the music explosion a

In 2009, Kelvin Jones started teaching at WestFeliciana High School in St. Francisville,Louisiana, which has a town population of slight-

ly over 1,700. Four years later, he turned a march-ing-focused band of 22 students into a music programwith an 80-piece concert band, jazz ensemble, per-cussion ensemble, and chamber music. Here is howhe built the program and earned the support of theentire community.

Building the Concert BandWhen I arrived in St. Francisville, the program’s

focus was on marching band. They went to concertband contests a few times, but did not score well,and there was little enthusiasm for concert bandwhen I took over. That first year I had four flutes,five clarinets, one alto sax, three trumpets, onetrombone, two baritones, a tuba, and five percus-sionists. I had to rewrite many parts and be creativewith the music I chose to make everything work.

I had to sell students on some things right away.The trombonist played a marching valve trom-bone, and I had to teach him slide positions. Ishowed the student and his parents what bandswere doing across the country (using slide trom-bones), and then I put the weight on them by say-ing, “If you are really serious about performing at ahigh level or beyond high school, this instrumentis not the best for you.”

With other students, I suggested they switchbecause of their physiological makeup. At firstthere was reluctance, but once a student has aneasier time making a good sound with a new instru-ment, it becomes an easy sell. Every student wantsto do well; tasting success on a new instrument is abetter situation than having a student who worksvery hard at his instrument but just cannot seem tomake progress.

I told students from the beginning that they hadthe opportunity to be a part of something special.

14 THE INSTRUMENTALIST / JANUARY 2014

The Music Explosion A

After a while, they understood the seriousness of it.In concert band, we put in a substantial amount ofwork on the fundamentals of musicianship, then atthe concert band festival that year, we received allfirst-division ratings. This was when they realizedthat I was right. They saw how much they werelearning and could tell they were better. After theysaw that the work we put in on fundamentals hadpaid off, there was more enthusiasm about it. Thescore at festival that first year also set the standardfor the following year. The mindset of the studentswas “this is what we do now, and we have to main-tain that level.”

Places for BeginnersI recruited high school students to join band for

the first time. At West Feliciana, band was splitinto three classes during the day. I tried to block offclass periods to get high-school-aged beginnerstogether, but this is difficult to do in a small school.

Within all three class periods there were studentswho would have been a better fit with a differentgroup, but scheduling difficulties made that impos-sible. If students had a required class during theperiod I wanted to see them, they had to be putwith another group of students. All of my classesseemed to have a mix of beginners and more expe-rienced players. If I had a beginning tromboneplayer, I at least tried to get her in the same class asthe trombone section leader. During that classperiod, I would have them work one-on-one in apractice room. It was like a small private lesson andaccelerated the progress of new players.

For beginning high school players in marchingband, I rewrote their parts into whole notes orsomething equally simple that fit the music so theycould contribute. Often these parts would be blockchords, and I called these students the SuperThirds, an idea I got from another director. Theywere contributing to the sound and the show, andthe beginning players took pride in what they weredoing. It kept them engaged.

Chamber Music ChallengeChamber groups were started to expose students

to more difficult literature. I had a brass quintet,woodwind choir, clarinet choir, and flute trio. Ispent little time rehearsing these groups; mostly Ijust gave them the music and some basic conceptsto practice. There is a website called free-

scores.com that offers a wealth of literature for soloand ensemble; it is a place for composers to releasemusic they want played.

On Fridays during rehearsals, we set aside tenminutes for chamber groups to play in front of theirpeers. The group scheduled to perform on a partic-ular Friday would be excused from warmups to runthrough its piece in a practice room, then afterwarmups, the group would perform for the rest ofthe band. At the end of class I would pull thechamber group that had played that week into myoffice for three to five minutes to ask how theythought it went and offer some suggestions.

All the chamber groups performed their pieces atthe solo and ensemble festival. To motivate stu-dents, I announced that the top-scoring three orfour solo and ensemble performances would openour spring concert.

Training PercussionistsWhen I came to the school, the percussionists

were only used to playing cadences and drumlinepieces. I asked one student what he played, andhe said cymbals. I started a percussion ensemble,because I wanted to have percussionists, not justdrummers. I found a book called Percussion Timeby Quincy Hilliard and Joseph D’Alicandro thathad percussion methods and arrangements forunorthodox instrumentation. There were partsfor xylophone, snare drum, and bass drum, but

JANUARY 2014 / THE INSTRUMENTALIST 15

t West Feliciana High

also for spoons, pots and pans, and trash cans.The arrangements ranged from grades 1 to 3 andwere great for getting the group going. During thespring semester of my first year, we met once aweek after school to work on balance, musician-ship, dynamics, and phrasing. Even though stu-dents were playing on spoons and trash can lids,these things are still possible.

