DOCSLIB.ORG

Marching Band

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Marching Band High School Band nd 2 Grading Period (10-12 weeks) Power Objectives: Academic Vocabulary: See below for more vocabulary. Demonstrate on a daily basis the individual responsibilities for a musical phrasing musical form member of a performing ensemble. stylistic tone production (ensemble, Develop instrumental solo and or ensemble performance skills to expression/musicality section, individual) dynamic contrast blend (ensemble and section) include performance through traditional classical and other tempo consistency balance (ensemble and section) notations. (A 9-12) articulation intonation (ensemble, section, Develop, analyze and appropriate criteria to evaluating pieces of individual) pitch accuracy music and musical performances within and outside the rhythmic accuracy classroom. (C 9-12) See below for additional power objectives. Marching Band Enduring Understandings: Essential Questions: Active engagement in the music rehearsal itself and giving the best How can we work as a collaborative team to efficiently prepare possible effort demonstrates responsible musicianship and leads our music to the level of a quality public performance? to musical improvement. What specific music/marching techniques do I need to physically See below for additional enduring understandings. master in order to have a high quality performance? See below for additional essential questions. Power Objectives: Read, perform, and describe varied types of musical repertoire using vocabulary that demonstrates an understanding of the language of music appropriate to the genre and culture. (D 9-12) Recognize the functional role of music across history, cultures, societies, and subject areas as it relates to music being performed by the ensemble. (E, G 9-12) Enduring Understandings: Making a positive commitment to the group by thinking past individual concerns, and working for the betterment of the “musical team.” demonstrates responsible musicianship and therefore leads to the success of a music ensemble. Proficient musicians play a wide variety of musical repertoire accurately. In order to have a rewarding performance experience, students must utilize proper performance techniques. The correct execution of marching techniques directly affects the quality of the overall musical performance both aurally and visually. The demands of performing music in an outdoor setting, and while in motion with other musicians brings unique performance challenges that must be repetitively practiced before public performance takes place. Continuous evaluation of music/marching performances of individual marchers is essential for the successful improvement of the marching ensemble as a whole. To successfully convey the message of a marching band production with an audience, the performer must interpret the context and connection of the music being performed. Essential Questions: How can I better understand my musical and marching role as an individual within the context of the whole ensemble? How can we use the selected musical literature to continually improve our understanding and execution of the foundational concepts of music? How can we take musical strengths from the previous Friday night performance and make them stronger as we also make a commitment to improving on our weaknesses as an ensemble? How can the contextual meaning of a marching band production change based on the life-experiences of the person experiencing the show as a performer or audience member? How does the interpretation of a marching band production connect the performers on the field and the audience to the person who wrote/arranged the show? Academic Vocabulary: 8 to 5 marching float double time adjusted step swagger halt path of march toe point forward march halfway point facings backward march coordinate turns directional slides drill set to the rear directional flanks go beat follow the leader obliques attention pivot guiding at ease guide point parade rest dress point mark time step-off prep step .
Load more

Recommended publications
  • Bringing the Spirit
    Linfield Magazine Volume 16 Number 1 Fall 2019 Article 15 Fall 2019 Bringing the Spirit Travis McGuire Linfield College Follow this and additional works at: https://digitalcommons.linfield.edu/linfield_magazine Recommended Citation McGuire, Travis (2019) "Bringing the Spirit," Linfield Magazine: Vol. 16 : No. 1 , Article 15. Available at: https://digitalcommons.linfield.edu/linfield_magazine/vol16/iss1/15 This article is brought to you for free via open access, courtesy of DigitalCommons@Linfield. orF more information, please contact [email protected]. Bringing the spirit From the trill of a piccolo to the ate director of bands at the University would pay for itself relatively quickly. He chose popular songs that students booming bass drum, marching bands of Kansas, who has led the Marching “To do this right, we needed a plan, and crowds recognized, such as Bruno Mars’ are galvanizing communities and rekin- Jayhawks since 2011. He acknowledges and we had to hire someone who knew Uptown Funk, and incorporated movements dling pride among students and alumni. that when the band plays the fight song, what they’re doing,” recalls Hopp. into their routines based on the choreography On an overcast fall Friday night, 26 it rekindles a sense of pride and belong- Enter Wollam, who became Linfield’s from the music video. students gather on the Maxwell Field ing for alumni. But, Smith concedes, first marching band director since Clifford Now in year two, word is spreading about sideline. They begin their three-hour marching bands tend to be associated Elliott led the band beginning in 1933. the Linfield program. In October, Linfield rehearsal with a light jog followed by with large universities and massive Wollam hit the ground running in the hosted the Sherwood Show, a marching band stretching.
