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And as the players tried to take the field,
the Marching Band refused to yield. - Don McLean |
GENERAL INFORMATION
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Drill Assignments
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Parade Block
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STRETCHING
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UPPER BODY
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LOWER BODY
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BODY BREAKDOWN
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BREAKING IT DOWN
Breathe in (4 counts) Part #1: Neck... Breathe out (4 counts) Roll the neck down, from top to bottom. Stretch and lengthen the neck as you roll down. Breathe in (4 counts) Part #2: Shoulders... Breathe out (4 counts) Roll the shoulders, lengthening away from the spine. Arms hang relaxed and natural, crossed in front of the body. Breathe in (4 counts) Part #3: Upper Spine/Rib Cage... Breathe out (4 counts) Roll the upper spine down through the top of the chest cavity. Keep the lower spine and the hips over the knees and ankles. Breathe in (4 counts) Part #4: Lower Spine/Stomach... Breathe out (4 counts) Roll the lower spine down from top to bottom Keep the hips over the knees and ankles. Breathe in (4 counts) Part #5: Hips... Breathe out (4 counts) Roll through the bottom of the spine. Allow the knees to bend slightly to release any tension. Breathe in (4 counts) Part #6: Knees/Legs... Breathe out (4 counts) Collapse the knees and roll into a ball, balanced on the platforms. Relax and hold this position. Breathe normally |
BUILDING IT UP
Reverse phrases 1 - 6 Part #1: Knees/Legs (4 counts) Part #2: Hips (4 counts) Part #3: Lower Spine/Stomach (4 counts) Part #4: Upper Spine/Rib Cage (4 counts) Part #5: Shoulders (4 counts) Part #6: Neck (4 counts) Part #7: Feet together (4 counts) Left foot moves to meet the right foot. Part #8: Platforms (4 counts) Push up onto your platforms and hold. Part #9: Arms Up (8 counts) Arms extend over your head in an arcing motion. Stretch the spinal column upward, lifting the rib cage off of the waist. Part #9: Arms Down (8 counts) Arms return to the side, reversing the arcing motion. Maintain the stretch from Part 8. Part #10: Arms Arms move from the side to the “Set” position. Maintain the expansion of the chest. Part #11: Gentle Landing Heels come down to gently touch the ground. Maintain the height of the body. Part #12: Shoulder Shrugs Shrug should to ears and let them drop |
EYES WITH PRIDE
What is "Eyes With Pride"
"Eyes with Pride" originated with George N. Parks, the founder of of the George N. Parks Drum Major Academy, known by its graduates as DMA. Mr. Parks was an icon in the marching world, having influenced and taught generations of drum majors and student leaders. George passed away in September of 2010, leaving behind a legacy of inspiration and "starred" thoughts. (Read more in this ARTICLE.) He is well known for his credo, "Eyes with Pride!", a call and response chant that reminds students of their posture, but more importantly instills a sense of pride that can be seen through the look in every members eyes.
"Eyes with Pride" originated with George N. Parks, the founder of of the George N. Parks Drum Major Academy, known by its graduates as DMA. Mr. Parks was an icon in the marching world, having influenced and taught generations of drum majors and student leaders. George passed away in September of 2010, leaving behind a legacy of inspiration and "starred" thoughts. (Read more in this ARTICLE.) He is well known for his credo, "Eyes with Pride!", a call and response chant that reminds students of their posture, but more importantly instills a sense of pride that can be seen through the look in every members eyes.
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HOW ARE YOUR FEET...
STOMACH... CHEST... SHOULDERS... ELBOWS... CHIN... EYES... EYES... EYES... |
TOGETHER!
IN! OUT BACK! FROZEN UP! WITH PRIDE! WITH PRIDE! WITH PRIDE! |
COMMANDS
FALL IN... The position “Stand-By” is used as a preparation for the attention command.
- BODY POSITION: Stand in the formation as indicated.
- WHISTLE COMMAND: Long followed by vocal command
- VOCAL COMMAND: "Fall In"
- EXECUTION: Assume the body position immediately.
STAND BY... The position “Stand-By” is used as a preparation for the attention command.
- BODY POSITION: The head remains up and the feet are shoulder width apart. **Specific instrument/hand placement will be shown by your squad leaders/staff.
- WHISTLE COMMAND: Short - Short
- VOCAL COMMAND: "Stand By"
- EXECUTION: Assume the body position immediately.
ATTENTION (SET)... The command “Attention” is used to call the band to a ready position.
- BODY POSITION: The horn is held in carry position approximately a thumb and a fist from the chest. The horn is perpendicular/parallel to the floor and your body. Arms should form the Power Triangle. Feet are at a 45 degree angle. **Specific instrument/hand placement will be shown by your squad leaders/staff.
