Dimts Worksheets Compatible

Drum Majors In Training Guide 11/29/2009ed. Congratulations, If you are reading these words, someone who thinks you are a profound leader, compassionate teacher, or precise conductor has chosen you. You are charged with continuing the Drum Majors In Training program. In addition to using last year’s curriculum, you should update this guide including in it your personal teaching, leadership views, and new knowledge you have gained. You must continue to move the program forward and constantly improve it; not only will you gain much more knowledge, but you will set an example for your students. Use this forgiving environment to hone your skills and remember, what you give is what you get. Keep in mind you are not alone! Your fellow drum majors, band director, and even your students are here to support the team’s growth. Good luck, and bear in mind that leaders aren’t leaders for what they have to do; leaders are leaders for what they get done. – Tyler Neyens, Founder of DMIT’s, 2006 Development 2006 – Program Started containing mostly conducting, many lessons were made up during the meeting without a plan 2007 – Standard guide format is developed, leadership is taught, mace is taught, many more conducting styles are brought into the program, first syllabus is written, this development page is written. Binder conception is thought of – 11-28-07. Summer weeklong camp conception – 12-03-07. 2008 – Realize binder conception, hold first weeklong summer camp for leadership. 2009 – Invite other schools to leadership camp. 2010 – 2011 – 2012 – 2013 – 2014 – 2015 – 2016 – 20 17 – 2018 – 2019 – 2020 – Call Tyler and say holy crud this thing worked!

Drum Majors In Training Guide 11/29/2009ed. This needs to be a discovery page. Why are the DMIT’s here? What do they expect to learn and achieve? Maybe guide these answers to the ones we want – motivation for the team. Need to set some goals here. Feedback should permeate the structure. Leadership is not included enough – should be emphasized from the get go. We need a vision – inspires the fact that this is a change from normal class. We need to upgrade the music used for examples. Leadership lesson 1: What is leadership? Quotes You have to perform leadership!! Outline To create drum majors who catalyze energy from the band

Drum Majors In Training Guide 11/29/2009ed. Dynamic Drum Major: Chapter 3 pgs 20-24

Lesson: 1 Activity:

Introduction To DMITS

Goals:

Students understand the concepts of a starting position. Students can conduct a one pattern. Students can conduct a DDOU pattern. Students understand and start to memorize the Golden Rules

Materials Needed:

Music stands one for each student I-Pod with required songs Tennis Ball

Follow Up:

N/A

Homework:

Memorize the four Golden Rules Practice starting positions, one conducting, DDOU pattern conducting

Introduction The opportunity to conduct a band is possibly the greatest experience a student musician can receive. It is, however a situation that can never be taken lightly! Depending on what the individual puts into it, the art of conducting can be an overly simple task or, “one of the most complex and demanding activities in the realm of music.” To stand in front of a band and beat time does not make one a conductor. But to bring forth thrilling music from a group of players, to inspire them (through one’s own personal magnetism) to excel, to train them (through one’s own musicianship) to become musicians themselves, personally to feel the power of music so deeply that the audience is lifted to new heights emotionally – or gently persuaded through music, to forget momentarily the dust of the earth and to spend a little time in another world – yes this can be called conducting.

Information •

•

Responsibilities of a conductor during a performance (DDM, pg 20) • To start the ensemble and to establish and maintain a unified controlled tempo throughout the performance • To assist with the musicality of the performance – cues, dynamics, expression, and phrasing • To develop a performance personality which will provide inspiration leadership that enables the players to perform with confidence

Basic Starting Positions/Form (DDM, pg 21) • Hands slightly above the head, shoulder width apart • Palms facing forward • Hands slightly inside the elbows • Wrist should be flat and fingers together and relaxed • Shoulders must be relaxed

Demonstrate • Demonstrate hugging a tree to ensure the group understands. • Simply “hug” a tree with hands together, let go of your hands, relax at the shoulders and adjust hands.

