Salah satu tujuan saya memberikan pemaparan pada episode sebelumnya adalah untuk menstimulasi rekan-rekan yang juga duduk ke pendidikan tinggi untuk juga berkontribusi terhadap kemajuan marching band di Indonesia. Dari unit yang mengikuti beberapa kejuaraan bergengsi di Indonesia seperti GPMB, beberapa berasal dari unit universitas. Dalam satu unit saja terdiri dari 80 sampai 100 anggota, berasal dari berbagai fakultas dan disiplin ilmu. Mari kita simulasikan ide sederhana ini:

1 unit marching band universitas = 80 calon sarjana/diploma = 80 topik skripsi/TKA

1 kejuaraan marching band biasanya terdapat 4 unit universitas x 80 personil = 320 calon sarjana/diploma.

320 calon sarjana/diploma = 320 skripsi/TKA = 320 ide/topik = 320 topik marching band

Lebih hebatnya lagi, di Indonesia, terdapat lebih dari 20 universitas yang memiliki kegiatan marching band, yang mana kalau semua berkontribusi dengan topik berbau marching band, maka akan terdapat 1600 TOPIK / IDE MARCHING BAND !! Dan ini baru satu angkatan saja. Sangatlah indah jika semua ini terjadi demi kemajuan marching band di Indonesia.

Ide-idenya pun barangkali tidak terlalu sulit dan bisa di relasikan dengan berbagai disiplin ilmu dan jurusan studi. Tidak harus mereka yang berasal dari jurusan musik dapat membuat skripsi tentang marching band, ilmu-ilmu eksakta seperti fisika, teknik elektro, mesin dan ilmu kehutanan pun bisa.

Salah satu ide yang saya kemukakan diatas barangkali bisa diperluas menjadi topik skripsi yang menarik, seperti:
1. Psikologi perkembangan anak dan drum band anak (psikologi),
2. Metode efektif dalam mengajar musik di marching band (pendidikan)
3. Sosio-komunikasi antar pemain marching band (ilmu komunikasi),
4. Leadership dalam sebuah marching band (managemen),
5. Standar akuntansi dalam marching band (akuntansi),
6. Unsur kebudayaan x dalam mempengaruhi kerja sama dalam latihan marching band (ilmu budaya/kesusasteraan)
7. Hal-hal yang mempengaruhi proses pengaratan alat tiup logam (kimia/farmasi)
8. Pengelolaan kayu x sebagai bahan dasar pembuatan snare drum / marimba (kehutanan/pertanian)
9. Proses pembuatan vibraphone menggunakan logam x (teknik mesin/eletro)
10. Proses penentuan frekwensi suara yang ideal pada bar marimba (instrumentasi/fisika)
11. dan lain-lain

Mengenai literatur dan referensi berkaitan dengan marching band, jangan takut. Internet adalah salah satu sumber luar biasa banyak untuk mengunduh semua sumber-sumber itu. Website seperti www.jstor.org dan proquest berisi ribuan bahkan jutaan artikel yang berasal dari jurnal-jurnal internasional, yang dapat kita unduh untuk melengkapi penelitian kita.

Masih banyak ide yang bisa muncul dari aktifitas yang kita gandrungi selama kuliah, pagi siang malam bersama latihan yang melelahkan dan menghabiskan waktu. Alangkah baiknya kesemuanya itu dirangkum dalam sebuah karya tulis yang akan diakui institusi tempat kita menimba ilmu. Sehingga secara tidak langsung para petinggi universitas, baik dosen, dekan dan rektor akan menghargai kegiatan marching band di Indonesia.

Ini adalah sebuah ide sederhana. Seperti kata pepatah, “kalau bukan kita, siapa lagi”, sangatlah tepat untuk memacu kita berkreasi di bidang pendidikan marching band. Selamat berkarya !!
Marbo

Ps: barangkali dengan mempelajari semua aspek dalam marching band, rekan-rekan bisa mendirikan perusahaan kecil untuk reparasi alat marching band, seperti di website ini: http://www.doctorvalve.com/ selamat mencoba… ]]> http://library.marchingband.web.id/2008/09/06/mari-mencerdaskan-per-marching-band-an-episode-2-habis/feed/ 3 http://library.marchingband.web.id/2008/09/06/mari-mencerdaskan-per-marching-band-an-episode-1/ http://library.marchingband.web.id/2008/09/06/mari-mencerdaskan-per-marching-band-an-episode-1/#comments Sat, 06 Sep 2008 03:08:36 +0000 admin http://library.marchingband.web.id/?p=97
Oleh: Marko S Hermawan
Jupiter Indonesia EndorserMemang sudah menjadi naluri sebagai dosen, maka apapun itu, semuanya harus ada proses belajar mengajar. Dan ini termasuk dunia marching band yang telah menjadi bagian dari “darah” dalam pembuluh saya. Ide ini sebetulnya muncul ketika saya masih belajar di sekolah keguruan musik Institut Musik Dr. Pono Banoe. Namun baru sekarang bisa ditumpahkan dalam tulisan sederhana ini. Konsepnya cukup mudah, dan mungkin sudah diterapkan oleh beberapa rekan pemerhati marching band di Indonesia.

