us army music course - drum majoring mu3210

8/2/2019 US Army Music Course - Drum Majoring MU3210

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DRUM MAJORING

EDITION CODE A

Subcourse Number MU 3210

US Army Element, School of Music

NAB Little Creek, Norfolk, VA 23521-5170

12 Credit Hours

Edition Date: September 1991

SUBCOURSE OVERVIEW

This subcourse is designed to teach you the stationary movements and the manual of instruments for bandmembers,the manual of the mace, the sequence of events for various ceremonies, and the actions and mace signals required to

perform as a drum major in ceremonies.

There are no prerequisites for this course.

This subcourse reflects doctrine which was current at the time it was prepared. In your own work situation, alwaysrefer to the latest official publication.

The words "he," "him," "his," and "men," when used in this publication, represent both the masculine and femininegenders unless otherwise stated.

TERMINAL LEARNING OBJECTIVES

TASK: You will identify the stationary movements and the manual of instruments for bandmembers, the manual of the mace, the sequence of events for variousceremonies, and the actions and mace signals required to perform as a drum major inceremonies.

CONDITIONS: Given the information in this subcourse.

STANDARDS: Correctly answer at least 75 percent of the questions on this task.

This subcourse supports the following Soldier's Manual Tasks:

875-441-3607 Inspect the Marching Band.

875-441-3604 Lead a Marching Band Drill.

875-441-3602 Lead Marching Band at a Review.

875-441-3603 Lead a Marching Band at a Street Parade.

875-441-3606 Lead the Marching Band at a Funeral.

875-441-3601 Lead Marching Band at Parade Ceremony.

TABLE OF CONTENTS

NOTE: You can view the video "Drum Majoring and the Manual of the Mace" to see the performance of themace signals and to assit you in your practice of them.


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ADMINISTRATIVE INSTRUCTIONS

1. Number of lessons in this subcourse: 6.

2. Materials needed in addition to this booklet and a #2 pencil: ACCP Examination Response Sheet, pre-addressed envelope. This subcourse requires no additional materials for completion.

3. Supervisory requirements: None

4. References: The current FM 12-50 is the reference for this subcourse.

GRADING AND CERTIFICATION INSTRUCTIONS

Examination: This subcourse has a performance-based multiple-choice and true/false test covering the materialcontained in the five lessons. Complete the Examination after you study the lessons and work through the PracticalExercises. Mark your answers in the subcourse booklet. Then, transfer your answers to the ACCP ExaminationResponse Sheet. Completely blacken out the lettered oval which corresponds to your selection (A, B, C, or D). Usea #2 pencil to mark your responses. When you have completed the Examination Response Sheet, mail it in the pre-addressed envelope. Your test score will be returned to you. You must answer at least 75 percent of the testquestions correctly to complete this subcourse successfully.


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LESSON ONE

STATIONARY MOVEMENTS AND MANUAL OF INSTRUMENTS

OVERVIEW

DESCRIPTION:

In this lesson, you will learn the stationary movements and manual of instruments for bandmembers withinstruments.

LEARNING OBJECTIVE:

After completing this lesson, you will be able to identify the stationary movements for band members withinstruments and the manual of instruments.

CONDITIONS: Given the information in this lesson.

ACTIONS: You will identify the stationary movements and manual of instruments for

bandmembers.

STANDARDS: IAW the information contained in this lesson.

INTRODUCTION

As drum major, you must know and be able to perform all the stationary movements necessary to lead a band. Youshould also know the manual of instruments for each instrument.

PART A - STATIONARY MOVEMENTS AND POSITIONS

1. Stationary Movements. Bandmembers execute attention, parade rest, and stand at ease upon the command ofthe band commander, drum major, or commander of troops.

2. Instrument Positions. There are prescribed and standardized holding positions for each instrument.

3. About Face. To execute an about face, bandmembers do two consecutive right faces.

NOTE: The stationary movements and positions for each instrument are described and illustrated in paragraphs 4through 20, Figures 1-1 through 1-17.

1.

2.4. TRUMPET (Figure 1-1)


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ATTENTION

Grasp the lower part of the front tubing with your righthand. Hold the instrument

between your right arm andyour body. Point the bell forward.Hold the instrument horizontally.Your left arm should hang straightwithout being stiff. Curl thefingers so that the tip of thethumb is alongside and touchingthe first joint of the forefinger.Your thumb should be straightAlong the seam of the trouserleg. The first joint of yourforefinger should touch thetrousers.

PARADE REST

Place your left hand at thesmall of your back andcentered on your belt. Keepthe fingers extended. Your

palm should face outward.

STAND AT EASE

This is the same position asPARADEREST. You maymove your head and eyes to

face the commander.3.

4.

5.

6.

7.

Figure 1-1 TRUMPET

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.


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21.5. EUPHONIUM/BARITONE

(BELL FRONT)(Figure 1-2)


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ATTENTION

Hold the instrument in theHorizontal position. Point the

mouthpiece up. Hold theinstrument between your rightarm and your body. Your left armshould hang straight without beingstiff. Curl the fingers so that thetip of the thumb is alongside andtouching the first joint of theforefinger. Your thumb should bestraight along the seam ofthe trouser leg. The first joint ofyour forefinger should touchthe trousers.

PARADE REST

Place your left hand at thesmall of your back andcentered on your belt. Keepthe fingers extended. Your


STAND AT EASE

This is the same position asPARADE REST. You maymove your head and eyes toface the commander.22.

23.24.

25. Figure 1-2 EUPHONIUM/

BARITONE

26. (BELL FRONT)

27.

28.

29.

30.

31.

32.

33.

34.

35.

36.

37.

38.

39.

40.