Drum Majors In Training Guide 11/29/2009ed. Activity • Students should now get set into starting position. (DDM, pg 21, figure 1a) • Hug a tree exercise • Simply “hug” a tree with hands together, let go of your hands, relax at the shoulders and adjust hands. Information • Basic Movement (DDM, pg 21) • Hands strike the focal point and bounce away – bouncing ball, bouncing off of a stand • Maintain form of the arm – don’t flop • Avoid too much muscle control – slight flick, conserve energy • Don’t emphasize the top of the beat pattern with an additional focal point • The hands should travel in an arc when viewed from the side • The conductor’s hands should never stop while conducting a beat • Golden Rules (DDM, pg 22) • All beats are down beats • All beats rebound • All beats strike the same focal point • The size of the beat pattern corresponds directly to the tempo of the music The size of the beat pattern corresponds directly to the tempo of the music. Slow tempo = Large pattern. Fast tempo = small pattern. – For now also dynamics • Keep rebound sizes exactly the same • Follow the rules explicitly at first and as skills grow break them more and more Demonstrate • Demonstrate a DDOU pattern emphasizing the Golden Rules. (DDM, pg 22) • Use a tennis ball to demonstrate proper focal points. Activity • Conduct together as a group using a one pattern emphasizing Basic Movement • Using a music stand establish a focal point – wrist flick, pull away from boiling oil, bouncing ball, Nike swish, relax at the top of the beat, string attached to your hand and the focal point • Conducting – medium tempo 4/4 time using DDOU pattern (DDM, pg 22, figure 2d) • Through the Glass - expression • Planet • Freedom – expression Seek the help of the Band Director or another Drum Major when you have questions about conducting.

Drum Majors In Training Guide 11/29/2009ed. Dynamic Drum Major: Chapter 3 pgs 23-26

Lesson: 2 Activity:

Tempo Changes and Cues

Goals:

Students understand how to conduct a tempo change Students understand how to conduct fermatas and cutoffs Students understand cues Students are able to conduct a silent horns up

Materials Needed:

I-Pod with required songs Tennis Ball

Follow Up:

Hand out Practice CD’s Check starting positions Conduct through Planet once for DDOU conducting

Homework:

Practice tempo changes using practice CD’s Practice cues using practice CD’s

Information • Mentally check these points when increasing the tempo (DDM, pg 24) • The pattern is smaller • The arms are outstretched • The elbow is replacing the shoulder as the pivot point (DDM, pg 24, figure 5) • Conduct primarily with the forearms, keeping the upper arm relatively still • The elbows and upper arms will move slightly, but the motion must be in the same direction as the hands. (DDM, pg 24, figure 6) • Conserve Energy • Use correctly the four GOLDEN RULES (DDM, pg 22) • Hands should suddenly rebound higher • The size of the rebound helps the band members predict when the hand will return to the focal point. • If the tempo change is gradual, then a slight change in the rebound should occur on every beat. If the music calls for a sudden tempo change, then a drastic change in the re bound is appropriate. Demonstrate •

Demonstrate a tempo change using the bouncing of a tennis ball. • Bounce a tennis ball from head height • Have the DMIT’s say TA whenever it hits the ground/ • Ask, what about the movement of the tennis ball made you speed up? – Size of the rebound • Demonstrate how rebound size affects tempo by conducting varying tempos while the DMIT’s say TA. • Conduct these phrases to ensure understanding of tempo changes • Fast Changes • I Am Understood? – .30s-1.15s • Nemo – 1.40s-2.40s • Life After Death and Taxes – 1.40s-2.40s

Drum Majors In Training Guide 11/29/2009ed. •

Slower Changes • Free Bird – .40s-1.20s

Activity • Conduct above tempo change songs with DMIT’s as many times as necessary for understanding. May be necessary to just watch and not conduct along. Information (DDM, pg 25) • Fermatas • Begin conducing a standard pattern • One count before the hold, turn the wrists so that the palms are upwards. • Strike the focal point and rebound slightly holding the hands at chest level • Hold the note the desired length and then continue the pattern to execute a cutoff • Cutoffs • Bring the hands down to waist level and circle out, up, and around over the head (DDM, pg 25, figure 8)

Demonstrate • Star Spangled Banner – 1.00s-1.10s flip hold on 1.05s Activity • Conduct the above cutoff song with DMIT’s as many times as necessary for understanding. May be necessary to just watch and not conduct along. Information • Hit Cue – enter or exit cues (DDM, pg 26) • Establish contact (best would be eye to eye) with the players • Drop the left hand to your side and keep it there in a relaxed position as the right hand continues conducing • One count before the cue have the left hand rebound with the right and conduct the appropriate down beat in the direction of the section that is being cued • Hold Cue – simply hold, crescendo, decrescendo • A measure before the cue drop the left hand to your side • On the beat you wish to give the cue raise the left hand up level with the right hand with the palm up Demonstrate • Conduct these phrases to ensure understanding of executing a cue. • Hold Cues • Nemo – 0s-20s cue at 8s (simple hold), 40s-1.05s cue at 46s (simple hold) • Hit Cues • Wish I Had An Angel – 0s-25s cues at 9s (enter) and 22s (exit) • Planet - 40s-1.05s cue at 56s (exit) and 58s (enter) • Monkey Wrench – 0s-45s back and fourth enter exit cues

