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1.800.848.2263 • http://bands.org/ • boainfo@bands.org

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Bands of America, Inc.526 Pratt Ave. North, Schaumburg, IL 60193

NON-PROFIT ORGANIZATIONU.S. POSTAGE PAID

PERMIT NO. 608ARLINGTON HEIGHTS, IL 60006

National Presenting Sponsor

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H. Robert ReynoldsBOA SummerSymposium

Craig Kirchhoff2002 Honor Band ofAmerica conductor

I N T H I S I S S U E

2001 SUMMER BAND SYMPOSIUM > p 2 > DIRECTORS WORKSHOP: THREE

HOURS OF GRADUATE CREDIT > DIRECTORS SCHEDULE > STUDENT WORKSHOPS

AND FACULTY > EVENING CONCERTS ◆ 2001 NATIONAL CONCERT BAND

FESTIVAL > p 8 > “AN ESSENTIAL EDUCATIONAL EXPERIENCE”–THE 2001

FESTIVAL IN WORDS AND PHOTOS ◆ 2002 NATIONAL CONCERT BAND

FESTIVAL & NATIONAL PERCUSSION FESTIVAL > p 10 > APPLICATION

DEADLINES FOR CONCERT BANDS, PERCUSSION ENSEMBLES AND HONOR BAND

OF AMERICA ◆ NATIONAL CONCERT BAND FESTIVAL VIDEO & CD

RECORDINGS > p 11 ◆ SELECTING QUALITY LITERATURE FOR BANDS

AT ALL LEVELS by Elizabeth Jackson, Eden Prairie H.S., MN >

p 12 ◆ 2001 FALL BOA REGIONAL & GRAND NATIONAL

CHAMPIONSHIPS > p 14 ◆ FOR YOUR STUDENTS: STRAIGHT

TALK FOR THE COLLEGE-BOUND by Mark Camphouse >

p 16 ◆ BOA NEWS > p 18 > REVELLI SCHOLARSHIP WINNER >

LIVE GUEST CHATS AT BANDS.ORG > REGIONAL CONCERT BAND

FESTIVAL BANDS > COPYRIGHT RESOURCE > H. ROBERT REYNOLDS

RETIRES

2

SummerBand

S u m m e r B a n d S y m p o s i u m

Presented by

June 25-30, 2001Illinois State University,Normal, ILLeadership Preview Weekend withTim LautzenheiserJune 23-24

BandSymposium

The BOA Summer Symposium is the ultimatesummer experience for students &directors! It’s about leadership, excellence and

inspiration. Every faculty member, class andperformance is designed to unleash the potential withinevery participant. Enrollment is limited to the first 1,500students to apply.

• National faculty: broaden your horizons with learning from a world-class faculty

• National camp: interact with peers from other bands across the country

• BOA national standards mean you can be assured the very best available resources

• Campus experience: we offer a safe away-from-homecollegiate experience for students who will soon embark in higher education.

New in 2001: Leadership forall students!Leadership and personal development have always beenthe themes running throughout the BOA Symposium.However, in 2001, every student will participate inleadership and personal development workshops. TimLautzenheiser will lead a workshop for all students

on Tuesday, and everystudent in every area ofstudy will have“experiential” leadershipsessions: hands-on team-building workshops thatgive active high schoolstudents a chance tofocus in an energized way.

For more info and registration formsFor more information on all the Directors Workshops,Colorguard and Drum Instructor Academies, StudentWorkshops, Booster and Collegiate Tracks, and forregistration forms, see your January/FebruaryBands of America Newsletter or visit us online atwww.bands.org

“Bands of America’s mission is tocreate and provide positively life-changing experiences for students,teachers, parents and communities.”

Directors WorkshopBOA’s Director Workshop is a week packed full of real-world sessions you can put to use right away. “Today’sinstrumental teacher is expected to be an expert inconcert band, marching band, jazz band, publicrelations; an administrator, motivator, counselor,business manager, role model,” says BOA Directorparticipant Elmer Broeker, Lincolnview H.S., VanWert, OH. “BOA offers the necessary clinics tosurvive.”

“Bands of America constantly expands and improvesthe programs it offers, providing a ‘cutting-edge’curriculum every year,” says Craig T. Aune, C.R.Prairie H.S., Cedar Rapids, IA.

Three hours of Graduate Credit at noadditional cost Continuing education andprofessional development are important and in manycases mandatory for today’s director. We offer you up tothree hours of credit at no additional cost throughIllinois State University.

NEW for 2001! Directors “Free Ride”Scholarship Bring 12 or more of your students andyou can attend at absolutely no cost! Bring six ormore and attend tuition-free (you pay only housingand meals).

Networking Networking with other directors andexperts in all aspects of band, music and teaching isvital. BOA offers unparalleled opportunities fornetworking at the Symposium and beyond.

Colorguard and Drum InstructorAcademies: Intensive workshops for colorguard andpercussion teaching professionals, led by premierexperts with proven track-records of success.

Powerful.

3

3

Technology TrackBeginner, Intermediate, Advanced.Sessions offered twice daily)

Session 2–Individual Teaching &Training: Smart Music™–Generating Lesson PlansThrough Smart Music™Online–David Hawley (Coda)

Session 3–Music Notation II–Sibelius™

Session 1–Music Notation: FromPrint Music to Finale™–TomJohnson (Coda)

Session 4–Setting Up EffectiveMIDI Work Stations and Labs

w w w . b a n d s . o r g

(Th) Administering &Budgeting Your Program–Bruce Burritt

(T) Inspiring Yourself to“KICK IT IN”When You’dReally Rather Be KICKn’Back–Fran Kick

(Th) Developing a SuccessfulBooster Program (Booster)

(F) Bringing SuccessfulAdvocacy to Your School–EarlHurrey (MENC), Burritt,Michael Kumer, L.J. Hancock

(F) Legal Issues and Band:Teachers, Boosters,Schools–Eric L. Martin, Esq.

(Th) Getting the Best fromYour Band: DevelopingStudent Leadership–GeorgeParks

(Th) Working with YourParents: It’s a Team Effort–Burritt

(Th) Let’s Get Started, Let’s GetOrganized–Dick Lee (Booster)

(T) Creating EnsembleLeadership– HowardWeinstein (Boston Crusader)

(Th) Organizational Strategiesfor Boosters–A Survey ofOrganizational Structures(Booster.)

(Th) Travel Safe,Travel Wise:Trip Planning (Booster)

(F) Establishing and Operatinga Strong Booster Program

(F) Booster Roundtables–Fundraising,Travel,Communication, Management

(F) Grant Writing 101: UsingGrants as Resource–Kumer

(F) Developing a StrategicPlan for Your Program–Bob Breithaupt

(F) Using the Web: Strategiesfor Communication, Advocacyand Management–CynthiaThompson/Debbie Laferty

(S) Booster Fundraising: It’sAbout YOU and not theChocolate!–Earl Hurrey, MENC

(S) Advocacy:The Role ofBoosters and Parents

Marching Band

(Computerized writingand teachingstrategies)

Concepts for ShowDesign–The Boston CrusadersSession 1

Brass & Percussion Warm-UpExercises–Boston Crusaders

Arranging for Marching Band–Marty McCart, BostonCrusaders

Boston Crusaders “LIVE” (inRehearsal)

Choosing the Musical Vehicle–The Boston Crusaders Session 2

“The Marching Band DrillDesign Series” –ComputerizedDrill Writing–Bob Buckner(Part 1 of 4)

“The Marching Band DrillDesign Series” –ComputerizedDrill Writing–Bob Buckner(Part 2 of 4)

“The Marching Band DrillDesign Series” –ComputerizedDrill Writing–Bob Buckner(Part 3 of 4)

“The Marching Band DrillDesign Series” –ComputerizedDrill Writing–Bob Buckner(Part 4 of 4)

Feature Sessions Fran Kick–How to Keep YourKids “KICKIN IT IN” AfterBOA–Developing StudentLeadership

Dave Samuels–Yamaha GuestArtist Feature Session

Mark Camphouse–TheComposer/Conductor Speaks

Tower of Power–Yamaha GuestArtist Behind-the-Scenes

Focusing on the Big Picture–Tim Lautzenheiser

Mel Clayton, President, MENC–Teaching Music:The World’sGreatest Job

JazzProgramming -A to Z

(TeachingImprovisation)

Teaching Improvisation–Where to Start–SymposiumJazz Faculty (Dr. Lou Fischer,Coordinator)

Teaching Improvisation II–Symposium Jazz Faculty (Dr.Lou Fischer, Coordinator)

Teaching Improvisation III–Symposium Jazz Faculty (Dr.Lou Fischer, Coordinator)

