powerhouse in the mountains: western carolina university...pride of the mountains marching band, the...

6 PERCUSSIVE NOTES JUNE 2020

By Gene Fambrough

Powerhouse in the Mountains: Western Carolina University

PERCUSSIVE NOTES JUNE 2020 7

Those who actively peruse YouTube

for drumline videos have probably

encountered the incredible achieve-

ments of the Western Carolina Uni-

versity percussion section. After be-

ing duly impressed, some might ask,

“Where in the world is WCU?” and

“How do they have this type of pro-

gram?” Many would be surprised at

the answers. Located in Cullowhee,

North Carolina (nestled between

Georgia, South Carolina, and Ten-

nessee in the Smoky Mountains), it

is a small public university with just

over 10,000 undergraduate students.

The answer to that first question is

relatively easy, so I set out to discov-

er the answer to the second, bigger

question.

Matt Henley is Assistant Director

of Athletic Bands at Western Caroli-

na University, which includes assist-

ing with the Sudler Trophy-winning

Pride of the Mountains marching

band, the Cathouse Pep Band, and

all events that the organization hosts

year-round. One of his primary du-

ties is overseeing the 80+ students in

the marching percussion program at

WCU, which includes teaching and

arranging for both Gold and Purple

drumlines in the fall, as well as the

Purple Thunder basketball drumline

in the spring semester. Having earned

both bachelor’s and master’s degrees in

music from Western Carolina University,

Matt was in a unique position to contin-

ue his involvement with the band pro-

gram in an official capacity, and he hasn’t

looked back since.

PN: What is your teaching philosophy

in regards to the marching percussion

section?

Henley: I feel that as a teacher it is my

responsibility to set the group up for

success through a consistent, orga-

nized, prepared, and positive approach.

Essentially, it is my job to create an en-

vironment for the students to thrive.

Through specific accountability of each

player, their individual success will

spread to the entire group, thus making

the ensemble reach new heights every

year. It might be my age, but I have cu-

riously become more cognizant of the

overreaching life lessons being taught

within the percussion program and the

entire band. I see so many graduates

moving on to develop their own goals

and belief systems that, hopefully, be-

gan with a firm foundation laid during

their time at WCU.

PN: When did you take over as instruc-

tor?

Henley: When I was a senior in college

at WCU in the summer of 1991, I had

completed my “quota” for marching

band and was more focused on teach-

ing, writing, gigging, etc. One day I was

teaching a local high school band camp

and was approached by a local band

director, Bob Buckner. He told me that

he was offered the Directorship of the

WCU athletic band program, but that

he would not take the job if I didn’t

teach the drumline. I was shocked! Af-

ter much deliberation and soul search-

ing, I agreed. That fall of 1991 was my

first “drumline” at WCU, and we barely

had enough students to fill out the line.

It was comprised of a couple of music

majors, piano majors, girlfriends—you

get the idea—4 snares, 1 quad, 4 bass-

es, 2 cymbals, and no front ensemble. It

was very, very raw, but it was a begin-

ning. The first thing I said to the group

on the first day of camp was, “Pick up

an instrument that you think you

would like to play, and we will start

there.”

PN: The band program was pretty small

at that point, correct? How did that im-

pact your focus in the early years?

Henley: In 1991 there were 88 total band

members, which included an 18-mem-

ber dance team and no color guard.

Bob Buckner was very smart in his

early assessment of the group; there

wasn’t a lot of “tradition” in the band

at that time, so he decided to make

marching band more of a lab for future

music educators. That is when we went

to a “one show per year” model, to bet-

ter simulate what they would encoun-

ter in their jobs. Combine this idea with

a new structure to our Student Lead-

ership Team and you have yourself

the foundation that we began to build

upon.

PN: Were there any “experiments” you

tried early on that didn’t work like you

envisioned? If so, how do you recover

from those and continue to grow?

Henley: Luckily, there weren’t too many

major catastrophes early on. I remem-

ber thinking that to hide our lack of tal-

ent within those early years, I should

be “gimmicky” with my approach; if I

used huge percussion props, toms, etc.,

then we could camouflage those short-

comings. That was not the thing to do!

When I finally figured that out in the

late 1990s, things really began to take

off. Our focus was now centered on

technique and execution of a book that

was “doable” by us. That new mindset

really helped propel us into the early

2000s, and we started gaining more

respect as a marching percussion pro-

gram.

PN: How does the university administra-

tion feel about a band program of over

500 with a relatively small student

body? Has this changed through the

years?

