Texas Bandmasters Association
Bandmasters Review • September 2013
19
Common Scenarios
We have all faced, or will face, some situations
in a developing show that lead to a certain level of
frustration. Here are some scenarios that most of us
are familiar with and some effective rehearsal strategies
that have helped us in the past.
#1 - The Cold Attack: Your arrangement calls
for a fortissimo attack (out of silence) from the
entire ensemble.
Really? Good luck! Consider re-writing the percussion
parts for a battery lead-in (provides pulse) and a front
ensemble crescendo with tam-tams, concert bass drums,
and suspended cymbals (obscures “duts” from the field
and can cover-up some minor precision issues).
Here is a rehearsal method: First, setup up a
metronome with headphones for the drum major.
There must not be any metronome “bleed through”
sound perceived by the front ensemble or any other
performer. All pulse must be received visually from
the conducting pattern. Next, have only the furthest
backfield players practice the attack following the
drum major’s “start pattern”. Layer in voices to each
repetition from back to front. Add the front-ensemble
last. This should help train the performers’ brains to
make miniscule allowances for the sound-delay as
they perceive it on the field. Each performer sees the
DM begin the “start pattern” and their brain learns
when the ensemble sound (traveling from back-to-
front) reaches them on the field. Hint: In this situation,
the FE should not play when the DM conducts the
downbeat; they’ll be early every time. Don’t ask the FE
to watch the DM. Rather, after observing the beginning
of the drum major’s “start pattern”, the front ensemble
should divert their eyes (subtly) and both internalize
the adjusted pulse (allowing for delay) and listen for
the breath of the wind players nearest them. This is
extremely difficult. Consider whether you and your
students have the time, energy, patience, and skill to
pull this off. Is this attack worth the trouble, or, are
there “bigger fish to fry”?
#2 - The Battery Entrance in the “Ballad”: The
battery has been tacet for the majority of the
“ballad” and must now enter and take over pulse-
keeping responsibilities.
A small “slip” in precision might be perceived if there
are active rhythms leading up to the battery entrance.
Consider re-writing some of the rhythmically active
front ensemble parts for a more seamless entrance.
Also, try to write (or re-write) the battery entrance to
occur during longer note values in the wind book. The
closer the battery is to the front ensemble (and drum
major), the easier this challenge becomes. Consider
adjusting the battery drill to increase their proximity
to the rest of the ensemble.
Here’s how you might tackle this one: First, you
will need to work “off metronome”. If the ensemble is
listening to the metronome, you are not allowing them
to experience the “real world” environment. Use some
key personnel in the battery to serve as “dutters” for
their section (Please, though, keep the “dut” volume
to a minimum). The drum major should use the feet
of one of the dutters as their visual focal point and not
be distracted by the lateness of the battery attack (as
they perceive the attack relative to their ictus). This
The Unique Demands on the Marching Musician