As band directors, we’re always looking for ways to help our students achieve higher performance levels—improving tone, enhancing articulation, or raising musicality across the entire group. In 1999, I had a moment that would shift how I approached teaching, thanks to a method book making waves in the band world: Foundations for Superior Performance.
I was conducting the second band at L.D. Bell High School in Hurst, Texas, a group of about sixty (the first band had 80) dedicated students. We were aiming to move from a grade 3.5 to a 4/4.5 level by UIL concert contest in April, and I knew that the right tools could make all the difference. At that time, my good friend Nathaniel Nugent introduced me to Foundations of Superior Performance, and while I saw it as a great resource, it also felt strangely familiar. It reminded me of trumpet lessons with Dr. Leonard Candelaria, my professor from 1993 to 2000—lessons focused on key exercises like Remington, slurs, Cichowicz air velocity studies, and Clarke studies.
I figured, “Why not try it?” With a few minor tweaks, including adaptations that Dr. Candeleria would have us practice, I modified the exercises to fit my band’s needs — such as articulating the exercise on one note before moving through the pattern, buzzing, etc. Also, fun and effective, I could demonstrate precisely how to interpret and practice. The results were remarkable.
Key Elements of Success
The beauty of Foundations lies in its simplicity and its focus on the basics. Like Remington’s, these exercises were not just for trombone players but for everyone. We focused on developing a clear, full tone, consistent sound, and smooth transitions across registers with each exercise. The slurring exercises worked wonders for building air support, while Clarke’s studies emphasized weight distribution between the lower and upper notes for a more resonant sound.
The scale patterns in multiple keys were also a game-changer. They were a puzzle to be decoded, and every player wanted to figure them out—then we went faster. Like the unison Concert F, there was nowhere to hide. Every performer developed mastery, and that facility was transferred to everything else.
But here's where things really clicked: it wasn’t just about the individual exercises and how the ensemble responded. We were improving individual players while raising the collective standard. By applying these principles to the band, we could hear the improvement in tone quality, ensemble resonance, and more precise articulation.
Taking It to the Next Level: From One Band to Many
The improvements were so noticeable that our head band director, Joe Grzybowski, asked if we could arrange these exercises for all the bands, including the marching band. So we did—thanks to Mark Ferrell’s arrangement, which allowed us to turn on the metronome for eight counts and go. Suddenly, every group was moving through the same exercises, and the impact was profound.
The marching band, in particular, started to shine. The individual tone quality, ensemble resonance, and articulation all improved drastically. The positive effects of consistent, focused practice spread throughout the program.
Soon after, Steve Madsen from Bedford Junior High noticed the transformation and asked for a version of these drills for his groups. By 2002, when all performers across the cluster had been trained on these exercises, it felt like we had created something special. The exercises had become our daily drill, and the results were evident.
The Ripple Effect: Empowering Your Band Program
What started as a simple method book for one band grew into a powerful, cluster-wide practice that elevated our entire program. It wasn’t just about the exercises themselves but also about the mindset they instilled in the students and directors. Consistency, dedication, and attention to detail were key—something as simple as turning on a metronome and committing to these daily exercises set the foundation for our success.
As band directors, we often seek the "magic formula" to take our students to the next level. For me, Foundations of Superior Performance wasn’t just a method book—it was the key that unlocked a new level of capability and performance quality.
If you want to build a more substantial, cohesive band program, I encourage you to try this approach or similar. Whether you’re using it for individual practice or ensemble work, you’ll see an improvement. It’s simple, it’s effective, and it will make a lasting impact on your students’ performance.
Would you like to learn more? Have any questions? Send an email: jeremy@schoolmusicconsulting.com
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