Victoria School Music Festival

Concert Band

2020 Dates:

VSMF Concert Band (BCB, NCB & JCB)
Video submission date:
Fri Sept 18th - Fri Oct 16th

VSMF Concert Band (ICB & ACB)
Video submission date:
Fri Sept 18th - Fri Oct 16th

Key:

BCB = Beginner Concert Band, NCB = Novice Concert Band

Festival Administrator
Michael Jongebloed
Victorian School Music Festival
228 Auburn Road
Hawthorn Vic 3122
PH: 03 98188520
Mobile: 0419 556 460
Email: michael@vsmf.com.au

2020 FESTIVAL REGULATIONS

Registration Process

  1. Registrations open on Monday August 24th 9am & close Thursday August 27th 2020.
  2. Registration can only be submitted on-line at www.vsmf.com.au
  3. Requests made after Thursday August 27th 2020 (close of applications) will be considered if possible.
  4. Package 1: $130 per ensemble for Online Adjudication and streaming of performances
  5. Package 2: $250 per ensemble for Online Adjudication, streaming of performance and clinician provided to attend your school for adjudication and workshop. (Advanced Concert Band Only)
  6. Registration fees are inclusive of GST.
  7. Registrations will not be accepted without a school order number. Tax invoices will only be issued after videos have been received for adjudication.
  8. Each Ensemble will provide a video with high quality audio in a performance situation for Adjudication & Streaming. Videos can be submitted from Friday September 18th until Friday October 16th

Participation Criteria

SCHOOL ENSEMBLES

  1. The Festival is open to students who are currently attending any primary or secondary school, and
    who are participating in school/college concert bands and/or jazz ensembles.
  2. Combined school groups may participate if that ensemble rehearses on a regular basis.
    Confirmation of this arrangement must be sent with the registration form and co-signed by the
    principals of the schools involved.
  3. Teachers may not play with the ensemble.
  4. No school may register the same ensemble or an ensemble made up of 80% of the same
    performers in two different levels within the same genre of ensembles (eg. Junior Concert Band &
    Intermediate Concert Band)

Performance Criteria

CHOICE OF REPERTOIRE

  1. Each section has a set repertoire list of suitable pieces indicating the standard of each
    section.
  2. In 2020 it is not compulsory for ensembles to play repertoire from the set list. It is expected,
    however, that all ensemble repertoire is reflective of the level of section they are performing
    in.
  3. Please refer to category information for specific regulations regarding choice of music.
  4. Any ensemble that fails to meet the performance criteria as set out for each category may be
    excluded from receiving a Platinum, Gold, Silver or Bronze award. This decision will be at the
    discretion of the Chair of Adjudicators.

Performance Video

  1. Video quality: A professional video is not expected, however, we urge you to create the best
    audio and video quality possible. Inadequate audio and/or video quality can lead to an entry
    being unable to be adjudicated
  2. Video editing forbidden: The video must not be edited in any way and must run continuously
    from beginning to end as a live performance.
  3. Sound recording: The performance recorded for the video entry must be acoustic and not
    amplified or altered electronically in any way.
  4. Announcement of works: Each Ensemble must introduce their School name, ensemble, section and
    complete program as if a live performance.
  5. File name of the video: The video for the 2020 VSMF Online must be titled as follows:
    “2020 VSMF [Name of School & Section]”; all words should be separated by a space, e.g.
    “2020 VSMF Fine Music HS Junior Concert Band Section”.
  6. Only the following video formats will be accepted for your performance to be streamed:
    .mp4, .wmv, .mov, and .avi. If providing separate audio recording please supply on the
    following formats .aiff or .wav file formats due to their superior fidelity over .mp3.
  7. Upload your Video and digital scores to any of the File Sharing platforms you use: Dropbox,
    Googledrive, OneDrive and email the link to michael@vsmf.com.au
  8. See details below for recommendation on making your best recording

What are Some Basic Ensemble Recording Tips?

Choose the Best Space
Where you choose to record your ensemble can make a huge difference in the sound. If possible, look for the following characteristics in your recording space:

  • A large room with high ceilings – this will help with the blending of the instruments and reduce the harsher sounds that can occur in smaller rooms when the musicians are too close together.
  • Make sure to minimize background noise, such as outside sounds from traffic or passersby, air vents, any buzzing or vibrating lights and other noise that could be picked up by your microphones.
  • Before you go to all the work of setting up your equipment and scheduling your musicians, do some test recording in the space. Using something like Zoom H1n Handy Recorder will help you make sure it sounds how you want and that there aren’t any ambient noises that you didn’t previously notice.

