2010 visual technique and ensemble program - west salem...

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CONTENTS

IntroductionWhy We Do So Much BalletProgram Over view: The “Big Picture”

TechniquePosture

Warm Up

Warm Up 1: Upper BodyWarm Up 2: Lower BodyFoot Articulation 1: DefinitionLaying Stretches

Abdominal Exercises

Floor Barre

SupineProne

Standing Center

Foot Articulation 2: AgilityBalance: Coupé-Fondu

Across the Floor

PrancesBallet WalksJazz Run SequencePas de BourréeForward/Backward Technique8s and 4sTorso-Twist (Winds Only)SlidesHip-Shifts

Crab Technique

Initiating Lateral MotionObliquesCrabbing at Angles: Which Foot Leads?

EnsembleDiamondsBoxes A and BZig-ZagsZig-Zags 2Circle DrillSnowconesEchelon

Drill ConceptsDetermining Step Size

Common Step Sizes

Drill Learning Exercises

How to Assemble Your Dot Book

Rehearsal EtiquetteRehearsals

The Rehearsal Mode

Typical ProceduresAdding Music to Drill

W E S T SA L E M M A R CH I N G BA N D 2010 V I SUA L PR O G R A M PAG E 1

INTRODUCTIONOur approach to the visual caption is all about creating a certain look. !at look is defined by demonstrating strength, achieving graceful body lines, moving through each phrase with intent and purpose, making the show look easy, and having a presence on the field that’s easy to recognize but impossible to describe.

As visual performers, our performance medium is physical in nature. !is may seem obvious, but often we place too much emphasis on what we think or feel or believe. However, our audience cannot see into our head, heart, or soul—they can only see what we do and how we do it. Correspondingly, this guide uses a mix of kinesthetic and metaphorical imagery to help convey concepts in a visual and physical way.

WHY WE DO SO MUCH BALLET

!e way muscle groups and body awareness are developed in ballet exercises o"ers an excellent means to e"ectively and e#ciently create the “look” we’re after, while covering the full range of physical conditioning in a way that is relevant to our marching technique. Our goal is to move well as humans first, then apply those movement concepts to our marching.

You may have heard this distinction between marching well and moving well before. For our purposes, this is the di"erence: Marching well means separating the upper half from the lower half; moving well means integrating the upper half with the lower half.

Can we do both, march well and move well? Absolutely. !e biggest di"erence has to do with the approach, treating each exercise as a holistic, full-body experience rather than having separate exercises for the upper- and lower-half.

Utilizing dance techniques might be a di"erent experience for you. Traditional marching band instruction tends to focus on uniformity over technique, setting the bar fairly low so that everyone can achieve a technique with relative ease. !is technique program, while not ignoring uniformity, will challenge everyone to achieve at a higher level.

!e concepts found here are specific to a certain technique and, when applied correctly, will further develop that technique through a combination of movement training, body awareness, and strengthening and flexibility exercises. None of the dance work we do is superfluous—every technique and exercise applies directly to some aspect of your field show.

PROGRAM OVERVIEW: THE “BIG PICTURE”

In addition to “the meat” of the visual program, we want everyone to understand our goals for the season so it is clear how each part of what we are doing fits into the broader organizational picture.

Our approach to organizing the visual program this season uses a framework of Goals, Objectives, Strategies, and Tactics (GOST).

“Practice is a means of inviting the perfection desired.”

–Martha Graham

PAG E 2 W E S T SA L E M M A R CH I N G BA N D 2010 V I SUA L PR O G R A M

!e objectives are easy to conceptualize and achievement can be clearly measured. !e tactics are largely incorporated in this guide and can continue to be reinforced on a daily basis. !e structure of this outline helps to ensure that our daily work fits into our strategy for success and constantly pushes us toward the achievement of our big-picture goal.

Finally, we work to ensure that the variety of skills we develop not only fit into a broad strategy, but that each skill area complements and builds on the others. !roughout this guide, as well as the season, you can expect to see our emphasis slowly shift from purely movement and technique to ensemble concepts and the drill itself. !is shift will occur according to the ebb and flow of our skill development and the progress of the season.

GOST Outline

Goal: Look great during every visual phrase in the showNever have phrases or individuals that look bad, weak, or out of control•

Display clearly evident training and achievement of training at all times•

Maximize the uniformity of technique and movement across the ensemble•

Always attain the highest level of ensemble clarity•

ObjectivesAchieve more challenging exercises in basics than called for in the show•

Perform exercises at faster tempos than called for in the show•

Look at least as good during basics exercises as we want to look in the show•

Strategy: Have a great fundamentals program that relates to the current and future showsFundamentals of technique•

Fundamentals of movement•

Understanding of ensemble concepts•

TacticsDemand individual and ensemble quality from every repetition•

Sometimes fundamentals exercises should push us beyond our comfort zone, especially in terms of •movement and ensemble competencies

Ensure the movement, technique, ensemble, and drill programs complement each other and use •overlapping skill sets

Use the movement program to increase tempos early in the season to begin developing the •dexterity, strength, and stamina needed later


TECHNIQUE

PostureStanding with great posture is the most important thing we do. Each of our exercises is first and foremost a posture exercise. If you don’t have great posture, nothing else matters.