    [Show full text]
  • Drum Major Audition Information 15
    2015-2016 Drum Major Audition Information *Auditions held after school the week of April 27-May 1, 2015* Role and Responsibilities of a Drum Major The drum major is the leader of the marching band during rehearsals and in performance. His/her job is to carry- out the instructions of the band director and other instructional staff regarding what needs to be done with the band. Some examples of what the drum major does include: • Getting the band out to the rehearsal area, into the proper formation and ready to begin rehearsal. • Taking the band through warm-up exercises • Leading the band through practice runs • Helping rehearsals run smoothly and productively • Leading the band in performance • Adding to the overall showmanship of the band during performance with their own performance as the drum major • Setting the standard for discipline, bearing, and conduct for the members of the band to follow • Assisting in teaching marching to other members of the band • Conducting Pep tunes at the behest of the band director at football games • Leading the band in parade formation by marching in front of the first rank of instrumentalists. • Signaling percussion section to roll-off to play during a parade • Acting as the band’s representative at award ceremonies and special functions Characteristics of a Successful Drum Major Effective drum majors have a number of things in common: • They have a good understanding of music • They are skilled as a field conductor • They have developed a high level of skill with a drum major baton or mace • They have exceptional marching technique • Their vocal commands are loud and easily understood • They are highly responsible and reliable • They are dedicated to having the band succeed • They work well with both the band director and the membership of the band • They know how to teach and assist other members of the band • They have the ability to inspire the band in performance Term of Service Drum Majors are selected for one school year.
    [Show full text]
  • CBA Drum Tuning
    Hello band directors! I know you’re in the throw of marching band season and I wanted to help you with an easy task to improve the overall sound of your ENTIRE ENSEMBLE! I’ve seen a few groups this year and wanted to share some information about tuning the marching percussion section. First: consider the size of your ensemble. If your group is smaller, choose smaller bass drum sizes. The bigger drums will drown our your wind section and affect the balance of your group. Second: Tune the drums on a regular basis! I know you tune your wind section every day. Same should go for the percussion section. Third: Tips and tricks -I’ve included a link to the Evans Drumheads tuning guide which has great information! http://www.evansdrumheads.com/upload/ EVBR_MPSG07_Marching_Percussion_Survival_Guide_12562.pdf -A few things to add to the link -I tune bass drums to a major triad ex. 28” C, 24” G, 22” C, 20” E and 18” G -This might differ slightly depending on your drum sizes, head combination etc. -Tuning a major triad makes split playing more melodic and unison stronger -Most groups I’ve seen this year had bass drums with TOO LOW of a tuning scheme. This creates a low rumble which lacks clarity and over balances the wind section. -Also make sure your bass drums have proper dampening. Too much “boom” will again over balance the winds and create a lack of clarity. The Evans MX series heads are a great start! Fourth: Front Ensemble -Tune for articulation, balance and sound quality -I tune concert bass drums to the same root pitch as the triad in the marching basses -Keep timpani in tune DAILY! Weather changes will affect the tuning drastically -give your student/staff time in the lot on show days to “clear” timpani heads Happy tuning and good luck with your season! Shilo Stroman www.shilostroman.com www.percussionloft.com.
