The First StepConnecting marching techniques with musical concepts for the first rehearsal and beyondJulian SconyersGraduate Conducting Associate, University of South CarolinaSenior Brass Instructor, Blue Stars Drum and Bugle Corps

What is the Big Deal?

The visual program is a vital part of the activityo Important in audience understanding and interactiono Increased importance of the visual caption in

adjudicationo Rapid evolution and increased innovation

It is your first rehearsalo First Impressions matter!o Set expectations high.o It is always someone’s first experience with marching

band.o Establishing a good foundation early is critical to

success later.

Developing a Technique

It doesn’t matter what technique you use, as long as it is done well.

Essential Questionso What is important to you?o What works for the band?o Is it conducive for healthy movement and musical

demands?o Are you consistent in your approach?o Is it the simplest solution to achieve you needs?o What non-marching visual elements do you want or

need? (Body Work, Dance, Horn Moves, etc…)

Sequencing the Marching CurriculumOrder of Presentationo Spiral Curriculumo Blooms Taxonomy

Sequencing the Marching CurriculumMethod of Presentation

Sight → Description → Experience → Execution

o Sight: How does it look?Visual Demonstration

o Description: How it will work?Aural Instruction

o Experience: How does it feel?Kinesthetic Exercises

o Execution: How do I do it?Incorporating the technique

Scaffolding the Marching CurriculumTier 1: Bodily Identification

Tier 2: Posture and Position

Tier 3: Stationary Commands

Tier 4: Timing in Movement

Tier 5: Basic Motion

Tier 6: Basic Marching

Tier 7: Separation of Upper & Lower Body

Tier 8: Moving in a Slide

Tier 9: Direction Changes

Tier 10: Extreme Tempos

Tier 11: Expanded Visual Vocabulary

Scaffolding the Marching CurriculumTier 1: Bodily Identificationo Stretcheso Moving Evenly Through Space and Timeo Independence of Motion

Scaffolding the Marching CurriculumTier 2: Posture and Positiono Basic Posture/The Checklisto Basic Ballet Positions and Termonologyo Horn Carriage (This can be incorporated later)

Scaffolding the Marching CurriculumTier 3: Stationary Commandso Attention to Parade Rest and Parade Rest to

Attentiono Horns Upo Horns Down

Scaffolding the Marching CurriculumTier 4: Timing in Movemento Mark Time (This can be incorporated later)o Moving in time and in stepo Crossing Counts

Scaffolding the Marching CurriculumTier 5: Basic Motiono Initiation of Motiono Distribution of weight (50/50 Exercise)

Scaffolding the Marching CurriculumTier 6: Basic Marchingo Forward Marcho Backward Marcho Halts

Scaffolding the Marching CurriculumTier 7: Separation of Upper and Lower Bodyo 30-60-90/Sprinkler exercise not in postureo 30-60-90/Sprinkler in posture (both with and without

horns)o Understanding the separate roles of feet, legs, hips,

back, and shoulders/arms.

Scaffolding the Marching CurriculumTier 8: Moving in a Slideo Moving in a diagonal/obliqueo First step in a left slideo Moving in a right slideo First step in a right slideo Moving in a right slideo Moving at a right angle

Scaffolding the Marching CurriculumTier 9: Direction Changeso Forward to backwardo Backward to forwardo Into and out of a slide

Scaffolding the Marching CurriculumTier 10: Extreme Tempi (Can be incorporated after Tier 4 or Tier 6)o Moving at slow tempio Half time and quarter timeo Moving at fast tempi

Scaffolding the Marching CurriculumTier 11: Expanded Visual Vocabularyo Body movement beyond basic ballet positionso Extreme horn angleso High march and high mark timeo Jazz runningo Toe first slow march

Student Rules

Basic Rules (Individual)1. Know how it feels to look good.

o Be aware of each body part, and how each part individually moves.

