Getting out of the Rehearsal “Rut-tine”
Routines are helpful in the life a band program at any level. Directors spend considerable time planning at the micro-level for day to day and the macro-level for the entire year. Specific routines can help facilitate some of the improvements in musicianship and ensemble performance in an efficient manner. Some routines utilized at the ensemble level can become predictable for students (e.g., Remington Long Tone Warm-up). An unintended consequence of predictable and at points frequently used routines is that both individuals and ensembles can get stuck in a “rut-tine”. As directors are responsible for both individual and ensemble growth, developing an awareness for the signs of “rut-tines” and how to get out of them are vital for the band to mature and flourish.
If it quacks like a duck, and looks like a duck…
The first step is acknowledging that the ensemble has fallen into a “rut-tine”. Keep in mind that the productive routines that have been used during this time are not necessarily unhealthy, but have simply become unproductive due to overuse. The overuse of a specific exercise may have desensitized a musician from carefully paying attention to the nuance of how it helps them improve. Becoming aware that some change is needed to keep the approach and appreciation of the artistic process in music novel is an important part of the conversation. Band directors can be brutally honest with their ensemble (e.g., If we hear a wrong note chances are the band will hear about it). A moment of honesty with the ensemble and students about what might not be working is healthy to keep everyone focused on the improving their musicianship and the quality of the group.
Change is not just for babies with dirty diapers…
Small changes can be helpful to routines that ensembles utilize. While some changes might seem small, they need not be seismic in nature that disrupts the general flow and overall productivity of the rehearsal process to which the ensemble has grown accustomed. Changes can come in the amount of time spent on one activity, the content utilized, the method of teaching, or the rehearsal structure.
Time is on your side.
Rehearsal time is a precious commodity. Some directors have a methodical approach to the amount of time they devote to certain aspects of rehearsal. The amount devoted to warm-up and tuning can vary depending upon the time of the year (i.e., how close to the next performance is the ensemble?). A warm-up time of 8-10 minutes could be expanded to 15-18 minutes so a director can introduce or reinforce a concept or technique that will be valuable for repertoire yet to be given to the group. Varying how quickly or slowly the rehearsal pace moves is another time aspect that directors can explore. A slow and meticulous rehearsal process on Monday that explores every subtle nuance can be sharply contrasted by a rapidly moving Tuesday rehearsal in which there are a high number of repetitions. Directors should attempt to keep all critiques and comments to the ensemble to 5 words or less to increase the pace a Pick Up the Pace Rehearsal.
Is that a new baton or is the music different?
Varying the content of the rehearsal is another way to break out of a rehearsal “rut-tine”. Sight-reading is an obvious choice as it introduces new music to the group. Sight-reading can include unison etudes, different kinds of chorales, and full ensemble works. Ensemble method books provide a variety of exercises that directors can use. Directors can utilize music a grade level below their current repertoire for sight-reading to assess how well students can apply their skills in a new situation. Directors can also utilize repertoire for later in the year to better gauge the progress students are making towards improving their musical skill set both artistically and technically. Planned Composition Exercises utilizing specific guidelines and connected to concepts on which the ensemble is working can also vary the rehearsal content. Students can make a number of musical decisions given only being limited to a few measures, specific harmony, a range of notes and rhythms, and specific requirements (e.g., no more than one beat of rest per measure, 1 non-chord tone per measure). Directors might be surprised what students can create given only 4 measures in 4/4 time. Another idea to consider is adapting games for use with the ensemble. Musical Battleship is one such idea.
Variations on a Rehearsal Theme
Sometimes rehearsal can into a repetition-critique-repeat scenario. One method to use with an ensemble is a Questions Only Session. In this session the director is only allowed to ask the ensemble questions about each repetition within the rehearsal. While the director can weight the question towards a specific concept or musical decision, the question forces the students to be in evaluation mode during every repetition as they will be responsible for providing the rehearsal critique to their peers. Another popular method is the Silent Rehearsal which does require more thought for the director to properly communicate with the ensemble. Although there is less verbal communication, silent rehearsals often increase the amount of aural awareness for the ensemble. A My Turn, Your Turn rehearsal requires the director to model each passage of music they would like to critique. Like a silent rehearsal it does require advance preparation and mastery of the content within the score. An added bonus, this variation reaffirms to the students that the director is the best musician in the room.
Somebody is sitting in my spot!
Another rehearsal change to the routine, which is also popular with middle school students, is the Sit Where You Want Day. In this scenario, the rehearsal room is organized in a normal manner but students may sit wherever they want. At any point, directors can pick out a physical characteristic and ask those students to stand and switch seats with someone else (e.g., All students with glasses should stand up and find a new seat). The only caveat is that it might be difficult to relocate the entire percussion section. Auxiliary instruments and snare drum are easy to put in a different part of the room, but items like Timpani and Keyboard Percussion present challenges due to their size and the physical make-up of the rehearsal room. While students often think they are being rewarded for sitting near their friends, they actually start to hear other parts during the rehearsal for the first time.
As directors move towards adjudications, state contest, and festival season, some slight alterations to the rehearsal routine might provide a much needed change to help keep both the music and the process fresh for the ensemble. The ideas above are not exhaustive in nature, but might provide a departure point that a director might find valuable. Hopefully coupled with consistent teaching, good repertoire choices, encouraging words, and of course students who diligently practice(!), the band can get out of the rut and into a rewarding musical groove.
