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March/April 2011

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Volume 5, Issue 2 www.halftimemag.com $4.95

Guard Fashion What’s hot, what’s not, and what’s next?

Spring Festivals Basketball Band Plus: Q&A with Pulse Percussion

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$5.95 Canada

ISSN 1939-6171


OnBoard Transport Carts In step with today’s marching programs. ®

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Drum Major Podium


LIVE EVENTS Educational Camps Shawn Glyde Drum School

Fresno, CA: June 20–25 Colorguard USA Camp

Chino, CA: June 27–July 2

The Blue Devils: 14-time World Champions

Snare Drum Camp / Leadership Camp

Riverside, CA: June 30–July 2 Marching Band Skills Camp

Minneapolis, MN: July 14–16

Show Day with The Blue Devils

Murfreesboro, TN: July 30

PRODUCTS PUBLISHING NEW Marching Brass Instruments Drum Sticks and Mallets / Practice Pads Marching Shoes / Accessories

Marching Band Materials / Percussion Ensembles Brass Technique / Books and DVDs

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Volume 5, Issue 2 March/April 2011 ISSN 1939-6171 ®

Publisher & Editor-in-Chief Christine Ngeo Katzman christine@halftimemag.com (310) 594-0050

Art Director Jana Rade, impact studios

Editorial Assistant Elizabeth Geli

Editorial Interns Jeremy Chen and Lydia Ness

COVER PHOTO Dan Scafidi, courtesy of WGI Sport of the Arts

Contributing Writers Lane Armey, Chris Casteel, Mary Karen Clardy, Haley Greenwald-Gonella, Sara Hodon, Matt Jones, Stephon Moore, Chase Sanborn

Contributing Photographers Jen Bowen Blackwell, Ryan Cain/Marching.com, Philomena Duffy, Chris Langschultz, Dan Scafidi, Sonrisa Photography

Web Developers Mike McCullen and Jeff Grant Integrated Communications

Advisory Board Dr. Arthur C. Bartner, University of Southern California Trojan Marching Band Tony Fox, University of Southern California 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

Chief Technology Officer Joshua Katzman

Logo Designer Timothy Watters, Teruo Artistry Halftime Magazine is published by Muse Media, LLC P.O. Box 428738, Cincinnati, OH 45242 Phone: 310-594-0050 Fax: 310-390-5351 Website: www.halftimemag.com

Subscriptions: Halftime Magazine is published six times per year. In the United States, individual subscription price is $14.95 per year, and group subscription price is $9.95 with a minimum of 10 copies. Cover price is $4.95. Printed by Royle Printing Company in Sun Prairie, Wis. 2

I

’m on a quest to buy a piano and thus embarking on the bigger and more important journey of music education for my kids. As neither my husband nor I are piano virtuosos, buying one is a little overwhelming. I recently read an article that said there are about 12,500 brands of pianos. Not to mention the different model numbers made by each brand. Although we pretty quickly created our short list, there are still many other decisions—new or used, private sale or dealer, and do we go slightly above our desired price point to get a better instrument? Eventually, I know that the most important element is sound and playability. I’ve heard numerous “horror” stories of how kids who start on old klunker pianos give up due to frustration. You can’t make an instrument sound good if the instrument itself doesn’t sound good. And I definitely don’t want that to happen. As you can tell, I’m filled with anxiety. But I think my anxiousness doesn’t involve the actual piano. I really want music to be a source of enjoyment for my children and not a chore. I want them to love

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it, to stick with it, to practice because they want to. And even if piano doesn’t become their primary instrument, it creates a good foundation toward formal music education. Well, I don’t have to tell any of you about the importance of music education. Every word in this magazine by every director and every student is a testament to its value. And I’m sure you feel it in your heart just as much as they do. From its ability to excite a crowd (read about basketball bands in “March Madness,” page 14) to its way of helping us build friendships and create cultural exchanges (read “Spring Fling,” page 26), music has a powerful impact on almost every aspect of our lives. As for me and my kids, we plan to start slow; we’ll tinker around for a few months before getting formal lessons. And hopefully, cross my fingers, performing music will be a big part of their lives for years and years to come. Musically Yours, Christine Ngeo Katzman Publisher and Editor-in-Chief

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Music that inspires the country Service that protects it

Music Enlistment Option Program..There are few truly great career options; serving as a Marine Corps Musician is one of them. If you have what it takes to become both a Marine and a Marine musician, you will play at some of the world’s most honored events. Precision, discipline, and honor will be represented in every note you play. And as a Marine, you will distinguish yourself from the rest. To schedule an audition, call 1 800 MARINES or visit MARINES.COM.

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Features Even though many differences exist in how basketball pep bands operate, they have a common desire to pump up the crowds and cheer on their teams. Directors and students at leading basketball schools share how they hoop it up for the love of the game. By Lydia Ness

In Fashion? .. . . . . . . . . . . . . . . . . . . 18 In guard fashion, one day it’s in, and the next it’s out. Halftime Magazine spoke to 12 different designers, companies and instructors to find out what’s hot, what’s not and what’s next. By Elizabeth Geli

Photo courtesy of Festival Disney.

March Madness. . . . . . . . . . . . . . . . . 14

Spring Fling. . . . . . . . . . . . . . . . . . . 26 Participating in a spring festival not only provides educational and musical learning opportunities but also allows new friendships to form and strengthens existing bonds within the bands. Band directors and students look to the festival organizers to help them create a fun, stress-free and memorable atmosphere. By Sara Hodon

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Web Exclusives

Departments

Shooting Guard: A Photo Essay • Traveling Efficiently • Thoughts on Starting a Drum Movie in Pre-Production; Super Bowl Super Bands; DCI Rules and Systems Task Force; “Today Show” Host Joins High School Band Line Sectionals. . . . . . . . . . . . . . . . . . . . . 10 • And More ... Prep for Auditions; Keep It Clean for Brass; Eight-on-a-

Publisher’s Letter. . . . . . . . . . . . . . . 2 Noteworthy. . . . . . . . . . . . . . . . . . . . 6 2011 Honda Battle of the Bands Wrap-Up; “The Sound of Perfection”

Read these stories and more exclusively at www.halftimemag.com/articles/web-exclusives/index.html

Hand for Percussion; Keep It Warm for Guard

Gear Up. . . . . . . . . . . . . . . . . . . . . . . . 12 NAMM Best in Show: “What Music Means to Me” Book; iKlip Universal Microphone Stand Adapter for iPad; HingeStix Practice Drumsticks

Regionals. . . . . . . . . . . . . . . . . . . . . . Calendar of events organized by region Direct From. . . . . . . . . . . . . . . . . . . . Pulse Percussion Behind the Baton. . . . . . . . . . . . . . . In the Middle of It All Fitness to the Max. . . . . . . . . . . . . Proper Posture For Fun. . . . . . . . . . . . . . . . . . . . . . . . If Marching Bands Took Over the NBA … Follow us on Twitter

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Next Issue • 2011 WGI Guard and Percussion Winners • Functional Fitness Training • Improving Visuals • And More ...


By Elizabeth Geli

2011 Honda Battle of the Bands Wrap-Up Eight of the top Historically Black College and University marching bands played for nearly 60,000 fans at the 9th annual Honda Battle of the Bands (HBOB) Invitational Showcase at the Georgia Dome in Atlanta this past January.

Photo of Clark Atlanta University, courtesy of the Honda Battle of the Bands.

Photo of South Carolina State University, courtesy of the Honda Battle of the Bands.

“It’s amazing to be on site and see the impact this event has on the kids that participate,” says Erika Braxton-White of Honda corporate affairs and communications. “The showcase is for entertainment, but the kids walk away with an experience that they will hold dear for the rest of their lives.” The participating bands—Albany State, Bethune-Cookman, Clark Atlanta, Jackson State, Tennessee State, Virginia State, Winston-Salem State and first-timer South Carolina State— were selected by three equally weighted polls of HBCU presidents, band directors and online fans. “South Carolina State University was the only band in the showcase with their first presentation, and they did a phenomenal job,” Braxton-White says. “All the schools agreed that they did a great job and earned their place in the showcase.” All eight bands joined together for a performance of film music for this year’s theme, “Hollywood Nights.” The event also included a performance by hip-hop artist Bow Wow. Honda awarded each showcase band with a $20,000 grant and each participating Celebration Tour (the HBOB’s prequalifying event) band with $1,000. While no concrete plans have been made, BraxtonWhite and American Honda are looking forward to the 10th anniversary event next year. “We’re going to have some surprises, and it might be different,” Braxton-White says. “This is a program that Honda is committed to, and we’d like to see it go on for as long as we can.” 6