    [Show full text]
  • Thesis- Pedagogical Concepts for Marching Percussion
    PEDAGOGICAL CONCEPTS 1 Running head: PEDAGOGICAL CONCEPTS PEDAGOGICAL CONCEPTS FOR MARCHING PERCUSSION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC EDUCATION: STUDIO PEDAGOGY EMPHASIS THOMAS JOHN FORD UNIVERSITY OF WISCONSIN-STEVENS POINT MAY, 2019 PEDAGOGICAL CONCEPTS 2 Abstract This document serves as a guide for recent music education graduates who are put in the position of having to teach marching percussion to students who have joined the marching band, specifically in the drumline. To have a well-rounded understanding of the drumline, teachers will need to know the instruments of the drumline, and the associated sticks and mallets. This document also discusses pedagogical concepts for all of the instruments, including playing techniques required to achieve a balanced sound throughout the ensemble, and how to properly care for marching percussion equipment. Keywords: marching percussion, drumline, battery, snare drums, tenor drums, bass drums, crash cymbals PEDAGOGICAL CONCEPTS 3 Table of Contents Abstract 2 Acknowledgements 5 List of Figures 8 Introduction 9 Chapter I: Marching Percussion Equipment 12 Snare Drums 12 Tenor Drums 14 Bass Drums 16 Crash Cymbals 17 Other Equipment 18 Chapter II: Pedagogical Concepts for Marching Percussion 21 Posture 21 Playing Positions 21 Grips and General Playing Techniques 25 Stroke Types and Dynamics 31 The Exercise and Technical Development Program 32 Timing Strategies 37 Chapter III: Marching Percussion Care and Maintenance 39 Changing and Replacing Heads 39 Repairing Broken and Loose Drum Equipment 40 Cymbal Straps 42 Cleaning and Storing Equipment 43 PEDAGOGICAL CONCEPTS 4 Conclusion 45 References 46 Appendix A 49 PEDAGOGICAL CONCEPTS 5 ACKNOWLEDGEMENTS There are so many people who I want and am obligated to thank for helping me in this whole process of graduate school and writing my thesis.
    [Show full text]
  • Marching Band Handbook ______Foreword
    “All-American” MARCHING BAND HANDBOOK PURDUE “ALL-AMERICAN” MARCHING BAND HANDBOOK _____________________________________________________________________________________________ FOREWORD This booklet is an addendum to the “All-American” Bands and Orchestras General Information Handbook. It is not intended as a replacement for that handbook, but as an additional resource for members of the “All-American” Marching Band containing information of a nature that is applicable specifically to the marching band. It is assumed that all marching band members will have read the General Information Handbook, as it contains important information on matters such as membership and enrollment, rehearsal and performance procedures, equipment, attendance and grading, administrative organization, and awards. Specific policy matters that directly affect the membership of the marching band are discussed in the General Information Handbook, and all members will be expected to be familiar with such information. The “All-American” Marching Band Handbook includes a list of marching band fundamentals, information on reading charts, and specific discussions of special policy matters that affect only the marching band. A thorough understanding of this information along with the general information provided in the regular handbook will enable you to function as a knowledgeable, contributing member of the “All-American” Marching Band. Membership in the “All-American” Marching Band is an honor and a privilege, and makes you a member of a unique musical organization with over 130 years of service to Purdue University. Your commitment and dedication to the traditions and service of the marching band will insure the continuing role of this organization as the major force in building and maintaining a love and spirit “for the honor of old Purdue”! 1 PURDUE “ALL-AMERICAN” MARCHING BAND HANDBOOK _____________________________________________________________________________________________ TABLE OF CONTENTS SECTION TOPIC PAGE I.
