28-page program handout

TMEA, San Antonio, TX
February 13, 2004
Programming
For
Mass
Consumption
RANDOL ALAN BASS
composer - arranger - conductor
PROGRAMMING FOR MASS CONSUMPTION
The Metropolitan Winds of Dallas ~ Randol Bass, Conductor
Clinic Concert: Friday, February 13 / 5:00 PM
San Antonio Convention Center
“These days,” to quote Bruce Broughton, one of our ensemble’s esteemed guest conductors of yore,
“it’s all one can do to get an audience out from in front of their home theaters and into the seats of a performance hall for a live presentation of any kind.”
Sad, but so true.
Established orchestras, wind ensembles, choruses, dance and theater companies the world over have
entered the marketplace, one after the other, using widely variant means in attempting to woo potential listeners
into participation as audience members. Some organizations have been more successful than others. As we
are, all of us, bombarded with advertising of all varieties from every imaginable source these days, piercing the
ambient marketing static and making one’s musical offerings even known to the public-at-large is an everincreasing challenge.
So – how can creative programming be used to attract listeners and supporters, especially to school-based
or amateur arts concerts and performances who have very limited financial resources – without sacrificing the
development and satisfaction of the performers themselves through the use of third-rate, supposedly userfriendly “pop-oriented” materials? This clinic is intended to address that issue – generally and, more specifically, in relation to those engaged in wind band performance.
Our contention is that band music doesn’t have to be puerile or “empty” to please a lay audience, nor does
challenging music necessarily have to be “contest literature” in order to engage and satisfy the players onstage.
Good music from whatever genre can be rejuvenating, educational and – dare we say? -- fun for everyone concerned.
The performance we’re presenting today is intended as a demonstration of selected literature, sources and
techniques the Metropolitan Winds of Dallas have used over the past 10 years in addressing the issue of creative programming for audiences of largely untrained listeners. The annotations for each piece below will show
why they were chosen, what the ensemble hopes to accomplish by including them on a concert program and
suggestions for locating, acquiring and creating such literature for the stated purpose of attracting both performers and listeners to live wind ensemble performances.
We hope you enjoy today’s presentation and will find it both entertaining and informative. As an ongoing
amateur ensemble, we would love to have any and all in attendance at any of our future offerings, in Dallas and
elsewhere. Let the “games” begin….
RANDOL ALAN BASS
Music Director / Metropolitan Winds of Dallas
PROGRAM
1.
Main Title from HIGH ANXIETY
John Morris – trans. R. Bass
Many MetWinds concerts have drawn heavily on the music of Hollywood. One of our most successful
performances was a tribute to the eminent film composer John Williams, a project which necessitated
many special arrangements along with a few selections drawn from extant, published materials. Given
the fact that music for motion pictures is often both musically complex as well as familiar and appealing
to the public at large, its inclusion on concerts can keep the players quite busy while also entertaining
the spectators.
Designing “theme” concerts can also help bring attention to an ensemble’s presentations. Most bands
have done Christmas as well as “patriotic” concerts; today’s concert falls on Friday the 13th and we
thought it would be apropos and cute to lead off with this flashy, John Morris’ “Bernard Herrmannstyle” overture, with its edgy, nervous cinematic style.
Also, the fact that this piece features a theremin is a real curiousity for a crowd; the rarity of this electronic instrument is a plus, as is the fact that the playing of the device has as much a visual aspect as an
auditory one for a live show. Today’s performance features one of our favorite guest artists, Dr. Robert
Froehner, a frequent participant in MetWinds concerts.
2. Excerpt from THE DAY THE EARTH STOOD STILL
Bernard Herrmann – trans. R. Bass
When one invites a guest artist to perform it’s usually de rigeur to include some kind of encore for the
benefit both of the artist and the listeners. Since the theremin is used only sparingly and rather late in
HIGH ANXIETY, we decided to follow its performance with an excerpt from the 1950s film score that
first and forever associated this unusual sound with science fiction in the popular ear. “Klaatu, barada,
nicto.” Indeed.
3. SUPERMAN: THE MOVIE
John Williams – trans. R. Bass
Love Theme
Superfeats
In preparing for the John Williams tribute mentioned above, based on a vote of the group membership
at the time, steps were taken to locate the original music for this consummate motion picture score from
the late 70s. Permission was granted by the copyright owners to make arrangements of the material for
wind ensemble but neither they, the composer nor any discernible source could suggest where to find
sketches or scores to work from. After much correspondence and detective work, photocopies of Mr.
Williams’ sketches were ultimately located in the basement of the Sibley Music Library at the Eastman
School of Music in Rochester, NY. One of the librarians there kindly agreed to make copies of the en
tire stack of pages, from which transcriptions of about 30 minutes worth of film cues were made, partcopied and performed with great success. This afternoon, we’re including two excerpts from this resulting “suite.”
As a side note, we would like generally to encourage more utilization of arrangers in preparing scores
for “sit-down” performance as a service to players, audiences and the literature in general. Most publishers are cooperative these days regarding requests to make derivative arrangements of their holdings
and it seems a shame to spend the necessary time, money and creative energy only on the creation of
halftime shows for fall performances. Band concerts always benefit from the inclusion of brand-new
transcriptions or arrangements and both audiences and performers greatly appreciate the freshness and
excitement this extra effort produces.
4. CASEY AT THE BAT
Randol Alan Bass
Poem by Ernest Lawrence Thayer; first published San Francisco Examiner, 1883
A number of pieces requiring a narrator exist in the wind ensemble literature – A LINCOLN PORTRAIT
of Copland, not least among them. Securing the services of a narrator for a band concert addresses a number of issues. A local (or less-local) luminary can be asked to participate and, if their name has any
“drawing” power at all, some people will attend just to see them perform in person. Also, a narrative selection can be a welcome relief from a succession of purely instrumental works, particularly for lengthy
programs. Finally, such a piece can serve as a centerpiece around which other works can be arrayed, especially if the work is of a patriotic or seasonal nature.
Today’s example piece was written for the Dallas Symphony Orchestra in 2001 (later transcribed for
winds) and was premiered during that year’s “Pops” season with Pat Sajak serving as narrator. Today,
we’re most privileged to have with us noted film and television star Barry Corbin, serving as guest artist
and performer of note for this number.
5. JALOUSIE
Jacob Gade – arr. John Krance
Many of pieces we’ve included thus far are “manuscript” works – that is, new and, except for
CASEY AT THE BAT, as yet unpublished. Oftentimes, there are great “goldmine” pieces sitting
on shelves and in filing cabinets in older performance libraries that really deserve to be reprogrammed, despite their advanced age. This selection and the following one fall into that
category: They’re really great arrangements, currently out-of-print but, nevertheless, wonderful
additions to a wind ensemble performance. This particular work also has the benefit of being
drawn from music of Hispanic derivation and is, therefore, a good utilization of the multicultural music of the Southwest U. S. Including material of cultural diversity, especially from
one’s surrounding area, can only help to interest and entertain local audiences.
6. Selections from SWEET CHARITY
Cy Coleman / Dorothy Fields – arr. Ken Whitcomb
As mentioned above, seeking out valuable, well-written arrangements of “pop” music, especially titles with some nostalgic value, can be a useful pursuit. Broadway shows can be a rich
source of good, recognizable material and the right choice can entertain listeners and players
alike – whether or not they happen to have seen the stage or film work in question. Unfortunately, the publishers of such offerings often seem to feel that lighter subject matter merits oversimplification in order to be saleable, but with a little research, interesting and challenging titles
can be uncovered in older libraries – titles which have the added benefit of not having been
concurrently overplayed on radio or other media and are, due to the freshness of the tunes, both
less tedious to prepare for the band and more engaging for the audience. Also, with a little creative thinning and editing of extraneous lines, solo singers can be included in the performance of
such pieces; soloists can sing over an existing, reduced accompaniment to great effect. This
technique has been extensively used by service bands, notably in concert-tour situations.
This Ken Whitcomb arrangement is a first-class setting of selected songs from the once-popular
Broadway musical and, despite a copyright date of 1968, still fares remarkably well with contemporary listeners.
7. CONCERTO # 2 FOR TRUMPET
Floyd Werle
1. Con Brio
3. Adagio Molto
4. Allegro Giocoso
Engaging the services of an accomplished and/or “known” guest artist can be a real “coup” in
attracting a concert crowd. One of the MetWinds largest audiences was for a show featuring
the irrepressible Arturo Sandoval – on which occasion he was featured soloist for this exact
Concerto. Programming a major work of this nature accomplishes many things, among which
are the benefit the performers glean from exposure to a musician of true “artist” caliber, in addition to the enjoyment the audience sustains from the special guest’s skill and stage presence. As
a side consideration, the rehearsal of concerto accompaniments can be a time-saver in preparing
a long and complex concert due to the fact that, often, much of the technical difficulty in such
literature falls on the shoulders of the soloist rather than the rank-and-file players.