“The Sound of Perfection” Movie in Pre-Production By Christine Ngeo Katzman David Yarbrough is a man with a vision—to produce a blockbuster feature movie, titled “The Sound of Perfection,” that will benefit music education. “I’m fighting for this movie not only for great entertainment but also to raise the profile of how important music is in our world,” Yarbrough says. “It should not be something so easily cut from our budget.” To achieve this goal, Yarbrough and co-producer David Slaughter plan to fill the film with cameo appearances by an A-list cast of popular singers as well as actors who have publicly made music a part of their lives. With the film’s potential success, Yarbrough says he would like to create a foundation to assist schools, educators and students with a variety of musical needs. “The Sound of Perfection” is based on the true story of Bob Barr and how he inspired students at Jordan Vocational High School in Columbus, Ga., in the 1950s. “The students are dirt poor, can barely read music and left to play mostly junk store instruments,” reads the story synopsis. “But within just a few years, they beat the odds and become the ‘Red Jackets’, the number one marching/symphonic band in the nation in 1952. An astonishing feat considering the nearly insurmountable struggles Bob and these kids have to face. Most of the band members went on to excellent careers instead of dead-end jobs because of the selfesteem Bob and his wife, Annie, instilled in their hearts.” Yarbrough wrote the script, based on a 1991 Readers Digest article by Dick McMichael. He also interviewed numerous band alumni. “I could tell how deep these emotions ran for people toward Bob Barr and his wife, Annie,” Yarbrough says. Yarbrough himself has felt the benefits of music education as a piano student several years ago. However, he severely injured his hand in a work accident. “I nearly lost my hand and was never able to go back to the piano,” he says. “In those few short years, it gave me phenomenal insight to the amazing benefits of music and made me see music in a different way … respecting it, loving it. Music is the real magic in the world.” The film receives support from a number of music organizations including Music for All, NAMM and the National Band Association. “I’m reaching out to every music organization, every band organization, every teacher and getting them in on the ground floor of this,” Yarbrough says. “I’ve felt it’s critical. I want this film to be for all music teachers because I know that this story is repeated across the country every day.” You, too, can help this film become a reality, with a donation on the movie website, www.thesoundofperfection.com. Supporters who give as little as $25 will have their names appear in the film’s credits. So far, the website has raised more than $21,000 toward a goal of $150,000, which Yarbrough feels can be used to approach some of the A-list actors/singers. The film has a total budget of $14.5 million and will be shot in Georgia. “This film is about the legacy that music lays,” Yarbrough says. “For every student that takes music, that groundwork has been built, and it’s a legacy that allows these people to go onto more productive lives because of their ability to believe in themselves.”


Super Bowl Super Bands Professional football’s biggest event once again showcased marching bands. The Super Bowl halftime show performed by The Black Eyed Peas featured members of the Prairie View A&M University Marching Storm, and a Chevrolet commercial featured the Cajon High School band from San Bernardino, Calif. “It’s the biggest stage and biggest venue that a band could play for,” says Dr. William F. McQueen III, head band director at Prairie View. “The Super Bowl is seen across the country and around the world by hundreds of millions of viewers. This platform affords Prairie View A&M University and The Marching Storm the opportunity to be viewed by high school students across America.” Former Prairie View drum major and actor/dancer/choreographer Jimmy R.O. Smith worked on the show and sixty band members traveled to Arlington, Texas, to perform.

Photo courtesy of the Prairie View A&M University Marching Storm.

Next up for Prairie View: A performance with pop music duo Sleigh Bells at the mtvU Woodie Awards on March 16. In other Super Bowl news, 16 members of the Cajon band appeared in a Chevrolet commercial filmed over two long days at a dealership where the character “Bumblebee” from the “Transformers” films makes an appearance, thanks to CGI effects. “It was repetitive but fun, actually doing the running and pretending there was an actual robot there,” says Sebastian Fernandez, a senior baritone sax player. “We just pretended Bumblebee was there, and they told us what to do.” The students were interviewed and chosen by casting directors. Due to strict child labor regulations, the participating students could have no grades lower than a “C” and had to open child actor savings accounts to receive payment. Fernandez plans to reward himself with an iPod but save the rest for college. “It was a very fun experience, and it felt like a once-in-a-lifetime chance to be on the TV—for the Super Bowl especially,” he says.

DCI Rules and Systems Task Force Drum Corps International held its annual meeting in January. Two rule proposals were unanimously approved: the addition of vocal performance categories at the individual and ensemble competition and the ability for corps director to control their soundboards remotely from the stands. A third proposal, the addition of an entertainment effect caption along with other experimental judging systems being looked at by the Rules and Systems Task Force, led by Artistic Director Michael J. Cesario, will be tested this summer. “It’s part of a refreshing revitalization—it was just about time,” Cesario says. “It’s always good to make sure what you do doesn’t fall behind. We want to make sure we’re constantly in a state of examining it and doing right by our membership and audience.” The committee plans to make formal recommendations by next January’s meeting, Cesario says. “What we want is that when all is said and done, it’s clear to understand why who won, won—and that [scoring sheets] are easy to read and use and more welcoming to potential judges.” This summer, the task force will run invisible trials of several new scoring sheets alongside the current system and will publicly test a new system at the Tour of Champions events. “There’s going to be a lot of intriguing things going on,” Cesario says. “We should have a good idea of what’s working and not working.” Cesario doesn’t predict a complete overhaul but is anticipating some significant changes and an evolved vocabulary to help judges know what to look for and how to weight it and to help make show designer’s jobs easier. “We’re very optimistic about our ability to find something that covers all the needs but gives us a different approach,” he says. March/April 2011 7


NAMM SchoolJam USA Some of the nation’s top teen bands include marching band students. NAMM’s SchoolJam USA competition rewards the best teen music group along with their school’s music program. “NAMM believes that kids who study music in school do better in school and in life,” says Scott Robertson, NAMM’s director of marketing and communications. Starting in August, bands submitted their songs online, and 48 bands moved onto the semi-finals stage, with 10 advancing to finals. Finalists performed during the NAMM show in Anaheim, Calif., on Jan. 15 and were judged by a guest panel including Stan Freese, talent and booking director with Disney. The winner received a trip to Germany for the SchoolJam festival, $1,000 in cash and $5,000 for the school music program. Some of the finalist groups include students that also participate in their school’s marching band. “Marching band and being in a concert or school band, you read music and learn skills you can bring into other music that you play,” says Brennon Trant, lead vocalist and drummer for the rock band Uprising from Raceland, La., and a trombone player in Central Lafourche High School Band. Ska group Orpheus trumpet player Adam Fulwiler. “[Marching band] helped me by teaching me how to play as a team and not by yourself,” says Fulwiler, who marches at West De Pere (Wis.) High School. “You learn how to keep time and internalize the music and the beat.” Although there are no marching groups in the final stages of the competition, Robertson encourages them to try out in the future. “While most of the bands are in the rock genre, the competition is about music making of all forms,” Robertson says. “Actually one good way to differentiate from a field of similar competitors would be to do something entirely different.”

Ultimate Music Room Makeover Band director Doug Brown and his students at William Campbell Combined School in Naruna, Va., received the “Ultimate Music Room Makeover,” thanks to an essay contest sponsored by In Tune Monthly magazine and MENC: The National Association for Music Education. “It was amazing; I never really believed it was true until the prizes started coming in,” Brown says. Brown submitted an essay about how outsourcing had negatively impacted the former factory community and left many local families struggling. He also included some writing from students about what winning the contest would mean to them. “The kids already feel a sense of accomplishment on winning the essay,” Brown says. “It changes the way they play because they have a lot more confidence. We also have more quality instruments in the band room, so it helps the overall sound, and it gives a sense of accomplishment and sense of worth for the band program.” The “Pride of the Southside” band received $40,000 in musical instruments, software, recording equipment and performance gear from contest sponsors Buffet Crampon, Notion, Pearl, Peavey, Pro-Mark, PRS, Roland, Shure, Woodwind & Brasswind, Yamaha and Zildjian. “Getting those instruments in the students’ hands is like Christmas morning,” Brown says. “We all remember the first time we got our first really nice instrument, and when you get to give that to someone else, it’s just great.”

“Today Show” Host Joins High School Band

Photo by Chris Langschultz from Bergenfield (N.J.) High School.

Ann Curry, host of NBC’s “Today Show,” played a stint with the Bergenfield (N.J.) High School Band as part of a special “Have You Ever” segment in which the hosts do something they’ve always dreamed of. “She mentioned that she values music a lot for her own children but never got an opportunity to experience it herself,” says Brian Timmons, director of bands and district music coordinator at Bergenfield. Curry spent about five hours with the students, learning all about marching band, in their gymnasium. After trying out several different instruments, she decided to play the bass drum. “Ann was really warm and dealt with the kids very positively—she was excited to have them working with her,” Timmons says. “They all came away from the experience commenting how genuine and warm she was.” Then a week later, on Jan. 20, 2011, the band members had a 4:30 a.m. call time to go to New York, where they did a singing-only run-through and then ate breakfast in the “Saturday Night Live” soundstage. For their performance with Curry, they did a parade formation through Rockefeller Plaza and crammed the entire band into the “Today Show” studio. “They really liked us, and on a whim, asked us to be part of the next segment as well,” Timmons says. “We really quickly restaged in Rockefeller Plaza in the parade block and played our school fight song. It was really at an incredible fast pace, and the kids were great about reacting and doing what they had to do with no prep time.” After her performance with the band, Curry glowed with appreciation. “I really want to thank all the young people at Bergenfield High School because what they really did was they showed me that being in a band is so cool,” she said on the “Today Show.” “There’s a kind of feeling that you’re in something, that you’re all working towards a similar mission, and it’s so comforting actually; it’s a great, great thing. And actually kids who go to band, they do better on their SATs; it’s a terrific thing for your kid to do.” The Bergenfield band is no stranger to showbiz, recently appearing in two major motion pictures: “The Bounty Hunter” and “Tower Heist,” premiering in November. “We were just happy to have nine minutes of music education on prime morning television, broadcast live around the world,” Timmons says. “It was great highlighting our program, but it did a great job of highlighting the marching band activity in general, and I hope it is good for all the marching band programs in the country.”


Prep for Auditions By Mary Karen Clardy Success in auditions requires preparation, practice and experience. These suggestions will organize your practice time and help you develop confidence before your next audition.

