A tale of three cities

MP is in a drum corps this summer. He went to camps with three world class, top 12 corps, before finding a home with one of them (although, as an alternate, he has work to do to get a spot on the field this summer).

If you know us, then you know two of the organizations, both with clearly articulated missions about building young people. Those camps were interesting ... and intense for a young man. Yet while the educational value was high, I found interesting the comments he made about one or the other.

"I like it here," he noted on one of them. "The people are friendlier." Interesting, because you don't always associate friendliness with the corps. Both corps are intense, and fairly focused on winning, although there was one in particular that was giving some skills in goal setting and planning that many adults need to hear.

But the corps where he settled he found friendliness, intensity, a desire to win and improve, and a place where the feedback on making him a better player and marcher was delivered effectively. And I found not a mission - although they have one - but a motto that is an even better shorthand for what he can carry all his life.

And so, this summer, he will end the year in the city above. Which is, coincidentally, where he will start the summer. In between, I hope it is an experience he'll learn from.

Welcome to the Blue Stars. And remember FCO, son. FCO.

Band of Brothers. And Sisters.

As this posts tonight, the final band concert of the year, and the final high school band concert for MP, begins.

Band has been good for him. From the moment he started band camp, when he did not know a soul having transferred in days before, until he walks off (and then across) the stage, I hope he values what he learned.

Band is a where the kids can - within the comfort and safety of an extended family - find brothers, and sisters, friends (and sometimes future mates) for life, survive through conflicts and resolutions, and deal with the tears and smiles of life.

Band is not just music. Band is people ... people who come together for a common love and common purpose. It is where kids with no siblings or kids with more siblings than they care to count, kids with only older siblings or only younger siblings, kids with only sisters or only brothers, all can expand - or sometimes find - their family. And family is - or should be - love.

Cherish the memories and friendships, MP. Brothers by blood are important. And brothers - and sisters - by band are, too.

We don't need no (music) education

While walking a beach one time, I overheard two locals commenting on the vacation crowd. "If it's tourist season, can we shoot them?" Well, lately it's budget season, and right in the target is music education.

Like it always seems to be.

I recalled (with the help of IMDB) a few lines from the film "Mr. Holland's Opus", starting with this exchange in the office:

Vice Principal Wolters: "I care about these kids just as much as you do. And if I'm forced to choose between Mozart and reading and writing and long division, I choose long division.

Mr. Holland: "Well, I guess you can cut the arts as much as you want, Gene. Sooner or later, these kids aren't going to have anything to read or write about."

... which lead to this testimony before the school board ...

Mr. Holland: "The day they cut the football budget in this state, that will be the end of Western Civilization as we know it!"

Now, here is a not so secret observation about the movie: It is 15 years old, the same age as our freshman class! And so, I got to thinking, especially in this time of real budget shortfalls, are we in a position to make the case once again about saving music education, or will this be seen as yet another round of crying wolf?

While I firmly believe in the academic value of music, if "we" are going to preserve scholastic music education, we have to start at the bottom - cultivating the kids from elementary school on up - and we have to be prepared to do it outside of the school budgets, and especially support the kids who can't afford it otherwise.

In other words, we are going to have to find a way of doing things differently. This means new ideas, and change ... and the realization that this is going to be very, very hard, and perhaps painful, too.

Funny, though. It is exactly how athletic programs do it. They cultivate the kids in programs where the coaches volunteer, watch, support, and advise.

My Dad was a coach ... who dabbled in the Baritone, once, I recall (my Mom was the multi-talented musician ... voice, violin, piano, classical tastes!), yet even during his time as a school principal and as a district athletic director he understood the value of music education right up there with the value of athletics. But we can't count on this type of broadmindedness, and so maybe instead of envy at their position, participation, and - yes - budgets, it's time we started learning something from them.

Otherwise, we are going to hit "The Wall".

(A quick side note : While I wrote most of this, the TV was on Cinimax. Will some band out there do "Far and Away"? Such good music ... I still remember Southwind doing it in 1993!)

