Arkansas School Band and Orchestra Association
Minutes of the ASBOA Executive Board Meeting Thursday, June 2, 2016 Arkansas Tech University – Ross Pendergraft 300S – 10:30 AM Draft Updated – 7/25/2016 – Bring a copy of this with you to the General Business Meeting at ABA, July 28, 2016 – 4:45‐6:45 PM The meeting was called to order by Kevin Taylor, President 2015‐2016. The invocation was given by Omar Taweel. Roll call was taken by members introducing each other: Kevin Taylor, President 2015‐2016; Ken Williams, President 2016‐2017; Kara Reynolds, 1st Vice President; Greg Bruner, 2nd Vice President; Dewayne Dove, Judy Harkrider, Matt Teague, Tammy Sangster, Board Members; David Stuart, Parliamentarian; Omar Taweel, Immediate Past President; Julia Reynolds, Executive Secretary‐Treasurer Region Chairs – Roshell Cobb for Karol Rulli, State Orchestra Chair; Karla Fournier – South Orchestra; Mike Burkepile – North Orchestra; Michael Williamson – I; Rachel Loretz – II; Carrie Teague – III; Erica Hann – IV; Richie Williams – V; James Palmer – VI; Jim Spillars – VII; Jessica Holt – VIII; Marcy Wells – IX; Executive Advisory – Sheila Brooks, David Stuart, Trey Reely for Cathy Williams, Grant Brinkle, Omar Taweel, Kevin Taylor Kevin Taylor expressed his appreciation for the opportunity to serve the ASBOA Board and membership. He thanked everyone for their tremendous support and assistance. He then turned the meeting over to Ken Williams, 2016‐2017 President. Ken thanked Kevin for leadership, especially in reorganization of the officer duties for the All‐State auditions and clinic, and his tireless efforts for ASBOA. David Stuart then reviewed voting procedures using the green voting cards for the meeting.
AGENDA Executive Secretary‐Treasurer Report Julia Reynolds presented the Profit Loss Statement for 2016, prepared by the accountant for ASBOA. An explanation was given of the categories, income, expenses, and pending expenses for the year. This report will be updated for the General Meeting and, as always, will be presented to the general membership and available for anyone to pick up a copy. Due from Regions as of July 14, 2016 Region I – Sight‐Reading Music (Pianalto) North Orchestra – Explanation concerning deficit in Balance of Overage Ken Williams thanked the ASBOA office for the careful handling of monetary matters.
COMMITTEE REPORTS Statewide Junior High All‐Region Jazz Band Audition Material Proposal – Clay Hooten, State Jazz Chair
Background: In 2014, a committee from ARJE was formed to pursue a single, statewide set of junior high all‐region jazz band audition material. After talking to region jazz chairs throughout the state, the committee determined that no 2 regions in the state are using the same audition material in the same manner for junior high jazz; there is no consistency in the state with regards to junior high all‐region jazz. -1-
At ABA in 2015, discussions to write a set of audition material for possible adoption at the state level were held between myself, Clay Hooten, and Brian Rhodes. After hearing about the committee’s concerns, Brian felt that he could put together a set of audition material (and also compose two more sets, if the first was adopted). Specific details, guidelines, and parameters for the material were further worked out during the All‐State Music Conference in February of this year. The audition material presented here (“Set III”) is the result of this process. Rationale: Unlike all other sets of audition music in the state, junior high all‐region jazz music is not consistent among the regions. Standardizing this music will help to make sure that all regions are aligned. Also, as this proposed audition music includes the same (but grade‐level adjusted) elements as the high school all‐state jazz material (swing and non‐swing etudes, blues scales, key centers, and improv), students auditioning on the proposed material in junior high will be better prepared for the high school audition material and audition procedures. Audition Procedure Using Proposed Material: Each set will contain: a swing etude, a non‐swing etude, one key center (aligned with the swing etude’s key), the Bb, Eb, and F blues scales, and drum set beat patterns. ● All instruments will audition on the entire swing etude, which will be played to a pre‐recorded track (tracks will have a “minus” feature). The swing etude includes 12 measures of improv; all students will improv in this section. ● Each audition committee will select a portion of the non‐swing etude for the audition; it will not be played to a track. ● The key center will be played, memorized, by all instruments (except drum set). ● The committee will select one blues scale for the audition, which will be played, memorized, by all instruments (except drum set). ● The drum set committee will select 3 of the following beat patterns: Bossa, Funk, Rock, Shuffle, Swing, Jazz Waltz. Drummers will play 8 measures of each selected beat pattern (memorized). ● All instruments will sight read on material selected by the audition committee. Specific Guidelines for Each Set: ● Each set will contain the following items: o A Swing Etude ■ Set I ‐ Bb Major ■ Set II ‐ Eb Major ■ Set III ‐ F Major ○ A Non‐Swing Etude ■ Set I ‐ Rock ■ Set II ‐ Funk ■ Set III ‐ Latin ○ Three Blues Scales (concert Bb, Eb, and F) ■ Scales will be notated as per ASBOA Senior High Jazz Band Audition Material, but will conform to the octaves/ranges of the ASBOA Junior High Concert Band Audition Scale Sheet. ■ Bass, Guitar, and Piano Blue Scales will be the same requirement as Senior High Jazz Band Audition Material ■ Every Set will include the notated concert Bb, Eb, and F blues scales. ○ One Key Center ■ The key center will correspond with the key of that year’s swing etude: ● Set I ‐ Bb Major Key Center ● Set II ‐ Eb Major Key Center ● Set III ‐ F Major Key Center ■ The key center will be usable in the improv section of that year’s Swing Etude. ■ Key centers will be notated as per ASBOA Senior High Jazz Band Audition Material guidelines, but will conform to the octaves/ranges of the ASBOA Junior High Concert Band Audition Scale Sheet. ○ Drum Set Beats/Patterns: ■ A drum set pattern guide showing an example of the following styles will be included in the packet: ● Bossa ● Funk ● Rock ● Shuffle ● Swing ● Jazz Waltz ■ The guide can mirror the Senior High All‐State Drum Set Guide, or could be slightly simplified. ● All etudes, scales, and key centers will be “full band rehearsable.” -2-
Parameters for Swing Etude: ● Swing Etude Layout Parameters: ○ The Swing Etude will be between 36‐44 total measures, laid out in the following manner: ■ M1‐12 ‐ melody/head, based on a 12‐bar blues chord progression ■ M13‐24 ‐ solo section, based on a 12‐bar blues chord progression, with chord symbols and rhythm slashes. Chord changes will need to work with the current Set’s Key Center. ■ M25‐32 ‐ a “bridge” section, to give contrast ■ M33‐44 (or 45) a reprise of the melody, with slight variations in rhythm or articulation. ○ All instruments will audition on the entire Swing Etude, which will be played to a backing track, as the improv score will come from the improv section of the Swing Etude. ■ The recorded backing track will have a “minus one” feature for all wind and rhythm instruments. ● Swing Etude Parameters For Individual Instruments: ○ Wind instruments: ■ Will be unison with each other throughout. ■ Octave placement can be adjusted for playability on each wind instrument. ○ Guitar: ■ M1‐12 (head) will be unison melody with wind instruments. ■ M13‐24 (solo section) will be notated with chord symbols as in the wind parts (so that guitarist can “comp” in full group rehearsal). ■ M25‐end will be 100% chord comp, primarily in quarter notes. ■ Chords should mostly be simple (maj.7, dom.7, m7, and 9ths). Please use other chord extensions sparingly. ■ A chord diagram will be included in the packet. ○ Bass: ■ M1‐12 (head) will be unison melody with wind instruments. ■ M13‐24 (solo section) will be a notated walking bass line with chord symbols shown as in the wind parts. ■ M25‐end will be 100% notated walking bass line. ■ Chords should mostly be simple (maj.7, dom. 7, m7, and 9ths). Other chord extensions will be used sparingly. ○ Piano: ■ M1‐12 (head) will be unison melody (both hands) with wind instruments. ■ M13‐24 (solo section) will be notated comping chords, with chord symbols written above as in the wind parts. ■ M25‐end will be right hand playing melody, mirroring the wind parts, while left hand will continue to play a (rhythmically simple) notated chord comp part. ■ Chords should mostly be simple (maj.7, dom.7, m7, and 9ths). Other chord extensions will be used sparingly. ○ Drum Set: ■ The entire etude will be mostly notated, with setup fills written in. ■ “Time” measures should be kept to a minimum. Parameters for Non‐Swing Etude: ● Non‐Swing Etude Layout Parameters: ○ The Non‐Swing Etude will be between 32‐40 total measures ■ There will be no improv section in this etude. ■ Students will not perform this etude with a backing track. ○ All instruments will audition on a selected portion of the Non‐Swing etude. ● Non‐Swing Etude Parameters For Individual Instruments: ○ Wind instruments: ■ Will be unison with each other throughout. ■ Octave placement can be adjusted for playability on each wind instrument. ○ Guitar: ■ This etude will be appx. 30% notated melody and 70% rhythmically notated comp, with chord symbols and rhythm slashes. ■ Chords should mostly be simple (maj.7, dom.7, m7, and 9ths). Other chord extensions will be used sparingly. ■ A chord diagram will be included in the packet. -3-
○ Bass: ■ This etude should be appx. 30% notated melody and 70% notated bass line, with chord symbols written above the part.