For today’s performance, the Metropolitan Winds is most honored to have secured the services of Adam Rapa, a remarkably young and accomplished trumpet virtuoso. Mr. Rapa has
just completed a successful London engagement as featured soloist in “CYBERJAM,” the WestEnd sequel to the much-heralded Drum-corps-style stage show “Blast,” a critically-acclaimed
theatrical offering still enjoying much success in the U. S. and abroad. This afternoon, we are
pleased to present three movements of Floyd Werle’s tour de force 2nd Concerto for Trumpet,
originally written for Doc Severinsen and the U. S. Air Force Band of Washington, DC.
(Premiere: CBDNA Convention, Spring 1970, Austin, TX, Col Arnald D. Gabriel, conducting.)
8. Suite from SILVERADO
Bruce Broughton – trans. R. Bass
Several years ago, the MetWinds were most privileged to have had as guest conductor the eminent film composer Bruce Broughton. His motion picture score output has been considerable
and it was felt that including him on one of our summer film concerts would be great fun for the
audience and a thrill for the ensemble; the success of the experience exceeded expectations on
both counts. Most cooperative and inspiring in every way, Mr. Broughton gave access to numerous original materials which were used to create special arrangements of a selection of his
scores.
Many lay audiences have never been treated to music-making by living composers although, in
the case of film writers, they may be quite familiar with the music itself. The inclusion of a
composer guest-conducting his own works is a great thrill for player and audience member alike
and is greatly to be encouraged. Most universities have composers-in-residence and many such
artists are most flattered to be invited to conduct their own scores in front of a live audience.
And taking the time to contact even very well-known professional writers can often bring surprising results in terms of willingness and forthcoming material. There are expenses to be incurred in working with professional creative types, of course, but the rewards can easily offset
the cash outlay severalfold.
The excerpt we’re offering today is the finale to a suite from the 1980 film SILVERADO, which
brings this eclectic presentation to a most dramatic conclusion. Almost.
9. SMALL SCREEN ENCORE
Bruce Broughton – trans. R. Bass
Theme from Dinosaurs
Tiny Toons Theme
As “icing-on-the-cake,” the MetWinds routinely plays a short encore at the end of concerts.
These selections can range from standard marches like SEMPER FIDELIS to unusual short snippets from a variety of sources. This short-and-sweet combination of two TV Themes (by the
composer of the preceding work, which is a nice touch when it’s practicable) makes a rousing
“playout.” Pieces of this nature can give the audience a nice after-dinner aperitif at the end of a
long concert, sending them out the door with a smile on their face and with the intention to participate in future live performances.
GUEST PERFORMERS
(in order of appearance)
Robert Froehner is a Dallas-Fort Worth musician specializing in
two very unusual musical instruments--the musical saw and the
theremin. A native Texan raised in the Texas Panhandle, he
was instructed in piano, organ, clarinet, and bassoon as a
youth. He was self-taught on the musical saw, which he began
playing seriously in 1987. Although his saws range in length
from his 16-inch "piccolo saw" to his 36-inch "bass saw," his two
main instruments are ordinary Craftsman® hardware-store
models. His sawplaying has received First Place awards at the
Disneyland International Saw Festival in Anaheim, CA, as well
as the International Musical Saw Competition at Santa Cruz on
two occasions, including 2002. In addition, Dr. Froehner has
appeared as a saw soloist with the Dallas Symphony Orchestra,
the United States Coast Guard Band, the Texas Wind Symphony, the East Texas Symphony Orchestra (Tyler), the New
Haven (CT) Civic Orchestra, and other ensembles. He has been
a featured performer at the Texas Folklife Festival in San Antonio, Main Street Arts Festival in Fort Worth, Taste of Dallas, Six
Flags Over Texas, and Silver Dollar City in Branson, Missouri.
His session recordings include the Texas Department of Commerce Tourism Division's national
TV/radio campaign, Molson Golden (Miller Brewing Co.), and the independent film, Bingo City.
Dr. Froehner is also a classical thereminist. The theremin has historically been a rare and very difficult instrument to master. It was in fact the world's first electronic musical instrument when invented
in 1919, and is the only musical instrument that is played without being touched--using aerial fingering through two electromagnetic fields--one for volume, one for pitch. In addition to studying archival
film footage of earlier thereminists, Dr. Froehner has attended master classes and received personal
instruction from Lydia Kavina of Moscow, Russia, a distant cousin of Prof. Leon Theremin, the instrument's inventor. He has been a featured thereminist with the Dallas Symphony Orchestra on multiple
occasions, the Pacific Symphony Orchestra, the United States Coast Guard Band, the Texas Wind
Symphony, the Metropolitan Winds of Dallas, the New Haven Civic Orchestra, and other ensembles.
A graduate of the University of Texas at Austin and UT Southwestern Medical School at Dallas, he
resides in Grand Prairie, Texas.
Leonard Barrie Corbin was born in Lamesa, Texas. His father, Kilmer Blaine Corbin was a
successful lawyer who represented 24 West Texas counties in the Senate from 1948-1956 and
also served as a Dawson County judge and School principal. Barry's mother, Alma LaMerle
(Scott) Corbin was an elementary school teacher.
While still in High School, Barry used to watch theatre rehearsals at Texas Tech. He later studied theatre at Texas Tech University between the late 50's and early 60's and soon became a
leading actor. He took courses and acted in plays without following a degree program, or indeed, any program except his own.
At 21, Barry left the university to join the Marine Corps on a hangover and a friend's dare.
Barry spent about two years at Camp Pendleton in California, training South Vietnamese officers. He later joined the Reserves and after a year, he was discharged from the Reserves in August 1963.
Returning to Texas, Barry pursued his dreams and started acting in regional theatres. He then
headed out in his 1953 Ford "Woody" to go to the Big Apple, stopping off along the way to do
odd jobs and act in theaters. Barry used New York as a home base and traveled the country to perform in regional theatre, dinner
theatre and with touring theatre companies, as well as some TV work. Through his 20s, Barry lived a sort of Bohemian existence,
driving his Ford wagon "and sleepin' in the back of it half the time."
For the next decade, he starred in a string of stage productions in such roles as Jud in Oklahoma, Henry II in Becket", Falstaff in
The Merry Wives of Windsor, and as MacBeth in MacBeth. He also appeared in several musicals including Kiss Me Kate and My
Fair Lady. He performed on Broadway as Henry in Henry V and continued to travel to wherever the roles were, appearing in locations such as the American Shakespeare Festival at Stratford, Connecticut; the Actor's Theatre in Louisville, Kentucky; and the
Pheasant Run Theatre in Chicago.
In the 70's, Barry moved to Los Angeles and spent two years writing plays for National Public Radio. He has written a number of
radio, film and stage scripts and one published play: Throckmorton, Texas 76083.
In 1979, he had his first movie break as Uncle Bob in Urban Cowboy. Since then, he has appeared in more than 70 films and TV
shows. Barry had supporting roles in Clint Eastwood's comedy Any Which Way You Can and Stir Crazy with Gene Wilder and
Richard Pryor. He played a recurring character "Sheriff Fenton Washburn" on the hit TV series Dallas.
Barry established himself as one of the busiest character actors in Hollywood: The Best Little Whorehouse in Texas (1982) with
Burt Reynolds and Dolly Parton, Honkytonk Man (1982) with Clint Eastwood, The Man Who Love Women with Kim Basinger,
WarGames with Matthew Broderick, and A Stranger on My Land with Tommy Lee Jones. Barry guest-starred in several TV series
such as M*A*S*H (1981), Hart to Hart (1981), Hill Street Blues (1984), The Duck Factory (1984) with Jim Carrey, The A-Team
(1986), The Twilight Zone (1986), Matlock (1987), Murder She Wrote (1987), and Designing Women (1989). He appeared in miniseries such as LBJ: The Early Years (1986), Murder in Texas (1981), The Thorn Birds (1983), Fatal Vision (1984), A Death in
California (1985), and I Know My First Name is Steven (1989). In 1989, there was Lonesome Dove. Hailed as a masterpiece by
critics and audiences alike, Barry played the role of "Roscoe Brown", July Johnson's loyal, but bumbling deputy.
In 1990, Barry began his most recognizable role on primetime TV as the proud former astronaut "Maurice Minnifield" in the television series Northern Exposure which ran from 1990 until 1995. In April 1993, Barry was nominated for an Emmy in the category
of Best Supporting Actor for this role. Barely having time to work on other projects, he still managed to make two made-for-TV
westerns and resulted in Barry's receipt of the "Western Heritage Wrangler" award for his role of "Charlie McCloud" in Conagher.
In 1996, Barry was back in another starring role on the USA Network's TV series The Big Easy portraying "C.D. LeBlanc." The
show lasted 2 seasons until October 1997. From 1998 to the present time, Barry's commanding presence has been required by almost every producer of Prime-Time TV shows like The Magnificent Seven, Spin City, JAG, The Outer Limits, The Drew Carey
Show, King of the Hill, Walker:Texas Ranger, Mysterious Ways, Going to California, and Reba.
