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TerryParkerSeniorHighSchool

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Introduction This marching guide is a brief, yet

thorough overview of the specific marching methods practiced by the Royal Palm Beach Community High School Marching Band. Although these techniques are intended for all marching members, much of it is directed toward the woodwind and brass players. Hence, some techniques will be unsuitable for color guard or marching percussion. These individual sections will make all necessary modifications as needed. Many of these techniques may be redefined according to the demands of our show.

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Marching Glossary of Terms

o Lateral- side to side or end zone to end zone o Vertical- sideline to sideline o Interval- the space between individuals who are facing the same or similar directions

in a lateral line or curve o Distance- that space between individuals in a file or curved form (follow-the-leader

style) o Company Front- 90% or more of an element in a lateral line o Flank- a change to a new direction executed in one count o Turn- a change of direction executed in two or more counts o Slide- body movement in one direction as the instrument or equipment remains

facing in another o Concert Slide- the area where the primary audience is seated (South) o Back Slide- the area opposite concert slide (North) o Inboard- a tern used to describe a direction from anywhere on the field laterally

toward the 50 yard line o Outboard- is used to describe a direction from anywhere on the field laterally

toward the nearest end zone o Asymmetrical- cannot be divided into similar halves on a longitudinal basis o Dress- alignment from side to side (interval) or front to back (distance) o Coordinates- exact positions on the grid (field or drill sheet) determined by utilizing

yard lines, sidelines, and hash marks o Oblique (Diagonals)- 45 degree angled lines o Elements- the different units that make up a form (ex: guard, percussion, winds,

etc.) o Segment- a portion of the overall form o Arc- a part of any curvilinear shape o Uniformity- the “sameness of dress, style, or movement o Coordination- the organization or creative thought to produce a similar message or

effect o Integration- the placement of elements in a mixed fashion o Staging- placement of elements within a form o Complexity- the inter-related involvement and intricacy of elements and

components within a production o Transition- a description of movement from form to form o Continuity- the logical and orderly sequence of maneuvers and the compatibility of

all details necessary to ensure a smooth, entertaining program. The weaving of all ideas, visual and audio, to achieve the maximum effective entertainment

o Symmetry- one side of a form is mirrored by the other o Clutter- design elements interfere visually with each other o Readability- the clarity of a design o Platform- ball or flat part of the foot used for balance on backward march

maneuvers

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Posture The most fundamental aspect of a good marching band is correct

posture. This position of the body enhances the appearance and overall presence of the individual and the ensemble. To achieve this look, each individual should occupy as much space as possible to appear “larger than life” to the audience. The body should form a straight line perpendicular to the ground.

Lower Body Feet

o Heels are together o Toes are pointed out at a 45º angle o Weight of body should be centered

Legs o Slightly bent o Avoid locking the knees

Butt o Tucked firmly to give upper body support and smooth

marching style. Upper Body

o Should feel a lift from the sternum Rib Cage

o Needs to feel lifted off the lungs for better breathing and visual performance

Abdominals o Engaged to support upper body

Shoulders o Up, back, down o Should be relaxed

Head o Chin up at a 10º angle (approximately) o Look confident

“Parade Rest” Posture This is the position called prior to attention position. It is not called in rhythm.

o Head is the only part of the upper body that should be down (refrain from hunching over)

o Feet shoulder width apart. o Hands in front of body, cupped right over left (if no

instrument) o Should be a relaxed position, but uniform and still

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Call To Attention (“Band – Ten – Hut” – move) o One snappy, aggressive move to correct posture

(No rest between “hut” and the move) o When not carrying an instrument, the hands should be cupped and relaxed at the

side in a fixed position with the middle finger along the seams of the pants with thumbs pointing toward the ground over the index finger.

o Refrain from talking or moving while in attention position.

Set o Used in rehearsals instead of going

through process of calling band to attention

o Fall in at attention with your horn or equipment in the proper position.

o Once again, talking and moving should be avoided while in attention position.

Horns Up/Down (“Band – Horns – Up/Down”– move)

o One count move from carrying position to playing position as quickly as possible (no rest between “up/down” and the

move) o Horns or chins at a 10º angle (different

instruments may vary) o If not holding a horn, fists should be

cupped and locked in front of the face, right over left (fingers towards the sky, thumbs towards the face)

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Marching

The Wildcat Band always steps off with the LEFT foot, unless otherwise instructed by the staff. All marching will be done from the attention position. All commands not given from a halt will be called on the left foot.

Mark Time (“Mark- Time- Mark”- rest- move)

o There is a rest between “Mark” and the move.

o On count one, left foot collapses the angle

o On count two, right foot closes the angle making the feet parallel with each other

o (To avoid pivoting, slightly raise heels to close the angle)

o Alternate lifting each heel to 2” above the ground while leaving the toes in place

o Upper body should remain stable (do not rock to side or bounce up and down)

o Remember, the left heel always hits the ground on counts 1 and 3 o The right heel always hits the ground on counts 2 and 4

Halt (“Band”- rest- “Halt”- place- close)

o On count 4 (place) of the command, place the right foot to form the right half of the 45º angle for the attention position.

o On the last count (close), bring the left heel to the right and form the other half of the 45º angle for the attention position.

o Avoid rolling into halt. o This movement is the same whether

coming from a halt or marching.