■ Chords should mostly be simple (maj.7, dom.7, m7, and 9ths). Other chord extensions will be used sparingly.
○ Piano: ■ This etude should have the right hand playing melody, mirroring the wind parts, with the left hand playing a (rhythmically simple) notated chord comp part.
■ Chords should mostly be simple (maj.7, dom.7, m7, and 9ths). Other chord extensions will be used sparingly.
○ Drum Set: ■ The entire etude should be mostly notated, with setup fills written in. ■ “Time” measures will be kept to a minimum. (See scales/beats and Set III music at end of agenda) Board Recommendation: Do Pass For‐Unanimous Rationale: This will provide a statewide junior set of materials to be used in the classroom or individually to teach young students the fundamentals of playing jazz literature. The material will be purchased individually by the schools from Twin Towers. Due to the lesser amount of material, the overall cost will be less than the senior high. There will be 3 Sets that will repeat in a three‐year Cycle. Action: _______________
Executive Advisory – Sheila Brooks, Chair Motion – EA‐1. Adopt the Arkansas Activities Association classification system for high school organizations. Private schools may be classified by their official AAA enrollment without the multiplier for sports if they choose. Rationale: Other groups within and under the umbrella of AAA use the AAA system of classification. Confusion is caused by our system being unlike the other interscholastic organizations. Enrollment figures for high school would be consistent for all interscholastic groups; possible changes to a higher or lower classification would be known in advance when AAA publishes classifications and conferences. Motion to Amend: Add the adoption will take place beginning school year 2016‐2017 to coincide with the AAA classification sequencing. R. Williams/G. Bruner Board Recommendation on Amendment: Do Pass For‐Unanimous
Motion as Amended: Beginning school year 2016‐2017, adopt the Arkansas Activities Association classification system for high school organizations. Private schools may be classified by their official AAA enrollment without the multiplier for sports if they choose. Board Recommendation: Do Pass For‐Unanimous Rationale: Will be in line with the two‐year AAA classification cycle. Action: _______________ Motion – EA‐2. To align minimum playing requirements with the 7A classification system, adopt the following: SENIOR HIGH SCHOOL Class 7A ‐ Two selections from grade IV or above and a march*. (Currently mostly top 16 in enrollment)
Class 6A ‐ One selection from grade IV or above, one from grade III or above, and a march*. (Currently mainly remainder of AAAAA’s)
Class 5A ‐ One selection from grade III or above, one from grade II or above, and a march*. (Currently mainly AAAA’s)
Class 4A ‐ One selection from grade II or above, one from grade I or above, and a march*. (Currently mainly AAA’s)
Classes 3A, 2A and 1A ‐ Two selections from grade I or above, and a march*. (Currently A and AA’s)
Class 10‐5A, 10‐6A, 10‐7A, 11‐5A, 11‐6A, 11‐7A ‐ One selection from grade II or above, one from grade I or above, and a march*.
Class D; DD; DDD: DDDD ‐ Two selections from grade I or above, and a march*.
Class N‐1, N‐2, N‐3 ‐ Two selections from grade I or above, and a march*
Class R‐1, R‐2 – Selections one grade level leniency from their normal classification and a march* (ABA 2013)
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Rationale: This keeps the same music requirements for almost every group. Exceptions are the 7A’s and most of those schools are presently playing at least one Grade V and one Grade IV; and 2‐3 schools at the high and low end of each classification that would also be on the borderline of requirements if we stayed with the current system. Board Recommendation: Do Pass For‐Unanimous Action: _______________ Motion – EA‐3. Adjust Senior High Playing Order to the following with the 7A classification system: SENIOR HIGH: D; N1; N2; N3; 1A; 2A; DDDD-4A; DDDD-5A; DDDD-6A; DDDD-7A; 3A; DDD-4A; DDD-5A; DDD-6A; DDD-7A: DD-4A; DD-5A; 4A; DD-6A; DD-7A; 10-6A; 10-7A; 11-6A; 11-7A; 5A; 6A; 7A.