Begin standing with your feet in parallel and a small space between them. Make sure your weight is centered between your feet, imagining the center of each foot as the bone leading from your ankle to the second inside toe. Don’t roll your weight to the outside of your foot where your toes are weaker.

Keep ankles and knees soft but straight. Pelvis should be in neutral position, which means held perfectly aligned and flat to the ground. Roll your pelvis under your body slightly, trying to point your tailbone toward your heels. !ink of your hips being in a box that sits flat on the ground. Abdominal muscles should be active and “braced,” which means sucking in your stomach, trying to press your belly button back toward your spine to have a flat lower back. Imagine an eye in the small of your back—keep that eye wide open. Press your lower abs down to keep your hips flat and stretch your upper abs up to lift your ribcage.

Center the upper body over your abs, stretching away from your hips and not leaning forward or back. Try to take up as much space as possible with your upper body, expanding front to back, left to right, and up. Center your shoulders by slightly pulling them back and down, creating a long neck. Neck should be relaxed and chin lifted. You should be able to move your head around without resistance (bobblehead).

Always be conscious of how you carry your body. You should constantly be trying to stretch taller and expand your chest more. !e way you stand is a performance, and it is often the first and last impression you make on audiences and judges.

swayed ideallordoticflat


Warm Up!is section outlines a daily workout program. We may not complete the entire routine every rehearsal, but we will always do at least part of it.

WARM UP 1: UPPER BODY

Begin standing with great posture, feet in parallel and space between them, arms relaxed by your sides.

Begin by rolling the shoulders slowly 4 times, then adding in the arms, 4 more times. !en slowly reach both arms up, grab the left wrist with your right hand and stretch over to the right. Hold for 2 or 3 breaths then switch. Relax the arms and hang over, allowing the knees to bend and stretching the hamstrings and lower back. Slowly straighten and bend the knees 2 or 3 times. !en straighten the right leg, twist your torso and stretch up with the right arm. Hold for 2 or 3 breaths then switch.Return to hanging, then roll up and stretch both arms all the way up. Release and return to the hanging position. Step back with the right leg and bring the knee and top of the foot to the floor. Gently lunge forward while leaning back with the upper body and relaxing the arms. After 2 or 3 breaths, sit back on your right foot while straightening the left leg and flexing the foot. Lean forward slightly for a hamstring and calf stretch. Hold for 2 or 3 breaths before releasing, recovering through the lunge position and returning to hanging. Repeat the sequence to the other side, then return to standing and repeat the arm stretch.

WARM UP 2: LOWER BODYWith feet still in parallel, demi plié 4 times. Tendu forward with the right foot and slowly roll the ankle 4 times. Repeat left. Now change the feet to first position—turned out from the hip to a 90° angle. Return to parallel. Repeat 2 or 3 times. !en bring the arms to first position, then second.Demi plié in first, arms emanate to low fifth. Plié again, arms to first, then second. Now grande plié: heels come o" the ground, arms to low fifth, then press the heels away as you return, arms to first then second. Bend at the waist and stretch over, arms to (upper) fifth position and roll back up, arms still in fifth. Plié and roll up onto platforms, forced arches, then straighten the legs to rélevé. Return to first, then rélevé again. Two more rélevés for a total of four. !en tendu right to the side and step into second position with the feet, arms emanate to second.

first second

fifthPort de Bras means “carriage of the arms.” Always keep a lifted chest, long neck, and shoulders down and back. Keep your arms slightly in front of you in second and fifth position, being careful not to overextend your chest or back. Allow the arms to move easily and from your center.


In second position, two demi pliés following the same sequence, then one grande plié, this time heels stay on the ground. Now four faster demi pliés: hold in plié as arms go from second to fifth and back, then straighten. One more grande plié, then lunge to the right, press out of the right leg to tendu, and close into first, relax the arms.

FOOT ARTICULATION 1: DEFINITION

From first position, take the arms through first to second.

With the right leg, tendu forward, using a half-count initiation and hold. Recover to first, initiating on the “and” of 1, closing on the downbeat of 2. Repeat, 3 4. Now tendu, flex the foot, point, and close (“and 5 and 6 and 7 and 8”). Repeat the sequence to the side (in line with turnout), back, and side. Plié twice in half time, arms follow the sequence above. Repeat the entire sequence with the left leg.Right leg again, two tendus, then tendu, turn the leg in to parallel, turn out, and close. Continue side, back, side.Now relax the arms and return the feet to parallel. Step back with the right leg and lunge forward, stretching the calf. Hold for 2 or 3 breaths then slightly bend the right leg, feeling a gentle stretch in the achilles tendon and hold for 2 or 3 breaths. Repeat other side.Now grab the right ankle and stretch your quad—keep the pelvis neutral and a long lower back. Hold, then repeat left.

LAYING STRETCHES

Begin laying on your back, both feet flat on the floor and arms relaxed to the side. Keep the lower back flat and aligned, with no space between your back and the ground.

Plié TechniquePlié means to soften the knees and ankles and bend the legs. We will mostly use the demi-plié, which is a half-bend, leaving the heels on the ground. Movement begins in the inner thigh. The knees open outward over the toes until the depth of the demi-plié is reached (determined by the length of the Achilles tendon). Then the legs lengthen to the starting position.

