Authority & Leadership: Keys for Achieving Success

Adapted for the Miramar High School Band By Mr. A. Davis

 Authority seems to be a puzzling issue. People wrestle with the concept daily in their personal, social, and professional life.
 Some people would like to have authority and others do not know what to do with it when they have it.
 Some prefer to never have authority at all.

1. Authority is not something we are born with; it is not something we can purchase at the supermarket or a bookstore. Real
authority has little to do with position, title, or rank. And, while it is true that some people have authority assigned, given or
delegated to them by a superior (Mr. Davis); and others might assume authority in order to fulfill their role as a Section
Leader, Quartermaster, or even as Drum Major - the truth is that real authority is something we earn from those who allow us
to lead them.
2. In order to lead you need people to follow. No leader has real authority until the leader proves themselves worthy in the
eyes of their followers. If subordinates refuse or can't follow because of how you use (or abuse) your authority you are not
a leader. No matter how great you think you are, no matter how great a job you think you are doing; a leader's own
viewpoint and those of their instructors do not matter. It is the perspective of those being led that determines whether you are
a leader.
3. Some people constantly question authority while others accept it with no difficulty at all.
4. Commanding or ordering people to follow you is one way to exercise authority; however commanding without leadership
is usually short lived. If your commands appear to be subjective, people will resort to following your orders only when you
are watching and ignoring your orders when they think you aren't watching.
5. Ultimately, the leader is responsible to those who have handed him/her the authority. An accomplished leader helps
each member of his/her section understand the overall purpose and goals they are trying to achieve. Each member of the
section understands their role in reaching these goals, and the tasks required in order to attain success. They know
what is in it for them.
6. Authority without leadership will not help you accomplish our goals or the goals of the band. If you are in any position of
authority, ask those around you (other section leaders) what you can do better in order to earn your sections respect. When
your purposes line up with the director's goals, and the band's goals, there will be few limits on what can be accomplished.
Stay in tune with the needs of your section and how they need leadership, not how you want to lead.

Who or What is Leading the Band?

 Bands may accomplish success on a short-term basis using strong micro-management techniques to assure business is done
appropriately. This "hands-on" management approach helps the organization through a difficult member conflict or an
intensive, immediate, short-term crisis. However, this approach causes many organizations to constantly manage in a "crisis-
to-crisis" mode.
 Managers operating in this fashion allow the crisis situations lead the organization. This time consuming, fire-fighting
approach to management can rob top-level managers the time needed to direct the strategic targets and plans that lead to
success. The road to success in the long term requires a more thoughtful, strategic approach that goes beyond tactical,
micro-management.
 Leaders must understand where the band is going and translate the organization's vision, mission, and overall strategic goals
into the work their sections execute on a day-to-day basis.

Finding a Focus
 When becoming a leader, it is important to have a clear understanding about our organization's commitment to its members
and how that commitment fits within the band's larger vision and mission. As a leader you must continually communicate
these strategic goals with your section and reinforce the focus or commitment of our organization. This direction should be
customized according to the culture within your particular section.
 The section can use their newfound clarity to align work efforts with the band's goals and direction.
 Additionally, people from other sections may get "onboard". They can then dedicate their efforts to, not only the daily
accomplishment of their work, but also align their efforts to complete the necessary activities to help meet the goals of the
entire band.
 To be a leader in this band, you need to be a target-based leader. This requires a shift to understanding that organizational
success is a result of success of the sections. When there is no overall focus or commitment toward achieving the band's key
targets, there can be no dedicated efforts in the correct direction.
 Much time and energy can be unnecessarily spent on individual issues and situations, which ignores the focus of the band.
When single "superstars" and individual performance programs receive a greater proportion of the attention, recognition for
achieving the band's "superior" focus and goals is virtually nonexistent. Target-based success then becomes impossible.
 What Are The Targets?
Your targets can include:
1. Being well informed 5. Becoming Better musicians
2. Being on time 6. Reduction in lost Practice time
3. Being responsible for each other as well as ourselves 7. Doing EVERYTHING in an orderly militaristic fashion
4. Enforcing band room rules 8. Conflict resolution

 Additionally, increasing the numbers and quality of band members, and improving our organization's image to the general school
might be added to your list of long-term targets.
 At a minimum, these targets need to be reviewed annually to meet the ever-changing needs of our band.
 The great news is that efforts of this kind often have tremendous motivational and morale enhancement potential, particularly in
school organizations, where complex environments, different social, economic, and other complicated situations can make day-to-
day schoolwork feel overwhelming.