Vertical - and local - magnets

Recently our superintendent was given an arts education award for his efforts in creating a middle school arts magnet, as well as his leadership in a fine arts education advisory group. I'm torn about this, especially as someone highly involved in the booster program of a highly successful middle school program.

One the one hand, arts magnets give clearly talented kids (like my sister!) a chance to thrive in an arts focused environment. On the other, could this lead to a weakening of school-based arts programs, where they are most needed to engage "ordinary" kids (like I was)?

(Parenthetically, I've only heard of one arts magnet with a marching band, by the way - the Cab Calloway School of the Arts in Delaware. Tarpon Springs HS in Florida also is a music magnet of sorts, but they take a different approach ... one I admire greatly.)

Arts programs in fair economies are often 'target rich environments' when it comes to school budgets; in weak economies even more so. (Education budgets are, in my opinion, an economic "lagging indicator.") Couple this with the fact that far too many arts organizations and other non-profits depend on government grants and allocations rather than their own fundraising initiatives, and I fear too many communities and advocates are going to be exhibiting that deer-in-the-headlights look.

And when it comes to dollars/kid ... marching band programs are in the bulls-eye.

I believe arts magnets serve a purpose, but I believe marching bands do, too. They are the greatest and most visible opportunity to learn through music. But to survive, local music programs need to have a vertical horizon/mission.

Athletic organizations realized this a long time ago. How many high school coaches reach down to the younger students with clinics? How many add to their staff alumni or middle school coaches? From Little League and Pop Warner to MLB and the NFL, growth comes from the bottom up, and so to some degree high levels of support and vertical integration are key.

Music programs - from the connections of college/university clinics and drum corps (and the help they can give in instrument selection and acquisition) down to the elementary school - should take note. This may be a secret sauce in long term success.

Mission Creep: Evolution or Back to the Future?

In my profession of anesthesia services management, we caution physician groups and hospitals alike to beware of "scope creep". This occurs when the demands of a facility and its surgical staff slowly begin to outstrip the staffing or clinical capabilities of the practice. I see a that occurring in many of today's drum corps - their scopes of services are expanding. The question is, do they see the "mission creep" as well?

Back in the days fondly remembered by many of today's oldest fans, corps were run to "keep kids off the streets." They were community based, perhaps church or VFW sponsored, much like this drum corps near where I live. Shows were local, on weekends, and there were national events but not so much a national tour.

Around the time DCI got started, corps became more sophisticated. Sticking somewhat to the original mission, they began to focus on kids who had some music background. As I often said during my time on the board of a fast growing corps entering the Top 12, "We give ordinary kids a chance to do something extraordinary." As missions go, we were teaching life skills to kids who may or may not make music and teaching music their life calling.

Now, even that is changing. DCI reports that nearly 60% of today's college-age corps members (who are 70% of all corps members) study music performance and/or education! In fact, with the tag 'Marching Music's Major League', and a new partnership with MENC, the corps are accelerating in the direction of being marching education supplements via exhibition of excellence, clinics, and training of tomorrow's music educators.

In essence, many DCI corps has clearly moved from "the streets" (basic training, where some corps still focus) to "the kids" (life skills through music, where most corps are now) to "music education enhancement" (where many top tier corps reside). These top corps are certainly exceptional labs to develop tomorrow educators, who we hope in turn will develop more leaders. This is good, seen in the high degree of talent (vs. attitude) based selectivity of the members. But this is also bad, as it makes fundraising hard ... and membership by some who aspire to success in a field other than music difficult as well.

Now, entering a time when school budgets are under extreme scrutiny and the arts and music are again a potential target for cuts, what are drum corps to do? Continue on the same path, which some see as a natural evolution and others as a departure from the "true" purpose of drum corps? Go back to what they once were, or something in between? Is there room in "the activity", or even the competitive arena, for three tiers of drum corps (four if you count the "recreational' corps such as those who are in DCA)?

Theory or fact, evolution implies getting better, stronger, faster, smarter. Regardless if whether the changes to come are better, stronger, faster, or smarter, the changes will continue to come (and come fast).

And the changes are going to be interesting indeed.

