Good to Great: Ensemble Planning
Individuals need solid time management for an effective rehearsal, but coming up with a solid plan for ensemble can go a long way to assist. Some things are better suited for ensemble rather than sectionals or other types of rehearsals, and vice versa.
Some things ensemble can benefit:
Ensemble timing
Balance
Coordinating new material (like choreography, guard work integration, new drill, etc.)
Big picture performance and character reps
Some things ensemble is less suited to benefit:
Individual playing ability/preparedness
Sub-section intonation
Individual sections learning new material
Comprehensive “in the moment” changes (without prior planning for experimentation)
Ensemble rehearsal is just that: for the ensemble. The goal of any ensemble rehearsal should be for the benefit of the entire ensemble. A common misconception is that more ensemble rehearsal = more points; that just isn’t true. In fact, poorly planned ensemble can actually harm your competitive success. An ensemble is only as good as they rehearse, including what those running rehearsals decide to spend the ensemble’s time on.
Creating a Plan
Ensemble planning should start with big picture goals. First, examine what obstacles or events are on the horizon - maybe there is an important performance coming up or a clinician/designer coming to rehearsal. You can start at the “goal” and work your way backwards to help prioritize the varying goals for each section. The sub-section staff and leadership should be responsible for helping prepare their respective sections to execute the big picture goals of the ensemble, but that can only work if they know what those goals are.
To that end, the goals should be obvious and available to your students and staff so that everyone is on the same page. This also means that those responsible for setting the goals and actually running the ensemble rehearsals need to stick to the plan as much as possible. One of the largest causes of friction and confusion in any organization is when the individual(s) running the rehearsal "goes rogue” and deviates from the stated goals. Showing up to an ensemble rehearsal with a different plan than what was communicated feels like a rug-pull for the staff and students, and usually results in a lot of frustration as the work the sub-sections put in may feel wasted (even if it was still productive!). Barring any unforeseen circumstances (lost access to the band field/stadium, inclement weather, etc.) you should always try to stay the course.
In the Box
In the box this can be easier said than done, and obviously there is room for some flexibility when inevitably the sprinklers turn on or a student careless leaves their car parked on the 50 yard line after school. But other side projects can be awfully tempting as they appear - the best litmus test is this: is the side project going to increase or decrease your ability to reach the ensemble goal? Does it affect enough of the ensemble to warrant spending uninvolved sections’ time on said project? If not, or if it takes you away from the ensemble goal, it may be worth tabling that project for another, more appropriate time.
Remember, ensemble rehearsal is about the ensemble needs. Sub-sections may encounter times when they are not utilized during small stretches of ensemble rehearsal, and that is OK. Students being relaxed/quiet in their dots is not inherently a bad thing while other sections are being worked on. But be mindful of extended times like this - if you find a priority that does not involve a specific section for a specific period it may be worth sending them away (space permitting) to work on other projects for the time being. As a note, this is usually only worth it if you anticipate the section will not be used for at least 20 minutes - anything less may not be productive when you factor in any breaks/transit time.
Be Considerate
A common issue is not allowing your students proper time to re-warm up if they have not played in some time. Any front ensemble or battery member has been a part of a rehearsal like this: the box works with the winds for a certain chunk and isolates them musically, so the percussion does not play for an extended period of time. Then, once the project is complete, they are asked to play immediately (usually a large chunk) and their hands are ice cold, leading to an uncomfortable string of reps while the hands rewarm. This is not exclusive to percussion - if any section has an extended period of not playing it is worth allowing 30 seconds to a minute or so to rewarm the faces and hands.
If a sub-section has been targeted for a specific series of reps while other sections of the ensemble are waiting, it can be tempting to want to jump back into full ensemble as soon as that project is complete. However, the sub-section that was targeted may be in need of a break! A repeated section with that includes extensive guard work/drill where they reset or change equipment can be very taxing on the performers - be mindful of resets and equipment changes! A great strategy for those situations is to allow an extra rep for the guard to reset (more calmly!) while the musical sections take the chunk again. This can also apply to any sections where props must be moved across the field. Sometimes the plan needs to change without much warning. When that occurs, make sure it is clearly communicated to all staff and/or leadership so alternative plans may be able to be created.
Make Use
Not all bands have the convenience of multiple rehearsal spaces or abundant field staff. In such cases, careful planning is even more important. Change is inevitable, and adapting to the conditions or limitations of your rehearsal is a normal part of life. Time management is important, so prioritizing what affects the highest number of people and the longest projects can be useful.
Remember, for any effective rehearsal the students need to stretch and warm up, and sometimes move equipment/props/speakers/etc. - this will usually take a little bit of time, especially if rehearsal starts right after school. Be considerate to the front ensemble, color guard, and any prop movers to have enough time to relocate safely and efficiently so they can get set up. You can assist by making sure each section knows their exact responsibilities to get set up, and have other sections assist with moving equipment where needed. If you do not need the front ensemble/guard/props right away it may be worth allowing them more time to move or to start separately and then join the rehearsal later when they will be more actively utilized!
These are suggestions, not rules, based on lessons learned from many failures and successes from wide variety of ensemble rehearsals. From small high schools with limited staff and facilities to the top of DCI and WGI, these guidelines have helped paved the road to success.
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