Tuesday, July 15, 2008

Lead by example: How to be a "leader" without the title

Lead by example: How to be a "leader" without the title


New members follow the lead of their peers

By Rob Stein, StandingOMarching.com

Drum Major Leadership Strong student leadership is an absolute necessity in order to achieve success in the marching arts. The standard procedure for most high schools is to interview and hold auditions for these positions, with the end result being the best candidate for the job earns the title of "section captain" or some other title which insinuates authority. Once rehearsals start, these section leaders are given the "power" to lead their section through the season until the process begins again the following year. The reality of the situation, however, is that in order to run an efficient and successful organization, the majority of the leadership must come from those members who have no official title. If the "section leaders" were the only members of the band to actually lead and set the correct example, there would obviously be little to no rehearsal etiquette, order or progress throughout the season.

Real progress starts the first day of rehearsal, when the new members enter the rehearsal field for the first time and immediately see a trend among the older members of the band: everyone is quiet, listening for instructions; everyone is standing in the proper position; everyone is wearing proper rehearsal attire; and most importantly, everyone is trying their hardest at every single task they are given. As a result, these new members do not even need to ask their section leader, "What do I do now?" They simply look at you and everyone else around you, and it is so incredibly clear; the new members follow the lead of their peers and immediately understand how to act during rehearsal. Think back to when you were a freshman or incoming member of the band and you stepped onto the field during your first rehearsal; what did you notice? Was everyone on exactly the same page, setting a great example, making it completely clear what you needed to do? Or was everyone different; some people setting a good example, some people not talking, but still not listening or behaving correctly, and some people clearly out of order? The latter, in my experience, is the most common situation, where there is no clear example set for the new members.

Peer Leadership As an upper classmen and veteran or your organization, it is your responsibility to lead by example and help the band reach its maximum potential. It is important to remember that if you do not hold the official title of "captain" or whichever your band uses, you do not have the authority to publicly or aurally attempt to lead your section (unless of course you are instructed otherwise by your section leader or staff). It is also important to reiterate that just because you do not hold an official title does not mean you are not a leader. When people enter a world that is new to them, in our case, the world of the marching arts, they are quite understandably unsure of what exactly is going on, how to act, and what is expected of them. Additionally, as most new members are young (roughly 14 years old) and impressionable, they want to fit in as quickly as possible. As veterans of your band, you have the power and responsibility to help those new members and shape your band the way you want it to be. New members will respond immediately if they see everyone around them doing the same thing the same way at the same time.

Do not underestimate the power of leading by example, and the responsibility you hold as a veteran member of your band. When every single person in your group works together and sets a clear example for all to follow, that is the true essence of leadership. To quote the great American writer Henry Miller, "the real leader has no need to lead — he is content to point the way."

Rob Stein is founder and owner of Standing 'O' Marching Arts Specialists. He holds a master's degree in music education and a bachelor's degree in trumpet performance. His experience includes work with drum corps, marching bands, jazz bands, wind ensembles, pit orchestras and private lesson studios. The Standing O team specializes in customized original compositions, and also offers drill writing, color guard books, clinics, consultations and leadership training. The staff is trained in modern methods of musical and visual instruction, focusing on the development of body awareness, health and fitness, and overall musicianship.


Text courtesy of Rob Stein. Photos by Marching.com.

Copyright 2008 Marching.com. All rights reserved. This material may not be published or redistributed without permission.

Saturday, July 12, 2008

How to make flags and influence people

How to make flags and influence people


Aspects to consider when attempting to create the perfect flag

THE BAND HALL (www.thebandhall.com) — We have all seen flags that were nothing short of stunning. Likewise, we've all seen our share that could only be described as horrendous. A great flag design is one of the easiest ways to please the GE gods. Design it well and it works for you the entire time it is in view.

Photo So what makes a great flag so great? That's the question we will try to answer here. There are many aspects to consider when attempting to create the perfect flag. They include:
  1. Design
  2. Color
  3. Size of the flag
  4. Type of material
  5. Sewing technique
We will discuss these topics in a not so formal manner, to say the least. We're just throwing ideas out there for you to ponder. Hope it provides at least a bit of assistance. Here we go!

DESIGN

How about a flag that looks like an entranced artist scrolled at random and allowed the shapes created to voice their choice of color? No? Well, what about panels of gradating size and color? All straight lines. The sewing moms will throw you a party!