Olympic Reflections, Part 2 - Go Figure

The figure skating competition at the Winter Olympics often brings out comparisons to drum corps. I enjoy the music and visual artistry of the events.

After the Olympics were over, I ran across this tongue-firmly-in-cheek column on the DCI website called "Marching on Thin Ice", by Michael Boo. Turns out he is not only a drum corps expert, he's a figure staking one, too!

If you are taking the time to read my musings, take the time to read his! (By the way, is there a reason the photo was that of the Cadets?!)

Olympic Reflections, Part 1 - Dreams of the Father, Dreams of the Son

Today MP was officially made an Eagle Scout ... a lifetime achievement, and I am confident many more will follow. Now that he is an Eagle, this Dad (like many others) start to push the little bird out of the nest to fly. (Mom's of course, make sure there is a nest!)

This of course, may seem like a bit of a turn from my usual post. In reality, band isn't the ONLY place to learn leadership skills, or to apply them. I learned a lot from my experiences in band, of course, but also in Key Club and many other activities (although I was not in Scouting).

That being said, this summer MP will be on the road toward another achievement - a field position with a world class drum and bugle corps. There were three auditions total (more on that later), and he still has work to do. And that is what I told him today in front of friends and family.

Once asked my dreams, I told a friend that at some point, the dreams of the father become the dreams of the sons. She took that to mean that I "imposed" my (un-achieved?) dreams on my boys, so I had to explain that it is really the opposite - the father's dreams are set aside, the son's (sons!) dreams become their own.

A few dozen degrees ago (but "merely" 2 months) winter I watched a segment on speedskater Anton Apolo Ohno and his father, Yuki. You see, at one point, there was a lot of conflict on whether or not Anton wanted to continue his pursuit of Olympic level skating.

Chris Collinsworth said, "The friction between Apolo and Yuki Ohno resided the in the space between a father's expectations and a son's willingness to meet them."

MP and I are connected in a lot of ways, but music is the main area, and maybe the main area of conflict. I have to take deep breaths, and make sure the dreams are his.

After a time of deep reflection, Apolo came to say, "Dad, I'm ready. I made my decision. I want to skate. This is what I want to do."

MP, whatever your decision, however it relates or doesn't relate to what I see as a shared passion for music and marching music, I am here to support it.

You are an Eagle. Time to fly.

True judging philosophy isn't always found on the sheets

Last night was guard championships. TP and his crew did an fantastic job, but you wouldn't know it. Why?

Beats me.

Performing for an audience of fans and parents is one thing. They "see" things in a way that judges don't. Judges are expected to be discerning. To know the nuances and bring neutrality to the process of looking at 14 units - or more - then ranking and rating. (I've blogged on that before.)

But inexplicably you get to championships, and the judges see that your work is 8 points worse (10%!) than last week? And not much better than the first show out?

I have always had trouble "judging" indoor. Most of the time I can peg a drum corps, get ideas about where bands should be, and understand some of the equipment and precision aspects of indoor. But ...

Major League or not, we are working with kids, who may not understand the adjudication system, but who make the commitment of time and effort to improve. Even a football team that goes 0-10 will improve.

Please don't confuse this with a "trophy for everyone" or "every kid is a winner." There are winners. There are losers. This is competition. The ultimate goal is to compete against yourself and improve yourself.

But when you can't get consistent feedback that you can rely on to be helpful, it is beyond disappointing, it is frustrating. Ultimately, judges (parents and bosses), this is what you hold in your hands.

To the guard - use this experience as the "SPark" to future success. In the long run, it will make you a winner.

On, Guard!

I know, I know ... ideas aren't posts. I have several I've been tossing around for my world wide audience (of less than, oh, a half-dozen), but they are pending.

In the meantime, TP is now also a flag in the winter guard (one of a handful of males and the ONLY freshman, male or female!). After some delays in getting on the competition floor (due to, umm, winter - about 4 1/2" of it) they got out there. Mmmm. Mmmm. Mmmm.

