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Marching Band - pit section (rough draft)
- 1. Marching Band: (Noun) - a group of musicians who play together and march in formations outside for the purpose of providing entertainment and sometimes competition.
- 3. PIT
- 16. Mallets
- 17. Keyboards
- 26. To Do
Editor's Notes
- Textbook (I made it up kinda) definition of marching band as a whole, Emphasizing the main words highlighted in red as I read them.
- Make front ensemble sound all fancy then go to next slide…
- …and make it less fancy sounding.Showthe instruments that are typically in the pit section
- MarimbaBest sounding bars are made of rosewood but have to be careful and not ruin them. Not good in extreme heat or rain. Or syntheticSize is between 4 and 5 octaves
- Vibraphone (vibes)Aluminum bars with a sustain pedal (with motor)3 octavesOne of the most crucial instruments best to have 2When not using motor keep resonator fans open to let sound outMake sue the dampening felt doesn’t get wetMake sure the pedal connector is acatually connected to dampening bar and that it isn’t squeaking
- XylophoneProbably the most common instrument in the pitRosewood bars or synthetic (recommended)3 ½ octaves but sounds an octave higherWill cut through the rest of the sounds, make sure there is good balance
- Glockenspiel (bells)Best are made with steel bars2 ½ octaves but sounds 2 octaves higherMoisture creates rustCareful of bouncing bars (play lighter, they are loud enough)
- Crotales1 – 2 octaves but sound 2 octaves higherMiniature cymbalsBest to have 2 octavesDon’t play too hard, will hammer out of tune along with sunlight
- Chimes1 ½ octaveLike vibes has dampening pedal so the sound can sustain
- Timpani3 – 5 drums each with a different rangePlayer needs a good understanding of pitchBe mindful of the heads and tension
- Bass drumAbsolutely essential Powerful impactsComes if different sizesMakes sure the drum is set up to let it vibrate and the sound resonate freely (suspended)Control sound with free to dampen sound, play about 4 – 6 inches from center, rolling each hand should be half way between edge and center
- TomsMelodic and impactful momentsSets of 2-6 each a different size producing a different toneDifferent tones can be created based on what stick you use and where on the head you play, this depends on what the music calls for
- Snare drum5-6 ½ inches deeps and 14 inches in diameterVariety of different shells (outside)Make sure head isn’t too thick that it dampens sound and tight/loose enough for the snare to ringFor concert snare drums like this, make sure you are playing with the sticks that are designed for concert snare durm, marching sticks will distort the sound, mae sure drum is at a good height so you are not bending over to play it
- CymbalsConnected to both racks and keyboardsHuge variety each with different soundsSuspended ( 18 – 20 inch) – body, color, connectors, warmth and rangeAccent (14 – 18 inch) – crashing sounds, quick attackChina (12 – 22 inch) – flanged edge and squared off bell, trashy soundSplash ( 6- 12 inch) – high pitch, and quick decaySizzle ( 18 -20 inch) – loose rivets are drilled into the cymbal that buzz when hitRide ( 18 – 22 inch) – subtle, dry crashes, and loud bell soundsHiHat ( 13 -15 inch) – pair, played in a stand with a pedal, washy, sizzling, articulate, staccatoZil – bels (big or small) – thick, non-pitched, piercing metallic, cut through any soundHand ( 16 – 20 inch – 18 is best ) – standard, Cymbals have a limit so don’t play so oud that it distorts the sound, roll slowly on the edges, crach with soft mallet of stick, crash on edge of cymbal
- Tam Tam or GongTam tam – no specific pitchGong – smaller with specific pitchUsually hung from ropeAlways warm up the instrument before playing, hit half way between center and edgeUse a tam tam or gong mallet, not bass drum mallet, different effect con be made so experiment
- 2 mallets: relaxed hand position with a natural curve to the fingers, Playing from the wrist, while keeping our shoulders and elbows relaxed, Creating the look and feel of natural rebound, We must create our own rebound off the instrument, create fulcrumPlace mallet between first knuckle of index and pad of thumb (fulcrum)Try to find the fulcrum f the mallet, slide your hand up and down until it feels naturalThe other fingers just wrap around the rest of the malletYour palms should be flat above the keyboard (should be able to balance a penny on the back of your hand) and slightly angle them in towards eachother
- 4 mallets: 2 types (Burton and Stevens) Keep the index fingers relaxed at all times (as well as all other fingers), Keep the mallets above the instrument by turning the wrists back not by raising the arms. (The mallets should return to this position whenever they are not in Motion), Keep the hands as low to the instrument as possible. (Your knuckles should be low enough to rub against the edge of the keys.), Remain relaxed in grip and smooth in motion at all times.Burton : “cross – stick”The outside mallet should be placed between you index and middle fingerThe inside mallet should be placed on top of the outside l=mallet on the palm for your hand (you pinky and middle finger will wrap around it and it will come out between your thumb and index finger)To get smaller intervals, straighten your middle