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 perform-ance 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 ever-increasing 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 user-friendly “pop-oriented” materials? This clinic is intended to address that issue – generally and, more specifi-cally, 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 con-cerned.

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 crea-tive 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 perform-ers 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 Herrmann-style” 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 elec-tronic 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, part-copied and performed with great success. This afternoon, we’re including two excerpts from this result-ing “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 pub-lishers 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 num-ber 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 se-lection 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, es-pecially 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 re-programmed, 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 multi-cultural 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, espe-cially 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. Unfortu-nately, the publishers of such offerings often seem to feel that lighter subject matter merits over-simplification 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 crea-tive 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 con-temporary 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 addi-tion 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 ser-vices 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 West-End 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 emi-nent 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 nu-merous 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 sur-prising results in terms of willingness and forthcoming material. There are expenses to be in-curred 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 snip-pets 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 par-ticipate 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 Sym-phony, 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 Anto-nio, 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 diffi-cult 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 finger-ing 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 instru-ment'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 stud-ied 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 in-deed, 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 offi-cers. He later joined the Reserves and after a year, he was discharged from the Reserves in Au-gust 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 loca-tions 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 mini-series 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 televi-sion 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 al-most 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 heavy-drinking 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.

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 Wil-liams. 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 or-chestras 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

ADAM RAPA

Adam was born in Boston Massachusetts, where he began playing the trumpet at age eleven. By age fourteen, he was playing profes-sionally. He was the featured trumpeter in the Massachusetts All-State Jazz Band, the Grammy Band and other scholastic ensem-bles. 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 cur-rently gearing up for an Asian tour this summer with "Blast!".

focusing his talents on original composition, largely due to the demand for his music. He has just com-pleted 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 thea-ter 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

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, Louisi-ana. During his tenure there, his bands received the highest possible rat-ings at both the district and state levels. His bands have also competed in the Best in Class Championships in the Meyerson Center and the Na-tional 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

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 musi-cian’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 per-former 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 commu-nity-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.

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.

Associate Conductor Frank Felice

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

Flute/Piccolo 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, Oboe Angel Dodson, Private Lesson Teacher Casey Knowlton, HS Student English Horn David Oakley, Private Lesson Teacher

Bassoon Charlotte Huff, Computer Engineer Ralph Morgan, MS Band Director Clint Mouser, Retired 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

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 com-mon interest in music and their desire to perform challenging music at a level that exceeds the expec-tations 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

Bass Clarinet Jerry Garner, Health Care Administrator Myra Klinksiek, School Personnel Administrator Contra Alto Clarinet Nicholas Lindsey, College Student Heather McCamey, Marketing Alto Saxophone Nick Galanos, Private Lesson Teacher Tim Golden, Private Lesson Teacher David Rodgers, Director of Marketing

Tenor Saxophone Kyle Barron,

Bari Saxophone Gabriel Galanos, HS Student 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 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

Trombone Eric Camarillo, College Student Tony Duhon, PBX Programmer Jeff Gibbs, Computer Animator Joshua Groth, Band Director Matt Heflin, HS Student Robert Knouff, Private Lesson Teacher Michael Mihalovich, MS Band Director Ben Osborne, Seminary Student Brandon Robison, HS Student David Smith, Graduate Student Euphonium David Breitzmann, Systems Engineer Seth Hollander, Medical Student Abe Smith, Music Copyist Tuba 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

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 musi-cal 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 wit- 1. 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 com-mon, 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 pro-gram. 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 consist-ing 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 ap-preciated. 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 con-texts, 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 popu-lar – 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 ele-ments 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 Fergu-son, 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 uncom-monly 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 de-sired 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, espe-cially 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 per-formance experience. This direct emotional connection between the players, the conductor and the music com-municates itself to the audience and can, in their experience, more than compensate for the lesser technical fa-cility 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 fash-ion 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 mov-ies 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 fa-miliar. 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, pos-sibly 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 in-strument is played, with the player moving his hands above the instrument to manipulate amplitude and fre-quency of radio waves, seemingly by magic. All of our concerts that have included theremin solos have re-sulted 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.

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.