Actually, the name of the piece is "Mmm..." (3 Ms) performed by Laura Izabor; you can listen (once) on Lala.com. The guard is portraying a tribute to family loved and lost. The art of winter guard can get over my head sometime, but this year I'm along for the ride.

Along for the ride as long as they let me near the floor again. Seems someone (insert sheepish grin here) lost his iPhone while racing to pick up the floor after a show, and it got folded in to the (several) hundred pound near gym floor size tarp. So we had to unfold. And refold. In the dark. And cold.

This past weekend they overcame that handicap - I was nearly completely across the country - and did a double header, and pretty much swept the floor. The first show was a 1st in class, 1st overall (of 10) and fan favorite; the second was 2nd in class and 2nd overall (of 23). Mmm! Mmm! Mmm! - Tasty!

Seems the season just started, but they only have two shows left to go before championships. So, onward, guard!

Time weighs in

I just found out courtesy an e-mail and Facebook post from my friends at Carolina Crown that around the time of the DCI finals in Indianapolis, Time magazine posted (printed?) the Top 10 Drum Corps Performances.

There were some matches to my Quintessential Eight (from November 26), if not exact, then philosophically.

While I get the feeling that this debate won't end anytime soon, it certainly beats the heated bragging that always seems to go on this time of year. I mean, everywhere you go, you just can't get away from ......... chess nuts boasting in an open foyer.

Multiplication by Division?

Let's do a countdown, shall we, starting with ...

6 - USSBA groupings, based on total band size.
5 - The State of Texas UIL (school size)
4 - Band of America (school size), TOB (winds), Cavalcade of Bands, ISSMA
3 - WGI (World, Open, A), a possible expansion from ...
2 - classes based on ability (DCI, USSBA*)

1 - "champion"?

How much is ... too much? How do you compare "like" bands, especially in contests where too many cuts make for too few competitors, leading to watered down championships? When does a band (and school - and face it, sometimes directors need "wins" to satiate principals and boosters and to justify ongoing investment in the marching program) start to break away from seeking quality, constructive and educational evaluations, and move in the direction of self-esteem contests?

I believe in the value and values of a marching program, to the kids, school and the community. The marching band is the one music education entity that touches the community, not just the parents.

Maybe in starting, or immature, programs some self-esteem is necessary. But this isn't life, and it isn't music education. Music education means the kids get scholastic adjudication. That being said, what does that mean?

One of the things I often wonder is what is the right balance of music (and the validity of percussion sub-captions), visual (with or without the color guard sub-caption), and effect (music and visual). Consider this:

... TOB weighting is 40% music, 20% visual (performance), 40% effect
... USSBA weighting 40% music, 30% visual, 30% effect
... BOA weighting is 20% music, 20% visual and 60% effect (although 2/3rds of that is music effect, upon which arguments that they are 60% music can ensue)

TOB and USSBA use other classifications based on ability, which I think is appropriate. But when you get to large bands, are you just watering it down? Some large bands can be thought of as "developing" marching programs, no doubt, but by breaking them into ability classes are you rewarding their achievement or encouraging their mediocrity?

Does "over"-weighting effect put too much emphasis on design (or, "the adults"), or is this a reward of how much the kids learn (or how well the teachers teach?).

I'm not an educator. I'm a band geek ... and band parent. I believe the scholastic programs should be education based, not design based, rewarding the teaching and the student.

Little wins do matter and they are necessary. (I use the term "little wins" from the business lexicon). But we need to encourage development and growth of the program and the kids.

So if it was up to me ... Two classifications ... two "5 Box" scales ...

Classification I - for the "leading bands":

* Music Performance - 30% ... 20% music, 10% percussion
* Music Effect - 20%
* Visual Performance - 30% ... 20% ensemble (which is an outgrowth of individual), 10% guard
* Visual Effect - 20%

It is "marching (and) band", after all. With this scale music and visual performance are balanced (50/50 on this scale), and performance is given greater credit than design (60/40 in this case).

Classification II - for the "developing" bands:

* Music Performance - 40%, with no sub-caption
* Music Effect - 20%
* Visual Performance - 20%, with no sub-caption
* Visual Effect - 20%

Here performance and music are given greater weight, and music outweighs visual, because from what I have seen developing programs are weaker in fundamentals and music, and this encourages development and growth in those areas.

