Music Selection

• One of the most serious concerns is that some bands play music that is simply too hard. I remember an adage that was given by a famous DCI judge, “it is not difficult to play difficult music badly.” And performing difficult works poorly will result in low ratings. Even more importantly, too much rehearsal time must be devoted to learning the notes when studying music that is too technically challenging. Often there is too much rote learning, and the learning process is seriously compromised.

• Every band (and conductor) does some things better than others. For example, large bands tend to have a wonderfully sonorous tone but do not articulate very well. Conversely, performances by small bands are often quite clean but may not present the same kind of rich tone quality. For the festival experience, directors should choose repertoire that is suited to the type of ensemble. Wind ensembles might play music that is more rhythmic; symphonic bands might perform music that is denser in texture and style.

• Instrumentation is a primary factor that conductors must consider when selecting repertoire. Avoid works that feature prominent solos for instruments that might not be particularly strong in the group. It is better to choose a work that features strong players rather than weaker ones; highlight your best! If a particular work has a predominant oboe solo and the group does not have a good oboist, perhaps the director should choose a different selection.

• One of the most common mistakes is to program too much music with the result that the festival performance exceeds time limits. A traditional format for band festivals is three pieces, often a march and two concert selections. However this assumes that the two concert selections are not very long in duration. In many cases, only two works should be programmed if they are extended. Do not exceed time limits! (Read the rules and guidelines.)

• While this genre of music might be very suitable for the spring concert, it is not appropriate for any type of concert band festival.

• The most standard and familiar repertoire, including the suites by Holst and Vaughan Williams should NOT be performed at band festival. Never perform The Stars and Stripes Forever or Irish Tune. Certainly, every high school band should perform this literature — just not at a band festival. Many adjudicators have very strong opinions on the interpretation of these masterpieces, and only the absolutely best performance is successful in their eyes. Bands are almost always penalized when performing this standard repertoire.

• This subdivision is very difficult, and leaves one open to harsh criticism. Even the best groups have problems achieving the lilt of the compound subdivision.

• While concerti may feature and highlight particular ensemble strength, an exceptionally gifted soloist, it places the adjudicator in a difficult — and unpredictable — position. Does the adjudicator rate the soloist or the ensemble? Balance can also be very problematic.

• The quest for new and interesting literature is a wonderful challenge. If the conductor can find a worthwhile piece — new or old — that is not frequently programmed, the rewards will be endless.

Preparing for Festival

• The amount of rehearsal time spent on achieving technical proficiency should not overly dominate. This often becomes the case if the music is too difficult (see above). Directors will need to spend too much time correcting performance errors, and rote teaching might become the norm. While rote teaching certainly has a place in performance teaching, it can easily become over-used.

• Conductors should remember to allot ample time for the other aspects of performance away from technical mastery, especially on blend, balance, and intonation. The overall sound of the band is very important. After many years as both a conductor and adjudicator, I have come to the conclusion that many judges make decisions about ratings after hearing only the first few measures of the first piece, and their evaluation is usually based on the overall ensemble sound. Encourage your bands to play with a refined tone quality; do not over blow.

• Ask experienced teachers about their ideas on festival participation. There are a great many highly successful high school band conductors in New Jersey. It has been my experience that they are very willing to share their expertise. (Most would be flattered to be asked for advice!)

• This is certainly related to above point. It is very easy to become satisfied with the ensemble’s performance level, good or bad. Invite guest conductors to listen or work with your ensemble.

• Conductors can evaluate the group’s performance level without having to worry about teaching strategies, discipline, school announcements, pacing, or any of the many distractions that occur during the course of the regular class period. I record almost every one of my own rehearsals and then listen to them as I prepare for the next session.

• In over very competitive society, competition is very common and it can serve as a highly effective motivator. However with concert band festivals, this kind of motivation can easily be over-done. Since it is not a contest in a pure form, students need to understand that it is not a “battle of the bands.” They need to work to do their best and not worry about how they compare to the other bands. Directors need to help their students understand the nature of the activity so that learning can be maximized.

Festival Logistics

• From the time that the band begins to enter the stage, the performance has begun. Adjudicators will instantly begin to formulate impressions that will effect their decision-making. At all costs, conductors must avoid tuning individuals on the stage. Asking those students with poor intonation to play will tell the adjudicators who is out-of-tune; it will focus their attention on the negative. Remember that anything that is heard is part of the performance, and is being evaluated. If there is no warm-up room, it is appropriate to ask the judges to leave the room; any festival organizer should accept this request as reasonable. No matter what the rules may say, adjudicators never turn off their ears or eyes.

• If photocopies must be used, they should be approved by the publisher or distributor and be of good quality. Some adjudicators, especially those who are composers, take great offense in using unauthorized copies.

• This really helps the adjudicator to focus her/his comments.

• While this may not seem particularly important, it does greatly influence many judges. Over the years I have overheard many adjudicators talk endlessly on their tape about poor stage deportment. The adjudicator’s remarks would seem to be more beneficial if they focused on music rather than on sloppily worn uniforms.

• Since most ensembles will perform in unfamiliar surroundings, an auditorium at a remote location, balance might be a problem. There is only a limited amount of adjustment that can be done during the performance. Students must be aware of the need to be flexible, percussionists especially; they almost always play too loudly.

Coda