Study

Sessions.

When audition material is announced, study the score and determine the key and time signature. Practice the appropriate scale and arpeggio in various rhythms, articulations or patterns to prepare for technical challenges ahead. Systematic practice develops skill, so approach practice like studying for a history exam, with short sessions to master technical issues, develop phrasing and build endurance. Take breaks to maintain concentration and avoid physical tension and fatigue. Subdivide and Conquer. Confirm the audition date and mark it on a calendar, dividing the available days/weeks into practice units. Organize the audition material into small units, and mark the calendar with unit/day for learning. Use the metronome, organizing tempo goals and keeping a written record of progress. To maintain technical control and develop virtuosity in fast etudes, remember to practice slowly. Record your practice daily and listen back with the score available, marking inaccurate notes and rhythms. Listen for tone quality, intonation and musical phrasing. Record again, correcting inconsistencies or errors, then listen again to the improvements. The Final Countdown. Organize mock auditions for teachers, friends and family several days before the actual audition. Create an environment like the audition day, with variables such as morning or afternoon, small or large classroom, single performer or large group, etc. On the audition day, remember to get up early and have a good breakfast, with protein and fruit to prepare the mind and body to perform well. Deep breathing and mental focus exercises help maintain concentration. With this approach to auditions, the day will be a great success!

About the Author Mary Karen Clardy, professor of flute at the University of North Texas in Denton, appears as a soloist, chamber artist and teacher throughout the United States, Canada, Mexico, Europe, Asia and South America. A renowned author, Mary has published more than 10 books from European American Music, Leduc, Schott and Universal Edition. Her students are consistent prizewinners in international competitions and occupy prominent orchestral and faculty positions throughout the world. Visit www.mkclardy.com.

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brass

winds

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

Keep It Clean By Chase Sanborn Can you imagine eating with the same cutlery day after day without ever washing it? OK then.

Improve

Hygiene.

What about your mouthpiece? How long has it been since you washed it? If you are like many brass players, you stick it in the case when you are done, then take it out the next day and place it on your mouth, oblivious of the bacteria or contaminants that have taken up residence. Get in the habit of washing your mouthpiece at least once a day, perhaps when you brush your teeth in the morning. It will take you about 15 seconds, and it is time well spent. How about your horn? For the first year or two that I played trumpet, nobody told me about cleaning it out. When I finally did get it into the bathtub, the amount of sludge that flowed out was disgusting. Don’t let yours get to that point! My repairman, Ron Partch, uses a fiber optic camera to view the inside of the instrument. If anything will convince you to improve your cleaning habits, it’s a video tour of your horn! (I’ve told Ron he should sell DVDs.) Washing your horn once a week would be a great habit to get into, but even if you do it once a month, you are probably still better than average. A flexible wire brush is designed to go through the tubes. Maintain Performance. Hygiene aside, keeping your equipment clean will improve both the performance and longevity of your instrument. When comparing trumpet bore sizes, .459” is considered medium-large while .462” is considered large. This gives you an idea of the tolerances involved. How big is that piece of last week’s cheeseburger lodged in the crook of your tuning slide? Over time, calcium and other deposits can collect inside your instrument. Once deposits have accumulated and hardened, they are difficult to remove. Regular cleaning flushes out these deposits before they become semi-permanent fixtures. With each cleaning, freshly oil and grease valves and slides to keep your instrument in top operating condition. Need I say more? Just do it!

About the Author Chase Sanborn is a jazz trumpet player based in Toronto. He is on the faculty at the University of Toronto and is the author of “Brass Tactics,” “Jazz Tactics,” “Tuning Tactics” and “Music Business Tactics.” Chase is a Yamaha Artist. Visit his website at www.chasesanborn.com.


By Lane Armey Eight-on-a-hand comes in various shapes and sizes but is universally the first exercise a drum line plays when warming up. The goal is simple: Stretch the muscles in the hands and arms, so the body is prepared for more complex rudiments and music. But while known as a great exercise to start the day, it’s also known as a total boring snooze-fest. Drummers let their minds wander while repeating the monotonous eighth notes. Use this checklist to make eight-on-a-hand more interesting and fun as well as make it work even harder for you in perfecting more than just loud eighth notes.

Dynamics

• Play the exercise at a range of heights from three inches to vertical. • Crescendo the eighth notes from three inches to vertical, and then do the opposite and decrescendo. • Mix it up with several different crescendos and decrescendos in the same exercise. Remember to keep it even, keep it in time and play with good sound quality throughout. • Add some “bucks”—or alternating accent and inner beats—to change the exercise from just a warm-up stretch to working your ability to hold down low notes after accents.

Sticking

• There’s no rule that eight-on-a-hand has to actually be … eight-on-a-hand. Try it in all 7’s. Or alternate 7-8-8-7. Great for marking time too. • Start with the left hand to really work that left hand sound quality and timing.

Rhythms

• Throw some triplets in the middle of a series of eighth notes to really freshen up the exercise. • Play one bar of eighth notes with the right hand, followed by a bar of alternating sixteenth notes, making sure the right hand stays consistent. With a little work, you can end the curse of boring eighton-a-hand and improve the efficiency of your warm-up at the same time.

About the Author Lane Armey is the battery percussion coordinator for Homestead High School in Cupertino, Calif. During the past 10 years, he has worked with various groups including Northwestern University and the Bluecoats Drum and Bugle Corps.

guard

percussion

Eight-ona-Hand

Keep it Warm By Chris Casteel

Depending where you live in the country, it may be the middle to end of winter guard season. Circuit championships are rapidly approaching, and the push to make your show the best it can possibly be is at a fever pitch. Because of this reality, it’s easy to overlook the warm-up block. Why would you need to spend time doing warm-ups that you could probably perform in your sleep anyways? Wouldn’t rehearsal time be better spent perfecting set entrances and exits, detailing the show and finetuning the choreography? When time is precious, it would seem that the warm-up is the one thing that can be skipped over in rehearsal. This could not be further from the truth! In fact, it is just the opposite! In this final segment of the season, it is so very important to keep it warm, both in body and equipment. Preventing Injury. Did you know that the majority of guard-related injuries occur late in the season? This fact is probably due to decreased or sacrificed warm-ups during this time. Anatomically, the action of stretching and motion during a warm-up increases the temperature in your muscles, allowing for greater extensibility and elasticity. This benefit will significantly decrease your chance of injury late in the season. Who really wants to spend the final performances on the gym bleachers due to a sprained ankle, wrist or even worse? Increasing Focus. Did you also know that a renewed commitment to efforts in the warm-up block could actually increase your success in the competition arena? Performers that spend time in a dedicated warm-up prior to entering a competitive atmosphere have greater focusing abilities toward the performance. Warm-ups create a mindset and a level of comfort that will inevitably help performers overcome the distractions of competition and focus on the task at hand. This benefit is also known as a competitive edge. Best wishes to all as the winter guard season comes to a close and … keep it warm.

About the Author Chris Casteel has been involved in the color guard activity since 1981 as a performer and an instructor. She has a master’s degree in education. She has instructed several medaling guards for the Winter Guard Association of Southern California (WGASC). Currently, Chris is an adjudicator for the Southern California Band and Orchestra Association and the WGASC as well as a guest adjudicator for many other circuits. She also holds the position of education coordinator for the WGASC.

March/April 2011 11


By Elizabeth Geli

iKlip Universal Microphone Stand Adapter for iPad

“What Music Means to Me” Book

NAMM, the International Music Products Association, held its annual tradeshow earlier this year in Anaheim, Calif. Here’s a look at three products that were selected as “Best In Show” by a panel of respected retailers and buyers.

A

t a time when remembering the value of music education is so important, photographer Richard Rejino has released the book “What Music Means to Me” to celebrate all music students and teachers. Rejino asked 44 musicians ranging from age 12 to mid70s to write essays about what music means to them and how it has changed their lives. He then photographed them in their own musical environments and put together this hardcover book. “I’ve just seen it time and time again—people look at the book and are moved,” Rejino says. “I don’t take any credit

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f you or your band is lucky enough to own an iPad, you’ve probably already started exploring the many different apps available to musicians. Now you can safely bring those apps into your rehearsals or performances with the iKlip, a universal microphone stand adapter that holds your iPad in place, so you can concentrate on playing. “Music students are using iPads to create music with, read music with, and now, march and perform live with,” says Starr Ackerman, U.S. public relations manager at IK Multimedia. “The iKlip is there to ensure safety measures for the iPad while functioning as a way to facilitate performance and practice in a mobile manner.” Made of durable but lightweight thermoplastic, the iKlip attaches to any microphone stand and can hold the iPad vertically or horizontally in many viewing angles. Students can use the iKlip and iPad to record, read music, adjust equipment settings or even do fun activities like karaoke. “Marching bands need to read music on the fly and while practicing in the music hall as well as creating, reading and practicing at home,” Ackerman says. With a price of $39.99, “the iKlip is something that is low-cost enough, so that music students may have several units if needed.” For more information, visit www.ikmultimedia.com.