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7. ALTO HORN

(Figure 4)

ATTENTION

Hold the instrument in a horizontalposition. Point the bell forward. Pointthe mouthpiece up. Hold theinstrument between your right armand your body. Your left arm shouldhang straight without being stiff. Curlthe fingers so that the tip of the thumbis alongside and touching the first

joint of the forefinger. Your thumbshould be straight along the seam ofthe trouser leg. The first joint of yourforefinger should touch the trousers.

PARADE REST

Place your left hand at the small ofyour back and centered on your belt.Keep the fingers extended. Your palmshould face outward.

STAND AT EASE

This is the same position as PARADEREST. You may move your head andeyes to face the commander.

Figure 1-4 ALTO HORN


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50.

51.

52.8. FRENCH HORN (Figure 1-5)

ATTENTION

Hold the instrument under your right arm.Point the bell to the rear. Point themouthpiece up. Grasp the bell bow withyour right hand. Your left arm shouldhang straight without being stiff. Curl thefingers so that the tip of the thumb isalongside and touching the first joint ofthe forefinger. Your thumb should bestraight along the seam of the trouser leg.The first joint of your forefinger shouldtouch the trousers.

PARADE REST

Place your left hand at the small ofyour back and centered on your

belt. Keep the fingers extended.Your palm should face outward.

STAND AT EASE

This is the same position as PARADE

REST. You may move your head andeyes to face the commander.

Figure 1-5 FRENCH HORN


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53.

54.

55.

56.

57.9. TROMBONE

58.(Figure 1-6)

ATTENTION

Tilt the instrument diagonally (approximately30 degrees) across the front of your body.Grasp the slide and tubing braces with your lefthand. Your right arm should hang straightwithout being stiff. Curl the fingers so that thetip of the thumb is alongside and touching thefirst joint of the forefinger. Your thumb should

be straight along the seam of the trouser leg.The first joint of your forefinger should touchthe trousers.

PARADE REST

Place your right hand at the small of your back

and centered on your belt. Keep the fingersextended. Your palm should face outward.

STAND AT EASE

This is the same position as PARADE REST.You may move your head and eyes to face thecommander.

Figure 1-6 TROMBONE


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59.

60.

61.

62.10. SOUSAPHONE63.(Figure 1-7)

ATTENTION

Place the instrument on your leftshoulder with the tubing across andaround your body and the bell forward.Your left arm should hang straightwithout being stiff. Curl the fingers sothat the tip of the thumb is alongsideand touching the first joint of theforefinger. Your thumb should bestraight along the seam of the trouserleg. The first joint of your forefingershould touch the trousers.

PARADE REST

Place your left hand at the small of yourback and centered on your belt. Keepthe fingers extended. Your palm shouldface outward.

STAND AT EASE



Figure 1-7 SOUSAPHONE


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64.

65.

66.FLUTE/PICCOLO (Figure 1-8)

ATTENTION

Hold the instrument vertically withyour right hand. When using a lyre,hold the keyed end down. Hold the lyrevertically in your left hand along yourleft arm. When not using a lyre, yourleft arm should hang straight without

being stiff. Curl the fingers so that thetip of the thumb is alongsideand touching the first joint of theforefinger. Your thumb should bestraight along the seam of the trouserleg. The first joint of your forefingershould touch the trousers.

PARADE REST

When using the lyre, hold the lyrevertically in your left hand along your

left arm. When not using the lyre, placethe left hand at the small of your backand centered on your belt. Keep thefingers extended. Your palm shouldface outward.

STAND AT EASE



Figure 1-8 FLUTE/PICCOLO


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67.

68.

69.

70.12. CLARINET

71.(Figure 1-9)

ATTENTION

Hold the instrument vertically along the rightside of your body. Hook the fingers of yourright hand into the bell. Your left arm shouldhang straight without being stiff. Curl thefingers so that the tip of the thumb is alongsideand touching the first joint of the forefinger.Your thumb should be straight along the seamof the trouser leg. The first joint of yourforefinger should touch the trousers.

PARADE REST

Place your left hand at the small of your back

and centered on your belt. Keep the fingersextended. Your palm should face outward.

STAND AT EASE


Figure 1-9 CLARINET


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72.

73.

74.

75.13. SAXOPHONE (Figure 1-10)

ATTENTION

Hold the body of the instrument between theupper and lower key groups with your righthand. Tilt the instrument slightly forward andto the left. Your left arm should hang straightwithout being stiff. Curl the fingers so that thetip of the thumb is alongside and touching thefirst joint of the forefinger. Your thumb should

be straight along the seam of the trouser leg.The first joint of your forefinger should touchthe trousers.

PARADE REST

Place your left hand at the small of your backand centered on your belt. Keep the fingers

extended. Your palm should face outward.

STAND AT EASE


Figure 1-10 SAXOPHONE

76.

77.

78.

79.

80.


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81.

82.14. FIELD SNARE DRUM/ FIELD TENORDRUM/

WITH SLING

(Figure 1-11)

ATTENTION

Suspend the instrument from a sling.Secure it against your left leg. Hold thedrum sticks under your right arm withthe thumb and forefingers of your righthand. Your left arm should hangstraight without being stiff. Curl thefingers so that the tip of the thumb isalongside and touching the first joint ofthe forefinger. Your thumb should bestraight along the seam of the trouserleg. The first joint of your forefingershould touch the trousers.

PARADE REST

Place your left hand at the small of yourback and centered on you belt. Keepthe fingers extended. Your palm shouldface outward.

STAND AT EASE

This is the same position as PARADEREST. You may move your head andeyes to face the commander.

Figure 1-

11 FIELD SNARE/TENOR DRUM/

WITH SLING83.

84.

85.

86.

87.

88.

89.


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90.

91.15. FIELD SNARE DRUM/

FIELD TENOR DRUM/

WITH HARNESS

(Figure 1-12)

ATTENTION

Suspend the Instrument from theharness centered on you body. Holdthe drum sticks under your right armwith the thumb and forefinger ofyour right hand. Your left armshould hang straight without beingstiff. Curl the fingers so that the tipof the thumb is alongside andtouching the first joint of theforefinger. Your thumb should bestraight along the seam of the trouser.

