Time to Evaluate Part 2
In my last entry (Time to Evaluate Part 1), I established the 3 big questions I ask at the end of marching season. They are: 1. What went well? 2. What didn’t go well? 3. What can be built upon? I apply all 3 to the following areas.
Programming (musical/visual including visual/color guard design, equipment, props, etc.)
Musical Performance (woodwinds, brass, and percussion). Evaluate phrases/sections of the entire production.
Visual Performance (uniformity of approach throughout the ensemble, fundamental movement, characterizations, communication, etc.) Again, look at phrases/sections of the production.
Rehearsal Structure (planning, efficiency, organization, flow, attendance, etc.)
Rehearsal Schedule Including Band Camp (amount of time, frequency, facility use, etc.)
Instructional Staff (collaboration, problem solving, efficiency/effectiveness of instruction, reliability, etc.)
So let’s dig deeper and examine each area.
Programming: I not only look at the end result of the programming, but also the process. Here I am looking at the “What” is being performed.
A. How difficult was it to reach programming decisions? (especially important if using a “design team”)
B. Was there enough time dedicated to the programming process? (gathering/developing ideas, materials, etc.)
C. Did the musical arrangements, visual/color guard design arrive on time? If stock, were they available right away?
D. Did the musical arrangements, visual/color guard design fit the ensemble?
E. Did the musical arrangements/visual design highlight the strengths or weaknesses of the ensemble? (be sure to include color guard)
F. What musical/Visual moments in the production elicited positive responses from spectators? How many such moments were there? Were there enough to carry the pacing of the production?
G. What aspects of the programming can be taken forward and re-applied in future productions?
Musical Performance: This is straight up, “How did the ensemble perform the written musical book?”
A. What musical concepts/skills were a challenge for the entire ensemble or subsection of the ensemble?
B. Were there musical concepts/skills that improved and should be carried over into the next season? Or should they be avoided or revisited at a later time?
C. What training or strategies could be implemented in the future to help the ensemble or subsection achieve challenging musical concepts/skills?
Visual Performance: This is straight up, “How did the ensemble perform the written visual book?” Don’t forget color guard/auxiliary.
A. What visual concepts/skills were a challenge for the entire ensemble or subsection of the ensemble?
B. Were there visual concepts/skills that improved and should be carried over into the next season? Or should they be avoided or revisited at a later time?
C. What training or strategies could be implemented in the future to help the ensemble or subsection achieve challenging visual concepts/skills?
Rehearsal Structure:
A. Was there a clear rehearsal plan each time the ensemble met (including Band Camp) that was also communicated to the staff and performers?
B. Who was involved in the planning of rehearsals? Was it the entire staff?
C. Did each rehearsal devote time to music, visual, and the blending of the 2?
D. Was there time in each rehearsal to review the material that had been taught up to that point? If not, why?
E. Is there a particular rehearsal plan/order/structure that seems to be the most effective for the ensemble?
Rehearsal Schedule:
A. Did Band Camp take place at a time when band students could attend?
B. Did the facilities for Band Camp meet the rehearsal needs of the ensemble and provide flexibility in scheduling?
C. Are the facilities for regularly scheduled rehearsals (after Band Camp) adequate and provide flexibility in scheduling/rehearsal structure?
D. Are regular rehearsals scheduled as to get the maximum use of the available facilities?
E. Are regular rehearsals long enough to achieve goals?
F. Are regular rehearsals scheduled at a time band members can attend without conflicts with other activities/teams?
G. Are regular rehearsals scheduled frequently enough there is high retention of material on the part of the performers and staff?
H. Is the rehearsal schedule constructed such as to consider the performance needs of the ensemble?
I. Which rehearsals are the most effective? Do they happen on a particular day or at a particular time? Is there a trend?
J. Does the rehearsal schedule consider individual rehearsal goals as well as overarching and longer term goals.
Instructional Staff:
A. Does the instructional staff regularly meet outside of rehearsals to encourage collaboration, coordination, the sharing of ideas, and goal setting?
B. Is the instructional staff encouraged to problem solve on their own?
C. Does the instructional staff receive coaching in the area of running an effective rehearsal? What about musical/visual performance fundamentals?
D. Are the individual members of the instructional staff reliable? Do they have good attendance/energy during rehearsals?
E. Who on the instructional staff would make good coaches for other members of the staff?
F. Do members of the instructional staff return year after year as to build more rapport with the performers and other members of the instructional staff? If not, what would need to change to make that happen?
This process is not for the faint of heart, but even if you only take one area and go through this process, you will see things start to take focus and your group will advance. You can also include the performers and staff members in the process. I love to hear from readers like you. Please drop a comment and let me know what you think. Have you done something similar? Did it work for you? Do you have other suggestions?—DB