HingeStix Pratice Drumsticks

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for that; I was just the facilitator. The real messengers are the people in the book. It’s their words, and having that message get out even more through this NAMM award is, to me, the most gratifying and nice thing about it.” The book also includes a DVD presentation of the contributors reading their essays aloud, set to a slideshow of the photographs. Rejino hopes both the book and DVD will help music teachers with recruiting and fundraising. “[This project] raises the public consciousness beyond what we know of the research that kids’ grades get better,” Rejino says. “The book highlights the intangible things music offers. It teaches you discipline, perseverance, sanctuary; it can heal a person.” “What Music Means to Me” is published by Hal Leonard. For more information on the book and Rejino’s ongoing project, visit http://ans71.midphase.com/~whatrej2/.

ovice drummers will inevitably hold their sticks incorrectly, and even the most advanced professionals can slip into bad habits—which is where HingeStix can help. HingeStix practice drumsticks have plastic pads on each side of the stick where drummers place their fingers. When they strike the drum, the stick moves freely. The hinge created by the plastic pads allows drummers to feel the rebound of the sticks, develop finger technique, hold the stick properly and feel the whipping motion of the Moeller technique. The pads may be unscrewed and adjusted into three different spots on the stick.

“Even professionals sometimes hold the sticks so tightly that their arms get sore or they start breaking equipment,” says Sam Ruttenberg, creator of HingeStix and percussion/ drum set artist, author and educator. “This stick creates an atmosphere where your playing becomes smoother, so that when you go back to your regular sticks, you can see how fast and smooth you can play.” Ruttenberg says that learning to hold the sticks looser is a big benefit of HingeStix. For marching percussionists, HingeStix helps those who play with matched grip and provides an easier transition to mallet percussion and timpani. “I’ve gotten feedback from people in every sector of drumming, and they like the idea that they can notice things they were doing in their right hand that they weren’t doing in their left,” Ruttenberg says. For more information, visit www.hingestix.com.


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Northeast WGI Guard Mar 5—Monmouth Junction, NJ—South Brunswick Regional Mar 19-20—Kingston, RI—Eastern Color Guard Championship

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By Lydia Ness

March Madnes

I

n colleges and high schools across the nation, basketball pep bands create a synergy with their crowds. The excitement roars as the fight songs are played, and traditional and modern pep tunes take turns inviting response from spectators of all ages.

Duke University Blue Devils With the strength of the Duke basketball program, winning four NCAA Division I championships including in 2010, the energy is constantly flowing, and the basketball band feeds off the excitement. “They’re watching Duke basketball,” says Jeffrey Au, director of Duke’s basketball band. “The entire arena is energized, so [the band members are] riding that wave and staying involved. They’re all huge basketball fans.” Like many basketball bands, Duke plays a mixed repertoire of traditional and more recent pep tunes, but Au says that the group tends to play more current songs such as “Everytime We Touch” by Cascada. “The level of support [basketball band] gives the teams is pretty impressive, and the fervor in which they support all the athletic teams is pretty high,” Au says. 14

Even though many differences exist in how basketball pep bands operate, they have a common desire to pump up the crowds and cheer on their teams. Directors and students at leading basketball schools share how they hoop it up for the love of the game.


Similarly, basketball is embedded in the way of life at the University of Kentucky (UK), a seven-time champion. “I think part of what makes us unique is the inherent draw of Kentucky basketball,” says Carl Collins, assistant director of bands and director of athletic bands. “The students want to be part of that. Also, we are positioned in the arena as part of ‘eRUPPtion Zone’ in the student section. It really gives the basketball band the opportunity to be involved in the game.” As an upperclassmen, junior music education major Jacob Williams enjoys the ability to go to every game. “At UK, basketball is such a part of the culture that I really don’t think you can experience being a UK student without going to a few UK basketball games,” Williams says. The basketball bands at UK are organized differently between the men’s and women’s games. For the men’s games, the members are divided into two different pep bands, a “blue” band and a “white” band of 60 to 75 players, and they alternate throughout the season.

Photo courtesy of the University of Kentucky Basketball Pep Band.

This way, everyone who wants to be in basketball pep band can be. “Now, the blue band, for example, doesn’t take up the entire space,” Collins says. “We usually have room for 10 or 12 more players. So we let the members sign up by seniority for the extra spots in the opposite band.” For the women’s games, the band is divided into four smaller bands of about 30 to 35 players. The bands are named after their Wildcat mascot: There is a “C” band, “A” band, “T” band and “S” band. The students usually end up playing for two or three of the women’s games, and they get paid. Similar to Duke, the Wildcat band has a variety of tunes to keep the energy flowing during the games. With traditional pep tunes such as “Hey Baby,” the band also likes to mix in more current songs like “Bad Romance” by Lady Gaga. UK has a large mix of student majors that make up its basketball band. “I’m a science major and during games I stand next to music, geography and history majors,” says sophomore Andrew Litterst. “We all have different personality types that bring out a little bit of everything in the band.”

Photo of the Syracuse University Sour Sitrus Society by Philomena Duffy.

University of Kentucky Wildcats

Photo courtesy of the Duke University Marching and Pep Band.

ss

March/April 2011 15


Photo courtesy of The Lean Mean Performance Machine from Hopkins High School.

Long Beach Poly and Hopkins High Schools While Duke and UK basketball bands are run by the band directors, Long Beach (Calif.) Polytechnic High School, Hopkins High School from Minnetonka, Minn., and Syracuse University are all student-driven. At Long Beach Poly, ranked fifth in the nation as of Feb. 22, band director Chris Stevens oversees the basketball band. “[However], the students basically run it themselves,” Stevens says. “It is not a class or anything; it is totally voluntary, but it turns out to be pretty big.” There is a common trend of support that develops between basketball bands and their athletic departments and community. “At Poly, we really support each other,” Stevens says. “The music department is pretty loyal to the athletic department and vice versa, so the kids like to play at the games.” Students concur that they join basketball band because they enjoy the game as well as the camaraderie. “[My favorite part of basketball band is] the whole experience of getting to watch the games,” says junior Lathell Powell, bass drum section leader. “Plus, we get to come together as a little bit of a smaller band.” Nearly 2,000 miles from Long Beach, Calif., the basketball games at Minnetonka, Minn.-based Hopkins High School— ranked seventh in the nation—are highlighted with the sounds of The Lean Mean Performance Machine (LMPM). 16

“Pep band is part of the culture, not just in basketball, but in any event that goes on,” says Kyle Miller, associate director of bands at Hopkins. “We are a major part of the school, and I consider the pep band to be a service organization. We go to serve our athletic teams and rile up the crowd and cheer on our teams.” LMPM is an extracurricular activity. The 56 members involved receive credit every year they participate. “Also, we get to go with all the teams that go to State,” says senior Shai Comay, head drum major. During game time, Hopkins has more of a traditional list of pep tunes, with a few newer songs mixed into the selection. “A new song that we play that everyone sings along to is ‘I Got a Feeling’ by The Black Eyed Peas,” Miller says. Sometimes it is difficult to distinguish where the energy comes from during the games. “There is something about the game night that gives [LMPM] the energy,“ Miller says. “I think a lot of it has to do with the music we play and the feedback we get from the student section and the cheerleaders. I think we feed off of each other. Also, we try to stay on our feet the whole game and be a part of the cheering section.” Junior assistant drum major Rachel Dieter believes LMPM is distinctive because they are solely a pep band. “We are able to really focus on being the best pep band possible for our school,” Dieter says. “Instead of taking rehearsal time to teach the band how to properly march, ... we are able to use the time to perfect our songs and techniques.“

Syracuse University Unlike Duke, UK, Long Beach and Hopkins, The Syracuse University pep band—called the Sour Sitrus Society— does not have a band director overlooking rehearsals and game day. “We are one of the very few pep bands in the country that is completely studentrun,” says Justin Matthews, chairman of The Sour Sitrus Society.

Five non-paid student officers run The Sour Sitrus Society. “Our faculty advisor deals with athletics and the business ends,” says Derrick Allen, a second-year graduate student and flute player. “Otherwise, those five people take care of the 200 people in the band.” Members of The Sour Sitrus Society are allowed to play in any women’s home games they desire, ranging in participation from 90 to 130 members. The men’s home games, however, are limited to exactly 96 seats. They also have a traveling group of 30, because of NCAA restrictions, that goes to some away games. “We traditionally have a very exciting basketball program, especially when conference play starts, and we start playing other Big East teams,” Matthews says. “The games themselves are more exciting to watch, and we are lucky enough to basically have front row seats to all of the games.” Alison Varner, junior tenor saxophonist, believes that The Sour Sitrus Society has an exceptional amount of spirit. “I think we really do bleed orange,” Varner says. “We are in tune with the student section to really get the crowd going. We create an awesome environment for people to cheer on our team.” The Sour Sitrus Society also has a wide variety of tunes that they play to keep the energy alive. Matthews describes genres from classic rock to hip hop and even some songs dating to the 1960s. “Most of the songs that we do during pregame are songs that the student sections and ourselves have collaborated on to keep the energy up,” Matthews says. “There are dances that go along with almost all of our tunes, and we have started our own tradition. Probably one of our most popular tunes is ‘The Horse.’” Duke, UK, Long Beach, Hopkins and Syracuse range in size and leadership. Some are run by the band directors, and some are run by the students, but they all agree that basketball bands have become part of the culture of the basketball experience. “There is something authentic about having musicians at a basketball game,” Varner says.

About the Author Lydia Ness is a visual journalism student at Biola University in La Mirada, Calif. She has performed in the Glassmen, the Bluecoats, and The Blue Devils Drum and Bugle Corps as well as the Riverside Community College indoor percussion ensemble. She teaches the front ensemble at Capistrano Valley High School in Mission Viejo, Calif., Lydia plans to go to law school and focus on international and global justice.


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Illustration courtesy of Algy.

