Introduction
When it comes to marching band shows, there are several basic concepts that every band program should focus on. Here are seven marching band rehearsal strategies that make the biggest difference in how a performance actually sounds by the time you hit the field.
The Marriage of Breathing, Playing, and Movement in Marching Band Shows
The most crucial concept in marching band shows is the seamless integration of breathing, playing, and movement. While many band programs teach these aspects individually, very few successfully combine them. To achieve this synergy, it’s essential to decide ahead of time how many counts students will breathe before they play. For consistency, we recommend implementing a two-count breath across all exercises.
Two Count Breath
In a two-count breath, students follow specific visual and musical cues. On count 7, they initiate the inhale, followed by a “push” on count 8, and finally, they play and step on count 1. This coordinated approach ensures a smooth and synchronized performance.
One Count Breath
For a one-count breath, the visual and musical responsibilities remain similar to the two-count breath, with the main difference being that the inhale and step initiation happen simultaneously on count 8. This variation provides an alternative option for incorporating breathing into the show.
Choosing the Right Approach
Throughout this guide, we’ll stick to the two-count breath for consistency and ease of explanation. However, feel free to adapt these concepts to suit your specific needs and preferences.
Airflow and Timing
In marching band shows, continuous airflow is crucial for maintaining the rhythm and precision of the performance. Once the initial inhale begins, the air should never stop moving until the exercise concludes, either in or out. It’s vital to coach students to take a full breath that lasts for the assigned number of counts. A short inhale can lead to early or inaccurate entrances, whereas a full-length breath ensures a more accurate start. For more on the physiology behind this, Band Director Media Group’s breakdown of breath control for wind and marching musicians is a solid technical reference.
Ensemble Timing and Tempo in Marching Band Shows
When performing on a football field, time is perceived differently due to the physical demands of the performance. Instead of aligning the students’ playing directly with the metronome, it’s more effective to synchronize their body movements (feet, etc.) with the metronome’s pulse, or visual tempo source (i.e. the drum major’s hands, depending on the situation). By establishing a consistent tempo within their bodies, students can play in time with their own movements, resulting in a cohesive performance across the football field.
Equal Contribution from All Members
Marching band can be a challenging activity, especially for newcomers. Students may resist playing while moving due to initial difficulties with coordination and self-consciousness. However, encouraging them to overcome these obstacles is crucial for their growth and the overall success of the band.
To foster a culture of active participation in marching band shows, it’s important to remind students of the importance of playing and contributing fully. Encourage them to respond to the question, “What’s the worst thing you can do?” with the resounding answer, “NOT PLAY!” This mindset shift will motivate students to embrace playing while moving and actively contribute to the band’s sound during marching band shows.
Isolating Groups for Improvement
To address individual areas of improvement, consider isolating groups within the band. This can be done by section, instrument part, class, or any other relevant criteria. By delivering specific feedback and instructions tailored to each group, you can guide students toward the necessary changes and adjustments. You’ll have seniors whose full volume will need to feel more like mezzo forte, and you’ll have freshmen whose mezzo-forte will need to feel like full volume. MakeMusic’s overview of differentiated instruction in ensembles covers this same principle in more depth if you want to take it further.
The Importance of Breathing
One common reason why students stop playing while moving during marching band shows is a lack of air. Staggered breathing techniques can help alleviate this issue, we cover that in depth in Breathe Like a Pro: Mastering Stagger-Breathing in Marching Bands. As a starting place, a simple reminder to take in air can make a significant difference. Often the most common problem is that students simply forget to breathe. Encourage students to breathe more often, make their bodies full of air, and initiate their breaths sooner.
Vocalization for Equal Contribution
One effective way to encourage equal contribution from all members is to incorporate vocalization into rehearsals. When students are not playing their instruments, have them vocalize by counting drill sets, rests, or words associated with their body movements. This practice allows everyone to stay engaged and actively participate in the performance, even when they’re not playing their instruments.
Conclusion
Mastering the basic concepts of music fundamentals in marching band shows is crucial for achieving a synchronized and impactful performance. By focusing on the marriage of breathing, playing, and movement, emphasizing equal contribution from all members, and incorporating vocalization techniques, you can elevate your band’s performances to new heights. Start implementing these strategies in your rehearsals and watch your marching band dazzle the crowd.
Frequently Asked Questions
What’s the difference between a two-count and one-count breath?
In a two-count breath, students inhale on count 7 and push on count 8 before playing on count 1. In a one-count breath, the inhale and the first step happen together on count 8.
Why does aligning movement to tempo work better than aligning playing to tempo?
On a football field, physical exertion distorts a student’s sense of time. Syncing their feet to the pulse first, and letting the playing follow the body’s motion, produces a more accurate result than trying to line up the playing directly.
How do I get freshmen and seniors to match volume?
Isolate them by class or section and give each group specific, separate feedback. Seniors often need to scale back toward mezzo forte, while freshmen often need to scale their mezzo forte up toward what feels like full volume to them.
What should I do if students stop playing while moving?
It’s almost always a breathing issue. Remind them to breathe more often, take fuller breaths, and initiate the inhale sooner. Staggered breathing is the next tool once basic breath timing is solid.
About Evan VanDoren
Evan VanDoren is a composer, arranger, conductor, and former high school band director whose music is performed by ensembles across the United States and beyond. He works with band programs to create music and marching band productions designed around the strengths of their students and programs.
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