    [Show full text]
  • Marching Band Faqs (For Website)
    BU MARCHING BAND FREQUENTLY ASKED QUESTIONS Will I have time for Marching Band in my academic schedule? Yes. The Marching Band schedule is designed to be achievable for BU students. We know your studies come first. The schedule is lighter than most U.S. high school marching band schedules for this purpose. The season ends on the first weekend of November, five to six weeks before final exams begin, so you’ll have plenty of time to study. What are the top reasons I should join Marching Band? Start college with a huge group of friends! Move into your dorm early. Learn the campus before classes begin. Have a weekly musical outlet that is designed to fit into your academic schedule. Blow-off steam after a day of class, lab and study. Perform exciting shows for appreciative band crowds. Belong to a community at BU. When does Marching Band rehearse? Tuesdays & Thursdays from 6:30-9:00 PM, and one event per weekend (either a performance or rehearsal). The season is only eight weeks long and ends on the first weekend of November, five to six weeks before final exams begin, so you’ll have plenty of time to study. Where / when / what do we perform? The BU Marching Band performs as a featured collegiate exhibition group at regional high school band competitions, on campus, in our community, and at the Collegiate Marching Band Festival in Allentown, PA…..a fun trip. There is typically only one Marching Band performance per weekend, leaving you time to study, work, or sleep. The field show differs each year, and is designed to be entertaining for both the performers as well as the audience.
    [Show full text]
  • Good Afternoon, the 2018/2019 Indoor Drumline Season Is Just
    Good Afternoon, The 2018/2019 Indoor Drumline season is just around the corner and an interest meeting will be held on Tuesday, October 30th at 7:00pm in the Yorktown High School Band Room. If you are interested, but cannot attend that meeting time, send an email to let the director know that you are considering participating in the 2018/2019 season. The meeting will last no more than 45-60 minutes and staff will cover the schedule, expectations, goals, clinics/auditions, and will answer as many questions as you can think to ask! What is Indoor Drumline? Indoor Drumline combines elements of music performance, marching, and theater: Students work together to perform highly advanced percussion arrangements in coordination with choreographed drill on a customized floor covering. They then compete in gymnasiums with other performing groups. The Yorktown Indoor Percussion ensemble is a 25-40 member, extra-curricular, competitive percussion ensemble. The group consists of the marching percussion section and front ensemble section of a marching band or concert setting. Yorktown competes in the Atlantic Indoor Association (AIA) circuit that includes ensembles from Virginia, Maryland, and North Carolina, and the Winter Guard International (WGI) circuit that includes ensembles from all over the world. Is percussion experience necessary? No, percussion experience is not necessary; however, instrumental music experience is. Non- percussionists are invited to be a part of the ensemble. The staff is looking for students with good attitudes, and openness to learning and trying new things. Is marching experience necessary? No. Marching experience is not necessary to be a part of the ensemble; however, marching experience is necessary to be considered for the marching component of the ensemble (the battery section).
    [Show full text]
  • Notre Dame College Marching Band 2013-14 Woodwind Technique Book
    Notre Dame College Marching Band 2013-14 Woodwind Technique Book Clarinet This book is designed to give you basic fundamentals to be successful musicians during this season. It is not the end all to musicianship but is a starting point and will guide you in your fundamental development. FAQ AIR Air is one of the most important elements of brass playing. QUALITY, QUANTITY and SPEED are the three components of air that we will focus on. “Good” air equals good sound and ease of play. NO TENSION! NEVER STOP THE AIR! Breathing in and holding the breath (this is called capping) before release causes tension and loss of air pressure. Keep the breaths moving in a circle; in and out, in and out. Get rid of old, stale air when ever possible and take a new full breath. Stagger breathing is achieved by sneaking in and out of the music at a different time than your neighbor. Singing We will sing everything we play. Singing helps to hear the correct pitches and greatly improves intonation. We will sing the same way we play, beginning with a good breath, and starting each new articulated note with (TAH). We will be singing with proper singing technique resulting in good Tone, Rhythm, Intonation, Articulation, and Musical Expression. We will frequently sing during visual oriented rehearsals. Correct pitches are very important! Timing FEET! We will occasionally have you stand still to focus on playing but 90% of the time you will mark time. The feet must be in time with the Dr. Beat or Drum Major, and your playing should line up with your feet.
