The most global area of evaluation is known as effect. Music and visual presentations should create an effect unto themselves, triggering aesthetic responses to the intellectual and emotional design and performance. In essence, this is how we determine what is entertaining about a particular program. Effect captions are the most subjective to judge and yet there are established principles of design and performance practices which can determine what is effective.

Effect judges are looking at the actual design of the show, the peaks and valleys of excitement throughout, and how the performers make the show successful. Questions a judge might consider in judging effect are: Do all of the elements of visual and musical design reach an effective climax together? Are there a variety of effects in the show that display a wide array of human emotions? Does the pacing of the show vary, remain steady, or have lapses?

It is important to realize that it is not just the designers who control the effect but also the performers who bring the effects to life. The performers may be truly amazing musicians and superb marchers, yet they may have limited show material to work with. Eventually the effect wears thin. To be a good effect judge, one must have a depth of understanding of how shows are put together and how performers can not only interpret the design but also actually elevate its success.

Sumber : Drum Corps WIKI

• Drum and bugle corps (modern)
• Understanding of General Effect by Wil Bijl
• INDONESIA HARUS MEMILIH By Dody J Purnama

General Effect is about the complete concept of the show, have everything related!
As an example: in Indonesia many corps have problems to do “transitions”. A transition is a moment between two songs, or a moment to chance equipment for the colour guard.
It is many times seen that a song stops with a climax, everything stops and everyone is asking themselves: “What happens?”

When you visit a good musical and there was a nice climax the show goes on with something that attracts the attention of the audience. In corps this can be done by a single colour guard dancing or a special intro from the pit or something else but DON’T STOP after a climax! You will loose the attention of the audience and judges and it will take quite some while to attract this attention again!

Same goes for equipment changes for the guard, many times this happens when the corps does not move, The guard is running to the side to pick up new equipment so everybody is looking to that running guard, does not make any sense because the guard is only running! You should have another focus point in the show so people don’t see that the guard is picking up new flags because they’re looking to something else! Imagine the surprise when the all of a sudden the guard has other equipment without anybody noticing!

What to think about all those drills where the corps moves all the time as three different units? In Indonesia the drumline is often not an integrated part of the display! They are hanging in the back or on the side, during a percussion feature in front but seldom they are an integrated part of the display!
For the integration of the guard things became better over the last years but many corps still have a problem with integrating the guard in the complete show design!

Some corps play sweet songs and their display consists of blocks or triangles, does not fit! Sweet songs come with arcs and smooth lines, blocks and triangles go together with aggressive music!
Flag colours and shapes are also part of GE, using triangle formed flags with hard colours does not fit sweet songs!

Please evaluate your shows and see if these comments fit your scores on GE, I will be back on more special issues about judging on www.trendmarching.or.id
These comments are meant to be neutral and of use for all instructors of corps and marching bands in Indonesia. It does not make sense to criticise judges or systems, it only makes sense to build a better show concept!

Wil Bijl
Certified judge for DCE (Drum Corps Europe)
Writer for Drum Corps World

• Ulasan GPMB 2009 Indonesia
• Wil Bijl Facebook
• Drum Corps World

I think it’s great when a band or a band program has a style or look that is its own.  Many marching bands perform a certain type of music well, usually driven by the interests of the director.  This sense of a particular “identity” can be a strong plus for a program.

However, I want to encourage all directors to take some chances and “mix it up!”  Even if you have a certain genre or style of music that your band performs well or traditionally is known for, I suggest that you stretch those boundaries and try some new things.

In the genre of classical music we have everything from Haydn to Stravinsky and beyond.  Jazz can be Dixieland or Pat Metheny, and Broadway shows range from “Mame” to “In the Heights.”

Allow your band, your staff, and yourself to grow.  Try challenging yourself to take a different route, or at least stretch into something a little out of your comfort zone.  Your audience, fans, and students will benefit and appreciate something different.

