Visual effect can be a challenging area for many marching band directors. However, instead of thinking in visual terms, think musical.
It is marching band contest season. Each weekend, bands from across the United States will travel to events in which they will be adjudicated on several different areas. Music performance, music effect, visual performance, and visual effect are the most common, though many contests feature judges for color guard and percussion.
Of those areas, several are straight forward. How is your ensemble’s sound production? Are they generating a quality sound and articulating in a stylistic manner? Is the drill performed clean, or are there some concerns? Does the ensemble create emotion through dynamic changes, energy through articulation?
However, visual effect is rather confusing at times. The adjudicator is watching for how the drill flows and how the ensemble performs each task. With terms like phrasing, continuity, and emotion included on the rubric, it is better to think musically when considering visual impact.
This weekend, I was able to serve as the visual effect adjudicator for a festival in Kentucky. It was a great day and each ensemble performed really well. Especially since it is still rather early in the season. As I went through the day, I found that many groups experience similar issues in this caption. Of course, many music educators are not visual designers. But, they can think musically about visual aspects.
When discussing music being performed, directors will often mention phrasing. We ask performers to connect one section of music to another, avoid breathing at a bar-line, and add musical inflection. The same can be stated about visual.
With visual phrasing, we are asking performers to connect one move to the next. Make a 16-count move and another 16-count move flow together. This can be rather challenging, especially because we more one move at a time so often. But, in order to connect the moves organically, performers must move in unison, with similar foot speed and step size. Those things we discuss. Often. What if we talked about them in musical terms?
Rushing feet before a visual transition is the same as getting to a downbeat too early.
Getting to a hold too soon is like releasing a note before the music calls for it. Or, moving after a hold is the same as a late release.
A form that is not controlled from one set to the next is similar to players being out of tune.
Color guard should perform with great extension, just like you ask wind players to use air support, or you get poor tone quality.
Take the time to think musically about your visual package. The visual must match the music. When there are moments of tension or crescendo in the music, the visual should also generate tension. When you match the two areas together, your performances will reach new levels.