The possibilities are truly endless. It seems that each year bears witness to breath-taking, innovative flag designs as well as true new standards of ... well, some are just not very pretty. Motivated by the unique creations of their peers, some people just try too hard. A solid rectangular flag, almost devoid of design, continues to be used with great effectiveness. Sometimes it is better to keep things simple.

What is the purpose of your flag designs? If it is solely to help your marching band entertain the masses at football games, then a tried and true design in school colors could be the perfect choice. Maybe you want to create a work of art. Do not hesitate to seek assistance if you feel uncomfortable assuming this responsibility. Some people are excellent equipment writers, top-notch technicians and remarkable managers who need to make a quick phone call to someone born with a paintbrush in hand. We all have our strengths and weaknesses. Don't be afraid to ask for help.

Many times the shape of a flag's perimeter could be something other than rectangular. A curved flag is often useful, especially for large swing flags or "wings". When designing a curved flag, it is especially important to sew one first and watch someone spin it. You may want to change your pattern (usually to make it larger) before you waste a lot of material.

Some designers slightly curve the top outside corner of an otherwise rectangular flag in order to stop some of the flapping. This reduces the drag and eliminates a slight distortion of the design.

At the risk of stating the obvious, the design of a flag should be appropriate for the music being played. A flowing ballad may call for a curvilinear design. An angular design would be appropriate for a more excitement-filled number. A programmatic selection might dictate the use of a theme flag.

It is certainly interpretive to change flag designs as the music changes. The various designs used throughout a show should nonetheless work well together. We've all recognized that flag that must have been one from last year's show. It may be smart to use an old flag to save money; just be careful your reason isn't obvious. One way to unify your flags (as well as the show) is to use the same design but with different colors throughout the show.

If you plan to include a thematically inspired object (a cowboy boot for example) in your flag design, bear in mind that it must look attractive while being spun.

COLOR

Photo Someone once told me that he could judge a flag by looking at the fabric scraps piles on the floor under the sewing machine. That is one way of saying that the most important characteristic of a flag is its color.

It is not a good reason to use a color just because it is a particularly pretty one. Every color can be the perfect choice in certain situations. However, there are a limited number of appropriate color choices in a particular instance.

Don't make the mistake of using colors because the swatches looked good together on your dining room table. It is almost too obvious, but many times designers forget to consider the colors that are already present on the field — the guard uniforms, the color of the band uniforms, and the color of the props that may be on the field. Often times, just using one color that is already present on the field in a flag design will make that flag feel right at home.

Anyone who might be reading this is certainly aware that there are warm colors, cool colors, vibrant colors, subdued colors, sixties colors, classy colors, dungeon colors, heavenly colors and everything in between. It almost goes without saying that the mood of the music should be reflected in your color choices. The mood depicted by a color is affected by the colors it is used in combination with (contrasting colors create tension) and also by the amount of color used.

Some people certainly have a better eye for color than others. If you know people who have a flair for color, ask them for advice. It is always wise to seek the opinions of a few others regarding the color combinations you are considering. It never hurts to sketch your flag designs using colored pencils or markers. The opinion of a judge is not of as much value after you've made a set of flags. Two heads are almost always better than one!

One way that color has been used recently is to give a flag that created-by-an-artist look by using colors that are very similar. Just as a painter mixes his paints, the flag designer can choose a few colors of the same hue. Designing beautiful monochromatic flags is certainly easier when there's a large selection of colors to choose from.

SIZE OF THE FLAG

Photo One of the worst and most frequently made mistakes is making the flag too small. I say the bigger the better! Just be sure the size doesn't make spinning the flag awkward.

The longer the pole is, the larger your flag can be. It makes sense that if larger flags are more desirable, so are longer poles. High school groups can easily handle 6' poles, while younger group may require shorter poles. Advanced groups often use up to 7' poles for their standard length. A few even use 7.5', but most high school guards should use from 5.5' - 6.5' poles.

Appropriate dimensions (after hemming and excluding the sleeve) for rectangular flags for the following pole lengths are:
5' - 30" x 44"
5.5' - 33" x 48"
6' - 35" x 52"
6.5' - 38" x 56"
7' - 41" x 60"
7.5' - 44" x 64"

If you plan to use a swing flag, make sure it is big enough. A 48" wooden dowel (3/8 inch diameter) makes a great pole for your swing flag. An appropriate size for a rectangular shaped swing flag (after hemming and excluding the sleeve) is 42" x 64".