This is my honors to writing this article to share my idea with everyone in Marching Band or Drum Corps world about Drum major topic.

I am conductor (Drum major) for Aimachi Marching Band from Nagoya Japan in this 5 years past (2003-Now) Ok friend, let talk and share some about Drum major thing.

Drum majoring is a performing art, as is music, dancing or any performing art. A great performance with an applauding crowd is very interesting and you will be fun with that.
Drum majoring is also a leadership art. Always work towards the goal of helping your band being the best it can be. If you do, you will proud and have a good moment in your life as a drum major position.

So the next question it gon na be………….

“How to be good drum major (field conductor) right ?

For art that no anything really right or really wrong so for me about drum major job this is tips that I always use for my conducting time.

For today marching band or drum corps show usually begins with a “Salute” from the drum major. The salute is traditionally the beginning of judging in a competition, and also signals for beginning or the end of a band’s or drum corps show.

You need to practice this one in front of the mirror that so important you are band or corps leader how great salute you do that make your band members have confidence for start the show.

“Commands”
project your commands voice, vocal. Commands are loud and easily understood that one of Characteristics of a Successful Drum Major.
Practice that many time as you can but don’t too shout the commands you will probably loose your voice. For me make lower sound for command way better than make higher sound.

“Conducting”
Conducting is a means of communicating artistic directions to performers during a performance. There are no absolute rules on how to conduct correctly, ( Wikipedia®)

For marching band or drum corps conducting too. The pattern for conducting have many way to do that that we call “style” you can choose one

But don’t forget that style should be clear easy to find down-up beat and make you band members easy to watch and clear enough to watch from very far spot on the field practicing or performing time. And also have many Pattern for conducting that you need to learn and know that like a simple time pattern 2/4 ,3/4 ,4/4 or Compound time, Complex time pattern etc ….so we will talk deeply in next time for this stuff.

“Confidence”
For yourself always tell you self and be your best friend to conducting or Commanding don’t be shy or loose your confidence always tell yourself

“I can do it, I am very strong Drum major” Everyday before go to practice imagine and think about your successful in show or contest day…..you are in nice uniform you turn around and do very strong salute …..And then start conducting with your confidence thought the show and at last you will turn around to audience again ……………..
wow did you here that how loud of applauding crowd for you and your band or drum corps …..wow that moment will keep in your memory and your heart forever……. right ?

At last I really thanks you for reading my article.

Have fun with you conducting and Drum Major position …….

If you have something please fell free to contact me at

minalai@hotmail.com I love to know and make friend with people around the world that fun.

SET……………

Junt Minalai

Special Thanks

• Mr.Kiyokatsu Sekine for my music and life experience in Japan.
• Mr.Surapol Tanyawibul and Mr.Nipath Kanjanahuth for bring me in marching band life.
• Mr.David Simon for teach me conducting in 2003 The Phantom Regiment DCI Tour.
• Henry Gultom Founder Trendmarching Indonesia who give me a chance to share this article
• Wikipedia®

• Profile Junt Minalai

Berawal dari kegiatan belajar mengajar di kampus saya, yang mana semua materi dan buku teks telah disiapkan sedemikian rupa untuk kegiatan perkuliahan, mengapa tidak dilakukan di dunia Marching Band. Sepertinya kita melupakan sesuatu dimana marching band juga merupakan kegiatan membutuhkan pendidikan, arahan dan konsep yang jelas.

Dalam karya tulis saya yang berjudul “Marching Band: analisa sebuah organisasi menggunakan ilmu multi-disiplin” dijelaskan bahwa aktifitas marching band dapat dihubungkan oleh berbagai disiplin ilmu, seperti ilmu manajemen, psikologi dan ilmu musik. Semua displin tersebut sangat berkaitan erat dengan semua kegiatan yang dilakukan oleh sebuah marching band.

