Good to Great: Instruction Protocol
The best rehearsals are predictable. Surprise reps or information is not a good thing. Educators want their students to practice and get reps to achieve consistency, and to be able to replicate the musical or visual responsibilities the same way every time. But, like asking a student to execute consistently, staff members must also execute rehearsal techniques the same way. This builds consistency into the rehearsal and lets the performing members (and staff members!) know exactly what to expect and what is expected of them throughout the rehearsal. This a massive tool that is woefully under-utilized throughout the marching arts.
Rep and Instruction Protocol
In addition to the chain of command/communication protocol from last week, it should be clear for everyone when a rep is about to start. The Box should get the attention of the entire ensemble by saying “Band” or “Standby” – something that indicates they are addressing the entire group. The group would then respond visually with eyes on the box and a hand in the air, moving to the Standby position (if they weren’t already), and verbally respond (“Yes!”). The Box can then proceed when they have the full attention of the ensemble (no extra sounds or comments happening).
The Box can provide the instruction for the next rehearsal chunk, including the starting and stopping points, music/visual responsibilities (brass only, winds on air, battery and front ensemble playing, etc.). Once the instructions are complete, the Drum Major would then have the responsibility of preparing the rep. The group should at this point already be at the Standby position, so the Drum Major can re-iterate the starting/stopping point and music/visual responsibilities. This is useful not only to give the performers another chance to understand the instructions, but also in case there is additional clarification that the Drum Major can provide (for instance, the Box referred to the wrong musical chunk when referencing the set numbers). Note: One good addition can be requiring the performers to say the chunk out loud after the instruction is given (or at least the starting and stopping set numbers or musical references).
The Drum Major can then call out “Set” – the performers would go to their “Set” position: instruments up, good posture, playing position (embouchure set, sticks out, etc.), and generally into the Minus 1 foot position (feet should be in the position where they would have been 1 count prior where you are starting). Once everyone is Set, the Drum Major should cue the metronome to begin, or count off the chunk if going off the hands. The standard is “8 and you’re in” – 8 counts from the metronome at the given tempo (generally regardless of the time signature) prior the rep starting. This can be customized as needed, but it is preferred to stick to 8 counts only unless the specific circumstances require that to change. Consistency here allows for the rep to always start the same way to avoid confusion.
At the conclusion of the rep, the performers should end in their Plus 1 position (Plus 1 Designs, get it??) which should be one step into the succeeding drill set. This works on direction changes and transitions so the performers can be more used to the weight distribution and effort changes between different chunks of the show. Sometimes, it may be a good idea to stop on the previous count instead of “taking the Plus 1” – however, if the students are playing musically during the chunk, stopping on the last count (instead of the Plus 1) can be incredibly uncomfortable and awkward.
The performers should hold the Plus 1 position and remain still. Either the Drum Major or the Box can give the next commands:
Check
Performers check their position with their eyes/heads but otherwise do not move. This is to allow them to see what their adjustment may be and give them time to process changes that need to happen physically for the next rep.
Adjust/Standby
Performers adjust their position to the correct position on the field and then move to a Standby posture. These can be two separate commands or given together.
In Standby, the performers should be attentive and ready to receive instruction. The Box should always talk first and indicate what the focus should be. This can also be simply to say “Field” to let the field staff dig in – be sure to follow the chain of command! Once instruction and information are complete, the Box can advise to reset and repeat the same chunk and/or modify instructions to proceed to a different part of the program.
These elements on their own are not particularly effective, but instilling the value of disciplined, consistent rehearsal technique into the ensemble is paramount to success. The chain of command allows everyone to understand who questions or conflicts should be deferred to and where their attention should be focused. Effective communication allows for instructions to be clear and concise across the board, and the rep/instruction protocol allows for the ensemble to get efficient reps on whatever section of the program they might be working on.
Protocol is Paramount
Together, these items are greater than the sum of their parts and allow for the rehearsal to almost run itself! The effects are almost immediate in terms of efficiency and having higher quality reps across the board. However, there is a catch: the entire staff must be equally committed to this process. Just like practicing a musical phrase inconsistently will lead to ineffective results, using inconsistent rehearsal protocol or processes will lead to ineffective rehearsals.
This also means that you may have to practice rehearsing. That may sound odd, but it is true. Take the time to practice the communication protocol. If a staff member calls the attention of a section and they do not all respond appropriately (visually with a hand raise as well as verbally), do it again. And again, and again if necessary to get the point across. This is worth the extra effort, even if it reduces some of your other rehearsal time. If a student starts or stops in the wrong place and misses the instructions, reset the ensemble, and try again. If not all the students are in Standby when they should be, do it again. Not all bass drums went to a Minus 1? Do it again. Someone moved early out of the check/adjust position? Do it again. It is not a way to punish a member for failing to execute the right instructions or protocol, but rather to refocus the entire group to get better at rehearsing, just as you would ask a student who played a phrase incorrectly to do it again.
If this is a newer process or slightly more strict discipline than your ensemble is used to, it may cause some friction to implement. But again, this is worth the extra effort. So long as the entire staff is dedicated and committed to sticking to the protocol and following the process the students will understand that it is there to stay. For the more “difficult” students (for lack of a better word), you may need to be more stubborn about sticking to the protocol than they might be about breaking it. Show, through the staff actions, that the protocol is paramount, and all successes are built upon that foundation. Be patient and stubborn and continually work until the old/bad habits are broken.
Implementation of this will not happen instantly. It is a continual refinement of the process that starts by establishing an expectation and then continually upholding that expectation at all times. This means even when there is not much time left in rehearsal, when it is uncomfortably cold/warm, the day of a performance, finals week, etc. Individually dedicate yourself to rehearsing well. The care and attention to detail put into the rehearsal process will find its way quickly into all other elements of the ensemble: individual practice, sub-sectional rehearsals, concert band, the list goes on and on. The additional focus and attention will serve the ensemble well competitively and will also serve the students well on their journey to come, wherever it may lead.