The first joint of your forefingershould touch the trousers.

PARADE REST

Place your left hand at the small ofyour back and centered on your belt.Keep the fingers extended. Your


STAND AT EASE

This is the same position asPARADE REST. You may moveyour head and eyes to face thecommander.

Figure 1-12 FIELD SNARE/TENOR DRUM/WITH HARNESS


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92.

93.

94.16. FIELD BASS DRUM (Figure 1-13)

ATTENTION

Hook the instrument to the bass drum harness.Adjust it to a comfortable position in front ofyour body. Hold the mallet(s) along the side(s)of your body. Both arms should hang straightwithout being stiff. The mallets should pointdown.

PARADE REST

Place both hands at the small of your back andcentered on your belt. Grasp the malletshorizontally in both hands. Your palms should

face outward.

STAND AT EASE


Figure 1-13 FIELD BASS DRUM


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95.

96.17. CYMBALS97.(Figure 1-14)

ATTENTION

Hold the cymbals with the concave sidestoward your body. Hang your arms naturallyat your sides.

PARADE REST

The positioning of the cymbals does notchange; allow them to hang at your sides as in

the position ofATTENTION. Go to

PARADE REST.

STAND AT EASE


Figure 1-14 CYMBALS


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98.

99.

100.18. BELL LYRA

101. (GLOCKENSPIEL)

102. (Figure 1-15)

ATTENTION

Place the staff in the harness socket. Hold theframe near the staff with your left hand. Tiltthe instrument slightly toward your left. Turnit slightly forward. Hold the mallet in yourright hand with your right arm at your side.Your right arm should hang straight without

being stiff. The mallet should point downward.

PARADE REST

Place your right hand at the small of your backand centered on your belt. Hold the mallet in a

horizontal position. Your palm should faceoutward.

STAND AT EASE


Figure 1-15

BELL LYRA (GLOCKENSPIEL)


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103.

104.

105.

106.19. BUGLE

107.(Figure 1-16)

ATTENTION

Hold the instrument between you leftarm and your body. Point the bellforward. Hold the instrumenthorizontally. Your right arm shouldhang straight without being stiff. Curlthe fingers so that the tip of the thumb isalongside and touching the first joint ofthe forefinger. Your thumb should bestraight along the seam of the trouserleg. The first joint of your forefingershould touch the trousers.

PARADE REST

Place your right hand at the small ofyour back and centered on your belt.

Keep the fingers extended. Your palmshould face outward.

STAND AT EASE



Figure 1-16 BUGLE


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108.109.110.20. HERALD TRUMPET111.(Figure 1-17)

ATTENTION

Grasp the lower part of the front tubing withyour right hand. Hold the instrument

between your right arm and your body.Point the bell forward. Hold the instrumenthorizontally. Your left arm should hangstraight without being stiff. Curl the fingersso that the tip of the thumb is along side andtouching the first joint of the forefinger.Your thumb should be straight along theseam of the trouser leg. The first joint ofyour forefinger should touch the trousers.

PARADE REST

Place your left hand at the small of yourback and centered on your belt. Keep thefingers extended. Your palm should faceoutward.

STAND AT EASE


REST. You may move your head and eyesto face the commander.

Figure 1-17 HERALD TRUMPET

PART B--MANUAL OF INSTRUMENTS


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21. The Manual of Instruments. The Manual of Instruments is a series of holding positions for instruments used inband formation. These positions are signaled in cadence by the band commander or drum major.

a. The CARRY position is the holding position for the instrument while not playing.

b. READY INSTRUMENTS is the holding position prior to the prepare to play position.

c. The PREPARE TO PLAY position is the holding position while playing the instrument.

d. The ALTERNATE CARRY position is the holding position of an instrument during long marches or inspecial situations. Some instruments do not have an alternate carry position.

e. The REST position is the holding position to hold heavier instruments when not marching or playing for anextended time. Some instruments do not have a rest position.

NOTE: The Manual of Instruments for each instrument are described and illustrated in Paragraphs 24 through40, Figures 1-20 through 1-36.

22. Movements. The two movements of the Manual of Instruments are INSTRUMENTS UP and

INSTRUMENTS DOWN. These movements are signaled in cadence by the band commander or the drum major.a. INSTRUMENTS UP is a three-count sequence to move instruments to the playing position from the carry

position. The steps are:

COUNT 1--READY INSTRUMENTS

COUNT 2--SILENT

COUNT 3--PREPARE TO PLAY

b. INSTRUMENTS DOWN is the three-count sequence used to return the instruments to the carry positionfrom the playing position. The steps are:

COUNT 1--READY INSTRUMENTS

COUNT 2--SILENT

COUNT 3--CARRY

23. INSTRUMENTS UP is executed on the first and second measures of the four measure roll off as shown inFigure 1-18. The circled numbers correspond to the three counts of the INSTRUMENTS UP sequence.

Figure 1-18 INSTRUMENTS UP DURING ROLL OFF


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24. Instruments Up During Cadence. INSTRUMENTS UP can also be done on the fifth and sixth measures ofan eight measure drum cadence as shown in Figure 1-19. The circled numbers correspond to the three counts of theINSTRUMENTS UP sequence.

Figure 1-19 INSTRUMENTS UP DURING CADENCE


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112.113.114.25. TRUMPET/CORNET (Figure 1-20)

CARRY

Grasp the lower part of the front tubing with yourright hand. Hold the instrument between your rightarm and your body. Point the bell forward. Holdthe instrument horizontally.

READY INSTRUMENTS

Move your left hand across your body. Grasp thevalve casings.

PREPARE TO PLAY

Move the instrument to playing position with yourleft hand. At the same time, move your right handto the playing position.

Figure1-20 TRUMPET/CORNET

115.

116.

117.

118.

119.

120.

