So, you just completed two weeks of band camp, learned drill and music, and performed for the parents. Congratulations on completing this ever so exhausting task. As you move into the weeks following, how do you take this product and fine tune it to have the most impeccable balance, volume and musicality in this competitive activity?

You must now redo the music to what the staging presents.

What? I have to go back and rearrange things after spending so much time learning it at band camp? Yes! This art form known as the marching arts is just like a 600 piece jigsaw puzzle that you work with your grandmother. It is fun, takes concentration, but involves weeks to get it just right. If you learn your music inside, and learn your drill outside, then put the music together with the drill and it doesn’t quite sound right, there is a very good reason. The positioning on the field has everything to do with how you sound. If you have a really knowledgable drill writer, which hopefully you do, he/she will work hard to place your students in what they hope will be the best place to sound great, but most of the time it comes with inherent issues they do not know about.

For instance, drill writers do not know you have 4 baritones and 5 trumpets that are All-State players and can bury a band. They also most likely do not think deep enough musically in the score to know which notes of the chords need to speak to make the music come alive. Our drill writers are excellent at what they do, and I definitely would not want their job, but in order for us to achieve an amazingly balanced sound with chords that mean something emotionally and a sound that touches our audience, we have to adjust according to our staging on a very consistent and purposeful basis. Not only do we need to sound great, but the notes of the chords have to sparkle with resonance and beauty in order to have an emotional connection with our audience and adjudicators.

How does this work?

1. Record your ensemble on a consistent basis, DAILY, and compare it to the original midi recording you received from the arranger. Does the outside recording sound like the midi? Do you get the same chord structure and homogeneous sound that you came to love in the initial recording of the music? Also, be critical when you are listening to the ensemble as if you are judging this product. How does it affect you?
2. Understand that it is not as simple as telling folks to “play louder”. If you need more sound and you tell students to “play louder,” you will most likely get an overblown sound because your really great students are going too far, and your young students cannot play that big yet. Instead, through the recordings, listen to exactly what note of the chord needs to be adjusted, and address those people.
3. Do not be afraid to change the dynamics. Maybe the dynamic suggests fff, but the form you are put in says fff for some of it, but then seems to make more sense as it moves to taper the dynamic. This wasn’t the initial plan for the music, but it can be adjusted depending on what we are given to work with, and the adjudicator most likely will never notice.
4. Know your players and what ranges of the instruments sound best for those players. Do not ask your 8th and 9th grade baritones to play an F above the staff. At the same time do not have them play below an F in the staff. Know what ranges are going to sound good for all players and give everyone the chance to sound great. Are you not getting the volume you need in a specific area? Move notes around in the score depending on age of player and staging to achieve that resonance you are listening for.
5. Give people new notes and musical lines depending where they are on the field. If the trumpets had the melody but somehow they get staged on the back hash, give it to the horns who are staged right up front. Also, if you are missing several notes of the chords because your mello section is split apart, give new notes to those who are in a better position. Keep working to rescore the music for the staging your are presented. If your baritones are in the back and the trumpets are in the front, and you wonder why you are getting a bright sound, do not settle for it, adjust accordingly. In some very severe cases, you may need a drill rewrite.
6. Understand it takes time to get it right. If you first try something and it doesn’t work, keep trying. Just like the jigsaw puzzle, it takes time to get it just right. Just make sure you get it by the deadline!

If things do not sound good when the music gets put to drill, there is a very specific reason. It could be the drill is too difficult or it just needs to evolve for a bit. However, many times, about 70% of the time, it needs some sort of adjustment from the way it was initially learned and placed outside before it begins to sparkle.

Have you experienced this with your own ensemble?