finger, and to get bigger intervals push the two mallets apart with your thumb and index finger (make sure you pinky and ring finger stay in position)Stevens : place the outside mallet between your ring finger and middle finger and wrap your ring finger and pinky around it (barely any of the mallet sticks out the back)Place the inside mallet on the meaty part of your palm under your thumb and let it rest on the first knuckle of your index fingerPlace you middle finger on the base of mallet and your thumb on top (make sure your thumb is point forward and the nail is up towards the ceiling and your index finger in curved and pointing)For smaller intervals rotate your thumb in towards the outside mallet and let the mallet roll along your index fingerFor bigger intervals, rotate your thumb out away from the outside mallet and push with your index finger
- Posture: feet shoulder width apart, knees relaxed and back straight, good distance from keyboard, vibes one foot on pedal, don’t lean over instrument, don’t force wrists downStart with mallets up ready to play (height you want to play each stroke), continuous strokes, relaxed wrist, mallet travels straight up and down, forearm and elbow stay relaxed, hand stays up when not playingThere should be no tension no the back fingers, yet at the same time the fingers should remain on the mallet at tall times, should not squeeze the mallet at any time
- Playing zones – always try to play in the middle of the keys. If going fast you have the option of playing on the edges on the keys. Avoid playing over the cord that connects the bars. This doesn’t let the sound vibrate through the resonators making it very dull and quiet. The place you play on the keyboard really depends on the sound you are going for, usually in a marching band setting go for the middle or edges.
- Chimes – when using a hammer, strike chimes at flat angle (this creates the loudest most powerful sound), play at the top edge of the bars.
- Timpani - The positioning of the drums and the relationship of the body to the drums is critical in creating a comfortable, natural playing environment, SIT UP STRAIGHT! Good posture will also allow you to mover from pedal to pedal more easily.Hold the mallet between the pad of your thumb and the knuckle of your index finger. (make sure you find the fulcrum)The other fingers just wrap around the rest of the malletWhen holding th mallets, your plams should be facing each other with your thumbnails facing upStart with mallets up, continuous stroke, natural rebound, straight paths, rotate from elbow don’t lift from it, play on edge of drums
- Hand cymbals: grip the cymbals at the base of the strap. If you have enough time I recommend putting your hand through the strap just for safety precautions but there is technically no need unless you are marching, hold the cymbals at a 45 degree angle, so that one is above the other (make sure they are not touching anything, this will dampen the sound), about a beat before you are to play prep the cymbals by lifting the one on top away from the other cymbal just slightly and angle it in towards the bottom cymbal (when you crash this point will hit first creating a flam effect.) crash the cymbals by pushing the top cymbal “through” the bottom cymbal and continue until the cymbals are completely separated.
- Set up: this depends on the needs of the band behind the pit, as well as the needs of the pit. You need to consider that the pit wont be blocking any visuals happening on the field as well as interrupting the line of sight towards the drum major. Also you need to consider what people are playing what instruments and how can you make as easy as possible for them to get to their different instruments with out any confusion or distraction.
- Each practice start off with warm-ups : scales, 2 mallet exercises, 4 mallet exercises ( start with 1 – 2 scales a day, and perfect, add more the next day) – gain accuracy and speed on all exercises each day (have a set of exercises you do every day) I would say spend about 30 – 45 min on this.Break music into sections…start at the beginning and learn in really small sections ( there is always a variety of experienced players in the pit, have the more experienced help the others when they have their part down). When add on another section, learn that section then add it on to previous section (sometimes the transition into new sections will need working on).Also emphasize dynamics, if you don’t they wont play them and it will sound dull to the audienceSometimes you will have to go note by note through some difficult section such as long runs, other section made need broken down because of difficult rhythmsAt the end of each practice make sure you go through everything you worked on. At the beginning of the next practice, after warm-ups, run through what you learned the day before to make sure that everyone still remembers.When playing with the rest of the band, the main thing for the pit to do is to listen back, epically to the drummers, they will keep the beat for them (looking at the drum major will put them ahead of the band sound wise for the audience)Remember that since the pit doesn’t march they have facial and body language visuals along with their music to worry about. They need to be representing the music they are playing the emotions it is supposed to emit.