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/2008/07/02/loud-playing-soft-playing/ http://library.marchingband.web.id/2008/07/02/loud-playing-soft-playing/#comments Wed, 02 Jul 2008 02:45:53 +0000 admin http://library.marchingband.web.id/?p=89 By : Bryan Goff

I keep repeating the theme that in order to not neglect certain playing techniques, we must include these techniques in a specific slot in our regular daily practice schedule. I have previously mentioned techniques such as lip slurs and single tonguing. I feel that it is also important to ensure that we at least include a minimum amount of pianissimo and fortissimo playing every day.

Pianissimo playing requires embouchure control, steady breath control, and suppleness and responsiveness of the embouchure. Fortissimo playing requires, in addition to strong air support, embouchure strength and the ability to control the aperture when subjected to a large volume of air. In short, the extremes of dynamic range require totally different types of physical control. Obviously, the only way to develop and maintain control at these extremes is to practice at these levels, for at least a few minutes, on a regular basis.

I would speculate that most trumpeters who are reasonably accomplished, spend the largest proportion of their daily practice time playing mezzo forte or louder. The reason for this is that their sense of good solid air support will most naturally result in a full, resonant, and somewhat loud tone. (On the other hand, it might be a good idea for less accomplished players to consciously spend a greater amount of time playing at loud dynamic levels to develop a better sense of good air support). It is my belief that these accomplished players may need to purposely include some supplementary pianissimo selections every day. Likewise, even if a player does much of his performing at a loud level, he will not be able to control those fortissimo passages when called upon, unless he has included at least a little fortissimo playing in his daily routine.

Personally, I can discipline myself to include tonguing and lip flexibility exercises in my daily routine, but to include exercises that are designed solely for the purpose of playing at loud and soft dynamics is, for me, extremely boring. I really prefer to cover my dynamic extremes by playing selections from actual musical examples, orchestral excerpts for example.

I would like to suggest that you pick a few of your favorite excerpts which represent extremes of dynamic levels and play them at a specific point in your daily routine.

Berhubungan dengan episode sebelumnya mengenai pemanasan alat tiup, marilah kita lanjutkan pembicaraan berikutnya. Latihan selanjutnya adalah memperhatikan nada pendek dan nada stakato.

SHORT NOTES
Biasanya latihan ini merupakan rangkaian pemanasan setelah Long Tones. Pemanasan ini bertujuan untuk memperkuat nada stakato, aksentuasi dan tekanan nada. Berawal dari nada ‘do’ ditiup sebanyak 4 atau 8 ketuk, dilanjutkan ke skala berikutnya.

Nah, untuk yang ini barangkali lebih banyak detail yang harus diperhatikan, mengingat pemain merasa ‘gampang’ untuk dimainkan (tidak perlu nafas banyak, pendek pula notnya). Namun jangan salah kaprah, justru kebanyakan persoalan artikulasi lagu berawal dari cara pemain meniupkan alatnya.

Tanpa melihat secara teori yang benar dan referensi yang akurat, pasti anda yang biasa mendengar suara stakato pada alat tiup, akan terasa perbedaannya di setiap pemain. Tiupan berlafal “Ta”, “Tat”, “Da”, “Du”, “Di” mempunyai karakteristik yang berbeda satu sama lainnya. Tergantung dari tanda baca dalam not, anda sebagai pelatih mempunyai preferensi tersendiri untuk mengekplorasi tipe suara yang dihasilkan oleh artikulasi tersebut. Namun, yang terpenting adalah, artikulasi dan lafal tiupan di setiap pemain HARUS sama untuk satu tanda baca not !! Dan semua itu berawal dari pemanasan stakato yang ‘membosankan’ bagi pemain, tapi penting sekali untuk menyeragamkan bentuk dan karakter suara brass.

MEMBOSANKAN
Nah, ini dia yang menjadi kendala di hampir semua pemain!! Bukannya apa-apa, saat pemanasan dimulai, apakah semua senior yang sudah ‘jago-jago’ dan sudah bertanding di GPMB berkali-kali itu akan mengikutinya? Saya jamin mungkin sedikit, bahkan tidak ada yang ikut. Mengapa? Sebagian besar senior ini akan berpikir, “Ah, pemanasan seperti itu bosan, ga ada efek tambahan bagi saya.”

