Halftime magazine May/June 2011

May/June 2011

速

2011

Volume 5, Issue 3 www.halftimemag.com $4.95

WGI Winners Visual Appeal Physical Conditioning $4.95 U.S.

$5.95 Canada

ISSN 1939-6171

Educational

Camps

Experience, Elevate, Energize!

Each camp includes interactive sessions with the Phantom Regiment Drum & Bugle Corps.

Full Camps

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Drum Camp (Snare & Quads) June 10-12, 2011 - Rockford, IL

Drum Major Camp June 14-17, 2011 - Rockford, IL

Drum Major Camp June 19-22, 2011 - Albuquerque, NM

Drum Major Camp Aug. 1-4, 2011 - Frostburg, MD

Day Camps Brass Camp July 8, 2011 - Denver, CO

Drum Major Camp July 25, 2011 - Lafayette, LA

Color Guard Camp July 28, 2011 - Nashville, TN

Drum Camp July 28, 2011 - Nashville, TN

For More Information: www.regiment.org/camps

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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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Volume 5, Issue 3 May/June 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 Sid and Linda Unser Courtesy of WGI Sport of the Arts

Contributing Writers Lane Armey, Laurel Beatty, Chris Casteel, Haley Greenwald-Gonella, Sara Hodon, Matt Jones, Chase Sanborn, Jim Snyder

Contributing Photographers Robert L. Beatty, Ken Martinson/Marching.com, Amy Price, Dan Scafidi, Sid and Linda Unser

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

R

ecently, my husband and I completed the P90X workout program, a collection of 12 DVDs including yoga, kenpo karate and weight training. In 90 days, he lost more than 30 pounds and went down three pant sizes. While my results have been a little less dramatic—I admit to skipping a workout every now and then and eating potato chips instead— the program nevertheless gave me more strength and trimmed down my fat. I couldn’t even do a real pushup before, and now I can do at least five. Exercising almost every night for the past 90 days has given both of us more energy to live our everyday lives and play with our two children.

More than ever, physical fitness has become an important component of the

marching arts. Bands are incorporating gymnastics into their shows and even completing marathons (see “Marching a Marathon,” page 9). To ensure that students are capable of these endeavors, more bands than ever have implemented training programs that include stretching, abdominal work and weight lifting to prevent injuries, increase stamina and help with instrument carriage.

“On One Condition,” page 16, provides advice from various fitness trainers and band directors about starting a physical conditioning program at your school.

You’ll also find various fitness pointers in “Lose the Love Handles,” page 34, and even in our “Sectionals” department, page 12 and 13.

Many bands have found physical conditioning important due to the new demands—including the need for agility and strength—placed on performers. From ballet-like movements to lifting objects and people in the air— dance choreography has moved beyond just guard members and involves all members on the field. “Visual Appeal,” page 24, discusses how this trend has evolved and how to tackle improving visuals at your school.

Summertime is the perfect time to think about getting your body—and your chops—in shape. Just think: You have about 90 days to jumpstart your fall season. I’ve taken to heart one of the famous mottos from P90X and hope you do too: “Do your best, and forget the rest.”

Keep on Marching, Christine Ngeo Katzman Publisher and Editor-in-Chief

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.

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Features Photo of Santa Clara Vanguard Drum and Bugle Corps by Ken Martinson/Marching.com.

On One Condition. . . . . . . . . . . . . . . 16 Stretching. Sit-ups. Pushups. Weight training. Dance moves. Sound like an aerobics class at the gym? Actually, it’s the start of marching band. More and more marching ensembles have implemented a physical fitness program to improve students’ stamina and overall performance. You can too.

By Sara Hodon

2011 WGI Winners .. . . . . . . . . . . . . . 18 Congratulations to the 2011 WGI World Champions. This year’s championships sought to be “the most amazing show on Earth”; with newcomers to finals as well as old favorites, the groups did not disappoint. Of special note, Santa Clara Vanguard took home gold for its World Class guard as well as its Open Class percussion unit.

Halftime Magazine’s fourth annual photo spread depicts each of the winning guard and marching percussion performances.

Photos by Dan Scafidi and Sid and Linda Unser Courtesy of WGI Sport of the Arts

24

Visual Appeal. . . . . . . . . . . . . . . . . . 24 Visual effect has always been an important consideration in marching shows. Today’s groups are pushing the envelope with more body movement, more dance choreography, more costuming and more oomph to tell their stories.

By Jeremy Chen

Web Exclusives

Departments Publisher’s Letter. . . . . . . . . . . . . . . 4 Noteworthy. . . . . . . . . . . . . . . . . . . . 8

Music Ed Students Start Elementary Program • Traveling Efficiently Lautzenheiser Joins Music for All; Introducing Cadets2; LPGA Golfer Bae Supports Drum Corps International; Marching a Marathon; Flutes • Shooting Guard: A Photo Essay in Space; Bill Cook’s Legacy Sectionals. . . . . . . . . . . . . . . . . . . . . 12 • And More ...

Get Around Roadblocks for Clarinet; Mutes 101 for Brass; Summer Drummin’; Summertime Stamina for Guard

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

Gear Up. . . . . . . . . . . . . . . . . . . . . . . . 14 Cymbal Doctor; Tama Marching Drums

Regionals. . . . . . . . . . . . . . . . . . . . . . 15 Calendar of events organized by region

Direct From. . . . . . . . . . . . . . . . . . . . 30 Westlake High School Band from Austin, Texas

Behind the Baton. . . . . . . . . . . . . . . 32 First Time Around

Fitness to the Max. . . . . . . . . . . . . 34 Lose the Love Handles

For Fun. . . . . . . . . . . . . . . . . . . . . . . . 36 Band Lit?

Next Issue • Thoughts on New DCI Tour and Finals Format • Spotlight on Drum Corps Associates • Transitioning From High School to College • And More ...

By Elizabeth Geli

Music for All (MFA) announced that Dr. Tim Lautzenheiser has joined the organization as the senior educational advisor.

The position puts an official title on the many responsibilities that Lautzenheiser was already handling.

“I’ve been involved with the organization since 1978,” Lautzenheiser says.

“I’ve always been affiliated doing leadership workshops. The work with MFA and my contribution has simply been quantified as a position within the organizational structure.”

Lautzenheiser previously served as executive director of music for MFA’s predecessor, Marching Bands of America, and on the MFA Board of Directors. He frequently presents at MFA through his “Attitude Concepts for Today” programs.

“I think the additional responsibility will be continuing to do outreach,” Lautzenheiser says. “It’s all about communication, and my part of it has always been personal communication, so people feel a sense of belonging, that MFA is a community of students and teachers.”

One of Lautzenheiser’s favorite responsibilities is escorting each band onto the field and talking with directors, students and parents before a performance. Overall, he hopes to enhance MFA’s mission.

“It’s a constant expansion for a higher level of quality in everything we do and to outreach in all facets of music,” Lautzenheiser says. “So everyone understands it is not just getting ready for a performance, but rather it’s developing the fundamental building blocks for a positive, productive, powerful future.”

8

Introducing Cadets2 A new drum corps, created by Youth Education in the Arts (YEA!), will be taking the field beginning in 2012. Cadets2, for performers between ages 16 and 22, will operate and compete within the Drum Corps Associates circuit, an all-age organization separate from Drum Corps International. The group will function as a “weekend-only” corps, convenient for high schoolers within driving distance of Lehigh County, Pa. “Cadets2 is a program we are thrilled to be able to provide,” said George Hopkins, director of The Cadets and CEO of Youth Education in the Arts, in a press release.

“This DCA participating corps will be part of the YEA! curriculum that assists in supporting young people along their personal road towards greatness. It is a different approach than The Cadets, due to the level of time commitment, but the corps will be managed very much the same as The Cadets. There will be an expectation of excellence, the clear intention that the image of The Cadets is maintained, and there is a promise from the organization that Cadets2 will operate with the same degree of quality expected of all YEA! programs.”

According to the press release, instructors will contribute to both corps although a separate head director will be named shortly. A new uniform, similar in style but not in color, will be designed.

Auditions for Cadets2 will be held this coming November. For more information, visit www.yea.org. A Cadets2 webpage will be launching soon.

LPGA Golfer Bae Supports Drum Corps International Professional LPGA golfer Kyeong Bae recently attempted to win hundreds of thousands of dollars for Drum Corps International (DCI). Bae competed in the 2011 RR Donnelley LPGA Founders Cup, a unique tournament that donated all of its $1 million purse to charity.

