Texas Bandmasters Association
Bandmasters Review • September 2013
21
interesting than quarter notes. Later, in a battery
rehearsal, the part could be developed to include
different pitches from the bass drums, or different
implements from another battery voice (i.e. brushes
in the snare drum voice, bundled rods played on the
drum rims, or a combination of voices). Eventually, this
should sound like a planned part of the show, not a
trouble spot that needed some quarter notes. Use only
as much rhythmic activity and volume as is necessary to
maintain an audible focal point. Your original intent to
provide contrast through the tacet battery is still valid.
If the battery now sounds like a low-volume auxiliary
percussion loop, you may have found the right balance
for ensemble precision and musical effect.
Knowing When to Say What
There are other common scenarios to explore
and discuss, but after awhile, the solutions are just
“variations on a theme”. The bottom line is that you
must fully understand the role of the drum major, the
audible focal point, and everyone in between. You, or
someone on your staff, should have some experience
level with each of these positions. Be a student of
physics; be an intellectual. Avoid guessing. Often, the
“stock” solutions are just plain wrong.
“Hey, listen to the drum line!” – In reality, you
should only listen back to the drum line. Avoid
listening over to the drum line and do not listen
forward to the drum line.
“Keep your eyes on the drum major!” – Well,
actually, if you are a member of the front ensemble
or marching near the front of the field, playing with
the drum major’s hands will only result in your sound
arriving early to the judges’ ears.
There is no “right answer” for every issue. The
goal of ensemble precision stays the same, but the
methods vary from teacher-to-teacher and ensemble-
to-ensemble. Don’t be afraid to try new things. When
in doubt, get out there on the field with the students
and struggle along side of them. Don’t rule out asking
for help. We have many experienced colleagues in this
activity from all parts of the state. Hiring a clinician to
work with you during the development of your show
can be of great benefit to you and your students. Don’t
get discouraged too easily; often times, complicated
problems have complicated solutions. If this activity
were easy, it wouldn’t be nearly as much fun for the
audience.
The Unique Demands on the Marching Musician
Michael Reed was named the Percussion Director for McKinney North High School in McKinney, Texas in June of 2013. For the previous
ten years, he served as the Percussion Director for the L.V. Berkner High School Bands in Richardson, Texas. Before his tenure at Berkner High
School, he was the Assistant Director of Bands and Percussion Director at Langham Creek High School in Houston, Texas. Michael received
a Bachelor of Science (emphasis in music education and percussion performance) from Texas A&M University - Commerce, where he was a
student of Dr. Brian A. West, Dr. Jeff Emge, and Mr. Bobby Francis. Michael is a member of the Lone Star Wind Orchestra, the Texas Music
Educators Association, the Percussive Arts Society, the Texas Bandmasters Association, and Kappa Kappa Psi. He lives in Plano with his wife,
Kristyn, and their Labrador retriever, Mousse.
Scott Ward is in his seventh year as the Percussion Specialist at L.V. Berkner High School in Richardson, Texas. While at Berkner, his
students have performed at the 5A UIL State Marching Contest in 2006, 2008, 2010, and 2012 and have been fnalists in a number of BOA
Regional and Super Regional Competitions. Also, Mr. Ward is the wind and percussion arranger for a number of award-winning marching
bands and drum lines throughout the state, and his arrangements have been performed at the UIL State Marching Band Competition at
the 2A, 3A, 4A, and 5A levels. Previously, Mr. Ward served as the drum line instructor and adjunct percussion teacher at Texas Christian
University in 2004-05. He received his M.M. in Percussion Performance from Texas Christian University in 2004 while serving as the
percussion graduate assistant and received his B.S. in Music Education in 2002 from Texas A&M University-Commerce. Scott is a member of
Texas Bandmasters Association, the Texas Music Educators Association, Percussive Arts Society, Kappa Kappa Psi National Honorary Band
Fraternity, and Pi Kappa Lambda National Music Honor Society.