Drum Majors In Training Guide 11/29/2009ed. Activity • Conduct the above cue songs with DMIT’s as many times as necessary for understanding. May be necessary to just watch and not conduct along. Information • Silent Horns Up • Conduct 2 measures consisting of 1-3- 1 2 3 4 • Horns up on the first beat of the second measure • Play after second measure Demonstrate • Demonstrate a silent- horns up. Activity •

Practice the silent horns up with the DMIT’s

Drum Majors In Training Guide 11/29/2009ed.

The time signatures should be introduced sporadically as the DMIT’s develop in skill, not as one lesson. The 6/8, 9/8, 7/8 will seem useless to them at this point…lesson 3. Lesson: 3

Dynamic Drum Major: Chapter 3 pgs 20-27 http://en.wikipedia.org/wiki/Time_signature http://numbera.com/musictheory/conducting/ http://en.wikipedia.org/wiki/List_of_musical_work s_in_unusual_time_signatures http://www.8notes.com/school/theory/simple_and_ compound_meter.asp

Activity:

Conducting Simple Time Signatures

Goals:

Students will understand time signatures Students will be able to figure out a time signature by listening to the pulse of a musical piece Students will understand simple, compound, and asymmetric time Students will be able to conduct 10 time signatures Students will develop pattern drawing

Materials Needed:

I-Pod with required songs Pattern drawing worksheets

Follow Up:

Check starting positions Conduct through I Am Understood? To check tempo changes Conduct through Nemo to check cues

Homework:

Review different patterns using CD’s

Information • Identifying Time Signatures • Top number – how many beats per measure, Bottom number – what note gets the beat • You must identify how many Beats per measure, find the pulse • Pulse is what you conduct to, march to, dance to, snap fingers to, clap to • Listen to the rhythm, melody, drum line, and base line • Simple Time • Simple time is where beats are divided into two equal parts. • Includes 2/4, 3/4, and 4/4 • Compound Time • Compound time is where beats are divided into three equal parts. • Includes 6/8, 9/8, 12/8 • Asymmetric Time • Asymmetric time is where beats are divided into both simple and compound time. • Includes 5/8, 7/8

Meter Chart Number of Beats Simple Time - 2 Pulses Per Beat

1 1/4

2 3 4 2/4 3/4 4/4

5 5/4, 5/8

6 7 6/4, 6/8 7/4

Drum Majors In Training Guide Compound Time - 3 Pulses Per Beat Asymmetric Time - Combination

11/29/2009ed. 3/8, 3/4 6/8 9/8 12/8 5/8, 15/8 5/8 7/8 9/8 11/8 -

-

Drum Majors In Training Guide 11/29/2009ed. Simple Time Conducting Name: Time Signature: Number of Beats per Measure: Tempo Used In: Mirror: Song Example:

Two Pattern 2/4 or cut time, 2/4 2 Medium-Slow Can Be Mirrored Frankenstein

Name: Time Signature: Number of Beats per Measure: Tempo Used In: Mirror: Song Example:

Three Pattern 3/8, 3/4 3 Any Can Be Mirrored Start Spangled Banner

Name: Time Signature: Number of Beats per Measure: Special Notes:

Down, Down, Out, Up (DDOU) 4/4 4 Good for tempo changes Good for teaching Make beat one slightly stronger Will work at slow tempo Any Can Be Mirrored Hotel California

Tempo Used In: Mirror: Song Example:

Drum Majors In Training Guide Name: Time Signature: Number of Beats per Measure: Special Notes:

Tempo Used In: Mirror: Song Example:

11/29/2009ed. Down Angle 4/4 4 Must maintain focal point Same size rebound must be maintained Do not bend the elbow Do not subdivide with a hitch Medium-Fast Can be mirrored in faster tempo not in slower Monkey Wrench

4

2

3

Steps are shown in order, but each beat hits the focal point not the end of each arrow.