What Target-Based Leadership Requires

 Target-based leadership skills include being honest, specific, and consistent in your communication with others, as well as your
actions as a role model for those around you. You must require daily feedback on how things are going and what your sections
are accomplishing, as you provide daily feedback to your sections as well.
 Let people know you are paying attention to their negative behaviors and that you are working to eliminate these behaviors from
the band. Conversely, when you give individuals or sections immediate feedback about their successful activities or efforts,
reinforce positive behaviors and accomplishments. By focusing involvement activities and meetings around improvements in the
organization's goals and targets, everyone can see whether things are improving and have a clear picture about what areas need
more work.
 Once you have achieved a "Super Bowl" victory for your section, it becomes important to recognize individual accomplishments.
This provides an opportunity to reinforce how individual actions contribute to achieving section goals and targets.

Staying on Target & Its Affect on Others

 It is not easy to stay focused. Pressure from faculty/staff and students, can easily interrupt improvement activities. Without the
correct vision and leadership for members, you will be spending time putting out brush fires, handling emergencies, dealing with
interruptions, thus becoming controlled by the day, rather than you being in control.
 When Drum Majors and Section Leaders lose control, the rest of the section will not be actively involved in hitting the
organization's targets or accomplishing their improvement activities. The resulting frustration directly affects the success of our
band.
 On the other hand, commitment from all the individuals in the band is possible when you, the leader, send the message, "We
know where we're going, and with your help we can create the plans that will provide success and help us all achieve our goals".

Taking a Strong Position

 Take a strong position on your move toward recognition of section success first. Students will then base their daily rehearsals,
involvement, and participation around the accomplishments of the band.
 When there is a team atmosphere, everyone knows the critical targets, the reason for the journey, and how to measure their
success. The sections know your "Super Bowl" victory will be accomplished by reaching the targets. When you reinforce the
message that the goals of the band must be achieved before individual goals are rewarded, everyone commits to playing team ball.
When people do not have to waste time every day trying to figure out what's important for the band, you reduce rumors,
grapevines, turf territory, other hassles, and negative attitudes. A clearly articulated leadership perspective that reinforces how to
feel fulfilled, as a member of the section will help everyone understand that success will be accomplished by hitting the critical
targets of the band.
Avoiding Ruts
 Let's face it - what we accomplished yesterday is "water under the bridge, water over the dam, old news." We cannot coast on
yesterday's successes!
 It is what you are doing today and planning to do tomorrow, that has importance. No success is final - no success lasts forever. If
you are enjoying success, you have to keep planning new ways to keep succeeding.
 Successful people are always looking for the next activity or challenge.
 As each goal is accomplished, look for a new one and keep going. When you feel that you have got it made, watch out! It is the
first step into a rut.
 Every step gets easier and easier.
 How To Be A Leader

1. Leadership bestows power, commands respect and most important, fosters achievement. Most good
leaders are made, not born. They improve their skills in their everyday lives.
2. Always give credit. Giving credit to someone who has earned it is the best leadership technique in the
world. Giving credit is even effective as constructive criticism.
3. Take informed risks. The best leaders know that taking a risk is not a thoughtless exercise. Because the idea
of risk also carries with it the possibility of failure, many of us tend to wait for others to take charge. But if
you want to be a leader, you must learn to fail, pick yourself up, and start again.
4. Show the way. Have you ever noticed that if you smile at people they smile back? If you're giving, people
want to give right back. If you're sure, they want to follow in your footsteps. If you are confident, others will
be confident and try to achieve with you. The best thing you can do is to get followers to mirror your actions
by being what you wish them to be.
5. Keep the faith. Successful leaders often say that if you trust others to do well, they will. Having faith in
someone gives them self-confidence and pleasure.
6. Get a compass. Know where you're going. People don't follow leaders who lack direction. People want to
follow those who promise and deliver.
7. Act the part. Good leaders have learned to sound and look like winners. They may sometimes doubt
themselves but they don't show it. They act as if they know where they're going. Leaders also know that
appearance and manners count. They are usually pleasant to be with, seem unruffled and assured.
8. Be competent. Knowledge is power. Competence assures people, and will make them look to you for
guidance and direction.
9. Foster enthusiasm. When people understand the importance of work, they lend their mental strengths. The
best way to generate excitement is to be enthusiastic yourself. It's contagious!
10. Delegate. Mobilize people to help you do your job as a leader.
11. In other volunteers, you will find many skills. Use them.