Although Bae was just one shot off of a top 10 finish, DCI was still thrilled to be her chosen charity and hopes for future partnership opportunities.

“Drum Corps International provides outstanding leadership development opportunities and performing arts educational experiences to student musicians and performers,” Bae said in a press release. “With music education programs being eliminated in schools at an alarming pace, I feel it’s important to raise awareness of the work that DCI does to provide learning and performance opportunities to thousands of young people each year.”

Bae first became aware of DCI through her agent, president of DSM Sports Marketing John DeNovi, who also works as DCI’s director of sales and business development.

“She approached me about selecting a charity, and I suggested it would be a good fit for her,” DeNovi says. “She is an avid piano player that used to compete in Korea growing up.

She had never seen DCI before until I showed her a DVD, and she was fascinated by it.”

Bae promotes DCI and other sponsors right on her golf bag, which includes an innovative flat-screen video display that serves as a walking billboard.

In the past, Bae has donated signed memorabilia and golf merchandise to DCI for charity auctions. “She was eager to pledge her support and very excited to donate if she won.” DeNovi says. “Being associated with a pro golfer at this level is pretty significant for DCI, and we hope it inspires a lot of celebrities and athletes to step forward and contribute like she has.”

Photo courtesy of DSM Sports Marketing.

Lautzenheiser Joins Music for All

If you think your local parade is long and tiring—think again.

The Huddersfield University Marathon Band marched and played the entire 2011 Virgin London Marathon, achieving the Guinness World Record for fastest marching band to complete a full marathon.

“The marathon itself was amazing!” says Mike Lomas, a music student at Huddersfied University and founder of the Marathon Band. “The crowd atmosphere in London is superb, especially across Tower Bridge. When we crossed the finish line, I felt extremely proud of every member of the band that was with me.”

Lomas, a cornet and trumpet player, had the idea to start the Marathon Band with bass trombone player Kieran Higham.

Photo courtesy of the Huddersfield University Marathon Band.

The University of Huddersfield has many concert bands, orchestras and brass bands but not a marching band. Lomas sent out emails to spread the word and get other students to join. Professional cornet player Phillip McCann of Black Dyke joined the group as music director.

The 20-member band played more 32 different songs throughout the marathon, ranging from Michael Jackson’s “Thriller” to Queen’s “Don’t Stop Me Now,” never breaking for more than 30 seconds between songs. They marched between 112 to 118 beats per minute for the entire 26.2 miles, completing the marathon in seven hours, 54 minutes and 59 seconds.

“The band had regular rehearsals, which sometimes went on to eight hours of non-stop playing,” Lomas says. “We also did long walks around the Yorkshire Moors, ranging from 10 to 32 miles.”

In order to participate, the band had to prove to the marathon committee that they could actually complete the marathon at a fast enough pace and had to pledge to raise a certain amount of money for charity. The band chose Sense, the UK’s national deafblind charity.

“As musicians we require the gift of sight and hearing, so we decided it would be good to give something back to people less fortunate than ourselves,” Lomas says.

While an American group holds the record for longest distance completed by a marching band (54 miles), Huddersfield received the record for fastest marching band marathon time.

Lomas hopes to continue the Marathon Band and expand—the group’s already been invited back to the marathon for next year.

“There are too many moments to have just one favourite,” Lomas says. “I really enjoyed the TV coverage we gained for the charity and ourselves. I was extremely impressed and proud in what the team had achieved. It shows that you should never give up even when you think things are getting difficult.”

Flutes in Space

Photo courtesy of NASA.

Marching a Marathon

There’s one special Powell Flute that is out of this world—literally!

Colonel Cady Coleman, United States astronaut, brought several flutes with her aboard the International Space Station, making the flute the first wind instrument in space.

“Ian Anderson of Jethro Tull plays our instruments and recommended that Cady contact us to test instruments,” says Christina Giuliano-Copas, marketing manager at Powell.

“She was looking for a special new instrument to take with her to the International Space Station.”

Coleman plays flute in Clan Ceili, a Celtic band, and in Bandella, a folk quartet made up of fellow astronauts and another astronauts’ wife. In order to keep up her skills and practice in space, she decided to bring the flutes on her mission despite strict weight requirements for the astronaut’s personal belongings.

“Cady has a handmade conservatory sterling silver flute,” Giuliano-Copas says. “She tested a large selection of flutes and settled on this one. Since silver weighs less than gold, it was a favorable choice.”

While in space, Coleman recorded a duet via satellite with Anderson and has sent several videos of herself playing.

“Every time Cady creates a new video of her playing in space, we are all in awe,” Giuliano-Copas says. “It is simply incredible to know that an instrument we produced is so far away, in such a remote place, yet it bring the same enjoyment to the owner.”

Upon returning to Earth, Coleman’s Powell Flute headjoint will be engraved and put on display at the 2011 National Flute Association Convention in Charlotte, N.C. The other flutes that Coleman brought aboard are her personal flute, a penny whistle and an old Irish flute from Paddy Moloney and Matt Molloy, respectively, of The Chieftains.

May/June 2011 9

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.”

Bill Cook’s Legacy Photo courtesy of Cook Medical.

NAMM SchoolJam USA

By Eddie Carden When Indiana entrepreneur Bill Cook died on April 15, he left a legacy not only as an innovator of medical devices but also as a generous friend to the marching arts.

The first time I heard the story of Bill Cook came at the start of my second visit to Bloomington, Ind. During my first visit—as a college editorial intern with Halftime Magazine—I attended the 2009 Drum Corps International (DCI) World Championships. Though I participated in marching band through high school and college—most memorably as drum major of the University of Southern California Trojan Marching Band—this was only my second drum corps experience. Little did I know I would return less than a year later to interview for my first full-time job as a sales representative for Cook Medical.

The Cook story is that of the quintessential entrepreneur—a man who started a multibillion-dollar company with a $1,500 loan and a blowtorch—but his legacy reaches much further. Cook and his wife, Gayle, have donated tens of millions of dollars throughout Indiana.

Cook’s $35 million donation saved the West Baden Springs Hotel, once known as the Eighth Wonder of the World, from demolition. His $15 million gift to Indiana University athletics remains the largest the department has ever received. But perhaps his most interesting contribution came when he founded a drum corps with $1 million.

Cook Inc.’s headquarters reflect its founder’s fondness for music and the marching arts. In the executive offices, framed posters of the Star of Indiana greet visitors.

Carl Cook first introduced his father to drum corps when he asked to watch the DCI championships for a school band project. Carl later marched with the Colts and aged out in 1984, planting the seed for a corps in Bloomington.

From 1985 to 1993, Star finished in the top 10 of DCI each year, including a championship in 1991. Then, the corps evolved into a stage show known as “Blast!.”

The achievements on and off the field for this corps stem from the generosity and competitive drive of its founder.

Bill Cook was not the type to send a check in the mail and be on his way. Corps veterans remember the billionaire travelling with Star, often taking shifts driving the bus and dressing up in costumes to celebrate show themes.

On the Star website, Cook gives advice to others: “When starting a corps, please remember that the task is massive, thankless, and demanding. Drum corps is the master and you are the slave. In the end, it will be worth the result— young people with life-long memories of achievement and friends. Is starting a drum corps worth the trouble? You damn right it is worth the effort. Don’t talk about it—do it!”

Get Around Roadblocks

By Jim Snyder

Roadblocks! It’s time we steer the clarinet-car around them! You know what I’m talking about: those things we’ve convinced ourselves we just can’t do. Here are two common roadblocks that are much easier to overcome than you might think.

The “Break.” Oooh, I’ve always hated that term! Just the word alone tells us that there’s some seismic shift about to happen when we go from using two fingers on the throat tone Bb to nine fingers on the middle B. Yet we don’t seem to worry when we play the throat tone E with two fingers and jump down to the lowest E with nine of ’em.

One neat characteristic of the clarinet is that the blowing resistance is about the same throughout the instrument’s entire range.

It’s the overtones that are different. Those are controlled by the column of air you send through the mouthpiece. Your embouchure should never change, but the shape of your throat should!

Try ever so slightly to create the letter “e” with your throat. It’ll change the shape of the air column as you leap from one register to the next. Right hand position is also important: Make sure you are covering that last (and largest) tone hole with your ring finger—even a slight leak there can slow your horn’s response.

High Notes. “I can’t play those high notes! They’re flat! I’ll squeak! They’ll laugh!

