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And as the players tried to take the field,
the Marching Band refused to yield. - Don McLean |
GENERAL INFORMATION
COMMANDS
**Specific instrument/hand placement will be shown by your squad leader/staff.
**Specific instrument/hand placement will be shown by your squad leader/staff.
The following commands are given verbally or as a whistle command and require the marching member to respond as indicated, but not in strict time.
FALL IN... The command “Fall In” is used to assemble the marching members into formation.
- VOCAL COMMAND: "Fall In"
FALL OUT... The command “Fall Out” is used to release the marching members out of formation.
- VOCAL COMMAND: "Fall Out"
AT EASE... The command “At Ease” is used to relax the marching members while in formation.
- VOCAL COMMAND: "At Ease"
STAND BY... The command “Stand By” is used as a preparation for the attention command.
- WHISTLE COMMAND: Short - Short
- VOCAL COMMAND: "Stand By"
- BODY POSITION: The head remains up and the feet are shoulder width apart (2nd position).
The following commands are given verbally or as a whistle command and require the marching member to respond as indicated in strict time.
ATTENTION (SET)... The command “Attention” is used to call the band to a ready position.
- VOCAL COMMAND: "AH - ten - HUT"
- WHISTLE COMMAND: Short - Long - Short
- EXECUTION: The band responds by shouting, "M - T - H". On count 3 ("H"), the horn/body snaps to the “attention” position.
- ALTERNATE COMMAND: "SET!"
- EXECUTION: Assume body position immediately.
- BODY POSITION: The horn is held in carry position. Arms should form the Power Triangle. Feet are at a 45 degree angle (1st Position).
PARADE REST... The command “Parade Rest” is used to place the band at rest after standing at attention.
- VOCAL COMMAND: "PA - rade - HUT"
- WHISTLE COMMAND: Short - Short
- EXECUTION: On count 1, the horn/body snaps to the “Stand by” position.
- BODY POSITION: see "Stand By"
MARK TIME... The command “Mark Time” is used to place the feet in motion as a unit.
- VOCAL COMMAND: "Mart - Time - Mark"
- WHISTLE COMMAND: Short - Long - Short -- Short - Short - Short - Short
- This can also be started by the Drum Captain... played on the snare drum.
- EXECUTION: On count 1, the marching member begins marking time.
- BODY POSITION: see "Attention"
FORWARD / BACKWARD MARCH... The command “Forward / Backward March” is used to place the band in motion as a unit.
- VOCAL COMMAND: "FOR - ward - HARCH" or "BACK - ward - HARCH"
- WHISTLE COMMAND: Long (off on count 3) -- Short - Short - Short - Short
- EXECUTION: On count 1, the marching member moves in the direction indicated.
HALT... The command “Halt” is used to stop the feet/band in motion as a unit.
- VOCAL COMMAND: "BAND (rest) HALT"
- WHISTLE COMMAND: Short - Long - Short -- Short - Short - Short - Short
- EXECUTION: On count 1, the marching member stops all motion.
*RIGHT HAND RULE...
Your instrument should always be carried in the right hand, so as to avoid any unnecessary confrontations with other horns.
Your instrument should always be carried in the right hand, so as to avoid any unnecessary confrontations with other horns.
STRETCHING
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UPPER BODY
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LOWER BODY
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BODY BREAKDOWN
EXERCISE
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BUILDING IT UP
EXERCISE Reverse phrases 1 - 6
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POSTURE
The manner in which we approach sitting or standing to play a musical instrument or spin equipment is the foundation for mastery. Proper posture ensures that 1) the body is aligned, 2) we maximize space for proper technique, and 3) we eliminate tension.
- Stand with feet in closed first position (feet at a 45º angle from center)
- Shoulders, hips and anklebones should be aligned.
- The position of the hips should be pulled back, allowing your spine and pelvis to be in a straight line. This will also enable you to hold your instrument/equipment without back problems.