121.

122.


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123.

124.


(BELL FRONT)(Figure 1-21)

CARRY

Hold the instrument in the horizontal position.Point the bell forward. Point the mouthpiece up.Hold the instrument between your right arm andyour body.

READY INSTRUMENTS

Grasp the upper branch near the valve casingswith your left hand.

PREPARE TO PLAY

Move the instrument to the playing positionwith your left hand. At the same time, moveyour right hand to the playing position. Placeyour left hand to support the instrument.

Figure 1-21 EUPHONIUM/BARITONE

(BELL FRONT)


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(BELL UPRIGHT)

(Figure 1-22)

CARRY

Hold the instrument in a horizontal position. Pointthe bell forward. Point the mouthpiece up. Hold theinstrument between your left arm and your body.

READY INSTRUMENT

Grasp the instrument behindthe valve casings with yourright hand.

PREPARE TO PLAY

Move the instrument to the playing position. Placeyour left hand to support the instrument.

Figure 1-22 EUPHONIUM/BARITONE

(BELL UPRIGHT)


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127.128.129.28. ALTO HORN130.(Figure 1-23)

CARRY

Hold the instrument in a horizontal position. Point the bellforward. Point the mouthpiece up. Hold the instrument betweenyour right arm and your body.

READY INSTRUMENT

Grasp the upper branch near the valve casings with your lefthand.

PREPARE TO PLAY

Move the instrument to the playing position with your left hand.At the same time, move your right hand to the playing position.

Figure 1-23 ALTO HORN


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131.132.133.29. FRENCH HORN134.(Figure 1-24)

CARRY

Hold the instrument under your right arm. Point the bellto the rear. Point the mouthpiece up. Grasp the bell bowwith your right hand.

READY INSTRUMENT

Move your left hand to the playing position.

PREPARE TO PLAY

Move the instrument to the playing position with your lefthand. At the same time, place your right hand into the

bell.

Figure 1-24 FRENCH HORN


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135.30. TROMBONE

136.(Figure 1-25)

CARRY

Tilt the instrument diagonally (approximately 30 degrees) across the front of yourbody. Grasp the slide and

tubing braces with your left hand.

READY INSTRUMENT

Move the instrument to a vertical position. Graspthe instrument with your right hand in the playing

position.

PREPARE TO PLAY

Move the instrument to the playing position.

Figure 1-25 TROMBONE


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TROMBONE

(Continued)

ALTERNATE CARRY

Hold the instrument parallel to theground under your right arm.Support the instrument with yourright hand under the slide brace.

137.

138.

139.

140.

141.

142.

143.

144.

145.

146.

147.REST

Place the instrument directly in front ofyour body in the vertical position. Graspthe instrument with the left hand in the carry

position and place your right hand over yourleft hand. Use the REST POSITION onlywhen directed by the band commander ordrum major.

Figure 1-25 (Continued) TROMBONE


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148.

149.

150.SOUSAPHONE151.(Figure 1-26)

CARRY

Place the instrument on your left shoulder with the tubingacross and around your body and the bell forward.

READY INSTRUMENT

Keep the instrument at the carry position.

PREPARE TO PLAY

Move the instrument slightly to bring the mouthpiece toyour embouchure with the assistance of your left hand.

Figure 1-26 SOUSAPHONE


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SOUSAPHONE

(Continued)

ALTERNATE CARRY

Move the instrument so the upperbranch rests on your right shoulder.

REST

Place the instrument in a verticalposition by your right side. The bellbranch is on the ground. Face thebell forward. Hold the top of the bellwith your right hand. Use the RESTPOSITION only when directed by

the band commander or drum major.

Figure 1-26 (Continued) SOUSAPHONE


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152.32. FLUTE/PICCOLO153.(Figure 1-27)

CARRY

Hold the instrument vertically with your right hand. Hold thekeyed end down. Hold the lyre vertically in your left hand alongyour left arm. When not using a lyre, your left arm should hangstraight without being stiff.

READY INSTRUMENT

Move the lyre to a horizontal position with your left hand. Hold

the lyre between the upper part of your left arm and your body.Keep the instrument in the same position as the carry. When notusing a lyre, there is no movement.

PREPARE TO PLAY

Raise the instrument to the playing position with your right hand.

At the same time, move your left hand to cover the proper keys.

Figure 1-27 FLUTE/PICCOLO


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154.155.33. CLARINET

156.(Figure 1-28)

CARRY

Hold the instrument vertically alongthe right side of your body. Hook thefingers of your right hand into the bell.

READY INSTRUMENT

Move your left hand across your body to grasp theinstrument. Cover the proper keys with yourfingers. Maintain the grip of your right hand.

PREPARE TO PLAY

Move the instrument to the playing position with

your left hand. At the same time, move your righthand to cover the proper keys.

Figure 1-28 CLARINET


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157.158.159.34. SAXOPHONE160.(Figure 1-29)

CARRY

Hold the body of the instrument between theupper and lower key groups with your righthand. Tilt the instrument slightly forward andto the left.

READYINSTRUMENT

Grasp the instrument with your left hand.Cover the proper keys. At the same time,move your right hand to cover the properkeys.

PREPARE TO PLAY

Move the instrument to the playing position.

Figure 1-29 SAXOPHONE


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161.162.163.35. FIELD SNARE DRUM/

FIELD TENOR DRUM/

TRADITIONAL GRIP

(Figure 1-30)

CARRY

Suspend the instrument from a sling along yourleft leg. Secure it against your left leg. Hold thedrum sticks under your right arm with the thumband forefingers of your right hand.

READY INSTRUMENT

Move the sticks to a horizontal position at chestlevel in front of your body. At the same time,move your left hand to grasp the proper stick inthe playing position.

PREPARE TO PLAY

Separate the sticks and lower them to theplaying position.