To which I would reply, “Be bold! Use more air! Play louder as you go up the scale!”

You’re asking the reed to vibrate twice as fast to play up an octave. So push more air to make it happen. Reshaping the air column is necessary, too. Again, maintain the embouchure and try reshaping the throat slightly to create the letter “e.”

Squeaks are actually higher notes that we just didn’t control properly. Squeaking should be proof that you can play up there; you just have to be in charge of when it happens.

Now grab the wheel and steer the clarinet-car around the roadblocks! Um, just don’t try that in your parents’ car!

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

12

brass

winds

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

Mutes 101

By Chase Sanborn

Mutes insert into, are attached to, or are held in front of the bell of the horn.

Though a mute may reduce the volume of the instrument, as the name implies, that is not always the case.

More often, mutes are used to change the characteristics of the sound. Intonation is also affected; you may need to adjust your tuning slide when using a mute.

Straight Mute. There are many different straight mute designs made of metal, fiber or plastic; each has a unique sound.

In the orchestral world, if the part simply calls for “mute,” straight is usually the choice.

Cup Mute. Cup mutes provide a softer sound than the straight mute. Some have an adjustable cup to vary the tone, but the fixed cup is the easiest to use in a section.

Harmon Mute. Harmon mutes have a removable stem.

With the stem inserted, the player can produce a “wa-wa” effect. Miles Davis first popularized the sound of the mute with the stem removed. Today, when the part calls for Harmon, it is assumed that the stem is removed unless it is specifically called for. Harmon mutes have an embarrassing tendency to fall out of the horn, resulting in a sudden crescendo and dents. A bit of warm air blown into the bell enhances adhesion.

Plunger Mute. The plunger is the only mute that actually has a use outside of brass playing. There are plunger mutes specifically designed for brass players, but most people use the standard hardware store model. Colors other than red are prized.

Bucket Mute. The bucket mute clips on the bell (with difficulty) and is filled with absorbent padding. Airport customs agents are convinced that there is contraband hidden inside.

Solotone Mute. The solotone looks like one straight mute sticking out of another. This mute produces an old-fashioned sound like a megaphone.

Practice Mute. There are many different practice mutes designed for quiet practicing. Most make the horn feel quite stuffy. Yamaha’s Silent Brass utilizes electronics to mitigate the stuffiness with artificial reverberation.

Renuzit Mute. The most economical mute. Google 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

Summertime: The end of the school year—and looking forward to the start of the next year. As a marching percussionist, summertime is also the time of year where you can really improve yourself and your drum line.

Once fall hits you’ve got marching band and homework. Then comes winter percussion … and more homework. At this time of year, you can truly make a leap forward in your own ability.

Practice Smart. As always, make sure to practice smart—with a metronome, working technique and rudiments.

Spend the time all summer, so that when you show up at band camp, you’ve made the necessary improvements your instructors have been asking for. The success of your drum line will largely be determined by how much hard work you put in during the summer. Plus it is an excellent opportunity to prepare for fall auditions.

See A Show. If you are not marching drum corps this summer, make sure to catch a show. And perhaps more importantly, soak up some of the parking lot action before the show. Nothing will better prepare you mentally for next season’s drumming than being inspired by your favorite drum corps drum line. And there are more opportunities than ever to catch amazing drumming on DCI’s Fan Network and your favorite corps’ website. Get online and check out groups that may not come to your local area.

Get In Shape. Don’t underestimate what it takes to get your body through the rigors of a season playing quads or bass drum.

Especially if you are new to the activity or playing a new instrument, get outside this summer and stay active. Building leg and back strength now will make your band camp experience that much more enjoyable. So take a break from learning the music while on a drum stand and strap on the drums. In a few short months, you are going to be running around on a field wearing your equipment, and there’s no time like the summer to get prepared.

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

Summer Drummin’

Summertime Stamina

By Chris Casteel

A performer without stamina is like a sailboat on an ocean without wind. It may look great, but there is no energy to propel the boat to its destination.

As we jazz run into the months of summer, there is no better time than the present to increase your stamina—energy level and concentration over a long period of time.

If you are a high school performer just ending the school year, move now toward creating a workout regimen that will give you high amounts of energy by September. If you are a performer in a drum corps, your season is now, but it is never too late to build your body during your time away from rehearsals.

Your summer stamina workouts should be balanced between cardio and weight training with consistency as a key factor.

Cardiovascular Fitness. Without cardio training, your body is going to hit the proverbial wall in the middle of the final flag feature in a show.

Choose exercises like running, jogging, swimming, or using the treadmills or elliptical machines to increase your cardiovascular strength.

Weight Training. To build your muscular stamina, work out with less weight; however, do twice as many repetitions in your exercises. Try using items you can find in your home. For bicep curls, use soup cans, your rifle or books. The focus of this exercise should not be building strength but training for longlasting exertion that will allow you to keep pushing through a performance.

Consistency. Stamina builds on itself. Schedule workouts at least three times a week and stick to your schedule as much as possible. By the end of summer, you will be ready to attack that fall field show like never before.

Caution: Do not try to work out every day when you start out.

Too much exercising in a short period of time can lead to injury and burnout. So be practical when planning.

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.

May/June 2011 13

Cymbal Doctor

By Elizabeth Geli

Something new has crashed into the world of percussion— Cymbal Doctor, a kit developed by Larry Jaworske and Sam Lankford, gives cymbals a brilliant mirror-like shine and improves their sound.

“People have a hard time believing it ’till they see it,” Jaworske says. “The cymbals look like absolute mirrors when you’re done.”

The Cymbal Doctor kit includes amp motor polisher, cleaner, polish, sealer, a rubber workstation mat to prevent sliding, polishing pads, foam applicators, “logo-saver” stickers to preserve cymbal logos while cleaning, gloves, microfiber towels and a gig bag to hold it all. The “Home Pro” kit is intended for light, personal usage while the “Pro Touring Kit” is best for drum lines and heavy usage by large groups.

“We’re hoping to make it the standard, so that everyone will have one in their trailers and look like they’re on national television all the time,” Jaworske says.

Jaworske, who plays drum set, is a successful and awardwinning car designer, machinist and metallurgy expert. Along with Lankford, also a metallurgist, they developed and tested Cymbal Doctor for more than 14 months, including multiple

Tama Marching Drums

Photo of San Marcos High School from Santa Barbara, Calif., courtesy of Tama Drums

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Tama Drums, a Japanese-based set drum brand, is moving into the world of marching percussion. Drum Corps International Hall of Famer Tom Float helped develop the new drums from the ground up during the last nine years.

“I had ideas that I wanted to incorporate, problems that I have seen in drums forever and wanted to fix, and improvements to the drums that I wanted to see happen,” Float says. “We ran through everything that had ever bothered me about a drum or carrier.”

The Tama Marching Drums introduce many new features that emphasize comfort for all body types, safety and ease of tuning. “If they already had preexisting drums, and we tried to go in and add these features, you couldn’t do it because it’s a whole concept,” Float says. “One thing affects another thing.”

Snare drums feature the Detachable Gut Frame, which allows the guts to be removed quickly without changing the tension or mute position; “Buzz Killer Mutes,” making tape on the individually adjustable or removable guts

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

sessions in recording studios to prove that clean cymbals sound better.

“The grooves are supposed to be clean,” Jaworske says. “ If you were to magnify a cymbal, it looks like a record album but deeper; each groove will resonate sound. When cymbals are clean and new, they sound shimmery and sustain longer.”

For more information or to order, visit cymbaldr.com. unnecessary; and the High Position Strainer, which allows players of all sizes to easily reach and turn off the guts.

The tenor drums include detachable legs that allow drums to be set down for tuning or rehearsal. The position of the toms is easily adjustable to fit each player.

The bass drums have specially-engineered tension rods and lugs that stay perfectly aligned and a noiseless joint locking system—instead of hooks and eye bolts—to attach to the carriers.

Tama also makes its own Perfect Fit Carriers and will debut a line of drum stands, currently awaiting patent.

Four high schools (Ayala from Chino Hills, Calif., James Logan of Union City, Calif., Foothill from Henderson, Nev., and San Marcos from Santa Barbara, Calif.) have tested the Tama Marching Drums.

Float believes that the added safety features will increase the longevity of the drums. “The average life of marching drums is a few years, but we think these are going to last quite a while,” Float says. “If I had had these drums when I was teaching The Blue Devils, I would have been a lot happier because they make tuning so easy.”

