3. Important Things to Start With

Across all levels of drumlines, there are some universal things that you should implement to have a successful program. These are time-tested and proven methods to increase the skill level and rhythmic accuracy of your performers.

Rehearsal Etiquette

Develop a strong rehearsal etiquette. Some things you may already be doing: arrive 15-20 minutes early to unpack drums and harnesses, don’t move after reps so that drill can be checked, don’t talk between reps to make better use of rehearsal time. At the same time, we need to make the activity enjoyable, so be sure to bake in time to occasionally show videos of DCI or WGI ensembles at rehearsal so they see what’s possible and potentially inspire them to work on new skills. Hold your drumline to a higher standard — encourage them to back to their set first, and to lead by example. Just be sure to recognize their accomplishments when they achieve it.

Warm-Up Time

Provide dedicated warm-up time for your battery — at least 30 minutes, if possible. Let’s face it, if you’re running a high school drumline, attention and focus can be hard to come by. On top of that, getting a group of students to play together on percussion instruments where articulation is incredibly exposed takes time. Allowing for a dedicated warm-up will give the time needed to get into right mindset, allow the hands and ears to warm-up, and provide the opportunity for them to train how to play together.

Metronome

All rehearsals should be conducted with a metronome. A LongRanger/MegaVox is an investment into your program that will pay back in dividends. During any percussion rehearsal time, a metronome should always be used to help establish and maintain tempo control.

Practice and Video Assignments

We practice at home, and we rehearse at school. Require your students to practice at home on a regular basis. Exercises and show music should always be at the top of the list. Leverage technology and have your students submit weekly assignments, whether it’s chunks of show music, or exercise at gradually brighter tempi, having them practice at home is the best way for them to continue to develop their skills.

Vocal Subdivision

Dut dut dut dut. All successful drumlines will subdivide vocally. This provides a way for the battery to communicate and maintain the tempo across the line before starting and during rests or tacets. Have them use a short, articulate “dut” on the quarter note beats. For outdoor, this can be loud enough to communicate across the line in a given listening environment. For indoor activities, subdividing can be done softer within the line so it’s not intruding into the music. For moments where the battery is closer to the audience, less audible “grunts” can be utilized to help maintain the tempo.

Marking Time and Tracking

Feet should be in harmony with the hands. Any opportunity to incorporate the feet into what the drumline is playing should always be taken advantage of. Use a full foot mark time for battery where the sole of the foot just breaks contact with the ground (as opposed to just lifting the heel). Once students are able to play their exercises or show music in place while marking time, begin incorporating “tracking”, where during their sectional blocks, they move (perhaps an inch with each step) while playing. These small movements will help keep the feet in time and connect the music with the drill.

Bonus: For You

It’s not cheating when you have the answer key. Assuming you’re in a competitive circuit, take the time to understand how you’re being scored. WGI, TOB, TIA, MAPS, TCGC, BOA, Cavalcade — they all have sheets (sometimes called placemats) that they use as scoring rubrics with criteria (or points of comparison) upon which you are scored. Throughout the year, circuits will advertise design workshops or education days where they welcome in designers, directors, and instructors to learn, and they legitimately want you to be there! Take the time to get the sheets for your circuit and read over them. Attend the clinics and workshops. After the shows, immediately listen to your recordings, and go into judge’s critique afterwards and ask questions. Most judges will make their commentary friendly for students, so share the sheets and recordings with your performers so the judges can reinforce what you’re already teaching them.

If you design your show with the answer key, you’ll have a much more successful season.