Although in most bands the Drum Major is often one of the (if not THE) finest musicians in the school, technical expertise on a band instrument does not necessarily translate automatically into the knowledge necessary to become an effective conductor. Sophisticated Field Conducting requires no small amount of specific technical knowledge of the techniques involved, a moderate among of physical coordination, and a great deal of methodical study and practice during the Summer - BEFORE the first marching rehearsals are held.

I have found that many Drum Majors (DMs), upon receiving a score and tape from the Director, are "at a loss" when they confront the reality of constructing their own "conducting program" on a specific tune. Few bands have the luxury of having Staff specifically to aid the DMs, so they are often left to their own devices to develop the single most important component of their jobs! Hopefully this guide will assist those individuals in these efforts.

First, it is essential that the DM have the technical knowledge necessary to do the job. There are a variety of camps, clinics and workshops, which purport to be 'Drum Major oriented', but often the most helpful and efficient method is to work one-on-one with a former DM. However the knowledge is acquired, the uses of the right hand (Primary), as well as the often-separate contributions of the left hand, head, and body (Secondary and Tertiary factors) are MUST KNOW information to successfully become a fine Field Conductor.
Once the necessary information is acquired, it is up to the individual DM to translate this theoretical information into specific physical skills and abilities - "knowing" and "doing" are two different things! To this end, I recommend developing a series of routine warm-ups and conducting exercises that emphasize the basics; proper "dimensions" for the Primary (RH) beat pattern (vertical axis, depth plane, and beat floor), graduation of the pattern-size to match band dynamic- level, matching pattern style to music style, as well as the uses of the Secondary and Tertiary factors simultaneously with the Primary to cue, control dynamics/style/articulation, or (only when necessary) "mirror" what the RH is doing, etc.. The DM must have the ability to meet the physical demands of conducting the show - including the necessary endurance - before rehearsals begin.

Finally, the DM will often have to analyze and construct their own conducting program. This will involve endless listening to the tape/cd to familiarize yourself with the music, as well as in-depth analysis of the score for indications of when, where, and how to utilize the skills you have developed. Many successful DMs use a color-coded system of markings in their score to indicate items that require action by the RH, LH, Head, Feet, etc.. It is strongly recommended that one component be developed FULLY before the next is added, so as not to further complicate matters; complete your Primary (RH) program before developing (and adding in) your Secondary (LH). Many successful DMs have indicated that reviewing videotapes of their conducting program - often while still in the developmental stage - has proved invaluable in refining the "look" and effectiveness of the whole package. Others have used primarily the opinions of live reviewers - Directors, former DMs, and other Staff - to get this necessary "feedback" before the season.

Whatever the methodology, it is vital that the DM have this part of their "job" completed by the time camp begins; you will be far to busy with other duties (and the occasional academic assignment) to do this later. REMEMBER - if the DM isn't prepared, then how can anyone else in the band be expected to be?

Arthur Adye
S.Indiana D.M. Adjudicator/Clinician

	Art Ayde is a past director at both South Spencer and F.J. Reitz High School and now contributes to the activity through adjudicating contests & administering clinics for drum majors. He can be reached by email at aradye1957@hotmail.com
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