Technique For All

Consider the difference between Robert W. Smith's "The Tempest" and Percy Granger's "Lincolnshire Posy". Both use a maximum of 12 notes. Both use common rhythmic devices. How is it, then, that one is much more challenging? The basic answer is technique. The technical approach to "Lincolnshire Posy" requires a much higher attention to musicianship and skill. A common and practical approach to any piece would be to run through it. Let the students get a feel for the piece and then start digging into the meat of the piece. Week after week, you keep hitting the hardest parts in order to clean it up before the ever-nearing concert. You play the concert, pat yourself and band on the back, and then jump into the next piece with the same approach. This method is equivocal to the dreaded "teaching to the test" style of instruction. How does one drift away from this tried and true, and exhausted, way of teaching? Again, the answer is technique.

In 2010, 2012, and 2013, I had the opportunity to march with The Academy Drum and Bugle Corps. I never thought I possessed the skill set or technical ability to perform at such an extreme level until I got out there and did it. The biggest lesson I learned during my three years in the activity can be summed up in the phrase, "Your technique will save you!" That was my brass caption head's favorite saying. And if taken to heart, it can change the way you approach music.

During pre-tour training, we rehearsed daily for three and half hours on visual, three hours on brass, and four hours as a full musical ensemble. Every block started with at least an hour of basics: basic marching fundamentals, basic breathing techniques, basic slurs and articulations. I asked my brass caption head, T. Andre Feagin, why we didn't use that time to work more on the show. His answer redefined my way of thinking. Feagin's response was, "I don't want to waste three months working to perfect the best 11 minute marching show. What do you take away from that? I want to invest three months in you, the individual. If I can help each member of this corps become a better musician, then the corps will have its best 11 minute show possible." His goal was to meet each member at their level and take them to the highest technical level as he could in three months.

Now, I know what you are thinking. "I could do that if I had three months to work with too! But I only get X amount of time, X times per week." There lies the challenge! Here is a suggestion: try attacking a specific technical issue during warm up that addresses a weak spot in your concert line up. That kills two birds with one stone by serving as a warm up and a self-teaching mechanism for the students to apply to the music. Try not to fall into a boring routine that you and your students go through without thinking about it. Tailor the warm up to the group's specific needs. However, you need to keep it well rounded to ensure that you hit all of the basics. A group that can play all of its major and minor scales, execute various articulation styles in multiple dynamic ranges, and recognize and perform numerous rhythmic groupings is set up to have the best musical experience possible.