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Forward March (“Forward”- rest- “Move”- rest- move)

o Pushoffwiththeplatformoftherightfoottopropelyourweightforward.

o Pushtheleftfoot’sheelstraightoutwiththetoesflexedbackashighaspossible.

o Rolldownthroughthecenterofthefootandthroughthetoes.

o Feetshouldremainparallelwhenmarching(asthoughonskis).

o Refrainfromaligningthefeetinfrontofeachotherorallowingthetoestopointoutwards.

Backward March (“Backward”-rest-“Move”-rest-move)

o Backwards marching is always done on the platforms of your feet. Avoid letting your heels touch the ground.

o Push off with the right foot to propel your weight backward.

o Pull with the back of the leading (left) leg as you pass through the count to prepare for the next step.

o Toes should stay as close to the ground as possible without dragging.

o Keep the upper body perpendicular with the ground and stiff.

o Legs should remain straight.

Flanks (“Right/Left-Flank-Move”-rest-move)

o This is a two-count move (rest between “Move” and the move).

o The entire body will face the direction of marching.

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o On “Rest”, place the right foot at a 45º angle toward the new direction of marching. o Avoid pivoting . o On count one of the new direction, your upper body should be facing the new.

direction of marching.

Slides (“Right/Left-Slide-Ready-Move”-move)

o Thisisaone-countmove(norestbetween“Move”andthemove).

o Feetperformthesameasflanko Upperbodyremainsfacingforward

whilethelowerbodyfacesthesidetomarch

o Rotatethetorso45ºatthehipsand45ºintheshoulderstokeeptheshouldersparalleltothesideline.

About Face (“Band-AboutFace-move)o Thisisa180ºturntotheleft.o Onbeat4(rest),placetherightfootoutcomfortablytopreparefortheturn.o Onbeat1aftertherest(move),pivottotheleftontheballsofbothfeet.o Onbeat2aftertherest,stepwiththerightfootandresumemarching.

Touch and Go

Refers to immediate directional change of slides and forward to backward (or vice versa) moves. There is no vocal command for this particular maneuver, but it is used after a command to change directions. For instance, if you are marching forwards, and there is a command for backward marching, you will use the “Touch and Go” maneuver. Also, be wise in your drill—if you need to change directions, use this procedure.

o On count 7 (or any other appropriate odd count), the left foot should be planted so that the weight of your body is primarily on that foot.

o On count 8 (or any other appropriate even numbered count), the right foot should point towards the ground as if you were taking the next step. The right toe is mainly used for balance and support.

o The next count (count 1) the left foot rearticulates the direction change.

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On the following count (count 2), the right foot moves in the new direction aggressively.

o The right toe, on count 8 (or any other appropriate even numbered count), is

pointed towards the ground. o Weight is on left foot while the right toe is used to propel the body in the new

direction. o The next count is a dead count where the body does not move. o The right foot moves in the new direction on the next count aggressively. o For instance, if the counts were (5-6-7-8-1-2), your movements would be as follows:

(left- right- left- right-platform right foot- continue right foot in the new direction)

Dress Center/Left/Right (“Dress- Center/Left/Right- Dress”- move) o Command is always called at attention position o From this position, snap your head to the direction called. o Adjust alignment both vertically and horizontally

Ready Front (“Ready”- rest- “Front”- move) o This is the only command that may be given while at a dress. o Snap your head to straight forward. o There should be no need to adjust further at this point.

Your Dot or Coordinate

A dot is an absolute position on the field. It contains X and Y coordinate values. These values are measured in 8 to 5 steps (8 steps in 5 yards—22.5”/step) from common points on the field such as yard lines, sidelines, and hashes. The number of steps from a given landmark can be divided into fractions as small as 1/4 of a step (ex. 4.5 outside front hash, 3.25 outside 35 yard line, side A). To use these coordinates, remember that “inside” always means towards the center and “outside” always means away from the center. For instance, if your coordinate reads “8 inside front hash,” that means go towards the back hash—the center of the hashes. If your coordinate reads “8 outside 35,” that means go towards the goal posts.

It is important to remember that your dot is just a reference and that

great marching does not require one to ‘nail’ his or her dot. The most important thing is to stay in the form. “Stay between your friends” is an excellent reminder.

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How to Read Your Coordinate Sheet

o The football field is divided into two halves, sides ‘A’ and ‘B’. The ‘A’ side of the field is located to the left when viewed from the home stands (behind the drum major podium) while the ‘B’ is located on the right.

o For each coordinate outside the yardline indicates a move away from the 50 yard line, while a coordinate denoting inside refers to going toward the 50 yard line.

o For coordinate instructions referring to inside a hash, march from the hash inward toward the middle of the field; for outside of the hash directions march toward the sideline.

1. To find set #26 you would first locate the 40 yard line on the ‘A’ side of the field. Then using the 8x5 step size take 2 steps toward the 50 yard line. Then continue by marching 3, 8x5 steps toward the visitor sideline or back of the field. 2. To find set #27 locate the 50 yardline (if a coordinate calls for you to be ‘on a yard line,’ disregard how many steps off) and visitor hash.

Once you have located your coordinate assume the attention position with your feet at a 45 degree angle facing the front of the field.

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o The drum majors will always be marking time for reference o The drum major will always give 2 beats prep on beats 1 and 3, then a full measure

of 4/4, regardless of the time signature of the piece. o Not all count offs are auditory; watch the drum major for a visual count off. o The drum majors conduct in an arrow pattern, where all the beats are at the same

point on the ictus

Basic Arrow Patterns

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