Board Recommendation: Do Pass For‐Unanimous Rationale: Same as Executive Advisory Action: _______________ Sheila Brooks explained to the Board that the Executive Advisory had studied the financial reports after one year with the increased entry fees and honorariums with the possibility of making increases in meal allotments and possibly the mileage rate. But with the status of some of the regions, especially with their jazz clinics, they felt a proposal for an increase could not be made at this time. Some of the regions that are running a two‐day clinic may need to look at a one‐day clinic so that it is financially feasible. Two regions had to get donations for their jazz clinics to be able to break even financially. Region chairs and hosts must look at the participation and costs before making decisions on carrying through with a proposed two‐day event. All concert and solo‐ensemble assessments were financially feasible, but some of the split sites are running very close. Close enough that increases could not be made at this time. Proposals must be made based on the lowest available balances. Sheila Brooks reminded the Board that when we adopted the current region alignment, we decided to evaluate the status every five years to make any needed adjustments, rather than wait the 35 years as we had done this last time. It is that time! The Executive Advisory plans to use average participation numbers in region events this time rather than simply eligibility numbers. We hope this will give us a slightly more accurate alignment in some areas. Your professional input to any of the Executive Advisory members is welcome. Honor Ensemble Committee – Sheila Brooks for Sean Carrier, Chair Motion: HE‐1. If the classification of an ensemble changes after the ensemble is selected, the ensemble will still be able to perform and represent their previous classification. This does not change their official classification. Rationale: Ensemble "A" is a 9EE in 2015‐16 and is reclassified as a 9EEE ensemble in 2016‐17. They are selected as an Honors Ensemble for EE but their class has changed to EEE. It is not their fault for the classification change and they will be allowed to perform. Board Recommendation: Do Pass For‐Unanimous Rationale: Same as committee Action: _______________ HE‐2. If an ensemble that has been selected to perform at the All‐State Convention has a change in the position of head director, the ASBOA Executive Secretary and the Honor Ensemble Committee will have the ability to discuss options with the new director and administration. Rationale: A teacher who is new to a district may not want to have the added responsibility of the Honor Ensemble concert in addition to making the transition in a program where the former director has been very successful. The change this past year from assistant to head director did not affect the ensemble in the least. However, this may not always be the case. Board Recommendation: Do Pass For‐23 Against‐1 Abstain‐0 Rationale: Same as committee Action: _______________ -5-
Clinic Audition Materials – Jill Chentnik, Chair Jill Chentnik reported that the Clinic Materials Committee had been divided into sub‐committees to develop, as requested, three sets of three exercises for each instrument. (The list was not complete at the meeting but is presently.) Both the committee and sub‐committees worked diligently to meet the deadline for the material. Motion: Stay in committee with great appreciation to the Clinic Materials Committee and all of the Sub‐Committees for their work to this point. G. Bruner/M. Williamson Rationale: The problems being faced by Jill Chentnik, her committee and the sub‐committees were (1) the proposal at All‐State and by regions to keep material as is and use present system to make changes; (2) differing opinions on how to make the material ‘equal’; (3) deleting or including the 3rds, chromatic, and arpeggiatted exercises in woodwinds in addition to or as a part of the three; (4) is three really the required number that we all have to make the amount of material fit into or is there any leeway between instruments for three or four exercises and (5) do we need more time as a committee to really be able to have a complete set that reflects the same mind‐set for all instruments?
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State Marching Contest Host Bids – Handled at 2:00 PM Accepted for current AAAA – AAAAA – War Memorial – John Caldwell Accepted for current A – AA – AAA – North Little Rock Senior High – Robert Hesse and Brandon Wilson -8-
REGION PROPOSALS Orchestra – A. Roshell Cobb for Karol Rulli, State Chair O‐1. ASBOA should create a professional development committee to oversee professional development offerings and procedures for presenting at All‐State Music Conferences. C. Buck/J. Michaels Rationale: To enhance the variety of professional development offerings at All‐State Clinic and allow all directors an opportunity to develop or present sessions. Other state organizations have clear procedures for presenting at All‐State Clinic, including topical guidelines, a call for submissions, a clear timetable, and information on who to contact. Orchestra Recommendation: Do Pass For‐Unanimous Board Recommendation: Do Not Pass For‐0 Against‐21 Abstain‐3 Rationale: Currently, ASTA (String Division) has complete control over the selection of their clinics/clinicians on their chosen day (Friday). Same is true for ArkMEA on Friday. ASBOA has the following opening slots: Thursday – 8:00‐9:10 AM (SH Honor Ensembles); 10:30 AM (AIB Clinician); 2:00 PM (AR History Project); 3:15 PM (ARCBDNA Panel Clinic); 2:00 & 3:15 PM (Music Tech). Friday – 10:15 AM (Young Directors Survival Kit); 1:30 PM (ASBDA Meeting); 2:15 PM (AWBDA); 3:00 PM (AIB Concert); 4:00 PM (JH Honor Ensemble Concerts). NOTE from jr: There is a list in the ASBOA office of clinics/clinicians that have been submitted. Those are being worked through as they can be. I am open to suggestions. I would rather have a conversation about inservice topics than be legislated, but it is the membership’s choice. I am not sure of necessity of a committee for 2‐3 slots. Action: _______________ O‐2. Propose and establish criterion to include a set of etudes and excerpts for when the literature to be performed at clinic requires the harp. The suggested repertoire and criterion are listed below. J. Collett/K. Rulli Orchestra Recommendation: Do Pass For‐Unanimous Motion: Send back to State Orchestra Directors for further consideration. Board Action on Motion: Do Pass For‐Unanimous Rationale: Questions concerning how this would affect other specialty instruments needed – currently securing piano players for the bands and orchestras has worked well by contacting the membership with the ability level of player needed. This way all directors are informed. In band, we normally use a capable student who has earned a position in the ensemble on another instrument. When we need an Eb Clarinet player, we use one of the top Bb Clarinet players who has experience on Eb if possible. Obviously, not many, if any, string students in the orchestra will have harp experience, but questions were asked concerning the possibility of the orchestra using the same procedure through ASBOA mass email to contact directors to find available harpists (or other specialty instruments) to consider. The first criteria is that they be a member of an ASBOA organization. Possible Options for Arkansas All‐State Harp Auditions 1. Requirements that emphasize overall musicianship and high‐level sight‐reading. Play two contrasting solo pieces that demonstrate your technical skill and musical expression. Be prepared to sight read an orchestral harp part to be determined by the judges. (Options could include any one of the following 3 excerpts, which would need to be marked by a harpist in advance for pedals.) o Debussy Petite Suite: I. En Bateau; m. 1‐14 o Bizet Carmen Suite No. 2 Intermezzo m. 1‐13 o Faure Dolly Suite, No 1 Berceuse m. 36‐51 2. Requirements that emphasize diligent and careful preparation for a single audition. Play two contrasting solo pieces that demonstrate your technical skill and musical expression. Play any of the following harp parts. o Tchaikovsky Nutcracker Suite Op 71A – Waltz of the Flowers o Minkus Paquita’s Dance (ed. Waddington) o Bizet L’Arlesienne, Suite No. 2, II. Intermezzo, Rehearsal D & III. Menuet -9-