Teaching Improvisation IV–Symposium Jazz Faculty (Dr.Lou Fischer, Coordinator)

Teaching Latin Rhythms–Lalo Dávila

Teaching Latin Rhythms–Lalo Dávila

Developing Your Jazz RhythmSection–Dr. Lou Fischer, BobBreithaupt, Matt Harris

Year Round ProgrammingStrategies for Auxiliaries–Coming Full Circle–LarryRebillot

Ten Ways to Improve Your Colorguard–Larry Rebillot

Dance Basics for YourEnsemble–Teaching Dance &Identifying LocalResources–Vincent Thomas

Concert ProgramBuilding (Conductor & TeachingSeries)

(additional sessions tobe added)

Symposium Conductors Series-Anthony Maiello (George MasonUniversity)

Symposium ConductorsSeries-John Whitwell(Michigan State University)

Symposium Conductors Series-H. Robert Reynolds (UniversityMichigan)

Symposium Conductors Series-H. Robert Reynolds (UniversityMichigan)

Director Band Session 1–with John Whitwell and GaryMarkham

Director Band Session 5–with Gary Markham

Director Band Session 2–with Anthony Maiello andGary Markham

Director Band Session 3–with H. Robert Reynolds andGary Markham

Director Band Session 4–with Mark Camphouse andGary Markham

Getting the Best from MiddleSchool Ensembles–Marguerite Wilder

FinalConcerts &Performances

Parent DayPicnic

Getting Your Percussion toSoar–Steve Houghton

Boston Warm UpExcercises–Rich Viano

Percussion(Directors can also attend Drum Instructor Academy pro-gramming for a Comprehensive Curriculum on Teaching/Maximizing the Role of Percussion in Your Marching Program.)

Colorguard/Auxiliary(Directors can also attend Colorguard Instructor Academyprogramming, as well as these special sessions intended tobring/expand generalized understanding of the role of col-orguard/auxiliary in your program.)

Advocacy/Program Building & BoosterManagement (In conjunction with Friday/Saturday’s Booster

Track,T=Tues,Th=Thurs, F=Fri, S=Sat)

Score Study–”Not Just forthe Conductor Anymore”–Marguerite Wilder

H. Robert Reynolds

Lou Fischer

Jim Campbell

Mark Camphouse Tim Lautzenheiser

John Whitwell

Arranging for Marching Band–Richard Saucedo (Carmel H.S.,IN) and The Cavaliers

Boston Crusaders

Track Offerings Monday Tuesday Wednesday Thursday Friday Saturday

John Whitwell Anthony MaielloAnthony Maiello

NOTE: Advocacy sessions are on on Thursday, Friday and Saturday, indicated by (Th), (F) or (S)

Tim Lautzenheiser

This schedule is tentative and a representation of the sessionsthat will be offered.

Concert BandThe Concert Band track at BOA offers your studentsmore than just a setting of full band rehearsals.Exposure to unique learning opportunities for studentsof all levels is a strength of the Concert Band track:

• Exposure to nationally-renowned conductors.• Chamber or theory exposure.• Exposure to new quality literature to stretch the

students’ abilities.• Master classes with inside info and tips for better

performance on their instrument including: how to practice, tone quality, playing in tune in the section, sight-reading/how to sight read, instrument care, reedchoice and reed-making for reed instruments, proper embouchure and more.

• Exposure to playing with different students from around the nation, sharing their focus on music-making.

Concert Band Faculty Includes:Anthony Maiello, George Mason University, ConductorMark Camphouse, Radford University,VA, ConductorRichard Crain, Midwest Clinic Board of Directors, ConductorMarguerite Wilder, Lovett School, GA, ConductorWendy Kumer, Private Flute Studio, FluteJudith Dicker, Illinois State University, OboeMichael Dicker, Illinois State University, BassoonArthur Campbell, Grand Valley State University, ClarinetLynn Klock, University of Massachusetts, SaxophoneAmy Gilreath, Illinois State University,TrumpetJoseph Neisler, Illinois State University, French HornSteve Parsons, Illinois State University,TromboneJeff Graves, Illinois State University, EuphoniumSkip Gray, University of Kentucky,TubaSteve Steele, Illinois State University, Concert Band Division Head

Jazz BandOur Jazz program is all about learning: hands-on andfirst-hand. Students will learn: • The specifics of their instrument, and techniques to

improve individual performance immediately through masterclasses with the jazz faculty.

• How to accomplish musical results through time-managed, focused rehearsals.

• With and from other musicians in their own age group, from all over the country.

• How to focus their time in the practice room.• About improvisation and theory resources, specific to

their level, that will enable them to continue the learning process after they leave camp.

• Experience the history of jazz music.• Explore potential opportunities in higher education

and career tracks in the music field.• Techniques that address the three learning skills:

aural/oral, visual, and tactile.

Jazz Faculty Includes:Lou Fischer–Capital University, Jazz Division HeadDoug Beach–Elmhurst CollegeBob Breithaupt–Capital UniversityJim Culbertson–Decatur MacArthur H.S., ILMatt Harris–California State University-NorthridgeMary Jo Papich–Peoria Public Schools, ILRex Richardson–Rhythm & BrassEd Soph–University of North TexasMike Vax–Great American Jazz BandTom Walsh–Indiana UniversityBret Zvacek–Crane School of Music

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S u m m e r B a n d S y m p o s i u m

Color guardNothing compares to this comprehensive, national-levelexperience. At camp, students are exposed to many firstrate clinicians, not just one. They participate inleadership classes and are exposed to more than onestyle. Video tape critiques, clinics, and observations withtop drum corps guards offer exposure that expandstheir knowledge and understanding.

BOA is not just for beginners, with world class facultyand classes for all levels. We are constantly improvingand changing the curriculum to keep it fresh andcurrent for returning campers.

• New “Master Class” for advanced students offers intensive instruction in all areas of color guard.

• Students learn some of the finest colorguard educators in the world, chosen not only because of what they teach but how they teach.

• They’ll meet other talented colorguard leaders from around the U.S. and the world. Share ideas and experiences to take home for your own team.

• Extensive and intensive instruction and technique classes in all levels of flag, rifle and sabre. Daily dance and movement sessions from trained dance professionals. Performance opportunities during the week.

• Hands on experience from talented young performers from top drum and bugle corps and performing groups.

Award-winning Color guard Faculty Includes:Larry Rebillot, Bluecoats Drum & Bugle Corps

BOA Colorguard CoordinatorBart Woodley, Center Grove H.S., IN Colorguard

Colorguard Instructor Academy CoordinatorSusie Harloff, Avon H.S., IN ColorguardMichael Sloan, Winston Churchill H.S.,TX ColorguardAlan Spaeth, Plymouth-Canton Educational Park, MI ColorguardVincent Thomas, Liz Lerman Dance Exchange,Washington DCJohn Whalin, Cavaliers Drum & Bugle Corps

and more!!!

All-StatePlayerDiscountBOA is offering anadditional $20 off theEarly Bird Discount pricefor All-State Concert andJazz members who enrollin camp by May 19, 2001in the Concert, Jazz orPercussion areas of theSymposium.

This is our way toreward your outstandingplayers! Although theEarly Bird discount expiredMarch 31, your All-Statemembers can still enrollthrough May 19 at $20less than the Early Birdprice. Their completedapplication must beaccompanied by the letterof acknowledgement oracceptance into the All-State ensemble.

BoosterTrackJune 28-30, 2001Bands of Americapresents the onlycomprehensive workshopfor band boosters in thenation. Like the rest ofthe Summer Symposium,the focus of the BoosterTrack is effectiveleadership. From start tofinish, the boosterworkshop will examineaspects and details ofcreating and operatingeffective booster cluborganizations with topicslike:• Let’s Get Organized• The World Wide Web

& Your Band• Working with

Administration• Chaperone/Volunteer

Do’s & Don’ts• Unified Booster

Programs• Legal Issues for

Boosters• Budgets & Fundraising • Trips & Competition

Planning• By-Laws & Business

Plans . . . and more.

5

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Marching BandThe Marching Band Track at BOA is unique: a place fornew or younger marchers to learn skills, and a place foryour best band members to refine skills and learn new,cutting-edge techniques. Combined with leadership forall students, the Marching Band track will send yourstudents home charged up and ready to go!

BOA’s Marching Band staff is headed by KevinSchuessler, director of the Center Grove H.S.Band, IN and his national award-winning staff.

What will your students get out of theMarching Band Track?• Enhanced understanding and abilities in the activity of

marching band learned through working with a core staff of directors and designers from finalist programs of Bands of America Grand Nationals.