It is important that alignment remain intact during a plié, the pelvis remains in neutral position and weight distribution in the feet does not change. You should also feel opposition in your plié: as you plié down, feel your upper body stretch upward; as you return to standing, feel your center press down into the ground. The movement of the plié should be smooth and deliberate, without any pauses.

Tendu. Leave all the weight in the standing leg and stretch the active leg through the toe-ball area, then point the toe. Always keep alignment of the upper body.

tendu dégagépress through the toe-ball


Gently pull your right knee to your chest. Slowly make circles with the knee, opening up 1. your hip flexors. Now, keeping the right hip connected to the floor, grab behind your leg, flex the foot, and stretch up until the leg is straight. It’s okay if you can’t lift very high—it’s more important to have a straight leg right now. As you gain flexibility, you will be able to lower the leg closer to your chest. Demi plié with the knee, pulling it closer to your chest

and pressing the hip down, then extend again. Hold for 2 or 3 breaths, then release the leg, turn it out from the hip, then cross the ankle over your left knee and pull both legs toward your chest. Keep breathing and keep the neck and shoulders relaxed and back connected to the ground. Release the legs and gently release the foot to the ground, then stretch the right leg up, and release to the ground. Repeat the sequence on the other side.

Now, take both arms out to the side, palms down, straighten the left leg down and drop the 2. right knee over your body (to the left), twisting the torso. Straighten the right leg to the side and stretch out. Increase the stretch by reaching up toward the sky with the right arm, then leave the lower body there and reach the arm out to the right as far as you can. Follow the arm with your head.

Release and repeat the entire sequence to the left.

Abdominal Exercises!e abdominals are your body’s core and some of the most important muscles we can develop. We will strengthen our abs every day. Begin by returning to neutral position, both feet flat, and aligned lower back. Bring fingertips up behind your head for support.

Crunches 1: in half time, bring the shoulder blades o" the ground in two counts, then return in 2 counts, 4 times total. !en continue 8 more times in normal time. !en back to half time, up in 3 counts, down in 1, four times. !en change to up in 1, down in 3, four times.Crunches 2: Everything in two counts, crunch up and lift the right leg. !en left. Repeat each side. Again right, this time hold in the up position, straighten the leg, return, and relax. Repeat left, and again right and left. Again right, but now when recovering the leg, twist the torso to touch the knee with the left elbow. !ree more reps, L R L.Leg Darts: Continuing immediately, relax the upper body and bring both legs o" the ground, extend one leg and lift the other to passé (toe to knee). Switch the legs quickly every 4 counts, 8 times. Lift the shoulders o" the ground and continue with 8 leg darts. Now twice as fast, twisting the torso and touching elbows to opposite knees, 8 times (R+L is one rep).Crunches 3: Legs o" the ground in tabletop position, 8 crunches, up-2, down-2. Continue, but now extending both legs together while holding the upper body (up, out, back, down), 2 counts each, 8 reps.

Success is not the result of spontaneous combustion. You must set yourself on fire.

–Fred Sero


Floor BarreFloor barre exercises are ballet exercises designed to lengthen and strengthen all the muscles you use to stand with excellent posture and move with control.

SUPINE

Begin laying on your back, arms relaxed by your sides, feeling your entire back, hips, and tailbone against the ground, abs braced.

Développé. Taking 8 slow counts, slowly lift the right leg, passé, pointed foot, toe to knee (1 2), then extend the leg, stretched knee, to the ceiling (3 4). Flex the foot (5) and continue to press the heel away as you trace a wide arc down to the left ankle, not quite to the ground (6 7 8). Point that foot (8-and) and repeat three more times. Distinguish each motion, but remain fluid.

Tendu. Flex the foot, turn out the leg, and lift only to the other knee, then back to the ankle, 2 counts up and down, 8 times. Hold at the top on 8. Turn the leg in and out four times, then point the foot and continue with 8 more tendus. Return that leg to the ground and repeat the sequence with the left leg.

PRONE

Roll onto your stomach, hands under the chin for support, legs extended, feeling the backs of the legs together, feet pointed and abs lifted.

Tendu. Right leg tendu back, keeping the right hip against the ground and pelvis neutral, abs lifted, and leg straight. Two counts up, two counts down, eight times, then eight more with the foot flexed. Switch to the left. !en both legs together, four times, slower, feet pointed. Focus on extending out rather than lifting up.

Pushups. Set in Feline position, then step each leg back into push-up position and do 8, 10, or 12 reps, slowly, two counts down, two counts up. Focus on staying smooth and in control, with a flat back, shoulders back, and achieving full extension and contraction.

Posture Checklist

Legs turned out, feet at 90°•

Weight distributed evenly over the feet, not •leaning forward or back, trying to stretch toes out across the ground

Knees and ankles straight but soft, not locked•

Pelvis in neutral, in a box that is resting on the •ground

Trying to squeeze the backs of your legs •together, tucking your tail between your legs, pointing the tailbone toward your heels

Think of abs in three parts: lower abs press •down on the hip-box, middle abs squeeze the belly button back toward the spine, upper abs lift and support the ribcage

Chest expanded and stretching upward from •the sternum, but not overly tense, let a light in your ribcage shine out as much as possible

Imagine an eye in the small of your back and •between your shoulder blades: keep the eyes wide open

Shoulders relaxed back and down, long neck, •chin up slightly

Imagine your shoulder blades sliding down •your back

Arms should be hanging off your body, not •resting against your torso – this should occur naturally if your posture is correct


Standing CenterAfter strengthening and stretching our muscles on the ground, we can begin to transfer that work to our posture and technique.