Select the Appropriate Equipment
While it’s likely that you’re operating on a limited budget, try to use the best ensemble recording equipment you can afford, such as condenser microphones and high quality cables and headphones. Contact your Media Department to see if they can be involved in the recording project. If you’re short on funds, you could rent some equipment or see if another music program might allow you to borrow from them.

There are a number of options for recording your ensemble, see details below

  • Record your performance on a Video camera that has high quality audio or that has inputs for high quality external Microphones
  • Record your performance on a Video camera and record the audio separately. Record your performance Audio only, use a USB Audio interface to record directly into your computer using software or Record you performance Audio only, recording directly into a Digital Recorder. Using products such as -Tascam DR40x or Zoom H4N
    Provide both files for us to merge.
  • Record your performance on an iPad, use a USB Audio interface to allow you use the audio from external Microphones.

Microphones
High-quality microphones are probably the single most important piece of equipment to successfully record your ensemble.

Set up the equipment properly
This may be the most intimidating part of recording your ensemble, but it doesn’t have to be! These simple set up tips will have you well on your way.

  • Use two condenser microphones on a bar on one stand, or you can use two stands and place them about 4 feet apart.
  • For a smaller ensemble you can place the microphones about 5 feet in front of the musicians on a mic stand about 4 feet high. For larger ensembles, you’ll want to position the microphones quite a bit higher above the musicians – 3 meters if possible. In this situation, you could use a fifteen-foot mic stand with a stereo pair bracket or mics hanging from the ceiling.
  • Be sure to follow the instructions on your equipment to ensure that all the cables are plugged into the appropriate input and output sockets. Do some test recording to confirm you are capturing sound from all your microphones.

Perform Some Test Recordings
Before you bring your students in for final recording, it’s important to work out the kinks in the room and equipment set up by performing some test recordings. Using the tips from above, set up your equipment in the way you think will work best for your room, your ensemble and your musical selections. Ask a small group of students to help you make several brief recordings. You should carefully note the setup, adjust the equipment and seating for each test recording. Once you have several tests completed, listen to the recordings and note which set up gave you the best sound – you’ll use this setup for your final recording.

Recording Your Ensemble
Now you’re ready to record your ensemble. Set up the equipment and the musicians in the manner that gave you the best test recording. Set the recording levels carefully and check them using the loudest passage of the selection. Recording experts recommend you set the levels just under the loudest level on the meter. If you are using a mixer, set levels in this order: input level, mix, main and finally recorder levels.

On the day of your recording, allow enough time to do a sound check. Ideally, you’d also allow enough time to do more than one recording so you can get the absolute best results possible. Resist the temptation to adjust levels during the recording. Once you have set things up, performed your testing and sound check, then just let the musicians play. Be patient and give yourself time to learn and adjust. This is why it’s great to have time to do a second session – you could make minor adjustments after the first one if necessary.

Adjudicator's Comments

Adjudicators will provide both a written adjudication sheet and recorded comments.

CONCERT BANDS

A Concert Band is a balanced ensemble, consisting of Woodwind, Brass and Percussion instruments,
as follows:
Flute, Oboe, Clarinet, *Bass Clarinet, *Bassoon, Eb Alto Saxophone, Bb Tenor Saxophone, *Eb
Baritone Saxophone, Trumpet, Trombone, *French Horn, *Euphonium, *Tuba, *Double Bass,
Percussion (Snare Drum, Bass Drum, Timpani, Glockenspiel, Xylophone and other instruments
required by the given work) *Optional for younger groups.
In order to decide whether your band should enter Beginner or Novice Band section, use the
repertoire list as a guide.
If the students are able to comfortably perform the Novice list, then that is the section they enter.
The intention of the Beginner Band Section is to encourage very junior bands that have only been
learning for a short time and whose members may have limited skills. This may be their first public
performance.

BEGINNER CONCERT BAND
PERFORMANCE CRITERIA
* Open to any concert band that has not performed in any concert band festival or competition
before 2020.
* The band must have an appropriate balance of instruments and have a minimum membership of
fifteen (15) including percussion.
* Performance time not to exceed eight (8) minutes.
* Each band must play at least two (2) contrasting, published pieces of music. Ensembles may play as
many works as time permits.
* Recommend that at least one piece must be selected from the Beginner Concert Band list but not
compulsory for 2020.
* Awards are not graded into Platinum, Gold, Silver or Bronze. All Beginner Bands will receive a
Performance award acknowledging their performance.