• Participation in a well-balanced and successful process of learning,executing and performing a show within the week.

• Question and answer time with the staff for better understanding of how these techniques may relate in their school environment.

• Depth of explanation and practical application of proven marching fundamentals.

• Exposure to the evening concert series, whether it is Top 12 DCI corps at the drum corps contest or invigorating professionals on stage.

• Enjoy being with a group of students that are committed and interested in excelling in this art form.

PercussionYour students will experience the full spectrum ofpercussion with experts on all major instruments.Choose from three Tracks: Marching, Drumset orPercussion Ensemble.• Play, play, play! Students perform with other

percussionists from around the country in rehearsal and concerts led by some of the finest percussion educators in the country.

• Observation–Students attend concerts by world renowned artists.

• Observation–Students get the latest info on new instruments and accessories and what they need to know in order to use them.

• Observation–Students get the inside scoop on how to successfully prepare a scholarship audition for college!

• Customization–Observation–Students customize their own schedule choosing the elective sessions they want–Latin Percussion, Concert Percussion, Drum Set, Electronics, and more!

Percussion Faculty Includes:Jim Campbell, Division Head

University of KentuckyBob Breithaupt

Capital UniversityDavid Collier

Illinois State UniversityJulie Dávila

Percussion Specialist, AuthorLalo Dávila

Middle Tennessee State University

David GaribaldiTower of Power

Thom HannumUniversity of Massachusetts

Robin HornUniversity of Arizona

Steve HoughtonRecording artist and performer

Neil LarriveeCadets of Bergen County

John PollardL.D. Bell H.S.,TX

Dave SamuelsSpyro Gyra

Ed SophUniversity of North Texas

Boston Crusaders Drumline& Staff, Corps-in-Residence

George N. Parks Drum MajorAcademy

While there are other drummajor camps, only Bands ofAmerica offers drum majors a fullweek of George N. Parks, plusthe unmatched full BOASymposium experience. It’s theultimate training for your drummajor!

The drum major curriculumcovers marching and conductingtechniques, communication and

leadership skills, and teaching tools. The philosophybehind the program is to provide drum major studentsand band leaders with a foundation in all these areas sothey may return to their schools as a valuablesupportive asset to their band directors. Students workclosely with both Professor Parks and his staff. Eachindividual's marching and conducting is evaluatedthrough the use of video tape. Students do not learnconducting routines. Emphasis is placed upon a clearconcise beat pattern within a variety of time signaturesand tempos. From large lecture settings to small groupsof 5 - 6, students gather valuable information as theywork to develop their teaching techniques, as well as apositive 'how to teach' approach.

Leadership Preview Weekendwith Dr. Tim Lautzenheiser

Start your students’ BOA weekwith the Leadership PreviewWeekend, June 23-24. Thisintense, exciting, positively life-changing experience is for yourdrum majors, section leaders,color guard captains, bandofficers and student leaders nowand future.

The workshop is led by TimLautzenheiser, in demand

nationally as a motivational speaker, leadershippresenter, author and guest conductor. The leadershipstaff includes top motivational speakers and presenters,like Fran Kick, founder and president of InstructionalConcepts and Design.

The emphasis is on achieving the personaldevelopment necessary to properly lead others to ahigher level of group attainment. We’ll focus on:

• Goal Setting–Goal Attainment• Developing Communication Skills• Productivity vs. Popularity• Intrinsic Values Instead of Extrinsic Rewards• The Benefits of We/Us Over I/Me• Commitment to Completion• Cooperation vs. Competition• The Development of Positive Self-Discipline

For your DrumMajors & Leaders

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There are many

aspects of the BOA

Summer Band

Symposium that set it

apart from any other

kind of summer camp,

but none more

exciting than the

Summer Concert

Series. BOA campers enjoy a different world-

class performance every evening.

New: Blast! at the BOASummer SymposiumBlast!, the explosive musical celebration now ignitingthe world’s stages, is tentatively scheduled to make aspecial appearance at the BOA Summer Symposium.

In little more than a year, Blast! has made triumphantdebuts in London, Boston, Milwaukee, Detroit, andChicago, and opened a ten-week limited engagementon Broadway on April 17.

Blast! grew from the drum corps ‘Star of Indiana,’which was founded in 1984 in Bloomington, Indiana, bybusinessman Bill Cook to benefit young people throughmusic. Star’s stage show has had ties to BOA since theirfirst year in 1993, when Star performed for the SummerSymposium.

Tower of PowerPresented by YamahaFriday, June 29This soul-funk band, known in the music industry chieflyfor its explosive horn section (which is in demand andhas turned up on albums by Santana, Elton John andHuey Lewis and the News), also enjoys a successfulcareer producing albums and touring on its own, oftenperforming before thrilled fans in Europe.

Great American Jazz BandPresented by YamahaTuesday, June 26Trumpeter Mike Vax and his Great American Jazz Bandbring dynamic excitement to audiences wherever theyappear, performing music from over 100 years ofAmerican culture. Their music knows no boundaries oftime or style. The group attains a swinging jazz feel,while playing tunes from the late 1800’s through today.

DCI Central IllinoisSummer Music GamesWednesday, June 27The BOA Symposium is proud to host Drum CorpsInternational’s Central Illinois Summer Music Games,with:

Boston CrusadersPhantom RegimentGlassmenMadison ScoutsBluecoatsColtsTroopersPioneerSouthwind

Yamaha Young PerformingArtistsMonday, June 25BOA is proud to host the honor concert featuring the2001 winners of the prestigious Yamaha YoungPerforming Artist (YYPA) program.

Hundreds of applicants ages 16-21 apply annuallyand undergo a rigorous taped audition process for apanel of national celebrity musicians. The YYPA concertat BOA showcases these incredible young musicians.

Summer Symposium

S u m m e r B a n d S y m p o s i u m

Symposium FeesStudents: $410 by May 19Directors: $599 by May 19Leadership Weekend:add $175 if attending full week$255 for Leadership alone

Collegiate: $440 by May 19Booster Workshop:$190 by May 19

Registration deadline: May 19, 2001 (after May 19 add a $50 late registrationfee to all full fees).

Fees include housingMonday night, June 25–Saturday afternoon, June30. The Symposium endsat 3:00 pm Saturday, June30. Leadership PreviewWeekend student housingincludes Saturday night,June 23–Sunday, June 24.

Registration is Monday,June 25 from 8:30 am to12 noon. Concert Band,Jazz Band and Percussionplacement hearings startat 8:00 a.m.; an exactschedule will be sentupon enrollment.Registration for theLeadership PreviewWeekend starts at 8:00am Saturday, June 23.

Supervision andMedical Staff: TheSWAG Team is adedicated team, hand-picked by Bands ofAmerica after anextensive application andevaluation process. Theysupervise students at alltimes and hold nightlyfloor meetings and bedchecks. A staff of medicalpersonnel is on call 24hours a day and allstudents have access tothe ISU Medical Center.

Transportation:Participants areresponsible for their owntransportation to ISU.Shuttle service is availablefor an additional fee fromthe Bloomington/ Normaland Peoria airports andthe Normal bus and trainstations.

Summer SymposiumConcertsConcerts

& Events& Events

8

Inspiring.Inspiring.

2001 Honor Band of America

Harpist fromKennewick H.S., WA

Dr. Tim Lautzenheiser at the Festival OpeningSession.

The National Concert Band Festival conduc-tors received Citations of Excellence from theNational Bandmasters Association at Saturdayevening’s awards banquet.

N a t i o n a l C o n c e r t B a n d F e s t i v a l

bands.org alert

Visit

www.bands.org to

view the programs

of all 18

performing bands

and 10 percussion

ensembles.

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Arecipe for excellence:bring together adozen icons in the

band world, the directorsof more than two dozenof the finest high schoolwind and percussionprograms from across thecountry, 1,500enthusiastic students andparents, world-class hoteland performance venuesand you have anexperience that is thehighlight of manydirectors' teachingcareers—you have theBands of AmericaNational Concert BandFestival Presented byYamaha.

The 10th annualFestival was held April 5-7in Indianapolis at theMurat Theatre, MarriottDowntown and IndianaHistorical Society. Justopened a month beforethe Festival, the Marriottprovided a first-classstarting point for threedays of unforgettablemusical experiences andmeaningful interactionand networking.

"When directors whohave had ensemblesperform at the MidwestInternational Band andOrchestra Clinic say thatthe National ConcertBand Festival is without adoubt the highlight oftheir career, it is bothhumbling and gratifying,"says Eric Martin, VicePresident and ChiefOperating Officer ofBands of America.