- WHISTLE COMMAND: Short - Long - Short
- VOCAL COMMAND: "Band - Ten - Hut"
- EXECUTION: On count 4, the horn/body snaps to the “attention” position.
- ALTERNATE COMMAND: "Set!"
- EXECUTION: Assume body position immediately.
MOVEMENT
FORWARD
Forward marching technique is accomplished using a “roll step”. This is achieved by flexing the foot as far back as possible and maintaining that flex all the way through the step until the weight is pushed forward by the platform of the foot. With the foot flexed back at its maximum, including the toes, the feeling that the toes are filling up the front part of the shoe should be felt. This kind of flex allows the edge of the heel to be the first part of the foot to contact the ground. In addition, the forward motion of the foot should be initiated by the flat part of the heel, just inside the edge (closer to the instep) by pushing down and forward through the heel as it extends forward. The heel (all parts) is to remain as close to the ground as possible at all times. The weight is initiated by energizing the muscles of the back leg; primarily the calf and the platform of the back foot and push the weight forward as a solid unit into the first step, and every subsequent step. The weight remains centered at all times and the upper-body maintains solid upper-body marching technique. Once movement has been initiated, legs will move in a pendulum-like motion, ankle bones crossing on the “&” counts, in a ski-line motion (think cross country skiing). Each downbeat is defined when the edge of the heel of the front foot makes contact with the ground and is also characterized by both legs being straight and only the platform of the back foot remaining in contact with the ground with the weight centered over both feet.
Forward marching technique is accomplished using a “roll step”. This is achieved by flexing the foot as far back as possible and maintaining that flex all the way through the step until the weight is pushed forward by the platform of the foot. With the foot flexed back at its maximum, including the toes, the feeling that the toes are filling up the front part of the shoe should be felt. This kind of flex allows the edge of the heel to be the first part of the foot to contact the ground. In addition, the forward motion of the foot should be initiated by the flat part of the heel, just inside the edge (closer to the instep) by pushing down and forward through the heel as it extends forward. The heel (all parts) is to remain as close to the ground as possible at all times. The weight is initiated by energizing the muscles of the back leg; primarily the calf and the platform of the back foot and push the weight forward as a solid unit into the first step, and every subsequent step. The weight remains centered at all times and the upper-body maintains solid upper-body marching technique. Once movement has been initiated, legs will move in a pendulum-like motion, ankle bones crossing on the “&” counts, in a ski-line motion (think cross country skiing). Each downbeat is defined when the edge of the heel of the front foot makes contact with the ground and is also characterized by both legs being straight and only the platform of the back foot remaining in contact with the ground with the weight centered over both feet.
BACKWARD
Backward marching technique is a difficult concept for performers to grasp, primarily because our brains have been programmed since day one to go forward. Depending on tempo, there are two different techniques that are used when moving backwards. In any event, the platform plays a much larger role in backward marching technique than in forward marching technique. Since our bodies are generally timid when it comes to moving backward, the tendency is to lead with the shoulders. Extra focus must be placed on firmness in the Power House area and keeping the hips “tucked back” underneath the upper-body. When proper upper-body technique is maintained on the backward move, it will feel like the upper-body is leaning forward and almost being pulled backward by the hips.
Backward marching technique is a difficult concept for performers to grasp, primarily because our brains have been programmed since day one to go forward. Depending on tempo, there are two different techniques that are used when moving backwards. In any event, the platform plays a much larger role in backward marching technique than in forward marching technique. Since our bodies are generally timid when it comes to moving backward, the tendency is to lead with the shoulders. Extra focus must be placed on firmness in the Power House area and keeping the hips “tucked back” underneath the upper-body. When proper upper-body technique is maintained on the backward move, it will feel like the upper-body is leaning forward and almost being pulled backward by the hips.