    [Show full text]
  • Indoor Percussion Invitational
    Zionsville Community High School Indoor Percussion Invitational March 10, 2018 $@DI@:88IG<EK<I KN<EKPP<8I 4@FEJM@CC<I<J@;<EKJ FG<E<;K?<;FFIJ8K =@M<K?@IKP?FD<@E FD9@E@E>$@DJ NFF;NFIB@E><OG<I@<E:<8E;I@:8JCFM<F= G8@EK@E>=LIE@KLI< K?<P:FCC89FI8K<KF 9I@E>LE@HL<=LIE@KLI<N@K?9<8LK@=LC =@E@J?<JKFK?<JKFI<CF:8K<;8K(FIK? '8@E-KI<<K FE4@FEJM@CC<J?@JKFI@:9I@:B JKI<<K 1?8K<CJ<N@CCPFL=@E;@EJ@;< "FD<;<:FI #E;@8E8:I8=K<;:8E;C<J N8CC ?8E>@E>J J8CM8><;G@<:<J E8LK@:8C@K<DJ 8E;DL:?DFI< 1<K<8:?'@JJ'LJK8I;-<<;¶J'@CB*8@EK NFIBJ?FGJN?<I<PFLN@CCC<8IEK?< GIFG<ID<K?F;JF=D@O@E> 8GGCP@E> 8E; =@E@J?@E>D@CBG8@EK 8JG<:@8CKP =LIE@KLI<G8@EK 1<=FID8KFLI:C8JJ<JKF @E:CL;<8CCK?<98J@:D@CBG8@EK @E=FID8K@FE8CFE>N@K?FLI:LJKFDK@GJ KI@:BJ8E;K<:?E@HL<JLJ<;KF=@E@J?K?< G@<:<J@EFLIJKFI< = 1<?FG<KFJ<<PFLJFFE@EFE<F=FLI'@JJ 'LJK8I;-<<;¶J'@CB*8@EK:C8JJ<J =@M<K?@IKP?FD<@J8E<:C<:K@:D@OF= =LIE@J?@E>J8E;;<:FI IFDK?<:LIM<; C@E<JF=8 I<E:?JKPC<:?<JKKF8ILJK@: 8><;GFKK@E>9<E:? N<?8M<8C@KKC<JFD<Ǧ K?@E>=FI<M<IPFE< (<<;8K89C< 9L==<KFI 9FFBJ?<C=?8E:<J8I< @=N<;FEK?8M< FE<@EK?<JKFI<8CI<8;P N<:8EKI8:B JFD<K?@E>;FNELJ@E>K?<@E=FID8K@FE GIFM@;<;9PPFL@EFLIN@J?C@JK9FFB -KFG@EKF;8P ͖͔Ǥǡȁ͕͗͛Ǧ͙͚͛Ǧ͕͛͛͜ȁǦ͕͔Ǧ͙ǡ͕͖Ǧ͘ȁƤǤ Welcome to the ZCHS Percussion Invitational />Liv ÌiÌà 7iVivÀÌ i*č*ÀiÃ`iÌ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°4 / i`>>*iÀVÕÃÃčÃÃV>Ì* ë Þ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°È *č >À`v ÀiVÌÀà °°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°° 8 7iVivÀÌ i<ÃÛi ÌiÃÌ À`>ÌÀ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°10 <ÃÛi >` ÃÌiÀ >À`°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°10
    [Show full text]
  • Marching Band Survival Guide
    Marching Band Survival Guide Tips and guidelines to help a new member of the Amador Valley Marching Band and Color Guard Table of Contents Introduction ................................................................. 1 Band Do’s and Don’ts ................................................. 2 What You Need to Succeed ......................................... 4 Mapping It Out ............................................................ 5 Drink Up and Eat Up .................................................. 6 Decoding the Drum Majors ......................................... 8 The Field is Alive with the Sound of Music ................ 12 Looking the Part ......................................................... 15 Colorguard .................................................................. 16 Cool and Calm at Competitions .................................. 18 What Does Band Mean to You? ................................. 20 Age Old Advice .......................................................... 22 Mr. Grantham Favorites ............................................ 24 FAQ ............................................................................ 25 Glossary ..................................................................... 27 Thank you to all the Amador Band members, past and present, who contributed to this guide. Your help was greatly appreciated! Tess Kenny April, 2014 The first step, the first set, the first show, the first season--all milestones that make marching band an experience to remember. While all new members of band
    [Show full text]