It is the spirit ofcamaraderie and musicalrisk-taking fostered by thenon-competitive nature ofthe Festival that is thebasis for the uniquenature of the event. Thereis a lot of talk behind thescenes about the "icons"

who are there asevaluators and clinicians.However, they areaccessible icons, who seekout and enjoy visiting andsharing with theparticipating directors insettings like Friday night's"Meet the Masters"evaluator/director dinnerand nightly receptions.

"We had an amazingexperience," says AvianBear, director,Lawrence Free StateSymphonic Band,Lawrence, KS. "Ourclinicians, the concerts,the hotel, the BOA staff,our host–everything wastotally professional andvery well organized. Ittruly was an experience ofa lifetime for my students,my staff and myself.”

The centerpiece of theFestival is, of course, theconcerts. With no ratingsor trophies, directors canstretch their bands,pushing the envelope andprogramming music thatthey might elsewhere bewary of committing to. In2001, 16 invited concertbands performed, as wellas 10 percussionensembles at the debut ofthe National PercussionFestival.

Eden Prairie (MN)H.S.’s Wind Ensembleauditioned and wasinvited to the Festival, andthey, along withGlenbard West H.S.,IL, also brought theirsecond band to perform.The opportunity forsecond bands to performin concert in their ownvenue, receive evaluationand a post-concert clinicallows invited bandprograms to let more orall of their instrumentalstudents participate in theexperience.

"My students have beenexposed to a new level ofexcellence,” saysElizabeth Jackson,director at Eden Prairie.“This experience hasincreased our hunger tobecome the very best thatwe can be. On a personalnote, I have not felt thisinspired in a very longtime!” (Ed. see Dr.Jackson’s article onselecting literature onpage 12).

Honor Band ofAmericaThere are those musicalmoments when the entireconcert hall is electrified–the musicians feel it, theconductor feels it, theaudience feels it. Suchwas the atmosphere atthe Honor Band ofAmerica concert, Saturdaynight, April 7 to close theFestival.

Under the baton ofCol. Arnald Gabriel,the 97-member HonorBand, with musicians from

17 states, performed aprogram that includedChamarita by RogerNixon, Diversion for AltoSaxophone by Heiden,Porgy and Bess by GeorgeGershwin, RussianChristmas Music by AlfredReed and the high schoolband premier ofSymphony No. 2"MacArthur" by MarkCamphouse.

Saxophonist andYamaha artist EugeneRousseau was guestsoloist on Diversion forAlto Saxophone, as wellas Porgy and Bess. MarkCamphouse, who wasat the Festival forrehearsals of SymphonyNo. 2 "MacArthur" inaddition to evaluating thesecond bands withFestival CoordinatorRichard Crain, spoke tothe audience before theperformance of his pieceabout his thoughts behindthe composition.

National PercussionFestivalTen high schoolpercussion ensemblesperformed at the firstNational PercussionFestival, Friday, April 6 atthe Indiana HistoricalSociety. Following theformat of the concertband portion of theFestival, percussionensembles performed inconcert, followed by aclinic with one of theevaluators. The evaluationteam included JamesCampbell, University ofKentucky; MichaelBurritt, NorthwesternUniversity; Tim Genis,Boston SymphonyOrchestra and JohnWooton, University ofSouthern Mississippi.

The mix of ensemblesincluded the TrinityHigh School and JimRoyle PercussionStudio ensembles whowere invited by auditiontape, as well as eightensembles from the musicprograms of the invitedconcert bands.

An essential educational experience2001 National Concert Band Festival brings 1,500 students, directorsand parents together for a powerful musical experience

2001 Festival Evaluators: (from left) John Whitwell, Michigan State University;James Keene, University of Illinois; Gary Green, University of Miami; Col.Arnald Gabriel, U.S. Air Force Band (ret.); Richard Floyd, UniversityInterscholastic League, Texas; Ray Cramer, Indiana University; MarkCamphouse, Radford University; Harry Begian, University of Illinois (ret.); notpictured: Richard Crain, Festival Coordinator.

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Explore.Expand.

Excel.

Explore.Expand.

Excel.

Call for Audition Tapesfor 2002 National Concert Band &Percussion FestivalConcert Bands & Percussion Ensemblesdeadline: June 15, 2001Honor Band of America deadlines:June 30, 2001 Early Bird ($25 fee)September 15, 2001 Final ($40)

For the first time, Bands of America has

included in this newsletter the full

National Concert Band Festival

Application Packet–with requirements

and applications for concert bands,

percussion ensembles and the Honor

Band of America. See the enclosedFestival Application Packet for

complete information of the Festival and

audition requirements.

N a t i o n a l C o n c e r t B a n d F e s t i v a l

March 21-23, 2002Indianapolis, INMurat Theatre & Marriott DowntownApplication is a taped audition process, open to all highschool bands and percussion ensembles. Allauditioning ensembles receive taped andwritten evaluation from the listening panel.

The 2002 National Concert Band Festival auditionlistening panel includes Anthony Maiello, GeorgeMason University, VA, Mark Camphouse, RadfordUniversity, VA and John Whitwell, Michigan StateUniversity.

Festival Highlights• Up to 18 bands who demonstrate the highest level of

musicality and performance will be invited.• Up to 14 percussion ensembles will be invited to per-

form in the National Percussion Festival, endorsed by the Percussive Arts Society.

• Honor Band of America, Craig Kirchhoff,conductor.

• Indianapolis Symphony Orchestra concert included in the Festival schedule.

• Instrumental master classes for students.• Gala Awards Banquet.• Video and CD package, Festival t-shirt, patch,

certificate and program book included for every student (complimentary video/cd package for director).

• An atmosphere that celebrates musical excellence thatis difficult to describe!

See the enclosed application packet for full details on allaspects of the Festival and the audition process.

2002 HonorBand of AmericaCraig Kirchhoff,conductorAuditions open to all highschool band membersThe chance to audition for theHonor Band of America is onethat your best players deserve! Allauditioning students receivewritten evaluation from theaudition panel.

The students’ experiencesspeak for themselves:

“I had the greatest time atHBOA,” says 2001 member EricWiggins, Lassiter H.S., GA“It's not only a chance to playwith one of the greatest bands inthe country under an amazingconductor, but it's also a greatopportunity to meet and interactwith all types of different peoplefrom all around the nation.”

“The opportunity to play in aband with musicians of such highcaliber was a priceless andindescribable experience, saysCara Salveson, Oak RidgeH.S., CA. “Participating in theband demanded more of me thanI sometimes thought that I couldgive in order to produce suchbeautiful music, but I am a muchstronger musician because of it.”

“Being in the Honor Band ofAmerica isn't just about music,”says Erin Hanna, UnitedTownship H.S., IL. “It is aboutrelationships. The friendships Ihave built with people fromacross the country are amazing!We are all joined by our lovemusic.”

PIease see the full FestivalApplication packet forcomplete details on the HonorBand of America experienceand audition requirements.

Craig KirchhoffUniversity ofMinnesota,2002 Honor Band ofAmerica Conductor

Craig KirchhoffUniversity ofMinnesota,2002 Honor Band ofAmerica Conductor

Jole

sch

Phot

ogra

phy

Presented by

Each ensemble’s performance at the National Concert Band Festival wasprofessionally recorded with three broadcast cameras and digital audiomastering equipment.These recordings are of the highest quality and a

must for every director’s library.

Video–Individual PerformanceUp to 40 minutes per band and 20 minutes per percussion ensemble.Includes one band’s complete performance. $39 each.Includes one percussion ensemble’s complete performance. $29 each.

Compact Disc (One Volume) $20 ea.Vol. 1-5Each Volume 1-5 is a two CD set. Up to 36 minutes per band and 15 minutes perpercussion ensemble.

Compact Disc (Complete Set) $80 Vol. 1-5Purchase the complete set of five double CD volumes & SAVE $20.Up to 36 minutes per band and 15 minutes per percussion ensemble.

Volume ContentsVol. 1– West Aurora HS Wind Ensemble, IL; Lewis-Palmer HS Symphonic Band, CO;

North Hardin HS Symphonic Band, KY; Cheyenne Mountain HS Symphonic Band, CO

Vol. 2– South Brunswick HS Wind Ensemble, NJ; Eden Prairie HS Wind Ensemble, MN;Kennewick HS Wind Ensemble,WA; Lewis-Palmer HS Wind Ensemble, CO

Vol. 3– Lawrence Free State HS Symphonic Band, KS; United Twp. Symphonic Band, IL;Seminole HS Wind Ensemble, FL; Libertyville/Vernon Hills HS Wind Ensemble, IL

Vol. 4– Dr. Phillips HS Wind Ensemble, FL; Glenbard West HS Symphonic Band, IL;James Logan HS Wind Ensemble, CA; Tarpon Springs HS Wind Ensemble, FL

Vol. 5– Honor Band of America, Col. Arnald Gabriel, conductor, Eugene Rousseau, Soloist;Jim Royle Percussion Studio Ensemble, CT; Trinity HS Percussion Ensemble, PA

Featured Item:

Honor Band of America Concert [Vol. 5]Recognized as one of the nation’s premier honors ensembles for high school musicians,the 2001 Honor Band of America’s dynamic program brought the audience to its feetwith ovation after thundering ovation.