Program growth - more kids, more bands - is the multiplication effect of this division!

This, of course, will be debated among circuits, among states, among regions ... but I am optimistic it will be settled soon. In fact, I'm told that the experts will get right on it!

After NCAA Division I Football Playoff's implemented. And Texas high school football goes back to A-AA-AAA-AAAA-AAAAA playoffs. And Indiana returns to one high school basketball state champion.

What if ...

... 10% of drum corps brass lines were required to be made up of primary woodwind players?

... the drum corps "world class" designation was split based on average age (<19, 19-21), and open class remained on ability. Or ... are we talking about the same thing?

... a minimum tour was required to ensure a maximum experience?

... guards - winter guards, drum corps guards - had to carry equipment for a minimum period of time, say 50%, 60% or 70%?

... everyone used these same audition materials and process in November, so every kid had an equal chance at every corps without having to travel all over creation ... or to Texas?

... fans had a vote, say, in a caption called "entertainment effect"?

... the marching pageantry arts organizations became one part of one organization, sanctioning fall, winter and summer series? if so, who would be in charge?

... Drum Corps International changed its name to just "DCI"?

... all band circuits used one judging criteria? if so, what would it be? and would it be educationally focused?

... all band circuits used the same "grouping" classifications? if so, would it be based on size? if so, size of what? and would there be categories for ability? if so, what is an advanced band? an intermediate one? a novice one?

... pigs do fly?

The Quintessential Eight

Now that fall is over, we can start planning our summer. That's right, the 2010 tour schedule is out! Something to be thankful for!

Since it is Thanksgiving, in addition to food, family, a job, a home, I am thankful for this country, for its music, and marching music in particular - America's unique contribution to music, right up there with jazz. (Well, and a host of composers, too.)

Now that we can start making some summer plans, how do you introduce the wonderful world of marching music to a "newbie"? I like to take them to a drum corps show. And with the schedule now out, you can plan your trips this summer, too!

But what if you can't drag them to a show? What if you had 2 hours to show them what marching music is, and has become since they probably last tuned in. (You know, it's like trying to describe the marvels of HDTV to somehow who last watched on a 13" black and white.)

Accepting the premise (and I don't do that) that drum corps is the way to go, since there are literally thousands of high school marching band shows to choose from a year, and video is relatively accessible, what do you choose?

Here are my Quintessential Eight ... the two hours of drum corps I would use, for better or worse. And I tried to choose a corps only once, knowing that there are probably better shows they have done since the show I selected. That's the beauty of opinion.

So, in date order ...

8. 1983 Cadets - because from then on, the genre changed.

7. 1988 Madison Scouts - from start to finish, the power of the music and the drill, sans props and storylines. It is the building block for not forgetting that "the basics" matter and can carry the day if done right. And, from what I read, it seems that the Scouts are going back to basics now nearly 20 years later.

6. 1992 Velvet Knights - because performance should be fun! (Okay, okay, substitute the 1980 Bridgemen, if you must.)

5. 1993 Star of Indiana - because the genre changed again.

4. 1999 Santa Clara Vanguard - The copycat 90's ended with this championship performance. The musical variety: Philip Glass's minimalist "The Canyon"? Samuel Barber's "2nd" and "1st"? Frank Ticheli's jazzy "Blue Shades"? Oh yeaahhh. This show was just sheer performance - guard, brass AND percussion. The kalidoscopic drill AND body movement. "Vanguard!" Truthfully, SCV isn't my "favorite" corps, but I probably have collectively more favorite performances from them than about any other.

3. 2002 Cavaliers - 99.15. How much closer to perfection can you get?

2. 2007 (or 2009) Carolina Crown - Fans loved these shows. From a storyline perspective, the 2007 storyline was more captivating from the outset. (Typical response from viewers: "That was just 6th place?!") So, select what you will.

1. 2008 Phantom Regiment - Because a champion can come from behind to capture the points as well as the crowd, and because from the moment they stepped out of the tunnel, the performance was on and complete.