High Anxiety – John Morris, arr. R. Bass Familiarity Medium Most will not have heard this piece, though its style will be famil-

iar, as will the sound of the theremin Novelty Medium As with many pieces of movie music that are seldom heard, its

rendition on the concert stage will be novel. Amusement Medium Probably restricted to those who can associate the music with the

Mel Brooks movie or contrast the style with pieces actually com-posed by Bernard Herrmann.

Amazement Very High The theremin will definitely have the audience wondering “How does he do that?”

Emotional Content Medium The driving rhythm and the internal section of the psychological introspection section are compelling, but pretty much two-dimentionally.

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 unmistak-able. 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 mem-bers 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!”

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 em-phasizes 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 Se-quence” (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 abil-ity to meld music with the theme at hand.

The Day the Earth Stood Still – Bernard Herrmann, arr. Morsch- Bass Familiarity High The mood of this effect music is unmistakable

Novelty Medium As with the John Morris, hearing this music in a concert, particu-larly with the live, unsynthesized theremin will be a new experi-ence for most listeners.

Amusement Low This piece will get by on qualities other than amusement

Amazement Very High The audience will not have gotten over its amazement over this instrument in a short excerpt.

Emotional Content Medium 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, arr. R. Bass Familiarity High It’s harder to find anything more familiar than a ballad that has

enjoyed “hit single” status on the radio. Novelty Low Though it will be new for the audience to hear this wind arrange-

ment, novelty is not the key element looked for in this selection. Amusement Low Once again, amusement is not the effect of most ballads.

Amazement Medium Achieving sensitivity in a piece like this with such a large group can be surprising to the audience.

Emotional Content High 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, ar-guably 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 perform-ance of one of the most difficult pieces in our group’s repertory.

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 con-temporary composer. Fortunately for the Metropolitan Winds, their talented director and arranger is also a com-poser 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 Octo-ber, 2001. This piece illustrates an additional technique for providing both novelty and familiarity, that of in-cluding 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 struc-tured 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 Eulens-piegel 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 Metro-politan Winds premiered the band version with film critic and erstwhile Texas celebrity Joe-Bob Briggs (a.k.a., John Bloom).

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 Low Patience, patience; we’ll get to the funny stuff later! Amazement High 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.

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 reason-able, especially if they are not lengthy and the style of composition can be varied both by the choice of com-poser 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 Copen-hagen 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 ac-companiment 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 com-mon category of POP – Permanently Out-of Print – a formerly very popular arrangement that is now only per-formed by bands lucky enough to possess a vintage copy, or who can borrow the work from another band li-brary. 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!

Casey at the Bat – Randol Alan Bass Familiarity High The poem is familiar, as is the main tune. The orchestral and car-

toon excerpts are all likely to be recognized by audience mem-bers.

Novelty High The setting and combination of elements will have a high degree of novelty.

Amusement Very High 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.

Amazement Medium As anyone who has tried to perform it will know, cartoon music can be extremely difficult. When successfully pulled off, how-ever, 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.

Emotional Content High When done well, the audience will experience both the nostalgia and the humor of this piece.

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 popu-larity 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.

One note on making the old new again: For Jalousie and Selections from Sweet Charity (venerable band tran-scriptions both), one way of achieving a new interpretation is by getting a new interpreter. Thus, we have cho-sen to have both of these selections conducted by Frank Felice, our new Associate Director. Not having pro-grammed and performed these works before, he can bring a fresh viewpoint to them which we hope will be communicated to that ever-appreciative audience!

Jalousie – Jacob Gade, arranged by John Krance Familiarity Very High This is one of the most arranged and played tunes ever written.

Novelty Medium This arrangement, out of print, will be new to many in the audi-ence

Amusement Medium There is more than just a hint of the hyper-melodramatic in this piece, which provides a touch of humor for the contemporary audience.

Amazement Medium The big sound of the wind band contrasts highly to orchestral or even solo gypsy violin arrangements of this favorite.

Emotional Content High This setting combines drama and passion with the nostalgia of our grandparents’ generation.

Selections from Sweet Charity – Coleman/Fields arr. Ken Whitcomb Familiarity High In addition to the temptation to “Sit Down and Smoke One” en-

gendered by “Big Spender,” “If They Could See Me Now” was a perennial marching band favorite of the 1970s – I can almost re-call the drill.

