Applying for Conferences

Chip De Stefano
2008 Vandercook College of Music

What conferences?

Provides a high pressure, but non-competitive, performance for students
Wonderful, positive, publicity and statewide/nationwide recognition for your school and program
Students are exposed to other high quality band programs
If treated properly, the application process can be tremendous growth experience for your students and your teaching.

Competition in the most collegial sense of the word. We could also call it becoming familiar with the best bands in your state and in the country.
All of the listed conferences/festivals have limited spots when invitations are determined by audition.
For me, knowing what we’re up against is very helpful
- It sets “the bar” in my mind
- Helps formulate a preparation plan
- It’s humbling, and reminds me of the respect the process demands, and the work required to achieve the goal
I strongly recommend heading over to Mark Custom Recording and purchasing their TMEA recordings…
- Story about how Krannert recording happened.

I firmly believe that most audition committees are looking for strong fundamentals from middle school bands.
- Characteristic Sounds
- Good Pitch
- Mature Musicianship
Choose works from the standard band/young band repertoire
- They’re in the standard repertoire for a reason
- Quality established repertoire, performed well, can really distinguish your recording from the other applications
- The known work myth

Don’t kid yourself into thinking anything different. The quality of your ensembles performance is the single most important aspect to your application.
I like to schedule our recording sessions as close to a concert as possible, although facility availability sometimes throws a wrench into that plan.
Hiring a studio vs. DIY
Two models of recording the audition (check the application!)
- One shot session
- Multiple recordings over the course of a week or so.
Location, location, location

I’m a huge advocate of bringing in the best musicians you know (or don’t know) to work with your students. There are a lot of benefits:
- A lot of what the guest will say will mirror your instruction
- The guests standards are not “skewed”
- Oftentimes, especially during periods of intense preparation. Getting someone else in front of them is a nice change for the kids.
- You’ll usually need a couple recommendations. Those recommendations hold more weight if the writer has actually worked with the kids.
Record the band several times before the recording session
- You don’t want the last time you hear an error to be while listening to the session masters
- Use these recording to determine your lesson plan for the next days rehearsal.

Plan to be able to run straight, through each tune 3 to 5 times rotating between tunes
At a minimum, listen to the result after the first taping of each tune
Be positive throughout, don’t let it get dark!
Lot’s of mini breaks…keep them fresh physically and especially mentally. Light rehearsing/fine tuning between takes
Big break two thirds into the session
If you brought them in on a day off, feed them after the session!

Listen for overall quality
Sometimes it’s obvious a take is not usable.
Sometimes a couple takes are similar in quality, or we’re so close to the material that we have a hard time making a decision. Get opinions of other musicians who will be honest with you.
If you think it’s good enough, you’re standards are not high enough.
No Editing!
Put the best stuff first.

There are lot’s of performance opportunities for middle school bands.
Especially in the case of Midwest, it’s important to build a resume of significant performances for the selection committee to see.
Volunteer your group as a demonstration group, apply to do a clinic session.
Receiving the rejection letter (or email, nowadays) is terribly tough. We’ve received our fair share, more than I want to admit over the last decade…including four consecutive before being invited to Midwest.
It’s particularly frustrating, because you don’t receive any direct feedback (in most cases)
It’s important, however, especially because it’s how we’d want our students to respond to adversity, to take that disappointment and turn it into a renewed desire and increased effort to improve your program.