FOOT ARTICULATION 2: AGILITY

Stand in first position and take the arms through first to second.

With the right leg in half time: press to the toe-ball, forcing an arch, then lift to the toe, pointing the foot but with a relaxed knee, then back to forced arch, and heel down. Now two brushes all together, pressing through heel, ball, toe and an inch or two o" the ground, and returning, toe, ball, heel. Repeat the sequence once, then twice to the left.

!ink about motivating by pressing quickly out of the ground, through the top of the »foot.

Now from third position (right heel against left arch), tendu forward, lift, touch, and close. !en all together, dégagé twice. Repeat front three more times, then tendu to the side as you change the feet to right foot behind. Repeat the sequence four times to the back with the right leg. Now dégagé to the side (in line with turnout) four times, alternating closing front and back.Repeat the entire sequence with the left leg.

BALANCE: COUPÉ-FONDU

Starting in first position with the legs and low fifth with the arms.

In two slow counts, passé right, carving the toe up the leg to the knee, arms coming to first. Développé side and arms to second in two more counts, carve the leg around to the front, tendu (7), and close (8), for a total of 8 counts. Arms return to low fifth 7 8. Repeat left.Now plié twice, breathing with the arms. !en coupé right as you plié left and bring arms to second. Coupé/fondu four times front, straightening both knees, 2 counts each move. Hold the last fondu, plié left and tendu. Lift the leg, dégagé, four times. Brush the leg through first and tendu back, then lift and touch four times. Close the legs and arms to low fifth. Repeat the sequence to the left, starting with pliés.

Across the FloorPRANCES

Start standing in parallel, prep the left foot in coupé, toes together and foot pointed. Small jump o" the left leg to start. Coming down from the jump, press the foot into the ground, toe-ball-heel, as you lengthen the knee. At the same time, lift the left leg, rolling the foot o" the ground and pointing the toe. Don’t worry about the distance you travel; focus on shaping your leg and foot. Heel touches and weight is shifted on the downbeat. Keep the knee and ankle soft to absorb the landing.

prance prep


BALLET WALKS

Leg shape and foot articulation are similar to tendus, but now we travel across the floor. Prep with left leg tendu front, turned out. Push o" of a straight leg and land toe-ball-heel, with the heel touching on the downbeat. Use the entire count to shift the weight. Crossing counts should be coupés. Use movement concepts from the développé and coupé-fondu exercises to control the leg shape and foot articulation, shifting weight constantly forward and never “sitting back” or resting. Ballet walks may be in half time or normal time.

JAZZ RUN SEQUENCE

Running helps us move quickly across the field when needed. Lower body technique is very similar to ballet walking, with only two di"erences. First, the stationary leg will plié after downbeats to absorb weight, exactly like the standing fondu exercise. Second, both legs will disconnect from the ground between beats, allowing us to stay lifted and smooth while extending the step size.

1. Ballet Walk Combo. Ballet walk in half time for four, then regular time for eight, all at 6-to-5. Repeat the sequence across the floor, staying in total control of the upper body and hips.

2. Walk-Run Combo. Ballet walk in half time for four, then run in regular time for eight, repeat, all 6-to-5. Lower the body center with a slight plié, but keep the upper body stretched and lifted.

3. Busy Bees. Four ballet walks in half time, then jazz run the rest of the way at 6-to-5, focusing on controlling technique and floating the upper half down the floor. Tempos may reach 200 to 230 bpm.

!is jazz run sequence focuses on control, so the step size is 6-to-5 throughout. Jazz runs may also be performed at 5-to-5, 4-to-5 or larger. But even then, the emphasis must be on body control.

PAS DE BOURÉE

Travel laterally in half point, on the platforms. !is exercise develops muscles needed for marching technique, as well as continuing to maximize turnout, balance, and hip stability.

Start with the legs in first position, arms in low fifth

Prances: articulate and shift the weight, toe-ball-heel, keeping the toes pointed in the air

jazz extension


Arms move to first then open to second on the prep (rélevé and return)Move to rélevé with the leading leg as you take your first step, motivating with the support legTravel laterally, taking small 16-to-5 steps; feet move side-back-side-front with the trailing leg crossing over in turnout. Legs are straight, hips are flat and controlled.Take the same size stride with the side and crossover feet.

Pas de Bourée Combo. Always start with a left foot lead: 8 counts pas de bourée, switch to backwards march, 16-to-5, in a two-count turn (1 2), for 8 counts, then 8-to-5 for 8 counts, and optionally finish with 6-to-5 running backwards for 8, 12, or 16 counts.

FORWARD/BACKWARD TECHNIQUE

Initiations. Always lead from your body center. At slow tempos (below 140 bpm) take an “and” count before count 1 to initiate. At tempos above 140, take an entire count to begin moving. Begin shifting weight into your front leg as soon as it leaves the ground—commit to the first step—and make sure posture remains intact, not leaning forward or backward.

Feet (and legs) always halt in turnout, first position. Anklebones are on your dot (or the yardlines), not arches or heels.