Novelty Low This is not new material – it gets by on the instant recognition of big tunes and variety.

Amusement Medium 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.

Amazement Medium The bold and brassy sounds of the opening, plus an energetic exe-cution of the up-tempo numbers can provide some of the requisite energy required for amazement.

Emotional Content Medium 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 non-Rock-&-Roll part of the 60s.

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.

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 audi-ence to their feet!

2nd Trumpet Concerto – Floyd Werle Familiarity Medium Unlike the previous two works, the material will not be recogniz-

able, but the rock style will reflect the time of the work’s composi-tion and the jazz idiom will demonstrate familiar elements from the composer’s own musical upbringing.

Novelty Medium The style is not new, but the presence of a new and extremely tal-ented 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!”

Amusement Low You’ll have to wait ‘til the end of the clinic to get another fix – not long now!

Amazement Very High 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!!!”

Emotional Content High Here, we want the audience to feel drained, as if they, themselves, had somehow accomplished the dazzling feat of performing this challenging piece.

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 ap-peal 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 com-poser on stage is, once again, a sense that can be communicated to an audience, enhancing their listening pleas-ure.

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 Silver-ado – 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 en-core 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 Ad-ventures. These themes, familiar to almost anyone who has watched TV in the last decade, combine wit, en-ergy, humor and cartoon music zaniness hopefully to put a fitting cap on a unique, audience-pleasing evening.

Silverado Suite mvt. III “We’ll be back” – Broughton, arr. Bass Familiarity Medium Once again, those who have seen the movie will recognize the

music but, in keeping with the standards of the epic Western, eve-ryone else will be able to relate to the common and readily identi-fiable themes.

Novelty Medium 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.

Amusement Low Almost there!

Amazement Medium Here, it is the entire ensemble, not the soloist, which produces the sizeable sound and executes the technical proficiency.

Emotional Content High This music, with its horn “rips” and trumpet fanfares, is designed to leave one with the majestic sense of the West while, with plain-tive 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.

Other Possibilities The Metropolitan Winds always attempts to present programs with mass appeal; some of the samples of charac-teristic 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 suc-cessful 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

Small Screen Encore – Bruce Broughton, arr. Randol Bass Familiarity High Though long out of production, through the magic of cable and

syndication (not to mention videotape and DVD) Tiny Toon Ad-ventures 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.

Novelty High No audience ever expects to hear music like this played live, es-pecially after having had their hearts filled to the brim with some-thing like Silverado.

Amusement Very High The opening trudging of the dinosaurs followed by dinosaur rag-time; 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.

Amazement High As the song says, “Expect the unexpected!”

Emotional Content High 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!

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 con-cert 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 accord-ingly. Good composers will write to order for roughly $1,000/minute of a finished piece. Well known com-posers 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 per-formed • 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 as-piring 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 con-cert 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 mu-sic 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 man-power 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 pro-gram 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 asso-ciates. • 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 conduc-tors. • Programs — A professionally produced playbill can be quite costly, but will enhance the concert experi-ence

Ultimate Crowd Pleaser

Middle of the Road “El Cheapo”

Music

Five-minute commis-sioned piece plus new music $ 5,800 New Music $ 800

Most of the music comes from the exist-ing library $ 200

Venue First Class Sym-phony Hall $ 5,000

High School Audito-rium $ 500

Church (where someone in the group is a member) $ 150

Advertising

Radio, Print, Posters, Postcards, Profes-sional Production $ 10,000

Posters, Flyers, Post Cards, and public service press release $ 1,000 Xeroxed Flyers $ 50

Program Full Color Playbill $ 1,500 Small Black and White $ 500 Xeroxed $ 100

Guest Big Name guest artist $ 10,000

Local Luminary, or guest with empathy for the volunteer group $ 1,000 Local TV Personality

$ 250

Logistics

Flying in the artists, special musicians, narrators, etc $ 4,000

Harp, Bass, equip-ment truck, and band van $ 1,000 Misc $ 200

Total Produc-tion Cost $ 36,300 $ 4,800 $ 950 Tickets @ $20 ea. you'd need to sell to pay for it 1,815 240

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Concert Options for a Program of Mass Consumption - Expenses

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.