What?! I left off the Blue Devils*? Yup. And others. So, your turn.

* (Top 10? Okay - add 2000 Boston Crusaders and Blue Devils ... 1983 ... or 1992 ... or 1994 ... or the risky 1998. Or, what if we have to cut the list to the Top 4 from the 2000s because "I'm only giving you an hour" - oh, never mind.)

Audition Weekend: Missions of the Possible

Today begins auditions for the 2010 season for a number of drum corps (and some winter guards as well). MP is with one drum corps this weekend.

Seems to me that over the past 20 years, the educational focus of the corps audition process has increased, and in many ways become more more standardized. My only hope is that the drum corps don't forget their missions. They are not NFL teams - putting together winning units, or at least trying to. There is the non-profit and educational mission that must be remembered. From what I've seen, I think many corps do that. It isn't about the medals, or the design or instructional team. It is ... it should be ... about the kids.

About a week ago my bride and I had a kitchen debate (I just realized she was closer to the knives, and I'm sure after reading this some of you will wish she used them!) about woodwinds in drum and bugle corps. She argued that if someone wants to march, let them march brass. I argued - for the sake of argument, mind you - that we are excluding a number of talented kids who can benefit from the "drum corps experience", and that the demands and talents in top corps may not give the great clarinet player a chance. Just think about this for a moment. What if a corps set aside 10% of its brass line for primary woodwind players?

Is drum and bugle corps the right name, anyway? We seem to thing it's not marching band (and does calling it major league relegate bands to minor league?) ... and what is marching band, anyway? None of this is what people think it is. (Before you laugh, "color guard", think about the origin of that term!)

Percussion and Brass Corps? The reality is that half of the "drummers" are in the pit and don't play "drums", and conventional trumpets, mellophones, baritones, and tubas are not bugles.

I started out talking about auditions, but seem to have (again) swayed into definitions.

Well, whatever we are, "marching band", "drum corps" or "color guard" ... there is the saying down in Texas about a certain school and it certainly applies: "For those who are here, no explanation is necessary. For those who aren't, no explanation is possible."

Good luck to everyone seeking to join. Especially to MP (... and to woodwinds!)

Resistance ... and Resilience

During this past weekend I peeked in on the BOA Grand Nationals with a particular interest in how some bands were performing, notably last year's champion Avon (IN), "From the 50 Yard Line" star Centerville (OH), and of course the Texas and Carolinas bands.

And American Fork HS, from Utah.

American Fork, you see, was returning from a competition earlier in the year when a bus went of the road. A number of students were injured, and sadly their woodwind instructor lost her life.

Some bands would have quit. Some kids resist going on. American Fork - in one week's time, I found out - raised a quarter million dollars to get to Indianapolis.

What is it that drives some bands to collectively resist the efforts their directors, their peers, and their community? To resist relentless improvement, and be satisfied with mediocrity? The (developing) teen mind, I am finding (hello, MP and TP!) is a wonderful yet strange thing. Dr. Tim's seminar gave me some insight, especially regarding the allure of the 10% who are negative leaders (the resistance!) against the 10% who are positive leaders.

Still ...

Perhaps like the marketers trying to figure out and capitalize on the teen mindset and lifestyle, it is elusive. Some bands have figured it out, however. The directors, kids, parents and community ... implicitly or explicitly. And those bands have resilience, no matter what they face.

... .... ...

Ironically, American Fork's show this year is titled, "The Greatest Generation", the term used to describe the Americans who grew up in the depression and went on to fight in WWII, then brought a new age of prosperity to our nation. Who had ... resilience.

In some ways, and in some places like American Fork, there are some pretty good members of this new generation, too.

... ... ...

I drafted most of the above knowing American Fork had advanced to 2009 Bands of America SemiFinals. In the end, they did not advance to the finals. Still, they showed resilience.

What's it worth to you?

Is it five bucks? Six?

