extremely popular since its debut in September, and more than 70 percent of sample requests are now for XtremeDri. For more information, visit www.stanbury.com.

Major Events by Region West Drum Corps International June 20—Walnut, CA—Corps at the Crest June 21—Riverside, CA—Western Corps Connection June 23—Rio Rancho, NM—Drums Along the Sandias June 24—Glendale, AZ—Southwest Corps Connection June 26—Clovis, CA—Mid Cal Tour of Champions June 27—Stanford, CA—DCI West June 28—Stockton, CA—Moonlight Classic July 2—Bakersfield, CA July 2—Eugene, OR—Drums of Fire July 3—Santa Barbara, CA—Brass Along the Beach at UCSB July 3—Hillsboro, OR—Portland Summer Music Games July 4—Pasadena, CA—DCI at Americafest 2009 July 5—San Diego, CA—Corps at the Crest-Vista July 6—Tri Cities, WA—Drums Along the Columbia: A DCI Northwest Classic July 7—TBA, ID July 8—Ogden, UT—Corps Encore July 10—Windsor, CO—Drums Along the Rockies Windsor Edition July 11—Denver, CO—Drums Along the Rockies July 11—Long Beach, CA—So Cal Classic July 12—Los Angeles, CA—Drums Along the Pacific July 18—San Jose, CA—California State Open July 19—Dublin, CA—Loudest Show on Earth

Miscellaneous July 13-18—Tucson, AZ—National Baton Twirling Association Championships

South Drum Corps International June 20—Annapolis, MD—DCI Salutes America June 23—Sioux Falls, SD—Sioux Empire Spectacular July 7—Chesapeake, VA—Tidewater Summer Music Games July 7—Kingsport, TN—The Royal Showdown July 9—Columbia, SC—FirstBEAT July 10—Valdosta, GA—Sounds of the South July 11—Orlando, FL—DCI Orlando July 13—Ft. Walton Beach, FL—Emerald Coast Classic July 14—Broken Arrow, OK—Drums of Summer July 14—Ocean Springs, MS—Mississippi Sound Spectacular 16

July 15—Edmond, OK—DCI Central Oklahoma July 16-17—Dallas, TX—DCI Dallas Presented by North Texas Festival of Drums and Bugles July 16-17—Houston, TX—DCI Houston Presented by THE exSIGHTment of SOUND July 18—San Antonio, TX—DCI Southwestern Championship July 19—Denton, TX—Red River Thunder July 20—Lafayette, LA—Drums Across Cajun Field July 21—Van Buren, AR—Battle on the Border VI July 21—Monroe, LA—Battle on the Bayou July 22—Hattiesburg, MS—DCI Southern Mississippi July 23-24—Murfreesboro, TN—Pearl Presents The Masters of the Summer Music Games July 24—Gadsden, AL—DCI Gadsden Presented

by Alabama Battle of the Brass July 25—Atlanta, GA—DCI Atlanta Southeastern Championship Presented by Lake Oconee & Greene County, GA July 26—Charlotte, NC—NightBEAT July 27—Charleston, WV—Drums Across the Tri-State July 27—Salem, VA—The Summer Music Games of Southwest Virginia July 27—Sevierville, TN—Drums Across America July 28—Richmond, KY—Drums Across the Bluegrass July 29—Fairfax, VA—Drum Corps in Fairfax

Tradeshows July 17-19—Nashville, TN—Summer NAMM July 26-29—San Antonio, TX—Texas Bandmasters Association Convention/Clinic

Midwest Drum Corps International June 19—Rockford, IL—Show of Shows June 20—Stillwater, MN—Drum Beauty June 21—Menomonie, WI—Drums Along the Red Cedar June 22—Mankato, MN—The Thunder of Drums June 23—Dublin, OH—Emerald City Summer Music Games June 25—Toledo, OH—Glassmen All Star Review June 25—Des Moines, IA June 26—Normal, IL—DCI Central Illinois June 27—Naperville, IL—Cavalcade of Brass June 28—Madison, WI—Drums on Parade June 28—Decatur, IN—Waves of Thunder June 30—Dubuque, IA—Music on the March

July 1—South Milwaukee, WI—Spectacle of Music July 2—Vicksburg, MI—Legends Drum Corps Preview July 3—Cedarburg, WI—Rotary Music Festival July 5—Michigan City, IN—Pageant of Drums July 6—Fairfield, OH—Summer Music Games in Cincinnati July 13—Hutchinson, KS—Drums Across Kansas Presents Starlite Drum-O-Rama July 25—Omaha, NE July 27—South Lyon, MI—Motor City Music Tune-Up July 27—Eau Claire, WI—Drums on the Chippewa July 29—Belding, MI—Silk City Rhythms July 29—Centerville, OH—Soaring Sounds 30 July 30—Columbus, OH—Artistry in Motion July 30—Greendale, WI—Music on the March July 31—Dubuque, IA—Music on the March 2 July 31—Paw Paw, MI—Drum Corps in the Village

Miscellaneous June 22-27—Normal, IL—Music For All Summer Symposium June 28—Alexandria, MN—Vikingland Band Festival

Northeast Drum Corps International June 19—Chambersburg, PA—Music in Motion June 22—Pittsburgh, PA—Three Rivers Summer Music Games June 27—Brockton, MA—Saturday Night Lights June 29—Erie, PA—Lake Eerie Fanfare June 30—Rome, NY—Drums Along the Mohawk July 1—Ft. Edward/Glens Falls, NY—Adirondack Drums July 2—Beverly, MA—The Beanpot Invitational July 3—Bristol, RI—Summer Music Preview July 6—Jackson, NJ—Music in Motion-Central Jersey July 11—Groton, CT—Drum Corps on the Thames July 12—Manchester, NH—Fiesta De Musica July 30—West Chester, PA July 31—Lawrence, MA—East Coast Classic July 31-Aug. 1—Allentown, PA—DCI Eastern Classic

Miscellaneous May 21-22—Gorham, ME—Maine Music Educators Association Conference May 28-30—Storrs, CT—CBDNA Athletic Band Symposium

To list your event, email regionals@halftimemag.com.

© 2009. Bill Smith. All rights reserved.

About the Author Eddie Carden is an editorial intern for Halftime Magazine. He is a senior, majoring in public relations and neuroscience, at the University of Southern California. He has been playing the trumpet since the fifth grade and currently serves as the drum major for the USC “Spirit of Troy” Trojan Marching Band.

18

By Eddie Carden

L

Stampede!

There’s no question about it. These guys are professionals.

The Stampede Drumline, which started for the 2007-2008 season, is composed mostly of former Cavaliers members as well as other local drum corps and college band alumni. With just three hours of rehearsal per performance, the group relies on individual talent and drive to bring together an exciting show for each game, according to Idle.

Differently from drum corps, though, Idle values pure entertainment value over rigid corps precision. “It’s the whole largerthan-life idea,” he says. “We’re trying to

Professional drum lines have increasingly become a popular staple of professional basketball with team managers, fans and even the ball players themselves taking note. © 2009. Allen Einstein. All rights reserved.

eave it to the pros. At least that’s why Chicago Bulls forward Tyrus Thomas doesn’t play the snare drum.

One day Thomas stumbled upon Scott Idle, director of the Stampede Chicago Bulls Drumline while he was scoping out the United Center sound system with his snare drum. According to Idle, Thomas walked over and jokingly asked if he could try out the drum. But after seeing Idle play—an accomplished percussionist that performed for five years at Michigan State University and with the Cavaliers Drum and Bugle Corps in 2001—Thomas probably thought better of it and said, “Nevermind, man—I don’t want to make a fool of myself. I’ll just stick to basketball.”

May/June 2009 19

© 2009. Allen Einstein. All rights reserved.

NBA MUSIC There are many live music groups throughout the NBA working hard to keep crowds fired up.

create characters on the floor. It’s not just about drumming for us. I want everyone to have their own personality and really bring it out.”

The Stampede plays at select Bulls home games, which usually amounts to two to three games per month, and Idle is quick to point out the team’s 10-1 record with the drum line present. The group typically performs during one timeout in the third quarter and then spends the fourth quarter playing to the upper deck of the arena to reach die-hard fans in the “nosebleed” seats. The Stampede will also coordinate with the Bulls game operations crew to start chants throughout the fourth quarter.

“One of the things I talked about … before we actually started the line was that there was a real lack of intimacy with the 20

upper bowl level,” Idle says. “Sometimes, the best fans sit in the cheapest seats. …

I think especially for those ticket holders, it’s a pretty cool rush for them to see the Bulls Drumline come up the aisles and stand in the sections. It gets everybody involved.”

The group also performs outside the arena—regardless of the weather—after every Bulls win and will participate in other special events including the opening-day festivities.

“Even if it’s minus 10 degrees, we’re out there playing,” Idle says. “We get crowds of 200 people watching us after the game outside, even if it rains. …

When they leave the stadium, the last thing they’re going to see is our electrifying entertainment, and that’s going to make them want to come back.”