By the end of the century, Barry did a few more made-for-TV films like Judgment Day: The Ellie Nesler Story, A Face to Kill For,
Sealed with a Kiss, and Crossfire Trail with Tom Selleck and Virginia Madsen, a TNT western in which he played a heavydrinking judge.
Some of Barry's latest films are Fumbleheads with Edward Asner, Held Up with Jamie Foxx, The Journeyman -- an independent
western with singer/actor Willie Nelson, Clover Bend -- a TV movie with Robert Urich, and No One Can Hear You -- a thriller with
Kelly McGillis.
Barry Corbin's distinctively deep voice has become familiar from his many narrations and commercials over the last two decades.
He has recorded audio books such as the classic Old Yeller, which stands as his most moving and powerful narratives to date. He
has narrated documentaries and voice work for stage like in the rock opera The Man Who Rides the Wind (1998) and Buffalo Alter
(2000). Barry Corbin has been the voice of Dallas-Fort Worth radio station KPLX-FM, 99.5 "The Wolf" since 1998.
ADAM RAPA
Adam was born in Boston Massachusetts, where he began playing
the trumpet at age eleven. By age fourteen, he was playing professionally. He was the featured trumpeter in the Massachusetts AllState Jazz Band, the Grammy Band and other scholastic ensembles. Adam was the soprano soloist with the East Coast Jazz Drum
and Bugle Corps for seven years from 1994 to 2000. During that
time, he performed at all of the major Jazz Clubs in Boston, and the
Blue Note in New York. He played in numerous Jazz festivals
around the country and performed with Grammy award winners
Nicholas Payton & Roy Hargrove, Christian McBride and many
others. In 2001, he became the trumpet soloist for the Tony and
Emmy award winning production of "Blast!". Over the next two
years, while on a North American tour, he gave clinics at many high
schools, drum corps and colleges across the country. Most recently,
Adam starred in the new production by the creators of "Blast!"
called "CyberJam", which played in London's West End. He is currently gearing up for an Asian tour this summer with "Blast!".
Musical Director & Conductor
Randol A. Bass
Mr. Bass, the composer, has achieved an impessive array of performances
and commissions by prestigious ensembles throughout the United States,
among these: the Dallas Symphony Orchestra, the Cleveland Orchestra and
the Boston Pops Orchestra. His Gloria was premiered at Carnegie Hall in
1990 by the New York Pops Orchestra under Skitch Henderson; this same
composition has been recorded by the Boston Pops Orchestra with Keith
Lockhart and can be heard on their latest Christmas CD release, Holiday
Pops.
His arrangement of Conquest of Paradise, by Vangelis, was commissioned
by the Boston Pops Orchestra and can be heard on their 2000 CD re-release
Summon the Heroes, under the baton of eminent film composer John Williams. Additionally, his works have been performed by the Tanglewood
Chorus, The Mormon Tabernacle Choir, the Grand Rapids Symphony and
Chorus, the Dallas Symphony and Chorus as well as numerous other orchestras and choruses throughout the U. S. and Europe. Active since the
late 1970’s as an arranger, Mr. Bass is now in his own wind transcription of
focusing his talents on original composition, largely due to the demand for his music. He has just completed an extensive Christmas cantata, commissioned and recently premiered by the First Methodist Church
of Lancaster, PA.
Mr. Bass, the performer, sings regularly with the Dallas Symphony Chorus. During the summer of 1997, he
toured with that ensemble on their Israeli tour, performing Mahler’s Symphony #8 under the baton of Zubin
Mehta. Most recently, he performed as solo pianist with the Coast Guard Academy Band in New London, CT
Ernst von Dohnanyi’s Variations on a Nursery Tune.
Born in Fort Worth in 1953, Mr. Bass grew up in Midland, Texas, studying piano, working in community theater and singing with local choral ensembles. A longtime student of choral music, Mr. Bass earned his Bachelors
Degree in 1976 from the University of Texas at Austin, a Master of Music degree in Choral Conducting in
1980 from The College-Conservatory of Music in Cincinnati, OH, and pursued doctoral studies in choral and
wind conducting at both Ohio State University's Robert Shaw Institute and the University of Texas at Austin.
Mr. Bass has historically worked actively in his various communities to further the non-professional musician’s understanding and appreciation for the musical arts. He has founded several civic wind and choral
groups during his career, helping to provide other musicians the opportunities he enjoyed as a young performer in civic orchestras, bands and theater groups. He founded the Austin Symphonic Band in 1982 and
was its Music Director and Conductor for four years. That group continues to perform as the official musical
ensemble for the City of Austin.
Mr. Bass currently serves as Music Director and Conductor for the Metropolitan Winds of Dallas, a community-based civic wind ensemble, regularly providing arrangements and compositions for that organization as
well as other bands, choirs and orchestras in North Texas and elsewhere.
Associate Conductor
Frank Felice
Frank Felice has just recently been selected as the Associate Conductor
of the Metropolitan Winds. He is currently in his second year as the
Associate Director of Bands at DeSoto High School. Before coming to
DeSoto, he taught middle school for seven years. Six of those years were
as the head director at Edgar Martin Middle School in Lafayette, Louisiana. During his tenure there, his bands received the highest possible ratings at both the district and state levels. His bands have also competed in
the Best in Class Championships in the Meyerson Center and the National Adjudicators Invitational Festival in San Antonio, Texas. While at
Edgar Martin, Mr. Felice received the "Teacher of the Year" Award in
1999.
Mr. Felice has served as a guest honor band conductor, adjudicator,
marching clinician, drill instructor, and low brass technician. While at
L.S.U. working on his Master’s degree, Mr. Felice served as a teaching assistant with the band department. He
was responsible for teaching each of the various concert ensembles as well as extensive work with the "Golden
Band from Tigerland." As a euphonium player, Mr. Felice has performed with the L.S.U. Wind Ensemble,
Symphonic Winds, Symphonic Band, Symphony Orchestra, Low Brass Ensemble as well as with the graduate
tuba-euphonium quartet, Tsunami. This quartet placed third in the International Tuba-Euphonium Quartet
Competition which was held in Lahti, Finland, in the summer of 2001. Most recently, Mr. Felice and his wife
Ginger celebrated the birth of their first child, Claire Isabella Felice. Mr. Felice received both his Bachelor's
and Master's degrees from L.S.U.
Officers
Bill Daniluk, President
Rebecca Webb, Vice-President for Personnel
Heather Lindstrom, Vice-President for Fund-Raising
Mary Schlotte, Secretary
Trey Worley, Treasurer
David Breitzman, Band Member-at-Large
The Metropolitan Winds is an all-volunteer community wind band whose membership is sampling of
a wide array of occupations and businesses in the community. They are drawn together by their common interest in music and their desire to perform challenging music at a level that exceeds the expectations of most community bands and their audiences.
The Metropolitan Winds celebrated the conclusion of its 10th season in the Summer of 2003. It has
changed its name twice. It was first known as the Coppell Symphonic Band and later became the
Coppell Wind Symphony. It is a 501(c) 3 tax exempt corporation in the State of Texas and currently
rehearses at MacArthur High School in Irving, Texas.