Dari sisi ilmu manajemen, banyak faktor yang mempengaruhi keberadaan sebuah marching band dari sisi profesionalitas manajamennya. Kutipan dari karya tulis saya adalah “Selayaknya sebuah manajemen perusahaan, maka organisasi marching band memerlukan komitmen dan kerja keras dari para komponen internal. Dengan mengadopsi teori manajemen, organisasi marching band harus mempunyai proses PODC, yaitu Perencanaan (Planning), Pengorganisasian (Organizing), Pengaturan (Directing), dan Pengontrolan (Controlling) (Griffin, 1996).”

Tulisan saya berlanjut kepada hubungan marching band dengan ilmu psikologi. Ternyata didapati banyak sekali kaitannya dengan sistem latihan dalam marching band. Salah satu teori motivasi yang aplikatif digunakan dalam karya tulis saya adalah penerapan teori “Maslow’s Hierarchy of Needs”. Teori ini apabila dikaitkan dengan sistem latihan dalam marching band akan menjadi:

Ditinjau dari segi ilmu musik, sudah barang tentu banyak sekali kaitannya dengan marching band. Ada banyak ilmu musik berkenaan dengan ansambel yang seharusnya sudah diberikan sejak bangku sekolah. Salah satunya pemikiran praktis berasal dari Prof. Gary Corcoran, dimana ia membuat metode “Linear Balance” (Keseimbangan Linier). Terminologi keseimbangan musik dalam ansambel terkadang menjadi rancu bagi pemimpin lagu dan pemain, dimana masing-masing mempunyai interpretasi dan konsep yang berbeda-beda (Whaley, 2005). Secara harafiah, Balance berarti bercampur dan membuat satu suara secara harmonis. Pemain yang memainkan akord dalam lagu itu ditekankan untuk bermain secara seimbang untuk mengahasilkan efek musik yang harmonis.

Penelitian saya diakhiri dengan kesimpulan bahwa dalam membuat sebuah marching band, sebuah badan hukum, universitas atau sekolah hendaknya mengetahui apa tujuan dasar dari pembentukan organisasi ini. Sebuah organisasi marching band yang solid adalah organisasi yang memperhatikan struktur dan hirarki secara konsisten, pendelegasian tugas dengan tepat, pengarahan anggota dengan tegas, dan pengontrolan kinerja yang sistematis. Ada baiknya organisasi marching band meniru gaya manajemen perusahaan, sehingga dapat dilakukan secara professional.
Marbo

Referensi:
Griffin, Ricky W & Ronald J. Ebert., Business, Prentice Hall International, 4th ed, USA, 1996
Whaley, Garwood., The Music Director’s Cookbook: Creative Recipes for a Successful Program, Meredith Music Publication, 1st ed, USA, 2005 ]]> http://library.marchingband.web.id/2008/09/06/mari-mencerdaskan-per-marching-band-an-episode-1/feed/ 0 http://library.marchingband.web.id/2008/06/03/metronome-practice/ http://library.marchingband.web.id/2008/06/03/metronome-practice/#comments Tue, 03 Jun 2008 02:50:33 +0000 admin http://library.marchingband.web.id/?p=84

By : Bryan Goff

Many of the benefits of practice with a metronome are quite obvious. When practicing a piece of music, the use of a metronome helps maintain a steady tempo throughout. A metronome is necessary for checking a composer’s tempo marking. Also, we have all used the practice technique of learning a new technical passage first at a slow tempo, then gradually and methodically increasing the metronome speed as we master the passage at each successive metronome mark.

Ask yourself, however, what proportion of your total practice time is actually done with a metronome each and every day?

The performance of music has a very critical relationship within time, and it is a very exacting relationship at that. In really fast passages your fingers and tongue must be coordinated on notes that occurring faster than 600 notes per minute. Think for just a moment about how many muscles are involved in controlling the embouchure, the tongue, the fingers, and the breathing process. These many, many muscles must all be totally coordinated. All of these physical actions must be precisely synchronized in a single point in time for a truly clean performance, to within perhaps hundredths of a second!