Tama’s marching drums will be made out of a bubinga and birch wood combination and are also available in maple. Chrome fixtures will be standard on all the drums.

The new drums will officially be available in January, with pre-orders accepted beforehand. Float hopes they will be a game-changer in the marching percussion community.

“There aren’t very many things that I would ask for in a drum that we haven’t already taken care of,” Float says.

“Anybody who understands drums is going to get it.”

Check www.tama.com/marching for more information.

Major Events by Region West Drum Corps International June 21—Albuquerque, NM—Drums Along the Sandias June 22—Mesa, AZ—Southwest Corps Connection: A Night of Drum Corps Champions June 24—Clovis, CA—MidCal Champions Showcase June 25—Stanford, CA—DCI West June 26—Stockton, CA—32nd Annual Moonlight Classic June 28—Atascadero, CA—Brass Along the Central Coast June 29—Medford, OR—Beat of the Rogue July 1—San Diego, CA—Corps at the Crest San Diego July 1—Hillsboro, OR—Portland Summer Music Games July 2—Seattle, WA—Seattle Summer Music Games July 2—Walnut, CA—Corps at the Crest Walnut July 3—Spokane, WA—Summer Thunder July 3—Riverside, CA—Western Corps Connection July 6—Salt Lake City, UT—Corps Encore July 8—Loveland, CO—Drums Along the Rockies Loveland Edition July 9—Denver, CO—Drums Along the Rockies July 9—Fremont, CA—California State Open July 10—Northern CA—Loudest Show on Earth July 16—Southern CA—So-Cal Classic July 17—Southern CA

Midwest Drum Corps International June 21—Indianapolis, IN—DCI Circle City June 22—Fairfield, OH—Summer Music Games in Cincinnati June 24—Muncie, IN—DCI Central Indiana June 25—Grand Rapids, MI—DCI Western Michigan June 26—Lisle, IL—Cavalcade of Brass June 28—Woodbury, MN—River City Rhapsody Woodbury June 29—Mankato, MN—The Thunder of Drums June 30—Whitewater, WI—The Whitewater Classic July 1—Oswego, IL—Festival of Brass July 2—Michigan City, IN—Pageant of Drums

July 3—Cedarburg, WI—Rotary Music Festival July 5—Dublin, OH—Emerald City Music Games July 5—Boise, ID—Boise Summer Music Games July 6—Centerville, OH—Souring Sounds 32 July 7—Akron, OH—Innovations in Brass July 8—Bowling Green, OH—Glassmen All Star Review July 9—Madison, WI—Drums on Parade July 10—Dubuque, IA—Music on the March July 10—Omaha, NE—Drums Across Nebraska July 11—Davenport, IA—Rhythms Along the River July 12—Waukee, IA—Celebration in Brass July 12—Metamora, IL—River City Rhapsody Metamora July 13—Sioux Falls, SD—Sioux Empire Spectacular July 13—Paddock Lake, WI July 15—La Crosse, WI—River City Rhapsody La Crosse July 16—Minneapolis, MN—DCI Minnesota July 17—Rockford, IL—Show of Shows, a Tour of Champions Series event July 17—Kansas City, MO—Brass Impact July 18—Lebanon, IL—DCI St. Louis July 19—Wichita, KS—Drums Across Kansas July 20—Broken Arrow, OK—Drums of Summer July 28—Madison, IN July 30—Paw Paw, MI—Drum Corps in the Village July 30—DeKalb, IL July 31—Southwestern MI—Legends Drum Corps Preview

Miscellaneous June 20-25—Muncie, IN—Music for All Summer Symposium June 26—Alexandria, MN—Vikingland Band Festival

Northeast Drum Corps International June 23—Pittsburgh, PA—Three Rivers Summer Music Games June 26—Old Bridge, NJ—Drum Corps: An American Tradition June 27—Bridgeport, CT—Bridgeport Drums June 29—Ft. Edward/Glens Falls, NY—Adirondack Drums

July 1—Quincy, MA—CYO Nationals Tribute July 2—Lynn, MA—The Beanpot Invitational July 3—Bristol, RI—Summer Music Preview July 6—Jackson, NJ—Drum Corps: An American Tradition July 16—Manchester, NH—Fiesta de Musica July 17—Malden, MA

Miscellaneous May 19-20—Gorham, ME—Maine Music Educators Association

South Drum Corps International June 18—Saginaw, TX—DCI Ft. Worth June 19—Round Rock, TX—DCI Austin presented by DeMoulin Bros. & Co. June 21—Martin, TN June 25—Arlington, VA—DCI Salutes America presented by UnitedHealthcare of the Mid-Atlantic July 19—Van Buren, AR—Battle on the Border VIII July 21—Denton, TX—DCI North Dallas presented by Red River Thunder July 22—Odessa, TX—DCI West Texas presented by Thunder in the Desert July 22—Houston, TX—DCI Houston presented by THE exSIGHTment of SOUND, a Tour of Champions Series event July 23—San Antonio, TX—DCI Southwestern Championship at the Alamodome July 24—San Antonio, TX—DCI World Class Individual and Ensemble Championship July 25—Lafayette, LA—Drums Across Cajun Field July 25—Dallas, TX—DCI Dallas presented by North Texas Festival of Drums and Bugles July 26—Edmond, OK—DCI Central Oklahoma July 26—Ocean Springs, MS—Mississippi Sound Spectacular July 27—Hattiesburg, MS—DCI Southern Mississippi July 27—Little Rock, AR—DCI Arkansas July 28—Gadsden, AL—DCI Gadsden Presented by Alabama Battle of the Brass July 29—Murfreesboro, TN—The Masters of the Summer Music Games, a Tour of Champions Series event July 30—Atlanta, GA—DCI Atlanta Southeastern Championship presented by Lake Oconee and Greene County, GA July 31—Rock Hill, SC—NightBEAT, a Tour of Champions Series event July 31—Orlando, FL—DCI Orlando

Miscellaneous June 2-4—Scottsdale, AZ—CBDNA Athletic Band Symposium July 21-23—Nashville, TN—Summer NAMM July 24-27—San Antonio, TX—Texas Bandmasters Association Convention/Clinic May/June 2011 15

By Sara Hodon

F

or years marching band has been stuck with the unfair stigma as an activity for unconditioned, out-of-shape students. But that perception is changing.

Band directors at all levels are realizing the importance of incorporating physical conditioning into their regular practices.

These types of programs will not only help their musicians play better but will also improve their overall health.

Whether bands work with a marching professional to devise a conditioning program or implement a do-it-yourself plan, any combination of yoga, stretching, cardio and dance before every practice can benefit students physically, mentally and musically.

Here are tips from marching fitness experts and band directors who’ve implemented successful fitness programs.

Chris Mader Vice President and CFO Dynamic Marching “We encourage every band to have a solid fundamentals program, even if it’s a very basic technique of marching for 15 to 30 minutes. If you start this early in the season, it’s a controlled environment and not as strenuous as the show. Band puts stress on joints and muscles you don’t use much in ordinary life, so the best thing you can do is ease the body into using these muscles.

If you go through this over the course of the season, it will improve the quality of the show.

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Marching band is an endurance sport.

It’s sort of like cross country based on the endurance you need. One of the biggest challenges for us is getting band directors to see that they are directors and coaches. The band should train like a sports team would.

I see one big over-arching idea: The biggest problem is that people do it in the beginning, but the focus shifts to getting the show on the field, so the preventative stuff goes to the wayside. The healthier and stronger you have everyone, the better they play. It’s better to put a program into place early and stick with it for the entire season.”

Mel Morse Band Director Lewisburg (Miss.) High School “Our program is for 7th to 10th graders, and the physical changes that take place for the 12- to 15-year-olds vary. Holding up the instruments was a huge challenge, so in 2008 we instituted a body program. Jeff Young from Dynamic Marching came in and started us with a combination of stretching, yoga and dance moves that we could integrate into the show. We’ve since broadened that out to include more pushups, sit-ups, ‘planks’ to strengthen the core and upper body work to hold up the instruments.

We spend roughly 30 percent to 40 percent of our practice time at the beginning of the season to try and prepare our students. …

The great thing that the students like about it is that we do it at the beginning of class.

Stretching. Sit-ups. Pushups. Weight training. Dance moves. Sound like an aerobics class at the gym? Actually, it’s the start of marching band. More and more marching ensembles have implemented a physical fitness program to improve students’ stamina and overall performance. You can too.