Hal-hal ini kemungkinan berdampak buruk pada kekompakan tim, terutama hubungan antara senior dengan juniornya. Secara psikologis, mereka akan membuat kesenjangan antar pemain, yang akan berakibat pada semangat dan kekompakan tim. Bailey (1995) menyebutkan, “Tujuan sebuah latihan adalah lebih kepada tujuan psikologis daripada musikalnya.” Disisi teknis, ketidakhadiran senior ini akan berdampak teknik tiupan akan cenderung berbeda antar pemain senior dan junior, dan akan berakibat pula pada perbedaan artikulasi tiupan.
Jadi, bagaimana mengantisipasi ‘kebosanan’ ini? Adalah tugas seorang pelatih dan pemberi materi untuk memikirkan hal ini. Kebanyakan mereka lebih terkonsentrasi pada pemberian materi lagu paket, memoles dan memperbaiki (drill) lagu tersebut. Bagi saya pribadi, saya lebih menyenangi untuk memoles pemanasan dasar dan menguliknya menjadi sebuah lagu atau kord sederhana, namun menunjang ke teknis lagu tersebut. Sedikit saran tentang pemanasan dasar dan bervariasi antara lain:
a. Untuk pemanasan nada panjang skala do, dibuat 3 suara (do, me, sol), trumpet dan mello mulai dengan do 8 ketuk, saat high brass meniup me, trombone baritone eup baru mulai dengan ‘do’, begitu seterusnya, sehingga tercipta 2 – 3 suara yang berbeda.
b. Untuk pemanasan nada pendek juga dapat dilakukan bervariasi, buatlah kord sederhana yang mewakili teknik tiupan stakato.
c. Pemanasan campuran, yang menggabungkan antara kord nada panjang dengan nada pendek (tonguing technique), maka tercipta lagu sederhana sebagai penunjang lagu proyek. Ketika saya melatih sebuah unit di Jakarta, saya memakai lagu pemanasan untuk menunjang lagu proyek, dan ini terbukti sangat efektif dalam meningkatkan kemampuan pemain. (contoh lagu dapat di download).

Fokus perhatian:
a. Saat ketukan pertama dibunyikan, apabila tidak sama nadanya atau ketukan lebih cepat, maka pemanasan diulangi dari awal. Biasakan seperti itu, agar pemain lebih fokus dan konsentrasi.
b. Saat kord dimainkan, suruh para pemain untuk mendengarkan suara rekan yang mempunyai nada yang berbeda dengan nada yang ditiupnya. Ini mengajarkan kepada mereka untuk mendengar dan menikmati kord sebuah lagu, agar mereka peka terhadap not yang lain. Manfaat lain adalah pemain dapat belajar ‘sound-balanced’ antar sesamanya.
c. Artikulasi setiap pemain mulai dibenahi di setiap pemain, dan kemampuan antara junior dengan senior disamakan. Ajak para senior untuk melatih juniornya dan beri target kepada mereka agar kemampuan junior dapat menyamai seniornya. Dan untuk senior, jangan biarkan mereka tidak latihan pemanasan. Beri mereka teknik yang lebih tinggi dan menantang lagi.
KESIMPULAN (dari part 1 dan 2)
Seberapa kreatifnya dan jelinya sang pelatih menjadi faktor utama efektifnya sebuah pemanasan. Kurangnya perhatian yang baik tentang pemanasan menyebabkan ketidakefektifan pemanasan itu sendiri, dan hal ini sudah menghabiskan waktu yang seharusnya dapat meningkatkan teknik dan kemampuan para pemain. Beberapa saran para ahli yang kiranya dapat membantu secara psikologis antara lain:
a. Barry Ward: Penampilan band bagus berawal dari pemanasan yang tersusun rapi dan kreatif (Whaley, 2005). Sebuah part pemanasan dapat diimprovisasi sedemikian rupa agar dapat mendukung pemanasan dasar itu sendiri. Beri judul yang menarik untuk setiap pemanasan baru, seperti “Not Neraka”, “Longest Not Ever…”, “Lidah Kejepit”, yang dapat menarik perhatian pemain.
b. Wayne Bailey: Pemanasan terdiri dari teknik nafas, flexibility exercise, long tones, dan power buildings. Latihan nafas merupakan latihan yang SANGAT PENTING untuk membangun kekuatan dan kontrol nafas. Latihan ini juga mempengaruhi kualitas suara (tone quality) dari setiap pemain (Bailey, 1995). Sekali lagi, pelatih HARUS berada di setiap pemanasan untuk mengontrol jalannya latihan ini.