Chamarita by Roger Nixon (Boosey & Hawkes)Commissioned by The United States Air Force Band and dedicated to Col. Arnald GabrielDiversion for Alto Saxophone by Heiden (Etoile Music, Inc.)

Eugene Rousseau, Soloist Porgy and Bess by George Gershwin

Eugene Rousseau, SoloistRussian Christmas Music by Alfred Reed (Fox)Symphony No. 2,“MacArthur” by Mark Camphouse

I. Introduction: Adagio–Agitato–FanfareII. Andante Religiosos–Quasi FantasiaIII. Allegro Energico–Maestoso–Chorale(High School Band Premier)

National Concert Band FestivalProfessional Video &CD Recordings

National Concert Band FestivalProfessional Video &CD Recordings

Order online atwww.bands.orgor Call Now

800.848.8433or fax 847.891.8230

P.O. Box 142Palatine, IL 60078

All sales are final with NO cancellations, returns or substitutions. All orders will beshipped UPS, within 4-6 weeks from date ordered. Shipping & Handling:Inside Continental U.S.-Tapes/Cost :1–4/$6.00, 5–8/$8.00, 9–12/$10.00,13–16/$13.00, 17–20/$16, 20–up/Call Outside the Continental U.S.-Call forshipping costs.

What makes "good music" good?

This is a very complex question. I don’t knowif I believe in an "absolute" definition of goodmusic. It depends on so many factors. In apure sense, I believe that good music is musicthat provides students with a large palate ofexpressive options. Kids are more emotionallysophisticated than we sometimes give themcredit for; the most successful music is thatwhich taps into their humanity. I try to avoidmusic that is formulaic, or too easilyaccessible. I like to challenge my students withmusic that they have to live with a whilebefore they may fully accept it!

What about transcriptions versusoriginal music for band? How do youprogram a mix for your ensembles?

The wind band has such a brief pastcompared to the orchestra, that we have nochoice but to consider literature that was

originally written for other mediums. Sometranscriptions work well for winds, others donot. For example, I believe that every bandshould program Bach as much as possible,and that we would be doing our students agreat disservice if we did not allow them toexplore the masters like Tchaikovsky,Shostakovich, Berlioz, Wagner, Brahms, orMussorgsky. However, we have a tremendousrepertoire of compositions written for windsand percussion that is growing every day, andit is becoming increasingly less difficult toprogram all original works. At Eden Prairie wehave a listening curriculum that weincorporate into rehearsals which allows kidsto hear great works written for voice, strings,and winds. We try to program as muchoriginal wind repertoire as possible.

What is some good literature for toplevel, experienced bands? What doyou find valuable about each piece?

(I hate making lists because they can never becomplete!)

Great for developing espressivity, tone, line:Allerseelen–Richard StraussTrauersinfonie–Richard WagnerFuneral March–Edvard GriegOctober–Eric WhitacreAmazing Grace–John Himes/Maldenado

Challenging and fun multi-movement works:Divertimento for Winds & Percussion–RogerCichyFirst Suite in F–Thom Ritter GeorgeGalactic Empires–David Gillingham

Explores the vast spectrum of timbre availablein winds and percussion:The Dream of Oenghus–Rolf RudinEndurance–Timothy MahrThe Speech of Angels–Stephen Mellilo

Contemporary, fun, technically tough!:Dreadnought–Jeffrey BrooksChester Leaps In–Steven BryantPastime–Jack Stamp

What is some good literature foryounger or less experienced bands?What do you find valuable abouteach piece?

Each piece listed is first of all playable–whichis key to the success of younger groups. It isimperative to avoid frustrating them withmusic that is too difficult technically, but it isalso important to constantly raise their level ofexpectation.

Air for Band–Frank EricksonFlourish for Wind Band–Ralph VaughnWilliamsFanfare, Ode and Festival–MargolisPolly Oliver–Thomas RootSnakes–Thomas DuffyHambone–Libby LarsonA+ –Thomas Duffy• Almost anything from the Teaching Music

through Performance in Band series (North Texas Wind Symphony)

• New literature in the American Composers Forum New Band Horizons project.

What literature would yourecommend to a first year director ata school with struggling students?

I would recommend to the first year directorthat in order to pick appropriate music, onemust know the ensemble. What are itsstrengths? What are its weaknesses? What arethe areas in which it needs to grow? Bewareof frustrating the ensemble with music that istoo difficult. Help them to find successquickly, and they will trust you with morechallenging repertoire later on.

Elizabeth JacksonElizabeth Jackson is anative of Minnetonka,Minnesota. A graduate ofHopkins Lindbergh HighSchool, she went on tocomplete a Bachelor ofArts in Music Education atSt. Olaf College, a Masterof Music in WindConducting atNorthwestern University,and a Ph.D. in MusicEducation at The OhioState University. Herresearch dealt with themeasurement of electrical

signals from the brainduring music listening andmusic imagery (silent scorestudy) in experienced andnovice conductors. Herstudy has been presentedat the College BandDirectors NationalConference in Boulder,Colorado and at theSociety for MusicPerception and CognitionConference in Berkeley,California.

Dr. Jackson has taught ina variety of environmentsthroughout her fourteen-year teaching career. Shebegan in 1983 as theDirector of Music in thesmall rural community ofWrenshall, Minnesota.After receiving her MastersDegree, she spent fouryears teaching high schoolmusic in Spring Lake Park,Minnesota. Following herdoctoral work inColumbus, Ohio, sheenjoyed five years teachingelementary music in

Hopkins, Minnesota. Shehas also spent fivesummers teaching clarinetin Norway at the VestfoldSommerskolen i Musikk.She is presently in her thirdyear teaching at EdenPrairie High School.

Jackson has been activeas a clinician promotinginstrumental musiceducation and conductingat the University ofMinnesota’s Art of WindBand Teaching, theInvitational Concert BandFestival in Plainfield, Ohio,the Vestfold ConductingSymposium in Larvik,Norway, and the MinnesotaInstrumental ConductingSymposium at St. OlafCollege. She is presentlyon the board of theMinnesota Music EducatorsAssociation, and is amember of the advisorycommittee for theAmerican ComposersForum’s New BandHorizons project.

12

Selecting Quality Literature forHigh School Bands at All LevelsAn Interview with Elizabeth JacksonDirector of Bands, Eden Prairie H.S., Eden Prairie, Minnesota

F e a t u r e A r t i c l e

13

What do you consider inprogramming concerts for your toplevel ensemble? Your otherensembles?

Strengths, weaknesses, and growth areas! It’sno different. I have two main goals with mywind ensemble. How can I challenge mystudents both musically and technically? Howcan I incorporate the classics of wind literaturelike Holst, Grainger, Vaughan Williams,Persichetti, etc., into the concert sequencebefore the kids graduate? I can’t rely on aformula because my students are alwayschanging. I program concerts based on thebest interest of the individuals involved.

In the younger groups I ask myself whatcan I present to them that will keep theminterested, fire them up, make them wantmore? I am trying to set the stage for thesestudents to continue developing their musicalskills and to extend their musical careers.

The bottom line for all of us: Ask for help!No one has all the answers, but there aretremendous resources out there (e.g., BestMusic for High School Band, Tom Dvorak; orMusic for Concert Band, Joseph Kreines; orcall Jim Cochran at Shattinger Music!) if wejust look around. Go to conferences, saveprograms, listen to as much music as you can,talk to colleagues! Ours is a SHARINGprofession.

What were your (and Rich Berggren,director of the Eden PrairieSymphonic Band) considerations inprogramming your two ensembles’concerts at the National Concert BandFestival?

BOA gave us an opportunity to "raise thebar." We knew we would hear outstandinggroups from across the country, and wewanted to represent our state the best wecould. The beauty of BOA is that itencourages a group to compete with itself asopposed to compete with some arbitrarystandard. We chose music that stretched usboth musically and technically. We took achance on repertoire this year that we maynot have taken without the encouragement ofthe Festival.

Given that BOA strives to not haverepetitive programming, were therepieces you wanted very much to playthat you couldn't because they wereon someone else's program?