Here are a few of the drum lines and pep bands that we found around the league: • Chicago Bulls Stampede Drumline • Dallas Mavericks Drumline • Detroit Pistons Drumline • Los Angeles Lakers Laker Band • Memphis Grizzlies Drumline • Milwaukee Bucks Wild!

Drumline • New Orleans Hornets Drumline • Portland Trailblazers’ The Groove Machine If you know of more groups, please let us know at admin@halftimemag.com.

Drum Battle The Stampede isn’t the only drum line or live music group in the NBA, nor was it the first. In fact, Idle attended Michigan State University with Todd Ohme, who started the Detroit Pistons Drumline in 2005. The two have since worked together to share new ideas for their respective groups.

In fact, the two drum lines recently challenged one another to a drum battle at a home game for each team. When the Pistons and Bulls face off in the classic rivalry game, more is at stake than the score. Both musical groups take the floor at the same time and face off, pitting drum performances in similar style to the movie “Drumline.”

While no winner was announced at the competition, both drum lines enjoyed the experience, and according to the two directors, the energy level was through the roof.

“Last year, both of our groups traveled to the away game,” Idle says. “We really got the crowd to feed off of that; it was incredible. During that drum battle, I guarantee you, the Pistons and Bulls were watching us, not listening to their coach.”

Most of the time, the Chicago Bulls Drumline doesn’t interact with the basketball team, but Idle says that team members do take notice of the high-energy performance during a timeout.

All About Image According to Pistons Drumline director Todd Ohme, a successful NBA drum line is all about the image. Clad in Pistons blue and red sweat suits, the drum line takes the stage with hats and headbands askew, displaying the group’s aggressive attitude.

“We’re really aware of our image,” Ohme says. “We always want to give them something positive. If we’re there leaning against the wall or sitting crosslegged at the end of the game, that’s not very good. They want to see energy, feel the excitement. We want them to know that: ‘You’re at The Palace, and there’s nowhere else to be right now.’”

Ohme echoes Idle’s sentiments about the group’s musicians taking on a “larger-than-life” persona on the court.

“Everybody in the group is a phenomenal player,” he says. “But we’ve had guys that are really good that didn’t last because they didn’t connect with the crowd. The hands and the notes, it’s got to sound

good and everything, but the big thing is how good can you look, how in control of the drum can you be?”

Something Different Although nearly every participant in the Pistons and Bulls drum lines have some experience with either corps or college marching band, these groups differentiate themselves with their power-packed performances.

“On the surface, we look like a typical marching band drum line,” says Idle.

“But with our background having been part of world-class drum corps, the high degree of talent that we have within the ensemble, it really allows us to do a lot more than what you’d just expect at a high school football game or even a college football game for that matter.”

In addition, the raw talent assembled by these groups allows them to perform well with minimal practice time, a luxury that other marching ensembles are unable to take advantage of.

“Right now, we’re making up our show on the bus,” says Ohme over the cacophony during the drum line’s bus ride to the arena. “Sometimes we have a lot of prep time; sometimes we’re doing it on the fly right before we go out there. …

We’ll do at most one rehearsal per game.

It’s a three-hour rehearsal. We’ll have a guy that writes most of our parts; he uses Virtual Drumline. He’ll write that, create it and then get it out there. It’s the expectation that we have a practice on Sunday, and you need to get to know it. Sometimes if we don’t have a practice, we really rely on it. It’s a professional gig. Everyone shows up, and they know what they’re doing.”

Ohme’s on-the-fly preparation nonetheless belies the group’s number one mission: to support the team. “We started realizing we need to be very strong here because we’re a big part of the energy in the arena,” he says. “It really has a big impact. The team can be down like 20 points, and we still get a good response from the crowd. We’re there for a reason.

We’re not just there because they thought it would be a fun opportunity for us to get to play in front of a bunch of people.”

In addition to performing at select home games and the drum battle with the Chicago Bulls Drumline, the Pistons Drumline also had the opportunity to travel in 2006 to the All-Star Weekend in Houston as well as to perform with Kid Rock and Keith Urban on separate occasions.

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Live Experience Although fans attend NBA games to see basketball, teams are increasingly looking for ways to create a more engaging atmosphere to fill seats night after night.

According to Lisa Estrada, director of game operations and entertainment for the Los Angeles Lakers, the Laker Band came into existence at the request of team owner Jerry Buss, who wanted to create a live music atmosphere rather than piping in only recorded charts to the arena. The group began in 1978 when the Lakers still played at the Forum in Inglewood before moving to the Staples Center.

“In the world that we live in with iPods, computers and technology, I hope people don’t forget how special bands are,” Estrada says. “I love it. It’s such a nice tradition, and to have that loyalty is great.”

The Laker Band draws from current and former members of the University of Southern California’s Trojan Marching Band. Unlike most of the other NBA performing groups, however, the Laker

Band comprises percussion as well as brass players.

The band performs during timeouts and post game as well as other events with the Lakers team. Estrada says the organization wants them to be “a part of our show in any way, no matter how big or small.”

“It brings a little bit of the live atmosphere,” she adds. “I think tradition again comes to mind. We are a pretty traditional organization, and that’s what our owner likes. He likes the collegiate game atmosphere. That is definitely where we’re unique. We have that collegiate feel.”

Jeff Wolschlager, senior director of game operations for the Chicago Bulls, feels that The Stampede fills a similar role at the United Center.

“Our philosophy is really simple,” Wolschlager says. “We want to make the outcome of the game as moot a point as possible for our fans and make coming to the game as much a value as possible. We look at our basketball floor like a stage. It came out of a desire to have more varied entertainment options.”

                    

            

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      

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              

Building a Seattle Tradition

© 2009. Jim Carden. All rights reserved.

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How does it feel to build your own tradition? Just ask fans of the Seattle Sounders, the city’s new Major League Soccer team.

With its 2009 debut under team owner Drew Carey, the organization has forged a new soccer tradition that includes the MLS’ first marching band, the Sound Wave.

When Carey formed an agreement with the city and the team, he asked that a band be created.

Director Keith Rousu, who also leads the Seahawks Blue Thunder Drumline, formed the group by drawing from members of area ensembles including Brass Attack and the University of Washington Husky Marching Band.

He strives to foster an exciting atmosphere and hopes that the band can help get fans out of their seats. “I’m an entertainer,” Rousu says. “I’m a rock and roll drummer.

I’m not a drum corps geek. I’ll take 20 or 30 percent sloppiness for entertainment.

That’s what it’s about. It’s an entertainment entity—you’re entertained from front to back. That’s really the key.”

For an inside perspective, visit www.halftimemag.com and click on “Web Exclusives.”

                 

                                

           

Scholastic A Cicero-North Syracuse (N.Y.) Central High School Score of 97.4

Scholastic Open Marian Catholic High School from Chicago Heights, Ill. Score of 95.9

Scholastic World Avon (Ind.) High School Score of 97.8

No Question: Although its tarp featured a sideways question mark, there was no doubt that Cicero-North Syracuse Central stole the night, capturing the Scholastic A title by almost two points above its nearest competitor with its show titled “Why?” A fully synchronized flag feature near the show’s conclusion demonstrated the members’ precision and artistry.

Angels From Heaven: From the gates of heaven to the depths of despair and back again, Marian Catholic’s all-female guard provided an emotional performance that also swept all judging captions in its show titled “Fallen.” In a moving ending, the members revealed a stunning blue sky on the underside of the tarp as the performers achieved redemption during the final strains of “Amazing Grace.”

On Top: Avon High School’s marching program experienced a banner year as the guard took the Scholastic World title, following the full band’s recent Bands of America win. Its show titled “Release” used a cream floor with a single black diagonal line as well as simple black costuming, emphasizing the choreography and technical skill of its 26 members. Avon had finished second for the past several years.

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Independent A State of Art from Lansing, Mich.

Score of 95.5

Independent Open Rhapsody Winterguard from Seattle Score of 95.4

Independent World Santa Clara Vanguard from Santa Clara, Calif.

Score of 97.1

Go State: Michigan State University fans had a lot to cheer for in early April as the school’s State of Art Winterguard vied for the Independent A Class title in its first year of WGI competition at the same time that the men’s basketball team competed toward the NCAA basketball championship. State of Art did not disappoint, taking the gold with its show, “Follow the Lead.”

Shoot for the Moon: With its elegant performance set to the music of Debussy’s “Claire de Lune,” Rhapsody Winterguard is truly among the stars. Rhapsody joined the ranks of the Open Class just last year and will already move up again next year to World Class.

Sealed With a Kiss: Santa Clara Vanguard, long a contender in the Drum Corps International scene, earned its first WGI championship title with an undefeated season by exploring the passion behind “The Kiss.” Vanguard’s performance showcased the conflicts of the heart and mind as well as the beauty and complexity involved within turbulent relationships.