Henley: Our administration is very sup-

portive of the ensemble. Through a re-

cent student survey, we found out that

the marching band is the number-one

“site destination program” across all dis-

ciplines on campus—meaning more stu-

dents come to Western Carolina for its

marching band than any other reason.

We are honored by that, and we feel a

great duty to not only give our students

a world-class experience, but to also be

a strong ambassador for our university

that will make our administration, stu-

dent body, and community proud. Last

season we had every academic major

at WCU represented within the band,


and I believe that our administration

sees and realizes the more global reach

that the band and music can have at

our school.

PN: Talk about recruiting strategies that

have led to this point, by yourself, Bob

Buckner (previous director), and David

Starnes (current Director).

Henley: A multi-faceted approach to re-

cruiting has always been our focus.

Events and performances staggered

throughout the calendar year seem to

have a better result than just “seasonal”

ones, as we try to keep the band pro-

gram active and “in the public eye” con-

sistently. Through district bands, sum-

mer camps, day skill camps, auditions,

the marching band contest we host, ex-

hibition performances, basketball pep

band, basketball drumline, and social

media, we are consistently sending out

our message. All of that to say though,

the number-one recruiter for any pro-

gram is quality. Great high school band

students know when something is

good and when it’s not. If you put qual-

ity, approachable, inviting, fun, stim-

ulating, impressive performances out

there, you will attract talented students

who want to be a part of it.

PN: Was there a specific year that you no-

ticed a definite positive change in the

“The Pride of the Mountains march-

ing band has been incredibly blessed

with talented performers who chose

to become members of our program.

In the last 10 years we have experi-

enced steady membership growth

and talent across the marching band,

which peaked in 2019 with an incred-

ible 535 members in the program. As

a music educator with a percussion

background, I am grateful for the

talent and training our battery and

front ensemble percussionists con-

tribute to the band program. From

a recruitment aspect of things, it is

exciting to know that high school

percussionists look to the Pride of

the Mountains percussion program

as a collegiate destination to display

their talents. As a team of directors

and motivated students, annual pro-

gramming becomes a ‘sky is the lim-

it’ project. The perfect mix of what

is possible, what they as performing

ensemble would embrace, as well as

creating a challenge for them (while

being entertaining) is never an easy

task. With that said, our member-

ship looks forward to that challenge

each year and will do all they can to

continue to raise the bar for our band

program.”

—David Starnes, Director of Athletic

Bands, WCU.

group, either in numbers, quality, or

attitudes, or has it always been a slow,

steady climb?

Henley: Having done it as long as I have,

the answer is yes. However, I don’t want

to diminish other years by pointing out

specific ones, because to me it has been

a remarkable steady climb. Inevitably,

you are going to see certain peaks that

you hit along the way every four to five

years. These are usually built on bigger

program goals that we set in our office.

Every year there has been growth and

remarkable performances, and I have

loved them all!

PN: Amazingly, Western has two drum-

lines. Describe how this came about

and how you make this work in the

band program—rehearsals, game day,

exhibitions, etc.

Henley: Yes, this is pretty crazy; I get asked

about this topic a lot. In 2009 I was host-

ing our initial audition date, and for the

first time in program history, I couldn’t

find a place for everyone. There were

about 12 students who were going to

be cut, and it broke my heart. It went

against everything that I believed in as

an educator. So I went to Bob Buckner

with a proposal: we had just bought

new drums, and if I could use the old

equipment I could create a second

drumline as our “JV” group. It would be

Tap to play Video

“Purple Thunder” (second drumline)

Matt Henley

https://vimeo.com/409844602


a teaching tool, and a motivator for stu-

dents who weren’t quite ready for the

top drumline experience. We affection-

ately refer to them as “Purple Thunder,”

while our top group is the Gold Line. At

the time I was lucky to have a section

leader living in the area who had just

graduated. Austin Sanders [currently

teaching at JF Byrnes High School] was

eager to get on board as the instructor,

and away we went. The Gold Line fo-

cuses on their role with marching band

performances, while Purple Thunder

has their own warm-ups, stands beats,

parking lot shows, the “3rd Quarter

Throwdown” performance at football

games, parades, and special communi-

ty events. It really has helped to trans-

form many players who have come

through the program, and has allowed

them to receive necessary training and

experiences to achieve their larger goal

of being on the Gold Line. Through

the years we have had several Purple

“Having the opportunity to work

with a college drumline, let alone

WCU’s second drumline, was an

amazing way to gain perspective on

the activity at a collegiate level, and

what it takes to build a group from

the ground up. When I first came in to

teach Purple Thunder, I was commit-

ted to building an inviting, yet more

competitive environment for stu-

dents who wanted the chance to im-

prove their skills. The standards were

raised, and the group progressed in

technique, performance quality, play-

ing ability, and leadership—as did the

overall culture. Requests started com-

ing in from different programs in the

university and county to have them

come perform at events, so it was ex-

citing to witness that growth. I am

grateful to have worked with Matt as

well, and for him giving me the op-

portunity to invest in the group.”