Membership
Flute/Piccolo
Bassoon
Linda Ammons, ES Music Teacher
Diane Delahunty, Hair Stylist
Byron Gifford, Real Estate Agent
Kim Hollander, Private Lesson Teacher
Francie Kilborne, Attorney
Helen Kremer, Ret. Medical Technologist
Heather Lindstrom, MS Band Director
Jennifer Smith, Software Developer
Junia Valente, HS Student
Heather Waggoner, Dir. of Dementia Activities
Rebecca Webb, Data Coordinator
David Wilson,
Charlotte Huff, Computer Engineer
Ralph Morgan, MS Band Director
Clint Mouser, Retired
Oboe
Angel Dodson, Private Lesson Teacher
Casey Knowlton, HS Student
English Horn
David Oakley, Private Lesson Teacher
Eb Clarinet
Janet Morphew, Executive Assistant
Bb Clarinet
Greg Alexander, 4th Grade Teacher
Mary Alvarez del Castillo, College Student
Virginia Boatwright,
Barry Chesky, Music Educator
Jean Cox, Private Lesson Teacher
Bill Daniluk, Data Center Manager
Royond Hendrix, English Teacher
Michelle Kennemer, Music Therapist
Sofia Maravi, College Student
Courtney Mlinar, Musician
George Rodes, JH Band Director
Alexis Saldaña,
Inga Sanford, Private Lesson Teacher
Mary Schlotte, Sales Secretary
Sheng Thao, College Student
Manfred Zehentmayr, Band Director
Bass Clarinet
Trombone
Jerry Garner, Health Care Administrator
Eric Camarillo, College Student
Myra Klinksiek, School Personnel Administrator Tony Duhon, PBX Programmer
Jeff Gibbs, Computer Animator
Joshua Groth, Band Director
Contra Alto Clarinet
Matt Heflin, HS Student
Nicholas Lindsey, College Student
Robert Knouff, Private Lesson Teacher
Heather McCamey, Marketing
Michael Mihalovich, MS Band Director
Ben Osborne, Seminary Student
Alto Saxophone
Brandon Robison, HS Student
Nick Galanos, Private Lesson Teacher
David Smith, Graduate Student
Tim Golden, Private Lesson Teacher
David Rodgers, Director of Marketing
Tenor Saxophone
Kyle Barron,
Bari Saxophone
Euphonium
David Breitzmann, Systems Engineer
Seth Hollander, Medical Student
Abe Smith, Music Copyist
Gabriel Galanos, HS Student
Tuba
Trumpet
Bill Adam, Insurance Claims Adjustor
Sammy Barnes, Consultant
Ed Bassett, Systems Support Manager
Tim Callahan, IT Administrator
Marc Cervantes, Band Director
Matthew Cleveland, Teacher
Mallory Combs, College Student/Lesson Teacher
Ronn Cox, Ret. Teacher, Private Lesson Teacher
Tom Cox, Private Lesson Teacher
Bobby Divin, IT Engineer
Will James, HS Band Director
Ken Lantz, HS Band Director
Pete Morelli, Pilot Instructor
Vernon Richter, Press Supervisor & Private
Lesson Teacher
Rommel Cordova,
Rustin Honeycutt, MS Band Director
Richard Maxwell, Janitorial Services
Percussion
Tim Deaver, MS Band Director
Andrew Hoskins,
Kyle Jewell, Student
Kevin Kasper, Homeland Security Officer
Barry Knezek, Psychiatrist
Rick McCoy, MS Band Director
Christine Palmer,
David Polk, MS Band Director
Roy Russells,
Harp
Barbara Lowe, Music Teacher
French Horn
Taylor Boone, HS Student
Jennifer Breitzmann, Systems Engineer &
Private Lesson Teacher
Scott Dodson, HS Band Director
Molly Headd, MS Band Director
Sharon Hoyt, Homemaker
Marty Legé, Police Officer
Linda Wiland, Attorney
Trey Worley, Banker
Librarian
Greg Alexander, 4th Grade Teacher
Jerry Garner, Health Care Administrator
Webmaster
Judy Daniluk, Graduate Student & former
software developer
Programming for Mass Consumption
by Bill Daniluk, President, Metropolitan Winds
What do audiences want to hear?
This is the question that musical performers have been asking since the beginning of the art of musical performance. The success and popularity of music is directly proportional to the degree that the
performer can figure this out; if the performer’s success in meeting audience desires and expectations
holds constant over time, the music performed will be remembered and will become classic.
There are two factors in solving the audience expectation problem:
1. Who is the audience to be pleased, and
What are the components of the program which will produce that pleasure
For the Metropolitan Winds, the audience in question is the mostly the undifferentiated music loving
public at large, which is probably best described by indicating what their defining qualities are not, to
wit1. They are NOT the members of the academic musical community; college professors, students,
and the like
2. They are NOT the aficionados of cutting edge popular music
3. They are NOT the inner city, edgy, urban youth
4. They are NOT the reconstructers of past historical musical idiom
5. They are NOT the balletomanes, operaphilics, and classical music buffs
I also suspect that they are probably NOT the fans of country & western, heavy metal, and classic
rock
Though we wish to appeal to listeners of all of these musical genres, we must focus on what is common, not exclusive to each type. Our audience is the common, popular, music lover.
With some idea of WHO our audience is, what are the musical components that will satisfy these
folks? These can be broken down into the following categories:
• Familiarity
• Novelty
• Amusement
• Amazement
And last, but certainly not least, profound emotional content
Familiarity and Novelty
Here are two opposite qualities, which would seem at first glance to be mutually incompatible.
Upon closer analysis, though, the pleasing musical performance, as well as each selection chosen within it,
needs to have a blend of the old and the new. Each piece played resides on a continuum somewhere between
the known and the unknown, and the mixture of these two qualities will determine the overall effect of the program. A heavy weighting toward the old results in musical nostalgia, which, while pleasing to the aficionados
of the period in question, will not speak to the mass audience. A well known Sousa march, like “The Stars and
Stripes Forever”, will have a dramatically positive effect on the audience, particularly if it is intelligently
placed in the program; everyone knows it, and will rise to their feet and cheer at its finish. A program consisting of nothing but Sousa marches (or even nothing but classic marches) will please only a small subset of the
audience. Novelty and variation are required.
The “new” in music represents the flip side of the “old”; audiences can’t toe tap along with music they don’t
know. If, in addition to being an unfamiliar piece, the selection in question uses new compositional techniques
such as serialism, minimalism, electronic instruments and the like, audience reaction can be downright hostile,
as programmers of new music are all too aware.
One way of blending the old and the new is to present the former in altered context, or to include derivative
aspects in the latter. Including aspects of cartoon music, with which almost everyone is familiar, in a concert
performance provides a pleasant mixture of old and new that pleases. Including well-known styles and even
direct quotations from known works in new compositions dramatically helps the degree to which they are appreciated. One key aspect of novelty which can be overlooked is the necessary variety from piece to piece
within the program itself. As is the case within a musical selection, the totality of the performance should have
a shape and direction by the inclusion of pieces with varying styles and effects.
A musical program for mass consumption must have a pleasing balance of the old and the new. There need to
be tunes, quotations, forms and rhythms that the audience knows, but there is also the requirement for new contexts, new melodies, the old in new attire and vice-versa.
Amusement and Amazement
When I was studying the theory of modern composition (in the previous century), my instructor, the composer
Roger Hannay, indicated to the callow music students in his care two key aspects which made new music popular – a gestalt, which he called “Amuse and Amaze”. As with familiarity and novelty, all selections can have
differing degrees of amusement and amazement.
To amaze, a piece must present elements beyond what the audience had conceived of as possible. These elements could consist of musical virtuosity, dynamic range, novel sound combinations and others, preferably
mixed in pleasing quantities. Anyone who has experienced first hand the wailing trumpet of Maynard Ferguson, the clarinet virtuosity of Eddie Daniels or the breathtaking subtlety of Kathleen Battle’s vocal octave leaps
will understand the amazement quotient. The desire of the programmer is to have the audience leaving the
auditorium with the question: “How do they DO that?” on everyone’s lips.
Amusement is far more difficult to qualify in words, but is easily recognized by the audience. By contrast and
juxtaposition, unexpected twists and the use of musical sounds with humorous extra-musical connotations, the
audience can be moved to laugh, one of the most powerful tools in achieving their satisfaction.
One example of a combination of amusement and amazement, along with the old and the new, is a not uncommonly performed version of the aforementioned The Stars and Stripes Forever, in which the piccolo obbligato
at the end is replaced note-for-note (with the transposition of several octaves) by one or more tubas. The piece
is well-known, the use of the tuba is novel, the contrast between expectation (piccolo) and execution (tuba) is
amusing and, if the execution is flawless, it is absolutely astounding, particularly if there are three or four tubas
who play in unison, in tune with note-for-note perfection.
Emotional Content
When all is said and done, most audiences come to musical performances for the way the music makes them
feel. All of the characteristics which I have described help in the creation of audience satisfaction, but the desired experience cannot be achieved without some of those moments which make one’s hair stand on end and
bring that involuntary mist to the eyes. This is by far the hardest thing for a musical group to achieve, especially since the audience’s tastes can vary so widely. One person’s melody of soaring beauty is another’s sappy
sentimentality. The total effect can only be achieved by as much focus on melodic beauty, rhythmic intensity
and dramatic dynamics as is possible. One advantage that a volunteer performing ensemble has over a profes-
sional one in this area is the fact that its members tend to be there more for the love of the music and the performance experience. This direct emotional connection between the players, the conductor and the music communicates itself to the audience and can, in their experience, more than compensate for the lesser technical facility of the performance as compared to that of professionals.
The Clinic Program
Each piece in our program was chosen to display one or more of the crowd-pleasing aspects that have been laid
out here. Additionally, the order of the selections and their variety was selected to try to provide the audience
with a total concert experience that does not over-emphasize any one aspect, and starts and ends in such a fashion as to provide the maximum in audience enjoyment.
High Anxiety – John Morris, arr. R. Bass
Our opening selection is microcosm of what we think makes for an audience pleasing performance in just a
brief few minutes. This music is pseudo-Bernard Herrmann, the film composer most associated with the movies of Alfred Hitchcock, and was designed to accompany Mel Brooks’ parody of those self-same movies.