Figure 1-30 FIELD SNARE/TENOR

DRUM/TRADITIONAL GRIP


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FIELD SNARE DRUM/

FIELD TENOR DRUM/

TRADITIONAL GRIP

(Continued)

ALTERNATE CARRY

Grasp the bottom counter rim with yourleft hand. Move the instrument to ahorizontal position with the batter headagainst your left leg.

REST

Unsling the instrument. Place it on theground directly in front of your feet.You may place the drum on its sideinstead of on the bottom head. Use theREST POSITION only when directed

by the band commander or drum major.

Figure 1-30 (Continued) FIELD

SNARE/TENOR

DRUM/TRADITIONAL GRIP


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164.36. FIELD SNARE DRUM/

FIELD TENOR DRUM/

MATCHED GRIP

(Figure 1-31)

CARRY

Suspend the instrument from the harnesscentered on your body. Hold the drumsticks under your right arm with thethumb and forefinger of your right hand.

READY INSTRUMENT

Move the sticks to a horizontal positionat chest level in front of your body. Atthe same time, move your left hand tograsp the stick in the playing position.Both palms should face out.

PREPARE TO PLAY

Separate the sticks and lower them tothe playing position.

Figure 1-31 FIELD SNARE/TENOR DRUM/

MATCHED GRIP


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FIELD SNARE DRUM/

FIELD TENOR DRUM/

MATCHED GRIP

(Continued)

REST

Unhook the instrument. Place it on theground directly in front of your feet. Youmay place the drum on its side instead of onthe bottom head.

Use the REST POSITION only whendirected by the band commander or drummajor.165.166.167.168.169.170.171.172.173.174.175.176.

177. Figure 1-31 (Continued) FIELD SNARE/TEN

178. DRUM MATCHED GRIP


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37. FIELD BASS DRUM

(FIGURE 1-32)

CARRY

Hook the instrument to the bass drum harness.Adjust it to a comfortable position in front ofyour body. Hold the mallet(s) along the side(s)of your body.

READY INSTRUMENT

Move your forearms upward to hold themallet(s) in a vertical position at head level.

PREPARE TO PLAY

Move the mallet(s) to the playing position.

Figure 1-32 FIELD BASS DRUM


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FIELD BASS DRUM

(Continued)

REST

Place the drum on the ground in front of

your feet. Use the REST POSITIONonly when directed by the bandcommander or drum major.

179.180.181.182.183.184.185.186.187.188.189.190.191.192.193.

194.195.196.

197. Figure 1-32 (Continued) FIELD BASS DRUM

38. CYMBALS


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(Figure 1-33)

CARRY

Hold the cymbals with the concave sides toward yourbody. Hang your arms naturally at your sides.

READY INSTRUMENT

Raise the cymbals to chest level. The concave sidesshould face each other. Touch the rims of thecymbals to the front of your shoulders.

PREPARE TO PLAY

Move the cymbals forward. Tilt the top rims slightlytoward each other. Raise one higher than the other.

Figure 1-33 CYMBALS


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CYMBALS

(Continued)

ALTERNATE CARRY or REST

Fit both cymbals together. Cup them outward from eachother. Place them between your right side and right arm.Hold them with your right hand.

Figure 1-33 (Continued) CYMBALS


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198.

199.

200.

201.

202.39. BELL LYRA (GLOCKENSPIEL)

203.(Figure 1-34)

CARRY

Place the staff in the harness socket. Hold the framenear the staff with your left hand. Tilt the instrumentslightly toward your left. Turn it slightly forward.Hold the mallet in your right hand with your right armat your side.

READY INSTRUMENTS

Move your right forearm upward to hold the mallet ina vertical position at head level.

PREPARE TO PLAY

Move the mallet to the playing position.

Figure 1-34 BELL LYRA (GLOCKENSPIEL)


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BELL LYRA (GLOCKENSPIEL)

(Continued)

ALTERNATE CARRY

Grasp the frame with your left hand. Securethe instrument horizontally under your left arm.The bars are against your body.

REST

Place the staff on the ground in front of yourbody. Grasp the upper curved frame with yourhands.

Use the REST POSITION only when directed bythe band commander or drum major.

204.205.206.207.208.209.210.211.

212.

213.

214.

215.

216.217.

218.

219.

220.

221.

222.

223.

224.

225. Figure 1-34 (Continued) BELL LYRA

226. (GLOCKENSPIEL)

227.

228.

229.

230.

231.

232.

233.

234.

235.


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236.40. BUGLE237.(Figure 1-35)

CARRY

Hold the instrument between your left arm and yourbody. Point the bell forward. Hold the instrumenthorizontally.

READY INSTRUMENT

Move your right hand across your body. Grasp theupper tubing of the bugle.

PREPARE TO PLAY

Move the bugle to the playing position with your rightarm. Drop your left arm to your side.

Figure 1-35 BUGLE


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BUGLE

(Continued)

SALUTE

Hold the instrument between your leftarm and your body. Point the bellforward. Hold the instrumenthorizontally. Salute with your righthand.

NOTE: Trumpet players will use theManual of instruments for the buglewhen performing at funerals.

Figure 1-35 (Continued) BUGLE


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238.41. HERALD TRUMPET (Figure 1-36)

CARRY

Grasp the lower part of the

front tubing with your righthand. Hold the instrument

between your right arm andyour body. Extend the bellforward. Hold theinstrument horizontally.

READY INSTRUMENTS

Move your left hand acrossyour body. Grasp the valvecasings.

PREPARE TO PLAY

Move the instrument to theplaying position with yourleft hand. At the same time,

move your right hand to theplaying position.

Figure 1-36 HERALD TRUMPET

LESSON ONE


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PRACTICAL EXERCISE

The following items will test your understanding of the material covered in this lesson. There is only one correctanswer for each item. When you have completed the exercise, check your answer for each item. When you havecompleted the exercise, check your answers with the answer key that follows. If you answer any item incorrectly,review that part of the lesson which contains the portion involved.