The second year, I was fortunate to add a percus-sion class during the school day. After somefundraising, we bought bell kits, allowing us to workon melodic playing. The percussionists saw whatnew options were available to them now that theycould play mallet instruments, and the group tookoff from there. The percussionists started consider-ing themselves a separate ensemble within the band.My last year there, the percussion ensemble openedfor a university percussion ensemble concert, play-ing grade 4 and 5 literature. We reached this pointafter starting with spoons and pots and pans.

Jazz for EveryoneI wanted to introduce students to a wide variety

of music, especially jazz, given that this wasLouisiana. After football season, I put up a sign-up

sheet for jazz band and opened it to anyone regard-less of instrument. The first jazz band includedflutes, clarinets, and horns. I found some jazzarrangements with flexible instrumentation butstill had to rewrite some parts. From there, I builtup the program from within by having a couplestudents switch instruments. A flutist switched toguitar, and a hornist learned to play alto saxo-phone. By my third year, the jazz band had fairlystandard instrumentation and met once per weekin fall and twice per week in spring.

Showing Off the ProgramI titled our spring concert the Spring Music

Explosion. I wanted to prove to the communitythat concert and jazz band were important, andone good way to do that was to diversify the con-cert program. The Spring Music Explosion fea-tured the chosen soloists and ensembles, the jazzgroup, and the percussion ensemble, with theconcert band at the end. This concert was my wayto show what a music program should be. Iincluded something for everyone. The jazz bandplayed standard tunes, but we also played thetheme from Family Guy and some Ray Charles.


The concert band played its festival pieces andalso a Pirates of the Caribbean medley. Nothing iswrong with marching band, but to have a com-prehensive program and give students a fightingchance to keep playing after high school, theseother ensembles were just as important. A sec-ondary aim of this concert was to show the com-munity and administration that the students weretalented. If we push them and support them, theycan do wonderful things.

The Importance of Leaving TownI have two different concepts of trips. There are

big trips, which in our case were Memphis,Tennessee to perform at the AutoZone LibertyBowl Music Festival and in Washington, D.C. forthe 2013 United States National PresidentialInauguration Music Festival. Both of these werearranged through tour companies. We recievedfirst place honors in Washington and second placehonors in Memphis. One benefit of such trips isgetting students outside of their area to see thingsthey have never seen before.

I learned the importance of this during my firstyear in St. Francisville. I convinced stronger stu-dents to audition for area honor bands to offerthem some competitiveness. My tuba player madethe district honor band and was third chair; he wasthe first person in 30 years from the school to make

that honor band. We traveled to a university wherethe student would stay overnight and play in thehonor band before returning home.

As we were traveling, he noticed the green signsthat tell how many miles to the next town. Thesign said “Hammond 28,” and he asked what the28 meant. He had never left St. Francisville beforeand thus had never seen such a sign. That trip

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marked the first time he ate at Wendy’s, RaisingCane’s, IHOP, and Taco Bell. It was also his firsttime staying in a hotel.

Every time students made an honor band orwent on a trip, I asked them write a one-paragraphpaper on what they experienced. This tuba playerwrote, “Mr. Jones, if not for that trip, I would nottry to pursue college.” Neither of his parentsattended college; one did not graduate from highschool. His original goal after high school was tostay in St. Francisville and work on a farm.Through that experience, his perspective changedon what music is. That tuba player who had neverseen a distance sign before went to college on afull ride scholarship.

Once we traveled to New Orleans for a footballgame. On the way back, we could see theSuperdome on the right. I have been to NewOrleans plenty of times and didn’t think anythingabout passing it, so when a percussionist got excit-ed and called out “Hey, Mr. Jones, look!” my firstthought was that there was a problem on the bus. Iturned around, and he pointed out the Superdome,exclaiming that he had never seen it before.Taking students to Washington can certainlychange their lives, but sometimes taking themdown the street can do even more. This percus-sionist is also in college, and he still talks aboutwhen he saw the Superdome.

Such trips help with recruiting and retention.Students tell each other about the exciting thingsthey saw. As for the Superdome, all we did was passthe building, but students talked about it as ifSaints’ quarterback Drew Brees had given them atour of the stadium. Students want to experiencesuch things for themselves, and it gives them themotivation to work even harder so they can get togo the next time. Students go on a trip, then sharetheir excitement with the next group, which even-tually follows in their footsteps; it becomes a self-perpetuating cycle.

