Which rehearsal is routinely performed




















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If you just sit there you might not understand and remember what instructions you've been given. Taking notes not only writes them down so you can read them again later, but it also helps you to learn better as you write, because you're essentially repeating the instructions over to yourself. Asking questions also helps you to understand the instructions better. For most patients who are receiving Medicare, they will find that Medicare WILL pay for their Hospice services, regardless of where they are performed.

Persons with anterograde amnesia often ask questions and, after receiving a response, immediately ask the same question again. It is not receiving a signal - maybe it is not set up for wifi printing properly? Go to the maker's website and follow any instructions. Log in. Needs a Topic. See Answer. Best Answer. Subordinate leaders brief the higher commander on: Their understanding of his intent. The relationship between their unit's mission and the mission of other units.

Study guides. Q: Which rehearsal is routinely performed by a subordinate leader immediately after receiving any instructions such as a FRAGO? Write your answer Related questions.

Which rehearsal is routinely performed by a subordinate leader immediately after receiving any instructions such as a fragmentary order? A reduced-force rehearsal involves only key leaders of the organization and its subordinate units. It normally takes fewer resources than a full-dress rehearsal. Terrain requirements can be the same as for a full-dress rehearsal, even though there are fewer participants.

The commander first decides the level of leader involvement. The selected leaders then rehearse the plan while traversing the actual or similar terrain. Commanders often use this technique to rehearse fire control measures for an engagement area during defensive operations.

A reduced-force rehearsal may be used to prepare key leaders for a full-dress rehearsal. It may require developing a rehearsal plan that mirrors the actual plan but fits the terrain of the rehearsal. The terrain-model rehearsal takes less time and fewer resources than a full-dress or reduced-force rehearsal.

A terrain-model rehearsal takes a proficient brigade from one to two hours to execute to standard. It is the most popular rehearsal technique. An accurately constructed terrain model helps subordinate leaders visualize the commander's intent and concept of operations.

When possible, commanders place the terrain model where it overlooks the actual terrain of the area of operations AO. However, if the situation requires more security, they place the terrain model on a reverse slope within walking distance of a point overlooking the AO. The model's orientation coincides with that of the terrain.

The size of the terrain model can vary from small using markers to represent units to large on which the participants can walk. A large model helps reinforce the participants' perception of unit positions on the terrain. Commanders can use the sketch-map technique almost anywhere, day or night. The procedures are the same as for a terrain-model rehearsal, except the commander uses a sketch map in place of a terrain model.

Effective sketches are large enough for all participants to see as each participant walks through execution of the operation. Participants move markers on the sketch to represent unit locations and maneuvers. A map rehearsal is similar to a sketch-map rehearsal, except the commander uses a map and operation overlay of the same scale used to plan the operation. Commanders and staffs execute network rehearsals by talking through critical portions of the operation over communications networks in a sequence the commander establishes.

The organization rehearses only the critical parts of the operation. CPs can rehearse battle tracking during network rehearsals. This discussion addresses responsibilities for conducting rehearsals. It is based on the combined arms rehearsal. Responsibilities are the same for support rehearsals.

However, position titles may be different; for example, in CSS units, the support operations officer takes the place of the S Commanders provide the following information as part of the commander's guidance during the initial mission analysis. They re-evaluate it when they select a COA:. COS XO responsibilities include-. Commanders prepare to rehearse operations with events phased in proper order, from start to finish.

Under time-constrained conditions, this is not always possible. Commanders command the rehearsal, just as they will command the fight. They maintain the focus and level of intensity, allowing no potential for subordinate confusion. An effective rehearsal is not a commander's brief to subordinates. Its purpose is to validate synchronization-the what, when, and where-of tasks subordinate units will perform to execute the operation and achieve the commander's intent.

As such, he rehearses his role during the operation. He ensures each unit accomplishes its tasks at the right time and cues the commander to upcoming decisions. The G-3 S-3 helps the commander with the forward fight and rehearses that task. The G-3 S-3 -. The G-2 S-2 plays the enemy commander during rehearsals. The G-2 S-2 -. The commander establishes the standard for a successful rehearsal.

A properly executed rehearsal validates each leader's role and how each unit contributes to the overall operation-what is done, when relative to times and events, and where to achieve desired effects. Effective rehearsals ensure that commanders have a common visualization of the enemy, their own forces, the terrain, and the relationship among them.

It identifies specific actions requiring immediate staff resolution and informs the higher commander of critical issues or locations that the commander, COS XO , or G-3 S-3 must personally oversee. The commander or rehearsal director in the commander's absence assesses and critiques all parts of the rehearsal.

Critiques center on how well the operation as rehearsed achieves the commander's intent and on the coordination necessary to accomplish that end. The internal execution of tasks within the rehearsal is usually left to the subordinate unit commander's judgment and discretion. All participants have responsibilities before, during, and after a rehearsal. Before a rehearsal, the rehearsal director states the commander's expectations and orients the other participants on details of the rehearsal as necessary.

During a rehearsal, all participants rehearse their roles in the operation. They make sure they understand how their actions support the overall operation and note any additional coordination required.

After a rehearsal, participants ensure they understand any changes to the OPORD and coordination requirements, and receive all updated staff products. Commanders do not normally address small problems that arise during rehearsals. Instead, these are recorded. This ensures the rehearsal's flow is not interrupted. If the problem remains at the end of the rehearsal, the commander resolves it then. However, if the problem can wait until the end of the rehearsal, it may not have been a real problem.