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Tempo greater than mm=100
At higher tempos, the platforms are the only part of the foot that is in contact with the ground at any time, unless at a halt. This is to say that the heels will never touch the ground. From a halt, this is accomplished by engaging the muscles in the front leg, pushing all the way through the platform of the front foot, pushing the whole body up and backward at a 45º angle into the first step. Once the first step has happened, the heels never touch the ground. In addition, at all times when marching backward, legs must be straight. In order to achieve this, the performer must push up as high as possible on the platforms and push upward from the Power House to lift the weight out of the hips. With the body pushed up to its maximum height atop the platforms, a simple flex of the foot is required to clear one leg past the next when taking a step. All motion of the legs is initiated from the middle of the hamstring, NOT the heel. Imagine the leg being pulled backward by a string tied around the lower thigh, a few inches above the knee. Legs will rotate in a pendulum-like motion from the hip socket. Once again, the knees DO NOT bend. Firmness is required in the legs and ankles to maintain height throughout the step. Each downbeat is defined when the platform of the back foot makes contact with the ground and is also characterized by both legs being straight and only the platform of the back foot remaining in contact with the ground with the weight centered over both feet. |
Tempo less than mm=100
At slower tempos, a slight variation of the backward technique is used. This is called the “rolled heel” technique. Even though the tempo is slower, this technique cannot be any less aggressive than the up-tempo technique. Movement is once again initiated from the hamstring and the platform of the back foot makes contact with the ground on the downbeat, the difference is in the front foot. Once the weight has been pushed backward through the platform of the front foot, the toes will begin to roll up until the downbeat, where the front foot will be completely flexed and the edge of the heel will be in contact with the ground. Downbeats at this tempo will look exactly like every downbeat on the forward move. As the feet move in between down beats, the back foot will roll down onto the heel and be flat on the ground by the “&” count when the front leg passes. Immediately after the “&” count, the foot that is flat on the ground will push the weight backward through the platform and then begin to roll up. Legs will remain as straight as possible throughout all aspects of the step, but recognize that minimal knee-bend is required to pass one foot by the next. |
LATERAL (WINDS)
When moving laterally across the field, the upper body will stay square to the front sideline (unless otherwise indicated in the drill). In order to accomplish this, the upper body must be rotated in two steps. First, rotate the entire upper body (from the hips to the top of the head) as one unit 45º to the left/right. Second, rotate the upper half of the upper body (from approximately the bottom of the rib cage, up) the remaining 45º to make a complete 90º angle. At this point, the feet should be in ski line facing the end zone, the hips should be on the 45º angle and the shoulders should be parallel to the front sideline. The most essential portion of this technique is rotating the hips half the distance. This will allow the upper body the extra range of motion to complete the rotation. If the hips do not rotate, both upper and lower body technique are compromised. It is important to note that rotating the upper body can be accomplished without changing the shape or orientation of the shoulders. The “power triangle” should remain intact. The shoulders and neck muscles should remain relaxed. Finally, when the upper body is fully turned, it is important to maintain the focus in the power house area as the hips will have a tendency to move forward (in the direction of the ski line). This can be corrected by first ensuring the hips are turned half way and second by lifting the weight up and forward with the power house muscles.
When moving laterally across the field, the upper body will stay square to the front sideline (unless otherwise indicated in the drill). In order to accomplish this, the upper body must be rotated in two steps. First, rotate the entire upper body (from the hips to the top of the head) as one unit 45º to the left/right. Second, rotate the upper half of the upper body (from approximately the bottom of the rib cage, up) the remaining 45º to make a complete 90º angle. At this point, the feet should be in ski line facing the end zone, the hips should be on the 45º angle and the shoulders should be parallel to the front sideline. The most essential portion of this technique is rotating the hips half the distance. This will allow the upper body the extra range of motion to complete the rotation. If the hips do not rotate, both upper and lower body technique are compromised. It is important to note that rotating the upper body can be accomplished without changing the shape or orientation of the shoulders. The “power triangle” should remain intact. The shoulders and neck muscles should remain relaxed. Finally, when the upper body is fully turned, it is important to maintain the focus in the power house area as the hips will have a tendency to move forward (in the direction of the ski line). This can be corrected by first ensuring the hips are turned half way and second by lifting the weight up and forward with the power house muscles.
LATERAL (PERCUSSION)
Lateral movement is best accomplished utilizing an even transfer of weight through time and space. Crabbing is the movement utilized by the Battery, due to the position of the drum.
General
NOTE: From attention or mark time a preparatory step is used on count 4 to move the right foot back!!
Lateral movement is best accomplished utilizing an even transfer of weight through time and space. Crabbing is the movement utilized by the Battery, due to the position of the drum.
General
- When moving Left… Right foot in front of left
- When moving Right… Left foot in front of right
- When moving Backward Right/Forward Left… Right foot in front of left
- When moving Backward Left/Forward Right… Left foot in front of right
- If you are marking time, on count “4” both feet are on the ground.
- On count “4&” the body begins to move leading from center, with the left foot stepping left.
- On count “1” the left platform is down with the weight distributed on the platform. The body weight should now be centered between the feet, both legs are slightly bent, and both feet are on their platforms.
- On count “1&” the ankles cross (right in front of left) with the center of body passing over the ankles.
- On count “2” the feet are reversed as to the position on count “1”.
NOTE: From attention or mark time a preparatory step is used on count 4 to move the right foot back!!
- If you are marking time, on count “4” both feet are on the ground.
- On count “4&” the body begins to move leading from center, with the left foot stepping right.
- On count “1” the left platform is down with the weight distributed on the platform. The body weight should now be centered between the feet, both legs are slightly bent, and both feet are on their platforms.
- On count “1&” the ankles cross (right behind left) with the center of body passing over the ankles.
- On count “2” the feet are reversed as to the position on count “1”.
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