Though the music will be new to most of the audience, the style of the psychological thriller will be quite familiar. The juxtaposition of this very serious and driving music with the broad and frequently slapstick humor
of Mel Brooks helps to provide the incongruity that is the wellspring of much humor. Just when the audience
thinks that they are being treated to an interesting and familiar sounding piece (with amusement by those, possibly in the minority, who have actually seen the movie), there comes the moment when amazement joins the
mix with the addition of the theremin toward the end of the piece. One of the first electronic instruments,
(created in the early part of the 20th century), the theremin’s sound is instantly recognizable to anyone who has
seen the classic science fiction and suspense movies.
The unexpected entrance of the instrument itself is an amazement regarding the unique way in which this instrument is played, with the player moving his hands above the instrument to manipulate amplitude and frequency of radio waves, seemingly by magic. All of our concerts that have included theremin solos have resulted in numerous listeners coming up during intermission or after the program to view the instrument, ask
how it is played – some even getting a chance to play it themselves.
High Anxiety – John Morris, arr. R. Bass
Familiarity
Medium
Novelty
Medium
Amusement
Medium
Amazement
Very High
Emotional Content
Medium
Most will not have heard this piece, though its style will be familiar, as will the sound of the theremin
As with many pieces of movie music that are seldom heard, its
rendition on the concert stage will be novel.
Probably restricted to those who can associate the music with the
Mel Brooks movie or contrast the style with pieces actually composed by Bernard Herrmann.
The theremin will definitely have the audience wondering “How
does he do that?”
The driving rhythm and the internal section of the psychological
introspection section are compelling, but pretty much twodimentionally.
One last note on this piece and all other music from the cinema: In most cases, music composed for movies is
never performed after the film has been released. With a few exceptions, such as Star Wars, Rocky and the
like, most of this music goes on to a shelf somewhere, never to be performed again outside the context of the
movie theater. It often takes some detective work to find the sketches to music like this, and parts and scores
may no longer exist. Under these circumstances, it may take some extensive arrangement by a person of talent
to get these works in a form that can be performed by a wind band.
Additionally, there may be copyright concerns that must be carefully negotiated to allow performance, and
recording other than for archival purposes may not be allowed.
If these difficulties can be navigated, we hope that our performance indicates how rewarding to an audience
such movie music reconstruction can be.
The Day the Earth Stood Still – Bernard Herrmann, arr. Morsch-Bass
Now that and audience’s appetite has been whetted with “fake” Bernard Herrmann, what could be better than
following it up with the real thing? This is the rationale behind our next selection, a short excerpt from the
science fiction classic, The Day the Earth Stood Still. As an added benefit, we get to hear the theremin again in
its other popular context, science fiction. The inclusion of the 20th-Century Fox fanfare, followed by a long
theremin glissando, perfectly illustrates the contrast of the familiar with the strange and unusual. And while
there are probably not many in the audience who will be humming the tune, the mood is familiar and unmistakable. Fortunately, in a short excerpt, the piece will be over before the amazement with the theremin dissipates!
The biggest emotional connection in this piece will be that of nostalgia, particularly among the audience members who were of a certain age when the move itself was released. I think that we can all say with confidence,
“Gort: Klaatu barada nikto!”
The Day the Earth Stood Still – Bernard Herrmann, arr. Morsch- Bass
Familiarity
High
The mood of this effect music is unmistakable
Novelty
Medium
Amusement
Low
As with the John Morris, hearing this music in a concert, particularly with the live, unsynthesized theremin will be a new experience for most listeners.
This piece will get by on qualities other than amusement
Amazement
Very High
Emotional Content
Medium
The audience will not have gotten over its amazement over this
instrument in a short excerpt.
There will be a strong element of nostalgia in this piece, though
it’s interesting to note that a web search of the phrase “Klaatu
barada nikto!” yields over 8,000 hits. There is more attachment
to this movie than is explained by simple nostalgia.
Love Theme from Superman – John Williams, arranged by R. Bass
Implicit in the careful selection of music designed to please an audience is the necessity for choosing a variety.
As was stated earlier, too much emphasis on any one of the crowd-pleasing elements will disaffect many. This
is why our program (and most accessibly successful musical programs) contains at least one selection that emphasizes lyric elements and melodic beauty. In addition to being the requisite ballad in our “How to please the
audience.” monograph, John Williams’ “Love Theme from Superman” also has a level of familiarity over and
above the rest of this movie’s score. Not only was this theme used extensively in the Superman “Flying Sequence” (with Margot Kidder’s overdubbed, spoken monologue) and in the End Title, but was also covered by
Maureen McGovern in a hit single, “Read my Mind”. The piece demonstrates Williams’ melodic gift and ability to meld music with the theme at hand.
Love Theme from Superman – John Williams, arr. R. Bass
Familiarity
High
Novelty
Low
Amusement
Low
Amazement
Medium
Emotional Content
High
It’s harder to find anything more familiar than a ballad that has
enjoyed “hit single” status on the radio.
Though it will be new for the audience to hear this wind arrangement, novelty is not the key element looked for in this selection.
Once again, amusement is not the effect of most ballads.
Achieving sensitivity in a piece like this with such a large group
can be surprising to the audience.
The soaring melodies, climactic modulations, the inclusion of the
characteristic harp “licks” and overall arch of the piece’s structure
combine to provide an intensely emotional experience.
Suite from Superman; 6. Superfeats – John Williams, arranged by R. Bass
So much more than just soaring melodies and beautiful ballads are to be had from the pen of John Williams, arguably the most popular film composer ever. His music, set to action features such as the Star Wars and Indiana
Jones movies, has almost completely defined the genre. “Superfeats”, extracted from the rarely-heard score from
the movie Superman and expertly transcribed for wind band provides a good example of this action music. In the
section of the movie in which this music occurs, Superman reverses time by making the earth rotate backwards,
coincidentally undoing a major disaster as well as the death of the movie’s love interest, Lois Lane, who we last
left on a flying date with the “man of steel” during the Love Theme. In the movie, the focus is on the cataclysmic
events, not the music, so even though this excerpt will sound somewhat familiar to movie watchers, it will also
feel very different to them when brought to the foreground. The main effect of Superfeats is meant to be the
creation of a dramatic feeling regarding these Super Events, as well as the amazement created by the performance of one of the most difficult pieces in our group’s repertory.
Suite from Superman; 6. Superfeats – John Williams, arr. R. Bass
Familiarity
Medium
The opening fanfare will be familiar but, in the following action
sequence sections, the familiarity will be more a matter of mood,
as with the Herrmann work.
Novelty
Medium
Hearing this sequence removed from the movie will be something
new, but knowledgeable listeners will immediately recognize the
John Williams touch.
Amusement
Amazement
Low
High
Patience, patience; we’ll get to the funny stuff later!
Here we have driving tempos and technical complexity designed
both to amaze and to excite.
Emotional Content
High
In the case of Superfeats, it is not love and beauty, but tension and
action which are used to stimulate emotions.
Casey at the Bat – Randol Alan Bass
With the earth and Lois Lane restored to safety and health, “And now,” as is said in Monty Python parlance, “for
something completely different.” The wind band literature is not extremely large, so what can an ensemble do to
try to achieve something truly new and different? One possibility is to commission a brand new work by a contemporary composer. Fortunately for the Metropolitan Winds, their talented director and arranger is also a composer of note, with access to some original compositions. Though the original Casey at the Bat was composed
for the Dallas Symphony Orchestra, the band transcription was premiered by the Metropolitan Winds in October, 2001. This piece illustrates an additional technique for providing both novelty and familiarity, that of including poetic narration. The extremely well-known poem “Casey at the Bat” by Ernest Lawrence Thayer first
appeared in 1883 and has enjoyed many treatments, musical and otherwise. Randy’s rendition is generally structured around the tune “Take Me Out to the Ballgame”, with musical quotations from Richard Strauss and other
orchestral composers, as well as numerous cartoon-esque musical clichés. To quote the Dallas Morning News on
its review of this piece’s orchestral premiere:
... Mr. Bass has written a sly score that has some references to classical pieces - Till Eulenspiegel among them - and turns "Take Me Out to the Ball Game" into a delicate waltz. Beyond
that, it's as bold and brassy as the overture to a Broadway musical. (The Dallas Morning News
April 14, 2001 Mighty 'Casey' Brassy musical ode Premiered by DSO Author: Olin Chism;
Staff Critic, Copyright 2001 The Dallas Morning News)
With a narrated piece, the group can choose a performer with the intent to achieve drama, celebrity, comedy or
any combination thereof. The DSO premiered this piece with Wheel of Fortune host Pat Sajak, while the Metropolitan Winds premiered the band version with film critic and erstwhile Texas celebrity Joe-Bob Briggs (a.k.a.,
John Bloom).
Casey at the Bat – Randol Alan Bass
Familiarity
High
Novelty
High
Amusement
Very High
Amazement
Medium
Emotional Content
High
The poem is familiar, as is the main tune. The orchestral and cartoon excerpts are all likely to be recognized by audience members.