If the problem jeopardizes mission accomplishment, the staff accomplishes the coordination necessary to resolve it before the participants disperse. Identifying and solving such problems is a major reason for conducting rehearsals. If this is not done while participants are assembled, the opportunity to do so will be missed. Coordinating among dispersed participants and disseminating changes to them is more difficult than accomplishing these actions face to face.

The rehearsal director begins the rehearsal on time by calling the roll. He then briefs participants on information needed to execute the rehearsal. The briefing begins with an introduction, overview, and orientation. It includes a discussion of the rehearsal script and ground rules. The detail of this discussion is based on participants' familiarity with the rehearsal SOP.

Before the rehearsal, the staff develops an OPORD with at least the basic five paragraphs and necessary overlays. Annexes may not be published; however, the responsible staff officers should know their content. The rehearsal is not a substitute for the war game. During the war game, the staff analyzes feasible COAs to determine the optimal one to recommend to the commander.

The rehearsal allows commanders and other key players to practice implementing the COA the commander has decided to adopt. The rehearsal director begins by introducing himself and all other participants as needed. He then gives an overview of the briefing topics, the rehearsal subjects and sequence, and the time line, specifying the no-later-than ending time. He explains, in detail, any constraints, such as pyrotechnics use, light discipline, weapons firing, or radio silence.

He ensures that all participants understand safety precautions and enforces their use. Last, he emphasizes results and states the commander's standard for a successful rehearsal. He allows subordinate leaders to state any results of planning or preparation including rehearsals they have already conducted. If a subordinate recommends a change to the OPORD, the rehearsal director acts on the recommendation before the rehearsal begins, if possible.

If not, the commander resolves the recommendation with a decision before the rehearsal ends. The rehearsal director orients the participants to the terrain or rehearsal medium.

He identifies magnetic north on the rehearsal medium, and points out symbols representing actual terrain features. He explains any graphic control measures, obstacles, and targets. He issues supplemental materials, if needed. An effective technique for controlling rehearsals is to use a script. It keeps the rehearsal on track and is a checklist to ensure the organization addresses all BOSs and outstanding issues.

The script has two major parts: the agenda and the response sequence. These tools, especially the execution matrix, both drive and focus the rehearsal. The commander and staff will use them to control the operation's execution.

Fire support and CSS rehearsals follow the fire support execution matrix or logistic synchronization matrix. These two products are tied directly to supported unit's execution matrix and DST. An effective rehearsal requires the enemy force to be portrayed realistically and quickly, without distracting from the rehearsal.

One technique for doing this is for the G-2 S-2 to prepare an actions checklist, a sequence of events much like the one for friendly units, but from the enemy perspective. Response Sequence. Participants respond in a logical sequence: either by BOS, or by unit as the organization is deployed, from front to rear.

The commander determines the sequence before the rehearsal. It is posted at the rehearsal site, and the rehearsal director may restate it. Effective rehearsals allow participants to visualize and synchronize the concept of operations. As a rehearsal proceeds, participants verbally walk through the concept of operations.

They focus on key events and the synchronization required to achieve the desired effects. The commander commands the rehearsal. He gives orders at the point he expects to give them during the operation. Subordinate commanders enter and leave the discussion at the time they expect to begin and end their tasks or activities during the operation.

This practice helps the commander assess the adequacy of synchronization. Everyone should avoid "re-war-gaming" except as absolutely necessary to ensure subordinate unit commanders understand the plan. The rehearsal director emphasizes integrating fire support, events that trigger different branch actions, and actions on contact.

The fire support coordinator FSCOORD states when fires are initiated, who is firing, from where, the ammunition, and the desired target effect. Subordinate commanders state when they initiate fires per their fire support plans. The rehearsal director speaks for any staff section not present and ensures all actions on the synchronization matrix and DST are addressed at the proper time or event. Casualty evacuation routes Ambulance exchange point locations Refuel-on-the-move points Class IV and V resupply points Logistic release points Support area displacement times and locations Enemy prisoner of war collection points Aviation support Military police actions Figure F The rehearsal director ensures that key combat support CS and CSS actions are included in the rehearsal at the times they are executed.

See figure F Not doing this reduces the value of the rehearsal as a coordination tool. The staff officer with coordinating staff responsibility injects these items into the rehearsal at the appropriate times. Special staff officers should brief by exception when a friendly or enemy event occurs within their BOS.

Summarizing these actions at the end of the rehearsal can reinforce the coordination requirements identified during the rehearsal. The staff updates the DST and gives a copy to each participant. Under time-constrained conditions, the conducting headquarters may provide copies before the rehearsal and rely on participants to update them with pen and ink changes. After the rehearsal director finishes discussing the ground rules and answering any questions, the G-3 S-3 reads the mission statement, the commander reads the commander's intent, and the G-3 S-3 lays out the current friendly situation on the rehearsal medium.

The rehearsal then begins, following the rehearsal script. The following paragraphs outline a generic set of rehearsal steps. It was developed for combined arms rehearsals. However, with a few modifications, it can be used for fire support and CSS rehearsals. As an avid presenter at conferences, professional development sessions, and universities nationwide, she serves as a resource for building community, developing effective classroom management techniques and rehearsal routines, and motivating diverse learners.

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Catherina Hurlburt , Marketing Communications Manager. February 12, Christopher M. Johnson earned his Ph. Johnson served two terms as the editor of the International Journal of Music Education: Research , the research publication of the International Society for Music Education.

Johnson received a university teaching award — the Ned N. This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful.

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