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Marching Percussion Scholastic Champions Scholastic A (top left) Los Alamitos (Calif.) High School Score of 97.275

Scholastic Open (bottom) Pacifica High School from Garden Grove, Calif.

Score of 96.250

Scholastic World (top right) Dartmouth (Mass.) High School Score of 97.988

Time Heals All: “Fade” by Los Alamitos High School included narration about surviving tragedies, such as the stock market collapse, and letting them gradually fade from our minds. The show demonstrated the idea of fading through movement, music and effects. Los Alamitos took 1st place from all six judges and won every caption.

Four in a Row: For the 4th consecutive year, Pacifica High School has taken 1st place in the Scholastic Open Class. Its show, “Fill in the Blank,” won 2nd in Performance Analysis and 1st in General Effect and Visual. The show presented audience members with well-known quotes that were conspicuously missing their conclusions.

Paradise Found: Dartmouth High School brought home the back-to-back title with its show, “The Garden.” The battery and a team of dancers wove through a set full of large trees while dressed in elaborate botanical costumes and headdresses. The Eden-like setting included an Adam and Eve that gave into temptation, but unlike in the Bible, they were allowed to stay.

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WHO mAkES vIC fIRTH NumbER ONE?

vIC fIRTH WOuLD LIkE TO CONgRATuLATE THE DIRECTORS, INSTRuCTORS AND PARTICIPATINg mEmbERS Of THE fOLLOWINg ENSEmbLES fOR THEIR OuTSTANDINg ACHIEvEmENTS AT THE 2009 WgI WORLD CHAmPIONSHIPS! INDEPENDENT WORLD

INDEPENDENT OPEN

INDEPENDENT A

FINALIST—United Percussion Directors: Chad Moore, Esq., Christine Vanacore, Staff: Mike Nevin, William Woodward, Kelly Howell, Brian Evans, Darick Kelly, Mike Dow, Jesse Cottrell, Mike Russ, Marcel Roos, Joe Palumbo FINALIST—Blue Knights Director: David Killinger, Staff: Corey Brodersen, Dave Marvin, Mike Nevin, Jason Keeling, John Crouch, Tohbias Juniel, Jason Keeling, Jason Reid, Taylor Townsend, Alex Entin, Scott Reno, Joe Vaccarelli, Keith Laubahn FINALIST—Infinity Directors: John Campese, Tom Hurst, David Catogni, Staff: Mike Marino, Ralph Stewart, Lee Hansen, Jared Johnson, Mustafa Sauveur, Josh Peeples, Anish John, Obed Resendez, Justin Robards, Nick Souder, Dale Black, John McCartt, Jason Palmer, Jason Kitchen FINALIST—Eastside Fury Directors: Ralph Biggs, Jason Ihnat, Staff: Sean McElroy, Laura Skok, Nick Matthews, Nick Saputo, Scott Reece, Tom Hinsman, Dan Cenci

FINALIST—STRYKE Percussion Ensemble Directors: Scott Hughes, Cisco Hance, Staff: Ray Donato, Rudy Flores, Jon Kersten, Jason Nunes, Christopher Infante, Tony Del Rivero, Alain Brodeur Sr., Gabriel Urbay, Paul Melcer, David Karpinksi, David Yunis FINALIST—Palmetto Percussion Directors: Erik Crook, AJ Pace, Staff: Alex Mowery, Ryan Johnson, Joel Gardner, Mike Leitzke, Luis Rivera, Steve Wolff FINALIST—George Mason University Director: Dr. Michael Nickens, Staff: Chris Martin, Chris Garay, Paul Fadoul, Brett Garrett, Steve Ballard, Patch Moss, Alan Johnson, Joey Rivera, Nate Tyler

SILVER MEDALIST—Farmington United Director: Joseph Kuerzi, Staff: Mike Yoskovich, Paul Williams, Gary McCombs, Jim Rebbeck, Rob Simko, Rich Hogan, Tom Machowski, Tim Leach BRONZE MEDALIST—Boston University Directors: Chris Parks, Mike Wasielewski, Staff: Ian Flint, Chris Daum, Matt Ramey, Phil Perry, Michael Barsano FINALIST—Spirit of America Directors: Richard Pugsley, Br. Andrew Smith, Sr. Brigid Minor, Staff: Colin McNutt, Ian Hale, Colby Kuzontkoski, James Sparling, Laura McKendree, Peter Shannon, Cori Shannon, Stephanie Snure, Heather Catlin FINALIST—Genesis Director: Scott Uzarski, Staff: Will Gordillo, Rick Gordillo, Tricia Schoenborn, Zach Vanderlaan, Greg Sperlbaum, Jordan Denton FINALIST—Huron Valley Percussion Director: Nick Saputo

SCHOLASTIC OPEN

GOLD MEDALIST—Dartmouth HS Director: Tom Aungst, Staff: Neil Larrivee, Darcie Aungst, Jeff Sacktig, Mike Moore, Jason Medeiros, Jen O’Neill, Ian Flint, Cam Siegal BRONZE MEDALIST—Chino Hills HS Director: John Mapes, Staff: Jeremy Riley, Brian Dinkel, Ryan Anderson, Bryan Horan, John Lee, Ian Grom FINALIST—Mission Viejo HS Director: Mike Jackson, Staff: Jared Andrews, Jenny Jackson FINALIST—Arcadia HS Director: Kevin Sherrill, Staff: Tony Nunez, Kevin Shah, Jeff Doolittle, Daniel Lai, Chris Boatman FINALIST—Avon HS Director: Jay Webb, Staff: Jay Webb, Jeff Queen, Drew Schnieders, Nate Wilkerson, Emily Jones FINALIST—Upland HS Director: Mike Jackson, Staff: Tony Nunez, Kevin Shah, Fernando Miller FINALIST—Plymouth Canton HS Instructor: Sean McElroy

GOLD MEDALIST—Pacifica HS Directors: John Mapes, Ian Grom, Staff: Paul Nesbit, Yumi Tamashiro SILVER MEDALIST—Trumbull HS Director: Tom Whitmoyer, Staff: Chris Rivera, Dave Dumont, CJ Barrett, Bryan Crawford, Scott Abanto, Austin Avery, Dan Ebert BRONZE MEDALIST— King Philip Regional HS Director: Peter Tileston, Staff: Zach Schlicher, Olin Johannessen, Chuck Moulton, Scott Quintana, Ryan Loud, Tim Sepe, Nick Ferzoco, Andrew Markworth FINALIST— Fountain Valley HS Directors: Ian Grom, John Mapes, Staff: Jeremy Riley, Tiffany Lam FINALIST—Kings HS Director: Mike Maegly, Staff: Mike Folz, Joe Davis, David Wyrick, Samantha Cope, Sarah Cornett, James Sparling FINALIST—Stamford HS Directors: Tim Holcomb, Chase Bronstein, Staff: Jim Zulick, Tom Gassperini, Dave Brush, Dave Reyes, Sal Flores FINALIST—Beyer HS Director: Blair Williams, Staff: Nate Bourg, Kohei Mizushima, Oliver Bullock, Tom Gierke, Chris Arriola, Dale Pauly, Henry Berona, Justin Berona, Jesse Perez, Nithin Kumar, Corey Jones, Hannah Boyer, David Flores, Shekhar Khedekar FINALIST—North Penn HS Director: Bryan Clayton, Staff: Rich Hammond, Chris Arnold, Mike Zellers, Mike Lalli, Niki Eash, Travis Simpson, Amanda West, Gary Cuzzcrea, Aaron Barnes, Eric Kitchenman

CONCERT WORLD

CONCERT OPEN

SILVER MEDALIST—Mansfield HS Director: Peter Conti, Staff: Matt McGuire, David Cavanaugh, Laurie Sklar, Mike Stankiewicz BRONZE MEDALIST—Tunstall HS Directors: Tim and Debra Bray, Staff: Alicia Bray, Kristen Bray, Joel Finney, Zack Scott, Ryan Stowe FINALIST—Goshen HS Director: Tom Cox, Staff: David Heroux, Chris Smith

GOLD MEDALIST—Muscle Shoals HS Director: David Waters, Staff: Mandy Quinn, Iain Moyer SILVER MEDALIST—Portsmouth HS Director: Steve Cirillo BRONZE MEDALIST—Clayton HS Director: John Pearson, Staff: Mike Worley FINALIST—James A Garfield HS Director: Joe Enriquez, Staff: Sean Gordon

SCHOLASTIC WORLD

SCHOLASTIC A GOLD MEDALIST—Los Alamitos HS Directors: John Mapes, Ian Grom, Staff: Jeremy Riley, Amanda Buda, Paul Nesbit SILVER MEDALIST—Thomas Worthington HS Directors: James Fantine, Brian Vogt, Staff: Justin McGruder, Andrew Hensel, Jackie Forman, Aaron Friedman, Emma Tarai, Janine Joseph FINALIST—Basha HS Directors: Matt Kozacek, Brandon Kiesgen, Staff: Jimmy Madonia, John McClean, Roberto Paz, Dustin Roa, Thien Pham FINALIST—Carlsbad HS Director: Greg Anderson, Staff: Mike Chavez FINALIST—Timber Creek HS Director: Daniel O’Neill, Staff: Scott Daley, Chris Talvacchio, Mike Coppala, Ron Latham, Dave Britten, Daniel Montanez, Patricia Jeffers FINALIST—Bassett HS Director: Trey Harris, Staff: Teddy Holcomb, Scott Allred, Trey Harris, Philip Morgan, Anna Holcomb FINALIST—Southgate Anderson HS Director: Joseph Kuerzi, Staff: Tom McNally, Steve Shupic, Mike Harrison, John Dusik, Stephanie Heggie, Sarah Harrison

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Marching Percussion Independent Champions

Independent A (top left) OC Indoor from Portland Score of 95.038 High on the Richter Scale: Operated by the Oregon Crusaders Drum and Bugle Corps, OC Indoor shook audiences with its high-energy performance titled “Aftershock.” Audiences felt the drum line’s impact as its music reverberated throughout the stadium while the group itself made history during its debut year as the only WGI independent marching group from the Pacific Northwest.

