REMEMBER THIS! YOU ARE THE REASON WHY SOMEBODY ELSE BELIEVES THAT THEY CAN DO IT (AND IN MANY CASES, ANYTHING!)
Hi Everybody,
Congratulations on another year of music making, inspiration and crossing over more (and new) obstacles. Almost everyone had at least ONE big thing happen to their programs this year - for some of you it was enrolment and the numbers game, and with others - your students still triumphed over the new adversity which was thrown at you last summer or early in this school year.
NOW LETS SKIP TO THE GOOD STUFF
SO, WHAT HAPPENS IF MY CLINICIAN ISN'T "CLICKING" WITH MY BAND?
Okay. Let’s choose our words as carefully and as diplomatically as humanly possible....The first part of this is: Band Festivals do not intend to hire bad adjudicators.
There are sometimes circumstances like health, the end of a 12 hour day of bands. Maybe they have been out of the game for a long time/enjoying a quiet retirement and suddenly the jump back into 10 hour days of adjudicating all levels of bands was a BIG jump. Or, maybe the hire was not the right fit afterall. Festivals strive to work with people who we have seen in action before, experienced their workshops and/or were given very strong recommendations from colleagues.
These situations are rare. Years can pass without incident, but it’s important to know that everyone is human and has “off” moments at times.
The second part is: What is considered bad for some, can be illuminating and inspirational for others. For example, a secondary level/university scholar who spent NO TIME in a middle school classroom may not have the best approach to Grade 7 students. There are other examples. Our industry has many different types of personalities, presenting styles and often the latter is comensurate with years of clinician experience.
Ultimately, festivals , the adjudication process, and the post performance clinic are there for the enrichment and education/experience of the students. We want students to walk away from those clinic rooms with something. Some new piece of information, motivation, inspiration, and regardless of their rating or the quality of their performance – we want them to feel like the entire day was a good experience (as opposed to them feeling like it was an ORDEAL). Substance is so important in this setting - it's one of the main reasons for performing at festivals.
Many clinicians are very good at the disclaimer: These are fun recommendations to enhance what you are already doing – you can take them back with you and decide whether or not you like them, but ultimately they are just suggestions…
But, We have all had those clinics where we leave thinking “What just happened?”. Worse: When the students say “We didn’t learn anything”.
Here are three steps (to try) when things in the clinic room are not going the way we want them to:
- Have higher-level question prepared and try to tailor them on the fly to whatever that clinician’s CV
- Ask them about how they would have taught the piece, what would have been the learning sequence, do they incorporate (and when applicable) connect with the composer’s intent/story?
- Are there sections which they would have interpreted and presented differently?
- Have student-level questions ready to go with some of your leadership/section leader kids
- How did you feel about our *insert musical element here* during the *insert rehearsal number here*
- Can you show us what you mean and conduct it your way to see how we react differently?
- If ALL ELSE FAILS, do a quick survey reflection of your ensemble to see how they felt about the performance and specifically which piece they felt needed work. Ask the clinician to focus on this piece and those areas. Sometimes if the clinician is given the problem, they will deliver the solution.
Now, I know what you’re thinking. Shashi, why am I paying all of this money on fees and bussing, so that I can do the clinician’s job for them? This is a fair question. We’re not asking you to do that – but – some of these ideas (ie packing a few notes/guiding questions with you) could help to get you through that 30 minutes in the (again, EXTREMELY RARE AND UNLIKELY) event that you need to move things along. This has been an awkard article. Love, SR.
PD? Why, though?
Do you notice that professional development clinics/sessions are always at the worst possible time? Or, that the content dosen’t sound like it applies to your exact and CURRENT situation? Consider that in itself – the situation could change.
It could be as basic as an idea sharing opportunity – but it could also be the difference between a young/beginning director feeling motivated/accepted by the community and hearing about some other (seasoned) experiences. But if nothing else – come for the hang! So few of these opportunities exist (for band directors to come together and talk). I see it so often: directors become so busy and laser-focused on their program, their students, and their local challenges within their school. All of the energy and priority has to be given to those things – but just remember that there is a community out there, and most of these people are going to understand and empathize! There may be other ideas and solutions/strategies for similar challenges.