NOVICE CONCERT BAND
PERFORMANCE CRITERIA
* Open to any concert band that has not performed in any concert band festival or competition
before 2019.
* The band must have an appropriate balance of instruments and have a minimum membership of
fifteen (15) including percussion.
* Performance time not to exceed eight (8) minutes.
* Each band must play at least two (2) contrasting, published pieces of music. Ensembles may play as
many works as time permits.
* Recommend that at least one piece must be selected from the Novice Concert Band list but not
compulsory for 2020.
* Awards are not graded into Platinum, Gold, Silver or Bronze. All Beginner Bands will receive a
Performance award acknowledging their performance.

JUNIOR CONCERT BAND
PERFORMANCE CRITERIA
* The band must have an appropriate balance of instruments and have a minimum membership of
twenty (20) including percussion.
* Performance time not to exceed nine (9) minutes.
* Play at least two contrasting works. Ensembles may play as many works as time permits.
* Recommend that at least one piece must be selected from the Junior Concert Band list but not
compulsory for 2020
* The other work(s) may be selected from the Junior Concert Band list or from the following
categories: Overture, Chorale, Ballad, March, Symphonic Suite, Symphonic, Contemporary, Folk,
Orchestral Transcription.
* All bands are eligible for a Platinum, Gold, Silver or Bronze award.

INTERMEDIATE CONCERT BAND
PERFORMANCE CRITERIA
* The band must have an appropriate balance of instruments and have a minimum membership of
twenty (20) including percussion.
* Performance time not to exceed twelve (12) minutes.
* Play at least two contrasting works. Ensembles may play as many works as time permits.
* Recommend that at least one piece must be selected from the Intermediate Concert Band
repertoire list but not compulsory for 2020.
* The other work(s) may be selected from the Intermediate Concert Band list or from the following
categories: Overture, Chorale, Ballad, March, Symphonic Suite, Symphonic, Contemporary, Folk,
Orchestral Transcription.
* All bands are eligible for a Platinum, Gold, Silver or Bronze award.

ADVANCED CONCERT BAND
PERFORMANCE CRITERIA
* The band must have an appropriate balance of instruments and have a minimum membership of
thirty (30) including percussion.
* Performance time not to exceed twenty (30) minutes.
* Play at least two contrasting works. Ensembles may play as many works as time permits.
* Recommend that at least one piece must be selected from the Advanced Concert Band list but not
compulsory for 2020.
* The other work(s) may be selected from the Advanced Concert Band list or from the following
categories: Overture, Chorale, Ballad, March, Symphonic Suite, Symphonic, Contemporary, Folk,
and Orchestral Transcription.
* All bands are eligible for a Platinum, Gold, Silver or Bronze award.

2020 Repertoire

Download the repertoire PDF

Advanced Arr./Composer
…and tears no bitterness Ralph Hultgren
Bear Edward Fairlie
The Journey Home Andrew Boysen Jnr
English Folk Song Suite
Part 1 | Part 2 | Part 3
Ralph Vaughan Williams
Fantasia In G Timothy Mahr
Land Of The Healing Waters Rossano Galante
Country Band March Charles Ives
Remembering a Friend Martyn Hancock
Serpent Sea (4th Mvt Of The Seas Of The Moon ) Robert Buckley

 

Intermediate Arr./Composer
As I Walked Through The Meadow Pierre La Plante
Boom and Bust Brian Balamges
Boundless River Frank Ticheli
Blue and Green Music Samual Hazo
El Zorro Rojo Randall D. Standridge
Extraordinary Machines of Clockwork and Steam Scott Watson
Ghost Tale Frank Ticheli
Honor and Celebration Joshua V. Hinkel
Local Heroes Brian Hogg
Overture Spiritoso Ralph Hultgren
Scenes From Louvre
Part 1 | Part 2 | Part 3 |
Part 4 | Part 5
Norman Dello Joio / Longfield
Sleepsong Graham / Løvland / Sweeney
The Beethoven Machine Michael Colgrass
There Was a Pig Went Out to Dig Grainger/ Gackstatter
Warwick Castle Gene Milford

 

 