- Shoulders should be relaxed. To achieve this, shrug your shoulders up to your ears and then release.
- The Power House is squeezing the weight out of the hips (think of pushing the weight upward with the Power House like squeezing a tooth paste tube). By firming and lifting from the Power House, the lower back will flatten and the spine will elongate.
- The lateral muscles in the back will tighten to function as stabilizers for the upper body. This will allow the upper body to remain steady while the abdominal muscles relax to facilitate proper breathing.
- Solid Power Triangle
- Chest is broadened horizontally
- Chin is up
- Eyes focused ahead (not at the ground)
- Pressure or weight on the feet should be directed to the platform - Not the heels or toes. (Think of a ski jumper!)
- The legs should be relaxed, with slightly bent knees - Do Not lock the knees.
MOVEMENT
GENERAL
- The muscles in the legs must initiate movement.
- The upper-body (the “weight”) must move as one unit.
- The hips must remain “tucked back” at all times.
- Upper-body marching technique must remain solid throughout.
- Muscle focus must be applied to the Power House area to maximize achievement.
- At tempos greater than mm=100, movement is initiated on count 4.
- At tempos less than mm=100, movement is initiated on count 4&.
MARKING TIME
Marking time is used to control the timing of the ensemble and to help the performer internalize the tempo so as to aid marching & playing/spinning on the field. The mark time is usually prepared with four preparatory beats (Mark-Time-Hut-Rest). During the preparatory beats the tempo should be subdivided so that a consistent, timely step-off occurs. Marking time is an aggressive movement of the feet. With feet starting in first position, movement is initiated by lifting the left foot only slightly off the ground and placing it in time with the tempo. This is beat one. On beat two, the right foot is lifted only slightly off the ground and placed in time with the tempo. Almost simultaneously as the right foot is placed, motion in the left foot is initiated. The knee will pop out slightly. This signifies the & count. Each downbeat after this is defined when both feet are flat on the ground. This motion alternates between feet. While marking time, it is important to maintain upper-body technique as defined earlier and to begin to explore the concept of upper and lower body separation using the Power House area. This will prevent the upper-body from swaying back and forth as the feet move.Halting (Mark Time)
On the final count of mark time, the right foot is lifted only slightly off the ground and placed in first position. On the first count of the next phrase, the left foot is lifted only slightly off the ground and placed in first position.
Marking time is used to control the timing of the ensemble and to help the performer internalize the tempo so as to aid marching & playing/spinning on the field. The mark time is usually prepared with four preparatory beats (Mark-Time-Hut-Rest). During the preparatory beats the tempo should be subdivided so that a consistent, timely step-off occurs. Marking time is an aggressive movement of the feet. With feet starting in first position, movement is initiated by lifting the left foot only slightly off the ground and placing it in time with the tempo. This is beat one. On beat two, the right foot is lifted only slightly off the ground and placed in time with the tempo. Almost simultaneously as the right foot is placed, motion in the left foot is initiated. The knee will pop out slightly. This signifies the & count. Each downbeat after this is defined when both feet are flat on the ground. This motion alternates between feet. While marking time, it is important to maintain upper-body technique as defined earlier and to begin to explore the concept of upper and lower body separation using the Power House area. This will prevent the upper-body from swaying back and forth as the feet move.Halting (Mark Time)
On the final count of mark time, the right foot is lifted only slightly off the ground and placed in first position. On the first count of the next phrase, the left foot is lifted only slightly off the ground and placed in first position.
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.
Halting (Forward Movement)
On the final count of a forward move, when coming into a halt, the weight will be evenly distributed between the platforms of both feet. Your lead foot rolls into the ground in first position. On the next count, the left foot comes to meet the right in first position and movement stops. Weight is centered over the platform.
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.
Halting (Forward Movement)
On the final count of a forward move, when coming into a halt, the weight will be evenly distributed between the platforms of both feet. Your lead foot rolls into the ground in first position. On the next count, the left foot comes to meet the right in first position and movement stops. Weight is centered over the platform.