2. Time First!o Technique can not sacrifice time.o Move evenly through space and time.

3. Tension is the enemy.

Student Rules

Advanced Rules (Ensemble)4. Keep your eyes constantly moving.

o Spaceo Formo Fieldo Time

5. Complete one visual phrase before moving onto the next.

6. Know your halfway points.

Instructor Rules

1. Know how it should look, and simply work to make that happen.

2. Be detailed and very specific. Don’t clean, but make sure everyone understands.

3. Know where your students are physically and mentally throughout the rehearsal.

A Sample First Week CurriculumDay 1o Stretcho Postureo Mark timeo Moving in timeo Forward and backward marcho Halts

A Sample First Week CurriculumDay 2o Stretcho Reviewo Oblique Motiono Separation of upper and lower bodyo Slides

A Sample First Week CurriculumDay 3o Stretch o Review day 1o Review day 2o Direction changes not into slideso Direction changes into slides

A Sample First Week CurriculumDay 4o Stretcho Review day 1o Review day 2o Review day 3o Extreme Tempio Half and quarter time

A Sample First Week CurriculumDay 5o Stretcho Review everythingo Apply techniques into an exerciseo Possibly introduce any needed advanced

techniques

The Visual Warm-upo Reinforcing the visual fundamentals program is

critical to its implementation and execution in performance and rehearsal.

o This warm-up can be done separately or in conjunction with the musical warm-up

o The visual warm-up can be done in five to ten minutes in an average rehearsal.

o Remember that your warm-up location my not be of adequate space to do everything. Have a backup plan!

The Visual Warm-up

Everydayo Stretcho Posture

breakdown/the checklist

o Possible basic ballet sequence

o 50/50 exercise forward

o The first step forwardo Crossing counts

forwardo Forward marcho 50/50 exercise

backwardo The first step

backwardo Crossing counts

backward

o Backward march

The Visual Warm-up

As NeededStationary sprinkler o 30/60/90 Both DirectionsMoving sprinklero 30/60/90 both directionso Slides both directionso Forward and backward slidesThe factory/across the floorso Incorporates all elements of forward and

backward motionSpacing Exerciseso Do something that incorporates spacingo A/B meshing exercises work great

Connecting the musical and visual elements“If it doesn't happen on the move, it doesn’t count.”

Warm-ups and Exerciseso Incorporate breathing, long tones, articulation, and timing

exercises

Rehearsal Techniqueso Incorporate exercises that include visual and musical elements

from the show

Vocabularyo Incorporate vocabulary that has mutual concepts of time,

phrase, and expression.

Making Connections Through ExercisesThe primary goal is to get students playing while moving.

Remember the spiral curriculum, and start with the lowest level, and build up.

Goalso Understanding of the sensation of moving and

playing and the physical hurdles.o Understanding the connection of moving in time to

playing in time

Making Connections Through ExercisesExample Exerciseso Breathing counts on the moveo Long tones on the move (slow and low)o Associating the breath with the prepo Associating the musical entrance with the

initiation of motiono Associating the release of sound to a halt o Balance exercises with long toneso Acting exercises with long tones

Making Connections Through Rehearsal TechniquesRemove simultaneous demands, and slowly reincorporate them.

Start with musical ideas and add visual elements, and start with the visual element and add musical demands.

Making Connections Through Rehearsal TechniquesExample Techniqueso Trackingo Step outso Circle drillo Using long tones in drillo Playing rhythm only in drill

Making Connections Through VocabularyUse vocabulary that incorporates musical terms in place of visual or physical terms.

Make connections between similar musical and visual concepts.

Making Connections Through VocabularyExample Connectionso Breathing and Basic principals of movemento Phrasing (Visual and Musical Phrases)o Subdivision (Crossing Counts)o Style (Style of body movement)

Expanding a performer’s comfort zone and expressive vocabulary in visual rehearsal can result in increased musical expression.

Questions

ContactEmail: jaysconyers@gmail.comWebsite: jaysconyers.com