The setting and combination of elements will have a high degree
of novelty.
Everything, from the cartoon opening and closing, through the
delicate waltz transmogrification of the main tune, to the Strauss
quotes and musical event painting is designed to maximize the
potential for musical humor.
As anyone who has tried to perform it will know, cartoon music
can be extremely difficult. When successfully pulled off, however, it should sound easy. Such is the case with something as
programmatic as accompanying a poem – it can be difficult to do
well, but shouldn’t sound as challenging as it is.
When done well, the audience will experience both the nostalgia
and the humor of this piece.
One final note: Original commissions are seldom considered for programming for reasons of cost and time.
This may be true if one is after a concerto by John Williams or an overture by Andrew Lloyd Webber, but there
are many contemporary composers available for writing commissions. The price of such can be quite reasonable, especially if they are not lengthy and the style of composition can be varied both by the choice of composer and instructions give to him/her. Best of all, original works (in addition to the fact that they are new) can
be tailored to fit the group – to highlight the group’s strengths and, to some extent, to compensate for any
weaknesses. And Lord knows, the composers need the work!
Jalousie – Jacob Gade, arr. John Krance
If The Day the Earth Stood Still speaks to a certain generation (who, some of us being members, will remain
unnamed), the old standard Jalousie may speak to an earlier generation, as well as to those in between. This
piece also has a film connection, though one of a tradition that considerably predates John Williams and Mel
Brooks. According to the web site of the Gade Foundation: /www.tangojalousie.com:
Jalousie, Tango Tsigane was first performed on 14th September 1925 at the Palads Theatre in Copenhagen in connection with the premiere in Denmark of the silent film Don Q, Son of Zorro, starring
Douglas Fairbanks and Mary Astor. During the playing of the film Gade [Jacob Gade, born in the
Danish town of Vejle on 29th November 1879, died in Denmark, 1963] made use of the theme as accompaniment and at the intermission the tango was performed in its entirety.
Gade himself told how he was inspired to write the melody that was to shape his life: “One day the
papers were filled with sensational descriptions of a crime of passion, a jealousy-murder, which made
such an impression on me that I could not stop thinking about it. During my morning walk across the
fields, however, I came to the sensible conclusion that the horrifying drama was really none of my
business, so it faded gradually into the background. Nevertheless, the word “jealousy” stuck in my
mind as a title to which notes began to attach themselves. When I got home I sat down at my desk and
after a few hours Tango Jalousie was finished.” The title Jalousie, Tango Tsigane, spelt in the French
manner, emphasizes the international character of the tune.
(from /www.tangojalousie.com, the
official web site of Jacob Gade’s Legat, Østergade 29, 5610 Assens, Denmark)
Since its premiere, in the days of silent film, Jalousie has become one of the most played tunes in history,
instantly recognizable almost to anyone. The band transcription, by John Krance, belongs to the all too common category of POP – Permanently Out-of Print – a formerly very popular arrangement that is now only performed by bands lucky enough to possess a vintage copy, or who can borrow the work from another band library. As stated by the web site, this piece contains hints of all that fiery passion that the Danes are known for.
(Come to think of it, that moody Hamlet fellow was also Danish.) Molto Dramatico, con molto passione and,
to our audiences, hopefully enjoyable-issimo!
Jalousie – Jacob Gade, arranged by John Krance
Familiarity
Very High
This is one of the most arranged and played tunes ever written.
Novelty
Medium
Amusement
Medium
Amazement
Medium
Emotional Content
High
This arrangement, out of print, will be new to many in the audience
There is more than just a hint of the hyper-melodramatic in this
piece, which provides a touch of humor for the contemporary
audience.
The big sound of the wind band contrasts highly to orchestral or
even solo gypsy violin arrangements of this favorite.
This setting combines drama and passion with the nostalgia of our
grandparents’ generation.
Selections from Sweet Charity – Coleman/ Fields; arr. Ken Whitcomb
When searching for the familiar, one other source of material is the Broadway stage – the original home of
Sweet Charity. The nostalgia in this number is several generations newer than that of Jalousie; the original
musical opened in 1966, was followed by a movie version in 1969 and a Broadway revival in 1986. The popularity of the original and the revival is underscored by the Tony award nominations achieved by both. The
medley format used in this number can be looked at as a smaller version of a successfully diverse program that
ties together well-known and lesser-known selections from a single source. The particular show in question
provides ballads, upbeat numbers as well as dance tunes which the arranger moves between for contrast and
variety. (Note: As with the currently popular Chicago, Bob Fosse created the choreography used in both the
stage and screen versions of this musical.) In the case of Sweet Charity, the most well-known of its numbers,
“Big Spender” has achieved somewhat of an iconic status; some of us may recall that it was used to sell cigars
on television, when such advertising was still permitted. This masterful Ken Whitcomb wind arrangement is
another sad example of the unavailable “POP” status to which many fine arrangements fall victim.
Selections from Sweet Charity – Coleman/Fields arr. Ken Whitcomb
Familiarity
High
Novelty
Low
Amusement
Medium
Amazement
Medium
Emotional Content
Medium
In addition to the temptation to “Sit Down and Smoke One” engendered by “Big Spender,” “If They Could See Me Now” was a
perennial marching band favorite of the 1970s – I can almost recall the drill.
This is not new material – it gets by on the instant recognition of
big tunes and variety.
Though clearly a factor in the show and the movie, humor is not a
main part of the motivation in the music itself. The bump & grind
of “Big Spender” can be played for a few laughs.
The bold and brassy sounds of the opening, plus an energetic execution of the up-tempo numbers can provide some of the requisite
energy required for amazement.
One way to keep the nostalgia from changing to ennui is to make
sure that no one period is over emphasized. While Jalousie is a
product of the roaring 20s, Sweet Charity is a product of the nonRock-&-Roll part of the 60s.
One note on making the old new again: For Jalousie and Selections from Sweet Charity (venerable band transcriptions both), one way of achieving a new interpretation is by getting a new interpreter. Thus, we have chosen to have both of these selections conducted by Frank Felice, our new Associate Director. Not having programmed and performed these works before, he can bring a fresh viewpoint to them which we hope will be
communicated to that ever-appreciative audience!
Trumpet Concerto #2 – Floyd Werle
One sure-fire method of amazing one’s audience is to import a soloist whose playing is –
well, amazing! It’s great if some famous instrumentalist can be brought in whose world renown will help you
have a sell-out crowd, but the amazement factor can be significantly enhanced by bringing in someone with
whom the audience may not be familiar who proceeds to “blow their socks off,” as it were. Thus is the logic
behind the programming of the Floyd Werle Trumpet Concerto #2. This work, written for Doc Severinson and
the Air Force Band in the early 70s, may be familiar to students of the band literature but it is safe to say that it
is relatively obscure. Our soloist, Adam Rapa, though fresh from an engagement in the London musical Blast!,
is not as well-known as the soloist for whom the piece was written but, in the tradition of Maynard Ferguson
and Arturo Sandoval, his talent, technique and incredible sound will amaze and amuse the as-yet uninitiated.
Werle does incorporate intriguing aspects of Jazz and Rock into the piece; but it is the dazzling solo playing
that makes the performance work.
2nd Trumpet Concerto – Floyd Werle
Familiarity
Medium
Novelty
Medium
Amusement
Low
Amazement
Very High
Emotional Content
High
Unlike the previous two works, the material will not be recognizable, but the rock style will reflect the time of the work’s composition and the jazz idiom will demonstrate familiar elements from the
composer’s own musical upbringing.
The style is not new, but the presence of a new and extremely talented soloist provides an element of novelty – with the hope that the
audience will be able to say, “I was one of the first to hear him!”
You’ll have to wait ‘til the end of the clinic to get another fix – not
long now!
While the theremin can amaze through the novelty of seeing such an
instrument in live performance, the virtuoso on a standard “axe”
amazes through technical and musical brilliance. Playing with a
“monster” sound, in extreme ranges, with flawless technique and
while maintaining superb musicianship can be the absolute pinnacle
of the amazing performance. We are no longer trying to achieve a
simple: “How did he do that?”, but a more primal: “WOW!!!”
Here, we want the audience to feel drained, as if they, themselves,
had somehow accomplished the dazzling feat of performing this
challenging piece.
Silverado Suite; mvt. III “We’ll be back” – Bruce Broughton, arr. R. Bass
After draining an audience with the dazzling pyrotechnics of a guest soloist, how can one still “finish big?”
Perhaps with one of those cinematic, “Big Finishing Numbers” which incorporates a little bit of everything that
happened earlier in the program. Bruce Broughton is an incredibly prolific Hollywood film composer and his
score to the movie Silverado is his best-known work in the genre. (Well, maybe – see the notes below on our
“encore.”) Silverado has all the expansive vistas of the classic movie Western: the pioneers moving west and
homesteading the prairie, the cowboys, gunslingers, the loves won and lost. (Indeed, at least one well known
critic found the music so large in scope that it dwarfed the movie itself!) The tunes will be familiar to those
who have seen the movie but the themes will resonate with anyone who has ever seen an epic Western. With
hoe-downs, dramatic fanfares, uplifting pioneer tunes and a giant sound, here is a selection to bring the audience to their feet!