1. INSTRUMENTS UP is executed on which measures of the roll off?

A. First and second

B. Second and third

C. First and third

D. Fifth and sixth

2. When a trombone player is at attention, the trombone is tilted to an approximate _______ angle.

A. 45 degree

B. 40 degree

C. 90 degree

D. 30 degree

3. There is no alternate carry for a field snare drum (traditional grip).

A. True B. False

4. Which of the following statements is correct?

A. INSTRUMENTS UP is a four-count sequence.

B. INSTRUMENTS UP is a three-count sequence.

C. Neither statement is correct.

D. Both statements are correct.

5. The alternate carry position for the sousaphone is with the instrument resting on the left shoulder with the bellfacing to the rear.

A. True B. False

6. When executing an about face, bandmembers do ___ consecutive ____ faces.

A. 2, left

B. 3, left

C. 2, right


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D. 3, right

7. When a member of a trumpet section stands at attention, the bell of the instrument is pointed

A. backward.

B. diagonally downward.

C. forward.

D. diagonally upward.

8. The two movements of the manual of instruments are INSTRUMENTS UP and INSTRUMENTS DOWN.

A. True B. False

9. Some instruments do NOT have an alternate carry position.

A. True B. False

10. The stand at easeposition is the same position as parade rest for the ________.

A. alto horn.

B. trumpet.

C. clarinet.

D. All of the above are correct.

LESSON ONEPRACTICAL EXERCISE

ANSWER KEY AND FEEDBACK

Item Correct Answer and Feedback

1. A. First and second


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(Paragraph 23)

2. D. 30 degree(Paragraph 9)

3. B. False(Paragraph 35)

4. B. INSTRUMENTS UP is a three-count sequence.(Paragraph 22a)

5. B. False

(Paragraph 31)

6. C. 2, right(Paragraph 3)

7. C. forward.(Paragraph 4)

8. A. True(Paragraph 22)

9. A. True(Paragraph 21d)

10. D. All of the above are correct.(Paragraphs 4, 7, and 12)


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LESSON TWO

THE MANUAL OF THE MACE

OVERVIEW

DESCRIPTION:In this lesson, you will learn the positions and signals of the mace required for a drum major to lead amarching band.

LEARNING OBJECTIVE:

OBJECTIVE: After completing this lesson, you will be able to identify the positions and signals of themace necessary to lead the marching band.

CONDITIONS: Given the information in this lesson.

ACTIONS: You will identify the positions and signals of the mace.

STANDARDS: IAW the information contained in this lesson.

INTRODUCTION

As drum major you are responsible for the drill and discipline of the band.Your ability to function as thedrum major requires the knowledge of mace signals. You must know the signals necessary to lead the bandin any ceremony. This lesson includes all the mace signals that you will use while performing in aceremony.

1. The mace.

a. The mace is used by the drum major to convey commands or signals to the marching band.

b. The parts of the mace are the ball, staff, chain, and ferrule (Figure 2-1).

Figure 2-1. Parts Of The Mace.

c. The balance point of the mace is the point at which the mace is balanced when held vertically bytwo fingers. This point is usually at a position approximately one third of the between the ball andthe ferrule.


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2. Performance of Mace Signals. Mace signals and movements are normally performed in cadence at atempo between 116 and 120 beats per minute. For signals executed while marching, odd numberedcounts occur as the left foot strikes the ground. Mace signals are described and illustrated in Paragraphs3 through 25, Figures 2-2 through 2-23.

NOTE: Words in UPPER CASE with quotation marks () indicate the verbal command used to execute themovement.

Figure 2-2 ATTENTION

3. ATTENTION (Figure 2-2) Stand at ATTENTIONby grasping the mace with your right hand justbelow the ball. Point your thumb toward the ball. Hold your right elbow approximately 3 inches awayfrom your side to match your left elbow. Your forearm should be at a 30 degree angle towards the right.Place the ferrule on line with and touching the toe of your right shoe.

4. PARADE REST (Figure 2-3) Move your left foot ten inches to theleft of your right foot. At the same time, place the mace ferrule

between your feet in line with your toes. Place your left hand on themace so that it covers your right hand. Your thumbs should overlap ina folded position. Do not move the ball away from your body.

COUNT 1

(PARADE)

No physical movement.

COUNT 2

(Silent Count)

COUNT 3

"REST"


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Figure 2-3 PARADE REST

1.5. LEFT CARRY (Figure 2-4)

The LEFT CARRY is the primaryposition used to carry the macewhile marching. Assume this

position fromATTENTION.

COUNT 1

Move the ball in an arc across yourchest with your right hand. The

ball of the mace should touch yourleft shoulder. The ferrule should

point slightly outward. Grasp thebalance point of the mace withyour left thumb and your index andmiddle fingers.

COUNT 2 (Silent Count)

COUNT 3

Open your right hand and drop it toyour side.

Figure 2-4 LEFT CARRY

2.3.


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Figure 2-5 HAND SALUTE

6. HAND SALUTE (Figure 2-5) Execute the hand salute from the LEFT CARRY. Complete the salute

and return to the LEFT CARRY without making any additional movements with the mace.


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7. RIGHT CARRY (Figure 2-6)

Use the RIGHT CARRY as an alternate to the LEFT CARRY. Use it to do LEFT

TURNS and LEFT GUIDE SIGNALS. Also use it to rest your left arm.

COUNT 1

Release the grip of your left hand. Allow the mace to slide through your hand. Catch themace just below the ball, with all four fingers and your thumb wrapped around the staff.

COUNT 2


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(Silent Count)

COUNT 3

Move the ball in an arc to your right shoulder. Grasp the mace with your right hand in

the RIGHT CARRY position.

COUNT 4Rotate the mace to a vertical position centeredon your body. The ball should be at face level.

(Silent Count)

COUNT 5

Open your left hand and drop it to your side.