In Fas C

lassic black or vibrant color? Minimalistic or lots of sequins? A single look or different designs for each performer? Guard instructors and costume designers ponder these questions—and more—in their quest to make their outfits complement their show’s story and music. Though various opinions emerged about what’s hot and what’s not, one thing is for certain: Most all agreed that everyone has the desire to be unique. Each guard wants something that’s never

18

been seen before—or wants to put its own twist on an old favorite. “Almost every request I get is: ‘Make us look unique; we don’t want to look like anyone else,’” says Michael Gray, designer at DeMoulin. “As competition becomes more prevalent and more heated, people will go to more extremes in order to have a more unique identity, and that’s reflected in their design request.” The quest for uniqueness split the designers into two camps: those who

feel the trend is to have showy costumes and those who think the guard world is now in a minimalistic phase. “It seems like we’re back to a simpler time,” says Alan Spaeth, guard products manager at McCormick’s Enterprises. “I think the sparkles, feathers and sequins have really died off in the competitive world. People are looking for things based more in current fashion, more simple and elegant in the last few years.” But other designers felt that sequins


Photo of Onyx Color Guard by Dan Scafidi, courtesy of WGI Sport of the Arts.

Photos of Black Watch Winter Guard (left) and Glassmen Drum and Bugle Corps, courtesy of A Wish Come True.

I

n guard fashion, one day it’s in, and the next it’s out. Halftime Magazine spoke to 12 different designers, companies and instructors to find out what’s hot, what’s not and what’s next.

shion? By Elizabeth Geli

and more detailed costumes are in. “I’m seeing a trend that is leading to the costumes being busier than they’ve been in the past, very ornate, going away from the minimalistic phase we had been in,” says Tim Lee, designer at Algy. “Fashion is in the middle of this wild sequin trend thing that I think will last a few more years. … Sparkly fabrics are more popular … big collars, five-foot trains, faces covered in lace. You’re just seeing color guard costuming going over the top.”

Both sides agreed that trends are constantly cycling, recycling and evolving. “There’s nothing new under the sun; we’re putting together old costumes in new ways and doing fresh takes on something that’s been done before,” says Tommy Keenum, designer at The Band Hall. “Things will go more intricate and theatrical, and then it will become simpler, more vibrant and then more muted and earthy. I think that will always be the way it is.”

Fashion Faux Pas

While most trend descriptions were sweeping or vague, designers deemed a few things to be out of fashion. “Two words: Palazzo pants,” says Joe Heininger, lead designer at A Wish Come True. Celestino Sosa, instructor at Little Elm (Texas) High School, agreed. “Palazzo, jazz pants, big baggy pants—that’s gone,” Sosa says. “We’re enhancing the body more. Movement is more developed.” Other than big pants, the designers March/April 2011 19


Illustration courtesy of The Band Hall.

Photo of the Little Elm (Texas) High School guard by Dan Scafidi, courtesy of WGI Sport of the Arts.

Photo courtesy of Georgie Girl Costumes.

mentioned hats, boots, puffy sleeves, dresses, and twirler or gymnast-esque outfits as things that are now mostly out of the guard costume landscape. But the most-mentioned out-of-date style is military-looking uniforms designed to match the rest of the band. “The militaristic look used to be the standard,” says Gray, who also serves as visual coordinator at Wando High School in Mt. Pleasant, S.C., and program coordinator for the Bluecoats Drum and Bugle Corps. “In the 70’s all color guards were masculine-based, echoes of the drum corps or marching band. They literally wore, in many cases, the exact costuming that the marching band wore, and we’ve lost that.”

Thematic or Identity Wear? Guards moved away from band uniforms and into dance wear and theatrical costumes that reflected the themes of each year’s show. While no one expects the adapted band uniform look to make a comeback, many guards are finding they need an alternate, consistent look that doesn’t change with each season. “In the fall marching band season, 20

we’re seeing a return to what I call ‘identity wear’—it’s a color guard outfit, but it’s meant to go with what the band uniform is doing,” says Michael J. Cesario, design director at Fred J. Miller. “That doesn’t mean it’s the band suit; it’s just something that reflects the character of the band. The directors are looking for something that is appropriate for Memorial Day, the 4th of July or Rose Parade, where they need to be official and looking like they’re a part of the school.”

Hot, Hot, Hot On the positive side, trends that are now popular in the guard world include ruching (or pleating), shearing, leather, sheer fabrics, high waists, off-the-rack or “street” clothes, multiple textures in the same costume, earth tones and monochromatic costumes. The one trend mentioned by most of the designers and instructors was costumes that change throughout a show or even complete costume changes within a show. “People want to add an element of surprise—taking things off and changing the costume mid-performance,” says Georgette Corron, owner of Georgie Girl

Costumes. “I’ve done things where they’ll have different colored tails in the back hidden behind a cumberbund, starting off in muted tones and then taking off a skirt and having something flashy underneath, unzipping the sides of a leg.” Onyx, the 2010 WGI Independent World Champions, hopes to utilize this trend in its 2011 show, “Abandonment to Impulse.” “There’s a little bit of a costume twist for us this year,” says Michael Lentz, director and designer for Onyx as well as Independent Open Class champions O2. “It’s gonna have mostly black, but there will be use of color. We’re using the top of the costume to create new shapes once it’s pulled above the head.”

Like a Runway Costumes vary from guard to guard and, increasingly, within a single guard. Designers are getting more requests to create a different costume for each individual in the guard or multiple variations on a costume within a group. “One major trend is stepping away from everyone wearing the same costume to everyone wearing a variation of that same costume,” Keenum says. “It gives a little more sophisticated look sometimes,


and you can flatter different body sizes that way. It gives it a runway approach of a collection of costumes.” As guard becomes a more co-ed activity, designers need to accommodate both male and female performers. In the past, male costumes usually consisted of a shirt version of the female costume with black pants; however, the trend is now to accentuate the male and female bodies separately. “I sometimes design the boy outfit first, so it looks amazing on him and is not an afterthought,” says Sosa, whose guard has almost as many boys as girls. “I don’t want the boys to look like they’re wearing a male version of a female costume; I want them to be accentuated.” Depending on the number of men in a group, the guard must decide whether to go for a unisex look or feature specific male characters. “When I’m teaching a high school guard, a feminine look for a girl and a male, stronger look for a boy, is much more appropriate,” Lentz says. “In [Onyx] it’s more unisex; the females and males don’t really stand out.” Designers also place priority on creating costumes that can be flattering and comfortable for all body types. As a result, designers mentioned velvet as the most popular fabric for its forgiving stretch qualities and ability to create different textures. “I think it’s important to create bra-friendly designs, so that everyone can wear proper undergarments and feel comfortable,” Corron says. “I think if the biggest girls in the group look good, the whole group looks good. A lot of times groups pick something that looks good on their thinner girls, and then sometimes the bigger girls feel uncomfortable.” Body type, gender and age range all need to be taken into equal consideration when designing guard costumes.

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“This is still an education-based activity, and we need to take that into the design with us,” Gray says. “We need to be sensitive not only to the needs of the program but also the needs of the kids and the impact that our clothing choices have. These kids are vulnerable, and designing something they can feel comfortable and confident in enhances the performance.”

Floored Costumes alone do not make a show; floor tarps, backdrops, flags and props all come into play when designing and many times can influence the costumes. The advent and growth of digital printing technology has allowed all of these items to match down to an exact pattern—if that’s the look you’re going for. “That attention to detail is one of the big trends, and designers can go nuts and make things have far more detail than ever before,” says Bob Jacobs, creative director at The Art Department, a design agency that specializes in digitally printing fabrics for pageantry productions. “This is a whole new palette to work with; they can think photographically almost. It gives you a product that is artistically so wellcoordinated that for the short period of time the guard is on the floor or field, it’s striking how effective the mood changes can be.” Jacobs has even printed wraps for rifles that blend into the floor or patterned drumheads for indoor percussion shows. Fred J. Miller can also create uniforms, backdrops and flags with the same pattern throughout—a formerly custom option that the company added to the catalog this year, according to Cesario, who also serves as artistic director of Drum Corps International (DCI). Some guards prefer the floor and costumes to contrast rather than match.

“My thoughts about that have changed,” Lentz says. “There was a time I thought they should complement each other. Now it’s more of a contrasting idea. I don’t think they all have to be exact.” Kelley Kramer-Mardis of Kramer Graphics has also noticed a contrasting trend. “When tarps are designed with dark or rich colors, we see the uniforms being simple in design and light in color,” she says. “When tarps are designed using light colors, we tend to see the uniforms being very colorful.” Another trend is what Jacobs calls “floorigami,” the folding or unfolding of floor tarps during the show to reveal different colors and create different moods. “It is fairly complicated,” says Jacobs, who also serves as the director of Jersey Surf Drum and Bugle Corps and director of marketing at DCI. “Just like everything else in the world of the design process, for people who figured it out and do it well, it’s very clever and shows a level of design that helps to elevate the group to a whole new level.” Electra Tarp offers floors that open and close to reveal three different options within a show. Onyx currently uses two separate tarps with an open space in between—creating three different areas of floor that can be moved and flipped. While digitally printed tarps are rising in popularity, their cost is still very high, so most groups use painted floors. Electra Tarp’s biggest seller is a double-sided tarp that allows maximum longevity. “They can create at least four different shows with one floor because all our floors are paintable,” says Bitsy Paul of Electra Tarp. “Sometimes guards will even bring floors back to us to add a border or cut out the center and put a different color in there.”