There’s almost always a repertoire focus of some kind, a methods approach of some kind (both of which always spark discussions) - and there is always a great group of people ! this is a great opportunity to be around the folks who do the same thing that you!
And for the leadership folks: Keep fighting the good fight and advocating for board-level (board sponsored) resource/instructional sessions. These NEED to make a comeback in many areas. And (I was bound to say this sooner or later) - don't forget about the Band Association. There's some great stuff planned for the 2026-2027 year starting with the York/Begining/Developing Sympsosium on October 3.
Using Repertoire for a Reason: Seeking Solutions in 2026-2027 (Something to ponder)
WHY do you choose and programme THIS repertoire?
When is it important to stop yourself, ask this question, figure out your answer and have it ready?
Who is going to ask you this? And are they going to sit you down and ask verbally? Or are they going to ask through the reaction, perception, and behaviours (or, on a facebook comment thread , LOL!)
The world is at a place now where the story, the reason, the excuse, the rationale, or the justification seems to be the conversation point. Sometimes instead of the solution. And more often, directors actually need the solution more than the analysis of the process. There are so many directors who are solution based people who immediately and instinctively spring to action when there is a problem to be solved in their ensemble and/or class. They have NO time to deal with moving backwards and most often, these are also the planners. The pro-active quick/critical thinking decision makers. They are always looking ahead, thinking about the next BIG THING, whether it’s a performance, an event, an inservice, or in this case….SUMMER HOLIDAYS!
Anyway, In a world where equally , repertoire selection is being scrutinized : What are the ingredients for your repertoire selections to become SOLUTIONS? I am leaving this one as an open ended question and hoping that this becomes an active discussion in some of the other venues/projects which I am involved with (stay tuned…but…think about it !)
FALL REPERTOIRE PREVIEWS - JUST A FEW
The Bridge at Twilight
D.I.D. Choi Grade 2 (2.5)
Carl Fischer
Lyrical 3:38
LINK: https://www.carlfischer.com/br42-the-bridge-at-twilight.html
Publisher: A serene Grade 2 work for band captures the quiet majesty of a Vancouver sunset. Inspired by the view of the Lions Gate Bridge from the North Shore, this expressive setting emphasizes warm ensemble colors and lyrical phrasing. It is an ideal selection for developing breath control, choral-style balance, and expressive musicality in a young concert band.
Shashi:
- High F’s in trumpet part including solo line.
- Active (and thoughtful) percussion including solos at the end for timpani.
- There are many dynamic swells in the piece and overall it’s a good piece to work on phrasing
- It’s a basic E flat major ¾ from start to finish with a lot of emphasis on shaping the sustained notes in the melody line and backgrounds
Short Fuse
Heather Ellis Koehn Grade 1.5
Alfred/RWS
Festival 2:09
LINK: https://www.alfred.com/products/short-fuse-98-rws261601?variant=45926035423368
Publisher:
Bursting to life from the first note, this high-energy Grade 1.5 piece for band is full of rhythmic drive, percussive intensity, and dynamic contrasts that will keep both performers and audiences on edge. With tight grooves, explosive accents, and a sense of tension building throughout, it is the ideal concert opener or closer for developing bands ready to light the stage on fire.
Shashi:
- There is a syncopated and displaced eighth note pattern which is going to do two things: 1. Force the students to finish up with their rhythm study as it pertains to the mathematical side of subdivision and 2. Teach (and get them into) the GROOVE.
- This is a groove tune which is based on the aforementioned rhythmic structure
- There are active percussion parts and solo sections where 4 players are needed.
- Other than the ostinato figures, this is not a difficult piece at all and would be appropriate for all venues, starting with in-class study
- I say this a lot (but only when it is done well) – this piece has a clear and managed “road map” for articulations and dynamics.