I’ll have the seniors get a mixed tape of popular songs, and we blast them in the band hall. Kids can come in and unwind, talk to their friends and do the exact opposite of what they do all day.

Our physical program has absolutely benefited our playing just because we’re stronger throughout the show. Kids feel better and look better—there are not a lot of heavy kids in the show. When you start being physically active, you start making better choices with meals, and it becomes a healthier lifestyle.

You have to have some kind of buy-in from the students. The first time we did it, they all looked at me like I was crazy, but because I put so much emphasis on it at the beginning, they understood it to be important. There was a buy-in immediately. If that weren’t the case, it would be a waste of time. We only want to do things that are beneficial, and it has been and continues to be the part of the day the kids look forward to.”

Jon Shultz Director of Bands Lake Hamilton High School in Pearcy, Ark. “We started our [conditioning] program to help our kids have enough stamina to finish their marching shows. It became too hard for the kids to complete the show without physical exhaustion.

Jeff Young from Dynamic Marching started implementing some dance moves into our show and giving us a vocabulary

of movement. He expanded our warmup to include a lot of ballet and a lot of dance.

Our goal is to develop a good diet and create an overall health and wellness program. Instead of us feeding the kids pizza, parents started cooking vegetables and healthier foods. The kids are eating green beans instead of nachos. With the physical conditioning and nutrition, we have the least amount of injuries during marching season that we’ve ever had.

The students have stuck with the schedule. We start at the same time every day, so that has built a sense of discipline.

After a hard day of school and then rehearsal, it helps them focus and gets rid of the day’s stress.”

Craig Bales, M.D. Lead Physician Cavalier Medical Group “Some of the most common injuries we’ve seen are repetitive stress injuries, such as muscular or tendon pain, or aches similar to fibromyalgia—pain anywhere on the body that can be relieved through various modalities like massage therapy or needle-less acupuncture.

Oboe, bassoon, saxophone, clarinet players use fine motor movements of the fingers and lips. Percussionists have problems with the vibrations of striking the instrument, so they have more pain in the wrist, forearm and shoulder. And from a psychological point of view, professional, high school and college musicians all have pre-performance anxiety. They need to learn to relax

properly, so they can play better. Any kind of limbering exercise they do prior to rehearsal helps them physically if they use the right psychological modalities as well.”

Gary Granata, Ph.D. Exercise Physiologist, Sports Nutritionist PerformWell “Marching bands and drum corps are performing shows that place incredible physical demands on the individual performer. College, professional and most high school sports teams have year-round conditioning programs operated by fulltime conditioning coaches. The full-time conditioning coaches design training regimens that meet the specific need of each athlete according to the demands of the athlete’s sport and position. Football is a great example: Linemen are trained differently than skill players as their positions have considerably different physical demands. Similarly, the physical demands placed on a snare drummer are different from someone in the color guard, whose demands are different than a tuba player, whose demands are different from a trumpet player.

Band directors need to come to the realization that competitive marching band has become an athletic sport, and they need to employ trained sports medicine staff to ensure the safety and welfare of their performers. Having a professional sports medicine staff is just as, if not more, important as having instructors for the horn line, drum line, color guard and pit. The health and welfare of marching band members are at stake.”

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.

May/June 2011 17

Guard Scholastic World Carmel (Ind.) HS Score of 97.10

Guard Independent World Santa Clara (Calif.) Vanguard Score of 97.20

Stay Hungry, Stay Foolish—Finishing almost two points higher than last year’s defending champion, James Logan, the Carmel winter guard clearly lived out its show theme: Find what you love, and you will excel. The show provides a visual interpretation of Steve Jobs’ 2005 com­mence­ment speech at Stan­ford Uni­ver­sity and features stools as props, a powerful rifle sequence and stunning flag feature. Carmel had won the WGI Scholastic Open Class Championships in 2007 and moved to World Class shortly thereafter, finishing second last year.

All Good People—With its second title in three years, Santa Clara Vanguard (SCV) put on a feel-good show with flawless execution. Each member wore street clothes and assumed a persona—doctor, police officer, airline stewardess, to name a few.

Rather than a tarp, the group performed around a streetlamp in the middle of a ring of life-size silhouette cutouts, which added to the crowd feeling. The entire performance resulted in a celebration on and off the floor. The SCV winter guard program had been reactivated in 2006 after a two-decade hiatus.

Photos by Dan Scafidi and Sid and Linda Unser courtesy of WGI Sport of the Arts

18

World Class Percussion Scholastic World Arcadia (Calif.) HS Score of 97.525

Percussion Independent World Music City Mystique from Nashville, Tenn.

Score of 97.050

Rise—Arcadia (Calif.) High School rose to the top of the WGI Scholastic World competition after finishing seventh last year.

Much of the program involved performers rotating or lunging while down on one knee; the show ended with the bass drummers climbing up onto risers. Musically, each battery section played in impeccable unison and gave great attention to rising dynamics.

Mantra—Beginning the show with yoga poses and exhibiting musical control throughout, Music City Mystique (McM) mesmerizes audiences and captures a 7th WGI Independent World championship. The burgundy tarp, banners and costuming transport viewers inside a Buddhist compound where monks— as portrayed by the battery performers—open their minds in a search for inner peace and personal empowerment.

Congratulations to the 2011 WGI World Champions. This year’s championships sought to be “the most amazing show on Earth”; with newcomers to finals as well as old favorites, the groups did not disappoint. Of special note, Santa Clara Vanguard took home gold for its World Class guard as well as its Open Class percussion unit. Halftime Magazine’s fourth annual photo spread depicts each of the winning guard and marching percussion performances.

May/June 2011 19

Open Class

Guard Scholastic Open Oak Ridge HS from Conroe, Texas Score of 94.45 Never Sent—Oak Ridge High School from Conroe, Texas, won its first WGI title this year. The all-female group danced around and balanced on benches performing beautiful ballet-like movements, high rifle tosses and a fully synchronized flag feature.

Guard Independent Open Pacificaires from Surrey, British Columbia, Canada Score of 96.85 Destination Home—Having captured last year’s Independent A Class championship, the 12-member Pacificaires from British Columbia, moved up to Open Class and felt right at home.

With flags and rifles laid out on the tarp like railroad tracks, the Pacificaires first demonstrated its prowess in sabers as one performer danced around with a suitcase waiting for her train. Flag and rifle features made way for an ending where the performers themselves lay on the ground to make way for the passenger’s exit from the stage.

Pacificaires dominated the field, sweeping all subcaptions and scoring more than two points higher than second place.

Percussion Scholastic Open Pacifica High School from Garden Grove, Calif.

Score of 97.550 Not What, But HOW—Pacifica High School from Garden Grove, Calif., reclaimed the top spot with its fifth gold medal in six years after finishing second last year. Filled with funky sound effects, a unique rendition of “Mary Had a Little Lamb,” a juggling sequence involving handheld drumheads and a dance number set to the song “This Is How We Do It,” the show proves that the ordinary can be extraordinary.

Percussion Independent Open Vanguard from Santa Clara, Calif.

Score of 93.875 The Wave—Vanguard Winter Percussion, part of the Santa Clara Vanguard organization, took WGI by storm, claiming first place in Open Class at its first appearance at WGI championships. The group was founded just two years ago. The performers’ constant and varied movement reflected the mystery and power of the open sea. The show also included a unique cymbal feature involving every member of the battery. The front ensemble played a vast array of impressive sound effects, including the squawking made by a flock of seagulls.

20

May/June 2011 21

Guard Scholastic A O’Fallon (Ill.) Township HS Score of 95.70 Still Time for Love—Known as “GIOCOSO,” or “joyfully” in Italian, the winter guard at O’Fallon (Ill.) Township High School had a lot to be joyful about. Founded in 1999, O’Fallon took home the gold in its first WGI finals performance. In a show comprised of eye-catching flags— from cool blue to green and finally hot pink—and set to Queen’s song “Under Pressure,” the guard performers relate how love for others and love for oneself can help individuals overcome the abundant stress in their lives.

A Class

22

Guard Independent A South Shore from Chicago, Ill. Score of 95.55

The world’s finest digital custom flags, fabric, floors and props.

Mind Heist—Inspired by the Academy Award-winning movie “Inception,” South Shore’s program featured rifle maneuvers and tosses at amazing heights throughout most of the show to illustrate the spinning of the human mind. The Independent A guard is part of the larger South Shore Drill Team and Performing Arts organization, which provides hundreds of inner-city Chicago youth with a safe alternative to the streets. In 2009, the team performed at 130 events in nine states; it celebrated its 30th anniversary last year.