3. Requirements that emphasize advanced technical skill. Play two contrasting solo pieces that demonstrate your technical skill and musical expression. Play a piece from any of the following methods or studies. o Bochsa Elegant Extracts for the Harp – one excerpt not including the prelude. o Bochsa/Hasselmans 20 Etudes (Vingt Celebres Etudes), Vols 1 & 2‐ choose one piece o Naderman Etudes and Preludes – one etude or prelude o Hindemith Sonata for Harp – one movement o Handel Concerto in B flat; first movement o Tournier Etude de Concert (Au Matin) o Godefroid Etude o Haydn Theme and Variations (ed. Salzedo or Waddington) o Bach/Grandjany Etudes for Harp – choose any piece o Renie Method for Harp – choose one excerpt o Pozzoli Studi di Media Difficolta – choose one piece o Suzuki/Waddington Book 4+ Some Current All‐State Harp Audition Requirements California Band Directors Berloiz Symphony Fantastique, movement 2, “Ein Ball” beginning to #35 Association Nebraska Music Educators Association
Rimsky‐Korsakov Cappricio Espagnol Jaynes Etude
Pennsylvania Music Educators Association
Godefroid Bois Solitaire or Romance Without Words Hasselmans Feuilles d’Autuomne (arr. McDonald) C.P.E. Bach Solfeggieto (arr. Miller) Bartok Six Rumanian Dances (arr. Mildonian) Britten Suite Pierne Impromptu Caprice Handel Concerto in Bb Salzedo Variations On An Ancient Theme C.P.E. Bach Sonate in G (arr. Weidensaul) Respighi Pines of Rome
Iowa High School Music Association Louisiana Music Educators Association
Washington Music Educators Association
Alabama Music Educators Association Nevada Music Educators Association
Prepare approximately 3 to 4 minutes of an etude or solo that demonstrates the full range of the student’s performance ability. The choice of music is left to the discretion of the student, but should include contrasting tempi and styles. The title and composer of the selection must be included with the audition recording. 1. In a 2/4 meter and using the same tempo throughout the scale, play a G melodic minor scale ascending and a G natural minor scale descending in the following three ways, striking the root tone once, and continuing without pausing between scales. 2. A. Scale One: Play one octave of the above scale using quarter notes B. Scale Two: Play two octaves of the above scale using eighth notes. C. Scale Three: Play three octaves of the above scale using eighth note triplets. 3. Berlioz: Symphonie fantastique ‐“Un bal”: beginning – rehearsal #23 Dotted quarter note = 60 4. Debussy: Prélude à l’après‐midi d’un faune: 5 meas, after rehearsal #7 to 5 meas,before rehearsal #8 Tchaikovsky Swan Lake Suite, Op 20a: No 1 Tull Nebula
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Georgia Music Educators Association
Illinois Music Teachers Association
Saint‐Seans Samson and Dalila, Dance Bacchanale, op. 47 Rimsky‐Korsakov Cappricio Espagnol Williams, Star Wars Suite for Orchestra: The Imperial March ‐ Darth Vader’s Theme; Princess Leia’s Theme 1. Excerpt: #40 Moderato; Universal Method for the Harp (Boscha‐Oberthuer); Carl Fischer; Quarter Note = 80 2. Etude: Nutcracker Suite No. 1 (Peter Ilyich Tschaikovsky); Waltz of the Flowers ‐ Cadenza (Measures 1‐32); Kalmus # A2173 ‐ Luck's # 06897 3. Sight‐reading
O‐3. ASBOA allow the General Session at ABA to be an open session for all members without requiring fees for those attending the General Session meeting only. J. Michaels/C. Buck Motion passed unanimously Rationale: ABA Summer clinic is geared towards band directors; However, Orchestra directors would like to attend the General Session meetings to have the opportunity to participate in the discussions regarding pertinent issues. No Action Needed – Any orchestra director may attend the Executive Board Meeting, Region Meetings and the General Business Meeting without registering already. Directors must register to visit the exhibits, attend clinics, concerts, and meal functions. North Orchestra – Mike Burkepile, Chair; Greta Lane, Secretary North Orchestra Concert Assessment – Included in Region VI South Orchestra –Karla Fournier, Chair; A. Roshell Cobb, Secretary S‐1. Add “Other” to the error card and include a written stipulation of “no mutes will be allowed to be used during tryouts” on the tryout information sheet. Motion passed B. Osman/G. Bruce Rationale: For‐ Against‐ Abstain‐ Region Recommendation: Do Pass Motion: Send to All‐State Audition Procedure Committee. Board Recommendation on Motion: Do Pass For‐Unanimous Rationale: Adding “Other” to the card opens the door to a variety of comments being added. Possibly add “No mutes allowed during tryouts” to a string specific error card. Action: _______________ Region IX – Marcy Wells, Chair; Tina Cornwell, Secretary 9‐1. ARTICLE VIII Section A. Selection Add: In regions where there are two different sites and dates, the judging panel does not have to be the same. S. Gordon/ J. Marlow Rationale: It is difficult to find judges that can commit to both sites. This limits the pool and the variation of the judges that these regions get. Also, this isn’t a competition between bands so different judges for the sites shouldn’t be an issue. For‐25 Against‐1 Abstain‐9 Region Recommendation: Do Pass Board Recommendation: Do Pass For‐23 Against‐0 Abstain‐1 - 11 -
Rationale: Same as Region Action: _______________ 9‐2. Keep the current All‐Region/All‐State Music sets during the next cycle: Set 1 – 2017‐18 Set 2 – 2018‐19 Set 3 – 2019‐20 Charge the Clinic Audition Materials committee to look at the All Region/All State Music as needed during the set 2 year and make suggested changes, to be voted on at the ABA meeting prior to the Set 3 year, which would go into effect when the cycle starts over at Set 1. (2020‐2021) J. Marlow/ J. Harkrider Rationale: This would allow for changes to be made without throwing out the entire sets and starting over. There are a lot of good parts to the tryout music and yes, some of them are a little lengthy, but the merits of students working on them out weigh the possibility of students not getting the opportunity to see those exercises. For‐32 Against‐0 Abstain‐3 Region Recommendation: Do Pass For‐Unanimous Board Recommendation: Do Pass For‐Unanimous Rationale: This would give the committee and the membership more time to develop comparable sets for each instrument. Changes to sets for upcoming cycle in 2017 can still be made using the current procedure (submitting 3 complete sets with rationale to the committee). Set a forum for ABA for discussion for the membership. Action: _______________ Region VIII – Jessica Holt, Chair; Jared Meyers, Secretary 8‐1. Bands shall be allowed to enter concert and marching assessments for comments only. R. Brody/T. Segress Rationale: The evaluation process associated with ASBOA assessments is an invaluable tool for the professional development of directors as well as the musical development of students. Teachers and students may benefit from adjudicator comments without the added pressure of receiving a rating. Directors of young bands and bands from smaller schools may be more encouraged to attend events for comments without the rating and subsequent posting of ratings. For‐36 Against‐1 Abstain‐0 Region Recommendation: Do Pass Board Recommendation: Do Not Pass For‐8 Against‐13 Abstain‐3 Rationale: There are invitational events that these ensembles may attend to receive comments only. Groups not ready to attend assessment for ratings may bring in experienced adjudicators to evaluate the performance followed by a clinic session with the ensemble. This would provide additional educational opportunities for the students and the directors who are not yet ready to attend the assessment and receive a rating. Action: _______________ 8‐2. Each region of the ASBOA membership will be allowed to select, by vote of its region membership, qualified judges for concert and marching assessments. J. Sillavan/J. Maestri Rationale: In order to grow musically as a state, we need input and a broader view of musical concepts, from a wider range of experienced and effective teachers. When the same people assess band programs across the state year after year, we hear the same comments that have become standards for use by our judges. Such comments may be helpful, but input from out of state adjudicators, in addition to in‐state, should be welcomed. For‐ 24 Against‐ 5 Abstain‐ 10 Region Recommendation: Do Pass Board Recommendation: Do Not Pass For‐1 Against‐22 Abstain‐2 - 12 -