Forward march. Keep the toes high and heels low. Leg motion emanates from the body center, so lead with the upper leg, using the hip flexor muscles to hinge the femur bone. Technique is defined in two places. First, the crossing count should look like we are standing with feet parallel, but all the weight is in one leg while the traveling foot hovers. Second, downbeats should have

weight centered between feet for an instant, stretching from the back platform and to the back of the front heel, and keeping the toes high to roll through the foot. Be sure to pick up the back foot from the entire toe-ball area, not the front of the toes—use the platform to push yourself forward and flex the foot as you release.

Backward march. Downbeats and crossing counts are nearly identical to forward march, except we stay on the platforms the entire time marching backward. Stretch back and touch with the entire platform on downbeats, not just the toes. !ere will be a slight elevation change on the crossing count as the heel comes closer to the ground, allowing for more stability. Stretch the shoelaces up when picking up the front foot, pointing the foot as you release each step. Don’t lean forward or backward, but feel your weight up over the toe-ball area the entire time, stretching your posture upward.

Marking time. We only mark time to maintain pulse during music rehearsals. Always initiate on 8 by lifting the left foot, heel-ball-toe, o" the ground from first position to parallel—by the downbeat of 2, both feet should be in parallel, heels and toes together. From there, platforms stay on the ground and heels only come up to the ankle of the other leg. !e upper body remains perfectly still throughout.

Technique is arbitrary and very difficult. It never becomes easy – it becomes possible.

–Agnes de Mille


8s AND 4s

March for 8, halt for 4, repeat. Focus on posture and timing on initiations.

Halting forward: count 8 is a tendu step, turned out, toe first, just like ballet walks. Shift your weight down into the heel on the downbeat and close in time.

Halting backward: similar to a normal backward stride, except land in turnout and take a full count to shift weight into the heel. Close the left foot in time.

TORSO-TWIST (WINDS ONLY)

Begin with feet parallel, horns up. Keep weight centered and the insides of the feet (over the second toe) down; don’t roll to the outside of the foot.

Start left: turn hips and upper half 30° in two counts (three 8ths) and return in two counts. !en turn to 60° with the hips stopping at 30°, and back. !en turn the shoulders and upper chest to 90° with the center stopping at 60° and the hips stopping at 30°, and return to center. Repeat the 30-60-90 sequence to the right.Optional: displace feet, one front, one back, and repeat. !en switch the feet.

SLIDES

Transfer concepts from the torso-twist exercise to marching slides. Always get taller when twisting around for a slide and maintain alignment of the pelvis, body center, and shoulders. Pay attention to tracking with your feet and take the time to learn what it feels like to march in track with a correct slide and great posture. Do not close down the space you take up with your upper body.

Foot Placement for 90-Degree Direction Changes

forward - forward left

forward - backward right

forward left - forward

forward left - backward

forward right - forward

forward right - backward

forward - forward right

forward - backward left

backward - backward left

backward - forward right

backward - backward right

backward - forward left

torso twist

30

90

60


HIP-SHIFTS

Slide forward for 8, then backward for 8, along one pathway. For the direction change, place your right foot halfway in the new direction, toe first (tendu), and platform only, straight leg. For hip-shifts, that direction change foot will be perpendicular (90°) to your direction of travel.

Note: When needed, forward to backward direction changes will always be replants; no “dead counts” or touch and gos.

Crab TechniquePrimarily for percussionists, but beneficial for everyone. Crabbing is very similar to pas de bourée, but the feet stay in parallel the entire time and the crossover foot is always the same foot.

INITIATING LATERAL MOTION

Left. Start in first position, ready to travel sideways (laterally) to the left. First step takes the left platform slightly behind your pathway and foot into parallel; the front/crossover foot will be in track the entire time. Crossover right, into parallel, 8-to-5 step.

Right. Right foot preps on 8, stepping straight back into parallel and out of the way of the left (crossover) foot. Don’t let the left foot turn in (past parallel); hips stay flat on the crossover steps.

When crabbing, the trailing foot should always cross over in front of the lead foot, e.g. traveling to the left, the right foot crosses in front. !e lead foot rests on the entire platform with the leg as straight as possible but with a soft knee. !e trailing foot doesn’t contact the ground with as much platform, just from the pads of the toes to the top of the platform. Weight stays up over platforms, similar to backwards marching. A slightly bent back leg will help stabilize the pelvis, create smoother overall motion, and allow for better-defined technique in the front leg.

OBLIQUES

!is technique is similar to the lateral technique, but now both knees are slightly softer. Forward oblique technique should feel very similar to toe walks, but in parallel and staying on the platforms the entire time. Backward technique is not much di"erent from marching straight backward – just add a slight angle and crossover at first, then transition to more of a pure crab

technique as the angle of travel becomes flatter.

CRABBING AT ANGLES: WHICH FOOT LEADS?

Forward. Divide the space in front of you in half – two halves of a pie. Starting from the left, take 75 percent of the left quarter of the pie; this is right foot lead. !e first 75 percent of the right quarter is left foot lead.

Backward. When moving at a backward angle, the rule inverts. Divide the space behind you the same way. For the first 75 percent of the backward left quadrant, take a left foot lead. Right foot lead on the right side.


“There is a difference between knowing the path, and walking the path.”