Of Fate and Fortune
Ryan Meeboer Grade 1
Eighth Note
Festival 2:37
LINK: https://www.enpmusic.com/details.php?CatalogueNo=CB226511
Publisher: A slow, dramatic opening expands into faster, driving energy in this very easy concert band work built on a single theme transformed throughout. Articulation variety and dynamic contrast remain the central focus throughout as textures build and intensify. The clear structure supports growing musical confidence for young musicians. An effective closer for elementary or early middle school programs beginning to explore more challenging, expressive repertoire.
Shashi:
- The best part of a Meeboer piece is, it is partly written from a teaching perspective. The director/teacher is given all of the technical and fundamental elements (for the first few years of study) within this one piece of music.
- To that end: Great for working on articulation, dynamics, style changes and tempo!
Wave of Light
Peter Meechan Grade 3, Grade 2, Grade 1
Meechan Music
Grade 2 LINK: https://meechanmusic.com/music/wave-of-light-grade-2/
Grade 3 LINK https://meechanmusic.com/music/wave-of-light-grade-3/
Festival/Lyrical
Publisher: Wave of Light is a deeply moving and reflective work that speaks to the universal impact of cancer on our lives. Whether through personal diagnosis, supporting a loved one, or working on the front lines of care, this shared human experience brings a wide range of emotions – grief, compassion, anger, sadness, and even moments of joy. This piece is a tribute to all of those emotions, offering space for remembrance, celebration, and connection. It acknowledges the pain of loss, the resilience of survivors, and the quiet strength of those who stand beside them.
Wave of Light was composed with the belief that music has the power to heal, unite, and bring light into the darkest moments. It is not only a piece of music, but a vessel for emotional expression and reflection. While every listener and performer brings their own story, this work provides a sense of unity and shared understanding. It is a wave of hope and light, reminding us that we are not alone. Each performance becomes a moment of connection – between people, memories, and the healing power of music.
Performance Notes
- Scoring – Wave of Light exists in 2 different versions. Grade 3 and Grade 2, and both sets have additional flex band parts for Grade 1. All parts from all scorings are fully interchangeable (e.g. The “Part 1 – Flute” part from Grade 1 can be performed with a band playing the Grade 3, Grade 2, or Grade 1 Flex versions. Equally, the “Clarinet 1” part (for example) from the Grade 3 versions can be performed by a band playing Grade 3, Grade 2, or Grade 1 Flex versions. NOTE: The Grade 1 Flex version is included with both the Grade 2 and Grade 3 sets of music
- Vocal Parts – The vocal parts exist in several different versions. There is a melody line, an optional harmony part that can sung alongside the melody, and also a full SATB scoring. All vocal versions are interchangeable with all instrumental versions
- Piano part – The piano part is required for the Grade 1 Flex versions, highly recommended for the Grade 2 version, and optional for the Grade 3 version
Shashi:
- This piece can be played with a tiny ensemble and if the players and director are handling it properly, it could be a very interesting and rewarding project.
- But, a large ensemble (the larger the better) will capture the essence of the piece
- There are not complicated technical demands here. There are many phrasing/breathing control related details. And MANY situations where clean releases are needed, sometimes mid phrase.
- The way that this piece is executed will loan itself to concentrated work on texture, and full-band tone development
From Year to Year
Katahj Copley Grade 3.5
KC/Murphy Music Press
Festival 5:38
LINK: https://murphymusicpress.com/products/w-1638
Shashi:
- As with most of his music, mallet percussion parts are at the forefront and are busy for the majority of the piece
- There is melodic material over top of the driving ¾ pulse
- There is some rhythmic complexity throughout most sections
- These ¾ Copley pieces usually make good concert openers as they do not change tempo, but they DO change style over top of the moving tempo (going from articulated rhythms to a more lyrical sounding middle section, and then a reprise)
- Formulaic writing in upper woodwinds, who (similar to mallets) are busy throughout