Planning to pull out all of the stops with an oversized flag that is truly oversized? If this flag is used for a short duration and one does not need to perform spins, tosses and such, then go for it! Any pole length from 6 to 10 feet is fine. Big is beautiful!

The flag sizes recommended above are on the large side. It's a good idea to always make one flag first to make sure it's the desired size for your needs.

TYPE OF MATERIAL

Photo To put it simply, polyester china silk is the world's greatest flag material. Don't even think about using anything else! Well, that may have been putting it a bit harshly. There are occasions when tissue lame can be used with success (don't let the repair lady get far away!). And on fewer occasions sparkle organza can be used effectively.

SEWING TECHNIQUES

First of all may I offer a word of encouragement to those of you considering making your own flags for the first time. The savings that can be had are huge. I'm sure you could think of a few ways you could utilize the extra funds. Please realize that a flag is just a flag and not a garment for the Pope. I have never recognized from the bleachers whether an expert tailor spent four hours making a flag or if a novice spent two. What is important is the appropriateness of the colors and designs for your show.

Now for the nuts and bolts. The technique that works best for making your own flags is to first straight stitch the pieces together. Then use a zig-zag stitch over the straight stitch. Lastly, it never hurts to apply a liquid bonding such as Fray Block along all seams. Not many people use a French seam when making their own flags, but it is wonderful if you have someone willing to tackle it. French seams on straight edges are certainly more feasible than on curves. Many people get great results by using a surger.

Regardless of the sewing method used, don't forget to allow for the seams and hems when cutting your pieces. The amount allowed will vary with each seamstress. Usually a half to one inch is allowed. It is always a great idea to make one complete flag before cutting out all of the pieces. You may want to make changes in your pattern or decide to allow more (or less) for the seams.

To appliqué a piece on a flag, first position the piece properly and zig zag around it. Then cut the back out from the other side, leaving a half inch to be folded back and stitched down using a zig-zag stitch. Lastly apply Fray Block along all seams.

Some people feel it is necessary to line the sleeve while others do not. If the sleeve is all the same color and continues onto the flag, you can do the equivalent of lining the sleeve by doing the following. Allow twice as much material for your sleeve when making your pattern. Before hemming around the perimeter of the entire flag, form a sleeve that is twice as large as it needs to be. Then hem around the perimeter of the entire flag, including closing the ends of the double-sized sleeve. If you use Velcro in your sleeve, attach it now to the double thickness portion. Next form the actual sleeve out of the doubled material.

Separate sleeve pieces should be about 6 inches wide depending on the hem made. Always cut one first and sew it. Check to make sure it slides onto the pole appropriately. If you are new at sewing flags, you may waste a lot of material (not to mention time) if you don't make one first. Have fun and good luck!

OTHER HELPFUL HINTS

  • Flags which are hand painted or dyed most often times have an unprofessional look. If you're not a professional-caliber artist, think twice before risking it.
  • White poles are usually the best choice and look nice when using white rifles. If you want more color you can tape them a color from the flag design. Woodgrain contact paper on poles and rifles looks great when thematically appropriate. If you tape your flags to the pole, use tape that matches your pole or sleeve color.
  • Plastic tips on your poles help prevent sails. The material slides off of a plastic tip more easily than a rubber crutch tip.
  • When using bolts to weight your poles, prevent them from moving around and clanking by wrapping them with foam and duct tape.
  • Resist the urge to place such an obvious hand check marker on your poles. They're UGLY! I'm sorry, didn't mean to shout. I'll try again. They're ugly. Use a tape color similar to the pole color (and cut it in half). Another method is to slide a pony tail holder to the desired location and tape over it in the same color, creating a ridge that can be felt as well as seen. The same holds true for sabers.
  • Use practice flags in practice. Your show flags will thank you at your last (and usually most important) performances.


The flag designs in the photos above were all created by The Band Hall. From top: Boston Crusaders, Spartans, Seminole H.S., Carolina Crown.

The Band Hall (www.thebandhall.com) has a highly-acclaimed design team to help you create the perfect flag, guard costume and band uniform. They also offer band accessories including shoes and the world's largest color selection of flag fabrics.


Copyright 2006 Marching.com. All rights reserved. This material may not be published or redistributed without permission.