Silverado Suite mvt. III “We’ll be back” – Broughton, arr. Bass
Familiarity
Medium
Novelty
Medium
Amusement
Low
Amazement
Medium
Emotional Content
High
Once again, those who have seen the movie will recognize the
music but, in keeping with the standards of the epic Western, everyone else will be able to relate to the common and readily identifiable themes.
Listeners may be surprised at how well this music holds its own
in a concert setting, stripped from the movie. In fact, if you agree
with Pauline Kael that the music is more majestic than the film,
you may actually prefer to hear it in concert rather than at the
movies.
Almost there!
Here, it is the entire ensemble, not the soloist, which produces the
sizeable sound and executes the technical proficiency.
This music, with its horn “rips” and trumpet fanfares, is designed
to leave one with the majestic sense of the West while, with plaintive Flute and English Horn melodies, evokes love and sacrifice
on the prairie. This selection is an emotional and dramatic way to
conclude a band concert with mass audience appeal.
Another note on Silverado: One can do more for a concert than just commission a work or hire a guest soloist –
a guest composer can be brought in! As witnessed by this program, one fertile source for music with mass appeal that has been exploited heavily by the Metropolitan Winds is the Silver Screen. As a culmination of this
usage, we actually invited Bruce Broughton to guest conduct one of our programs, finishing same with the
complete three-movement suite from Silverado. The excitement the band can feel in having an actual composer on stage is, once again, a sense that can be communicated to an audience, enhancing their listening pleasure.
Another audience-pleasing benefit in inviting a film composer for a visit is the potential access to entertaining
“industry” anecdotes. Mr. Broughton, composer of the theme to the hit TV show JAG, told our audience that
the producers of the series initially told him they wanted “...something like Silverado, but, you know, in the
Navy!”
Only in Hollywood….
Small Screen Encore – Bruce Broughton, arr. Randol Bass
As is often said, “What can we do for an encore?” Having just left the audience with their hearts full of the
nobility and majesty of the West Gone By, – cheering and, hopefully, on their feet – what can possibly follow?
As was previously referenced, there may be Bruce Broughton pieces that are more widely known than Silverado – though many may not be aware of his authorship. In addition to the large screen, Bruce Broughton has
also written for the small screen: television. Rather than the previously-alluded-to Jag, we chose for our encore a short medley of two other Broughton creations: the music from the Henson Production series Dinosaurs,
combined with the signature tune from Steven Spielberg’s revival of the Looney Toons ethos, Tiny Toon Adventures. These themes, familiar to almost anyone who has watched TV in the last decade, combine wit, energy, humor and cartoon music zaniness hopefully to put a fitting cap on a unique, audience-pleasing evening.
Small Screen Encore – Bruce Broughton, arr. Randol Bass
Familiarity
High
Novelty
High
Amusement
Very High
Amazement
High
Emotional Content
High
Though long out of production, through the magic of cable and
syndication (not to mention videotape and DVD) Tiny Toon Adventures and Dinosaurs will no doubt be with us for years to
come. The cartoon music style herein is quite in keeping with the
standard set by Carl Stalling for the original Looney Tunes series.
No audience ever expects to hear music like this played live, especially after having had their hearts filled to the brim with something like Silverado.
The opening trudging of the dinosaurs followed by dinosaur ragtime; four modulations in eight bars, squeaks, squawks, running
xylophones, slide whistles – this short piece packs about as much
humor in a couple of minutes as is possible.
As the song says, “Expect the unexpected!”
With all due respect to Aristotle and his Poetics, the catharsis of
humor after all that beauty, excitement, and nobility makes for a
great close to a program constructed for true mass appeal!
Other Possibilities
The Metropolitan Winds always attempts to present programs with mass appeal; some of the samples of characteristic work have been presented in this clinic. For the interest and edification of our auditors I would like to
include some other works from our larger repertory, in each of the following categories. Some of our most successful selections could appear in multiple categories, though they are not duplicated in these listings:
Custom Compositions/Arrangements
High Adventure – Randol A. Bass
Champagne & Roses – Randol A. Bass
Seasonal Sounds (wind ensemble and chorus) – Randol A. Bass
A Feast of Carols (wind ensemble and chorus) – Randol A. Bass
Gloria (wind ensemble and chorus) – Randol A. Bass
Suite from Star Wars – John Williams, arr. Bass
20th-Century Fox Fanfare
Main Title
Cantina Band
The Little People
Princess Leia’s Theme
Here They Come
Throne Room/End Title
Suite from Superman – John Williams, arr. Bass
Prologue and Main Title
Krypton to Earth
Leaving Home
Flying Sequence
March of the Villains
Superfeats
“Justice Done” and End Title
Dracula – End Title – John Williams
Adventures on Earth (ET) – John Williams
Raiders March (from Raiders of the Lost Ark) – John Williams
Lost in Space (TV Theme Medley) – John Williams
Summon the Heroes – John Williams, arr. Randol A. Bass
Young Frankenstein - Transylvanian Lullaby – John Morris
Harry Potter and the Sorcerer’s Stone – Main Title – John Williams
Tombstone – Bruce Broughton
Lost in Space – Main Title – Bruce Broughton, arr. Randol A. Bass
North by Northwest – Bernard Herrmann; arr. Morsch-Bass
Time Warp (Rocky Horror Picture Show) – Richard O’brien
Airport – Opening Title – Alfred Newman
The Pink Panther – Henry Mancini
Note: It’s important that copyright issues be carefully addressed when arrangements of current compositions
are being contemplated.
Film Score Music – non-custom arrangements
Jurassic Park – John Williams
The Sea Hawk – Erich von Korngold
The Bride of Frankenstein - Franz Waxman
The Wind and the Lion – Jerry Goldsmith
The Thing from Another World – Dmitri Tiomkin
Star Wars – The Phantom Menace – John Williams
The Magnificent Seven – Elmer Bernstein
The Cowboys – John Williams
Selections for Special Guests and Soloists
Film Composer Bruce Broughton
Miracle on 34th Street (1994) – Bruce Broughton, arr. Bass
Baby’s Day out – Bruce Broughton, arr. Bass
O Pioneers! – Bruce Broughton, arr. Bass
Young Sherlock Holmes – Bruce Broughton, arr. Bass
Homeward Bound – Bruce Broughton, arr. Bass
Harry and the Hendersons – Bruce Broughton, arr. Bass
Note: Concert violinist Belinda Broughton played the violin solo in Young Frankenstein – “Transylvanian
Lullaby”
Jazz Trumpeter Arturo Sandoval
Rhythm of the World – Arturo Sandoval, arr. Bass
All Night Long – Lionel Ritchie, arr. Bass
A Mis Abuelos – Arturo Sandoval, arr. Bass
Composer Donald Grantham (UT - Austin)
Phantasticke Spirites – Donald Grantham
Don’t You See? – Donald Grantham
Guest Piano Soloist
Rhapsody in Blue – George Gershwin
Variations on a Nursery Tune – Ernst Dohnanyi, arr. Bass
NYC Media Personality and Singer Midge Woolsey (with Eric Comstock)
Le Jazz Hot (from Victor/Victoria) – Henry Mancini
Cole Porter’s New York – Cole Porter, arr. Bass
I Can Cook Too (from On the Town) – Leonard Bernstein, arr. Bass
All the Things You Are – Jerome Kern
Broadway Tunes – with and without singers
New York, New York (from On the Town) - Leonard Bernstein
Medley from Sound of Music – R. Rogers/R. R. Bennett
Suite from My Fair Lady – Lerner & Lowe/R. R. Bennett
Broadway Curtain Time – arr. John Krance
Overture to Candide – Leonard Bernstein, arr. Grundman
76 Trombones – Meredith Willson
There’s No Business Like Show Business – Irving Berlin
One (From A Chorus Line) – Marvin Hamlisch
Phantom of the Opera (medley) – Andrew Lloyd Webber, arr. Johan de Meij
Prologue (West Side Story) – Leonard Bernstein, arr. Gilmore
Sunrise, Sunset – Sheldon Harnick/R. R. Bennett
Opener (That’s Entertainment/Another Opening) – Dietz/Porter
Great Wind Band Pieces – Classic and New
Symphony in Bb – Paul Hindemith
Music for Prague - Karel Husa
Fanfare-March – Roger Nixon
Blue Shades – Frank Ticheli
Cartoon – Paul Hart
Aegean Festival Overture – Andreas Makris
Circus Bee – Henry Filmore
Rocky Point Holiday – Ron Nelson
Lincolnshire Posy – Percy Grainger
Pineapple Poll – Sir Arthur Sullivan, arr. Mackerris
Paris Sketches – Martin Ellerby
Melody Shop – Karl King, arr. Glover
Great Orchestral Transcriptions
Pomp and Circumstance – Sir Edward Elgar, arr. Bass
Toccata and Fugue in D Minor – Johann Sebastian Bach, arr. Eric Leidzen
The Sorcerer’s Apprentice – Paul Dukas, arr. Mark Hindsley
Suite from the Firebird – Igor Stravinsky, arr. Randy Earles
Dance of the Hours – Amilcare Ponchielli, arr. David Bennett
The Pines of Rome – Ottorino Respighi, arr. Guy M. Duker
Note: All of these selections, with the inclusion of Rhapsody in Blue, were gathered together in a theme concert entitled “Fantasia: The Concert”, which was played soon after the release of a movie which featured
these pieces.