Simply put, leadership development is an effort (hopefully, planned in nature) that

enhances the learner's capacity to lead people. Very simply put, leading is setting direction
and guiding others to follow that direction. A critical skill for leaders is the ability to manage
their own learning. The highly motivated, self-directed reader can gain a great deal of
learning and other results from using the guidelines and materials in this leadership packet.
 Rudyard Kipling
If
If you can keep your head when all about you
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or, being lied about, don't deal in lies,
Or, being hated, don't give way to hating,
And yet don't look too good, nor talk too wise;

If you can dream - and not make dreams your master;

If you can think - and not make thoughts your aim;
If you can meet with triumph and disaster
And treat those two imposters just the same;
If you can bear to hear the truth you've spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to broken,
And stoop and build 'em up with worn out tools;

If you can make one heap of all your winnings

And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: "Hold on";

If you can talk with crowds and keep your virtue,

Or walk with kings - nor lose the common touch;
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds' worth of distance run -
Yours is the Earth and everything that's in it,
And - which is more - you'll be a Man my son!
 TRAINING AND LEADING THE SECTION
Adapted for the Miramar High School Marching and Concert Bands
Mr. Alvin A. Davis, Director

CONDUCT A SECTIONAL REHEARSAL

Leading a sectional rehearsal is a critical part of a section leader's job. The Band Director and
Drum Majors rely on section leaders to solve technical problems within their own sections. Efficient
section leaders make full rehearsals run smoothly, saving valuable time.
The principles involved in leading a sectional rehearsal are very similar for all instrumental
sections and resemble the procedures for performance-oriented (concert/marching) organizations. The
key principles are the same: establish objectives and intelligently plan their achievement. Begin with
pre-rehearsal procedures.

Pre-Rehearsal
Pre-rehearsal procedures can be done quickly, and chances are they are already employed to a certain
extent. These procedures are–
. • Forming Rehearsal Objectives
. • Planning Rehearsal

♦ FORMING REHEARSAL OBJECTIVES

Generally, clear objectives evolve from cues the band director provides during rehearsal. For
instance, the band director says, “John, the clarinets haven’t played that run correctly all morning. I don’t
want to hear the same mistakes tomorrow.” In cases like this, it is not hard to decide upon rehearsal
objectives. Always write down objectives for the rehearsal.
Long or short-term goals can also help with objectives. Suppose one goal is improved intonation.
A suitable short-term objective may be to sustain one chord in a certain piece perfectly in tune. If your
goal is to upgrade section technique, the objective for one rehearsal might be playing a two-octave scale
twice in one breath.
Rehearsal objectives should be something that can be accomplished in the time allotted. Include
specific standards such as tempo or number of mistakes allowed. Objectives may include conditions or
specific circumstances: play while marching or play without music