  • Tuba/Euphonium Master Class Instructed by Northern Illinois University Director and Yamaha Tuba Artist Dr
    Tuba/Euphonium Master Class instructed by Northern Illinois University Director and Yamaha Tuba Artist Dr. Thomas Bough Master Class Agenda Tuesday; February 26, 2013 Breathing Gym 6:00 PM - 8:30 PM Twelve-Key Fluency 12725 South Bell Road; Lemont, IL Low-Range Development (Chicago First Church of the Nazarene) Lip Slurs Open to Tuba and Euphonium players th Scale Fluency 7 Grade thru Adults Optional participation in a March 3 concert with the On-line registration fee: $15 Southwest Community Band - Concert starts at 2:00P Walk-in fee: $25 A Master Class packet containing reference materials Registration and information available on-line at: to guide the student in the future www.swcommunityband.com/tuba Detailed Fingering Charts th On-line registration closes February 16 Heroes on the Horn: suggested recordings by professional players Method books, classified according to musical goals. This Master Class is sponsored by: Power Practice Techniques: Better musical results in less time Southwest Community Concert Band by setting goals and making plans. Post Office Box 246 • Lemont, Illinois 60439-0246 Voicemail : (815) 773-4159 • Email : [email protected] Dr. Bough’s personal website is www.ThomasBough.com. Website: www.swcommunityband.com Tuba/Euphonium Master Class Dr. Thomas Bough biography Dr. Thomas Bough joined the faculty of Northern Illinois University in the fall of 2005 as the Director of Athletic Bands. He also conducts the Wind Symphony and teaches graduate conducting and instrumental arranging. Bough holds MM and DMA degrees in Tuba Performance from Arizona State University, where he was a student of Sam Pilafian and Dan Perantoni.
    [Show full text]
  • Drum Corps 2019
    Want to learn more about Marching Band this summer? GO TO A DRUM CORPS SHOW 2019 Drum and Bugle Corps are not called “bands” but rather “corps”. The Drum and Bugle Corps Activity was started after World War 1. Many of the original Drum Corps were sponsored by veterans groups at the conclusion of the war. Today Drum and Bugle Corps is the closest thing we have to professional marching band. Drum Corps International (DCI) has drum corps from around the world that have members under age 22. Drum Corps Associates (DCA) is comprised of members of all ages. North Jersey is the heart of drum corps history as the birthplace of the most legendary drum corps in both circuits. The 10 Time DCI World Champion Cadets were started in Garfield and the 9 Time DCA World Champion Caballeros are located in Hawthorne. Shows in our area this summer: June 20 – DCI at the Movies (Premiere Night!) – check dci.org for more info June 28 – DCI Allentown #1 – The Cadets, Bluecoats, Boston Crusaders, Music City, and Raiders. Ticket info at dci.org July 2 - DCI at Metlife: See the Cadets, Bluecoats, Boston Crusaders, 7th Regiment (Watch Jocelyn!), Jersey Surf, Music City and others. Ticket info at dci.org. July 13 - DCA Clifton: Drum Corps Grand Prix featuring the Caballeros, Fusion and Caballeros Alumni as close to home as possible. Ticket info at CABS.org August 3 - DCA Kingston: Ticket info at www.chkingston.org August 2 & 3 - DCI East at Allentown PA: Over two days see every DCI corps perform their show at the last regional before championships.
    [Show full text]