Don Juan – Richard Strauss, arr. Mark Hindsley
Prelude to the Afternoon of a Faun – Claude Debussy, arr. Mark Hindsley
Overture 1812 – Pyotr Tchaikovsky
Polvetsian Dances from Prince Igor – Alexander Borodin, arr. Mark Hindsley
Die Fledermaus Overture – Johann Strauss, arr. Mark Hindsley
“Hoe Down” from Rodeo — Aaron Copland, arr. Rogers
An American in Paris — George Gershwin, arr. Brubaker
Adagio (for Strings) — Samuel Barber, arr. Custer
Funding a Program for Mass Consumption
Though showing all of the detailed expenses involved in the production of a concert designed
for mass consumption is beyond the scope of this clinic, by viewing key areas of expense,
you can get an idea of what you’re looking at. I have presented the specific areas of music
acquisition, concert venue, guest artist, advertising, and concert logistics for consideration,
as well as some options for concert production at the high, medium, and low expense levels.
Music Acquisition - arrangements and new composition
The composition of new music that will be pleasing to the mass audience is hard work, and is priced accordingly. Good composers will write to order for roughly $1,000/minute of a finished piece. Well known composers will charge two to ten times as much and still not lack for commissions. Professional arrangement
and/or transcription can require a similar fee. Some things to consider are:
• Keep the commissions short to minimize cost
• Give consideration to up and coming composers, who may work for less in order to get literature performed
• Sometimes a consortium can get together to commission a work by a better known composer and thus
share the composition costs among many who will play the work
• Don’t overlook the talents of the members of the group in composing and arranging – there may be an aspiring Randy Bass just waiting for the right opportunity
Don’t forget the copyright! Having a talent for arrangement does not give anyone the right to make such a
work without getting permission from the copyright holder, unless the work is in the public domain.
Concert Venues
There are all sorts of variables to be considered in choosing the right place to hold a concert to appeal to the
mass audience. While schools and churches may be lower in cost, they frequently lack the appeal of a fine concert hall. The former can be free, if there is a connection between the group and the hall. Fine performance
venues can cost from $2,000 to $6,000 for one performance, once all of the associated expenses are included
(ushers, ticket office, janitors, etc). Some considerations are:
• Book the hall as soon as possible! Concert locations such as the Meyerson Symphony Center are very
popular, and have regular professional groups (like the Dallas Symphony) with first dibs on the best dates.
With school auditoriums and church sanctuaries, school and church events always take priority – they can even
bump your concert if you’re unlucky
• Determine the size needed, and don’t forget to make sure that the stage will hold your group, irrespective
of the expected audience.
• Choose a location that is easy to get to by your audience. Hard to find concert halls will not attract the
masses that you’re looking for.
• Consider playing in non-standard locations. The mall at Christmas and a Cineplex with a popular first run
movie premiere will allow the group direct access to a mass audience
Remember that the choice of the hall matters to the group as well as to the audience. Playing in a first rate
performance space will make the group feel first rate; a feeling that will communicate itself to the audience
and enhance appeal.
Guest Artists
Brining in a guest artist can make for a truly unforgettable experience for both players and audience alike. First
rate players command and receive large fees for their talents - $25,000 would not be out of the question for
someone with an international reputation. Many talented artists do have a strong philanthropic streak, however,
and are willing to cut their fees when playing with volunteer groups with a strong commitment to bringing music to the masses. Some things to keep in mind when choosing whether to have a guest and which guest to
choose are:
•
Stress the volunteer nature of the group and the importance of giving to the community. If guests truly
believe that the group has the noblest of intentions they will be far more likely to donate some portion of their
talent.
• Be aware of additional expenses associated with a guest – and avoid guests with required retinues.
• Remember that guests need to be taken care of throughout their stay, which may require time and manpower as well as money.
• While guest artists can be quite gracious, the same is not always true of artistic management. Make sure
that you have someone tough enough to deal with your guest’s agent.
• Don’t forget that you need rehearsal time with your guest, and that there will be expense associated with
that time.
• Make sure that your performance takes place in a venue suitable for your guest.
Advertising
If the masses are unaware of your concert they cannot make plans to attend. Unfortunately, mass media ads are
quite expensive and may not bring in an audience. It’s very easy to drop $5,000 on radio spots; If you were to
do so, 250 people paying $20 each would be required just to cover the expense. If you were to spend an equal
amount on print ads, you would need 500 people to cover the total cost of print and broadcast – attendance
which may not come to pass. Some things that you can do to mitigate the high cost of advertising your program to ensure mass consumption are:
• Leverage the contacts of your group. Every poster and flyer at a school, church, or business can bring in
the mass audience that you desire. Make sure that everyone in the group brings family, friends and work associates.
• Produce a press release and distribute it to as many media outlets as you can. Though it doesn’t have the
impact of fancy paid print advertising at least the mass media audience will have a chance to find out about
your program.
• Tie-ins with other popular events such as movie premieres can help raise mass awareness of your group’s
existence and program
• Targeted mailing of concert announcements can be relatively cost effective. If a postcard notification of a
concert can be produced for $.30 apiece, 2,000 can be produced for $600. If the mailing brings in more than 30
people, it will be a net gain. The best-targeted post card recipients are people who have enjoyed prior concerts.
• Don’t overlook the possibility of human-interest stories associated with your group – this could yield a
volume of media attention far beyond what the group could ever fund.
• If you have something special that you’re showcasing, like a special guest or a movie tie-in, it may be
worthwhile to pay for some professional assistance in creating advertising spots and posters.
Logistics
There are all kinds of details that need to be covered to make your mass concert come off, all of which can
have associated expense. These include, but are not restricted to:
• Equipment acquisition - you’ll need percussion gear, stands, chairs, and possibly other instruments, such as
piano, organ, synthesizer, celesta (Harry Potter!) and who knows what else. Some you can borrow, some will
need to be rented.
• Equipment transportation – it isn’t uncommon to require a large (rented) equipment truck to get gear to its
final performance location
• Personnel transportation – if your mass audience is out of town, you’ll need to get your players there,
which will require some combination of cars, car pools, vans, buses, and even potentially air travel
• Additional players — you may need to hire players for special parts when you don’t have them in the
group. This could include keyboarc players, harpist, bass player, guitar, vocalists, narrators, and guest conductors.
• Programs — A professionally produced playbill can be quite costly, but will enhance the concert experience
Concert Options for a Program of Mass Consumption - Expenses
Ultimate
Crowd
Pleaser
Middle of
the Road
Music
Five-minute commissioned piece plus
new music
$
Venue
First Class Symphony Hall
Advertising
Radio, Print, Posters,
Postcards, Professional Production
$
Program
Full Color Playbill
$
1,500
Guest
Big Name guest artist $
10,000
Logistics
Flying in the artists,
special musicians,
narrators, etc
Total Production Cost
Tickets @ $20
ea. you'd need
to sell to pay
for it
$
800
Most of the music
comes from the existing library
$
200
$
500
Church (where
someone in the
group is a member)
$
150
Posters, Flyers, Post
Cards, and public
service press release $
1,000
Xeroxed Flyers
$
50
Xeroxed
$
100
$
250
$
200
$
950
5,800
New Music
5,000
High School Auditorium
10,000
“El Cheapo”
Small Black and
White
Local Luminary, or
guest with empathy
for the volunteer
group
$
$
500
$
1,000
Local TV Personality
1,000
Misc
4,800
$
4,000
Harp, Bass, equipment truck, and band
van
$
$
36,300
$
1,815
240
40
In Concert
Saturday, March 6, 2004
Matinee Concert - 2:30 PM
Morton H. Meyerson Symphony Center
Dallas, Texas
With Special Guest Conductor
Dr. Gary Garner, Clinician and former Director of Bands
West Texas A&M University
And
Featured Soloists
Including
Adam Rapa on Trumpet
Adults—$20
Students (through Grade 12) & Seniors (over 62) — $10
Tickets Available through TicketMaster
www.metropolitanwinds.org
972.680.4444
Your feedback regarding our clinic and
performance is welcomed.