–Morpheus

ENSEMBLEEnsemble exercises focus on field reading and marching in relation to other performers. Developing field reading competency will make every set of your drill better and teach you good habits so you can clean your own show without field sta" watching your every move.

DIAMONDS

Each move is 8 counts at an angled pathway. !e sequence is:Forward right, backward right, backward left, forward left, halt, forward left, backward left, backward right, forward right, halt

Start out traveling 8 steps up and down and 4 steps side to side for each angle. !en expand side to side to 6 steps each time. Additionally, the number of counts may change (e.g. 12 count moves, traveling over 8, up/down 8). !e exercise may also stretch horizontally, creating flatter diamonds (not pictured).

BOXES A and B

Boxes have all 90° angles and everything is in 8, 12, or 16 counts. Each exercise has two cells, the right cell is first.

A: Forward, Forward right, Backward, Backward left—forward, forward, backward, backward. !en (second cell) to the left, same way, F F B B. In the first cell, every direction change is the same: 45° placement to the right. In the second cell, every placement is 45° to the left.B: Right first: forward, backward, backward, forward. Now, in the first cell every direction change placement is 45° to the left, and 45° to the right in the second cell.Halt 8, 12, or 16 in between boxes; halt between cells in optional.


ZIG-ZAGS

Simply, forward, left, forward, right. Everything is in 8 counts, 8-to-5 step size. Direction changes are toe down, halfway in the new direction; all direction changes are 90° so each foot placement is 45°.Variations may include: backward slides, 6-to-5 slides, all 6-to-5 in 12s, everything in 16s, etc.

ZIG-ZAGS 2

Not too di"erent from regular zig-zags. !e pattern is the same: forward-left-forward-right. But now the sideways moves will have an angle and everything is in 16s.

First: forward 16, forward left 16 (up 4, over 16), forward 16, forward right (up 4, over 16)!en: travel 8 steps up field on the angles, still in 16 counts!en travel 12 steps up field on the anglesFinally: travel 16 steps up, 16 steps over on the angles, 45°, 5.65 to 5, jazz running.

CIRCLE DRILL

Start standing on the soccer field circle, everyone facing toward the center (focal point).

Mark time for 8, backward march (expand) for 8, forward 8, backward 8March forward-right around the circle in a curved pathway for 16 counts, replant and march backward-left for 16 countsMarch forward (condense) for 8, mark time for 8 and repeat the exercise to the left.Optional: hip-shift after 8 on the curved pathway

Circle drill focuses on ensemble skills: arc-dress, space control, and orientation to a focal point.

SNOWCONES

!is exercise works on step size and direction changes, as well as straight and curved pathways.

A. Starting in a 4 by 4 block, columns are 1s and 2s. March forward right (or left), over 4 steps, up 2. !en curve around, backward right then backward left, creating a semi-circle in 8 counts, staying 2 steps away from someone. !en straight, forward left over 4 up 2, back to where you started. Total of 16 counts. !en 2s go, usually the other direction.

Zig Zags 2


B. Starting at 8s side to side and 4s front to back, rows are 1s and 2s. March forward right, up 4 and over 4 in 4 counts. !en forward left, up 4 over 4. Now march an arc backward, traveling back 4 and to the right 2, and continue around back 4 and to the left 2, returning to the starting point.

Twos go the same direction. !en ones start again, left first, followed by twos.

ECHELON

!is exercise works on maintaining ensemble awareness as form responsibilities change. Begin on the yardlines in rows 17 across at 2-step intervals. Each move is 16 counts, though this can be adjusted.

Center moves forward 16 at 8 to 5 step size and posts mark time. Others form diagonal lines between those people, eyes toward center.Float the form forward at 8 to 5.Recover the lines forward, with the center marking time and posts moving at 8 to 5.Invert the diagonals, continuing at the same step size, but now looking to the outside posts.Float the form forward at 8 to 5.Recover the diagonals forward, with the posts marking time, and finish.

A BSnowcones


DRILL CONCEPTS

Determining Step SizeOur standard step size on the field is 8-to-5: 8 steps for every 5 yards or 22.5 inches per step. !ough we often march di"erent step sizes, 8-to-5 is our reference point. Once you begin marching field reading exercises and the drill in your show, you might find it helpful to know your step size on a given move. You can do so with the formula:

where “steps” is the distance traveled and “counts” is the number of counts of the move. !e table below gives several examples of common drill moves.

Common Step SizesUsing the 8-to-5 standard step size allows us to divide the entire field into a 1-step by 1-step grid, making it possible to learn and clean drill more e#ciently. Below are some common step size measures of the field, as well as various step sizes, in more common units.

Counts Up/Down Over Steps step size (to 5)

4 4 1 4.12 7.77

2 4.47 7.16

3 5 6.4

4 5.66 5.65

8 8 2 8.25 7.77

4 8.94 7.16

6 10 6.4

10 10 2 10.2 7.84

4 10.77 7.43

8 12.8 6.25

12 15.62 5.13

12 12 2 12.17 7.89

4 12.65 7.59

6 13.42 7.16

8 14.42 6.67

16 20 4.79

16 16 4 16.49 7.77

8 17.89 7.16

20 25.61 5

32 35.78 3.57

8(steps / counts)

= “step size” to 5


Please note that football fields were not designed with marching in mind, so there are a few minor errors. For instance, the gaks we use are slightly larger than 4 steps and, correspondingly, the di"erence between the high school and college hashes is slightly more than 4 steps. When in doubt, use the painted gaks and the high school hashes, since they will be most common for us.