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Independent Open (bottom) Pariah Marching Percussion Theatre from Jasper, Georgia Score of 93.075 Taking the Podium: For its 2009 WGI show, Pariah took the stage with “Mystro.” The performance explored various musical genres in a fastpaced and comical arrangement where various members of the battery took turns mounting a podium on the floor to lead the ensemble and highlight different sections of the line.

Independent World (top right) Rhythm X from Columbus, Ohio Score of 97.263 The Power of Touch: Scientists and doctors have long applauded the positive powers of touch.

Well, for Rhythm X—back-to-back Independent World Champions—this power certainly holds true. Its show, titled “Touch,” showcased fastpaced marching maneuvers intermixed with sensitive sections when members hugged and leaned on each other for support.

By Elizabeth Geli

Having an organized alumni group that gets together and performs beyond homecoming weekend can prove rewarding for the graduates, current students and the school’s marching program as a whole.

A

lumni support can be a pivotal factor in keeping a band program going and fostering a great sense of community. In addition to the common tradition of inviting alums back for homecoming, some groups go above and beyond to keep their band families together. Halftime Magazine gathered the advice and ideas from a leading high school alumni band, two universities and Drum Corps International’s oldest continually competitive corps.

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Mike Iacarella Member, Edison High School Alumni Band Minneapolis, MN “In 1977 we got a couple of guys together and decided to march. We were able to get started and marched our first parade 32 years ago. At one time we had close to 100 members. We’ve got a real core base; it’s a good group, and it’s strong.

People in the parade look forward to seeing us come by; we do four parades per year, and we do a lot of class reunions.

They really get a kick out of it. It’s a nice thing to do. We’re about 50 members strong right now.

We’ve been around so long that we’ve had members that have met their future wives at our get-togethers, and now they have kids that march with us. We’ve had eight or nine marriages out of this thing. It seems like we’ve kind of come full circle. We play at the reunions and then get new members from that class the next year.

I think for our community, it’s good to see how music can be a full lifetime experience; you don’t have to just quit when you’re younger.

The high school’s band program has dropped off so much; we’re getting together with them and teaching them the traditional drum cadence and school songs. A lot of kids hadn’t even heard the school song, so we physically go down and work with the kids on that stuff. It’s an inner-city school, and arts programs have been hit for funding, so we’re trying to see if we can help bring it back. It’s an effort on our part to try and give back.”

Wesley B. Nugent President, West Virginia University Alumni Band Morgantown, WV “The alumni band was started in 1969 by a small group of alumni. This year is our 40th anniversary. I would say homecoming is our traditional bread-and-butter event, but we do have a local Charleston pep band that started in the mid-90s for the basketball team when they play Marshall [University in Huntington, W.V.]. An alumni band just wanted to be able to perform there for receptions.

Another activity that we do is a touring band, which is like a concert band. Our director emeritus has taken that band on three different trips now to different European cities on two-week tours. They tour the cities and perform marching and concert band music.

We do a lot of things to integrate as many people as we can and reach out to others. A lot of the same people try to come. We try to get recent graduates and keep them involved from the start.

We set up an endowment many years ago for the directors to use as discretionary funds; it increases every year. Every year when homecoming comes around, we try to make sure the band can pay all their bills.

I’ve been fortunate as president to address the group and provide words of wisdom and encouragement to the band members and their families on behalf of the alumni. That’s been very rewarding on a personal level. We also make them bowl packages, travel care packages for

those kids who went on the bowl trips.

We do an annual mailing, which is usually our homecoming packet, and we also do a LISTSERV. Facebook has been a huge success for us; we just hit 500 people in March. That’s been a big plus for the group in getting messages out and keeping people together. It’s kind of that intergenerational aspect.

But whatever the reason, even when the football team wasn’t good, the alumni band and the band have always been successful, and they are truly a source of pride for the fans that come here to experience the games.”

as a non-profit corporation. Since the 1960s we’ve performed every year at the first football game.

People will hire us to do parades and concerts in their towns all across the state. We’ll play just about anywhere.

People pay us a fee, and then after paying expenses, we put it into a scholarship fund. Those are typically done by a group that’s anywhere from 50 to 100 members. We have practices twice a month. There’s a small group of 10 to 30 that people hire to play at nursing homes, birthday parties, weddings, bar mitzvahs, etc.

Photo courtesy of Edison High School Alumni Band.

Jeff Jordan President, The Ohio State University TBDBITL Alumni Club Columbus, OH “Back in the mid-1960s, the director decided to have a reunion of former members every couple of years. The first year everyone had so much fun that they decided to keep doing it, and it became an alumni tradition.

‘The Best Damn Band in the Land’ (TBDBITL) Alumni Club was formed

Typically every third year, we will go on a trip somewhere around the U.S. or the world. The alumni band has played in Japan, Ireland, Germany, Switzerland, Alaska and Hawaii. Once they become a member of the current marching band, they are eligible forever to be a part of the alumni band. A lot of kids will play with us in the summer.

There’s such a respect for tradition that once you become a part of that group, you’re always a part of it for the rest of your life.

May/June 2009 31

Photo courtesy of the West Virginia University Alumni Band.

We all know the same history; we’re all interested in making sure the band remains one of the best in the country.

There’s a bond, and it transcends the generations. We’ll have people who are just out of the band all the way up to 93 years old that are marching with us. It’s pretty amazing that people who were in the band in the 1930s still want to go out and march like they did when they were 20 years old. It’s something special to be a part of a group that has that kind of connection.

There’s something called Adopt-a-Row. The time when people try out for the band until they start band, they are on their own for everything. The alumni band finds time to feed groups of students. Each group of 14 gets to be fed three to four times for free to make it a little easier for them to stay in Columbus. It’s saved the students a lot of money, and it allowed them to really be connected with the alumni.

We started a mentoring program a couple of years ago. All the college students are trying to get started in their careers.

We have 4,000 alumni that are in any gambit of career, so what we do is match up current students with alumni members as mentors, and they can have a relationship where they go to lunch or bounce things off of each other by email. … People have gotten jobs and internships in the program.

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Photo courtesy of the West Virginia University Alumni Band.

We have a quarterly newsletter, 12 to 20 pages in color, that we send to every former member. Because we have such a wide range of ages from 90s to 20s, we try to communicate in a way that everybody can connect into. The people in their 90s don’t necessarily get Facebook, but the 20-year-olds really want that.

We’re trying to do everything we can to make sure that people stay interconnected.”

Paul A. Chaffee Executive Director, Racine Scouts Drum and Bugle Corps Racine, WI “Make sure you have advertisements for all the alums to get them out to your events. If you have an alumni shirt, alums will buy that. The more stuff you can actually market to your alumni to stay involved in, that can be a big help.

Horns Up: The Ohio State University “The Best Damn Band in the Land” Alumni Club takes the field as the student band waits at the end zones. © 2009. John Watkins. All rights reserved.

It started big time for us on our 65th anniversary; we had a massive mailing.

At the time we were still a local organization; everyone still lived locally. We now have a webpage like everyone else.

We have a newsletter—tax-exempt bulk mailing. It’s been harder for us over the last 10 years because we’ve gone outside of the local area and taken kids from everywhere. The biggest thing for us was that we had a few shows in Racine, so we had a tent for our alumni.

For the 75th anniversary, we got special alumni shirts and marched the parade to have the new kids meet some of the alumni. Some of the alumni to this day say that it was so cool to march with younger kids again. In our case we actually have the alumni march every five to 10 years.

From a business standpoint, your alumni eventually have kids, and you hope to get 2nd-, 3rd- and 4th-generation marching members.

Occasionally alumni have extra money and remember how much they love the corps and how much fun they had. It helps with fundraising; we’ve even had people that have willed us stuff when they passed away.”