March/April 2011 23


Recycle, Reuse, Reduce Tarps aren’t the only area where guards try to save money. As school and band budgets get tighter, reusable and adaptable costumes and flags have risen in popularity, and guard consignment is more popular than ever. “We have requests for things now that have more longevity, elegant, still makes a bold statement but has a generic quality to it, so that it may be a two-year or every-other-year usage,” Gray says. “People are trying to stretch the lifecycle of costumes and fabrics just as they are stretching the dollar.” Dancewear basics are still huge sellers, and many times guards will just add an extra sash, layer or other detail to make an old or borrowed costume into a whole new look. “Sometimes some smaller school may borrow our uniforms, and we’ve done that in the past,” says Sosa, who took Little Elm to victory in the WGI Scholastic A Championships in 2010. “It doesn’t devalue the show at all. Some people reuse floors and interpret a different show idea.” Yet economic troubles have not crippled the guard world. “I know schools have been cutting budgets left and right, and somehow parents and groups come up with the money they need,” Heininger says.

Flash Forward Other than the continued cycling between elaborate and minimalistic costumes, very few people had predictions for the future—although it could be that lights are the next big guard thing. “If you look in the theatre/Broadway/ ballet world, there seems to be a lot of battery-operated lights put on costumes, so you never know,” Heininger says. Lighting as part of a set or prop is also starting to emerge in guard shows. “Some groups are beginning to explore lighting, but I don’t know if lighting will continue to be a trend,” Lentz says. “I like to believe that lighting and sound and sets and how we approach the stage and engage the audience will continue to change, and I’m hoping that WGI continues to support change.” As guards continue to experiment, innovate and look for inspiration, the possibilities for show concepts and costumes will only expand. “Every year I’m surprised by a new idea that just takes my breath away,” Cesario says. “The creativity of what’s being displayed currently would indicate that there’s no second guessing them. I’d predict that there’s no predicting what they’ll do.” 24

Cross-Pollination As winter guard and indoor percussion grow as activities, cross-pollination of costume designs have increased and carried over into marching band as well. Winter drum line groups have earned a favorable reputation with designers due to their willingness to experiment and go to extremes. “Their costuming has progressed immensely,” says Joe Heininger of A Wish Come True. “It was traditional and masculine with a marching band look to it, and now they’re stepping out of the box and letting us create these wild and extravagant costumes for them.” Fitting costumes over or around harnesses adds an extra challenge, but that hasn’t stifled the creativity of these percussion groups. Their show concepts frequently call for the musicians to portray very distinct, theatrical characters. “The whole costume is over the top and completely showoriented whereas they started out being kind of generic,” says Algy’s Tim Lee. “They’re almost experimenting more than color guards are.” Regarding elements other than costumes, the trends are mostly the same are winter guards although percussion groups sometimes prefer a heavier tarp or a seam going in a different direction. “More and more lately, they’ve wanted to wrap their drums with an adhesive-based wrap or a fabric-based skin,” says Bob Jacobs of The Art Department. “United Percussion did a show about someone killed at war, and his face was on their concert bass drum.” The lines between guard/percussion costumes and marching band uniforms are starting to become blurred as well. Several innovative groups have costumed their whole marching band in outfits more reminiscent of WGI than traditional band uniforms. For example, all members of the Plymouth-Canton Marching Band did a full outfit change, disrobing its gray uniforms to showcase yellow guardlike costumes worn underneath. Alan Spaeth from McCormick’s Enterprises says he is receiving more and more requests for this type of full band costuming. “The uniform change was an effective way of conveying the theme of our show as ‘The Source’ material was represented by the color yellow,” says director David Armbruster. “[The outfits] created an instant audience appeal once they were introduced at the end of our show. This was a big hit on all levels of the activity, and the students really got into the idea of the full uniform change on the field.” Photo of the Plymouth-Canton Marching Band by Ryan Cain/Marching.com.


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SPRIN Photo of the Hawaii Invitational, courtesy of Sonrisa Photography.

Photo courtesy of Festival Disney.

Photo courtesy of OrlandoFest.

Participating in a spring festival not only provides educational and musical learning opportunities but also allows new friendships to form and strengthens existing bonds within the bands. Band directors and students look to the festival organizers to help them create a fun, stress-free and memorable atmosphere.


SPRING Fling By Sara Hodon

S

pring has sprung, and for many bands, that means spring festival season. Besides the lure of traveling to a destination that’s very different from a band’s hometown, festivals are a great way to showcase a group’s musical abilities and see how it measures up against others from around the world.

Eye-Opening Experience During a spring festival, marching units typically participate and/or compete in a parade and receive comments from the judges afterward. Some festivals use popular theme park venues while others take advantage of touristy city destinations. For example, OrlandoFest participants perform at venues near Universal Studios, and Festival Disney groups march through various locations at the Walt Disney World Resort. On the other side of the spectrum, bands in the Hawaii Invitational march down the main drag in the heart of Waikiki. Festivals provide student musicians with the once-in-a-lifetime opportunity to perform for thousands of people from around the world. “It’s good to get out of the classroom and compete with schools from other areas,” says Greg Normandin, director of the Catholic Central High School Marching Band in Detroit. “It’s really eye-opening for the kids.” Catholic Central has competed in both the Hawaii Invitational and in London, England, several times. For many groups, the excitement of being somewhere new outweighs any stress or fears that might come with competing. George Waibel, instrumental music director at Foothill High School in Tustin, Calif., has taken his students to the Hawaii Invitational for more than 25 years. “It’s always, always good to travel and get the kids out of their comfort zone, whether it’s to Hawaii or another festival,” he says, adding that for many students, the trip is their first time on a plane or away from home for an extended period of time. “With Hawaii in particular, the kids get a cultural exchange that is not

only national but also international. We see bands from Japan and Australia.” The most successful festivals include a good balance of education and free time. Most directors look for festivals that provide scheduled activities to help fill the off hours when the group is not performing. Groups that attend the Hawaii Invitational have plenty of time to relax on the beach but also have outings to historic sites, such as Pearl Harbor. “Traveling helps you to build a stronger band unit,” says Jay Johnson of Coastline Travel, representing the Hawaii Invitational. “When you travel, you become closer to your mates, and that’s important for kids. It helps to get them out of their ‘bubble’ and experience other cultures and parts of the world. And it helps to teach them some responsibility. They don’t have Mom and Dad with them. Traveling gives them some freedom and allows them to grow.”

Educational Fun Most festivals give bands the option to be adjudicated by top-notch music professionals and/or take part in clinics or workshops. Tony Saccaro, director of operations and sales for OrlandoFest, says that they use adjudicators and clinicians who not only finetune a band but also enhance the students’ performance skills.

Directors say that they place more value on the judges’ feedback rather than their overall score. Barry Enzman, director of the Glenelg (M.D.) High School Marching Band, will be participating in the first OrlandoFest this spring and says that the judges’ comments are critical. “People get hung up on numbers and ‘place,’” he says. “It’s more important to get that immediate feedback, and that gives the kids something to shoot for. The process is the goal.” Keith Hart, director of KIPP Believe College Prep Middle School’s band in New Orleans, will be participating at Festival Disney for the second time. He says they’re going back, largely because of the adjudication process. “The judges at Festival Disney will work with your band and help you find the disconnects,” he says. “We compete locally, and the judges will give each group written feedback, but the verbal feedback we get from the Disney judges is very important. The whole experience is empowering.” Most people would agree that it’s also healthy to observe and learn from other groups. “It’s a good opportunity for a director and the students to see how they match up with other bands,” says Tim Hill, director of Disney Youth Programs. “It’s a great educational experience—to learn through doing—and it gives others the chance to see you.”

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March/April 2011 27


Marching bands also get the chance to show off their versatility with different musical styles in an atmosphere that is very different from a typical field show. Hart says that participating in a band festival doesn’t just help his students improve musically—it teaches them life skills. “A festival gives students a true assessment of their ability: their accuracy, fluency, rate and expression,” Hart says. “I love preparing for a festival, and the etiquette we cover for things like how to prepare for a new piece of music. It helps to build group dynamics. It helps a student know how to respond when things go wrong. I think the character building is even more important than the music.” After the competition, bands receive VIP treatment at the awards ceremonies. Saccaro says that since OrlandoFest is held at Universal Studios, and 2011 is the inaugural year, some “Hollywood” flair has been added. “We took it to the next level and are making it seem like a movie premiere with a red carpet and paparazzi,” he explains. “We really wanted to make it a celebration of sorts.” Festival Disney’s ceremony carries the same “Disney magic.” “We have the Main Mouse himself at the awards ceremony, and

the awards themselves are pretty unique,” Hill says. “It’s a very special event.”

Important Ingredients While all directors look for something different in a band festival, there were some commonalities. All agreed that the best events are seamless and very well organized, both by the band and the festival hosts. “Try to recruit solid parents to take care of some of the ‘non-musical’ things, like checking into the hotel or loading the equipment,” Enzman says. Normandin says that he looks for two important elements—the musical side and the practical side. The event should be educationally sound, and organizers should be able to meet the group’s needs. Hill stresses the importance of finding a facility that can accommodate a large group. “Are there group activity oppor-

tunities for the students; can they give you room blocks at the hotel? Also, the performance facility should be good.” The directors suggest finding an agency that deals specifically with academic travel or has worked with bands or school groups in the past. Waibel has had bad experiences with companies that were not familiar with how to move a band. “The company must provide you with references,” Waibel says. “Call some of the bands and ask how their trip was.” Overall, the directors agreed that an event with qualified, respected judges and a well-run, interactive clinic are top priority. “The performance has to be number one,” Waibel says. “Everything else is secondary. You first have to ask: What will this do for the kids musically? Then what can it do for them culturally, socially, historically and emotionally.”

