FROM CARNEGIE HALL TO THE 50 YARD LINE - Part 2

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5. Executing the Musical Agenda of the Rehearsal. How do you rehearse?

The repertoire is the content area. The substantive teaching begins now. What tools should we bring to work? How to Rehearse:
* Rehearsal items are determined by the challenges, issues, and substantive qualities found in the repertoire (concert or marching music) or drill design.
* Extract them similarly to that of a Doctor solving a medical problem: Observe (to perceive, notice,see), Diagnose (to distinguish or identify), Prescribe (to order or recommend a remedy
* After having done that, approach the band specifically, "targeting" the issue:
* Goal Set (get them psyched to fix the target issue), LISTEN (to how they do what you asked them to do), Create Feedback (validate, congratulate, constructively criticize, TEACH).
* Please don't say too much! Targeted language speeds up the pace of the rehearsal. "They want to play, not listen to us."
* Isolation and Pacing. (Don't go back 32 counts in the drill if you only need to rehearse counts 31 and 32 of the move - go back to count 29, and isolate the 4 counts that are critical - otherwise known as the SEAM).


Starting and Stopping Sound:

1. Concert Band - Start sound primarily non-verbalty, with occasional verbal reinforcement (counting off). Stop sound non-verbally.
2. Marching Band - You MUST be verbal, usually associated with a PA system. Train the tapper, and train the ensemble to respond to the tapperl Train the band to stop on the drum majors whistle, your whistle, (Madden's whistle!). Choose one or invent one, but train them to stop quickly!


The Rehearsal Toolbox? What Tools do you Bring to Work?

1. Musiclanship
2. Your personality and necessary adjustments
3. Baton Technique (& baton please)
4. Preparation and personal study
5. Interpretative Skills
6. Ears
7. Eyes
8. Tuner/Metronome
9. Language efficiency (including musical terms)
10. Gesture efficiency
11. The isolator
12. Pace


6. How to "listen" in the Concert Band vs. the Marching Band

Acoustics (or the lack of) create the most awkward set of problems and liabilities for students in the outdoor setting of the marching band.


Listening Skills in the Concert Band:

* Conductors encourage students to possess "beautiful" and "characteristic" tones.
* Conductors come to the podium with an "Internal Aural Image" of their ensemble before the sound begins to happen.
* Students participate in blending and balancing exercises.
The Five Rules of Listening:
1. Make a beautiful sound
2. Blend, match and balance with the players to your right and left
3. Blend, match and balance with your section
4. Blend, match and balance with your choir (brass/woodwind/percussion)
5. Blend, match and balance with the ensemble, the Band, the Wind Ensemble, etc
6. Conductors reinforce these rules in a physical atmosphere that includes acoustics.

Listening Skills in the Marching Band:

* Conductors encourage students to possess "beautiful" and "characteristic" tones.
* Conductors come to the podium with an "Internal Aural Image" of their ensemble before the sound begins to happen.
* Students participate in blending and balancing exercises.
* Listening rules change when acoustics don't exist and drill design stretches the "size of the stage."
* The "Rhythm Section Idea" replaces the "Conductor Sensitivity" way of life. Students listen to the drumline. Feet must stay "in time" and be "with the drumline." We teach the ensemble elements of "timing" directly through the proficiency and pulse provided by the drumline. Pit ensembles must "listen back". Drum Majors reflect "time" as reinforced by the drumline. In short, in order to have a good marching ensemble, you must have a solid drumline!


* The five rules of listening are replaced outdoors with the five rules of ZONING.
1. Make a beautiful sound.
2. Blend, match and balance with the players directly surrounding you (4 sides).
3. Blend, match and balance with players within "Ten Yards" of your charted position.
4. Blend, match and balance with the ZONE you are staged with.
5. Be able to hear the drumline pulse

The title of this session was inspired by a visit that Dr. William Revelli made to Michigan State University in April of 1994. Dr. Revelli spoke to my undergraduate conducting class and other music education majors at MSU. It wa a special and memorable day. One of the students asked of his days with the Michigan Marching Ban, and what "ensemble development" concepts he taught with in the marching band environment. He replied with a definite expression of conviction on his face:

" I don't care if you're in Carnegie Hall or on the 50 yard line, a C is a C, and in tune is in tune!" William D. Revelli (b. 2/12/1902 - d. 7/16/1994


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