In addition to practicing new technical passages with a metronome, I offer the suggestion that you should try to do almost all of your “daily routine – fundamentals” practice with a metronome. Practice your lip slurs with a metronome. Practice your long tones with a metronome. Practice your tonguing exercises with a metronome. Practice your scales and Clarke’s Technical Studies with a metronome. The more total time you spend with your metronome, the more this tenacity for steady tempo and coordination will be driven into the subconscious. In other words, everything you play which has a steady tempo should be played with a metronome.

I didn’t have an opportunity to study with Carmine Caruso, but I remember an interesting conversation I once had with a sax player who studied with him. Apparently, when you arrived for your lesson (just go in – no need to knock) you would find both teacher and student foot-tapping together. Carmine would continue his ceaseless foot-tapping as the student packed up his instrument and you would get out your horn and join in the tapping. That foot-tapping would continue through the entire lesson!

I can only guess at Caruso’s rationale, but knowing how he always strove to “eliminate the variable factors”, I speculate that he was establishing an incessant rhythmic pulse with his students in order to perfectly coordinate all of the physical elements of playing within a precise point in time.

I believe that truly fine players are those who have developed a very keen sense of precise rhythm and an instinctive habit of coordination of their music within time. Increasing the total proportion of our daily practice which is coordinated with a metronomic beat will aid in developing this habit of strict temporal coordination. In addition to the traditional uses for your metronome, get in the practice of also using it during the routine parts of your daily practice – your warm-up, tone studies, etc. Remember: use it every day!

By Rob Stein, StandingOMarching.com

Many educators have varying viewpoints on how to clean drill. Most instructors teach in the same process they were taught. After being instructed in many groups with various teaching methods, I apply these key aspects and find them to be the most efficient for a clean, crisp end result. Although some of these steps may seem to be “wasting time,” remember that doing things correctly is the top priority, and will sometimes take more time than rehearsing in a hastened, more inefficient manner.

1. Break down complicated sets into groups of students and rehearse by rotating the groups.
Example – There is an ensemble box rotation. Break down the set by assigning group numbers to each line of the box. The most outside line is “group 1,” the next line, “group 2,” the third line from the inside is “group 3,” etc. For the first rep, the only members running the set are those in “group 1.” This will benefit the students in numerous ways; the most obvious being that there is more attention to the individual since the staff only has to concentrate on a small percentage of the band. Students will always perform better when they know they are being watched and analyzed. Another benefit of this method is the students will better learn where the key dress points are during the move, allowing them to better understand their path and step-size while simultaneously ingraining the move in their muscle memory. After “group 1″ has successfully performed the move a few times in a row, rotate to “group 2.” Repeat the process until each line has performed the move successfully. After that, start adding in more groups; this can be done in numerous ways. For example, rehearsing the two most outside lines, then gradually adding from the outside-in, or vice versa. The more time there is for the project and the more ways the move is rehearsed, the better understanding your students will get and the cleaner the overall product will be. Although this step is somewhat time consuming, if implemented correctly, you will notice immediate results and improvement with your band’s visual execution.

2. Always make sure the students are starting and ending at their exact written locations.
As obvious as this step may seem, I have been involved with many organizations in which the phrase, “we gotta get through these pages” has overpowered the implementation of efficient rehearsal techniques. The common misconception that the act of doing more means the group is “getting better” is completely false; in fact, the more a band rehearses incorrectly, the worse they will get. Rehearsing bad habits only means the students will get better at performing incorrectly. In order to ensure this process, it is imperative for at least all section leaders and staff members to have drill sheets at all times; and of course, every marching member should have their “dot book.” (A “dot book” is a small note pad students keep on their person during rehearsal which contains their exact location for every drill page.) Spray paint can aid in this process significantly; assign section leaders and field staff to paint a small mark on the dot of each member of their section for starting and ending locations. After the dots are painted once, rehearse the band with quick, numerous reps. During the move have the performers dress to the form as directed, and once the rep is finished they look down to see what adjustments, if any, need to be made. This step will greatly increase the student’s muscle memory, as will especially make the beginning and ends of sets much clearer.