Wednesday, July 9, 2008

XtremeBrass Technique helps brass players reach peak potential

XtremeBrass Technique helps brass players reach peak potential


Five considerations for producing a quality sound

By Wayne R. Downey, XtremeBrass.com

Welcome to the world of XtremeBrass technique. This guide is designed to be your "guide to success" in reaching your peak potential as a brass player. As with any road map, there must be a destination in mind. The destination for all brass players in the XtremeBrass world is developing the ability to play with a beautiful tone. That ability combined with a comprehensive understanding of brass technique will allow the player the opportunity to succeed in the art of making music.

Photo To me, the art of making music is being unencumbered by technical hurdles so that the performer can express and communicate freely their emotional involvement with the music they're performing. It is my hope that the information contained in this technique guide will bring to light the techniques that have enriched the lives of so many of my students and given them the opportunity to experience the joy of making music.

With the understanding that "tone" is our priority let's proceed. First and foremost, it's important to know how to take a full, relaxed breath before attempting to produce a beautiful tone. It's also important to understand that "air" is the fuel of a great sound and without it a characteristic tone quality cannot be achieved. You must always remember "air creates tone" and your ability to inhale and exhale in a relaxed, unrestricted and efficient manner is essential in producing a great sound.

Breathing - Breathing in a relaxed efficient manner is actually a very simple task that we do all day long without consciously thinking about it. Breathing is defined as the process of taking air into and out of the lungs. This process is an involuntary (subconscious) muscle action of the diaphragm and lower abdominals and is aided by muscles in the chest. For now, there's no need for you to understand the names or functions of the different muscle groups or get wrapped up in the scientific mumbo jumbo of it all, just remember your body breathes all day long without YOU thinking about it. From this point on let's refer to this involuntary muscle action as our "Natural Breath".

The beauty of the "Natural Breath" is that it creates a relaxed, calm feeling throughout the body. All muscle groups become flexible, elastic and function with ease. This is due in part to the oxygen that the "Natural Breath" breathes into the lungs and eventually is absorbed into the blood. The oxygen in the blood not only aids in maintaining flexible muscle motion but also acts as a nutriment to promote muscle growth throughout the body.

Photo Simply put, your subconscious mind regulates your bodies breathing in an efficient and relaxed manner. Your goal as it relates to breathing, must be to learn how to exaggerate the "Natural Breath" so it becomes a voluntary or conscious process without sacrificing the relaxed physical condition it creates.

For the most part, beginning and intermediate brass players over exaggerate this natural process causing themselves a host of problems. First off, exaggerating the "Natural Breath" will result in restriction and tightness in the lower abdominals, diaphragm and chest as well as constriction of the throat cavity.

Constriction of the throat during inhalation will limit the amount of air flowing into the lungs thus adversely affecting your breath capacity and breath control. The tell tale signs of throat constriction are guttural sounds that can be heard while air is passing through the throat into the lungs. To relax the throat so no constriction occurs I suggest you try this simple exercise. First off, put one hand in front of your face and blow air onto the palm of your hand. The physical sensation you will feel will be a cool air column hitting the hand. Next try dropping your jaw and opening your mouth as wide as you can while blowing air onto your hand. The temperature of the air you feel now should be warm. The physical result of this part of the exercise is a throat cavity that is open and relaxed. This physical state should closely resemble the condition of the throat while yawning. Yawning is an involuntary reflex that brings oxygen into the body and is the most efficient breath we can take. Although it is not practical to play with warm air in all registers it is the physical sensation of a relaxed open throat that you must learn to bring to your playing at all times.

Tightness or rigidity in the lower abdominals (muscles in the lower abdomen) will impede the natural process of breathing by limiting the amount of air (oxygen) that you take into your lungs. Without the ability to completely relax the diaphragm you will never be able to take a full breath. Constriction of the lower abdominals will also negatively affect the control of air speed and pressure. This is detrimental not only to your breath control but to your pitch control and range. With only a limited ability to change your air speed and air pressure, changing the speed of the vibration of the tissue of the aperture will be greatly hindered. Thus, limiting your range extension and ability to alter pitch when necessary. I'll discuss more on these topics shortly.

