Marching Band is the most enjoyable, rewarding, and priceless action that one may participate in for the duration of high school. Where else do humans move around a field making pretty patterns that they read from little “X’s” in a book while playing intense music and never looking at the ground?
However, a good foundation in marching fundamental principle is necessary to a marching band. Below are a lot of pointers for the Drum Major seeking to instruct marching to freshman marchers. This is the way I instruct commands and the method may be more or less or substantially dissimilar from the way your band operates.
Attention
This is the most basic and important maneuver of Marching Band. It makes or breaks the popular effect score for most field shows. First, the band starts in a “standby” position, with their heads straight ahead, hands left clasping right wrist, and feed shoulder width apart. The command to begin attention is “Band Ten Hut” and the response is “hut.” In one count, the left foot snaps into the right, with heels and toes aligned. Hands form into loose fists with the thumbs on top, pointing straight. Arms must bend somewhat and be positioned on the seam of ones pants regarding half way amidst a hanging position and the bend that occurs when hands are placed on the waist. Eyes point straight in front and knees are not locked. The chin tilts with regards to fifteen degrees up from a parallel position.
With instruments only the hand position changes. For brass, mouthpieces ought to be aligned at a uniform level, specifically at the third valve hole, with arms bent and horns placed with regards to six inches away from the body. Flutes hold horns perpendicular to the ground. Saxes are wholly parallel and the neck strap is still worn. Tubas place one hand on the mouthpiece while the other remains on the valves. Clarinets move the horn when it comes to six inches from the body and hold it perpendicular to the ground. Drumline either crosses their sticks (tenors and snares) or holds them on the sides of the drums (basses). Guard holds flags straight up.
Parade Rest
The parade rest command is essential when waiting for judges to let the band commence a performance. It is also utile when waiting for a parade to begin. The command is “band parade rest” and the response is “chuh.” The body goes from an attention position to parade rest in one count. The left foot moves to shoulder width, arms come out of fists and the left hand holds the right wrist. The right hand now re-makes the fist. Heads come down from attention to pointing straight ahead.
With instruments only the hand crossing changes. All horns must hold the instrument with their right hand and place the left hand back on the right wrist. Horn bells must point right. Horns will have to be parallel to the ground. For flutes or clarinets, place the horn in the crook of the right arm and hold it with the left hand. Saxes cross their horns from the left shoulder to the right hip. Tubas merely drop their hands from the mouthpieces. Drumline members uncross sticks and hold one in each hand behind their drums. Guard lowers their flags and either hold them in a flute position or sax position.
Drag Left
A drag is basically a stationary turn. Left drags are the easiest of these turns. The command is “drag left hut” and the response is “and 1, 2, 3, lock.” The left foot moves to the left on count one to form a forty-five degree angle with the feet, but the body does not move. On count two, the right foot meets the left foot and the body moves. This is repeated for counts three and four and the body and feet end up moving ninety degrees. Feet ought to be lifted very more or less in order to finish a clean turn. Do not slide the feet along the ground.
Drag Rear
A drag rear is an expanded drag left. Instead of forming forty-five degree angles with each count, one forms ninety-degree angles. The body proceeds to move only on counts two and four. The command is “drag rear hut” and the response is still “and 1, 2, 3, lock.”
Drag Right
A drag right uses the same counts, command, and response. However, rather of picking the foot up, the toes now stay planted and the heel of each foot makes forty-five degree angles. Starting with the left foot on count one, move it forty-five degrees right, then move the right foot to the left on count two. Repeat the routine to move ninety-degrees to the right. It is of the utmost importance that the toes do not lift from the ground.
There are no rear drags that implicate right turns. A drag is a stationary move, however, whatsoever action was occurring before the drag proceeds after the drag is complete.
Dressing
Dressing may be accomplished left, right, and center. Each command will be “dress left/right/center dress” and the response is “one two.” On count one of the move, hands move to a trumpet horns up position. In other words, the left hand closes over the right fist and the arms make a ninety-degree angle. On count two, the head moves completely either to the right or the left, in the direction of the dress command. The Drum Major will give a second or two to adjust and dress the lines. Move to repair both dress and cover at this time. A centerline may be designated. If this happens, dress to that line, moving the head to the rectify direction. People standing in the file that is being dressed to fetch their hands up, but do not move their heads.
Drumline should, rather of making a ninety-degree angle with their hands, hold the arms parallel with the ground and make a fist with the right hand that the left hand holds. You may only call a dress from attention.
With instruments, there is no motion on count one, but the head still moves on count two.
Ready Front
The only way to get out of a dress is to call “ready front” and the response is “one two.” On count one, the arms come down to attention position. On count two, the head snaps back to attention.
With instruments, not one thing happens on count one, while heads snap back on count two.
Band Halt
This command stops the band. Call “band halt” and the response ought to be “one two.” On count one the right foot takes it is last step. The left foot meets the right foot and motion stops on count two.
Horns Up
The command is “band horns up” and the response is “and up.” This is a two count move where horns move from attention to playing position. The “and” count is prep only; motion occurs on beat two. Trumpets will have to have their hands form a right angle, while the bell points regarding thirty degrees up from parallel. The valves may be somewhat tilted to construct an interesting effect. Flutes must hold their horns completely parallel to the ground. Clarinets move the bottom of their horns with regards to twenty degrees away from the body. Saxes will have to make sure that their horns are perpendicular to the ground and away from the body. Mellophones and baritones hold their horns wholly parallel to the ground. The tuba player places his hand on the mouthpiece and pushes the tuba more or less up.
Horns Down
Rarely called, “horns down” calls for an “and down” response. The “and” is another prep beat, horns snap back to attention on the “down” beat.
The Error Command
This command is used by a heap of bands to keep both the band and Drum Major honest. It is a fun command to throw in to any sequence. Preface any drill down by saying that unknown commands could be called or commands could be called in an unfitting sequence. For example, the Drum Major could have the band at parade rest and then call a dress right. This is not possible because the band will have to be at attention for a dressing command. Thus, the band ignores the new command and calls “as you were sir.” It keeps every one on his or her toes.
In Sum and Other
There are numerous moving commands that the band ought to also master. Another article covers these commands. As far as stationary commands, there is present arms and order arms for salutes; left, right, and with regards to haces for snap turns; and half haces to be even more confusing. Frankly, there are few resources to find how to call commands or how to march. I would ask the current conductor or Drum Major for assistance. Also, consider going to a Drum Major camp. Some camps are good, others are not, but most ought to help you with your marching.
This list of commands is exclusively my own; I used no resources or Internet roots just my own psychological result of perception learning and reasoning to compile it.
Clarinet Case Shoulder Pic
Clarinet Case Shoulder Pic
Clarinet Case Shoulder Image
Clarinet Case Shoulder Picture
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