Yes . . . but it gave me an opportunity to findwonderful alternatives. I like the philosophy ofavoiding repetition.

What's your philosophy of teachingmusic?

My philosophy is that every human being hasthe capacity to experience, appreciate, andbenefit from music. Talent is everywhere; it isup to us as educators to nurture and refine it.I’m sure my story is similar to many others–Ihad wonderful teachers as a kid in highschool and college. My life changeddramatically because those teachers openeddoors for me and helped me to understandhow to deal with the complexities of existencethrough music. I simply want to do the samefor my students.

Given the topic of your doctoralresearch (Ed. See Dr. Jackson’s vitaebelow), do you have your studentsparticipate in any score studyexercises that you find improve theirplaying and musicality?

I do use ideas from my research in rehearsals.I stress that all music must exist within usbefore we bring it to life in the outside world.We often sing together, and we spend timedoing a lot of aural imagery (or audiation)before we open our mouths. We practicedeveloping relative pitch, perfectingintonation, and establishing inner pulse bysilently focusing on the sounds we create inour minds. It has worked quite well.

ScholarshipsThe Revelli Foundation awards several scholarships each year to high schoolseniors intending to attend college and pursue a career in music educationand performance, including The Revelli Scholarship, The Yamaha Scholarship,The Mark Jolesch Scholarship and The NAUMD Scholarship.

Honor Band of America Chair EndowmentsIn 2000,The Revelli Foundation launched a project to secure $15,000endowments for each of Honor Band of America chairs. Endowed chairswill reduce the financial commitment for the selected members andfamilies.The Robert Zildjian Family endowed the first Honor Band Chair witha lead gift in 2000.

The Paynter Project:New Music Commissioning ProjectThe Paynter Project is dedicated to commissioning new works for concertband, to be premiered by the Honor Band of America at the National ConcertBand Festival:

"Vesuvius" by Frank Ticheli (1999)“Galactic Empires" by David Gillingham (1998)“Whatsoever Things......” by Mark Camphouse (1997)"Gemini Variations" by Thomas Knox (1996)"American Faces" by David Holsinger (1995)"As If Morning Might Arrive" by Jack Stamp (1994)

Contributions start at $250. Contributors names will be listed in thepublished score of the commission and will receive an autographed, framedcopy of the score page along with a CD of the Honor Band of America’spremiere performance.

A dynamic force perpetuating opportunities for music educationThe Revelli Foundation is a non-profit charitable foundation dedicated to perpetuatingmusic education through band.The Revelli Foundation is named for Dr.William D.Revelli (1902-1994), whose national success while at Hobart High School in Hobart,Indiana and his 36-year stint as Director of Bands at the University of Michigan arelegendary.Today,The Revelli Foundation is carrying forward Dr. Revelli’s vision formusic education into the next century with a variety of scholarships and programsdesigned to support music education efforts.

Please contact us for information on how YOU can make a difference.

The Revelli Foundation800.963.REVELLI (7383) • revelli@bands.org522 Pratt Ave. North, Schaumburg, IL 60193

14

RegionalChampionships

RegionalChampionships

Explore how diverse and provocative today’s marching

bands can be. You and your student will be moved by

the creativity and variety. Bands of America allows you

to experience some of the world’s most fascinating and

progressive marching bands. We offer you two ways to

experience the BOA fall:

Enroll and perform for the benefits ofparticipation, including:• An adjudication panel that has the education of your students foremost in mind.• A professionally-run event that offers you and your students the most worry-free,

supportive environment possible.• Pre-event information that will take the surprises out of contest day.• A staff that will do everything possible to serve you.• Adjudicator tapes and scoresheet commentary that you can use as an educational

tool for your band’s growth.• A high-quality, high camera video of your performances delivered at the event.• Personalized certificate and participation patch (on-site) for every band member.• Participation award for every band; ratings, class placement, highest

achievement, and finalist awards.• Events that offer your students the chance to witness dozens of the finest high

school band performances in the nation.• A positive atmosphere and knowledgeable audience that provide encouragement

and support and promote camaraderie.

Texas bands: Don’t miss this new opportunity with three BOA Regionalsin Texas in 2001. San Antonio is full, but there are still performance spots in theHouston and Dallas/Fort Worth Regional sites.

Southeast bands: The Citrus Bowl is confirmed as the site of the OrlandoRegional. Performance spots are available on a first-come, first-served basis.

Experience through the power of observation:Plan to attend by yourself, with colleagues or with your band through group ticketdiscounts.

Group Ticket Discount: $3 off each general admission finals or prelims ticketfor groups of 30 or more.

Regular Ticket Prices: [Professional Venues–San Antonio, Atlanta, St. Louis,Orlando, Indianapolis] Day Pass (general admission [G.A.] Prelims and Finals)–$16,Deluxe Day Pass (G.A. Prelims and Reserved Finals)–$24, Prelims–$12, FinalsG.A.–$12, Finals Reserved–$16

[Louisville, Toledo, Johnson City, Las Vegas, Morgantown, Dallas, Hempstead,Houston] Day Pass (G.A. Prelims and Finals)–$14, Deluxe Day Pass (G.A. Prelims andReserved Finals WV & Houston only)–$20, Prelims–$10, Finals G.A.–$10, FinalsReserved (WV & Houston only)–$14

2001RegionalChampionshipsLouisville, KYKentucky ExpositionCenterSeptember 22

Toledo, OHUniversity of ToledoSeptember 22

Johnson City, TNEast Tennessee StateUniversitySeptember 29

Orlando, FloridaCitrus Bowl (Confirmed!)September 29

Las Vegas, NVUniversity of Nevada atLas VegasOctober 6

San Antonio, TX*AlamodomeOctober 6

Hempstead, NYHofstra UniversityOctober 13

St. Louis, MO*Trans World DomeOctober 13

Dallas/Ft. Worth, TXUniversity of Texas-ArlingtonOctober 20

Morgantown, WVWest Virginia UniversityOctober 20

Atlanta, GA*Georgia DomeOctober 27

Houston, TXRice UniversityNovember 3

Indianapolis, IN*RCA DomeNovember 3

*Indicates full event, callfor alternatives or “waitlist” status.

Photos by JoleschPhotography

F a l l C h a m p i o n s h i p s

Presented by

w w w . b a n d s . o r g

15

Grand NationalChampionships

November 8-10, 2001RCA Dome & Convention CenterIndianapolis, IN You won’t believe your eyes and

ears. Grand National bands are blazing new trails with

vivid creations and musical excellence. This is marching

band at its best. Don’t miss this monumental adventure

for all directors and students.

A Day of Programming for Directors(oh yes, and three days of amazing performances)Your Saturday ticket admits you to a day of programming for Directors thatincludes:• Directors’ Judging Clinic with BOA Chief Judge Gary Markham and some of the

nation’s top adjudicators, held in the press box and using live band performances.• Behind-the Scenes Tour of the Grand National Championship for Directors and

Boosters.• 30 Semi-Finalist performances.• BOA Question & Answer session with staff.

Tim Lautzenheiser Student Leadership WorkshopFriday, November 9, 5:00-7:00 pm, Indiana Convention CenterOver 1,000 students from across the nation attended this workshop in 2000. Don’tlet your students miss this highly-energized workshop in 2001. If you and yourstudents have never experienced the impact of “Dr. Tim,” it’s about time you did!Registration fee is $30 and includes Leadership Workshop t-shirt.

Group Ticket Discount for BandsGrand Nationals is a perfect field trip for your students and a great chance for youto recharge your batteries and be exposed to new ideas. Group ticket discountavailable for groups of 30 or more (see ticket prices at right).