Note from the Editor: Looking ahead to the next issue, Halftime Magazine will be commemorating The Cadets Drum and Bugle Corps 75th anniversary. Be sure to check it out.

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Photo courtesy of Edison High School Alumni Band.

About the Author Elizabeth Geli is an editorial intern at Halftime Magazine. She is currently a senior majoring in print journalism at the University of Southern California. She began playing flute 11 years ago in her hometown of Placentia, Calif. Now she plays in the USC Trojan Marching Band and has supported the teams at four Rose Bowls, the NCAA basketball tournament and as many other games as possible.

She also serves as the band librarian.

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From left to right: Staci Stokes Waites, Amy Savage, Julie Davila and Kathy Marvin © 2009. Rene DeLucia. All rights reserved.

About the Author Dennis DeLucia is a percussion teacher, arranger, clinician and judge. A former member of the West Point Band, he is best known for his successes with championship corps and bands. He has been inducted into three of the major Halls of Fame: Drum Corps International, WGI Sport of the Arts and the World Drum Corps Hall of Fame.

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These days, more and more women are entering the field of marching percussion.

While opportunities seem to be more level, a 2005 study cited in the December 2008 issue of “Percussive Notes” found that male percussionists still outnumber female percussionists in every continent except Asia. In North America, the results showed a ratio of 62.8 percent male to 37.2 percent female. Find out how four inspiring and influential female percussionists rose to the top of the ranks and hear their advice for young percussionists today.

recently had the chance to sit down with four of the most talented and inspirational women in the field of percussion. They come from different locales and have varying educational backgrounds and careers, but they all share one common trait: a love of and belief in the benefits and enjoyment of marching percussion.

Julie Davila grew up in Indiana and Missouri. She received her bachelor’s in music education from the University of North Texas (UNT) in Denton. She plays drum set, steel drums and everything else as a founding member of the Caixa Trio. She has also served as chair of the Percussive Arts Society Marching Percussion Committee. Her books on playing tenors have become staples and classics. She teaches, performs and judges throughout the world.

Amy Savage (formerly Amy Davis) grew up in Ohio and received her bachelor’s degree in music education from Miami University in Oxford, Ohio. She has played in several orchestras and marched in the Garfield Cadets Drum and Bugle Corps. She teaches, writes and judges throughout the United States including at Duke University where she works as director of marching percussion.

Kathy Marvin grew up in Colorado and received her bachelor’s degree in music business from the University of Colorado at Boulder. She writes for and teaches several high schools—including Northglenn High School where she works as front ensemble percussion instructor— in the Denver area and is very involved in WGI Sport of the Arts and the Rocky

Mountain Percussion Association.

Staci Stokes Waites grew up in Oklahoma. She received her bachelor’s of musical arts with business emphasis from the University of Oklahoma in Norman and her master’s of percussion performance from Texas Tech in Lubbock. She enjoys judging in Texas and is the director of education for Pro-Mark Drumsticks and Mallets.

Early Influences DeLucia: When did you start to play drums?

Davila: In fifth grade, I went to my brother’s jazz band concert and decided I wanted to play drums.

Savage: I grew up in a musical family with five sisters and one brother and convinced my parents to let me study drums in the fifth grade. My sister played snare in marching band. I was fascinated with that drum and became determined to play it, and I did—taped sticks and all!

Marvin: Third grade. My father was a band director and brought home a set of vibes one summer. That was it!

Stokes Waites: I studied piano when I was very young, but I wanted to join the band in sixth grade, so I switched to percussion. Needless to say, I eventually quit playing piano!

DeLucia: Who were/are some of the major influences on your musical growth?

Marvin: Those that were close and hands-on: my parents, my violin and dance teachers, my college professors Terry Smith and Doug Walter.

Feeling the Beat: Julie Davila, a founding member of the Caixa Trio, performs an eclectic repertoire at festivals and master classes around the world.

By Dennis DeLucia

I

Davila: My parents always exposed me to lots of music. In high school, I attended drum corps shows and many jazz concerts like Chick Corea, Maynard Ferguson, Pat Metheny, etc. They all inspired me to pursue music. My parents [also] allowed me to attend summer camps at Bands of America. At UNT, I was surrounded by great teachers and players in all areas of music.

Savage: My family was very musical.

In college I loved marching band and learned so much from my professor Bill Albin. I marched in the Garfield Cadets, where I learned from Jim Prime, Thom Hannum, Joe Gaudett, Bob Morrison and George Zingali! What a great education!

Stokes Waites: My high school attended “Days of Percussion” in Oklahoma where I met performers such as Leigh Howard Stevens. My college teachers such as Lisa Rogers and my drum corps instructors such as Scotty Sells taught me about musicality and gave me the confidence to perform.

DeLucia: What attracted you to corps/ marching percussion?

Stokes Waites: I saw The Blue Devils in Tulsa when I was in middle school and then joined Black Gold.

Davila: It was so impressive to see and

May/June 2009 37

A Part of Corps History: Amy Savage performs with the Garfield Cadets Drum and Bugle Corps.

hear the precision and uniformity of the top corps!

Savage: I went to a corps show in Fort Wayne and just knew that I had to do that someday.

Memorable Moments DeLucia: What have been your most memorable/rewarding experiences?

Marvin: Memorable? Winning WGI with Norhglenn High School in 1997 and the performance of “Adagio for Strings” in our “Chess” show.

Savage: Our encore performance with the Garfield Cadets in 1984 after winning Drum Corps International. Performing with our medals around our necks was the most memorable experience for me.

Davila: As a teacher, building the program at John Overton High School and enjoying many successes with those kids through the 90s, including a WGI Scholastic World Championship in 1996; as a performer, playing in the Seoul Drum Festival in Seoul, Korea, were all the most memorable.

DeLucia: Any embarrassing moments?

Savage: I was playing vibes in a faculty concert when the audience began to leave.

I didn’t think I was playing THAT badly!

Finally, a man approached the stage and said, “A tornado is heading right towards us; we have to leave NOW!!!”

DeLucia: Did you face any challenges as a female in percussion?

Savage: Yes, I did face challenges as a female percussionist. I didn’t look like 38

everyone’s idea of a typical drummer. I enjoyed being feminine. When asked what I did for a living, people didn’t believe me. I felt I had to prove myself before being considered as a knowledgeable percussionist. With ensembles early in my career, I was often assigned to mallet parts until it was realized that I could play all the percussion instruments, not just the marimba.

Years ago, I was a substitute timpanist for the Hobbs Southwest Symphony in New Mexico for a weekend rehearsal/ performance. The principal percussionist was an older gentleman who felt it was his duty to explain every detail of technique as if I had never played the drums before. I politely nodded and went about my business. During the rehearsal, the treatment I was receiving caught the eye of the conductor, who then stopped the orchestra, looked at me, complimented me on my playing and told me to show the principal percussionist how to play the snare part that he was messing up.

THAT was justice!

From an early age, I wanted to be a drummer. My parents and first band director were supportive, but not everyone was. Sometimes the ridicule hurt, but I continued to pursue my dream. … I took brave steps to introduce myself to people considered important in the world of percussion. Their advice encouraged me and helped to shape who I am today as a percussionist. As a matter of fact, I’m marrying the one [Matt Savage] who encouraged me most!

Stokes Waites: I certainly did face some

challenges as a female percussionist when growing up, but it seems to be quite a bit different today than it was then. When I was in high school, there weren’t very many females in percussion, and the ones that were in percussion were mostly in the pit (front ensemble), and they were just there because they were a double-reed player and needed a place in the marching band. It seemed to be a very “boys play battery” and “girls play mallets” sort of environment even though it was never really dictated to us by our teachers.

When I was in middle school, we learned some of the “stand tunes” and went and played alongside the high school band for one of the football games. I was on snare drum, and I spent what seemed like hours practicing “Wipe Out” for the game. Whenever we got to the drum solo, it was always a competition on who could get through it without breaking (and it seemed to be really fast at the time!). It was very obvious that the guys in the line felt threatened by the fact that the “mallet player” was attempting to play snare drum, and they teased me and made me feel very self-conscious. But I was practiced and was so determined to get through the drum solo of “Wipe Out” at the game. … I made it through, and the adrenaline rush was the best! I felt so cool playing alongside the high school snare line and holding my own. But I felt that people expected me to break and “fail” because I was the mallet player trying to play the snare drum.

So, I ended up going through high school and college completely terrified of the snare drum. I hated to practice it, and I would just break out in a sweat when I was assigned any concert snare part in percussion ensemble or drum corps. It took me studying for my master’s degree and actually having to teach lessons on concert snare to finally get over my fear of it.

Davila: I didn’t really face too many challenges as a woman percussionist. It could have been that I never really tuned in to any skepticism from others; I was too busy trying to work toward my next goal rather than focus on others’ opinions.