NOTE: Resume theLEFT CARRYby repeating the counts. Substitute left forright.

Figure 2-6 RIGHT CARRY


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8. BAND ALIGNMENT (Figure -7)

Hold the mace in the LEFT CARRY.Move to a position four steps in frontof the left flank file. Face the file.

COUNT 1

Grasp the staff with your right handapproximately 20 to 24 inchesabove the bottom of the staff. Your

palm should face your body. Yourright arm should be straight.

COUNT 2

Rotate the mace to a verticalposition centered on you body. Theball should be at face level.

COUNT 3

Raise the mace with your righthand. At the same time, return yourleft hand to your side. Your righthand should be at chin level. Themace should be in a vertical

position to the ground.

Command COVER. Correct thefile alignment, if necessary.

Figure 2-7 BAND ALIGNMENT


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BAND ALIGNMENT(Continued)

RETURN TO CARRY

COUNT 1

Thrust the mace downward.Let the mace slide through yourfingers. At the same time, dropyour right hand to chest levelcentered on your body. Gripthe mace as the ball reachesyour hand.

COUNT 2

(SilentCount)

COUNT 3

Move the ball in an arc to your leftshoulder. At the same time, gripthe mace with your left hand in

the CARRYposition.

COUNT

4

(SilentCount)

COUNT 5

Open your right hand and returnit to your side. Do a left face.Continue to align and dress the

band as described in LessonThree, paragraph 5, of thissubcourse.4.

5.

6.

7.

8.Figure 2-7 (Continued) BAND ALIGNMENT

9.10.

11.

12.

13.

14.

15.

16.

17.

18.


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19.

20.21.9. INSTRUMENTS UP (Figure2-8)

Signal INSTRUMENTS UP (thePREPARE TO PLAY position)

by doing the following sequence

from the LEFT CARRY.

COUNT 1

Grasp the staff with your righthand approximately 20 to 24

inches above the bottom of thestaff. Your palm should face your

body. Your right arm should bestraight.

COUNT 2(Silent Count)

COUNT 3

Move the mace in an arc acrossyour chest toward your rightshoulder. Stop the mace in avertical position along the rightside of your body. Your rightarm should be fully extended.Maintain the grip of your lefthand. The left palm should faceyour right shoulder. This signalsthe bandmembers to READYINSTRUMENTS.

COUNT 4(Silent Count)

COUNT 5

Open your left hand as youmove it to your side. Thrust themace upward. Keep it vertical.Fully extend your right arm.This signals bandmembers toPREPARE TO PLAY.


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Figure 2-8 INSTRUMENTS UP

22.10. INSTRUMENTS

UP(ALTERNATE)23.(Figure 2-9)

COUNT 1

Grasp the staff just below the ballwith your right hand. Face your

palm toward your chest. Pointyour thumb towards the ball.

COUNT 2

(Silent Count)

COUNT 3

Open your left hand. Return itmomentarily to your side as youmove your right hand to the frontof your right thigh. This bringsthe mace to a horizontal positionwith the ferrule to your right.

COUNT 4

Raise your right hand and beginto move the mace in a clockwisedirection in front of your body.At the same time, raise your lefthand and grasp the mace betweenyour thumb and index finger.Your palm should face up.Control the mace with your lefthand.

Continue to rotate the mace in aclockwise direction into Count 5.

As control goes from the righthand to the left hand, the righthand continues to its position byyour side.

Figure 2-9 INSTRUMENTS UP (ALTERNATE)


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INSTRUMENTS UP(ALTERNATE)(Continued)

COUNT 5

INSTRUMENTS

After 1-1/4 revolutions, holdthe mace in a vertical positionalong the right side of your

body. Grasp the staff with yourright hand between the thumband index finger. Your rightarm should be fully extended.The ball of the mace should be

pointed up. Your left handshould be grasping the staffwith the palm facing forward.

This signals bandmembers toREADY INSTRUMENTS.

COUNT 6

(Silent Count)

COUNT 7

UP

Open your left hand as youmove it to your side. Thrust themace upward. Keep it vertical.Fully extend your right arm.This signals bandmembers toPREPARE TO PLAY.24.

25.Figure 2-9

(Continued)

INSTRUMENTS UP (ALTERNATE)

26.

27.

28.

29.

30.

31.

32.33.

34.

35.

36.

37.

38.

39.

40.

41.11. FORWARD MARCH (Figure 2-10)


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Use the FORWARD

MARCH signal to move theband from the HALT, HALFSTEP, or MARK TIME.Begin this sequence from theLEFT CARRY.

COUNT 1

Grasp the staff with your righthand approximately 20 to 24inches above the bottom ofthe staff. Your palm shouldface your body. Your rightarm should be straight.

COUNT 2

(Silent Count)

COUNT 3

Move the mace in an arcacross your chest toward yourright shoulder. Stop the macein a vertical position along theright side of your body. Yourright arm should be fullyextended. Maintain the gripof your left hand. The left

palm should face your rightshoulder.

NOTE: This portion of themovement can be held for anindefinite period of time until

the appropriate point to off.

Figure 2-10 FORWARD

MARCH

SIGNAL OF EXECUTION


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COUNT 1

FORWARD

Release the mace with yourleft hand as you move it toyour side. Thrust the maceupward. Keep it vertical.Fully extend your right arm.

COUNT 2

Move the mace in a smallclockwise arc. Immediatelythrust it to the extended

position.

SIGNAL OF EXECUTION

COUNT 3

MARCH

Thrust the mace downward.Relax the grip of your righthand. Let the mace slidethrough your fingers as youdrop your right hand to chestlevel. Grip the mace as the

ball reaches your hand.

COUNT 4

(Silent Count)

Figure 2-10 (Continued)

FORWARD MARCH

FORWARD MARCH


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(Continued)

COUNT 5

Move the ball in an arc acrossyour chest toward your leftshoulder. Grasp the staff with

your left hand in the LEFT

CARRY position. Step offwith your left foot.