Junior Arr./Composer
3,2,1… Brian Balmages
Allegretto from Symphony No 7 Beethoven / Longfield
Banish the Moon Tania Owens
Byzantine Dances Carol Britten Chambers
Chips and Salsa Too Kiefer Ed
Dachshund Trot Karen K. Robertson
Galliard Scott Watson
Game Time Andrew Melton
Hawkeye Overture Robert Sheldon
In Autumn’s Moonlight David Samuel
The Last Frontier Steven Capaldo
The Path Not Taken Michael Sweeney
Thunderbolt Fanfare Brian Balmages
Unleash the Dragon Paul De Cinque
When Summer’s In The Meadow Randall D. Standridge

 

Novice Arr./Composer
Armor of the Mystic Rob Grice
At The Water’s Edge Rob Romeyn
City at Dusk Ryan Nowlin
Down To The River Michael Sweeney
Fight or Flight Ryan Nowlin
Ghost Chasers Compello Joseph
In Times Of Turbulence R. W. Smith
March of the Diggers Adam Arnold
Morning Star Chris Ferguson
Painted Mountain Bruce Pearson
Pandemonium Michael Story
Thrill Ride Brian Balmages

 

Beginner Arr./Composer
“Bow Fiddle Rock” March Vaughan Fleischfresser
Beethovens Ninth Beethoven / Sweeney
Challenge Accepted! J. McBride
Danza Feliz – Happy Dance William Owens
Darkwing Peter Terry
Flash Point! Patrick Roszell
Forever Flying James Swearingen
Furiant Jack Wilds

 

Dr. Nick Williams

Dr Nicholas Williams is an Associate Professor of Music, Music Director and Conductor of the Wind Symphony and Concert Band at the Melbourne Conservatorium of Music in Melbourne, Australia.
Before moving to Melbourne, for sixteen years Dr Williams was the Assistant Director of Wind Studies, Conductor of the Wind Ensemble, Concert Band, and the Director of Athletic Bands at the University of North Texas.

For a decade, he was the Conductor of the Greater Dallas Youth Orchestra Wind Symphony.

In addition, he is a frequent guest conductor for the Dallas Winds (formerly Dallas Wind Symphony). As an advocate of chamber music, Dr Williams was the founder and conductor of the East Plano Brass and was the principal guest conductor for the Harmoniemu sik chamber ensemble. In the wind band
world, he has been a guest conductor with the United States Air Force Band; Dallas Wind Symphony; Lone Star Wind Orchestra; at the annual Midwest International Band and Orchestra Clinic in Chicago, Illinois; the College Band Directors National Association regional conference; the Texas Bandmasters Association Convention; and the Texas Music Educators Association Annual Clinic in San Antonio, Texas.

Dr Williams is active in the United States, Australia, Canada, Europe, and Southeast Asia as a conductor, clinician, adjudicator, consultant, and arranger; his arrangements and transcriptions for wind band, percussion ensembles, drum corps, and school pageantry ensembles are performed by outstanding
organizations throughout the world.

Dr Williams is a sought-after recording session producer, associate producer, and editor, having been involved with numerous CDs and DVDs on the Klavier, Mark Records, GIA labels, as well as UNT projects. In addition to his work in the recording arts, he has written several conductor study guides that are published in the Teaching Music Through Performance in Band series. He is a primary consultant of Women of Influence in Contemporary Music and is an honorary member of Sigma Alpha Iota International Music Fraternity. His professional affiliations include the Australian Band and Orchestra Directors Association, Texas Music Educators Association, Texas Bandmasters Association, College Band Directors National Association.

Dr. John Lynch

Dr. John Lynch is an Associate Professor of Music, Wind Symphony Orchestration at the University of Sydney. Dr. Lynch was previously the Director of Bands and Professor of Music at The University of Georgia where he guided all aspects of the band and graduate and wind conducting programs. Previous positions include those at the University of Kansas, Northwestern University, and Emory University.

He has ten years of high school teaching experience in his native New York State where he was the national recipient of the Stanbury Award for outstanding teaching and conducting. Dr. Lynch holds degrees from Indiana University, the Eastman School of Music, and CCM.

He has conducted throughout North America, South America, Europe and Asia including invited tours of China, Argentina and Europe, and has performed at the national conferences of CBDNA, ABA, MENC, The Midwest Clinic, and at GMEA, KMEA and Interlochen. Recent conducting engagements include the West Point Band, the Army Field Band, and the United States Marine Band.

