Take an Honest Inventory of the Ensemble

I like to think of each marching season as a journey. The journey is going to have a point of origin, some ups, downs, curves, and straightaways, and a destination. Before we can take a trip anywhere, we must know where we are starting. If an instructor wants to take their ensemble to a place it has never been, the instructor must first determine where the ensemble currently stands. How does one do this?

The instructor must be honest in their assessment of the ensemble by taking an objective view. It’s easy as an instructor to overlook the ensemble’s shortcomings, idiosyncrasies, weaknesses, or even strengths as someone who cares for its members as individuals. But to be an effective exercise, the instructor must set those feelings aside and take an honest look at the group from top to bottom. The reason for the exercise is the care the instructor has for those members as individuals. Here is an outline to use before the beginning of the season.

1.    Who are identifiably the strongest individual performers in the ensemble (musically and/or visually)?

2.    What segment (Woodwinds, Brass, Percussion, or Auxiliary) is identifiably the strongest group of performers (musically and/or visually)?

3.    What segment (Woodwinds, Brass, Percussion, or Auxiliary) requires the most development?

4.    What section (Flute, Trombone, Silks, etc.) is identifiably the strongest group of performers (musically and/or visually)?

5.    Which individuals experienced the greatest development as performers (musically and/or visually) in the prior season?

6.    Which segment (Woodwinds, Brass Percussion, or Auxiliary) experienced the most development as performers (musically and/or visually) in the prior season?

Although this book is not about programming, the above information is very useful when making programming decisions for any ensemble.

Now the instructor has information about where the ensemble is starting which can be used when planning learning or rehearsal strategies for the upcoming season. The instructor can begin to conceive of musical and visual situations to help the ensemble develop over the length of the season and reach its performance goals. The inventory need not be shared with the members of the ensemble in any direct way. This is purely information for the use of the instructor.

This inventory is likely to influence staffing decisions. If a segment is identified needing more development, it may require more staff to reach that goal. This is a great exercise to employ before every season as it helps the instructor know where the journey will start and what turns it will take in reaching the end of season destination.

I love hearing from readers like you. Please feel free to leave a comment and share this blog with a friend!—DB