Drill Learning ExercisesBefore we start learning the show, it is important that everyone be able to read drill charts and understand how drill moves work. Please complete the following exercises. !is completed page is your ticket to a drill number in the show.

#1 COORDINATES

Fill in the coordinates of the listed performers on the first drill page (page 19). !is page has only college hashes, so go ahead and use them. Distinguish between sections by the icons used: winds and drums are “+” signs, guard are “X”s, “O”s, or “=”s. Please be accurate to within a third of a step.

1. Winds #13: ,

2. Guard #31: ,

3. Winds #33: ,

4. Drums #B1: ,

5. Winds #17: ,

#2 MIDWAY SETS

Now use both pages to find the halfway sets for the following performers. Determine how many steps they travel up or down field as well as across, then divide each number by two to find the dot for count 6 of the 12 count move. For more on this process, see “How to Assemble Your Dot Book” on Page 22.

1. Winds #26: ,

2. Guard #14: ,

Step-Size Grid Field Measurements

step size measurement Front HS Hash 53 ft 4 in 28 steps

16 to 5 11.25 inches Front College Hash 60 ft 32 steps

8 to 5 22.5 inches Front SL to Back HS Hash 106 ft 8 in 56 steps

7 to 5 25.7 inches Front SL to Back College Hash 100 ft 53 1/3 steps

6 to 5 30 inches Front SL to Back SL 160 ft 85 1/3 steps

5 to 5 36 inches Yardlines 15 ft 8 steps

4 to 5 45 inches Gaks 7.5 ft 4 steps


3. Drums #S9: ,

4. Guard #3: ,

5. Winds #41: ,

#3 STEP SIZE

Using the help of the formula above, write down the step size for each performer listed below.

1. Guard #10: steps in counts; to 5

2. Winds #24: steps in counts; to 5

3. Drums #C3: steps in counts; to 5

4. Winds #23: steps in counts; to 5

5. Guard #32: steps in counts; to 5

#4 INTERVALS

Write down the space in the form for each group below.

1. Winds p.1 - distance in cover down file #3-26:

2. Winds p.1 - space and distance in block on s1: by

3. Winds p.1 - formula and approximate space in diagonal #3-4:

formula on the grid: over up space:

4. Guard p.2 - space in the arc:

5. Drums p.2 - space in bass/cymbal arc:

6. Winds p.2 - space in low brass arc #47-43:

7. Winds p.2 - approximate focal point of the low brass arc (hint: draw the rest of the circle):


0 0

5 5

10 10

15 15

20 20

25 25

30 30

35 35

40 40

45 45

50 50

45 45

40 40

35 35

30 30

25 25

20 20

15 15

10 10

5 5

0 0

Sid

e 1

Sid

e 2

Fron

t H

ash

Bac

kH

ash

Fron

t S

idel

ine

Bac

kS

idel

ine

Insi

de

Out

side

Out

side

Insi

deIn

Fro

nt o

fFr

ont

Has

h

In F

ront

of

Bac

k H

ash

Beh

ind

Fron

t H

ash

Beh

ind

Bac

kH

ash B

ehin

d F

SL

In F

ront

B

SL

4-S

tep

Gak

s

Dire

ctor

Vie

wpo

int

PAG E 2 2 W E S T SA L E M M A R CH I N G BA N D 2010 V I SUA L PR O G R A M

How to Assemble Your Dot BookFind a small spiral-bound notebook that is both durable and light (or pocket-size 1. Moleskine booklets). !ese are generally sold at any o#ce supply store or superstore, such as Fred Meyer, Target, or O#ce Depot.

Attach a shoelace or string so that you can wear it on your person somehow, around your 2. waist or over the shoulder. Choose a method that will be comfortable while marching, as you will have your dot book with you at all times on the field.

Expect to include as many as 80-90 dots in your dot book. Be sure that you have enough 3. pages in your dot book, or divide the pages into halves.

What to Include on Each Page:Set NumberCountsMeasure Number(s) and Rehearsal Letters e.g. MM 270-273; Letter BCoordinate (Yardline Relationship and Front-to-Back)Small Sketch of Form (Include the surrounding performers spots and intervals)Midset for the move traveling to the current page (Sketch and Label Mid-Set)Notes (Turns, Facings, Crossing counts, Choreography, Music)

Example Dot Book Page

Page34move12

MM56-58,LetterB

4outsideS145,8infrontoftheFH

set33

set34

down4

across8

midset:onthes1

40,6downFH

space:3

Notes:-HornsDownoncount1

-Turntobackfield:turn-

2-lock(hipshifton2)

-BeginningofDrum

Feature

Additionally, create a summary section that includes only the move, an arrow to show the direction of travel, and coordinates, for quick and easy reference during rehearsal, for example:

p34 m12 4 out s1 45, 8 dn FHp35 m8 3 in s1 40, 11.5 up FS

!e “correct” format of this information is whatever makes the most sense to you.

