CBDNA National Conference
March 26–29, 2025
I had the privilege of traveling to Fort Worth, Texas, and the campus of Texas Christian University for the 2025 National Conference of the College Band Directors National Association (CBDNA). I attended my first National Conference in Minnesota in 2003 and have now participated in 6 of the last 11 gatherings over a 22-year span. I’ve also had the honor of presenting at two of those conferences—including this one.
Every CBDNA event deepens my learning, particularly in the realm of repertoire. It’s where I go to hear groundbreaking music and connect with today’s leading wind band composers—and 2025 was no exception.
Let me begin with a highlight: my own presentation, which I co-led with colleagues James Adams and Brian Youngblood. James and I curated a concert program from our Small Band Repertoire Initiative, and Brian prepared the TCU Symphonic Band, which we each had the pleasure of conducting.
If you haven’t explored this database yet, I encourage you to take a look. It’s designed to help directors of grade 3–5 ensembles with incomplete instrumentation discover high-quality, achievable literature. That was our goal when we created it—to empower small programs with repertoire that supports success.
Repertoire Gems That Stuck With Me
These pieces made a lasting impression—and I’ve included brief notes to spark your curiosity:
Brilliant Brushstrokes by Ryan Lindveit: A colorful delight, packed with refreshing harmonies and a rambunctious attitude.
Some treasures are heavy with human tears by John Mackey: A brooding chorale, exactly as the evocative title suggests.
Starry Ocean by Shuying Li: Lush, introspective, and ultimately hopeful—its finale sparkled like a night sky.
Danzón No. 2 by Arturo Márquez: A revelation for me! While others may know it well, I was struck by the composer’s behind-the-scenes session about his creative process.
Fantastic Dreams by Frank Ticheli: Especially compelling in movements one and two. Elysian Fields, the second movement, deserves to be a standalone piece—much like the beloved slow movement of the Persichetti Symphony.
“The Harlequin’s Carnival” from Wayward Images by Michael Ippolito: Bursting with character and narrative, this piece brought a Miró painting vividly to life.
More Works Worth Exploring
These next selections also stood out—and they’ve inspired me to dive deeper into each composer’s catalog:
Composers Recommended by Trusted Colleagues
I always value the recommendations of peers I respect. Here are several names that came up repeatedly in conversation:
Listening With New Ears: The Ploger Method
In the realm of pedagogy, I was captivated by four sessions presented by Marianne Ploger. Her Ploger Method reframes ear training in a way that mirrors how we learned language as children—intuitively and experientially.
She helps musicians name the sounds we already hear, using math to unlock deeper understanding. For example:
A dissonant interval vibrates at 8 Hz,
A modal interval at 4 Hz, and
A perfect interval at 2 Hz.
These pulsation differences create physical sensations you can learn to recognize. Once you tune into that, interval identification becomes natural. The next time I’m in Nashville; I plan to schedule a lesson—this method is that compelling.
Beyond Repertoire: Building Culture and Community
Historically, CBDNA National Conferences have been focused primarily on repertoire—and this year certainly upheld that tradition. But I was thrilled to see a growing emphasis on pedagogy and culture-building, especially through the work of the CBDNA Music Education Committee.
Over the past few years, this committee has been collecting insights from both public school and college directors to explore how we can better support each other—and keep students playing from middle school into college.
The biggest insight? Fear on both sides.
Public school directors may hesitate to invite college clinicians into their rehearsal rooms—worried about judgment. And college directors often stay in their bubbles, reaching out primarily to recruit. But it doesn’t have to be this way.
Each January, I post in our state Facebook group offering help with adjudication prep. This year alone, I visited 10 programs in just 8 weeks. I go in with one goal: support the students. If I can also encourage and assist the teacher—great. And if a student is inspired to join my ensemble in the future, that’s just icing on the cake.
One clinic isn’t enough to evaluate a teacher. It’s a snapshot. I’m not there to judge—I’m there to listen, encourage, and grow alongside the program.
We share so much common ground. Whether through clinics, conferences, or honor bands, these connections are energizing. Let’s keep learning from one another.
What’s Next for You?
Heard any of these pieces? I’d love to hear your thoughts.
Want help preparing for a concert? Reach out!
Searching for an engaging honor band clinician? Send me a message!
Inspired to explore Small Band Repertoire Initiative? Let me know what you discover!
Let’s keep the conversation going—and keep our students at the center of everything we do.