The Importance of Bringing People to TownI wrote a grant to bring in the Marine Corps

band from New Orleans to perform in St.Francisville. I worked it out with the Marines forsome of my students to perform with the group forits final piece, Stars and Stripes Forever. The bandcame in January, and honor band auditions were inDecember, so I told students that anyone whomade the All-Parish Honor Band would be invitedto perform onstage with the Marines. This lit a bigfire under students.

I also set it up for the Marines to come earlyenough to give masterclasses to each section. Thatyear, one of our marches was King Cotton, so theMarines worked with my students on that for anhour, then came together for a run-through withthe Marines sitting next to the students. We ranthrough our pieces, and then the Marines went on

stage to run through their pieces. They brought aconcert band, a jazz combo, a brass band, and arock band. It created a huge buzz in the city and fitmy philosophy of trying to show the communityand students a diverse experience beyond whathappens on Friday night.

We used grant money to bring the wind facultyfrom LSU in a similar set-up. A woodwind quintetand a brass quintet came early and held a master-class for every section. They performed a concert,and the director of bands at LSU did a clinic withmy concert band, with the woodwind and brassfaculty sitting with my students. All I had to dowas write a grant and schedule a day.

I have seen free festivals for local high schools toperform music as a run-up to band contests. Ourarea didn’t have one, so in keeping with my phi-losophy of bringing people to our school, I con-tacted a college friend who had a band in Jackson,Mississippi. We set up an exchange program whereevery year one band traveled to the other school toperform for one another and play a joint concert.The first year we did it at my school. Each bandplayed the music it was going to perform at festival,and we also brought sightreading for the otherschool. It gave students an opportunity to hearanother group perform, it was an extra runthroughof the contest music, and students got to make newfriends over a meal while the director and I cri-tiqued each other.

St. Francisville is 26 miles east of two universi-ties. I contacted studio professors and asked themto recommend undergraduate music educationmajors who would be willing to teach private lessons.


Kelvin Jones is pursuing a doctorate in music edu-cation at Louisiana State University, where he is agraduate teaching assistant with the music educationand band departments. While at West Feliciana HighSchool, he received numerous awards and accolades,among them being the recipient of the 2013 BatonRouge SymphonyOrchestra’s Teach-er of Distinctionand the prestigiousLouisiana MusicEducators Associ-ation’s Young Mus-ic Educator of theYear Award in2011. He earneda bachelor’s de-gree from JacksonState Universityand a master’sdegree from Louisi-ana State.

Continued on page 44

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College students received $10 foreach 30-minute lesson they gave. Itmight not seem like a lot, but someoneteaching six trumpet players in anafternoon would earn $60, and for col-lege students every bit helps. Out ofthe $10 per lesson, students wereresponsible for $5. The boosters paidthe other half out of fundraising, sostudents had a half-hour lesson for lit-tle money without having to traveland future educators gained valuableteaching experience. The musician-ship level of my students skyrocketed.There were years I only had threeflutes, so instead of $10 per lesson, tomake it worth the college student’stime, we paid $20, with studentsresponsible for half of that.

Winning Over the CommunityPart of my strategy for convincing

the community of the importance of ahigh-quality music education was topublicize every band accomplishment.The band staff was just me, whichmeant that I was in charge of publicrelations and marketing. I emailedadministrators and school board mem-bers, community leaders and figures,and we also sent out a bi-weeklynewsletter to parents. I learned we hadfree postage at my school as long asanything mailed out was in a schoolenvelope, so we started mailingnewsletters to local businesses andpoliticians. I knew we would eventual-ly want to solicit financial supportfrom them, so before that time came Imade sure they knew why we wereworth supporting. By the time we wereready to ask for donations, everyoneknew what the band was up to.

In small areas, everybody knowseverybody, so you want people on yourside, because a time will come whenyou need help. I had boosters whowere neighbors to the superintendentand school board president. As theprogram grew, we needed more instru-ments. Because I had made a point ofpublicizing how well band studentshad done, when it came time to ask formore instruments, I had the clout topoint out that the football team gotnew jerseys every year and classes did-n’t use books or computers from the1960s, but we were playing on instru-ments that old.

My first year there, I knew I wantedto take a big trip the second year. To beable to set up that trip to Memphis, Ineeded the administration firmly inmy corner. At the Spring Music

Explosion, I had the principal con-duct, and I advertised this heavily. Allwe did was play the fight song, some-thing students already knew. This way,regardless of what the principal did,the students could stay together. Atthe end of the concert, I gave the prin-cipal a long introduction, and whenwe got through the fight song, and theplace went crazy. It was a way to getthe principal to buy into the program,and he loved the goodwill he builtwith the band students and parents.This will work with anybody influen-tial that you might need support fromdown the line. Success breeds success.Once people see something great hap-pening, the school and the communitywill want to promote it and support itto keep it going.