Photo While discussing breath capacity and constriction I would be remiss in not talking about the condition of the upper body. Although your shoulders and rib cage will naturally rise while taking a breath it's wise to make sure that they both are relaxed. The shoulders should be naturally rounded, not pulled back to far or slumping forward before taking a breath. The upper body should be in a position that promotes expansion of the rib cage allowing the rib cage to expand and contract freely. If there is tension or constriction in the chest cavity or shoulders that tightness will limit the expansion of the lungs thus limiting the amount of oxygen you can take into your body. As you can see it is important to relate the action of breathing to the ability of taking a full breath because, "air" is the fuel of a great sound.

Lastly, taking a full breath every time you breathe is of ultimate importance.

Breath Control - The next priority in creating a great sound is learning how to control the air you breathe. First and foremost you must learn that the lower abdominal muscles in combination with the position and shape of the tongue in the mouth cavity regulate air pressure and air speed. The more you exert the lower abdominal muscles in an upward motion the more air will be released out of the lungs. Conversely, the less exertion, the less air will be released.

Air pressure is created when the air released from the lungs comes in contact with the back of the tongue before passing over the tongue through the oral cavity and into your instrument. The shape of the tongue in the mouth cavity plays a pivotal role in creating this pressure as well as controlling the speed of the air. The higher the arch of the back of the tongue the smaller the oral cavity becomes (the space between the tongue and the roof of the mouth.) Obviously, the smaller the space between the tongue and the roof of the mouth the more pressure will be created and the faster the air will be released over the tongue into the instrument. Conversely, the lower the arch of the tongue the larger the mouth cavity becomes creating less pressure with a slower speed of air. All professional brass players have learned to coordinate the motion of the lower abdominals with the motion of the tongue for complete control over their air pressure and speed. Once these basic concepts of varying air speed and air pressure are learned you are well on your way to understanding the concept of controlling the air you breathe.

Pitch Control - Once you've learned how to vary both your air speed and air pressure you must understand how those functions affect both your tone and pitch. At this point it's important to understand the direct relationship between the frequency of the vibration of the tissue and the speed of your air. The faster the speed of the air passing through the lips the faster the tissue will vibrate producing a higher pitch, conversely the slower the vibration, the lower the pitch. You might be fascinated by the fact that the frequency of the vibration also affects the color of your tone. The faster the tissue vibrates on any given pitch the brighter your tone will be, the slower the vibration, the darker the tone will become.

Once you've learned how to breathe in a relaxed manner, vary your air pressure and air speed you must understand that there is also a relationship between the speed of your air and the frequency of the vibration of the tissue with the size of your aperture.

Realize that the speed of the air is not the only factor that controls pitch. The size of the vibrating surface (aperture) also affects the speed of the vibration of the tissue. Assuming a constant air speed is traveling through the aperture the smaller the vibrating surface the faster the vibration will be, the larger the vibrating surface the slower the vibration will be. Hence the sharper or flatter the pitch or the brighter or darker the tone becomes.

Simply stated, accurate control of pitch and tone color involves a coordinated effort between the speed of your air, your air pressure and the size of your aperture (the vibrating surface).

Assuming that you remember how to change the speed of your air using the lower abdominal muscles in combination with the position and shape of the tongue in the mouth cavity, the next step in the process is learning how to vary the size of the aperture.

The Aperture - I like to create the image (for my students) of the aperture gliding along what I call a laser beam of air (the air column) in a forward or backward motion towards or away from the throat of the mouthpiece. The motion of the aperture is controlled by the muscles of the face and is accompanied by the corners of the mouth moving in a similar manner (much like puckering your lips). The motion of the facial muscles should be very elastic and smooth and the condition of the tissue vibrating should be very supple.

You must realize that this type of motion not only changes the size of the aperture but its location in the mouthpiece as well. The closer the aperture is to the throat of the mouthpiece the larger the size of the vibrating surface, the further away the aperture is from the throat of the mouthpiece the smaller the size of the vibrating surface becomes. This movement should be thought of as a simple rolling motion. This motion will now serve as the technique we will use to vary the size of the aperture (the vibrating surface). To produce a well-centered pitch you must coordinate the speed of your air, your air pressure with the size of the aperture to create the frequency of vibration necessary. I would like to caution you that any unnecessary pressure from the mouthpiece (usually prompted by the hand) could impede the motion of the facial muscles and adversely affect your attempt to control pitch and tone color.

Hand Pressure - The hands play a major role in regulating pressure on the vibrating surface (aperture). Careful attention must be paid by the performer to evenly distribute the pressure of the mouthpiece on both the upper and lower lips to ensure even vibration of the tissue. Uneven distribution of pressure will adversely affect your tone, pitch and flexibility.