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Percussion Scholastic A Chantilly (Va.) High School Score of 94.65 Glitch—In a very tight competition, Chantilly High School climbed seven spots to take home the gold medal in Scholastic A competition. The machine-like precision of the performance proved that there was no glitch about its win. Chantilly High School’s band program has been recognized as a Virginia Honor Band since the year 2000 after the group obtained superior ratings in its marching band, concert band and symphonic winds programs.

Percussion Independent A Madison Independent from Madison, Ind. Score of 94.913 NOVA: Our Beginning—With the “hands of creation” from Michelangelo’s Sistine Chapel as its tarp, Madison Independent from Madison, Ind., explored 14th century art and music as well as its own beginning as a rising star in the indoor drum line activity. The show ended with an “Ode to Joy.” The group will be moving up to Open Class next year.

May/June 2011 23

V

By Jeremy Chen Photos by Ken Martinson/Marching.com

A T

he fast pace of the marching. The choreographed movement of the body.

The rippling lift of the instruments. The full lifting of a person. Today’s marching ensembles are incorporating these and other types of stunning visuals to capture the attention of fans and judges alike.

When audiences think of visuals, images from drum corps such as The Cavaliers or Santa Clara Vanguard (SCV) and marching bands such as Carmel or Kennesaw Mountain spring to mind. These top groups employ scenes where marchers are putting down their instruments in unison to perform a piece of well-placed step arrangement as their visual instructors are pushing the boundaries of achievement in order to stay at the top.

New Skill Sets No longer are the days of strict militaris24

tic marching and playing; current trends in visuals now point to the prominent use of choreography, creating a more theater-like storytelling that immerses audiences into new worlds. In order for this imagery to occur, musicians on the field have incorporated body movements to their repertoire of skills.

Bands of America (BOA) finalist Carmel (Ind.) High School used these concepts in its 2010 show, “Stop and Smell the Roses.” In the opening, the performers execute a dance movement that flows along with the idyllic music of the pit percussion.

For the intended effect to be perfect, the performers have certain responsibilities. “Choreography is certainly the main trend that is happening in both drums corps and marching band,” says Jeff Young, CEO of consulting/design

company Dynamic Marching and visual instructor at Carmel. “The addition of this element creates a triad that all instrumentalists on the field should all be aware of: They are crisp music, clean marching and effective visuals. It is this simultaneous responsibility that has to be understood and comprehended.”

Oftentimes, the success of these visuals is also tied to the performers’ physical strength and endurance. “The people on the field are being asked to play in very difficult and very demanding positions,” explains Michael McIntosh, a WGI adjudicator and percussion designer at The Cavaliers Drum and Bugle Corps.

“The skill set that is required … moves beyond drill and into physically expressive actions that are similar to something like gymnastics. Athleticism by the performers is imperative in order for all facets of the

Visual

Appeal Visual effect has always been an important consideration in marching shows.

Today’s groups are pushing the envelope with more body movement, more dance choreography, more costuming and more oomph to tell their stories.

show to go correctly. If [members] are not in shape to do these, then it just won’t work. The difficulty of the multitasking in doing just one show can really take a toll both emotionally and physically.”

Some visuals can be even hazardous if they are done wrong. “Things like jazz running have become a staple in top bands and corps,” says Brooks Andersen, owner of eVision Marching. “These visuals are needed in order to stay well within the competition and remain at the top. Audiences will be wowed when they see people pass through each other in lines at fast tempos, which could become disastrous for the performer and the group’s score if someone is in the wrong place.”

One of the best ways to improve on the body movements and choreography of the performers is to invest in hav-

ing a visual staff. A few groups such as Carolina Crown are making their members go through dance and balletlike workshops, so their performers have a good grasp of translating their body movement to their instrument. But for those who do not have the funds for these investments, instructional DVDs offered by Dynamic Marching and other companies may be a good option.

Music in Motion With the huge innovations in visuals, designers still keep in mind that music should be the most powerful driving force. Without appropriate music, the meaning of a visual could become lost in translation. “The visuals should be an extension of the music the band is playing,” Young stresses. “The really good bands understand that for the visuals to be the

most effective, it has to fit musically and within the context of the show.”

As an example, a particularly forceful and loud piece of music would warrant an aggressive visual. For BOA finalist Kennesaw Mountain from Kennesaw, Ga., this concept along with audience appeal allows the band to stay within the upper echelon of competitive marching bands.

“I have always thought of the audience when I have an idea of how to do a show and have the performer relay that idea effectively, and it all starts with the music,” says Peter Weber, visual designer at Kennesaw Mountain for the past two years and SCV visual designer. “What does it sound like, or what is the mood of it? This is where the visuals will be formed from. You can then sketch broad ideas to communicate the music in the most exciting way possible.”

May/June 2011 25

Abstract Props and Costumes Costumes and props also come into play as they enhance the setting of the show.

For example, Putnam City North High School in Oklahoma City, Okla., performed a show in 2008 called “Escape from Dystopia,” which means a society characterized by human misery.

The performers’ uniforms were black with a number on their chests, but in the ending sequence, the performers’ broke free from the negative utopia revealing “color” on their outfits.

“I personally am a fan of costuming,” says Andersen, PC North’s visual designer.

“The idea was very well-received by the crowd, and I still have people asking me how we did the color change.”

Not all groups are known for using props as Santa Clara Vanguard has produced shows that had a plethora of visuals but few that involved elaborate costumes or unique props. “We try to stay away from props and tarps,” Weber says. “There are plenty of things we can do with the performers that bring out the point of the show. There is no need to have these abstract things that are mostly stationary.”

26

Setting the Standard When asked about the most expressive visual shows, designers cite The Cavaliers “Machine” in 2006 and Santa Clara Vanguard “Age of Reverence” in 2000.

Young says that he was very impressed by how The Cavaliers corps performed its show “Machine” with extreme precision. The show contained a few instances of performers pushing the block to mimic stretching of a machine. And at one point in the show, one of the performers stopped playing in order to perform the “robot” dance move to spice up the show.

“The body movements of the performers were impeccable,” Young says. “The audience and judges could see each point of every movement in the show, and this show with a machine theme is perfect in terms of pushing the limits of bodily visuals with the rather unnatural robotic movements.”

As for SCV, its 2000 show is known for spreading its performers throughout the field and then condensing them back into rigid pointed shapes that rotate in order to create a pendulum-like effect. “SCV’s show in 2000 really blew me away even though they got 4th,” Andersen says.

“They started the show playing super fast while being able to clear up the field

for some impressive dance movements.

What struck me was that they started and ended [with a mirror image of] the same set and had a ripple of hand holding that really brought out the show. It is a great example of how a group should perform their visuals.”

According to the designers, the Star of Indiana Drum and Bugle Corps first set the standard in visual design in 1993 with its “Music of Barber and Bartok.”

The controversial show would be considered the first clear instance of the use of choreography. “The boldness of this idea is unmatched,” Weber says. “It had a heavily mixed reaction with the crowd because it was either that you hated it because it went against the standard at the time, or you really liked it because it was a very fresh and innovative concept that had not been utilized before and should be appreciated. The corps really pioneered adding dance to the vocabulary of their performers.”

Prior to that time, bands had a more militaristic style, marching in symmetrical shapes and playing with very little body movement. “The precision of the marching and the cleanliness of it was what appealed to crowds in the old days,” Weber says.

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Since then, the sister activities of indoor percussion and indoor guard have also influenced field performances. “The activity in WGI is in many ways … being applied into field shows,” McIntosh says.

“The ballet and dance-like ideas are all finding their way to the field, and it is a bigger venue to bring out these unique elements of the indoor activity.”

Trickling Down Today, the new standards that are being set in drum corps are trickling down into the competitive high school marching band world.

“The same standard of excellence that is in drum corps is still applied when instructors work with high schools,” McIntosh says. “Whether I’m working at The Cavaliers or working at a competitive marching band like Carmel High School, I’m still looking for the same quality from my performers. The only difference may be in how we approach them to get to that excellence as the performers in high school are younger and may have less experience compared to the predominantly collegeaged performers in drum corps.”

The incorporation of choreography and props has now become widespread in the marching band circuit as directors look to 28

drum corps for inspiration. “Most band directors will watch The Blue Devils or The Cadets do something that they think is pretty cool, and they try to incorporate it into the show,” McIntosh says.