3. When correcting students, always be sure to give them the information needed to make the desired correction.
Another somewhat obvious statement, but many instructors seem to overlook this step in the heat of rehearsal. Consider the phrase, “Brass, you folks really need to improve your spacing. Reset!”, or, “Come on guys, you can do better than that! Reset!” We’ve all been guilty of saying something similar at one point in our marching education careers, but what information is actually given in those statements? None. Even in the first phrase, the instructor tells the brass to improve their spacing, but there is no information given on how to do so. As experienced educators, we have a tendency to forget what it was like to be a beginner in the marching arts and sometimes take for granted what our students do or do not know. Students will receive higher quality education when they are given the “why’s and how’s” of the activity. For example, a proper phrase would be, “Brass, you folks really need to improve your spacing. Where is the dress point? Point to it. (Everyone points to the dress point. If they don’t know, inform them.) OK, so that’s where your eyes should be looking. Make sure each step of the set is equal in size, some of us are getting there too early and taking really small steps at the end. Think about that this next time! Reset!” Empower the students to be their own instructors, share with them the knowledge that you possess; this will greatly increase the performance qualities of the students, and will make the director’s job much easier when the members attain this knowledge and become more self-sufficient.

Rob Stein is founder and owner of Standing ‘O’ Marching Arts Specialists. He holds a master’s degree in music education and a bachelor’s degree in trumpet performance. His experience includes work with drum corps, marching bands, jazz bands, wind ensembles, pit orchestras and private lesson studios. The Standing O team specializes in customized original compositions, and also offers drill writing, color guard books, clinics, consultations and leadership training. The staff is trained in modern methods of musical and visual instruction, focusing on the development of body awareness, health and fitness, and overall musicianship.

Photos and text courtesy of Rob Stein.

By Bobby Hullett, SoundingGround.com

Already, or constantly, thinking about “next year?” Programming your show can sometimes be a daunting task. The process is your key and here is one method to prepare your program for success.

The Napkin: Staying ahead of the curve is essential. In many instances, directors and design staff will have the Idea Engine running full tilt constantly. Keep an open mind and be receptive to your surroundings and everyday life. You never know when that elusive idea is going to flip your internal switch. When it does and the bells and whistles go off, jot it down on anything, even a napkin. As you build your own catalog of epiphanies, be mindful of your program’s limitations, capabilities, and potential. There is nothing wrong with shelving an idea until your program provides a symbiotic opportunity. If your program severely overreaches its grasp, the end result will most likely leave you with unhappy students, discouraged parents, a frustrated staff, and a great idea that simply did not come to fruition. All out of ideas? Never be afraid to ask for help.

Staff Mealings: Communication between the director, designers, and staff is essential, especially in the planning stages. Schedule a design meeting around a meal. Whether you are grilling at your house or reserving a few tables at the local wings authority, food will create a relaxed social atmosphere and get the creative juices flowing. Ownership and “buy in” to the idea is crucial and essential for all members of staff, top to bottom. Everyone involved in the planning process should have an opportunity to give and receive feedback, present their own ideas, as well as modifications to others, and remember to be objective. Most of the concepts brought to the table will be the vested interests of someone and should not be callously thrown under the bus. Make every attempt to establish and maintain a fluid organic process.

The Idea Engine: Your concept will usually begin with a theme. For example, you might want to base your show around the color blue. Your next decision will be either visual or musical. In most instances, it will not matter which emerges first, for one leads to the other, leaving it a circumstance of choice. From the visual perspective, you might choose to center the show around elements involving the sky and or water … this will then lead you to your musical counterpart. If you approach the musical avenues first, you might decide to employ the blues and a little jazz … this will then create the visual persona you seek. The idea engine is limitless and always in production. The question and challenge emerges as simply, “Will this make a great show?”