1

Name: Time Signature: Number of Beats per Measure: Special Notes: Tempo Used In: Mirror: Song Example:

Thump Pattern 4/4 4 Has no rebound on either beat 1 or beats 1 and 3, but does rebound on 2, 3 and 4, or 2 and 4 respectively Fast Can Be Mirrored He’s a Pirate

Drum Majors In Training Guide 11/29/2009ed. Name: Time Signature: Number of Beats per Measure: Special Notes:

Tempo Used In: Mirror: Song Example:

Name: Time Signature: Number of Beats per Measure: Special Notes: Tempo Used In: Mirror: Song Example: Name: Time Signature: Number of Beats per Measure: Special Notes: Tempo Used In: Mirror: Song Example:

The Slide Pattern 4/4 4 Easy to conduct in time High hang time on beat 2 is required Less wrist emphasis with this pattern This is a smoother looking pattern Medium-Slow Cannot be Mirrored Lost in the Wild

The Loop Pattern 4/4 4 Hands must travel the same speed and distance from beat to beat Beat 3 crosses the centerline Wrong – too far to the right, too soon, too low, too fast Any Cannot be Mirrored Freedom Reverse Around Pattern 4/4 4 Only used to end a phrase Not used multiple measures in a row Any Can Be Mirrored Theme from Jurassic Park

Drum Majors In Training Guide 11/29/2009ed. Name: Time Signature: Number of Beats per Measure: Special Notes: Tempo Used In: Mirror: Song Example:

Loop-Reverse Pattern 4/4 4 Reverse on beat 3 of a Loop pattern Used to end phrases Any Cannot be Mirrored When I Dream at Night

Name: Time Signature: Number of Beats per Measure: Special Notes: Tempo Used In: Mirror: Song Example:

Figure Eight Pattern 4/4 4 Rebounds on 1 and 3 Medium-Slow Cannot be Mirrored Carry On My Wayward Son

Name: Time Signature: Number of Beats per Measure: Special Notes:

Five Pattern 5/4, 5/8 5 This pattern is used for simple 5/4 or 5/8 time only, not asymmetric. Medium-Slow Cannot be Mirrored Mars from "The Planets”

Tempo Used In: Mirror: Song Example:

Name: Time Signature: Number of Beats per Measure: Special Notes: Tempo Used In: Mirror: Song Example:

Six Pattern 6/4, 6/8 6 This pattern can be used for simple or compound, 6/4 or 6/8 time. Slow Cannot be Mirrored Pictures at an Exhibition: Promenade

Drum Majors In Training Guide 11/29/2009ed. Compound Time Conducting Name: Time Signature: Number of Beats per Measure: Special Notes: Tempo Used In: Mirror: Song Example:

One Pattern 3/8, 3/4 1 Great pattern to learn rebound with This pattern can be applied to most music Any Can Be Mirrored Hedwig’s Theme

1, 2, 3 Name: Time Signature: Number of Beats per Measure: Special Notes: Tempo Used In: Mirror: Song Example:

+

Addition Six Pattern 6/8 6 The technique on the left is two 3 patterns on each eighth note. The pattern on the right hits the focal point every 3 eighth notes or every pulse. Any Can Be Mirrored Hedwig’s Theme

4

56

Or

+ 1, 2, 3

4, 5, 6

Drum Majors In Training Guide Name: Time Signature: Number of Beats per Measure: Special Notes: Tempo Used In: Mirror: Song Example:

+

11/29/2009ed. Addition Nine Pattern 9/8 9 The technique on the left is three 3 patterns on each eighth note. The pattern on the right hits the focal point every 3 eighth notes or every pulse. Any Can Be Mirrored Blue Rondo à la Turk

6

4

5

+

9

7

8

Or

7, 8, 9

1, 2, 3

4, 5, 6

Drum Majors In Training Guide 11/29/2009ed. Lesson: 4

Dynamic Drum Major: Chapter 3 pgs 20-27

Activity:

Mace Techniques

Goals:

Students will understand 2 spins and 4 throws

Materials Needed:

Mace 48” practice mace for each student

Follow Up: Homework:

