FROM CARNEGIE HALL TO THE 50 YARD LINE

Approaching Concert and Marching Ensembles with the same "Vision"


By: John T. Madden
Associate Director of Bands
Director, Spartan Marching Band
Associate Professor of Music
Michigan State University


1. Creating Expectations for Your Ensembles. Having High Standards

Expectations for ensembles are typically communicated at the beginning of the school year or at the beginning of a new semester or concert preparation. What about creating expectations at the beginning of each rehearsal, in every measure, on every beat? Are you secure with your expectations for your ensembles?

My Expectations for Any Ensemble:

* That our time together as an ensemble is "special."
* That the sounds we make are "beautiful."
* That rehearsal time is for "ensemble development," not for practicing parts.
* That individuals learn to prepare "independently" away from the rehearsal (homework).
* That we are a community and "team-oriented," built upon respect and friendliness.
* That we are "goal oriented" in terms of musical achievement and performance.
* That we are committed to the highest music/visual/technical standards of our activity.
* That we prioritize becoming more "musically rich" away from the band.

"Your expectations will evolve, change, and flourish. This is healthy.

Suggestions for the future: Create an assignment for your students asking them to write down their expectations for "our ensemble." You might be surprised!

2. Rehearsal Atmosphere

What atmosphere exists as your students enter the rehearsal room or onto the practice field?
Band Room/Practice Field Set-up, environment:

* Carefully thought out concert band seating diagrams to ensure good listening, watching, consuming.
* A standardized "formation" to begin every outdoor marching rehearsal.
* A prescribed amount of time to enter the room, retrieve an instrument, warm-up, and get focused to rehearse.
* A prescribed amount of time to exit the room (if starting inside), get to the practice field, assemble rehearsal materials, warm-up, and get focused to rehearse.

3. The First Minutes of Teaching/Rehearsing

The first impression you create, your first words, your first agenda of any rehearsal, set a critically important tone for the success of that entire rehearsal!

The "Start of Concert Rehearsal" Routine
They focus, YouGreet, We Warm-up (sensitize), They Tune. The "Start of Marching Rehearsal" Routine

* Ensemble is "whistled to" or "called" to report to a "position of focus" (attention, parade rest, etc), in a set formation (attendance block, warm-up arcs, marching block/fronts), to create focus and readiness.
* Start-up ritual (play the Fight Song, etc).

4. The Warm-up

I prefer the label of "Sensitizing Session" or "Technique Building Session ". This is where we do most of our fundamental and pedagogical teaching away from the repertoire. The "Concert Band" warm-up:

* Logical warm-up fundamentals, to include: long tones, scales, chorales, ear training, tone development, blend and balance training, flexibility (brass), tongue and finger technique, articulation and attack fundamentals, release quality and fundamental training, intonation training, rhythm building/learning, stick and mallet technique, percussion sound quality.
* Involve elements from the score/repertoire (rhythm, key centers, etc)
* Conductor sensitivity training.

The "Marching Band" warm-up:

* Same fundamentals as above, with some additional challenges:
* Involve elements from the score/repertoire (rhythm, key centers, etc), in addition to challenges that occur as a result of the visual (awkward foot timing, step size, posture, horn moves, etc)

The Challenges:

* The weather (wind-chill factor).
* Acoustics. There are none.
* Brass/Woodwinds vs. Percussion Battery vs. Pit Percussion vs. Guard/Auxiliaries. These four sub sections need separate spaces and require specialized depth in teaching the correct fundamentals of each area. Specialized staff and instructors greatly enhance here.
* Concert setting "conductor sensitivity training" falls short on the field. Non-verbal teaching gets put on the "back burner". HAZARD? Avoid bringing this syndrome inside.


Part 2 >>>