FundraisingRehearsal-thons were an idea I bor-

rowed from another teacher. He wouldhave students get pledges of an amountof money per hour of rehearsal. Eachstudent was responsible for gettingpledges totaling at least $10 per hour.He did this in fall during marching sea-son, and once all the pledges came in,he held a marching rehearsal from 6:00p.m. to midnight, meaning that eachstudent would raise at least $60 for thenight. This gave the director theopportunity to earn money for the pro-gram by doing nothing more than hav-ing an extended marching rehearsal.

We did this in the spring with ourconcert band and brought in a guestconductor to work with students earlyin the evening. Another option wouldbe to bring in the studio faculty fromthe local university to pull studentsout and give masterclasses and clinics.However it is planned, this fundraiserprovides some extended rehearsal timewhile making money for the program.

Here in Louisiana, people love food,so we would have a jambalaya sale. Weasked for donations of ingredients. Theonly thing we bought was $100 worthof rice. Band parents made jambalaya,and each student brought a side dish,dessert, or utensils. We sold it on aFriday and raised $3,200, with our onlyexpense being the rice.

A 50/50 raffle works well. Webrought raffle tickets and announcedthat however much money we raisedselling the tickets, half would go to thewinner. We averaged $150 per footballgame at every home game.

Business donation letters alsoproved successful for the program. Atthe end of the year we compiled a listof everything music students had

accomplished. We wrote a letter listingthese along with a note saying that if abusiness donated $50-$100, we wouldput their name on the back of nextyear’s band shirt or the website. Wenoticed that many of the people whoran donating businesses were neigh-bors or relatives of band students. Itwas a matter of connections. The firstyear we raised $2,800 from donationletters. We got a business card with alogo from each company and made ascreen for the shirts. It cost $40, whichwas our only expense. All it took wascreativity to write a letter and time tomail it.

Band on a BudgetIn every state there are surplus prop-

erty agencies that resell equipment tonon-profits and schools for anextremely discounted price. Ourschool used it to buy tables and chairs,but I learned that Property Surplus,the Louisiana Agency, also had instru-ments. Many of these instrumentscame from the military groups. Ibought a Buffet clarinet worth $3,000for $250. The only thing missing wasthe barrell. We bought a barrel andhad an orchestral-quality instrument.We bought a Bach Stradavarius trum-pet for $25. A vehicle had run over thebell, which we got fixed for $75. For$100 we got a professional trumpet.This was how I beefed up my concertband instrumentation. We bought anoboe, a bass trombone, and a baritonesaxophone, all for very little money.When I discovered something new atthe warehouse I would find out whatthe blemish was and get a quote fromthe local repair shop. If it was worth it,I would buy. There is some paperworkthat has to be filled out before PropertySurplus can be used, but our schoolwas already buying from them, so thiswas no problem. To find a state agencyfor surplus property in your state, visitht tp : / /www.gsa .gov/por ta l /con-tent/100851.

Professional DevelopmentDirectors should find ways to devel-

op their musicianship as well. I wentto as many masterclasses as I couldfind. Louisiana State Universityoffered a free conducting symposium.I got to conduct the LSU symphonicwinds and be critiqued by MichaelHaithcock for free. Many college stu-dios offer instrument days as well, so Itook advantage of those. Attend localconferences and district band meet-ings. Observe honor bands even if youdo not have any students in the


West Feliciana, cont. from p. 18

group. It is amazing what you canlearn just watching a clinician workwith students.

Frequently, professional develop-ment at school had little to do withthe teaching in my band room. I metwith the principal and got permissionto observe other band directors. I visit-ed two high schools and a middleschool in the area, observing rehearsalsand discussing teaching techniqueswith the other directors. It cost nomoney, I earned credit for professionaldevelopment, and it was time wellspent. Later, some of those directorscame to my school to observe.

Find someone who you consider anoutstanding teacher in your district orarea. Music educators are willing toshare anything, but you have to ask.New directors are sometimes afraid toask questions for fear of showing igno-rance, but the only way to learn is to

ask. Invite a teacher to work yourgroup and record the rehearsal, or goto their school and observe. I want mystudents to perform extremely wellconsistently, so when I see a groupwith this quality, I find out what thatdirector is doing.

Some programs might be in worseshape than others, but all music pro-grams should be salvageable. It will belike a puzzle; you have to figure outhow to move certain things to make itwork. I inherited a program withoutmuch tradition and history. Throughcreativity, hard work, and strong men-tors, I was able to create somethingspecial and get the community toappreciate all aspects of the program.It takes quite a bit of time, but thereare many things that cost little money.It is possible to build an outstandingband in a small school. !

JANUARY 2014 / THE INSTRUMENTALIST 45

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