Kinsley High School - Kihischo Yearbook (Kinsley, KS)

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Technique improves bond sound Instead of enrering rhe bond os o unit in rhe league or regional contests, Dixie Willioms. instrumental instructor, divided rhe bond into small ensembles ond entered those. It's difficult to take 21 people ond moke rhe sound of their instruments sound like a complete bond. explained Mrs. Willioms. Taking six ensembles, continued Mrs. Willioms, allowed us to enter the maximum allowed Furthermore, the opprooch introduced the students, for example rhe percussionists, to some music they weren't aware of. Other ensembles entered besides rhe percussion one were two flute trios, one woodwind quartet, one saxophone quartet, ond one bross choir. Flutist Liso Hornboker. '66. appreciated rhe increased attention that rhe ensemble opprooch allowed Mrs. Willioms to give to each group. The sounds of rhe bond hove improved o lor,” soid Hornboker. We've realized how proper breath controls ond proper embouchure, or placement of rhe lips, con help in creating o pure ond clean sound. Mike Kelly, '85. attributed rhe better sound to rhe increased time students spent in practicing their instruments. Dividing the bond into ensembles allowed eoch person to practice more each day. Furthermore, Mrs. Willioms expected eoch of us to practice 00 minutes o week awoy from class. Top left Trombonisrs Rowdy Meeks Danny Srreit. Terry Springer, ond Cindy Ailshie odd brillionce ro rhe rone Middle left Trumperers Rus-ry Smirh ond John Kelly, overshadowed by per-cussionisrs Corey Inmon ond Liso Anderson, creore holidoy sounds for rhe onnuol Chrisrmos program Bottom left Mike Kelly ond Jeno Velharricky Ik lusrrore how rhe shope of rhe lips conrribures ro rhe quoliry of rone produced wirh rhe insrrumenr Bottom middle Ginny Dlonron illusrrores rhe Technique of ploying o flure Bottom right Nylo Myers ond Volerie Olsen inrenrly look or rhe musicol score

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Above: Volerie Olsen with the flute ond Don-no Koy Frick with the percussion follow the musicol score. Top middle: Jeno Velhortlcky ploys in the brass section. Top right: Rowdy Meeks ond other members of the marching bond provide music for o football gome Middle right: Dr Eldon Groy. Robert WekJenheimer. Shelby Shanks, ond Sheloh Shonks put oslde oge differences to enjoy o common interest in music. Dorrom right: Solly Bidlemon. o strong supporter of the community pep bond, supports Mindy Kerns role In the saxophone section Pep bond involves community Communiry individuals, junior high students, and high school students combined to form o community pep bond. Dixie Williams, instrumental instructor, noted that approximately 12 odulrs and six junior high students regularly brought their instruments to participate with the high school students. The high school students enjoyed having the adults in the bond,'' soid Mrs. Willioms.- the odulrs enjoyed ploying their instruments, doing something they hadn't done for some time. Teresa Domme, 84, found if ”fun to see the older people get their horns out ond ploy the music. Even though the beat of the contemporary selections moy be foster ond of o slightly different style, both oge groups knew ond enjoyed ploying The Washington Post. For Donno Koy Frick, ploying the percussion was similar to what I did when I was in high school. We hod little difficulty adjusting to the foster style since we picked if up from the kids. Frick commended the students for receiving us well. At the lost gome, several of the kids thanked us. This showed that they appreciated our involvement in the pep bond.'' 10

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Choir members master technique Top left Jim Bowman, Shown Bruce, and other members of the select choir procrice one of the pieces for league festival Bottom left: Ginny Blonton ond Stephene Wesrhoff of the select choir follow Mr Williams leadership os he provides the piono occomponiment Top right Deonno Horrrup ond Michelle Hor-trup follow one of the worm-up exercises. Bottom right: Under Mr Williams' direction, the concert choir participates in the onnuol Christmas music progrom With 27 students in the two choirs, select os well os concert combined, instructor Duane Williams could emphasize technique — which includes, os he said, understanding whot constitutes good tonol production. Ginny Blonton, '85. soid. With the choirs this small, everyone hos to be on pitch. Everyone has to be singing the some tone with the some degree of support; everyone hos to understand how the mouth shapes the sounds. Otherwise, there won't be rhot pitch blend between the various ports. Blonton described how Williams stressed using the abdomen instead of the chest to create the sound os support coming from the chest will produce o nasol or o breathy sound. Sitting up straight,'' continued Blonton, or standing on 12