♦ PLANNING REHEARSAL
A good rehearsal plan is one that enables the section to reach objectives rather than restricts
progress. A well-constructed plan is flexible enough to meet rehearsal needs but will maintain focus on
objectives during rehearsal.
Section leaders may have to write out rehearsal plans until the procedure becomes so familiar
that it happens naturally. Learn the following procedure and try sketching a plan using your current
music folders.
. • List rehearsal objectives. Put them at the top of the plan.
. • Budget rehearsal time or some objectives may be short-changed. Open-ended rehearsals have
an advantage in that work can continue until the passage is correct. A disadvantage is that without the
discipline of a firm schedule, rehearsals may tend to wander or get bogged down, wasting time.
.
. • Rehearsal order.
1. Assemble rehearsal materials. If method books are planned as part of rehearsal, get
enough copies for everyone to see. Get enough stands and chairs. Tell the section what
is needed for rehearsal: music, mutes, amplifiers, special percussion, etc.
2. Warm up - Allow five to ten minutes for warm-up, if necessary. If time permits, the warm-
up period is the ideal time to drill on fundamentals, such as scales and flexibility studies.
3. Tune – After warm up, it is essential that sections learn to play in tune with each other. In
doing so, the ensemble blend & balance will be greatly improved, even in marching band.
4. Arrange objectives. The highest priority items, of course, will be the problems in which
the band director expressed the greatest interest. Other priorities might be arranged in
order of scheduled performance or difficulty of preparation.
5. Work on a problem that will be easily solved. This will vary with the time available and the
urgency of the rehearsal, but it is a good practice. It allows the section to begin
concentrating, and it instills confidence.
6. Next, work on problems in order of priority. Rehearsals might get cut short, problems may
exceed the time allotted for them, or players may become fatigued. In any event, getting
 the most difficult problems out of the way as soon as possible is good insurance.
7. To finish rehearsal, play through a complete number or passage on which the section has
done a good job. This will give players a feeling of accomplishment. If time is at a
premium, dispense with this.

Conducting the Rehearsal

For a section leader to rehearse a group while playing may seem difficult at first, but will become easier
and more effective with practice. Here are some principles to increase rehearsal effectiveness:
. • Listen and Analyze.
. • Form Intermediate Objectives.
. • Begin Problem Solving.
. • Assign Individual Practice.

♦ LISTEN AND ANALYZE

First play problem sections or short numbers completely so that each player has a concept of the
piece and an idea of what has to be done. During that initial run-through, make a mental note of specific
problems. When a section leader becomes accustomed to this process, mistakes will be separated into
those problems that need plenty of work and those that are simple player errors. In the beginning, though,
listen to everything and plan on rehearsing each problem. A section leader must master the music
before rehearsal so that personal player errors do not interfere with the detection of section errors.
When the run-through is complete, analyze the problems. Were they related? Were they similar
passages? What may have caused the mistakes?
Quite often, a section will stumble over passages that are based on one particular fundamental of
playing, such as a difficult scale or chord. If analysis shows some similarity in problem spots, decide what
the fundamental weaknesses may be. For instance, the section may have had trouble with two or three
technical runs. Close examination might reveal that the problem sections are actually parts of the same
harmonic minor scale. Perhaps the section might have had trouble with two arpeggiated figures. Analysis
could reveal that both figures contain an augmented fourth that may be hard to hear.
Of course, mistakes by a section are not always related. Usually, though, whatever caused the
mistake on a figure the first time will cause the same mistake whenever the figure appears. Whatever the
mistake and no matter how often it occurs, it is due to either carelessness or to weakness in certain
playing fundamentals. The section leader must decide which is the case and take the necessary
corrective steps.

♦ FORM INTERMEDIATE OBJECTIVES

From analysis, form suitable intermediate objectives. As the name implies, intermediate objectives
are short-term goals that are progress indicators.
How is the intermediate objective formed? The simplest way is to look at a problem and split it into
smaller parts that involve only one problem. For instance:
rd th
. • “To play the second strain cleanly, the runs in the 3 and 7 measures need work.”
. • “Before that passage will sound good, we must get the chord at letter B in tune, clean up the
attack two measures after, and get the rhythm right at letter C.”

Intermediate objectives are helpful because they correct one problem at a time. Also, they save
rehearsal time because mastered sections need not be revisited.