He cautions, though, that the directors should know about the true ability of their kids and stresses that there are more important things than just doing “cool” visuals.

“They should stage the horns, woodwinds, and drum line properly to create a good pulse for the band and have good sound quality,” he explains. “A band with bad sound will never be successful even with nice visuals.”

The drill, being the most important visual to the audience, is a particular place where potential problems could arise if certain measures are not taken.

“Successful bands will not be really doing too many drill-heavy shows,” Andersen says. “Their shows will merely

be having easy drill punctuated with sophisticated and impressive visuals during something like a drum break.

Thus, it is better to have clean simplistic drill than to have dirty and sophisticated drill. The judges want to see what you can do perfectly, and great drill designers know how to make easy drill look impressive, therefore increasing the chance for that perfection to occur.”

Young, though, explains that the shows should still be challenging, and it depends on the judges whether they prefer cleanliness or originality and sophistication. “It honestly really depends on the judges; some do reward on just what you do really well and very clean, but there are judges who like to see the performers challenge themselves,” he says. “It is this that makes me want to challenge my students to push themselves, so we can have the best quality show.”

About the Author Jeremy Chen is a freshman majoring in broadcast journalism at the University of Southern California (USC). 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.

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By Lydia Ness

Photos by Amy Price

Westlake With its receipt of the 2010 Sudler Shield, the Westlake High School Band joins the elite few who have been recognized for both its marching and concert programs. Long-time director Kerry Taylor talks about his reaction to this achievement.

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n Austin, Texas, the Westlake High School Band marched to greatness and received the 2010 Sudler Shield, which recognizes “high school, youth and international marching bands of world-class excellence.” The Hebron High School Band from Carrollton, Texas, also received the 2010 award.

The 240-member Westlake band has performed in Musicfest Orlando, South Coast Music Festival and Festival Disney, and has won several concert band contests, being named “Best in Class” and “Best Overall.” For 22 years, director Kerry Taylor has built the program to become what it is today.

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Halftime: The Sudler Shield is a great honor; what do you think makes your program stand out internationally?

Taylor: Several things come to mind when talking about my program. One is the number of years that we have been successful, both in the marching and concert arenas; another is the quality of our performance throughout that time, again on the field and on the stage; and

then the level of performance of the music that we do is of high quality.

Halftime: What is your reaction to being awarded the Sudler Shield?

Taylor: This is a big honor for us. We were fortunate to be named as Sudler Flag winner, which is for concert band, [in 1998]. We realize how unique it is to have both the Flag and the Shield, and we are very honored for being recognized for excellence in both of those. [Only a dozen or so bands have received both awards.]

Halftime: Why do you think you won this particular year?

Taylor: The music content of our show was a creative mix of marches set to different styles. Most of the band directors in the audience enjoyed trying to identify each march that was quoted and anticipated what “treatment” our arranger would apply to each march.

Halftime: Why did you become a band director?

Taylor: I grew up in a family of teachers and was surrounded by music; my father and oldest brother were band directors.

[However,] I didn’t really decide I was going to do that until I was a senior in high school. I had set my sights on becoming an acoustical engineer, which would combine my music background with my interest in physics and engineering. I guess I finally realized that music educator was what I really wanted to spend my life doing.

Halftime: How did you become director at Westlake?

Taylor: I started my career here as assistant director and then I left the area for five years where I became a head director at a school about 150 miles from here.

When this position opened up, I applied, and I knew some of the people involved in the search, so I was fortunate to be offered the position.

Halftime: Does your band travel often?

Taylor: We tend to make a trip each year.

We just went to Disney in Florida [this year]. We have performed at Carnegie Hall (twice) at a concert festival, at the Midwest Clinic in Chicago as well as the World Association for Symphonic Bands and Ensembles (WASBE) in Cincinnati.

One of our most popular performances was in the Tournament of Roses Parade in 2003.

Halftime: How do the marching band and concert band seasons interact?

Taylor: Marching season starts Aug. 1, and we normally go through the first week in November. We try to do some concert-type stuff during marching season. We’ll spend a day or two a week working on that during September and October.

Halftime: What is one of your favorite memories of teaching at Westlake?

Taylor: The joy on kids’ faces when they come off the field after a particularly great performance. [For example,] the state finals UIL [University Interscholastic League] 5-A state competition in 2010; that would be the most recent

one. [Also], seeing the students mature and grow from teenagers—and all that is involved in that—to young adults and thinking that our program provides opportunities for that.

Halftime: Is there anything in particular that you hope each of your students learn through your program?

Taylor: Yes, that they learn how to work and respect students with different beliefs and backgrounds, and they learn how to work together toward a common goal.

Halftime: What is something you would like to see for your band in the future?

Taylor: All of us are concerned about budget cuts both in terms of support and staffing and being able to provide equipment and opportunities for those kids.

I would like to see that we continue to have that opportunity in our school for our kids.

We’re behind what’s happened to the rest of the nation by a couple of years, so everybody is concerned about how how deeply it is going to impact us.

Our state funding system is developed every two years. The last time was spring of 2009, and at that time the general economic downswing had not yet impacted Texas to a great extent. Things have changed, and the state is in a “downsizing” mode with all services— including education. In my school district, although we will have to share in the general tightening of budgets, I feel that the arts are very well protected by administration and community alike.

Halftime: Could you briefly describe the marching environment in Texas.

Why is marching band so important there, and how do the schools and the state reflect that importance? Why do you think both 2010 Sudler Shield winners came from Texas?

Taylor: Marching bands (and concert bands!) are an important part of the Texas public education system for several reasons: 1. We are a vital part of the community and are visible at nearly every Friday night football game.

2. The strength of the University Interscholastic League, which governs most music competitions.

3. Music education is part of the state curriculum.

4. There is a strong fine arts/music coalition in the state, led by the Texas Music Educators Association.

5. Our band directors are very supportive of each other and usually do not hesitate to share instructional knowledge, yet they remain competitive in a system that rewards achievement.

Halftime: What advice do you have for students and young instructors?

Taylor: Find as many opportunities to perform and teach as possible and ask questions from your mentors as often as you can.

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.

May/June 2011 31

Behind the Baton

By Laurel Beatty

First Time Photo by Robert L. Beatty

With dreams of being on top of the band podium since fifth grade, a rookie fulfills her goal of being drum major on her first try. As a sophomore commanding more upperclassmen than peers, she must learn to expect the unexpected and take nothing for granted.

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he music program at Kiski Area High School in Vandergrift, Pa., has been recognized for its excellence for nearly 50 years. One of its premiere ensembles is the marching band, which began competing in Bands of America and state competitions in 1985. Because I was only a freshman, being selected as drum major for a program with such an impressive reputation would be a challenge. Even so, when the opportunity came to audition.

I knew I would never pass up the chance.

I was shaking from anticipation as I headed toward the band room to find out

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the results of the auditions. I arrived to see my band director posting the piece of paper that held my fate. As I looked around him to see the name in bold letters , my heart leapt out of my chest with an excitement more extreme than anything I had ever felt before. The name was mine!

A few days later, the two graduating drum majors wrote in my yearbook. The first said, “You have no idea what you’re getting yourself into.” The other wrote, “Don’t take any moment on the podium (or ladder) for granted.” Neither one could have given me better advice.

Ambitious Goals Music has always been a part of my life. I knew I belonged in marching band since first grade when I saw Kiski perform for the first time; I had my heart set on being drum major since fifth. A family friend was drum major that year.

In sixth grade, my class was assigned to write an essay about our goals for high school. I wrote that I wanted to be in the “A” jazz ensemble and be drum major of the marching band. The teacher said to me, “These are some pretty big goals you are setting for yourself!”

I knew that I could accomplish them.

Making New Friends Being drum major provides opportunities to meet new people, make friends and strengthen existing friendships.

I spent a lot of time with the head drum major, Anthony Palmiscno. Our friendship grew the most when we attended George N. Parks Drum Major Academy. We were five hours from home and arrived knowing only each other. Even though it was a long, grueling week of learning about conducting and leadership, it was one of the best experiences of my life, and I’m thankful to have met and learned from Mr. Parks before his passing.

I learned that during a performance, everyone works as a team, but the drum majors need to rely solely on each other to communicate the tempo to the band.

For this reason, the head drum major and I needed to have a strong connection.

The Learning Curve The drum majors take care of many behind-the-scenes details. There was a huge learning curve at the beginning when I had to be taught to use all the equip-

ment. Several times during rehearsal, the battery on the Dr. Beat metronome died, and practice stopped until I exchanged it for a fresh one and reprogrammed the entire show.

