The Complete Marching Band Resource Manual

The Complete Marching Band Resource Manual: Techniques and Materials for Teaching, Drill Design, and Music Arranging

Wayne Bailey
Cormac Cannon
Brandt Payne
Copyright Date: 2015
Edition: 3
Pages: 320
https://www.jstor.org/stable/j.ctt13x1p9b
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  • Book Info
    The Complete Marching Band Resource Manual
    Book Description:

    The Complete Marching Band Resource Manualis the definitive guide to the intricate art of directing college and high school marching bands. Supplemented with musical arrangements, warm-up exercises, and over a hundred drill charts, this manual presents both the fundamentals and the advanced techniques that are essential for successful marching band leadership. The materials in this volume cover every stage of musical direction and instruction, from selecting music and choreographing movements to improving student memorization and endurance to the creation of striking visual configurations through uniform and auxiliary units.

    Now in its third edition,The Complete Marching Band Resource Manualhas been thoroughly updated to reflect new standards for drill design, charting, and musical arrangement. Offering a fresh approach to the essentials of good marching band design, this comprehensive resource shows both veteran and novice band directors how to prepare students to perform seamless and sophisticated musical formations.

    eISBN: 978-0-8122-9098-1
    Subjects: Music, Education

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-viii)
  3. Preface
    (pp. ix-x)
  4. UNIT 1. WRITING THE DRILL AND MUSIC
    • Chapter 1 Understanding the Basics of the Marching Band
      (pp. 3-11)

      Over the past four decades the performance practice of marching bands has evolved into an art form separate from its roots in service to athletic events and parades. While most marching bands still serve these functions, they are no longer the sole reasons for the bands’ existence. Marching band shows have evolved into eight-to twelve-minute performances complete with elaborate props and staging, dancing, synthesized sounds, and singing. Drill design has come to focus on a logical visual progression that is coordinated with the phrases and climaxes of the music; it is no longer movement that simply matches the music according...

    • Chapter 2 Making Drill Design Concepts Work
      (pp. 12-55)

      When writing drill, the designer must consider the visual effect of the formations and the movement between formations. Different types of shapes, angles, and movement create visual effects that are suited to specific styles of music.

      There are at least ten basic types of forms available to the drill designer, and many more when these types are combined. The two types essential to contrast and development of show arehardandsoftforms. A hard form is one that is made up of straight lines and sharp angles. A soft form is curvilinear and has rounded edges. Forms can also...

    • Chapter 3 Designing and Charting the Show
      (pp. 56-65)

      An effectively designed marching band show is one that thoughtfully and symbiotically unites the music, drill, and choreography into an exciting and captivating performance. Contemporary show styles are based on a concept, theme, or idea that is visually and musically expressed throughout the show. In most contemporary competition shows, time, energy, and intensity ebb and flow throughout the show but rarely come to a full stop. In this type of show, music is arranged specifically for the marching band, or in some instances composers write new music expressly for the show. A high level of artistry is common in the...

    • Chapter 4 Arranging the Show Music
      (pp. 66-80)

      The ability to create or edit musical arrangements for all types of ensembles is essential for today’s school director. Though arranging is very time-consuming, the director will find that, armed with knowledge of the band’s strengths and weaknesses, he can create successful arrangements. If the director is unable to create his own arrangements, he must carefully select them from a publishing house or independent arranger to fit the instrumentation and relative strengths and weaknesses of his specific ensemble.

      In the early days of American marching bands, arrangements differed very little from those written for concert bands. In fact, most arrangements...

  5. UNIT 2. TEACHING THE MARCHING BAND
    • Chapter 5 Teaching the Show
      (pp. 83-98)

      In a team-oriented activity as complex and demanding as marching band, participants do their best work when expectations are clear from the onset, chains of command and communication are clearly articulated, and all are committed to the common goals of success and continual improvement. In a marching band that has multiple assistants specializing in percussion, marching, or color guard, the director is responsible for the big picture, serving as a catalyst in bringing the music and drill to fruition. The performers are responsible for the details. It is the responsibility of the performers to memorize music or routines and choreography,...

    • Chapter 6 Parade Marching
      (pp. 99-104)

      Most bands perform in parades as a service to their community. Many bands also travel to special parades as a destination, either as part of a larger music festival, college bowl game, or a national or international parade event, such as Macy’s Thanksgiving Day Parade, a presidential inaugural parade, or the Dublin St. Patrick’s Day Parade. Regardless of the type of parade, the director must select music and plan formations carefully in order for the band to be successful. Music selection and band formations used in parades are different from those used for field shows.

      Music selection is the most...

  6. UNIT 3. USE OF AUXILIARIES AND THE PERCUSSION SECTION
    • Chapter 7 Using the Auxiliaries
      (pp. 107-122)

      The purpose of any movement or work by an auxiliary unit is the same as that of the band: to enhance the musical presentation. All routines, staging, and marching or dancing styles must be consistent with the style of the music and coordinated with the musical phrases. Many times a band director writing a show leaves all auxiliary decisions to the person in charge of those groups, sometimes even the placement of those groups on the field, but this approach rarely produces a unified show and the director rarely is pleased with the end result. The director or drill writer...

    • Chapter 8 Teaching the Marching Percussion Section
      (pp. 123-144)

      The percussion section is an integral and important part of the marching band, one that can add to or detract from a band’s overall performance. It is important that marching band directors have a basic knowledge of the role of the drumline within the framework of the marching band.

      Instrumentation The instrumentation of a high school band’s marching percussion section is directly affected by three factors: (1) the number of percussionists available, (2) the size of the marching band, and (3) the band’s budget. Clearly, with many players and a large band, the instrumentation options are much greater than can...

  7. UNIT 4. RESOURCE IDEAS
    • Chapter 9 Sample Designs
      (pp. 147-268)

      This chapter consists of designs that can be used individually or in sequence. The charts are of four types: (1) multi-option designs that may be used as opening, closing, or transitional forms; (2) opening set formations; (3) designs involving a company front; and (4) closing set designs.

      The designs that are designated A or B are possible formations that may be developed from the corresponding numbered chart. For example, Multi-option Forms 1A and 1B are generated from Multi-option Form 1. The developmental forms were designed to create the best movement between the forms.

      The ensemble charted in the following pages...

  8. Appendix Alcalde, Clockwork, Shenandoah
    (pp. 269-304)
  9. Index
    (pp. 305-306)