♦ BEGIN PROBLEM SOLVING

If problems analysis is done and formation of intermediate objectives is complete, begin problem
solving. The problem solving process has nearly as many approaches as there are problems. While not
every possible approach can be discussed, here are some very basic ideas.
1. Most technical runs are part of a scale. Identify the scale and have the section practice it several
times. Practice it starting from the bottom, then from the top. Try it in different octaves and with
different articulations. When the scale has been mastered, go back and try the run. The
improvements will be surprising.
2. Intervals often outline a chord. If a complicated passage contains consecutive thirds and fourths,
it is probably a chord of some sort. Determine the chord and have the section play the arpeggio
several times, similar to the method for scales. When the section hears how the chord sounds,
they will develop a good feel for it and play the passage with much improvement. Diminished
chords can be especially hard to hear and play melodically. Anytime two or more consecutive
 minor thirds are present, a diminished chord exists, and section drill on diminished arpeggios,
half-diminished sevenths, and fully diminished seventh chords will improve execution.
NOTE: Always be alert to possible alternate fingerings that will simplify a difficult passage. If
intonation problems on a specific chord are present, find the root of the chord. Have the player(s)
with the root play a little louder. This will give the section something to relate to, and may help
them hear the chord better.
3. Poor attacks and releases may be even worse during sectional rehearsal than during full band
rehearsal. Without a conductor, there may be no clear beat, and attacks will be ragged. Don't be
afraid to do some loud foot tapping or counting during sectionals. Another tool that can be used is
the metronome.
4. Difficult rhythms can be taught quickly by demonstration. The section leader must master
complex rhythms and syncopation before the rehearsal and should have no trouble playing,
singing, or clapping the rhythms for the section.
5. Frankly discuss difficult passages with the section. This enhances critical musical and technical
skills in the section and encourages more inexperienced players to contribute their ideas for
problem resolutions.

♦ ASSIGN INDIVIDUAL PRACTICE

Individual practice is often more efficient than group drill. If one or two players have a problem that
the rest of the section has mastered, do not allow that to halt the progression of the rest of the section.
HOWEVER: Do not use individual practice as a blanket solution to an individual problem.
Before assigning individual practice to someone in the section, specifically state what is required and
exactly how to get it. DO NOT SAY: “Go practice the third movement.” SAY: “You're not playing
measure 57 fast enough. It's one and a half octaves of a B-flat minor scale. Practice that scale two
octaves up and down until you can play it in one breath. Page 15 of the “Jones Method Book” will help. I
want to hear that measure tomorrow morning.”
It is often beneficial to observe and/or participate in the player's practice session. Observation may
bring to light something the player is doing improperly and be able to help correct it. Playing the part
along with the student may help develop the player’s confidence, however, do not let the player lean on
your playing. It may also generate an idea for a different approach that will help the entire section. Of
course, if close attention makes the player excessively nervous, continued scrutiny may do more harm
than good

♦ ORGANIZE THE SECTION

Section organization is often handled too casually or with the wrong approach. The goals of
thoughtful organization are to get the best sound from the section and to help everyone reach their full
potential. For this reason, a good section leader approaches organization analytically, never assigning
chairs or parts by seniority, popularity, or guesswork.

Appraisal of Players
Every section leader must know each player's capabilities before effectively employing those
capabilities. This is a continually ongoing process, beginning with evaluating a new player, through daily
observation of their development, until the day that student leaves the band. All instrumentalists, including
section leaders, will have specific weaknesses and specific strengths that must be taken into account
when setting up a section. Assess the following strengths and weaknesses--
. • Technique.
. • Endurance.
. • Sight-Reading.
. • Tone.
. • Intonation.
. • Personality Factors.

♦ TECHNIQUE
Technique is fairly easy to judge quickly. Unless the player has been off the instrument for some time,
judge technique by casually listening to a warm up or practice session.
Do not confuse technique with sight-reading ability. A poor reader often has good facility when
playing something familiar. Conversely, do not be falsely impressed by a particular solo or passage.
Mastery of the solo may be, relatively, much higher than mastery of the instrument. What you want to
discover is how well the player can perform the type of music the band normally plays. Listen to the
player work on this type of music. Ask yourself these questions:
. • Does the player perform it cleanly?
. • Is the tempo deliberately slowed for runs or other technical passages?
. • If, during reading, the player stumbles on a passage, can the mistakes be corrected quickly?
. • Are scales and arpeggios clean when played rapidly?
. • How does the player compare in this respect to other people?

♦ ENDURANCE
This is crucial for brass players in military/traditional type bands and important for all instrumentalists.
While embouchures may tire faster than fingers, it is important to know whether a drummer will last for a
street parade without slowing down, or whether a brass player can get through a four-hour football game
without loosing his/her endurance. The best lead player is of little value on long commitments if fatigue
sets in before the end of the job. Ask these questions:
. • Listen to a brass player perform a piece. Does the march sound as good at the end as it did
. at the beginning?
. • Watch the players during a demanding number. Do they rest often?
. • Listen to the upper register. Does the intonation suffer?