After a season of local shows, this past weekend I sat in a ticket booth for a while watching band parents and grandparents are expressing sticker shock as we get to large finals competitions in major venues, where ticket prices jump to $20 ... or more. (In some case, much much much more - to the point where $10 is the deeply discounted low corner seat!)

Not to mention those stadium operators often do relish the opportunity to stick you with high priced hot dogs and parking fees - fees that are not the fault of the organizers of events, for sure, unless you blame them for choosing the stadium in the first place. (Not that they haven't offset some of with sponsors and exhibitors.)

And pretty much, expressing shock is what we do. I've heard variations on this melody: "What?! That's a outrageous price to pay to see my kid for 15 minutes! I mean, its four times what I've paid all season, not counting the parking rip off!"

Well, for one, just in case you missed it during the last ten or twenty or so years, prices have gone up. Except, perhaps, band competitions. While the costs to put them on go up, ticket prices have held steady. This means less profit for show operators, leading to a lower return on the investment of time, and maybe reducing the costs of the program they are supporting.

And there is a lot of cost to supporting a kid in a band program, no doubt - I have two (and some families I know have three!). Can we squeeze another $20, $40, plus plus plus?

Well, what's it worth to you? To see your kid perform? To give support to the other band kids out there performing?

I understand that it is not the best economic world out there. It's hard to raise money, it's hard to deal with increasing expenses and flat or declining incomes. (Probable case in point: The once dominant Lancaster Catholic HS band.)

Major National Championship events allow the kids the experience of performing before in a "high value" venue. I've seen high school football stadiums in the northeast they are ... not Texas (or Ohio or Florida).

Major National Championship events also all the kids and the directors to get feedback from "high value" judges. Like any sport, there are people who dabble, and there are names we respect. How often does quality educaitonal feedback come to a band?

And, beside, for $20 - stay. Stay and grow the crowd. Give the kids from ALL bands the biggest audience of their season. Give all the kids the most spectatular feedback they will probably get all year. And be surprised. Yes, in most cases there are band that are better than yours.

By the way. $20 to see the USSBA Group 6 Champion Roxbury HS again? Yeah, probably worth it, if you watch them from the moment they step on the field to the moment they step off. Funny that even though they didn't win visual, to me they had the trifecta - great design, great teaching, great execution.

Reflections of Brillance

The band did well under Saturday - oops - Sunday Night Lights! They went in seeded 18th and tied for 15th, breaking 85 and earning a bronze level recognition from the NJA-TOB circuit. Quite honestly, I believe they could have done better, but were done in a bit by a later start than they probably needed for a show with technical and musical complexity above what they were used to, and somewhat by the entire seeding and qualifying point spread.

The technical side was interesting for me, given that the show was written by two drum corps veterans, Marty McCartt and Bill Register, that were there with me at the beginning of Carolina Crown (if you want to see and hear a Florida band's version, click here.) and was clinic-ed (not sure that is a word) by a long time drum corps veteran.

Still, maybe it is parental bias, but I am certain the show was well performed - and the duet by MP was near flawless and brillantly played!

Looking at the scores, Chesapeake HS, another (smaller) area band I did not get to see at finals but saw several times throughout the season, didn't get nearly the recognition they deserved, finishing 20th with what really was most likely a top 10 show. This band is small but consistently delivering a good product (and program).

Strangely, I didn't see anything that grabbed me this time, although the better bands demonstrated superior technical marching achievement that goes with repetition and muscle training. Music was good and excellent, but not always spectacular. Among the top 10, the multi-meter piece "The Canyon" by Philip Glass (as brought to the field in 1999 by Santa Clara Vanguard) was attempted three times. My bias is showing - this show is in my "Quintessential 8" of all time, and so it is hard for bands to reach the acheivement level demonstrated by SCV. (Surfing I found his composition "The Witches of Venice" ... will a band try that?)

The season isn't over yet. They have one more event, but it is under the sunlight on Saturday at the USSBA national championships. We'll see how it all ends then.

Intensity

Wednesday: The All County Exhibition.
Thursday: The Rained Out TOB
Friday: Homecoming and 8th Grade Invitational
Saturday: TOB Chapt ... oh, wait ... rain out
Sunday: TOB Chapters take 2!