Rationale: Out of state adjudicators can and are being utilized. Anyone may submit qualified adjudicator names to the state office. The state pool of adjudicators is being expanded as we are offering classes this summer and fall. Every effort is made not to repeat an adjudicator in a region within a three‐year period if at all possible. The general consensus was that the ASBOA office needs to continue to select the adjudicators for concert assessment for a variety reasons. Action: _______________ 8‐3. The ASBOA member‐at‐large position be nominated by ASBOA membership and then voted in by a majority vote of the ASBOA membership. Nomination process: Each region nominates, votes on, and submits one name from its region. Those names are then voted on by the entire ASBOA membership. J. Sillavan/J. Maestri Rationale: Complete representation by the ASBOA membership. For‐26 Against‐3 Abstain‐4 Region Recommendation: Do Pass Board Recommendation: Do Not Pass Against‐Unanimous Rationale: Membership to the Board should not be a popularity contest. Small school directors would be at a disadvantage with the number of staff members possibly supporting one of their own at a large district. Currently, the nominating committee takes many safeguards to consider all areas of the state, all school sizes, director’s proven willingness to serve the region/state, etc. In addition to the officer slate intentionally being representative of all of these criteria, every region of the state is represented on the Executive Board by their Region Chair. The nominating committee was expanded this year to include a representative from each region. Action: _______________ 8‐4. Proceeds from Marching Assessment and Concert Assessment will be used to pay for the Sweepstakes trophies of qualifying junior high and high school bands that receive a 1st division rating in all areas of performance—concert, marching, and sight‐ reading, that participated in Marching Assessment. Junior high bands and orchestras that receive a 1st division in concert and sight‐reading at concert assessment but do not participate in marching assessment will receive proceeds from Concert Assessment only. 440‐6600 – Region VIII J. Sillavan/J. Maestri Rationale: As it is currently written in Section IX‐ Awards (G.), no orchestra or junior high band that pays fees to perform at concert assessment are to be given proceeds toward sweepstakes trophies. In addition, as written, no school is entitled to proceeds from concert assessment, even though those monies and participation in that event are a requirement for the award. Since money is used from marching Assessment proceeds, it should also be used from Concert Assessment proceeds. For‐18 Against‐0 Abstain‐16 Region Recommendation: Do Pass Board Recommendation: Do Not Pass For‐0 Against‐21 Abstain‐3 Rationale: Historically, half the proceeds from concert and solo‐ensemble assessments have been used to fund the ASBOA office. Several years ago, the quarter split that went to each of the hosts of these events was appropriated, by a vote of the membership, to fund increases for All‐State clinician honorariums and meal per diems without having to increase any All‐State student audition or clinic fees. Raising the honorariums, meal allowances, and/or mileage for clinicians and adjudicators is still under serious consideration of the Executive Advisory Committee. After studying the finances this May, they felt they needed another year of data from the regions before making a proposal. Taking money from that balance would directly impact the ability to fund the increases that are already being considered. The plaque with add‐on bars was adopted in 2007, yet schools retain the ability to purchase the sweepstakes trophy if they desire. Action: _______________ 8‐5. Executive Secretary’s salary schedule set (as a teacher’s yearly step increase) and voted on by the membership of ASBOA and its annual publication on the ASBOA website; including Salary and Amenities (Health insurance, Travel allowance, Meal allowance, etc.) J. Sillavan/J. Maestri - 13 -
Rationale: The expenses of this office are paid through ASBOA membership fees and entry fees. Those fees are paid by tax dollars that are allocated to school districts. Those school districts must post salaries of all certified and classified employees. For‐13 Against‐4 Abstain‐17 Region Recommendation: Do Pass Board Recommendation: Do Not Pass For‐0 Against‐Unanimous Rationale: The Executive Secretary makes a financial report to the Executive Board and membership yearly. Copies of that report are available at the general business meeting at ABA. The specifics of the salary are always included. The Executive Advisory bases raises on available funds. Sometimes, raises are retroactive if the funds are available – sometimes, they have not occurred. Depending on which school district and administrative level were chosen for the ASBOA 12‐month position, the salary would probably be considerably more, and increases with index would also be higher. ASBOA might not be able to meet the demands of a salary schedule. The Executive Advisory Committee currently retains more flexibility with basing raises on available funds, ranging from 0%, 2%, or 3%. Action: _______________ Region VII – Jim Spillars, Chair; Amy Hinkson, Secretary 7‐1. I move that ASBOA return to the former (the one we have been using) Senior High level All‐Region/All‐State Audition material for All‐Region and All‐State auditions. The procedure as defined in the ASBOA constitution should continue to be used to affect changes to the list. O. Taweel/ R. Robinson Rationale: The clinic material changes for 2017‐2018 are unnecessary, and recreating a new list will require hours of work by the appropriate committee that is not necessary. The original material was appropriate for teaching and developing our young musicians into outstanding players for the various instruments. Furthermore it serves to prepare our students for participation in the All‐State bands and college level auditions. We could go on and on, but that’s why we open the floor for discussion. For‐26 Against‐2 Abstain‐1 Region Recommendation: Do Pass No Action – Already Covered 7‐2. I move that the appropriate ASBOA committee be charged with studying and updating the Junior High All‐Region Audition material to lessen the difficulty gap between the Junior High and the Senior High material. O. Taweel/ J. Edwards Rationale: There is too great of a difficulty gap between the material on the Junior High list and the material on the Senior High list. This list does need to be renovated. We could go on and on, but that’s why we open the floor for discussion. For‐28 Against‐0 Abstain‐1 Region Recommendation: Do Pass Board Recommendation: Do Not Pass For‐3 Against‐15 Abstain‐6 Rationale: The list is open for revision. Anyone can submit suggested sets. Mixed feelings about difficulty level gap between junior and senior high. Action: _______________ 7‐3. Moved to remove the alto clarinet from the All‐Region and All‐State bands. R. Robinson/ G. Brown Rationale: The students playing alto clarinet are usually handed a 2nd alto saxophone part to play for the clinic. Students who are auditioning for this instrument are not the same quality of players as alternates for alto saxophone. For‐25 Against‐1 Abstain‐3 Region Recommendation: Do Pass Board Recommendation: Do Not Pass For‐7 Against‐13 Abstain‐4 Rationale: Definitely two schools of opinion. 1 – Keep, don’t eliminate student, need for balance if there is a part written; 2 – Eliminate position, have clarinet player cover the part on an alto as needed (as done with Eb Soprano Clarinet & Bb Soprano Sax), very seldom are there parts written for them and the clinicians really do not want them doubling any other part, very few schools - 14 -
actually use alto clarinet players daily so most students auditioning are not as highly proficient as others in the bands (reflected in scores) Action: _______________ 7‐4. Request report on the following SB proposal 2014 – playing order (Proposal in ‘Still in Committee’ section) Region VI – Amanda Edge, Chair; James Palmer, Secretary 6‐1. North Region Orchestras will attend an orchestra‐only concert assessment separate from their respective 'band' regions. B. Wilson/ J.Hendrix Rationale: Currently at ASBOA assessment in Region VI, orchestras and bands have been assessed at the same site using the same judges. Usually, the judges are experienced band teachers. In the past year or two, the ASBOA has hired one experienced 'orchestra' judge (or an experienced 'band' judge with orchestra teaching experience) to help provide more appropriate feedback to the orchestra groups at concert assessment. Band judges tend to provide feedback that is appropriate, but they struggle to provide feedback regarding string technique as one assumes an orchestra judge would struggle with providing technical comments to bands. If concert assessment is intended to be a measure of students’ musical learning (and teachers’ instruction), we should strive to provide judges who can contribute the most appropriate feedback regarding all elements of music. Creating a separate orchestra assessment would make this feasible. For‐33 Against‐0 Abstain‐1 Region Recommendation: Do Pass Board Recommendation: Do Pass For‐17 Against‐2 Abstain‐5 Rationale: Just for North. According to proposal they have to go, but one orchestra already has legitimate conflict. They