SIGHT-READING
Reading is an important skill for musicians. Although one seldom sight-reads a job, good reading
skills reduce rehearsal time. The ability to read well is especially important to lead players and section
leaders. Assessing reading ability is not difficult and it is the most common audition technique. However,
a valid check of this ability is not confined to one formal audition. Listen carefully during rehearsals:
. • Are transitions easily performed?
. • Are dynamics and expression markings observed when reading?
. • Is unfamiliar music played with reasonable assurance?
•Try a more formal audition if desired. Take into consideration, however, that the added
psychological pressure may inhibit the player's ability somewhat. However, this may be useful
information if a player is being considered for a lead position and lacks confidence.

TONE
Do not limit your judgment of tone to one listening. The player might be quite versatile and
capable of producing different sounds in other idioms. Also, look for a tone production factor that can be
readily modified to change the player's sound, such as the use of a specialized mouthpiece or a leak in
the instrument.
The principal issue to consider is how to fit a player's tone into the overall section. A strident
sound leading a clarinet or trumpet section can heavily influence the sound of the entire section. A
saxophone player who gets robust 'rock' sound on alto sax, may give the concert band section an entirely
different sound on baritone sax.

INTONATION
When you are satisfied that the player is performing correct notes, volume, and rhythm, yet
something still seems wrong, the fault could be poor intonation. Unless a player's intonation is unusually
bad, this can be the quality hardest to judge accurately. The section leader must be able to discriminate
between good and poor intonation.
Do not dwell on how well a player tunes a single note. Instead, listen to the intonation throughout
the range of the instrument (how one note relates to another). Notice especially how well octaves are
played in tune with each other. Listen as more difficult intervals are played. A player with a good ear will
tend to adjust pitches to bring a chord in tune. Ask the player to perform secondary parts:
. • Is the player in tune with the lead?
. • Does the player seem to adjust on chords?

PERSONALITY FACTORS
This can be a very sensitive area and the judgments may be subjective. However, it is an area
that cannot be ignored; but, do not misconstrue this as an excuse for favoritism. Only a few of the many
factors in this area will be highlighted here.
• Dependability. Many section leaders have found that some players with great potential are bad
risks for lead or solo parts, simply because they fail to perform well when needed. Make certain to
select dependable players for key roles in the section.
• Experience. Nothing replaces experience. The player who has been exposed to countless
pieces of music, countless styles, many conductors, and many situations will help get the section
through plenty of rough spots. An experienced player with average talent can often be more
valuable than a flashy player who is easily confused.
.
 • Availability. Unfortunately, highly talented people will be in demand for many activities and may
not always be available for rehearsal. Try not to become overly dependent on those most likely to
be involved with other duties when sectionals are scheduled. This is often the case when a senior
is in the section.

ASSIGNING PLAYERS
The section leader must know what kind of sound the band director expects from the section and
the soloist. Some band directors want a marching sound that is different from the concert sound. It is the
section leader’s responsibility to understand the desires of the band director and assign parts
respectively.
Divisi parts are often difficult to assign. Before assigning divisi parts, the section leader should
consider the music for the entire program. If the divisi part is not too high or if the remaining parts are not
excessively high, it is advisable to put the best high register player on the top part. However, if the
program includes several solos or is written in the high register for long periods, the section leader may
want to assign the upper part to another player and allow the soloist to rest.
Though concert band seating arrangements may vary, the section leader should sit so they can
hear the entire section. However, seating must not interfere with bell position. When the section contains
both upright bell instruments and bell-front instruments, instruments with upright bells should sit on the
right. This will facilitate reading and help avoid collisions when putting the instruments down.
Marching positions may not always be at the option of the section leader, but when they are, the
section leader should position players where they can see the drum major at all times. Players using
instruments with upright bells should march on the right side of the band, and players with bell-front
instruments should march on the left. Inexperienced players should not march in the guide file.
Because baritone horn parts are written in bass and treble clef, and the bass clef part is
sometimes different from the treble clef part, the section leader should encourage players to learn to read
both clefs. This will increase flexibility in part assignments and the versatility of the entire section.
Above all, a section leader must set the example for the section. A section leader who cannot
earn and maintain the respect of the section is of no value. Advance preparation is extremely important in
all performance aspects in order to allow insight for potential problem areas and permit correction before
major difficulties occur.
NOTE: Leading small groups and taking your first commitment can be quite an experience. Proper
planning and productive rehearsal can bolster confidence, allowing for a better chance of remaining
poised. Many of the principles for leading a group are similar, no matter what the group. The techniques
for leading a combo or permanently established group, however, are a bit different from those discussed
here