Feed your PETS:
Pacing. Your two most important factors inherent in pacing are the length and undulations of your show. In length, you will need to find a balance between the stamina of your ensemble and the phraseology which best serves the written program. The undulations of your work (peaks and valleys) must provide tension and release, both musically and visually, to create the emotional response you desire from your audience.

Effects. The pivotal ingredient that separates the shows of legend from the rest of the field is effect. Coupled with pacing, you should plan your effects moment to moment. It is important to remember that the entire program cannot be “the effect” simply because there will be nothing available for contrast. Your effects must be well orchestrated and achievable to reach your audience and convey your ideas fluently. These are your peaks. As you move through your valleys, remember to consider your transitions.

Transitions. The most important and sometimes most overlooked elements of your show are the transitions. As you plan your effects, how you get in and out of them is just as, if not more important than, the effect itself. The downfall of any designed program, visually or musically, can be hearing the word “functional” applied to your transitions. The solution is held in motivation, purpose, and direction. Your transitions must provide the audience with a sense of perpetual motion as they ride along in the vehicle you have created.

Strengths. You are your program’s harshest critic and greatest fan. No one knows your ensemble better than you and this knowledge should be used to your advantage. As you opt through the show ideas from season to season, choose and plan the show to harness your program’s strengths. For example, if you just graduated every horse you have in the brass section, don’t choose a big band show for the fall. One misconception that many directors and staff hold on to is the need to hide your weaknesses. In contrast, your approach through planning and programming should simply be not to expose them. Use them as the thread and not the needle.

Contingencies: It is difficult to plan for the unexpected, but here are a few factors to consider.

• As you design and program your show, you will no doubt want it to be a challenging effort for your students. However, take moment to ask yourself if they can truly pull it off.

• Try to identify and prepare for your externalities. A few for example: Parent involvement (How much and how many?). Props (Are they essential … are they worth it?). Equipment (Do you require additional vehicles for transportation? Do you need materials fabricated for the color guard or set design?). Rehearsal Time and Space (Will your concept require more or less of either?).

• Deception and Reception. It is quite easy (and most times comforting) to get lost within your own ingenuity, but do not be deceived. Consider your idea and its reception by the band itself, the student body and “football crowd,” as well as your competitive audience … balance can be found and achieved. Do not blindly assume that your response will be the adopted opinion of others. That having been said, your program does not necessarily have to be “user friendly.” An avant-garde production could be what everyone has been secretly craving.

Remember that one of your greatest allies is time. Once you have chosen your road, give your idea a little time to breathe and grow. Revisiting with fresh awareness and hunger will only provide a catalyst to fuel your Idea Engine again and again.

Bobby Hullett is the Founder and Director of Innovation of Sounding Ground. He is also the author of Ethics Everyday (EthicsEveryday.com). Bobby has earned a Master’s Degree in Education as well as a BBA. His work with renowned educators at all levels of the pageantry arts includes DCI, WGI, BOA, as well as many local associations around the nation. A complete listing of history and experience can be found on his website, SoundingGround.com. Sounding Ground offers visual design and musical arrangements and compositions, in addition to many other services.

Text courtesy of Bobby Hullet. Images licensed through iStockPhoto.

DALLAS, August 7, 2006 — With the beat of a drum, the blow of a whistle, and the blare of the brass section, marching bands across the country are practicing formations and new musical routines in anticipation of the start of the school year. Recognizing the unique needs of these performers, the National Athletic Trainers’ Association (NATA) has issued timely guidelines to ensure safety on the field and in the parade line.

“Marching band members, just like athletes, need to be well conditioned and prepared for the rigors of band practices and performances. These unique athletes are often in formations for long periods of time, wearing heavy clothing in warm weather conditions, and carrying instruments that require dexterity and strength,” said Brian Robinson, MS, ATC, chair of NATA’s Secondary School Athletic Trainers’ Committee. “It’s critical for band directors to work closely with school athletic trainers and medical professionals to develop a safety protocol to ensure band members march on the field fit to perform at their best.”

