THREE CRITICAL CONCERNS (Band Directors) PART 3: INSTRUMENTATION
I thought I would wrap up my series on critical concerns with the one issue that is perhaps the most difficult to resolve. Much has to do with our philosophy, personnel and financial support. I will address issues that we each face and possible remedies for these issues. I hope that this will prove to be a tool for one to use that will help to balance our program and encourage excellence.
Our philosophy of band will dictate how we address struggles and issues regarding band, including that of instrumentation. The first aspect of dealing with instrumentation is the overwhelming issue of financial stress. We are expected to perform at hundreds of events throughout the year and they (administrators, parents, community, etc.) want the band to be at everything and to be BIG! Each of these events usually involves us paying for buses, equipment trucks, instruments, etc. These events, although wonderful for our program, tend to sap the budget clean. I have found that communication is key! We must communicate with our administration how important it is to fund what we do and how we do it. Many administrators don’t realize the exorbitant costs of moving our bands to and from the events that they want us to participate. They also don’t realize that we can spend over five thousand dollars for one new Sousaphone!
Instruments are designed and manufactured for use in specific venues such as marching (outdoors) and concert (indoors) and as a result these instruments do not provide an appropriate ensemble sound outside of its intended context. When looking at the band inventory, our philosophy will dictate how important it is to have marching band instruments or concert band instruments or both. In most cases, we will need both; however, I have seen many band directors decide to purchase convertible instruments that can be used for both ensembles. For example, one can buy a convertible tuba or baritone for half the price of buying one specifically for each ensemble. The cost savings is obvious; however, this often precludes the concert band from having quality instruments because they are abused on the field at practices and games. In addition, our philosophy will dictate whether our bassoonist will play his/her instrument during the fall. I have seen programs where the double reed players literally don’t touch
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their instruments until January. This is not fair to these students! We should focus on having well rounded musicians and focus less on the marching band show. With all of this being stated, I absolutely understand the pressure of getting the show on the field and how important that is compared to your fall concert. We need a balance! How do you strike a balance between the two issues? Well, you need to communicate to all involved (students, parents, administration, community, etc.) that what we do is equally important both on and off the field.
As I said, the financial stress is overwhelming! How does one deal with this stress? Communication as stated earlier is paramount! There are a plethora of ideas for raising money and I have a few ideas for you. One is to do a Concert Under the Stars Band Auction! You can use your cafeteria for the event (free rental) and use your students as the entertainment (free). You get the food donated and then charge everyone for the dinner and get donations from area vendors for the auction. One high school band would make close to $20,000 in profit each year and a middle school band here in the Birmingham area has made $10,000 in profit each of the last four years! Another idea is to do a community door to door ask for donations event. This is still being done at a school where I taught at in Orlando. The students dress up in their marching band uniforms and go door to door asking for donations. We made $20,000 every year with no cost to the band program! The community knows when it will happen, the band parents chaperone the students as they go in groups of 2-4 and it is extremely well supported. There are many other ideas that could take up an entire book, and the way to find out is ask those who have been teaching for years.
Now that you have raised the money for your program it is time to buy the needed instruments. However, it is important that we procure instruments for the growth of our programs. For example, look at how many horn and bassoon players you will need for a larger ensemble.
that is what you should do. Another idea is to borrow instruments from those programs that surround you. I borrowed instruments every year of my career. I would sign the appropriate paperwork and then take the instruments to the shop to be put in “working condition” and then return them in the best possible condition at the end of the year. Often times, the students would be so excited about playing the “new” instrument that they would go out and purchase their own. In addition, you can help get the students excited about these instruments by offering them lessons at a discounted price. When dealing with a shortage of bassoonists, oboists, horn and tuba players, etc., I would get them the instrument and then bring in a professional teacher of that instrument to teach at our school. I would explain to the teacher that we are working to increase the size of our (tuba) section and were willing to supplement the student’s payment. I paid Mike Roylance, tubist with the Boston Symphony, to come in during the day and teach my tuba students at the cost of $20 hour (I paid $10). That was a “game changer”!
Purchase the instruments
and they will come! Yes, that is what one must do to make our program viable. Purchase the best instruments that you can find because the lousy instruments equal a mediocre band and that is not what any of us want. If you can only purchase one bassoon and a cymbal, then
Encourage them to seek other musical experiences like honor bands and youth symphonies. Our students learn through all of these experiences and they also bring back ideas that will help our band programs. I also encourage you to bring in your colleagues to work with your band students. You will learn as much or more than your students by witnessing the professionalism of your colleagues. I often found that while he/she was working with my ensemble I discovered that one of my students was playing an incorrect note or was horribly out of tune and has been for weeks! Student motivation is key throughout this process of music education. You are expected to keep them on task and to perform at their best. We must expect our students to strive for excellence at all times. Motivation is not something that will simply happen! Every time they pick up that instrument they should try to be the best that they can be. We should emulate the U.S. Army slogan from 1980 until 2001, “Be All You Can Be”!
Dr. James J. Smisek is director of bands and chairman of instrumental studies at Samford University.
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