Practice with maces

Drum Majors In Training Guide 11/29/2009ed. Lesson 5 – Leadership informal discussion Lesson 6 – Leadership One Lesson 7 – Conducting in groups of 3 – split dmits into groups with lvl 2’s at the helm, look for certain aspects of conducting at each station. Also avaluate conducting at the end as a group watching one-3 people. Include evaluating the lvl 2’s point out how specific patterns are and what to look for. Lvl 1’s critique lvl 2’s. Lesson 8 – Leadership Two Lesson 9 – Salute Lesson 10 – Leadership Three – Find someone who Lesson 11 – Watching not listening – use the headphones on your iPod on one DMIT and have others follow. Play the radio loudly for the other DMITS – they must follow the leader listening through the headphones. Lesson 12 – Leadership Four – Scot Lang Different types of leaders Lesson 13 – Team building games/fun activities for band Need a list Lesson 14 – Conducting basics – expression Lesson 15 – Personal, DMIT Program Interview with lvl 3 +4’s Lesson 16 – Holding a meeting and planning for teams – Start leadership project, brainstorming Lesson 16 http://en.wikipedia.org/wiki/Brainstorming http://www.unc.edu/depts/wcweb/handouts/brainstorming.html http://www.nwlink.com/~donclark/perform/brainstorm.html Leadership Vs. Management http://changingminds.org/disciplines/leadership/articles/manager_leader.htm http://www.1000ventures.com/business_guide/crosscuttings/leadership_vs_mgmt.html leadership is doing the right thing; management is doing things right http://www.itstime.com/oct96.htm#traits Levels of Motivation - Excellent http://www.motivation-tools.com/workplace/leadership_styles.htm Leaders get people to attain their own rewards, managers hand out rewards to get the job done. Following http://changingminds.org/disciplines/leadership/followership/followership.htm Motivation http://www.motivation-tools.com/workplace/leadership_styles.htm Rules of Brainstorming Focus on quantity: This rule is a means of enhancing divergent production, aiming to facilitate problem solving through the maxim, quantity breeds quality. The assumption is that the greater the number of ideas generated, the greater the chance of producing a radical and effective solution.

Drum Majors In Training Guide 11/29/2009ed. No criticism: It is often emphasized that in-group brainstorming; criticism should be put 'on hold'. Instead of immediately stating what might be wrong with an idea, the participants focus on extending or adding to it, reserving criticism for a later 'critical stage' of the process. By suspending judgment, one creates a supportive atmosphere where participants feel free to generate unusual ideas. Unusual ideas are welcome: To get a good and long list of ideas, unusual ideas are welcomed. They may open new ways of thinking and provide better solutions than regular ideas. They can be generated by looking from another perspective or setting aside assumptions. Combine and improve ideas: Good ideas can be combined to form a single very good idea, as suggested by the slogan "1+1=3". This approach is assumed to lead to better and more complete ideas than merely generating new ideas alone. It is believed to stimulate the building of ideas by a process of association. Sections to clean in the Band Room Instrument Room Practice Rooms Stand Area Percussion Area Front Table Area Personal interview This interview should be conducted with two-three level threes interviewing the entire session. Substitute level twos around as interviewers throughout the exercise to give them experience. Remember an interview must find out all the information necessary to know the person. If the interviewer cannot interview well it is the interviewee’s job to take over and let the interviewer know about themselves. When being hired for a job, do not allow a poor interviewer to prevent you from getting the job. Instead lead the interview session and let them know what they need to know. Questions should be tiered so as to abstract as much information as possible to get to know the person. Avoid simple yes or no questions; cause the interviewee to think about his/her answer. Sample Questions − What is your name? − What is your favorite color? o What appeals about it? o Do you own anything that color? − Do you have a pet? o Is it your only pet? o What is its name?  Why did you name it that? − How old are you? o What grade are you in?  What classes are you taking this year? • Which is your favorite? o Why? − What type of music do you like?

Drum Majors In Training Guide 11/29/2009ed. o What bands do you know in this type of genre?  What appeals to you about this particular band? DMIT’s Related Questions − What do you think so far of the DMIT program? − What has been your favorite section of the lessons? − What would you improve about the program for next year? − What is the most helpful section of DMIT’s this year? − Will you continue DMIT’s next year? o What do you see as your role next year? − How are you understanding the leadership concepts? o Explain something. − Can you use some of the skills learned in DMIT’s in your everyday life?