—Amanda Muse, former member of

Gold line, Purple Thunder instructor,

2018–19.

Thunder instructors, but it looks like I

will be teaching both units this fall. It is

completely exhausting, but well worth

the educational experience that these

students are getting! The drumline has

grown to where now we simply cannot

take every person who auditions, but

it has allowed for us to make member-

ship in both groups more competitive,

which makes all of us better.

PN: Describe the audition process and

what you look for in potential mem-

bers.

Henley: We have two audition days: one

in May, which is a high school clinic as

well, and another in June. Everyone

auditions for the top group at the first

date; we then take a snapshot of where

we are, pass out the Purple Thunder

music, and students then have a month

to decide how to focus or refocus their

efforts. We return in June and make fi-

nal decisions about instrument assign-

ments.

In terms of what we want in poten-

tial members, we look for two main as-

pects. Obviously, their talent level and


skill set should be high enough. More

importantly, however, is how they’ve

prepared for the auditions in advance.

This tells me everything about their

work ethic, which in turn will bleed

over into the season; their preparation

and how they respect the process will

contribute to our success.

PN: How much do you lean on staff

throughout the season? Do they do any

arranging? When were you first able to

bring some help onboard and in what

capacity?

Henley: People are usually shocked

when they find out how small our

percussion staff actually is. From 1991

through 2004 I wrote for and taught

the drumline, the front ensemble, and

the rhythm section. In 2005, Jon Hen-

son began teaching the front as a grad-

uate student while I continued to write

for everything. When Jon was hired

as a third director in 2007, he contin-

ued to teach the front and rhythm

section, and he assumed the writing

responsibility for those groups. I have

always taught and written for the top

drumline, but in 2009 when our second

drumline began, the instructor of that

group wrote their exercises while I con-

tributed occasionally. The only exter-

nal percussion staff that we have had

“One of the unique aspects of our per-

cussion section is the use of a rhythm

section on the field as it adds a unique

opportunity—with the combination

of electronics in the front ensem-

ble—to recreate some of the musical

content of our song selections. It also

allows for non-traditional marching

band students to get the opportunity

to perform with us. Not only does the

band serve as a laboratory for our per-

formers and future music educators,

but our large use of electronics and

sound reinforcement gives students

in our Commercial Music and Audio

Production program a place to get

real hands-on training in their field.

The combination of live performers

working with sound engineers cre-

ates a great learning environment for

all the students.”

—Jon Henson, front ensemble/

rhythm section coordinator.

is the Purple Drumline instructor, and

one part-time bass drum tech the past

few years, Taylor Barnes. All other in-

struction has been done by our Section

Teaching Assistants [section leaders].

PN: Describe how the “rhythm section”

started and its evolution and contribu-

tions to the ensemble.

Henley: In the mid-1990s the idea of turn-

ing pop tunes into marching/DCI-type

charts was gaining momentum. The

melodies satisfied our football crowd,

but the drive, intensity, and difficulty

of the visual and music inspired our

students; it was a win/win, and add-

ing a rhythm section just made sense

to push this concept. Eventually we

moved them onto the field for blend

and pulse center purposes, but that

“sound” helped us to approach arrange-

ments in very different ways and also

encouraged us to take risks through the

use of electronics that other peer insti-

tutions simply could not do. It gave us a

strong identity and has helped to mold

our personality as an ensemble.

PN: Do have a specific writing process?

Not only for wind charts but percus-

sion features?

Henley: I have my own personal general-

ization of battery writing. I tend to cat-

egorize phrases or moments into three

basic ideas: groove-based writing, me-

lodic writing, or impact writing. Most

of the time the arranging process falls

under one of these categories. There-

fore, I ask myself, “What does the music

need? What do the wind players need

to be successful?” Sometimes it needs

a stylized groove that makes the ar-

rangement feel good, sometimes I can

explore more melodic/tonal ideas in

a contemporary style, and sometimes

the moment is for impact; for those

moments I can go into a more gutsy

rhythmic and dense condition that has

flow, with the idea of tension and re-

lease always in the back of my mind. I

don’t necessarily start with a particular

instrument every time; I try to let the

music tell me where to go first.