Early on, one of my biggest challenges was making the University of North Texas snare line. Up to that point, there had not been any girls that had played in the snare line, and so for me, that was added incentive. I guess I might have felt like there wasn’t as much room for error

Words of Wisdom DeLucia: What are the benefits of marching in corps, band or indoor drum line?

Marvin: First of all, they develop a type of teamwork like no other musical group.

The extreme dedication and work ethic create a unique bond among the members because everyone works toward a common goal, and no individual wants to let his/her colleagues down.

Savage: It gives one a chance to develop skills necessary to master percussion, learn to work as a team, use physical activity in a creative way, train ears to listen beyond one’s own drum and to appreciate greatness by watching other groups perform.

Stokes Waites: Friends for life! Plus learning self-discipline, goal-setting and time management.

Davila: I agree with everything that’s been said! The skills and habits learned can be applied to many facets of one’s life.

DeLucia: How do they transfer?

Davila: Well, when the Caixa Trio is preparing for a performance, we don’t have as much ensemble time as we would like, so we must be very efficient with our rehearsal time. One of the advantages in participating in corps/indoor lines is that you really learn how to break things down, isolate, assess and build it back up to a high level of precision and musicality. I think that is why so many great drum set artists like Tommy Igoe, Steve Gadd, Pat Petrillo, Greg Bissonette and others were a part of the marching activity.

Passing It On: Kathy Marvin teaches the front ensemble percussion at Northglenn (Colo.) High School.

as I didn’t want to give them any reason to target “the girl” in the line as the “tick.”

I’ve always been more interested in being recognized as a solid player, a good allaround percussionist rather than being recognized as good “for a girl.”

Marvin: I am fortunate that I haven’t had many challenges being a female percussionist. In my generation and location growing up, it was quite common that girls played mallets and guys played drums. I personally didn’t feel pigeonholed because it was what I loved to play, and I got to be a part of some great ensembles and performances because of it. Honestly, it was nice to have the guys help me schlep the marimba beast around!!

Savage: Repetition, discipline, patience, teamwork and listening skills are valuable assets in everything!

Marvin: In addition to what Julie and Amy said, learning how to balance life is critically important.

Stokes Waites: Plus you learn to push yourself beyond what your perceived abilities are.

DeLucia: For a student, how much “marching” percussion is too much?

Stokes Waites: Marching percussion is by far the most popular aspect of percussion education today. Students, and sometimes their parents, can’t seem to get enough! As teachers, it’s exciting to find an outlet for students that is so positive and educational and fun!!! Whether it’s “too much” depends on the student, the teacher and the environment.

Marvin: Everything in moderation is probably the best advice. Balance. Exploration. Involvement.

Savage: If the activity is based on quality of time versus quantity of time, then it’s all good. But it’s important for a student to explore sports, clubs, other arts and other facets of music.

Davila: If kids are in it as a high school or post high school “hobby,” I don’t think you can put a limit on the involvement.

But if a student wants to pursue a music career, he/she must be well-rounded.

DeLucia: Any hip tips for teachers or students?

Marvin: Find current tunes that kids are listening to and turn them into exercises.

Explore a variety of styles.

Savage: Watch yourself practice in front

of a mirror. Watch YouTube, WGI, DCI and as many percussionists as you can.

Learn from the good and the bad. Emulate whom you admire. Perform often. Enjoy practicing; make it fun and rewarding.

Davila: Practice what you don’t know, what you struggle with. Don’t do the same thing every time. Start exercises on the left hand as well as the right. Never be satisfied; you are never “there”!

Stokes Waites: I believe that students pick up the personality traits of their teachers. If someone teaches by intimidation rather than positive reinforcement and encouragement, the students will react accordingly.

DeLucia: Any specific advice for young female percussionists today?

Savage: My advice for the female percussionist is to set your goals. Follow your dreams. Learn from people around you.

Study hard, practice harder. And don’t let anyone steal your desire to be a percussionist. There’s a reason you set your heart in that direction!

Stokes Waites: I could be wrong, but it seems to me that today, the playing field is a little more even with regards to girls and boys in the battery or front ensemble. It’s so cool to me to see the cutest girls kicking butt on snare drum (or tenors!) and that is always one of my highlights of WGI every year.

I guess if I had any advice, it would be for them to not feel that there are any boundaries with regards to percussion. I would encourage them to learn it all (I wish I had!). And don’t feel like you have to be “one of the guys” or a tomboy if May/June 2009 39

Corps Days: Staci Stokes Waites performs with the Santa Clara Vanguard Drum and Bugle Corps.

you’re in the drum line. Be a “girly girl” if you want. That’s one of the most refreshing things today; I see some of the “girliest” girls playing in the battery and doing great, and I love it.

Marvin: In the marching activity today, I think the opportunities for young

women are very open, and we are seeing more and more females marching snares, tenors and basses. I encourage them to go for the passion and challenge of what they want to achieve but also recommend they become strong, both mentally and physically. You’re probably outnumbered

in a drum line, so just practice hard, be prepared for discussions that might come up and keep your goal in focus! You have to be physically prepared also. Guys are just genetically stronger than us, and it may be a little harder strapping on a 35-pound set of tenors or playing on kevlar heads, so condition and take care of yourself. If it is truly your passion, you will be just fine and gain respect for what you achieve.

Davila: My advice to another female percussionist is just to believe in yourself, work hard and develop a mentality of being a life learner. Percussion is such an exciting career choice, and the learning curve is never ending. There are so many styles, genres and facets of percussion from a global standpoint that it is a never-ending adventure. You’re never “there,” so don’t stop working on fundamentals, practicing, going to clinics, researching and sharing with others. What I’ve found to be the most important ingredient in developing a successful career is to stay diligent, be responsible and be efficient with time management. Of course, I believe all of this advice would apply to all genders.

1. Rockford, IL • 6/19 2. Chambersburg, PA • 6/19 3. Walnut, CA • 6/20 4. Stillwater, MN • 6/20 5. Annapolis, MD • 6/20 6. Riverside, CA • 6/21 7. Menomonie, WI • 6/21 8. Mankato, MN • 6/22 9. Pittsburgh, PA • 6/22 10. Sioux Falls, SD • 6/23 11. Dublin, OH • 6/23 12. Rio Rancho, NM • 6/23 13. Glendale, AZ • 6/24 14. Toledo, OH • 6/25 15. Des Moines, IA • 6/25 16. Normal, IL • 6/26 17. Clovis, CA • 6/26 18. Naperville, IL • 6/27 19. Brockton, MA • 6/27 20. Stanford, CA • 6/27 21. Stockton, CA • 6/28 22. Madison, WI • 6/28 23. Decatur, IN • 6/28 24. Erie, PA • 6/29 25. Dubuque, IA • 6/30 26. Rome, NY • 6/30 27. TBA, IL • 7/1 28. Ft. Edward/ Glens Falls, NY • 7/1 29. Beverly, MA • 7/2 30. Vicksburg, MI • 7/2 31. Bakersfield, CA • 7/2 32. Eugene, OR • 7/2 33. Bristol, RI • 7/3 34. Cedarburg, WI • 7/3 35. Santa Barbara, CA • 7/3 36. Portland, OR • 7/3 37. Pasadena, CA • 7/4 38. Michigan City, IN • 7/5 39. San Diego, CA • 7/5

40. Fairfield, OH • 7/6 41. East Brunswick, NJ • 7/6 42. Tri Cities, WA • 7/6 43. TBA, VA • 7/7 44. TBA, ID • 7/7 45. Kingsport, TN • 7/7 46. Ogden, UT • 7/8 47. Columbia, SC • 7/9 48. Windsor, CO • 7/10 49. Valdosta, GA • 7/10 50. New London, CT • 7/11 51. Denver, CO • 7/11 52. TBA Southern, CA • 7/11 53. Orlando, FL • 7/11 54. Manchester, NH • 7/12 55. TBA Southern, CA • 7/12 56. Hutchinson, KS • 7/13 57. Ft. Walton Beach, FL • 7/13 58. Broken Arrow, OK • 7/14 59. Ocean Springs, MS • 7/14 60. Edmond, OK • 7/15 61. Dallas, TX • 7/16 62. Houston, TX • 7/16 63. Houston, TX • 7/17 64. Dallas, TX • 7/17 65. San Antonio, TX • 7/18 66. Winslow Township, NJ • 7/18 67. TBA Northern, CA • 7/18 68. Denton, TX • 7/19 69. TBA Northern, CA • 7/19 70. Lafayette, LA • 7/20 71. Van Buren, AR • 7/21 72. Monroe, LA • 7/21

73. Hattiesburg, MS • 7/22 74. Murfreesboro, TN • 7/23 75. Gadsden, AL • 7/24 76. Murfreesboro, TN • 7/24 77. Atlanta, GA • 7/25 78. Omaha, NE • 7/25 79. TBA, NY • 7/25 80. Charlotte, NC • 7/26 81. Salem, VA • 7/27 82. Eau Claire, WI • 7/27 83. Charleston, WV • 7/27 84. South Lyon, MI • 7/27 85. Sevierville, TN • 7/27 86. Richmond, KY • 7/28 87. Madison, WI • 7/28 88. Belding, MI • 7/29 89. Warrenton, VA • 7/29 90. Centerville, OH • 7/29 91. Columbus, OH • 7/30 92. Greendale, WI • 7/30 93. West Chester, PA • 7/30 94. Dubuque, IA • 7/31 95. TBA, MI • 7/31 96. Lawrence, MA • 7/31 97. Allentown, PA • 7/31 98. Allentown, PA • 8/1 99. Clifton, NJ • 8/2 100. Buffalo, NY • 8/2 101. Dayton, OH • 8/2 102. Massillon, OH • 8/3 103. Toledo, OH • 8/3

Michigan City, IN Open Class Quarterfinals • 8/4

Indianapolis, IN Individual & Ensemble Competition • 8/5 World Class Quarterfinals • 8/6 Open Class Semifinals • 8/7 World Class Semifinals • 8/7 Open Class Finals • 8/8 World Class Finals • 8/8 Tour events highlighted in red are DCI Premier Events.