INDIVIDUAL PRACTICE (IP)

“Should certain exercises prove more difficult than others,
work on these until they are thoroughly mastered.
Do not waste time on those that are easy.
Remember that to improve, one must master difficulties each day.”
Herbert L. Clarke (Clarke, Technical Studies, Carl Fischer, Inc)

This quote from Mr. Clarke is especially important for high school musicians. Practice is
something all instrumentalists need but for which there is seldom time. Therefore, a few approaches to
individual practice (IP) are presented as well as how to make the best use of limited time.
There are generally three basic types of IP. Most players use one of them, depending on their current
situation. The general types are:
. • Maintenance Practice.
. • Utility Practice.
. • Developmental Practice.

MAINTENANCE PRACTICE
Maintenance practice is for the trained player who has little time for IP but cannot afford to lose
proficiency. Since a marching band musician may be performing or rehearsing from 10 to 20 hours a
week (actual playing), the normal routine will go a long way towards maintaining proficiency.
Maintenance problems usually occur in one of the facets of playing. The brass player may find endurance
slipping during concert season but may have no trouble with the expressive playing. The percussionist
may find mallet technique fading during marching season but may easily maintain rudimental snare drum
technique.
Instrumentalists must analyze their personal playing. Where has it begun to slip? Find or write
some practice routines that focus on that facet and concentrate practice in that area. Use some of them in
 daily warm-up. Develop some brief routines and stick to them religiously and remember that ten to fifteen
minutes of daily practice of these routines will be more beneficial than one or two very long sessions.
Repeat the analysis process often. Every time daily routines change, the situation changes. Keep a file of
music in various styles that you have played well and play through it occasionally. If the top notes don't
come as well as they once did or if the runs are not clean, return to the basic fundamentals such as
scales and long tones.

UTILITY PRACTICE
The most common type of IP, utility practice, is preparation for both rehearsals and commitments.
It is not aimed at a specific area of playing as much as it is at mastering a troublesome piece or passage.
To be efficient in this type of IP, objectives must be clear--know what specific measures, runs, leaps, etc.,
present problems. If assigning IP to someone in the section, show exactly and specifically what should be
corrected. Do not spend 20 minutes on the slow, easy passages and only two minutes on faster more
difficult passages.
Sometimes a different approach is needed for an exceptionally problematic piece. Begin by
sorting out the most complex rhythms. Ways of doing this are:
. • Subdivide the rhythms.
. • Clap the rhythms.
. • Sing the rhythms.
. • Play the rhythms on one note.

Play the rhythms very slowly and gradually increase tempo until they can be played faster than
the band director expects. If the key of a piece presents a challenge, work on scales in the key of the--
. • Tonic. (I)
. • Dominant. (V)
• Subdominant. (IV) Also, scales must be mastered by--
. • Playing the scale in all available octaves, and
. • Playing the scale beginning on a different note each time.

Work on the arpeggios in the same fashion and practice using alternate fingerings. Then, go back
and try the passage. There should be a great deal of improvement.

DEVELOPMENTAL PRACTICE
Developmental practice is the kind of work done when a player is genuinely serious about
upgrading proficiency. It entails engineering a systematic approach and plenty of hard work. Employing a
routine is very important to developmental practice, so resolve to muster plenty of self-discipline.
Several texts on the subject are available for most instruments, but do not look for books of
randomly ordered exercises. Instead, try to find a book by a successful teacher that discusses good
approaches and presents guided study programs and use these to help the section.
If funds are available, try to get instruction from a qualified teacher. This is certainly the best route
to take a player is serious about improving performance. Listen to professional instrumentalists, and work
to match their sounds. Arrange for players to listen to each other occasionally to monitor progress. Set
goals for practice sessions while taking training and commitment schedules into consideration. Do not
skip practice on weekends, but don't try to cram a week's neglect into one six-hour session either. Above
all, practice intelligently because results are more important than time expended.