I found that it is really important to learn from mistakes as well as to open-mindedly accept criticism and use it constructively. When a staff member got upset with me, even though I was irritated, I learned to turn my anger into motivation to do it right.

Some jobs, such as following the drum line around with the portable speaker and the Dr. Beat, seemed tedious, but I had to accept it and do my job to make the band better.

One of the biggest difficulties I faced was the fact that about half of the band members were older and had more experience than both myself and the head drum major, who is a junior. It was a challenge to confidently communicate

with upperclassmen. One way I found to make this transition easier was to get to know each band member individually. I realized that each personality is different, and it was easier to work with them if I tried to understand them.

National Limelight “We want to take you to Nationals this year.� At the end of a September practice, my band director announced that we would be going to the Bands of America Grand National Championships.

Performing in front of so many people is an opportunity that does not come along very often. The feeling I got when they announced our school and the drum majors made all the effort worth it. Everything I had learned allowed me to perform confidently. I cherished every minute of this once-in-a-lifetime opportunity and am looking forward to my next two years as drum major.

About the Author Laurel Beatty is a sophomore at Kiski Area High School in Vandergrift, Pa. She began playing piano when she was 5 years old. She plays alto saxophone in wind ensemble, tenor saxophone in jazz ensemble, and vibraphone and bells in percussion ensemble.

She has also been a member of numerous other musical groups.

Fitness to the MAx

By Haley Greenwald-Gonella

Lose the Love Handles Strengthen your sides to help support your back.

The sides of the body, oftentimes known as “love handles,” support the spine and alignment of your back, so there are multiple benefits to strengthening and engaging this part of the body. If you carry a large instrument or have a routine that includes a lot of crab walking, these exercises will be especially helpful.

Triangle Pose 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.

Triangle pose from yoga is a great way to really find these muscles. Start standing with your feet apart, toes pointed in toward each other, with your hands on your hips. Turn your right toes out to the right. Your left instep should be in line with your right heel. Lift your arms straight out from your shoulders with your palms facing down. Turn your face to the right, so that your nose, chin and right ankle are in one line.

As you inhale, shift your weight forward and lower your torso as if you were in between two panes of glass.

Rest your right hand on your right ankle, and reach your left hand to the ceiling. Your arms should still be in a straight line. Take three to five breaths.

Repeat on the left.

Side Stretch Take either 5- or 10-pound weights, one in each hand, with your arms straight down by your sides. Stand with your feet hip distance apart, with your toes pointed straight in front of you.

Lift your arms to be perpendicular with the floor and lean over to the right for a breath and then back to center and then over to the left for a breath. Try to complete two repetitions of 10.

Lunges Lunges are also a wonderful way to strengthen the sides of the body. If done with proper alignment, they can 34

truly alter the way your body feels.

Start with your feet together and your hands on your hips. Take a large step forward with your right foot; as you bend through your right knee, make sure that your knee is directly over your ankle, not extended beyond it.

Shift your weight slightly forward and lift the heel of your left foot. Keep your left foot straight as you press into the ball of your foot. Make sure that your hips are slightly tucked and that your hipbones are facing forward. You can check this by putting your hands on your hips.

As you inhale, lift your arms forward and up by your ears. Make sure that your shoulders are down. The engagement of the shoulders and arms targets the lunge to work your sides. Stay in the position for three to five breaths.

Repeat on the left.

Warrior I in yoga is another version of a lunge. Warrior 1 keeps the back heel down, and the lunge lifts the heel up, working different parts of the back and consequently side body.

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By Matt Jones

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Across 1. Chest muscle, for short 4. Wicker furniture material 10. Longtime rapper rival of Jay-Z 13. “___ making myself clear?” (2 words) 14. “Attract”ive X-Men villain played by Ian McKellen 15. From ___ Z (the whole thing) (2 words) 16. Mary Shelley horror classic about band formations?

18. Good buddy 19. Cupcake topping 20. Wavering tonal quality, in singing or playing 22. William Golding novel about band formations?

(4 words) 25. Abu Dhabi’s country (abbrev.)

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26. Bullfighting cheer 27. With “The” and 39-Across, Shakespeare play about bands?

33. “The Wind in the Willows” character with a former Disneyland “Wild Ride” (2 words) 36. Like baths you have to wait for to cool down (2 words) 37. Egyptian “father of the gods” (hyph.)

38. Jazz instrumentalist who uses mallets, slangily 39. See 27-Across (2 words) 41. Columbus Day’s month (abbrev.)

42. “Here we go looby ___ ...” (kids’ song) 43. Emily Brontë novel about a band section?

51. Fred of “Saturday Night Live” 52. Far from sleepy

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53. Alternative to JFK when flying into NYC 54. Hermann Hesse novel about bands on the move?

58. Hawaiian necklace 59. Pencil ends 60. “That was way more than I needed to know” (abbrev.)

61. “Ed, ___ n Eddy” (2000s cartoon series) 62. Flavoring supplies at coffee bars 63. Louisville Slugger, for instance

Down 1. Golf average 2. Messages that get forwarded (hyph.)

3. Number after cuatro 4. 2011 animated Johnny Depp movie 5. Eric Holder and Janet Reno, for two (abbrev.)

6. Explosive stuff 7. Chew on a ring, like a baby 8. “How to change ___” (automotive article) (2 words) 9. “Thanks, I don’t want any” (3 words) 10. French emperor with the last name Bonaparte (2 words) 11. “___ of Two Cities” (2 words) 12. Plays by oneself?

14. Fix 17. French white wine cocktail (anagram of IRK) 21. “Paradise Lost” author John 23. Amusement 24. Word before “You’re it!”

27. “Jersey Shore” network 28. “Naruto” villain (found in Taoism) 29. The Jetsons’ Rosie or Richie Rich’s Irona, for example (2 words) 30. Repetitive word meaning “frilly and ornamental” 31. Women who throw parties 32. Cousin on “The Addams Family” 33. Dallas NBA player, for short

34. Free throw path 35. “Lost” actor Daniel ___ Kim 39. Suffix after “buff” or “lamp” 40. Forecast that makes it tough to see 42. In a straight formation 43. 2008 Pixar movie with no speech for the first 25 minutes (hyph.)

44. Provoked 45. Attempt once more 46. They may stand on end when scared 47. Takes control of 48. Like sushi 49. Donnie Wahlberg’s former boy band, for short 50. Starting city of a famous Martin Luther King march 55. Home campus of the Nittany Lions, for short 56. ___ band (band that plays at rallies) 57. Go together, like a jigsaw piece

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.

33. Bristol, RI • 7/3 34. Riverside, CA • 7/3 35. Cedarburg, WI • 7/3 36. Dublin, OH • 7/5 37. Boise, 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. Fremont, CA • 7/9 47. Dubuque, IA • 7/10 48. Northern, CA • 7/10 49. Omaha, NE • 7/10 50. Davenport, IA • 7/11 51. 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. Malden, MA • 7/17 60. Rockford, IL • 7/17

61. Southern, CA • 7/17 62. Kansas City, MO • 7/18 63. Lebanon, IL • 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. Yukon, OK • 7/26 74. Ocean Springs, MS • 7/26 75. Hattiesburg, MS • 7/27 76. Little Rock, AR • 7/27 77. Madison, IN • 7/28 78. Gadsden, AL • 7/28 79. Murfreesboro, TN • 7/29 80. Atlanta, GA • 7/30 81. Paw Paw, MI • 7/30

82. DeKalb, IL • 7/30 83. Southwestern, MI • 7/31 84. Rock Hill, SC • 7/31 85. Orlando, FL • 7/31 86. Summerville, SC • 8/1 87. Sevierville, TN • 8/1 88. Rice Lake, WI • 8/1 89. Charleston, WV • 8/2 90. Salem, VA • 8/2 91. Dayton, OH • 8/2 92. Chesapeake, VA • 8/3 93. West Chester, PA • 8/3 94. Lawrence, MA • 8/4 95. Johnsonburg, PA • 8/4 96. Rome, NY • 8/4 97. Warrenton, VA • 8/4 98. Allentown, PA • 8/5 99. Greendale, WI • 8/5 100. Dubuque, IA • 8/6 101. Allentown, PA • 8/6 102. Erie, PA • 8/6 103. East Rutherford, NJ • 8/7 104. Erie, PA • 8/7 105. Massillon, OH • 8/9

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