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.
Halting (Backward Movement)
On the final count of a backward move, when coming into a halt, the weight will be evenly distributed between the platforms of both feet. Your lead foot rolls into the ground in first position. On the next count, the left foot comes to meet the right in first position and movement stops. Weight is centered over the platform.
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.
Halting (Backward Movement)
On the final count of a backward move, when coming into a halt, the weight will be evenly distributed between the platforms of both feet. Your lead foot rolls into the ground in first position. On the next count, the left foot comes to meet the right in first position and movement stops. Weight is centered over the platform.
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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) - SLIDING
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.
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LATERAL (PERCUSSION) - CRABBING
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!!
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DIRECTION CHANGES
Direction changes must happen over several counts, the last count of the first phrase and the first two counts of the next phrase. It is important that the first phrase be completed both by the lower body and by the upper body in form and direction prior to moving in the new direction. This is completed as follows. On the final count of the first phrase, the right foot is placed on a 45º angle in the direction of the next move (NOTE: For direction changes less than 45º, the right foot is placed in the new direction. Anything greater than a 45º direction change requires a 45º placement). On the “&” count at the end of the phrase, the hips rotate half way (as discussed in “Lateral Movement”). The upper body should still be square to the front and the weight should still be moving in the “old” direction. On the first count of the next phrase, the left foot is in ski line in the new direction and the shoulders complete the direction change by squaring to the front (as discussed in “Lateral Movement”), and the weight has moved half of a step in the new direction. By the second count of the new phrase, both feet should be in ski line in the new direction, shoulders square to the front, with the hips turned half the distance of the shoulders. As always, good upper and lower body technique is crucial to success of this technique.
Direction changes must happen over several counts, the last count of the first phrase and the first two counts of the next phrase. It is important that the first phrase be completed both by the lower body and by the upper body in form and direction prior to moving in the new direction. This is completed as follows. On the final count of the first phrase, the right foot is placed on a 45º angle in the direction of the next move (NOTE: For direction changes less than 45º, the right foot is placed in the new direction. Anything greater than a 45º direction change requires a 45º placement). On the “&” count at the end of the phrase, the hips rotate half way (as discussed in “Lateral Movement”). The upper body should still be square to the front and the weight should still be moving in the “old” direction. On the first count of the next phrase, the left foot is in ski line in the new direction and the shoulders complete the direction change by squaring to the front (as discussed in “Lateral Movement”), and the weight has moved half of a step in the new direction. By the second count of the new phrase, both feet should be in ski line in the new direction, shoulders square to the front, with the hips turned half the distance of the shoulders. As always, good upper and lower body technique is crucial to success of this technique.
JAZZ RUNNING
Jazz running is a technique used when the step size becomes too large for traditional marching technique. Jazz running is best accomplished by keeping the upper-body low; the front leg will be slightly bent with the back leg straight from pushing off. The toes are turned out at approximately a 45º angle and will remain in this position throughout the jazz run in order to prevent knee injury. Legs will still move in ski line and ankle bones still cross on the downbeat. The key is to use a solid push-off from the platform. This technique will be used sporadically. When jazz running, it is important that extra focus is given to the Power House area and stabilizing muscles in the back to maintain solid upper-body technique throughout the movement.
Jazz running is a technique used when the step size becomes too large for traditional marching technique. Jazz running is best accomplished by keeping the upper-body low; the front leg will be slightly bent with the back leg straight from pushing off. The toes are turned out at approximately a 45º angle and will remain in this position throughout the jazz run in order to prevent knee injury. Legs will still move in ski line and ankle bones still cross on the downbeat. The key is to use a solid push-off from the platform. This technique will be used sporadically. When jazz running, it is important that extra focus is given to the Power House area and stabilizing muscles in the back to maintain solid upper-body technique throughout the movement.