SKILLS AND TRAITS OF A GOOD LEADER

* Good Communication Skills - You should be able to not only speak clearly, but also be a very good listener.
* Responsibility and Maturity - You should be dependable, punctual, and emotionally mature.
* Be a Good Role Model - Your behavior is a reflection on not only yourself but the whole section/band. You should
always set a good example in what you say and how you act.
* Fair and Impartial - You should be able to separate your friendships from your responsibilities. Your decisions
should not be based on favoritism and you should always do what's best for the whole section and not any one
individual.
* Helpful and Friendly - You should always be willing to do a bit extra for others or to get tasks accomplished.
* Be Approachable - The section should feel like they can discuss situations and problems with you.
* Be Able to Lead Without Being Bossy - Remember it's not always what you say that's important, but the way you
say it. Be tactful and respectful of others feelings.
BAND PRESIDENT
Duties:
Preside as any officer, in their absence.
Help direct the achievement of the Miramar High School Band.
Make sure rules are being abided by members of the band.
Serve as the liaison between the band members, faculty, community and administration and the band
director.
Serve as student representative of the band when called upon.
Coordinate Birthday Recognition's.
Plan Officer & Leader Social Activities.
Serve as Band Banquet Committee Chair.
VICE-PRESIDENT
Duties:
Preside when the president is absent or is no longer in office.
Assist the President in all his/her duties.
Serve as student representative of the band when called upon.
Serve as Band Newsletter Committee Chair.
Maintain Yahoo Group (Calendar/Birthdays/Notifications)
DRUM MAJOR(S)
Duties:
Keep order within the behavioral characteristics of the band members.
Exemplify band spirit and morale to the utmost.
Conduct specified band selections.
Show competency in whistle and band signals as well as vocal commands.
Distribute "conditioning" to tardy and resistant students. (Marching Season)
The Drum Major(s) MUST at all times be the ultimate bandsmen; displaying at all times the discipline,
character, strength, academics, leadership, and dedication that is congruent with band pageantry!
BUSINESS MANAGER
Duties:
Collect/Keep an updated list of all band members and information.
Take detailed notes at officer/director meetings.
Maintain bulletin/informational boards.
Assist with web site updates.
HISTORIAN
Duties:
Save articles, pictures, programs, and other artifacts for a band scrapbook.
Collect/Keep an updated list of all band members and information.
Take detailed notes at officer/director meetings.
QUARTERMASTERS
Duties:
Administer and collect band uniform in an orderly fashion.
Keep uniform, instrumental storage, and practice rooms clean.
Keep necessary records of used instruments in tact.
Make certain that all instruments and equipment are prepared for loading and unloading on all trips
and for summer storage.
LIBRARIANS
Duties:
Share in the responsibility of distributing and collecting music.
Make appropriate copies of music.
Notify band director of any band members who request excessive amounts of music.
Maintain catalogue of music in the music library.
Keep the music library neat and in order.
STUDENT CONDUCTORS
Duties:
Be an assistant to the director in all aspects of conducting and class organization.
Teach and conduct specified band selections.
Show competency in conducting, proper warm-up and tuning of the ensemble.
Start class when appropriate.
SECTION LEADERS
Duties:
Conduct Sectional Rehearsals.
Disciplinarian of the section.
Check sectional attendance.
Promote sectional pride.
Assume the responsibility of encouraging members to report to rehearsals on time, to learn and acquire
proficiency in all musical literature, and marching techniques.
Assume the responsibility of tuning and warming up their section.
Administer mandatory uniform checks.
Notify drum major &/or band director of resistant students.

INFORMATION TECHNOLOGY SPECIALIST (I.T.S)

Duties:
Assist with the promotion of the band using all available online sources including but not limited to:
Web Site, e-mail, YouTube, Facebook, Twitter, MySpace, etc.
Assist the Business Manager, Quartermasters, President, and Vice-President with the dissemination of
pertinent information through emails, texts, and online newsletters.