About the Author Sara Hodon is a freelance writer and proud alumni of her high school band’s front silks squad. Her writing has appeared in a variety of print and online publications, including Match.com’s Happen Magazine, History, Lehigh Valley Marketplace, Pennsylvania and Young Money, among others. She is also a copywriter for corporate clients. She lives, writes and relives her band memories in northeast Pennsylvania.

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Pulse Percussion

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

By Jeremy Chen

In 2005, a new independent percussion unit in Southern California sprung to life. Just five years later, the group hit a high note, winning the 2010 WGI Independent World Championships. Halftime Magazine checks the pulse on Pulse Percussion to find out how the group achieved its momentum and what lies ahead.

F

rom a fledgling percussion ensemble to WGI Independent World Champions in just five years, Pulse Percussion has grown at a rapid pace—improving in standings almost every year in WGI and the Southern California Percussion Alliance (SCPA). Executive Director Danielle Collins has been with the program since its inception. She hopes to continue building upon its strong foundation and maintain Pulse’s status among the elite in indoor percussion. Halftime: What’s your marching background, and how did you come to Pulse? Collins: I began at Rancho Cucamonga High School; I was taught by Ken McGrath

30

and Caleb Rothe—two out of the three founders of Pulse. After high school I performed with three different drum and bugle corps including the Blue Knights. I was also involved with the Black Knights for two years and Pulse Percussion from 2005 to 2007. [Pulse Percussion was started] to provide an opportunity for students who went to four-year universities to be able to perform with a high-quality group. The only local group rehearsed Wednesday and Thursday nights, and that wasn’t feasible for those of us who were in fouryear universities or working at night. One of the reasons Pulse was started

was to be on the weekends. I came as a performer, and after I aged out, I began working with the front ensemble and the administration in doing some assistant direction. It just progressed from there. Halftime: What allowed Pulse to become a successful organization so quickly? Collins: Pulse was started with this long-term goal of competitive success in mind, so really there was a lot of framework back in 2005 and 2006 when I was still a performer. After Caleb resigned, we had to find a group of people to try to live up to what [he] did. About halfway through the 2008 season, we convinced John Mapes and Ian Grom


to come on board as designers. That made us become more successful a lot quicker. These two guys don’t put anything on the floor that they don’t think will be successful, so once they agreed, we knew it had to be awesome. Another thing that really helped Pulse was the support. When I was marching, we had one tenor tech, one snare tech, one guy writing the battery music and one person teaching the pit. Now we have three staff members for the pit, two quad techs, four snare techs, and we have one guy who just runs ensemble. We also have consultants, and they all work for free. We have a lot more staff, instructors and support staff who are helping out. Many hands make light work, and so now it’s much more feasible. Halftime: What’s your show this year? Collins: The show is called Generation Next, and it looks at the concept that there is so much expected of people: to talk on a cell phone and breathe and walk and work at the same time. More is required of humans, and it’s very difficult to do all of this multitasking. Halftime: Tell us about your experience as a female drummer in a mostly male activity. Collins: When I was marching, there

were fewer girls on drums than there are now, and we had to work extremely hard. I had an audition for a drum corps early on, right out of high school, and I got the impression that I was not offered a spot because they didn’t think I could physically endure the challenges of the drum corps. So I went and I marched Blue Knights and a few other groups, and I got an email from the person who cut me after he saw me in my first year with Blue Knights, and he said, “I was wrong, and I’m very sorry.” There has been a girl in Pulse Percussion in the battery every year, so I don’t know if it’s even a second thought now. I think that girls are to the point now where there’s less bias—if any—compared to four or five years ago. Halftime: What’s in the future for Pulse? Collins: Originally we were started under the Impulse Youth Arts umbrella,

and now we are [separate]. This year we were able to start an ensemble that competes in WGI Independent Open Class. Essentially we doubled the size of our member numbers. We also have worked with cast directors and production companies in starting our own entertainment group, which ... sends our members as gigging musicians. Halftime: What are your goals this year? Collins: I am very happy to see the high number of returning members for the world line, and I know that their expectations are just like mine. I would say that we have a standard that we put in place last year, and everyone is now expecting to see something comparable. Pulse Percussion has always improved every year. That is always the goal of Pulse to get even better every year as a program, and this goes for Pulse World as well as Pulse Open.

About the Author Jeremy Chen is a freshman majoring in broadcast journalism at the University of Southern California. He marched cymbals for two years at Rancho Cucamonga High School before playing bass drum and snare at Upland High School. He is currently a cymbal player and office staff member for the USC Trojan Marching Band. He aspires to one day become a correspondent for the BBC.

March/April 2011 31


Behind the Baton By Stephon Moore

Photos by Jen Bowen Blackwell

of It All Starting something new is never easy, but it does provide many growth opportunities. One drum major faces the challenges of moving the band in a futuristic direction and discovers the power of perseverance within him.

W

hat is the hardest part of a marathon? Is it the beginning, when the runner’s heart pounds with excitement, ready for the challenge ahead? Or is it the end, when the runner is low on fuel, longing only for the finish line? Or, if you are like me, maybe you will find that the hardest part is in the middle of it all.

The Starting Line I was the drum major of Jeffersonville (Ind.) High School for two years, always eager to learn and to find new ways to 32

help my band and fellow band mates. We have a decent-sized group, just more than 80 horn players, 16 percussionists and 24 guard members. The 2010 fall show, entitled “Envious,” conveyed the emotion of envy through a soloist. This year, my director decided that it would be best to go in a new direction—to do away with a marching battery percussion section and instead have a backfield percussion section, driven heavily by electronics, on a mini stage. This setup would resemble the

one by the Tarpon Springs (Fla.) High School Marching Band, a frequent top finalist in Bands of America competition. We made this decision not only because it was new and innovative but also because the number of experienced percussionists was dwindling, and we felt that our talents would be best displayed in this way. I was the only senior percussionist, and the role would require some backfield conducting, so naturally I was chosen to head up this project. This was our marathon, and the beginning of it was exciting.


Ups and Downs The drawbacks to being chosen for this position were apparent from the beginning. The parts were all mine, which meant creative freedom but also a lot of pressure. There was a ton of equipment setup and takedown. Oftentimes, a few of my fellow band mates and I would stay after practice for an extra half hour or more. Yet I was ready, willing and determined to make this pursuit a success. I’d be lying if I told you that I had tons of fun doing what I loved. The parts weren’t very challenging, often because they had to “fit the music.” I loved the music to the show more than anything we had ever played. The first and third movements were arrangements of “Serenada Schizophrana” by Danny Elfman and the ballad was Eric Whitacre’s “Lux Aurumque,” easily one of my favorite pieces of music. Yet because I was fulfilling my backfield responsibilities, I never got the chance to conduct much. I’d also be lying if I said that I had no fun at all. It was interesting to figure out what my director wanted at certain spots

of the show, then play something that fit to that, almost like a puzzle. The time and sound delay was also challenging, and I always love a great challenge.

A Second Wind? By the end, I finally realized that starting something new is never easy, but as the old saying goes, “The journey of a thousand miles begins with the first step.” I did what had to be done, and now things can move forward. Even though practices that were three hours long seemed like six, even though it wasn’t always easy being filled with so much pressure and expectation, and even though this season might not have been a huge success, it was a step forward. The progress can already be seen. After the season my director purchased a new Roland V-Drums electronic drum

set, complete with hi-hat, cymbals, kick drum and four pads. Also, many of the challenges as far as sound delay, staging and equipment have all been figured out. None of it was perfect, but nothing is ever perfect the first time around. What is the hardest part of a marathon? Well, if I had to pick, I’d say that it has to be the middle. This season has taught me that any race is won through perseverance and determination to reach the end. To have the mindset to keep going, to move on and ignore frustration, anger or even apathy; that is what a marathon takes. And even though I may not have reaped the benefits immediately or directly, one day the band will, and I can say that I helped lay a bit of the groundwork to build on. That, to me, makes the race worthwhile.

About the Author Stephon Moore is a senior at Jeffersonville (Ind.) High School. He has played percussion since he was 11 years old and has been a member of various all-district and all-region bands. This past year he was an alternate on the Indiana All-State Band. Next year he plans to attend Indiana University Southeast to pursue a degree in music performance and education.


Fitness to the MAx

By Haley Greenwald-Gonella

Proper Posture Being in a marching band is physically demanding, but three things require more effort and concentration than most people think—how to sit, stand and walk. These three actions are so entirely common that most people pay little to no attention to their posture. Performers have a leg up since body alignment while performing can lead to better posture all the time.

Having appropriate body alignment during performances can lead to better posture all the time. Sit After dancing since the age of 3, Haley Greenwald-Gonella thought it was time to try a new art. In elementary school, she began playing the flute and was in the marching band in middle school and for the first two years of high school. She also played the bassoon during concert season. Dance drew Haley back while in high school. She graduated from the University of California, Irvine, with degrees in dance and English. She recently graduated from the University of Southern California with a master’s degree in Specialized Journalism (The Arts). Haley is also a certified registered yoga teacher with Yoga Alliance. She draws upon her dance and yoga training when it comes to all things fitness and the arts.