Each instrument has its own char-

acteristics: tone, timbre, articulation,

implement possibilities, projection, etc.

It just makes sense to take all of these

things into account when writing a

chart. There really is a choir of sopra-

no, tenor, bass, with cymbals painting


Tap to play Video

Part 1 - POTM Field show “Believe” (percussion section only)

Tap to play Video

Part 3 - POTM “Gold” drumline feature

the color to the musical canvas. I have

branched out many times before, but it

is most common for me to focus on their

roles within the arrangement based on

these inherent natural musical traits of

the instruments.

PN: Do you ever depend on students to

come up with new ideas? If so, please

give some examples.

Henley: Yes! We start every spring with

a meeting of our new STAs [section

leaders], and we discuss the exercise

program for the fall—what should stay,

what should go, what we need—and

they inevitably want to contribute to

some part of it. Currently, our leaders

are collaborating on an exercise togeth-

er while I help to steer that ship. It’s

great fun to be able to discuss the ped-

agogy behind the piece, what our goals

are with it, and for them to have some

creative license and share their musical

voice. I love it! Another area where stu-

dents have input is usually the section

“licks” within the drum feature. Many

times, the STAs will get together with

their friends to write them together. I

give them a framework, and they make

it happen. Sometimes it’s questionable,

but most of the time it is some really

creative and challenging stuff!

PN: Talk a little about WCU’s 2019 pro-

duction and how that came about.

Henley: Many of the charts that we write

have a basis within a bigger idea, and

nothing could be more true of that

than this past season’s percussion fea-

ture. The entire production was titled

“Believe,” and it was built around that

word emblazoned on the side of the

Macy’s Department Store in New York

City. Our band was headed to march in

the Macy’s Thanksgiving Day Parade,

and we thought it would be cool to

build the show around that idea. Each

part of the show was then built around

this idea:

• Part 1 – Believe in Me (Believe in your-

self and believe in your own potential)

• Part 2 – Believe in You (Believe in the

friend beside you and help them succeed)

• Part 3 – Believe in Us (Believe in the

power of US and what we can accomplish

together)

• Part 4 – Believe in Miracles (Because

when you believe in yourself, believe in

those around you, and believe in the pow-

er of doing great things together, then you

can certainly believe that miracles are go-

ing to happen in your life)

Part 3 was the percussion feature, and

the words really spoke to me. I was pe-

rusing the internet one day and saw

an amazing video by B.C. Manjunath.

It suddenly hit me: what if we were to

collaborate with him and write some-

thing together? US—the power of us

coming together. From Bangladore,

India all the way to Cullowhee, North

Carolina, could we cooperate to achieve

something greater together? So, I hunt-

ed him down through social media and

we started a conversation. I was really

taken back by how humble, kind, and

genuine he was. The idea was very ex-

citing to both of us, but we really didn’t

know where to start.

Eventually, Jon Henson and I began




tracking down South Indian inspired

musical ideas and just brainstorming

about what some of the phrases might

look like. From there, I wrote down

a one-line schematic of the chart by

measure number. I went through each

phrase and identified what I would

compose and what Manju would

write. Once finished, I wrote my parts

and took this skeleton score to him,

and with those parameters he began

to compose his portions. I then went

back and wrote to his ideas, and he

wrote to my ideas. It was truly a col-

laboration in every sense of the word.

After the rhythmic ideas were laid, we

were able to go back and make a more

solid harmonic and melodic palette in

which to reside. It was a bit backward

from the normal way of arranging for

marching band—rhythm first, instead

of melody first—but it worked.

The power of US certainly came

shining through, and I believe that

our students really benefited from the

experience. It was one of the coolest

compositional adventures of my life-

time.

“I was super thrilled when Mr. Matt

Henley reached out to me to perform

for one of the Western Carolina Uni-

versity Band’s challenging pieces. It

was indeed an amazing experience

to record both audio and video, one

of highlights for me from last year.

When Mr. Henley shared one of the

clips from a performance, I felt very

thankful when I heard the large

crowd cheering the part that I was in-

volved. My sincere gratitude.”

—B.C. Manjunath.

Gene Fambrough is Assistant Direc-

tor of Bands and Associate Professor

of Percussion at the University of Al-

abama at Birmingham (UAB). He di-

rects the Percussion Ensemble, Steel

Band, Drumline, and Electro-Acous-

tic ensemble, and assists with all as-

pects of the UAB Band program. He

holds degrees from the University

of Georgia, East Carolina University,

and the University of Alabama.


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