W E S T SA L E M M A R CH I N G BA N D 2010 V I SUA L PR O G R A M PAG E 2 3

REHEARSAL ETIQUETTE

RehearsalsFast paced, e#cient, and well-organized rehearsals are the standard. !e rehearsal will be the largest factor in the amount of success we obtain. Your work ethic must be unmatched and intact at all times. Be aware of the schedule. Be prepared and on time for every rehearsal. Here are some responsibilities to remember:

When you step on to the field, you must shift to a working mentality with clear goals and your secure work ethic.Silence on the field is required at all times. !is helps diminish confusion and strengthens the level of instruction we can provide.E#ciency creates Productivity and Productivity creates Excellence!Everything is done quickly and quietly. Quick resets means dead time is gone and rehearsals will move much more e#ciently.!e essence of quality repetition:

Realize the more times something is performed, the better it will become as long as each »individual on the field is giving 100% every time and trying to be as perfect as possible.!e goal is the maximum number of reps possible in the shortest amount of time. »

Always Perform. If you lack a performance attitude, improvement will be di#cult. Your performance mentality will establish a performance comfort level.You must work together at all times.

Arguing is counterproductive. »When discussing corrections and suggestions, be positive. »

Take criticism and correction.Everyone is human. Everyone will be wrong at some point. Everyone will be corrected. »Take nothing personally. »Without mistakes being identified and isolated, how would improvement exist? »

Accept the responsibility for a fast paced rehearsal.Push your sta" by always being prepared and ready. »Push your peers, friends and colleagues. »Always know the coordinates of your dot, halfway set, space, and dress points. »

!e moment you think you have it down, you will…Stop improving.Hold the group back.

Never stop trying to improve yourself. Push yourself as hard as you can. Your success will be amazing and you will go farther than you imagined!


The Rehearsal Mode!e Rehearsal Mode is a rehearsal system established to organize every procedure and practice on the field in a command-less environment. !is means once we get past the first initial visual techniques, most commands will cease to exist. !is idea came from many realizations that important information given to students was often falling on deaf ears due to an over-saturation of commands. Also, the ine#ciency of having to give commands before and after each move can be a huge detriment to the pace of rehearsal. Here are the aspects to this command-less system:

Section leader sets all positionsMembers follow section leader in a ripple »

Silence while in all positions is absoluteSection leader anticipates the next move of the director or sta"If the section leader is asked to step out to monitor and adjust

!e assistant section leader assumes responsibility »!e section leader only speaks at the relax position (during field time) »

Questions are not encouraged in this systemIn the early stages, if a pressing question is necessary, it may get addressed during“field” »time.Wait until a break to ask questions »

If there is a major visual issue around you (such as defining a direction change) go ahead and raise your hand (learning stages only)Additional “dead time” positions (not the norm)

Stretching! »One knee »Crouching »Do not sit on the field »When you section leader pops up, get up as fast as possible »

If being addressed by the director or sta", remain at standby and pay attention.All changes in positions are done with lightning speed and perfection

TYPICAL PROCEDURES

Learning Drill: When the ensemble is first learning drill, simple procedures are followed and executed to achieve e#cient and productive rehearsals.

Members must have a 1” drill binder with plastic sheet protectorsMembers have 15-20 1” pieces of masking tape secured on their binder with their drill numbers written on each one in inkMembers gather new drill from the drum majors and put in binderMembers are asked to find a set:

Always stay in rehearsal mode and follow your section leader »Once you have found your dot, go to stand by »Once everyone is set, adjustments may be made »

W E S T SA L E M M A R CH I N G BA N D 2010 V I SUA L PR O G R A M PAG E 2 5

Members will be asked to mark your spot with tape: Use a 1” piece of tape to mark your »dot, then go back to stand-by

Members input new drill into Dot Book as soon as possibleWhen reviewing/performing sets, start in the “minus-one” position (left foot back one step toward the last set, right foot in the “prep” position). When the segment is finished (and you know where the next set is), end in the “plus-one” position (right foot in the direction change “prep” position, left foot one step toward the next set.

ADDING MUSIC TO DRILL

When the ensemble is adding the music to the drill, simple procedures are followed and executed to achieve e#cient and productive rehearsals.

Members must have an up-to-date Dot Book on them at all timesHave Drill Notebook on sideline (always)You will be given instruction on where to startGet there quickly and follow your section leader to stand byInstructions will be given from the press boxSection leaders set the position needed based on instructions

Section follows in a ripple instantaneously »Performers start in a “minus one” position, unless initiating from a haltOnce ensemble is ready (5 seconds), the metronome is turned on and the center snare taps us o" with the drum major’s hands (“8 from the nome” may also be used).Once the chunk is completed, members freeze in the “plus-one” position. !e center snare will give 3 clicks, signaling everyone else to dress-set-dress. Remember to dress with the eyes only, no turning of the head just yet.After 5 seconds, the center snare will give 3 clicks, signaling the ensemble to ready front. After 3 more seconds, everyone goes to stand by.

Members follow section leaders in a fast ripple at each position »You will then be asked to focalize, dress the form, check dots, and monitor and adjust.Remember, helping others is not desired in this system. Everyone must be responsible for their own dots and forms.After comments are given from the press box, field time may be given

If field time is given, check your dot book and/or step o" your spot. Stay at stand-by, »when instructed by field sta". Otherwise, stretch and stay loose, or practice something (silently). Do not start talking.

2010 visual technique and ensemble program - west salem...

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