will have to attend unless there are extenuating circumstances for this to work for the orchestras and for their respective band regions. Action: _______________ 6.2 ASBOA Constitution pg. 17, Section VIII, Item #14 Delete: "Students may use only the number and size timpani designated. Set I ‐ Page 31 ‐ 3 Drums only ‐ Sizes 23", 26", 32" Set II ‐ Page 28 ‐ 3 Drums only ‐ Sizes 23", 26", 29" (2015) Set Ill ‐ Page 21 ‐ 3 Drums only ‐ Sizes 23", 26", 32". Although the 26" & 32" drums produce clearer tones within the written range of these exercises, some schools may not have access to a 26" or a 32" drum in which case a 29" drum is an acceptable substitution for either." ASBOA Constitution pg. 25, Appendix C, Tryout Room Strategy, Room 1 ‐ Timpani Delete: "Students may use only the number and size timpani designated. Set I ‐ Page 31 ‐ 3 Drums only ‐ Sizes 23", 26", 32" Set II ‐ Page 28 ‐ 3 Drums only ‐ Size 23", 26", 29" (2015) Set Ill ‐ Page 21 ‐ 3 Drums only ‐ Sizes 23", 26", 32" Although the 26" & 32" drums produce clearer tones within the written range of these exercises, some schools may not have access to a 26" or a 32" drum in which case a 29" drum is an acceptable substitution for either. Change Both To: Students may choose to play the timpani etudes on any three timpani ranging in size from 32" to 23". B. Rowan/ J. Hendrix Rationale: Since the audition etudes for timpani that utilized glissandos were deleted from the audition material, there is no need to designate specific sizes of drums that a student must audition on. For‐34 Against‐0 Abstain‐0 Region Recommendation: Do Pass Board Recommendation: Do Pass For‐22 Against‐0 Abstain‐2 Rationale: Agree with region Action: _______________ Region V – Richie Williams, Chair; Peggy Jeffries, Secretary; Grant Harbison, Treasurer No Proposals - 15 -
Region IV – Erica Hann, Chair; Meghan Langley, Secretary‐Treasurer 4‐1. Timpani sizes 23”, 26”, 29”, 32” will be placed in the All‐Region/All‐State audition room for students to use as they see fit for the set of exercises for that given audition year. T. Luzzi/ R. Sowell Rationale: We would not restrict the number of drums for a student at a clinic. We should not dictate the size of drum to use with the audition procedure. Part of the educational process is knowing which drum to use with which exercise. If we are always telling our students what to do, they will never have the opportunity to learn for themselves. This will also alleviate any confusion every time we have tryouts. For‐24 Against‐1 Abstain‐6 Region Recommendation: Do Pass Board Recommendation: Do Pass For‐21 Against‐0 Abstain‐3 Rationale: Will set timpani sizes to meet new criteria. Action: _______________ 4‐2. Allow students to play selections from the ASBOA or Texas UIL class One or Two list to qualify for and perform at the ASBOA State Solo and Ensemble Festival Change section H.2 from… “Music must be chosen from the most recent ASBOA or Texas UIL (Class One) Required Music List for the Region and State Assessment. If a selection is on both lists, the grade is determined by the ASBOA list. (Revised ABA 2003” To… “Music must be chosen from the most recent ASBOA or Texas UIL (Class One or Two” Required Music List for the Region and State Assessment. If a selection is on both lists, the grade is determined by the ASBOA list. (Revised ABA 2003)” R. Hart/ K. Reynolds Rationale: To create an opportunity for more musicians to be able to participate in State Solo and Ensemble by allowing more accessible music to be played. Example: Brass Quintet ASBOA List total 59 pieces UIL Class 1‐112 UIL Class 2‐101 The list for brass quintet would grow from 171 to 272 *There are multiple examples of UIL class 2 pieces being found on our ASBOA list. For‐18 Against‐2 Abstain‐11 Region Recommendation: Do Pass Motion: Refer to State Solo‐Ensemble Committee T. Reely/K. Taylor Board Recommendation on Motion to Refer: Do Pass For‐Unanimous Rationale: While some of the UIL Class 2 pieces may be suitable for our Grade III or IV list, many of them may be considered too easy. Texas requires a Class I for state solo‐ensemble. Would possibly be better to choose the selections rather than take all of the Class 2 selections. Anyone can submit pieces to the committee for inclusion at this time. Report: Action: _______________ Region III – Carrie Teague, Chair; Gregg Scott, Secretary; Kelly Wolfe, Treasurer No Proposals Region II – Rachel Loretz , Chair; Scott “Rudy” Villines , Secretary‐Treasurer 2‐1. Jazz Drum set Guide: Neal Moss presented a revised drum set guide for All‐Region and All‐State drum set audition packets. N. Moss/A. Brown Rationale: The cymbal and high‐hat notes on the current drum set guide are not notated in a way that a student would normally see them written in drum set music. While I understand there is a guide to the notation on the current sheet, I feel it is a good idea to - 16 -
revamp this so that it is more “readable” and consistent with other printed drum set music. The attached drum set guide has the changes notated. NO CHANGES WERE MADE to any of the expected patterns. They were just changed to clean up their notation.
For‐27 Against‐0 Abstain‐0 Region Recommendation: Do Pass Motion: Refer to All‐State Jazz Band Committee R. Loretz/M. Williamson Board Recommendation on Motion to Refer to Committee: Do Pass For‐Unanimous Rationale: Notations vary from publisher to publisher so students still must be able to adapt when reading new music. The current senior high and proposed junior high music follows the current drum set guide. Need to get input from the All‐State Jazz Committee. Report: Board Recommendation: Action: _______________
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2‐2. Brushes for Drum set Requirements: Neal Moss presented a proposal to include a “brushes” pattern on the All‐Region and All‐State drum set guide as a possible pattern to play for auditions. N. Moss/H. Hinesley Rationale: Most all clinicians program some piece that calls for brushes (either a ballad, laid‐back swing, etc…). This will push the students to work with this very common requirement for jazz drum set playing as it is very likely they will need to perform it at a clinic. Attached is a sample brushes pattern that I feel would work well in the drum set guide. For‐25 Against‐0 Abstain‐0 Region Recommendation: Do Pass Motion: Refer to All‐State Jazz Committee R. Loretz/M. Williamson Board Recommendation on Refer to Committee: Do Pass For‐Unanimous Rationale: Need to get input from the All‐State Jazz Committee to see if they feel there is a need for the addition for the addition of a brush pattern. Report: Board Recommendation: Action: _______________
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Region I – Michael Williamson, Chair; Jay Chipman, Secretary‐Treasurer 1‐1. State Marching Band Contest amendment proposal: Create an OPEN division in addition to the five classes within ASBOA. This classification will be utilized for BANDS THAT CHOOSE NOT to follow the following SCHOOL YEAR Marching Band Rehearsal guidelines. MARCHING REHEARSALS DURING THE SCHOOL YEAR: All Marching band and its auxiliary components are limited to a maximum of six hours of rehearsal outside the academic school day per calendar week. This includes: Marching Band Rehearsal (Full Band OR components) Any marching band group instructional activity Breaks Announcements Debriefing or Viewing marching band videos Playing off marching band music Marching band sectionals (both director AND student led) Clinics for the marching band OR any of its components This does not include: Travel time to and from rehearsals OR performances Rehearsal set up time Pep Rallies, Parades OR any other Public Performances Instruction and Practice for Music Activities OTHER than Marching band and its components ALL BANDS WILL BE ALLOWED ONE (1) HOUR OF WARM‐UP PRIOR TO ANY PERFORMANCE THAT IS NOT INCLUDED IN THIS TIME. G. Gordy/ J. Matthews Rationale: Many band director staff’s do not have administrative, patron OR family support to rehearse more than this during the school year. OTHERs however do. Those bands are not on a level playing field. This does not limit what an individual band does. If they choose to go over this limit, they just enter the OPEN division at the STATE contest. All bands and schools can continue to do what they have been doing, it just gives other bands an opportunity to compete on a level playing field. For‐13 Against‐11 Abstain‐7 Region Recommendation: Do Pass Board Recommendation: Do Not Pass For‐0 Against‐19 Abstain‐5 Rationale: Have the contest one year, then, perhaps, see if it is needed after that. Would have to research and establish the guidelines in cooperation with AAA. Some were worried about how it would be policed – in other states, schools turn in each other. Currently, the ASBOA receives calls from parents questioning the amount of rehearsal required in some school districts. Our answer is that it is not legislated in our state, that it is a district matter. Action: _______________