Four shows. Five days. ("What is this, a drum corps?!")

It is an intense week for the kids in the band. Some had tests and had to study on the trip to and from the contest Thursday. Parents had to find ways out of work for chaperoning. And all of this is happening at the end of the season.

What came to mind this week is that this is where training starts back in August (or sooner). Not just musical, but training for the various physical, mental, emotional, and even nutrition and health (as it is, after all, cold and flu season) demands of this point in the season.

Training requires not just ongoing reinforcement, but a planned curriculum of what you will be training for. It requires coordination with the boosters. it requires flexibility by the parents and the students. But all of this has to be planned for in advance ... and communicated repeatedly.

I recent got my hand on a book by Wayne Markworth titled The Dynamic Band. (You can get it too at the book website or as part of the academic package of "From the 50 Yard Line".) Markworth was the long time band director at Centerville OH High School, leading the program for 35 years but never getting out of step with what it takes to maintain a contemporary marching band program. (While geared toward current and future band directors, band boosters should consider getting a copy as well, especially to review his chapter on booster-director relationships.)

Marching band is hard work. It requires intensity. Wayne Markworth has provided some salient guidance on how to get there. After all, if marching band were easy, it would be called ...

||: Dr. Tim :||

Band geeks instantly know the name.

Dr. Tim Lautzenheiser has long done student leadership development programs targeting music students.

I've heard of him for years, but a few weeks ago I got to watch him in action. Whew! He was three hours of nonstop energy mixed with honesty about band student leadership. "Truth or sugar?", he asked the 100 or so kids, who shouted back, "Truth!" We parents (and teachers) should remember that!

I took three pages of notes, some near illegible because of the rapid fire presentation. (No breaks, by the way.)

Professionally I have the opportunity to work with some very smart people who literally hold the lives of others in their hands on a daily basis (and they get at least 12 years of post-high school education needed before their career begins!). But probably the most substantial reason I end up involved with their practice is the (lack of) leadership in the group. The specialty requires tact and teamwork, yet the 12 years of training covers none of that. It's like expecting your first chair talent to be the one to take up the baton, when all they know is their own horn and music!

When I was growing up I got to personally know a few "Dr. Tim" types through my involvement in the Kiwanis International sponsored youth programs, Key Club and Circle K (though which I met my wife!) For about 7 years I heard many of the same messages.

However, leadership takes practice, and repeated messages. That was my takeaway from listening to Dr. Tim. (I try to have at least one takeaway from every seminar or conference!) It is now why more than ever I think the Tarpon Springs HS Band & Orchestra programs may be on to something in their approach.

It has to start early (the first band camp!) and be repeated often. Basics are boring, I am told, but are the foundation of future success.

Repetition in messages. Repetition in practice. (It's call "reps" for a reason, from band to football!). Remember the 10,000 hours message?

I don't know how often they go back to their notes and notebooks, but I hope the students (including my own!) will refer to their workbook often.

Reps.

Who'll Stop the Rain?

Heard the singers playin', how we cheered for more.
The crowd had rushed together, tryin' to keep warm.
Still the rain kept pourin', fallin' on my ears.
And I wonder, still I wonder who'll stop the rain.
- Creedence Clearwater Revival

And so it rained. On Friday. On Saturday. Now (but less so).

All across the region, band shows were canceled, postponed, or moved indoors. Our band had it postponed, but whether we go or not is (forgive the expression) up in the air. They have performances on Wednesday, Friday and Saturday already.

However, last night we hosted a double feature of two movies reviewed here previously, "From the 50 Yard Line" and "August Rush." We couldn't host everyone, but those who came had fun! So it wasn't a complete washout.

However, two memories came to mind - the 1993 DCI World Championships performance of the Madison Scouts, and the 2008 USSBA National Championships performance of George Walton Academy. I remember that simply these two groups came on to the field in a sprinkle and ended up performing in a downpour. But somehow it just got those kids fired up, and they really took the performance up a notch and connected with their audiences.

Who'll stop the rain? For those two groups, the answer was - Who cares?!