Dalam satu kalimat, buatlah pemanasan semenarik mungkin bagi para pemain, berilah tantangan yang baru di setiap pemanasan, agar pemain terpacu untuk mengikutinya dengan serius. Dan terakhir, musik itu adalah keindahan, berawal dari pemanasan yang ‘indah’.
Selamat berlatih,
Marbo
Reference:
Ward. B, “Time have changed: How about your warm-up” article on Garwood Whaley, The Music Director’s Cookbok: Creative Recipes for a Successful Program, Meredith Music Publication, 2005

Bailey. W, The Complete Marching Band Resource Manual, University of Pennsylvania Press, 1995

Baca juga :

• Download materi artikel river warm up.enc
• Indahnya sebuah pemanasan…(Part 1)
• Penilaian Vertikal vs Horisontal; Sudut pandang yang berbeda dalam menilai marching band
• Sayangi telinga anda
• Profile Pelatih Marko S. Hermawan
• Mahasiswa MEC menguji anak-anak dalam program Penelusuran Bakat Musik Anak
• Liputan Parade Konser Ensemble Recorder
• Seminar Metode Pengajaran Musik Praktis, berlangsung meriah dan menarik
• Tips”3K”

One of my other Trumpet Topics pages included a description of the virtues of Long Tones vs. Lip Slurs. Something that I should have also mentioned in that description is that long tones tend to reinforce.

For example, if you are in the process of making an embouchure change, you will probably want to initially lock in on your new embouchure by playing simple exercises consisting primarily of long tones. You will want to establish the new embouchure by playing exercises which you are certain will reinforce that new feeling and not cause you to slip back into your old embouchure, as might be the case with exercises which rapidly move around between high and low registers.

I believe that my Warm-Up is that period which, in addition to stretching — loosening — getting the circulation going — etc., I am really trying to “find my embouchure”.

I rarely feel that my first tone of the day is my best. Therefore, why would I want to start off my day by playing exercises such as Long Tones, which would tend to reinforce a less-than-optimum embouchure setting? I believe that it makes much better sense to start off my day with exercises that move around just a bit, allowing me to find that “perfect spot”.

If you have been used to starting your day with Long Tones, see how you feel this week starting off with just a few minutes of very simple chord exercises, as in the following example:

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!

High school solo contests will be coming up, auditions for entrance into a college music program may be coming up, and university “Jury Exams” could be just around the corner.  Perhaps now is an appropriate time to examine past performances to find clues which will help improve upcoming performances.

1. Over-prepare. The single most cause of anxiety is the lack of preparation. We must first be reassure “the little voice within our head” that we have no reason to be nervous.

2. Don’t view your audience as an adversary. Remember, you are a performer; you’re there to entertain and give musical pleasure to your audience.

1. Embouchure got cold waiting for the performance. Plan the warm-up so you’re embouchure is optimally responsive at the downbeat. Have a practice mute handy to stay loose in case your performance time is delayed.

2. Intonation kept changing throughout the solo. Our pitch does tend to change, usually unpredictably, as we gradually tire throughout our performance. Pitch may go flat as air support diminishes. On the other hand, pitch may go sharp as the embouchure tires and we pinch to hit high notes. It’s hard to predict what will happen to our pitch, so go on the assumption that your tuning slide is in the wrong place and constantly listen and adjust.

3. Unfamiliar with pacing requirements. Be sure to have daily “dress rehearsals” leading up to the performance.

4. Shallow breathing. Because of the inevitable performance tension, we always tend to take smaller breaths in performances than in practice. Always think to yourself: “breathe deeply”.

5. Unsteady tempo. In the excitement of the performance, adrenaline tends to make the tempo rush. Think to yourself: “calm tempo”.

6. Concentration lapse. Focus on your musical performance and block out extraneous distractions.

Some suggestions for pre-performance preparation:

1. Develop a systematic practice routine with specific objectives for each segment.

2. Determine exactly what problems need practice in this piece: e.g. finger coordination, rhythm, embouchure set, etc.

3. Listen to recordings often. Saturate yourself with the sound of the musical flow of the work.

4. Try different methods of practicing the trouble spots: i.e. practice slowly to figure out strange patterns; practice short fragments up to tempo to feel the “flow”; start at the end of a passage and work backward, etc.

5. Record yourself. You can listen to the playback of a recording much more objectively than you can while you are actually playing.

6. Learn how to tune-up. You actually need to practice tuning up, just as you must practice the obvious technical hotspots.

7. Musicianship: The phrase should have constant direction, never a static dynamic. Practice maintaining a smooth, uninterrupted flow throughout your phrase.

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.