When practicing during concert season, musicians might find themselves sitting back in their chairs with rounded shoulders; however, this position leads to decreased air supply. Musicians, like everyone else, should sit with their feet flat on the floor. Knees should be pointed straight out in front and directly over their ankles. The hips and back should be away from the back of the chair. The spine should be stacked up, so that the shoulders are directly above the hips. The shoulder blades should be squeezed slightly together. The neck should be in line with the spine, and the chin should be parallel to the floor. The reason that people need to stretch after sitting for long periods of time is because the hips are compressed, and the quadriceps—the front of the thighs— are firing and open, and the hamstrings are compressed. Too much sitting contributes to why most Americans have overdeveloped quadriceps and underdeveloped hamstrings.

Stand When standing while playing a solo or prior to a performance, toes should be pointed forward. The ankles and knees should be in line with each other, and the knees should be pointed forward as well. The hips should be in line with the knees and shoulders. When the body is 34

viewed from the side, the hips should be slightly tucked forward, so the tailbone is not pointed out and back, but down. The abdominals should be engaged in order to support the back. As when sitting, the shoulder blades should be squeezed slightly together and pointed directly out to the sides of the body. The neck, once again, should be in line with the spine, and the chin should be parallel to the ground.

Walk When walking, musicians forget what they learn on the field about marching and walk like day-to-day pedestrians. The problem with this fact is that most people walk improperly. The most important thing to remember about walking correctly is that the toes and knees should be pointed forward. If you have ever seen someone walk with his/her toes pointed out to the sides, it can actually indicate weak knees—the ligaments in the knees are not strong enough to keep the toes pointed forward. Once again, the tailbone should be tucked in and down, and the shoulder blades should be squeezed slightly together. The neck should be in line with the rest of the spine, and the chin should be parallel to the ground. Remembering these simple things can make your marching and concert seasons smoother and your body healthier.


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By Matt Jones

If Marching Bands Took Over the NBA ... 1

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Across 1. “Why Wait” country group ___ Flatts 7. Donkey Kong, for one 10. Earth Day prefix 13. Spanish fleet that tried to attack England 14. Like scales with a flatted third (abbrev.) 15. Kele Okereke indie rock band ___ Party 16. High-pitched NBA team? (2 words) 18. Helper (abbrev.) 19. It may be built at a campsite 20. Upscale, like a hotel 21. Bug that causes some allergies 22. Prefix before “red” or “structure” 24. Syncopated NBA team? (2 words)

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26. Unwanted e-mail 28. Cross-country hauler 29. “Oh, that’s adorable” noise 32. Ballerina’s bend 34. Slang term for a treasury bill (which also can’t be played on an instrument) (hyph.) 38. Brassy NBA team? (3 words) 42. Insurance company with a lizard mascot 43. Head, in French 44. MapQuest offering, perhaps (abbrev.) 45. Competitor of Hertz 48. “March,” “play” or “step,” in grammar class 50. With 63 Across, really low-pitched NBA team? 54. Patronize, as a restaurant (2 words)

58. It takes up about 30% of the world’s land area 59. Apple music players 61. Country singer McCann 62. Beach volleyball surface 63. See 50 Across 65. “See ya later!” 66. Raw metal source 67. You, me or somebody else 68. University, for short 69. B major or Bb major, for instance 70. Got through the course

Down 1. “Baby Beluga” children’s singer 2. Former San Diego Padre Steve 3. Little blue cartoon creature from the 1980s 4. Makes food for a party 5. Oklahoma city that’s the same forwards and backwards 6. Bert who played the Cowardly Lion 7. Last name associated with expensive Italian violins 8. Delivery meal orders, often 9. Type of protein that breaks down food 10. Cow on the Borden label 11. ___ Rica (San José’s country) 12. Group of eight musicians 15. Boston Red Sox’s “The Curse of the ___” 17. NASCAR racer Johnson 23. Give the thumbs up 25. “You can count on me to show up!” (2 words) 27. “It’s ___ on the line!” 29. “Crouching Tiger, Hidden Dragon” director Lee 30. Sound made by the last little piggy 31. Conflict from 1914 to 1918 (abbrev.) 33. Chow down 35. Hockey legend Bobby 36. Blasting stuff 37. Direction opposite WNW

39. Anthem heard at Toronto NBA games (2 words) 40. Reno’s state 41. Sault ___ Marie Canals 46. “Did I do a good enough job?” (3 words) 47. Flawless 1998 song from Alanis Morissette (2 words) 49. Vegas casino that started as the MGM Grand 50. Sailing ship’s posts 51. Sci-fi author Asimov 52. Interval that’s one step larger than an octave 53. Actor Maguire of “Spider-Man” 55. Some digital video recorders 56. Coeur d’___, Idaho 57. Hit with a stun gun, perhaps 60. Trade 64. “Snakes ___ Plane” (2 words)

Solution For the solution 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.


34. Riverside, CA • 7/3 35. Cedarburg, WI • 7/3 36. Dublin, OH • 7/5 37. Nampa, ID • 7/5 38. Centerville, OH • 7/6 39. Salt Lake City, UT • 7/6 40. Ewing, NJ • 7/6 41. Akron, OH • 7/7 42. Bowling Green, OH • 7/8 43. Loveland, CO • 7/8 44. Madison, WI • 7/9 45. Denver, CO • 7/9 46. Northern, CA • 7/9 47. Dubuque, IA • 7/10 48. Northern, CA • 7/10 49. Omaha, NE • 7/10 50. Davenport, IA • 7/11 51. West Des Moines, IA • 7/12 52. Metamora, IL • 7/12 53. Sioux Falls, SD • 7/13 54. Paddock Lake, WI • 7/13 55. La Crosse, WI • 7/15 56. Southern, CA • 7/16 57. Manchester, NH • 7/16 58. Minneapolis, MN • 7/16 59. TBD, CT • 7/17 60. Rockford, IL • 7/17 61. Southern, CA • 7/17 62. Kansas City, MO • 7/18

63. St. Louis, MO • 7/18 64. Wichita, KS • 7/19 65. Van Buren, AR • 7/19 66. Broken Arrow, OK • 7/20 67. Denton, TX • 7/21 68. Houston, TX • 7/22 69. Odessa, TX • 7/22 70. San Antonio, TX • 7/23 71. Dallas, TX • 7/25 72. Lafayette, LA • 7/25 73. Edmond, OK • 7/26 74. Ocean Springs, MS • 7/26 75. Hattiesburg, MS • 7/27 76. Little Rock, AR • 7/27 77. Milton, FL • 7/28 78. Madison, IN • 7/28 79. Gadsden, AL • 7/29 80. Murfreesboro, TN • 7/29 81. Atlanta, GA • 7/30 82. Paw Paw, MI • 7/30 83. DeKalb, IL • 7/30

84. Southwestern, MI • 7/31 85. Charlotte, NC • 7/31 86. Orlando, FL • 7/31 87. Summerville, SC • 8/1 88. Sevierville, TN • 8/1 89. Rice Lake, WI • 8/1 90. Charleston, WV • 8/2 91. Salem, VA • 8/2 92. Dayton, OH • 8/2 93. Chesapeake, VA • 8/3 94. West Chester, PA • 8/3 95. Lawrence, MA • 8/4 96. Johnsonburg, PA • 8/4 97. Rome, NY • 8/4 98. Warrenton, VA • 8/4 99. Allentown, PA • 8/5 100. Greendale, WI • 8/5 101. Dubuque, IA • 8/6 102. Allentown, PA • 8/6 103. Erie, PA • 8/6 104. Piscataway, NJ • 8/7 105. Erie, PA • 8/7 106. Buffalo, NY • 8/8 107. Massillon, OH • 8/9

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

The 2011 Drum Corps International Tour

Michigan City, IN Open Class Prelims • 8/8 Open Class Finals • 8/9

Indianapolis, IN

World Championship Prelims • 8/11 World Championship Semifinals • 8/12 World Championship Finals • 8/13

DCI Premier Events highlighted in red.

Tour of Champions Series highlighted in blue.

MARCHING MUSIC’S MAJOR LEAGUE™

Events and dates subject to change. rev 2/11

R A SP w T EC w ES I A w .D A L CI VA G .o I R rg L O /g AB UP ro L up E s ! 1. Saginaw, TX • 6/18 2. Round Rock, TX • 6/19 3. Albuquerque, NM • 6/21 4. Indianapolis, IN • 6/21 5. Martin, TN • 6/21 6. Mesa, AZ • 6/22 7. Fairfield, OH • 6/22 8. Pittsburgh, PA • 6/23 9. Clovis, CA • 6/24 10. Muncie, IN • 6/24 11. Grand Rapids, MI • 6/25 12. Stanford, CA • 6/25 13. Arlington, VA • 6/25 14. Stockton, CA • 6/26 15. Clifton, NJ • 6/26 16. Lisle, IL • 6/26 17. Bridgeport, CT • 6/27 18. Minneapolis, MN • 6/28 19. Atascadero, CA • 6/28 20. Mankato, MN • 6/29 21. Ft. Edward/ Glens Falls, NY • 6/29 22. Medford, OR • 6/29 23. Whitewater, WI • 6/30 24. San Diego, CA • 7/1 25. Hillsboro, OR • 7/1 26. Oswego, IL • 7/1 27. TBA, NH • 7/1 28. Seattle, WA • 7/2 29. Walnut, CA • 7/2 30. Michigan City, IN • 7/2 31. Lynn, MA • 7/2 32. Spokane, WA • 7/3 33. Bristol, RI • 7/3

DRUM CORPS INTERNATIONAL PRESENTS


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Halftime Magazine March/April 2011  

Halftime Magazine presents the sights, sounds and spirit of the marching arts. The March/April 2011 issue features guard fashion, basketball...

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