Dr. Lynch has held residencies at the Vivaldi Conservatory in Alessandria, Italy, the Conservatory in Vilnius, Lithuania, and the University of Costa Rica. He has three recordings on the Naxos label including the debut of the Wind Band Classics Series. His recordings have been broadcast throughout the United States, Europe and Japan. He is a member of the American Bandmasters Association, CBDNA, Phi Beta Mu, and WASBE, and is the recent
recipient of The American Prize and UGA’s Creative Research Medal, and a Northwestern Fellow for Teaching Excellence.

Professor Rob McWilliams

Prof. Rob McWilliams was born and raised in Melbourne, Australia. He holds a Ph. D. in Music/Music Education (conducting focus) from the University of Minnesota, a Master’s degree in Instrumental Conducting from Florida State University, and a Bachelor’s degree in Music Education from the University of Melbourne. Dr. McWilliams was a United States resident from 1991 to 2014 and served as Professor of Music and Director of Bands and Instrumental Music Education at the University of Wisconsin Oshkosh from 1996 where he also served as Head of Music from 2011 to 2014. Dr. McWilliams has conducted and presented at major music conferences in Japan, Hong Kong, the United Kingdom, Singapore, Europe, China, all states of Australia, and has been published in the Journal of Band Research, Teaching Music Through Performance, and is a composer/arranger with Alfred’s Music. In
early 2015 he relocated to Brisbane, Australia where he is currently working for Yamaha Music Australia as their Education Outreach Clinician, as well as teaching sessionally at the Jazz Music Institute and freelancing as a musician, educator, conductor, composer/arranger, and adjudicator.

Dr. McWilliams is available to deliver Professional Development on all topics related to ensemble direction in band, orchestra, and jazz (conducting, rehearsing, repertoire, recruiting, advocacy, improvisation pedagogy, etc.). He is also available for ensemble workshops, help with program setup and development, appearances as guest soloist, etc. In his current role as Yamaha Music Australia’s Education Outreach Clinician, with the mission of improving the quality and participation in instrumental music across Australia & New Zealand

Dr. Caroline Beatty

Caroline Beatty is Director of Bands and Associate Professor of Music at Texas State University in San Marcos, Texas. Her responsibilities include providing administration and oversight of a university band program that includes three concert ensembles, a 340-member marching band, and basketball pep band.
She conducts the Wind Symphony and teaches graduate conducting and wind literature courses. During the 2014-2015 academic year, she also served as Interim Conductor of the Texas State Symphony Orchestra. Performances under her direction garner consistent accolades from audience members, composers, and fellow performers for their artistry, excitement, beauty, and craft. While honoring the standard repertoire, Dr. Beatty actively invests in the commissioning and performance of new works. Recent commissioning
projects and premiere performances have included compositions by Robert Beaser, Carter Pann, Michael Ippolito, DJ Sparr, Margaret Brouwer, David Maslanka, Ryan Chase, and Andrew Rindfleisch.

Dr. Beatty maintains a vibrant conducting and teaching schedule outside of the university. She has been engaged as a conductor
with the Austin Symphony, the Victoria (TX) Bach Festival, for various composers’ recording projects, and for honor bands throughout the country. Her diverse teaching engagements have included serving as a conducting workshop clinician and
providing presentations on a variety of educational and historical topics. Additionally, she is a sought-after rehearsal clinician for high school and middle school bands.

Prior to her current position, Dr. Beatty held the position
of Associate Director of Bands at Texas State University
and Northwestern State University Louisiana. Her secondary
school teaching experience includes thirteen years as a high school band director in the Houston area. She holds the Doctor of Musical Arts degree in Conducting from the University of Michigan and holds both a Master of Music degree in Instrumental Conducting and a Bachelor of Music degree in Music Education from The University of Texas at Austin. Dr. Beatty is a member of the
College Band Directors National Association, Texas Music Educators Association, Texas Bandmasters Association,
World Association of Symphonic Bands and Ensembles, and Phi Beta Mu International Bandmasters Fraternity

  • In demand as guest artist and pedagogue for ensembles and conductors
  • Recordings on Navona, Equilibrium, and Mark Records labels and on composers websites: John Mackey, Steven Bryant, Daniel Montoya
  • TXST Wind Symphony awarded Global Music Awards Silver Medal for Best Instrumental Performance for a live performance of “Badiniere” from William Bolcom’s Concerto Grosso for
    Saxophone Quartet and Wind Ensemble from TMEA 2015.
  • Doctor of Musical Arts in Conducting, University of Michigan
  • Memberships: CBDNA, Phi Beta Mu, TMEA, TBA, WASBE