Grade DMITS on conducting style using the Personal Conducting Evaluation form and conducting to songs on the 4/4 album. Conduct through the 4/4 album and will repeat this exercise for the ¾ with check ups to see how the conducting style improves Catch up for people missing last week Lesson Five A note on syncopation When conducting a syncopated song such as “Life After Death and Taxes” just give clear and consistent downbeats to the band that they will be able to follow The Salute – Pg 41 in Dynamic DM This is the traditional signal used to demonstrate one’s respect for and/or acknowledgement of another individual, a national anthem, a nation flag, or another unit Basic Salutes 1. Starting from the attention position, the hands snap on Count One into the “out position.” Notice that the fingers are extended and together and the palms are facing the legs. 2. On Count Two, both hands snap into position “up position.” a. Right hand – The upper arm (bicep) is parallel to the round and the elbow is on an equal plane with the body – not angled forward or backward. The fingers are extended and together, and the wrist is flat, resulting in a straight line from the elbow to the tips of the fingers. The thumb is held tightly to the hand and should not be visible from the front. The angle of the hand should also be flat to avoid showing the palm. b. The tip of the index finger should touch the edge of the right eyebrow. If glasses are worn, the fingers touch the right corner of the frames. And if a hat is worn, the fingers touch the right corner of the brim of the hat.

Drum Majors In Training Guide 11/29/2009ed. c. Left Hand – The left hand is in a fist on the waist with the pal facing backfield. The elbow must be on a plane equal to the body and right elbow – not angled forward or backward. d. General – Overall posture must be excellent. The chin is parallel to the ground, head straight, and the shoulders are relaxed. The eyes and facial expression must project a look of pride and dignity. 3. To return to attention on Count One snap the right hand into the “outward” position 4. On Count Two both hands return to the attention position 5. Note: In order to maximize the effectiveness of this or any other salute, be sure that each move is done sharply and precisely with a very short “freeze” between each movement. Vocals 1. To call a salute: “Detail Present ARMS” 2. To return to attention: “Detail Order ARMS!” When to Salute 1. During a parade, the drum major will salute as he approaches the reviewing stand and will hold the salute position until he passed it 2. When performing a field show just before the show begins 3. At the conclusion of the field show and possibly even at some point during the performance 4. Anytime the drum major has the occasion to speak with a judge or other uniformed official at a parade or field competition 5. During an award ceremony, the drum major will salute whenever his unit receives an award and/or when its final placement is announced. 6. Anytime the drum major wishes to express his personal respect or acknowledgment of another drum major, marching unit, a band director, judge or any other individual, he may present a salute to them. Salute Variations 1. Make sure it is simple enough to perform with sharp precision 2. Keep it short! The audience becomes quickly bored with a long, 13-count salute. 3. Regardless of how to do the salute, it must be executed with the right arm. 4. The salute should always occur while the drum major is at a position of attention. Therefore, the drum major’s feet should be together. A salute while kneeling can be acceptable, but a salute with the feet apart is not. Challenge DMIT’s to make their own salute for next week to show. Lesson Six Share salute variations – offer comments, good or bad Conducting • Review the “Golden Rules” – see lesson one, pg 22 in Dynamic DM •

Conduct through A Beautiful love for review on basic 4 conducting

Drum Majors In Training Guide 11/29/2009ed. Conduct though for ¾ basis Brothers Under The Sun Homeland Star Spangled Banner (Instrumental) Perspectives Watching • Have a single DMIT conduct with head phones while the other DMITS try to follow his conducting style and pattern – Use a simple 4/4 for the first few tries with no difficult parts progressively getting harder songs Lesson Seven Watching not listening • Play music through speakers to get a phasing effect while the group of DMITS stands on one end of the room with the leading DMIT and instructor at the other end. The instructor should have the group close their eyes and the lead observe how the group falls apart on listening alone. • •

Work on general conducting style keeping together – have one DMIT lead in a circle while others follow Pick favorite song this lesson and have the DMITS follow while you conduct it with great energy. Give them something to work towards.