NEW BUSINESS From All‐State 2016 ASBOA return to the former (the one we have been using) Senior High level All‐Region/All‐State Audition material for All‐Region and All‐State auditions. The procedure as defined in the ASBOA constitution should continue to be used to affect changes to the list. S. Carrier/J. Trusty Already Covered
STILL IN COMMITTEE All‐State Audition Procedures Committee – Tom Chentnik, Chair The All‐State Audition Procedures Committee was asked to study Region Proposal 6‐5. 6‐5 Addition to Section 8‐E #8 d) Audition materials committee to select qualified individuals on each instrument to write (2) original sight‐reading pieces and submit for consideration for All‐Region tryouts. Committee will select appropriate sight‐reading and distribute to region chairs before All‐Region tryouts. The same process will be used for All‐State tryouts sight‐reading as well. C. Davis/T. Chentnik - 20 -
Rationale: ‐This will provide consistent sight‐reading across the state. Will prevent errors in tryout material ‐Will eliminate excessively hard sight‐reading that is not playing in the 20 second time framed allowed. For‐30 Against‐0 Abstain‐0 Region Recommendation: Do Pass Motion: Refer to Audition Procedures Committee G. Bruner/M. Echols For‐Unanimous Committee Report: The committee briefly discussed the potential logistics for making this process work. The recommendation is for the proposal to remain in committee so the framework for selecting the sight reading music for each instrument at the junior, senior, and all state level, distributing the music to the host tryout sites, and complete details to implement the proposal can be put into place. Still in Committee Rules Committee Report – David Stuart, Sr., Chair Concerning 5‐5. Section VIII, H‐#14 currently reads: 14. Organizations returning from their spring break with five school days or less before their region festivals are permitted to apply to another
region for participation. School administered standardized testing required by the Arkansas Department of Education or conflicts with student participation in other Arkansas Department of Education or Arkansas Activities Association events shall be considered legitimate reasons for changing regions. Any other extenuating circumstances may be considered by the Rules Committee. Apply in writing to the
region you desire to attend (or the Rules Committee for extenuating circumstances) by Feb. 1. The written application must be signed by the
band director and the principal or superintendent. Schools which are on spring break during their region solo/ensemble assessments are also eligible for changing regions. Rationale: This will put in writing a consistent policy instead of having to play a wait and see approach each year. The deadline to petition to change regions is very early to take the weather into consideration and this allows some flexibility. Many rural schools in the mountains face this situation every year and have never received this consideration in the past until it affected everyone. For‐46 Against‐0 Abstain‐0 Region Recommendation: Do Pass Board Motion: Refer this proposal and 9‐3 to Rules Committee Stay in Committee 9.3 ‐ Schools with fewer than 20 rehearsals in the 6 weeks immediately prior to Concert Assessment may petition the rules committee to be allowed to play only 2 pieces instead of the required 3. Days must be missed due to weather or other state of emergency that results in the school being closed for days that were originally on their academic calendar. All applications will require a letter signed by the principal stating how many days have been missed, when days were missed, and the specific reason for missed days. If granted, the exception will require that band to perform at least one of their pieces at the highest grade level required by ASBOA rules for that band’s classification. M. Wells/J. Church Rationale: Early contest fits into some of our school schedules better, but the current system of just dropping 1 piece across the state can be easily exploited. Each school often has a unique set of circumstances. This would allow those circumstances to be considered more individually rather than just making a blanket, across the state rule. For‐22 Against‐1 Abstain‐8 Region Recommendation: Do Pass – Board Recommendation: Refer to Committee At this time, the Rules Committee feels that further study is required to develop a fair and consistent policy. Recommend that both proposals Stay in Committee. Stay in Committee Constitution & By‐Laws Committee – David Stuart, SR, Chair 6‐1 I make a motion that ASBOA clarify the online ballot/voting procedures by adding an addendum/information into the constitution concerning online voting protocol and procedures. T. Chentnik/C. Davis Rationale: Currently we discuss and vote upon certain things at the ASBOA meeting held at the ABA Clinic and use online balloting for other items. An ASBOA officer informed me that if a proposal is discussed at the ASBOA meeting at ABA or at All‐State and returns - 21 -
to committee, then it qualifies for online voting. Online voting has just started in recent years and the protocol and procedures for online voting need to be clarified to the membership and the policy printed in the ASBOA constitution. For‐30 Against‐0 Abstain‐0 Region Recommendation: Do Pass Motion: Refer to Constitution & By‐Laws Committee For‐Unanimous The Constitution & Bylaws Committee feels that further study is required and want this proposal to Stay in Committee. Stay in Committee Classification Committee – Matt Teague, Chair Concerning – Region VII #3. Move that the playing order at region assessments be changed to the following order: D; N1; 7DDD; 7DD; 7E; 7EE; 8DDD‐8E; N2; A; 7EEE; 7EEEE; N3; 8EE; 9DDD‐9E; 8EEE; 8EEEE; 9EE; AA; DDDD‐AAAAA; DDD‐AAAA; DDD‐AAAAA; 9EEE; AAA; DD‐AAAA; DD‐AAAAA; 9EEEE; 10‐AAAA; 10‐AAAAA; 11‐AAAA; 11‐AAAAA; AAAA; AAAAA R designated programs perform at the beginning of their normal classification. Example: R‐1‐EE, before the other 9EE bands (ABA 2013) Current Order: MIDDLE SCHOOL/JUNIOR HIGH: D; 7DDD; 7DD; 7E through 7EEEE; 8DDD; 8DD; 8E‐8EEEE; 9DDD; 9DD; 9E through 9EEEE; (ABA 2010) R designated programs perform at the beginning of their normal classification. Example: R‐1‐9EE, before the other 9EE bands (ABA 2013) SENIOR HIGH: D; N1; N2; N3; A; DDD‐AAAA; DDD‐AAAAA; AA: DD‐AAAA; DD‐AAAAA; AAA; 10‐AAAA; 10‐AAAAA; 11‐AAAA; 11‐AAAAA; AAAA; AAAAA. (Revised ABA 2010) R designated programs perform at the beginning of their normal classification. Example: R‐1‐AA, before the other AA bands (ABA 2013) Robinson/Hodge Rationale: The current order is based on assessments that have middle school/junior high one day, and senior high the next day. Many regions have the option of middle schools/junior highs and senior highs performing on the same day. The problem with this is that some single and double “A” (A; AA) bands may follow large junior high schools whose beginning programs have instructional advantages along with major personnel differences. For example: a 9EEEE junior high band program could have as many as 100 students while a single “A” high school may only have 13 students with only one or two students in grade 10‐12. For‐24 Against‐3 Abstain‐0 Region Recommendation: Do Pass The Classification Committee needs further time to study proposal. Rationale: After discussing the proposal as presented, the committee sees issues with the progression based upon ensemble size and will continue to work at designing a better playing order. This proposal also leaves out the possibility of a DD‐AAA ensemble in the playing order. Still in Committee If AAA Classification passes, the Senior High Section of this proposal will be superseded. Special Distinguished Performance Series Committee – Jon Shultz, Chair Concerning ‐ Region II #2. To create an Arkansas Distinguished Performance Series. The purpose will be to select the most outstanding concert performances from Concert Assessment in the current school year in the following classifications: Class 7E‐8EEEE Class 9E‐9EEEE Junior High Orchestra Class A‐AAA Class AAAA Class AAAAA High School Orchestra
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These recordings would be made available to all Arkansas Band Directors. This set of recordings would serve to honor truly great performances at concert assessment and also to begin a set of reference recordings for band directors. Also, it would serve to preserve the discology of great bands from our state.