NATA recommends the following tips for parents, band directors, medical professionals and marching band members:

1. Prepare for Activity: Students participating in marching bands should receive a general health exam prior to activity to make sure they are fit to perform. Be sure to discuss any pre-existing conditions with the physician.
2. Put a Plan Into Place: Develop a written emergency plan in consultation with an athletic trainer and local emergency medical service. Share it regularly and review it with the appropriate band directors/supervisors, school administrators and medical staff.
3. Get Ready to March: Band directors, athletic trainers and parents should ensure that students are physically and mentally conditioned for marching band activities. Encourage students to start with 20 minute walks outside and gradually increase distance of time approximately four weeks before the marching band season starts. Limber up with appropriate stretches and warm ups and cool downs after practice. Increase rigorous routines gradually so students can tone their muscles and increase strength. This will help to reduce aches and pains as well as fatigue from long practices and challenging routines.
4. Acclimatize to the Heat: Acclimatize students to outdoor warm weather conditions. Start routines slowly and build endurance. By working out and walking in the heat or non-air conditioned environments, students can condition their bodies to adapt and better perform in the heat.
5. What to Wear: Wear light or white colored shorts and t-shirts to avoid overheating during practice. This is especially important for anyone carrying heavy instruments for long periods of time. Save the formal attire — heavy hats, dark clothing and shoes — for dress rehearsals and get comfortable in them before game day. Be aware that the weight of the material and dark colors keep heat “in.”
6. Hydrate, Hydrate, Hydrate: Establish a hydration plan that allows band members to drink water or sports drinks such as Gatorade throughout practice sessions (about 7-10 ounces every 10-20 minutes). It is important to hydrate before AND after routines. Without proper hydration, they are at risk of developing exertional heat related illnesses. Make sure that band members have sports drinks and water should always be available. Don’t assume they can share with sports teams.
7. Seek Shade: Be smart when it comes to the sun. Stand in the shade during rest breaks or half time to cool down before and after practices and performances.
8. Fuel for Success: Incorporate healthy foods in the daily diet including grains, fruits and vegetables, dairy and meat/poultry/fish to give them the fuel they need to exercise. A balanced and moderate approach is always the best bet.
9. Make Use of Musical Instruments: Students should hold and manage sousaphones, drums, flutes and other instruments correctly to avoid ergonomic injuries.
10. Stay Fit in Formation: Since bands are often in formation and standing still for long periods of time — especially when on parade routes or during practice — students should move fingers, knees and toes slightly to keep circulation flowing and joints loose and flexible.
11. Monitor Band Members: Band members should be monitored at all times on the field for signs of heat illnesses by a parent, band director, certified athletic trainer or other individual.
12. Inspect Fields and Routes: Remove debris, water, rocks and other hazards from the field or parade route. These small obstacles can lead to twisted ankles, bruised knees, scraped elbows or other more serious injuries.
13. Stock the Kit: Stock a first aid kit and keep it onsite for medical emergencies. Include supplies for wound management and bee stings, such as elastic wraps and band aids, disposable ice packs, tape and wound cleanser, among other items.

“Athletic trainers are always on the frontline should a band member not feel well or need immediate care in the event of injury or illness, said Robinson. “Our goal is to prevent the injury from happening in the first place. By putting these guidelines into practice, band directors and their members can enjoy a season rich in music and highly spirited routines.”

For more information on youth sports and sports safety, please visit http://www.nata.org/youthsports/.

About the National Athletic Trainers’ Association (NATA): Athletic trainers (ATCs) are unique health care providers who specialize in the prevention, assessment, treatment and rehabilitation of injuries and illnesses. The National Athletic Trainers’ Association represents and supports 30,000 members of the athletic training profession through education and research.