observations from WGI 2019

I’ve become increasingly interested in the relatively new genre of indoor winds. For the unfamiliar, an indoor winds group is essentially a marching band that performs inside. Or is it?

I recently started designing for these groups, so I decided to spend an entire day (10:00am-7:00pm) watching the preliminary round of Winter Guard International’s Winds World Championships.

Disclaimer: I don’t for a second claim to be an authority on show design, and I’m in the very early stages of learning and developing my craft as a composer.

With that said, I’ve compiled this list of observations from my day watching indoor winds. They’re biased by 15 seasons as a performer, 8 years as a band director, and some 30 years as a fan and spectator. Most of them are specific to the indoor winds idiom, though some can be applied unilaterally across the pageantry arts.

• Setting up the floor, props, and equipment is part of the show. “You’re always performing.”
• The indoor arena is more intimate than the outdoor arena. Spectators are much closer to the performers. This give performers a great opportunity to connect to their audience.
• Like a good outdoor design, an indoor design needs to be more than just drill and music.
• Acoustic percussion instruments can be used as a texture, but a traditional front ensemble set up isn’t necessarily needed. A well produced electronic soundtrack can be equally if not more effective. However, if a smaller school is putting together an indoor winds show and most of the band is participating, then having a larger percussion section might make sense. Regardless, the winds should be the focus.
• Similarly, a smaller program without a winter guard may incorporate a few guard performers in their indoor winds production. If used, guard performers need to be artistically integrated. It can’t just be guard for guard’s sake. Indoor winds groups, unlike a marching band don’t necessarily need guard performers for visual effect. Wind musicians can be trained to be just as expressive with their bodies, and smaller moveable props can be used by wind musicians. The instruments don’t always have to be in their hands!
• Electronic soundtracks can enhance the musical score, but can also easily dominate it. Use sparingly and be sure to carefully balance levels. If the soundtrack is too loud it will diminish the winds’ output.
• Sounds used in a soundtrack are most effective when they’re professionally sampled. Stay away from basic MIDI sounds if possible.
• The soundtrack can and should be used to help keep time. However, there doesn’t always have to be a “drum beat.” Tempo-synced textures work just as well, and so do melodic ostinati. In any case, try to avoid patterns that repeat for long periods of time without variation.
• Mics can be used to feature soloists and small ensembles. You can even add an effect patch to stylize things a bit further.
• A small group of performers on the back of the floor for triggering samples, etc. can be integrated into a prop or hidden so they don’t stand out as much.
• Unaccompanied moments with little to no soundtrack provide a nice contrast to full ensemble moments. And most indoor venues have a natural reverb.
• Indoor venues are smaller than football fields. They can easily feel crowded with too many performers, but can also feel empty if there are too few. Stationary props can help frame a floor and make a small ensemble look larger.
• An effective show has a variety of solo, soli, and tutti passages. “Variety is the spice of life.”
• Melody is important. Without melody, there’s little direction to the music. Melody makes a show memorable. The audience should leave your performance humming a tune.
• The acoustics in an indoor venue are unique. Most things tend to sound louder, and sounds resonate longer. When scored right, woodwinds can have a bigger presence than they do outdoors. This allows them for more opportunities for exposure.
• A good show, like a good story, has an arc to it. Pacing throughout, and an effective ending can make or break a show.

In closing, the indoor winds activity is an infant. It is slowly finding its place among the well established guard and percussion genres, and is trying to distinguish itself from marching band. Also, many formally trained music educators disagree with its existence (at least in the scholastic realm). This may need to be a separate blog post one day – stay tuned! Regardless, it’s another outlet for young people to perform, make music, and build lasting relationships. I can’t wait to see how it develops over the ensuing years, and am looking forward to designing more shows!

As always, thanks for reading. To learn more about me or my music, please visit my website: http://www.michaeljmillermusic.com.