Events and dates subject to change.

For tickets & additional info, visit: www.DCI.org

DRUM CORPS INTERNATIONAL IS THE WORLD LEADER IN PRODUCING EVENTS FOR THE WORLD’S MOST ELITE AND EXCLUSIVE MARCHING ENSEMBLES FOR STUDENT MUSICIANS AND PERFORMERS .

By Elizabeth Geli

Photos courtesy of Get a Life Marching Band

You can travel the country, see the president, entertain and make a difference … all as a member of a community marching band. The Portland-based Get a Life Marching Band is only one of many all-age groups that has a made a name for itself around the country, simply by continuing to perform and by having fun.

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he marching band fun doesn’t have to stop … ever! Even if your band doesn’t have an active alumni group, all-age and community marching ensembles such as the Portland-based Get a Life (GAL) Marching Band are springing up to fill the void and keeping people involved in the marching arts for as long as possible. Halftime Magazine chatted with Bob Pulido and John Lind, co-founders of GAL, about how they started and where they’re going.

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Halftime: How did GAL get started?

Pulido: A friend of mine started an all-adult band in the ’80s, the One More Time Band. I played in that band for 15 years, and then I started my own band. I wanted to play rock and roll and funky music on the march.

Lind: The One More Time Band just did three big events within a week of each other. People wanted to put something together in order to do summer

parades and do something beyond the shorter time range. One of the guys came up with the name “Get a Life.”

Halftime: What kind of performances and events do you do?

Pulido: We started out doing seven to eight parades around Portland, and now we’ve made it nationally. This little band that I started has just snowballed, and it got big, like our waistlines.

Lind: We’ve done some major road trips, one or two a year. This year we were invited to play the presidential inaugural parade in Washington, D.C., and we were the only band from Oregon to do that. Just recently we came back from San Francisco for the Chinese New Year Parade and won first place in the adult marching band division.

Halftime: Where do you get your funding or resources?

Lind: Initially we had a corporation donate $6,000 to us. And we used that to find drums, and from that point on, people brought their own instruments, and that’s how we kind of got started.

Halftime: Who are the members of GAL? What have they done in the past?

Lind: All kinds of different walks of life.

Typically they’re former high school or college students that have played recently or haven’t played in years and decided to pick up the instrument again. We have people who are professionals, engineers, a mayor of a city that is a tuba player in our band. We mainly have adults over the age of 18, mostly baby boomers, but all age ranges.

Halftime: Are there auditions or experience required?

Lind: We’re a non-exclusive group; the concept is that the only people we audition are dancers and twirlers. If they struggle, then we’ll put them in a training group to get them up to speed.

Pulido: They gotta have at least some high school or college experience, but as long as they can play.

Halftime: What are the goals and philosophies of GAL? Lind: Have fun first. Make sure the audience gets really entertained by us. As we give to them, they give back. It’s been the most rewarding thing to see people smiling and having a great time. We keep the audience in mind when we’re picking the music and deciding what we’re going to do.

Halftime: What is your favorite memory from GAL? Pulido: Disneyland and the King William parade in San Antonio, Texas. We played,

and they couldn’t even hear us because it was so loud; there was that much cheering.

And we just did the Gasparilla Parade in Florida; I got flashed at like eight times.

It brought my youth back; it was like a Mardi Gras.

Halftime: To what do you attribute the band’s success?

Lind: Hard work, dedication by the codirectors and really knowing the focus of where we want to take the band, what kind of music we want to play, who our audience is and where we do fit in and where we don’t.

Pulido: Every year we have a banner with these little mottos on it. For example: “We’re old and slow, but we still can play.” I make fun of our band, but we sound good. We’ve got age. Nothing but having fun in your getting-older days; that’s what GAL is all about.

Halftime: How and where do you see GAL growing and going?

Pulido: We did all the big stuff that bands can do. I’d like to start a band in Southern California, San Antonio and Seattle.

Lind: We are looking at where we can partner with other community organizations to help grow their events, to maybe do more standstills along with parades.

For the first time, we’re applying for non-profit status, which will allow us to go after grants. We’re partnering with NAMM, and some of our band members will be involved in flying to New York to help the Wanna Play Music Week.

Halftime: Where do you think all-age groups fit into the world of the marching arts?

Lind: If anything I see our band being an encourager of band directors in small communities to help tell their students that they can be like us. We see these kids in our high schools get really excited about seeing us perform. We played a parade in Vernonia, [Ore.,] which is one of those areas where the high school went underwater due to flooding and was out of business for a while. We played in their town along with the high school band and helped give them a bigger sound.

Halftime: What have you gained or learned from GAL? Pulido: What I’ve gained is 14 years of just having fun, doing it my way and looking at the reaction of the people.

We’ve caught other people’s eye with this band. It’s the look, the sound, having fun.

Every place we go, we have great parties afterwards. … I know I’m getting older now; next year I’ll be 60, but people would never know.

Lind: Two people can make a difference.

A crazy idea like starting a marching band can actually happen; we believed in it. Overall I think we’re on top of it and keep abreast of the trends in the marching band activity. I really love the marching band, and it’s a lot of fun. We have as much fun playing for the people as they enjoy watching us. Our music is contagious.

About the Author Elizabeth Geli is an editorial intern at Halftime Magazine. She is currently a senior majoring in print journalism at the University of Southern California. She began playing flute 11 years ago in her hometown of Placentia, Calif. Now she plays in the USC Trojan Marching Band and has supported the teams at four Rose Bowls, the NCAA basketball tournament and as many other games as possible.

She also serves as the band librarian.

May/June 2009 43

Behind the Baton

By Jenna Lewis

Photos by Sarah Lewis

Being a drum major involves a lot more than conducting music; it involves the ability to provide parentlike guidance and support.

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s my arms stretch out into the conducting position ready to strike that first attack, I gaze into the faces of 37 inexperienced, untried, untested and anxious musicians. At that very moment, they are looking intently at me as well.

They are looking for far more than a tempo; they are looking for guidance, support and pride.

When I went into our very first practice of the season, I knew that I was entirely prepared to be the drum major. After all, I had the privilege of attending numerous leadership sessions, drum major camps and musical events. I also had the inspiration of my older sister who was the drum major

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of the group three years prior. Conducting in front of bedroom mirrors for years, marching as a first clarinetist since I was in the sixth grade, attending the George N. Parks Drum Major Academy twice—all of this must have completely prepared me for this endeavor.

At that moment, however, I realized I had never been more wrong. My band didn’t need someone with musical ability; they just needed someone who cared.

Maturing Together Not only did we start the season with a very small band, but we were also very young.

Out of the 38 of us, the vast majority were

freshmen and sophomores. I was the only senior. This influx of unfamiliar youth made teaching all the more difficult.

I didn’t even know these members’ names, let alone how to lead them.

I then discovered my advantage. Because of the small program, I knew all of their names and nicknames by the conclusion of the second practice.

As the season progressed, walls came down. I wanted to be a part of each of their lives, and they welcomed my friendship.

We learned how to accent their strengths and balance their weaknesses, both on and off the field. The environment we had created allowed me to compose a unique

and intimate relationship with every musician in the band.

With each practice and performance, the band developed and the members matured. After many years of valiant efforts, we finally broke into the top 25 at the Indiana State Fair, placing 22nd.

We marched into the fall season with uncertain expectations as it was thought that we had our prime performance at the State Fair. Amazingly enough, my band proved me wrong once again.

Unbelievably, we finished first at many of the same contests where we had previously placed last.

Parental Pride

At the conclusion of our marching season, my assistant drum major and I (we had met in 7th grade band, become best friends and now have dated for more than a year and a half) found ourselves radiating a sort of parental pride.