Photo You also must understand the relationship between the amounts of pressure the mouthpiece exerts on the vibrating surface and the register (range) you're playing in. The higher the register the more pressure is needed and conversely the lower the register the less pressure is warranted. The hands must regulate these variations in pressure but at the same not impede the muscle motion. Please understand that the variation of pressure is slight but all-important. For all brass players with the exception of those who play French Horn the left hand is key in adjusting the amount of pressure the mouthpiece exerts on the lips. French Horn players on the other hand (don't mind the pun) control the pressure with their right hands. Please make a conscious effort not to use pinky rings or any other grasping aids on either hand to alter hand pressure unevenly. Pressure unevenly exerted from either hand could disrupt the equal pressure of the mouthpiece on the vibrating surface.

In Conclusion - This approach to brass technique has been designed to create a coordinated system of muscle motion that is both fluid and unrestricted. The performer should concentrate on synchronizing the motion of the aperture, tongue, lower abdominal muscles and hand for optimal physical and tonal development.

You must be aware of and memorize the physical sensations that occur when a beautiful tone is produced. You must strive to duplicate those same physical sensations repeatedly so your brain will learn to direct the muscle groups (muscle memory) to involuntarily direct the physical aspect of your performance to free your expressive and emotional self. Whatever you'd like to call this phenomenon, being in the zone or being on automatic pilot an incredible amount of dedication (hours of rehearsal) will be required to create that "natural sense" of muscle motion.

The barometer of success of this method is without a doubt your quality of sound (tone). If the tone produced is not satisfactory then one or more of the elements of the system is out of balance and or being disregarded. The method relies on your knowledge of the system coupled with your ability to monitor your tone while making music.

I hope you reap the same successes in your music making with my XtremeBrass Technique that the Blue Devils have enjoyed for decades.

Wayne R. Downey

XtremeBrass Techniques

By Wayne Downey

Embouchure/Aperture
A) Position of Jaw & Corners - Vertical alignment of teeth
B) Mouthpiece placement - Dento facial features
C) Mouthpiece pressure - Evenness of pressure on upper & lower lip
D) Shape of aperture - Oval, shaped by facial muscles
E) Size of aperture - Varies as to register, controlled by the position of the jaw, corners & facial muscle pressure, frequency of vibration
F) Location of aperture - Inside cup of mouthpiece, controlled by position of jaw & corners
G) Direction of Air Stream - Aperture laser beams air column down center of throat of mouthpiece, aperture should glide up & down air column

Air Speed & Pressure
A) Oral Cavity Shape - Roof of mouth, tongue, throat
B) Shape of Tongue - Height of tongue controls air speed, compression of air & directs air column to aperture
C) Air Temperature - Warm vs. Cold, throat constriction
D) Diaphragm - Involuntary, voluntary muscle
E) Lower Abdominals- Control air pressure

Hand Pressure and Shape
A) Hand Shape - See the "C"
B) Point of Contact of Finger - Not the tip nor the pad but the fulcrum, no flying fingers
C) Finger Pressure - 200lbs, or as much as you can exert w/o creating constriction or tightness
D) Left Hand - Controls hand pressure & mouthpiece pressure on face
E) Right Hand - Free of constriction, pinky is not octave key
F) Hand Pressure - Varies as to register


Wayne Downey is music director of the twelve-time DCI Champion Concord Blue Devils Drum & Bugle Corps. Under his supervision as arranger and teacher, the Blue Devils brass section has been awarded the Jim Ott Memorial Trophy for "Excellence in Brass Performance" an unprecedented 21 times. Wayne was inducted into the Drum Corps International Hall of Fame in 1991. Being distinguished as one of the finest brass teachers/clinicians and arrangers in the world, Wayne enjoys an active teaching schedule in the capacity of arranger and musical consultant with the Tony & Emmy Award winning show "Blast", the DCA Champion Syracuse Brigadiers, as well as many fine high school and college programs. Known for his work in educational music publishing, his recent work includes "Dynasty of Brass," an educational DVD for teachers and students complete with performance examples and downloadable exercises. This product and other educational tools can be found on his website www.XtremeBrass.com.


Text copyright XtremeBrass, LLC. Images by Marching.com.

Copyright 2008 Marching.com. All rights reserved. This material may not be published or redistributed without permission.