Thursday, November 8, 200111:30 AM–11:30 PM Prelims (half of the bands)

Expo Open (with more than 70 booths)Friday, November 9, 20017:30 AM–9:00 PM Prelims (2nd half of the bands)

Expo Open5:00-7:00 PM Student Leadership Workshop

with Tim Lautzenheiser Saturday, November 10, 20018:30 AM–5:00 PM Semi-Finals (30 bands)7:00 PM–11:00 PM Championship Finals (12 bands) & Grand Finale

In ExhibitionUniversity of Massachusetts Minuteman Marching BandUniversity of Texas Arlington Marching Band

*Includes “Wait List” Bands:Alan C. Pope HS, GAAvon HS, INBassett HS, VABellbrook HS, OHBellevue West HS, NEBen Davis HS, INBroken Arrow Senior HS, OKCambridge HS, OHCarmel HS, INCarroll HS, OHCasey County HS, KYCastle HS, INCenter Grove HS, INCenterville HS, OHChaminade-Julienne CatholicHS, OHChesaning Union HS, MIColerain HS, OHDavenport Central HS, IADurand Area HS, MIEast Jessamine H.S., KYEtiwanda HS, CAF. J. Reitz HS, INFairborn HS, OHFarmington Harrison HS, MIFieldale-Collinsville HS, VAFrancis Howell HS, MOFrancis Howell North HS, MOFruitport HS, MIGallatin County HS, KYGilbert HS, AZGrandville HS, MIGrant County HS, KYHart County HS, KYHerscher HS, ILIndian Hill HS, OHIrmo HS, SCIrondale HS, MNJames F. Byrnes HS, SCKing Philip Regional HS, MAKings HS, OHKiski Area HS, PAL.D. Bell HS, TXLake Central HS, INLake Park HS, ILLakeland HS, MILawrence Central HS, IN

Liberty HS, VALimestone Community HS, ILLivonia Franklin HS, MILone Oak HS, KYMadison Consolidated HS, INMarian Catholic HS, ILMarietta Sr. HS, OHMartinsville HS, INMeade County HS, KYMetamora HS, ILMiami Coral Park HS, FLMiamisburg HS, OHMilford HS, MIMilford HS, OHMoore HS, OKMt. Healthy HS, OHNaperville North HS, ILNormal Community HS, ILNormal West HS, ILNorth Hardin HS, KYNorthmont HS, OHNorthrop HS, INNorton HS, OHNorwalk HS, CTOoltewah HS, TNOwasso HS, OKPaul Harding HS, INPender H.S., NCPlymouth-Canton EducationalPark, MIPortage Central HS, MIReeths-Puffer HS, MIRoger Bacon HS, OHScott HS, KYSpringboro HS, OHSycamore HS, OHTarpon Springs HS, FLThornton Fractional So. HS, ILTroy Athens HS, MIWarren Local HS, OHWayne County HS, KYWebster HS, NYWest Carteret HS, NCWestern Brown HS, OHWesterville North HS, OHWilliam Mason HS, OHXenia HS, OH

2001Grand National Bands*2001Grand National Bands*

TICKETS: Order online at bands.orgor call 800.848.2263Finals: Press Box Reserved–$100Inside 30’s Club Level Lower Deck Reserved–$30Inside 30’s Upper Deck Reserved–$2515-30 yardlines Reserved–$20Outside 15’s Reserved–$15

Semi-Finals: Press Box Reserved–$50Semi-Finals: General Admission–$18

2 Day Prelim Pass–$16 / 1 Day Prelim Ticket–$10(all Prelims tickets are general admission)Group Discount–$3 off 1 Day Prelim Ticket forgroups of 30 or more.

Presented by

16

F o r Y o u r S t u d e n t s

Editor’s Note: This is anexcerpt of advice forcollege-bound musicmajors from a full articleby Mark Camphouse thatappears online atwww.bands.org. Tell yourstudents to visitwww.bands.org/networkfor Mr. Camphouse’ fullarticle which includes“General Advice for AllCollege-Bound Seniors.”

While serving as guestconductor with all-state,all-regional and othermiscellaneous high schoolhonor bands throughoutthe U.S., I always try to fitin a 15-20 minutediscussion session withband members (notalways easy givenrehearsal timeconstraints!). This affordsthem an opportunity todirect questions to meabout their hopes, fearsand dreams of theirupcoming collegecareers...as music majorsor (and every bit asimportant in my view)non-music majors.

For those non-musicmajors seeking financialincentives to continue toplay, there are quite oftenat most colleges anduniversities, talent-basedband scholarshipsavailable for gifted anddedicated playersmajoring in anything frombiology to specialeducation, or criminaljustice to sports medicine.And yes, there may evenbe band scholarshipopportunities for thosewho declare a major inthat increasingly popularmajor called undecided!

Specific advice forcollege-bound musicmajorsBe sure the college,university or conservatoryyou select is a good ‘fit’for you in terms ofinstitutional size, mission,location and environment.

There is no substitute foran on-campus visit. Makea real effort to speakdirectly with studentsduring your visit, not onlyfaculty and staffpropagandists!

Occasionally re-evaluateyour reasons for wantingto attend college,specifically as a musicmajor. Do not major inmusic because you thinkyou ‘like’ music or you‘like’ band. That is simplynot enough. You must behopelessly in love withmusic in every way!

With regard to auditionrepertory, find out if theinstitution at which youare auditioning hasspecific/required pieces.Consult your privateteacher or band director.A good general rule tofollow is to have twoprepared works (concerto,sonata, etude) ofcontrasting nature. Ifconcerti or sonatas, theseshould, ideally, be fromtwo different periods inmusic history, i.e. onefrom the Baroque,Classical or Romanticperiods, and one from the20th century.

If you prepare etudes(please be sure they havesome modicum ofcompositional merit!) theyshould also be contrastingin nature . . . one slowand lyrical, the other fastand more technique-oriented. Auditionevaluators generallyadhere to elementspertaining to The ThreeT’s: tone, technique, andtime, i.e. pulse stabilityand rhythmic precision.Memorization is usuallynot required forinstrumentalists, but ifyou present a work frommemory exceptionallywell, this can reallyenhance your audition.

Students hoping tomajor in compositionshould present a portfolioof their works which must

demonstrate evidence ofcreative ability. Recordingsof readings and/orperformances of yourcompositions can be anice addition to yourportfolio, but are usuallynot required. Havinggood, clear manuscript/notation skills is extremelyimportant. Good pianoskills are absolutelyessential for all composers. . . young, old and inbetween!

Don’t put all of youreggs in one basket. Giveyourself some options.Don’t be overlydisappointed if you arenot accepted by your firstchoice school. Apply andaudition at a minimum ofthree schools. During myfinal year of high school,for example, I wasaccepted as an appliedtrumpet performancemajor at The CurtisInstitute (Philadelphia),New EnglandConservatory (Boston) andNorthwestern University.(Evanston, IL). Asprestigious as Curtis andNEC were (and still verymuch are!) I remainconvinced I made theright choice in attendingNorthwestern, primarilyfor these two reasons: 1) Ihad the opportunity tostudy privately with twoof the world’s finestorchestral trumpet playersand brass pedagogues:Vincent Cichowicz atNorthwestern, andAdolph Herseth, via aChicago Civic Orchestrascholarship. 2) I received aworld-class generaleducation at a truly greatuniversity along with mymusical studies in the NUSchool of Music. It provedto be the best of bothworlds! So, determiningthe level of excellence offaculty specialists togetherwith the quality of theschool’s overall academicprogram must always beamong your top priorities

in selecting a college. Becoming extremely

proficient on yourprincipal instrument mustbe a top priority. However,acquiring some functionalability in basic piano skills(ideally prior to college) isextremely important.Piano skills (even the mostbasic and fundamental)will prove to beenormously helpful withyour other music classes,especially those in musictheory and aural skills. Itruly believe the piano isthe real bedrock ofmusical knowledge.

Your (required) coursesin theory, music historyand aural skills are in away just as important(and sometimes more so!)as applied music lessonpreparation. Andremember, the finestapplied music teachersvery frequently make thestudent aware of vitallyimportant ‘connections’with your lesson materialin the studio, and yourclassroom work in theory,history and aural skills. Ofcourse this all ‘comestogether’ during ensemblerehearsals.

Do not become a musiceducation major “as aback-up.” Good grief, Iabhor that mentality andit causes serious damageto our profession! Simplystated, we need musiceducators who are firstand foremost excellentmusicians who also have apassion for teaching.Period!

Take your non-music(general education)courses seriously. You mayfind (as did I) some ofyour general educationclasses to be the mostenlightening, challengingand ultimately importantcourses you take incollege.

Be careful to not lockyourself in a practiceroom all day. My advice tosomeone who calls a

practice room home formore than fours hours perday: get a life! Two hoursof intensive, well-focusedpractice per day is farmore valuable than fourhours of aimless rambling.

The college years willbe among the richest andmost positive you willexperience. Importantseeds will be plantedwhich will hopefullyenable a blossoming oflife-long artistic,intellectual and personalgrowth and discovery.Good luck, work hard,and enjoy!

A product of the richcultural life of Chicago,composer-conductor MarkCamphouse was born inOak Park, Illinois in 1954and received his formalmusical training atNorthwestern University.He began composing atan early age, with theColorado Philharmonicpremiering his FirstSymphony at age 17. Hisworks for wind band havereceived widespreadcritical acclaim and areperformed frequently hereand abroad. Mr.Camphouse has served asguest conductor, lecturerand clinician in 36 states,Canada and Europe. He isan elected member of theprestigious AmericanBandmasters Associationand serves as coordinatorof the National BandAssociation YoungComposer Mentor Project.Mr. Camphouse isProfessor of Music andDirector of Bands atRadford University inVirginia. He is married tosoprano Elizabeth Curtis.They live in Radford withtheir twin 14-year-olddaughters, Beth andBriton.