We did not create the band, but we felt very privileged to have guided the members in their development throughout the season. The members knew that if they needed a band-aid or to talk about personal feelings to seek me out. They also knew that if they wanted to learn a specific skill, their assistant drum major would be of more help; or that if they did something flat-out stupid, he would be the first to yell. If we were both either disappointed or angry, watch out!

Most importantly, though, they knew that we were very proud of them; we would help them however we could; and we cared about each and every one of them.

Many of our band students deal with difficult situations in their own homes.

This is why the caring relationships that had been formed were so key to the members’ musical and personal successes.

To these students, band is far more than a hobby or even a passion. It is a release.

It is a supportive family and an environment where they can be successful. Band is where they learn confidence, poise and discipline.

Surprise Gift When the Christmas season rolled around, I recalled all of the issues that I had discovered since the summer. Who better to reward the band members for their successes than Santa Claus?

At this special time of the year, they needed a small reminder of how special they were. So when they came into band class the final day before Christmas break,

they found the band room transformed into a winter wonderland.

Under the twinkling Christmas lights, dozens of fresh, decorated cookies awaited them. We socialized, played games and were merry. At the conclusion of the party, each student received a goody bag filled with candy, special ornaments and various other Christmas surprises.

However, most of the students found the most notable component of the whole ordeal to be the individualized card and note they received. Each note highlighted the person’s strengths, passed on a small bit of wisdom for the future and was signed by Santa.

The magic in their eyes made every bit of work seem infinitesimal and worth-

while. It was a small token to exhibit to them how much they are cared for.

Leading a small band provides its own distinctive challenges yet provides numerous exclusive rewards. I wholeheartedly hope that I have taught the fine musicians of the Cloverdale Emerald Command a fraction of what they have taught me.

When you are a drum major, you are far more than a “field commander.” You are a teacher, a mentor, a friend, a support system, a true leader and so many other roles.

My wish for the future is that young musicians throughout the world continue to live by the life lessons of music and strive to reach their highest level of success.

About the Author Jenna Lewis is the drum major of the Cloverdale (Ind.) High School Emerald Command.

She was also a drum major in the 2008 Capital One Bowl All-American Halftime Show.

Jenna is a senior and has played the clarinet since 5th grade as well as learned numerous other woodwind instruments. She plans to attend the University of Indianapolis next fall as a physical therapy major and to continue her music career.

May/June 2009 45

Fitness to the MAx

by Karen Jashinsky

Passing Over the Carbs?

Contrary to some popular fad diets, carbohydrates are not as evil as you think.

P Karen Jashinsky is the founder of O2 MAX, a youth fitness company that teaches youth how to integrate fitness and nutrition into their day-to-day lives. Karen is a Certified Fitness Trainer and the recent recipient of the first “Emerging Female Leader” Award

by IHRSA, the fitness industry’s professional organization.

O2 MAX also operates a fitness training studio in Santa Monica, Calif. For more information, visit www.o2maxfitness.com.

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assover is an annual holiday that took place in April this year. For Jewish people this means no leavened bread for eight days—or as many might say, no carbs.

My biggest challenge during Passover (aside from not eating my favorite cake) is not having my turkey bagel sandwich on long bike rides. My alternative is matzah, which isn’t the same.

It lacks any fiber and does not fill me up for nearly as long.

How Carbs Work Some popular diets—such as the original Atkins diet—treat carbohydrates as if they are the devil, causing body fat and excess weight. It is helpful to understand why your body needs carbs. No matter what sport you play, carbs provide energy for muscles.

Carbs are broken into smaller sugars (glucose) that get absorbed and used as energy. Any glucose not needed right away gets stored in the muscles and liver as glycogen. Once these glycogen stores are filled up, any extra gets stored as fat.

Glycogen provides energy during the first few minutes of sports and is needed for any short, intense workout from sprinting to weight lifting. During long, slow exercise, such as walking, fat can help fuel activity, but glycogen is still needed to help break down the fat for the muscles to use.

You should also eat enough carbs, so that protein does not get used as energy.

You need protein to help build muscles, bone, skin, hair and other tissues.

Simple and Complex Carbohydrates are divided into simple and complex forms. Simple sugars found in fruit are absorbed and converted to energy very quickly.

Complex carbohydrates such as breads, rice and pasta take longer to digest and don’t provide immediate sources of energy.

If you do at least 60 minutes of highintensity exercise, starch is probably the most important energy source in your diet. During exercise and afterward, you will want to replenish some carbs.

You will often see cyclists using gel packets or energy drinks that are easy to take on the road.

Bottom line: Limiting your carb intake, in many cases, will do more harm than good. Instead, think of food—especially carbs—as fuel.

Most of your carbs should come from whole grains, fruits and veggies.

For me, Passover is a good time to stop eating refined sugars and get back to eating more wholesome, natural foods. Passover cake isn’t that great anyway!

This article originally appeared in a longer format in the Santa Monica Daily Press.

Host a USSBA Event at Your School in ’09 See usbands.org for Details

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610.821.0345 ext 20

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Across 1. Movie ticket price option 6. Electric guitar hookups 10. Z4 M roadster and X6 SUV, for example 14. Like some opposites 15. Italian currency before the euro 16. Genuine 17. “Manic Monday” band with Debbi Peterson at the drums (2 words) 19. Confederate 20. What kids may bang on pots and pans to pretend they’re drumming 21. Bring to mind 22. Summer month (abbrev.)

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played in Prince’s band (2 words) 30. The Big Apple, for short 32. Blasting stuff 33. Catches a wave 34. T-bone, for instance 36. Duo whose drummer Meg was married to singer Jack (3 words) 42. No longer on the plate 43. “I love you,” in a Spanish Valentine’s Day card (2 words) 44. Great enthusiasm 47. Vegetable that rolls 48. “Are You Gonna Go My Way” singer Lenny whose band featured drummer Cindy Blackman 50. Mirror ___ 52. 2002, in Roman numerals 54. Opposite of NNW 55. G major 7, for instance

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56. Henry David Thoreau’s pond 59. Prefix that’s 1,000 times giga 60. Band that featured Hole drummer Samantha Maloney during its 2000-2001 tour (2 words) 64. Part of the eye 65. Museum offerings, in Italy 66. They’re marked with “E’s” on compasses 67. Clutter 68. Gave the go-ahead 69. Calendar boxes

Down 1. Apartment (abbrev.)

2. Outburst from Homer Simpson 3. Suffix after mod or nod 4. Places for scientific experiments 5. Group of drums and cymbals in a jazz band 6. “An Inconvenient Truth” author (2 words) 7. Winnie the Pooh creator A.A. 8. Introduces to the public 9. ___ in “saxophone” (2 words) 10. Cheer heard after a great performance 11. New York Giants right fielder who was nominated for the MLB All-Century Team (2 words) 12. Actor Christopher of the 2007 movie “Hairspray” 13. Most mischievous and clever 18. “___ creature was stirring ...” (2 words) 21. Microsoft encyclopedia whose website will end in 2009 22. Helper (abbrev.)

23. “I don’t think so” (hyph.)

24. Actor Richard of the 2002 musical “Chicago” 28. “___ Were a Movie” (Hannah Montana song) (2 words) 29. Like some pipes or Tetris pieces (hyph.)

31. “Are we there ___?”

34. Member of Congress (abbrev.)

35. Ukraine’s capital 37. Suffix with meteor 38. Quality that helps make a successful group or band 39. Mexico or Chile, for example, in Spanish 40. Accident responders (abbrev.)

41. “The Usual Suspects” villain Keyser ___ 44. Murder mystery figure 45. Roll call response from someone who just arrived (2 words) 46. Native New Zealanders 48. Ruined, as an appetite 49. Theme park attraction 51. AstroTurf alternative 53. Photograph finish 57. Got a good look at 58. March Madness organization 60. Chinese revolutionary leader, familiarly 61. Letters after Q 62. University of Utah athlete 63. Double curve Solution For the solution to this crossword puzzle, go to Halftime Magazine’s website at www.halftimemag.com.

Click on “Current Issue,” then “For Fun.”

About the Author Matt Jones is a 1998 graduate of Willamette University in Salem, Ore., where he majored in music education. Since 1994, he has also written crosswords for venues such as The New York Times, Games Magazine and Stagebill.

He currently writes a syndicated weekly puzzle for more than 50 alternative newspapers across the country.

THE DETROIT PISTONS DRUMLINE DEPENDS ON YAMAHA. “Our goal is to get the crowd in the Palace of Auburn Hills to reach a high level of energy when the team needs it the most. We achieve this through our aggressive performance style, demanding the finest in instrument quality.

Yamaha has long been known for attention to detail in producing musical instruments that are of the highest quality allowing our members to perform to their fullest potential at each and every game.”

- Todd Ohme, Director - Jon Weber, Artistic Director

QUALITY

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SUPPORT

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VALUE

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PROFESSIONALISM

©2009 Yamaha Corporation of America. All rights reserved • www.yamaha.com • Photo courtesy of Allen Einstein Photography