Lesson Eight Hold a discussion with the DMITS. Topics could include expectations, talking about the first rehearsal, who is expected to get DM, favorite music to conduct, auditions, salutes, what is coming up in the DMIT program, why they like DMITS, do they like the instructor, leadership topics discussed earlier, review golden rules, any other topics you may wander in to that deal with Drum Majoring. Get to know the DMITS and talk with them not to them. Lesson Nine Warm up with Planet focus on earlier lessons staying together and watching not listening Teaching • Have one DMIT teach simple skills of Drum Majoring to the rest of the group. 1. 4/4 Pattern 2. 3/4 Pattern 3. 2/4 Pattern 4. Salute 5. Cut offs/holds 6. Cues 7. Any marching steps – mostly save for later more in-depth • Stress the importance of teaching not only to the other DMITS but eventually the entire band – Confidence is key here, command respect, don’t talk down on someone, eye contact, keep it interesting – variation keeps them coming • To be a good teacher you absolutely must listen to your students and you have to connect with your audience – FIRST name and talk with them not to them

Drum Majors In Training Guide 11/29/2009ed. Whistle Talk about intonation – variation in pitch in vocal and whistle commands Practice simple whistle commands such as forward march – command the group and switch leaders Lesson Ten Marching Using whistle commands and basic facing/flank commands have one DMIT lead a group of DMITS around emphasizing attention and posture. Also the commanding voice and counting off Intonation – the bouncing of the voice up and down. Explain when and how to use intonation Conducting – watching and sound difference Have one group of DMITS stand across the room from u and one DMIT. Use a small music source to play quietly music still audible to the group of DMITS but positioned closest to the leader. Have the group close their eyes and the one leading watch as the group falls apart Lesson Eleven This lesson should come the last one before Christmas break. Take this lesson to reinforce all previously learned conducting techniques using TSO and regular music. Field Simulation Use chairs as “podiums” spread throughout the room simulating the layout of the field podiums. Have three across the front and one or two in the back of the room facing forward. Emphasize staying together and looking toward the center conductor at all times. Christmas Cannon Rock – 4/4 O Come All Ye Faithful/O Holy Night – 3/4 Mad Russian’s Christmas – 2/4, 4/4 Christmas Eve – 4/4, 3/4 Faith Noel – 4/4, 3/4, 4/4 Wizards In Winter – 4/4 Siberian Sleigh Ride – 4/4 Lesson Twelve This lesson will be used to determine the conducting performance/project. The DMITS will pick a song that all agree on and like and make and perform a routine to the music. Remember to consider dynamics, expression, tempo changes, and technical difficulty when choosing a song to perform. Let them show off their skills that they have learned thus far and be creative. Also you will want to burn copies of the song you are using so that the DMITS can practice outside of meetings.

Drum Majors In Training Guide 11/29/2009ed. Ideas for the performance Solos Staggered entrances Kneeling Salute at the finish Varied styles – cross over, down down out, down out up Feet together call Switching hands Keep them moving all the time Crescendos and differences from the soloist “Conducting duel” Lesson Thirteen Continue working on the performance piece. Fermata And Cutoffs Conducting Dynamics Hand Positions and Facial Expressions!!! Conducting the Music Pattern Variation Conducting With Showmanship Interviews when applying to be a DMIT Pizza Party at end/Buffs Certificates of Completion Announce at Concert 06-07 DMIT graduates – do performance piece Score marking Conducting Routine Cut offs New horns up Leadership Focus Mace techniques Develop workbooks for each DMIT in 3 ring binder format Binder All leadership work sheets Conducting evaluation sheet Leadership notes by Tyler Neyens Copy of the Dynamic Drum Major Important CD’s – conducting songs, Leadership cd’s/dvd’s Demonstration Activity Instructions Materials Needed Homework Follow up from last week

Drum Majors In Training Guide 11/29/2009ed.

Goal Setting/Vision Set very high expectations Set strict discipline Big Harry Audacious Goals John F. Kennedy set a goal for the country to reach the moon within a decade. The country met the goal. Group without vision A Group with vision A

V

V

V V

The steps of learning are do one see one teach one the senior drum major should use this course to complete the process of learning. He/she should also use this course to influence others lives in only the way a drum major can by using positive constructive leadership to improve his/her ensemble.

Optimism People who attempt the difficult often attain the impossible Learn at Boa Legato Pattern Using preparing a score outline Take a recording of Scott Lang and other prestigious speakers

Drum Majors In Training Guide 11/29/2009ed. Constant product improvement There are three options in life falling behind and losing, standing still and losing, or getting ahead and winning. Management Topics http://en.wikipedia.org/wiki/List_of_human_resource_management_topics Marking differences in the score. Go through the score, and for each half-measure (or other appropriate unit) determine the most attention-commanding difference contained therein—the most important change in the music. It might be an instrument's entrance, a sfz, an increase in rhythmic activity, a chromatic alteration, a change in melodic direction, an irregular resolution. The possibilities are endless.