Straight Talk for the College-BoundBy Mark Camphouse

18

North Hardin H.S., KYstudent awarded2001 Revelli collegescholarshipHana Swain, a senior flautist at North Hardin HighSchool, Radcliff, Kentucky, was awarded the 2001Revelli Scholarship at the Saturday night banquet of theNational Concert Band Festival, April 7 at the MarriottDowntown Indianapolis.

The Revelli Scholarship is a one-time $1,000 scholar-ship awarded annually to a participating student in theNational Concert Band Festival or Honor Band ofAmerica who intends to major in music education. TheScholarship, which honors the late Dr. William D. Revelli,is presented by The Revelli Foundation to help perpetu-ate the noble profession of band directing.

Hana was nominated by her band director, CharlesCampbell. First chair flautist in the North Hardin WindEnsemble, Hana is also a drum major of the marchingband and will start at the University of Kentucky thisfall.

“Reviewing the nominations for the scholarship I wastruly moved and encouraged by passions of theseyoung people,” said BOA Executive Director ScottMcCormick. “They want to share their love of musicwith students, as their directors shared it with them.Hana’s story is compelling and her love of music is evi-dent. I am confident she will make a wonderful musiceducator and leave her mark on the band world.”

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N e w s

The Revelli FoundationScholarship Recipients

2001Hana SwainNorth Hardin HS, KYThe Revelli Scholarship

2000Amy DolderOswego HS, ILThe Revelli Scholarship

Andrew MarkworthCenterville HS, OHThe Mark JoleschScholarship

Michelle PezzutoLincoln-Way H.S., ILThe Yamaha Scholarship

Emily LawryMilford HS, OHThe NAUMD Scholarship

1999Joshua TorresMarian Catholic HS, ILThe Revelli Scholarship

Crystal MedinaCentral Cabarrus H.S., NCThe Mark JoleschScholarship

Christopher BarnumLake Park H.S., ILThe Yamaha Scholarship

Ryan BybeeCentral Cabarrus H.S., NCThe NAUMD Scholarship

1998Elizabeth RyanAlan C. Pope H.S., GAThe Revelli Scholarship

Jessie ArianLake Park H.S., ILThe Mark JoleschScholarship

Tyler KupferschmidNormal West H.S., ILThe Yamaha Scholarship

Steven MarxMilford H.S., MIThe NAUMD Scholarship

1997Rob LochnerNorwin H.S., PAThe Revelli Scholarship

Debi KotekErie Central H.S., PAThe Mark JoleschScholarship

Shanna DavidLimestone Comm. H.S., ILThe Yamaha Scholarship

1996Jake McCrayFairfax H.S.,VAThe Revelli Scholarship

1995Kelly CooperMarian Catholic H.S., ILThe Revelli Scholarship

1994Sterling AblackLangham Creek H.S.,TXThe Revelli Scholarship

1993Joshua Rudolph

Alan C. Pope H.S., GAThe Revelli Scholarship

BOA Executive Director Scott McCormick (left)presented The Revelli Scholarship to HanaSwain, senior at North Hardin H.S., KY.

Chat@bands.org:Live chatsfeature specialguest starsBands of America debutedlive guest chats on ourwebsite www.bands.orgin March. ComposerMark Camphouse wasthe first live guest star,chatting with high schooland college students anddirectors about his music,his philosophies of musicand composing and otherquestions from thechatroom guests.

BOA’s second live guestchat featured membersfrom the Broadwaycast of Blast! on theevening of April 30.Future guest star chatswill include TimLautzenheiser,Yamaha artists,performers, conductors,educators, and evenstudents.

BOA’s online chatrooms and the live guestchats are available tomembers of our onlineBOA Network.Membership benefits alsoinclude access to eventrecaps and results, firstlook at BOA information,the BOA Network e-newsletter, discussionforums and more.Membership is free atwww.bands.org

H. Robert Reynoldsretires after 26 years atUniversity of MichiganH. Robert Reynolds recently retired as directorof University Bands at the University ofMichigan. Reynolds became director of bandsat Michigan in 1975, having begun hisuniversity conducting at California StateUniversity at Long Beach and subsequently atthe University of Wisconsin.

Mr. Reynolds conducted his final concertwith the University of Michigan SymphonicBand on April 6 in Ann Arbor. The followingevening, Mr. Reynolds was honored at abanquet attended by more than 150conductors, former conducting students andguests from across the nation.

Mr. Reynolds is a past President of theCollege Band Directors’ National Association,for which he also served as commissioningchairman. He is frequently a guest conductor/clinician at leading universities andconferences worldwide concerning theconducting, rehearsing and analysis ofmasterpieces of band and wind ensemblerepertoire.

He serves as an evaluator and clinician atthe Bands of America National Concert BandFestival. In 1999, he conducted the HonorBand of America both at the Festival and on atwo-week concert tour of Japan.“Bands of America has been honored to have

Mr. Reynolds as a part of our Festivals andhopes to continue to include him for manyyears to come,” says Scott McCormick, BOAExecutive Director. “Mr. Reynolds is a true iconand inspiration in the profession. His impacton conducting and teaching music has been,and I know will continue to be, monumental.”

Music copyrightresource fordirectors &arrangers: visitwww.bands.org

As more and moremarching band eventsand associations strive tocomply with copyrightlaws, most directors arefaced with ensuring theyand their music arrangersare in compliance.

Bands of America hasbeen compiling copyrightand publishinginformation for severalyears as a resource fordirectors. Our websitewww.bands.org includesa copyright area whereyou can search for apublisher/copyright holderby name of composition,composer or keyword.You can also search forpublisher contactinformation, download“Permission to Arrange”forms and documentationand view our CopyrightGuide. Bands of Americaalso has a pay service bywhich it will seek“Permission to Arrange”on your behalf.

“I often hear directorssay ‘BOA’s requirementsare too much,’” says EricL. Martin, Esq., BOA’sChief Operating Officer.“BOA has no copyrightrequirements. BOA onlyinsists that its participantsshow us evidence thatthey have complied withthe law. All festivals,events and associationsare likewise legallyaccountable and we’refinding that more andmore publishers arebeginning to require suchcompliance.”

Visit www.bands.org to view thecopyright resource.

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Applause for theRegional ConcertBand Festivals inKentucky and SouthCarolinaConcert bands from Kentucky, South Carolina,North Carolina, Georgia and Floridaperformed at Bands of America’s two RegionalConcert Band Festivals held this spring at theUniversity of Kentucky and Furman University.

Bands of America Regional Concert BandFestivals are open to all high school and middleschool concert bands. The Festivals, which emulatethe structure of the National Concert Band Festival,offer intensive educational value through evaluationand clinic with a world-class panel, as well asthrough special events for students and directors.Professional DAT recordings of the concerts alsooffer bands considering applying for the NationalConcert Band Festival the perfect application tape.

Participating bands performed in concert,received written and taped evaluation of theirperformance and a post-concert clinic. Bands alsoparticipated in student master classes and inscheduled audience blocks. Both events culminatedwith evening concerts: the University of KentuckyWind Ensemble and the Furman University PrismConcert, respectively.

Congratulations to the performing bands:

University of KentuckyLexington, Kentucky, March 24, 2001George Rogers Clark H.S. Symphonic Band, KYGrant County H.S. Wind Ensemble, KYHenry Clay H.S. Symphonic Band, KYMilton H.S. Wind Ensemble, GASimpson M.S. 8th Grade Symphonic Band, GATates Creek H.S. Symphonic Band, KYTates Creek H.S. Concert Band, KY

Furman UniversityGreenville, South Carolina, April 21, 2001Charles W. Flanagan H.S. Wind Ensemble, FLClay H.S. Wind Ensemble, FLCypress Creek H.S. Wind Ensemble, FLEast Lake H.S. Wind Ensemble, FLFort Dorchester H.S. Wind Ensemble, SCIrmo M.S. Honor Band, SCJames F. Byrnes H.S. Symphonic Band, SCLugoff-Elgin H.S. Symphonic Band, SCRiverdale H.S. Symphonic Band, GAWando H.S. Symphonic Band, SCWeddington H.S. Wind Ensemble, NC

There is no audition process; acceptance is on afirst-come, first-served basis. Bands of America willannounce the dates and sites of the 2002 RegionalConcert Band Festivals later this year. To receivepriority applications, contact Bands of Americaat boainfo@bands.org or call 800.848.2263.

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Bands of America

www.bands.org800.848.2263