Each classification would be represented by up to 3 marches and 5 selections from our music list (The judging panel will decide on the exact number from year to year. It is totally dependent on the number of participants and quality of submissions). Orchestras would have could have up to 4 selections in each of the 2 classifications.
Each school may only have one recording per year on the compilation. If 2 pieces are selected, the band director will choose which recording will be included in the series. The next runner up will then be added to the set.
The submission process will be the following: 1. A band that wants to be considered for the Distinguished Performance Series must receive a composite 1st Division at Region Concert Assessment 2. Bands that meet this requirement will be allowed to submit a recording of their march and a contest piece to the committee. The recording must be live, unedited, and cut at the concert assessment. In the case of multi movement works, the director will be able to submit the entire work or individual movements. This decision must be made at the time the director fills out the application. 3. Submissions will be heard anonymously by a panel of 3 trained adjudicators that are not teaching, in any capacity, an ensemble that is currently submitting in that classification. The ASBOA Executive Secretary will be charged with hiring 2 panels: ‐ Junior High 7E‐9EEEE ‐ High School A‐AAAA 4. The panels will meet the 1st week of June (exact date to be determined by the Executive Secretary). Using an ASBOA approved rubric, the committee will rank the submissions. Honorees will be notified and the recordings will be made available to the membership. Accolades If an ensemble is selected for the Distinguished Performance Series they will be granted the following accolades: 1. The group will be included on the album for the respective year. 2. Each ensemble will receive a plaque to commemorate the achievement. 3. Each group will be recognized in some capacity at ABA that summer. Funding The main reason for the classes to be broken down into this manner is the financial stability of the project. Here is the number of bands that would have been eligible over the past 3 years. 2012 7E‐8EEEE 32 9E‐9EEEE 28 A‐AAA 27 AAAA 22 AAAAA 38 2013 7E‐8EEEE 39 30 9E‐9EEEE A‐AAA 27 AAAA 25 AAAAA 40 Here is an average of the number of eligible bands over these years: 7E‐8EEEE 36 9E‐9EEEE 29 A‐AAA 27 AAAA 24 AAAAA 39 The financial model used below is based upon only 50% of the eligible bands participating in the event; and, lends these figures: 7E‐8EEEE 20 9E‐9EEEE 15 - 23 -
A‐AAA 14 AAAA 13 AAAAA 20 Based upon current ASBOA honorariums and reimbursements, this would be the current financial status of this project. 6 Judges (Both Panels) Honorarium $135 x 6 judges x 2 days $1620 Travel $.33 x 300miles (avg) x 6 people $ 594 $ 660 Hotel $110 a night x 6 people Meals $15 a day x 6 people x 2 days $ 180 Total Expenses for judges $3054 Plaque for group that is selected *$50 x **40 plaques $2000 * This is per the current rate we currently get on Assessment Plaques **This would be the maximum number that would be selected in a given year…it could be a significant number less
Mechanical rights for CD copyright is on average $.12 per musical work per copy $.12 x 40 musical works= $4.80 per CD x 400 CD’s = $1920 Total Expenses Judges $3054 Plaques $2000 Distribution $1000 Copyrights $1920 Total $7,974
If each group paid $150 to participate in the project, that would generate $12,300 in revenue. This would leave a surplus of $4326.
Surplus Money The surplus money would be set aside in a fund for 3 years. If the project proves to be finically stable after this 3 year period (this will be determined by the Executive Advisory Committee) the surplus shall go towards a commissioning project. A committee will be formed to commission musical selections annually (or a designated time period named by the committee) in the name of ASBOA or anything else the committee deems appropriate.
Government This project should be governed by a committee that is appointed by the Executive Advisory Committee that will be charged with, but not limited to, the following actions: ‐ Create entry forms and information packets for the project ‐ Set rules and regulations concerning entry procedures ‐ Set all entry deadlines ‐ Keep track of all fiscal information, to keep the project from losing money
For‐31 Against‐0 Abstain‐2 Region Recommendation: Do Pass Board Recommendation: Motion: Send to Executive Advisory Committee Executive Advisory Committee asked for Special Committee to address this project. Rationale: Very interested in establishing reference recordings by outstanding Arkansas bands.
Distinguished Performance Series Committee Report The committee met to discuss the proposal for the Distinguished Performance Series. After looking at the proposal and the recommendations of the Executive Advisory, the committee has decided to draft a finalized version of the proposal by January. At this time the proposal should be placed on the website for the Membership to review. An open forum will be set up during All State for the Membership to explain all aspects of the proposal. After this an online ballot vote will ensure. If passed the proposal will take effect at a time to be determined. Still in Committee 1. Create a special committee to institute an ASBOA/AAA State Marching Championship. Guidelines to include: 1. Schools would have to be a good standing member of ASBOA & meet all eligibility requirements. - 24 -
2. Bands would compete in class based on ASBOA classification (A, AA, AAA, AAA, AAAAA). 3. The committee would help determine rules and guidelines, contest site(s), and create an open forum for the membership to discuss all matters. Williams/Cazort Rationale: 1. All Entry Fees would go toward the All‐State Convention or as ASBOA deems necessary. In addition, an increase in Region Marching Assessment attendance would be anticipated, creating additional revenue. 2. Expose students and teachers to a National Adjudication Panel. 3. A rewarding & culminating event that would bring bands together from all across the state of Arkansas for an educational experience. For‐32 Against‐1 Abstain‐8 Region Recommendation: Do Pass Board Recommendation: Do Not Pass For‐6 Against‐15 Abstain‐1 Rationale: If we are going to have a state marching event, shouldn’t we have a state concert event? A committee cannot institute. A committee studies and develop guidelines then the membership then adopts. Motion to Amend: Change ‘institute’ to ‘study.’ R. Williams/Gordon Action on Amendment: Do Pass Motion as Amended: Create a special committee to study an ASBOA/AAA State Marching Championship. Guidelines to include: 1. Schools would have to be a good standing member of ASBOA & meet all eligibility requirements. 2. Bands would compete in class based on ASBOA classification (A, AA, AAA, AAA, AAAAA). 3. The committee would help determine rules and guidelines, contest site(s), and create an open forum for the membership to discuss all matters. Action: Do Pass The first State Marching Contest will occur November 1, 2016
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