To someone outside of the Lovejoy Band scene, the panicked frenzy surrounding All Region can be a complete mystery. This confusion may be worsened if you have a friend enrolled in the competition; especially if they never cease their complaining. Perhaps the constant mentions of niche musical terms becomes increasingly more maddening with every week closer to the audition. Perhaps you find yourself swept up into the madness, as the secondhand pressure of the inevitable pushes you over the edge. 

Whether or not someone close to you is involved in the process, having somewhat of a grasp on what All Region entails may explain the chaos that descends every December.

In order to be ready for the audition, participants must undergo months and months of preparation; the brunt of the work is constant time management and self-evaluation. It takes incredible mental fortitude to maintain daily, independent practice sessions, nevertheless complete weekly playing assignments of quality (and before the deadline). The student isn’t completely alone, however, and receives plenty of feedback from instructors, peers, and lesson teachers. At least one day a week, teachers evaluate the class’s progress on each etude, often in the form of playing tests or “studio” days. These days can be incredibly stress-inducing and even embarrassing, but they are beneficial and necessary to build a tolerance to performance anxiety. After rigorous practice, self evaluation and improvement, adapting to criticism, and exposure to others, ultimately, the only thing that matters is the audition itself. 

Participants are numbered and assigned seats as they file into the silent room, where the judges are hidden behind a large curtain. The only person who speaks is the room monitor, who rattles off rules, collects phones and devices, and announces each anonymous number assigned to each person. The time in between each attempt is filled with tense silence, for anyone who speaks or gives away their identity will surely be disqualified. The only thing contestants can do is wait, take deep breaths, and hope to remember their etudes. Each final performance is a reflection of their personal dedication, hard work, and perseverance.

It’s important that we honor all participants and their drive for excellence; it requires extreme discipline to be continually challenged, especially by oneself. The All Region process benefits the musicianship, motivation, and work ethic of all who enter into the competition, and is a (testament) to the future generation of young leaders. The title of “All Region Finalist” is an extremely coveted position due to all it represents, so please join me in celebrating them:

Flute:

Mihaya Sakai – 7th Chair Wind Symphony, 1st Chair 5A Area

Brielle Taylor – 2nd Chair 5A Area

Sophia Li – 3rd Chair 5A Area

Prateeksha Paulraj – 4th Chair 5A Area

Clarinet:

Emily Dillon – 7th Chair Wind Symphony, 1st Chair 5A Area

Caleb Born – 11th Chair Wind Symphony, 3rd Chair 5A Area

Sarah Gable – 6th Chair Symphonic Band, 4th Chair 5A Area

Noah Marsden – Alternate, 6th Chair 5A Area

Bass Clarinet:

Ian Marshall – 2nd Chair Wind Symphony, 1st Chair 5A Area

Alto Saxophone:

Anson Phan – 1st Chair 5A Area 

Tenor Saxophone:

Adrian Phan – 1st Chair Symphonic Band

Trumpet:

Reagan Wagner – 1st Chair Wind Ensemble, 1st Chair 5A Area

Philip Daverio – 3rd Chair Symphonic Band, 4th Chair 5A Area

Adam Kent – 6th Chair Symphonic Band, 5th Chair 5A Area

Andrew Lamping – Alternate

French Horn:

Megan Lyons – 2nd Chair Wind Symphony, 1st Chair 5A Area

Tenor Trombone:

Jack Kuhn – 5th Chair Wind Symphony, 2nd Chair 5A Area

Tuba:

Justin Poteet – 2nd Chair Wind Ensemble, 1st Chair 5A Area

Percussion:

Max Rattleff – 2nd Chair Wind Ensemble, 1st Chair 5A Area

Anup Ghumman – 6th Chair Wind Ensemble, 2nd Chair 5A Area

Merryn Berner – 2nd Chair Wind Symphony

Aakash Malvankar – Alternate