COUNT 6

(Silent Count)

COUNT 7

Return your right hand to yourside. Take up a natural armswing (9 inches to the frontand 6 inches to the rear of thetrouser seam) with your rightarm.

NOTE: When marching,swing your free arm in anatural motion nine inches tothe front of and six inchesbehind the trouser seam.

Figure 2-10 (Continued)FORWARD MARCH


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42.12. FORWARD MARCH(ALTERNATE) (Figure 2-11)

Begin this sequence from theLEFT CARRY.

READY POSITION

COUNT 1

Move your right hand acrossyour chest. Grasp the mace

just below the ball. Your palmshould face forward.

COUNT 2

(Silent Count)

COUNT 3

Retain control of the mace withyour left hand as you move the

ball in a clockwise directionwith your right hand. Move themace to a vertical position alongthe right side of your body.Allow the mace to slide throughthe fingers of your left hand.The ferrule of the mace is be

pointed up. Extend your rightarm downward. Your left handshould be grasping the staff atyour right shoulder. Your left

palm should face forward.

COUNT 4

(Silent Count)

Figure 2-11

FORWARD MARCH (ALTERNATE)


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FORWARD MARCH(ALTERNATE)(Continued)

COUNT 5

FORWARD

Open your left hand and return it to your side. At the same time, thrustthe mace upward. Extend your right arm fully.


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COUNT 6

Lower the mace until the ball is at shoulder height.

COUNT 7

MARCH

Thrust the mace back to the full extension of your right arm.

COUNT 8

Move the mace in a small arc to the left. Return it to the extended position.

Figure 2-11 (Continued) FORWARD MARCH (ALTERNATE)


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FORWARD MARCH(ALTERNATE)(Continued)

COUNT 9

Lower the ball decisively tochin level. Step off with yourleft foot.

COUNT 6

(Silent Count)

COUNT 7

Rotate the ferrule in acounterclockwise direction asyou move the ball toward yourleft shoulder. Grasp the staffwith your left hand in theCARRY position.

COUNT 12

(Silent Count)

COUNT 13

Open your right hand as youreturn it to your side. Take up anatural arm swing with yourright arm.43.

44.

45.

46.

47.

48.

9.Figure 2-11 (Continued) FORWARD MARCH (ALTERNATE)

50.

51.52.

53.

54.

55.

56.

57.

58.

59.

60.DRUM MAJOR REVERSE


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The drum major reverseis usedwhen you must face the bandwhile the band is marchingforward.

COUNT 1

Left foot strikes the ground.

COUNT 2

Pivot to the left as your right footstrikes the ground.

COUNT 3

Complete the reverse as your leftfoot strikes the ground in theopposite direction. March

backwards at a full step.

Figure 2-12

DRUM MAJOR REVERSE


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DRUM MAJOR REVERSE(Continued)

Reverse again to face the directionof march.

COUNT 1

Left foot strikes the ground.

COUNT 2

Pivot to the left as your right footstrikes the ground.

COUNT 3

Complete the reverse as your leftfoot strikes the ground in theopposite direction. March forwardat a full step.

Figure 2-12

(Continued) DRUM MAJOR REVERSE


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DRUM MAJOR REVERSE(Continued)

To reverse direction whilemarking time:

COUNT 1

Step forward with your left foot.Pivot to your right on the ball ofyour left foot.

COUNT 2

Your right foot strikes the groundin the new direction. Continue theMARK TIME

Figure 2-12 (Continued) DRUM MAJOR REVERSE


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14. MARK TIME61.(Figure 2-13)

Signal MARK TIME from theLEFT CARRY. Give it facingthe band if the signal precedes aHALT. Face the direction ofmarch if the next signal is aFORWARD MARCH.

READY POSITION

Grasp the mace approximatelytwo feet above the bottom of thestaff with your right hand.

NOTE: This position can beheld for an indefinite period oftime.

PREPARATORY SIGNAL

Raise the mace to a horizontalposition above your head. Extendyour arms. Your hands should beat shoulder width. Point yourright thumb toward the ball.

NOTE: You may hold thisposition for more than onecount.

SIGNAL

OF

EXECUTION

Return your left arm to your side. At the same time, move the mace in an

arc to a vertical position at the right side of your body. Do this as yourleft foot strikes the ground. Your arm should extend horizontally fromyour shoulder. On the next step begin to mark time.

Figure 2-13 MARK TIME


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MARK TIME(Continued)

NOTE: If you want toresume the march, proceedthrough RETURN TOCARRY in the next three

steps.

RETURN TO CARRY

COUNT 1

Lower the mace diagonallyacross the front of your upper

body with your right hand.Bring the left hand to theLEFT CARRY position.Grasp the balance point of themace with your left thumb

and your index and middlefingers.

COUNT 2

(Silent Count)

COUNT 3

Release the grip of your righthand. Drop your right handto your side.

Figure 2-13 (Continued) MARK TIME


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15. HALT(Figure 2-14)

If you want to HALT the band after

the MARK TIME, go to theREADY POSITION. (See

paragraph 14)

PREPARATORY SIGNAL

Raise the mace to a horizontal positionover your head with your right hand.Extend your left arm upward. Grasp thestaff near the ball. Your palms shouldface forward.

NOTE: You may hold this position formore than one count.

SIGNAL OF EXECUTION

COUNT 1

BAND

Lower the mace in a straight line to chinlevel by bending your elbows. Do thisas your left foot strikes the ground.

COUNT 2

Return the mace to the

PREPARATORY SIGNAL position.

Figure 2-14

HALT


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HALT(Continued)

COUNT 3

HALT

Lower the mace so thatyour arms are fullyextended downward.

COUNT 4

Raise the ball to your leftshoulder to RETURN TOCARRY. Grasp the staffwith your left hand in the

LEFT CARRY position.

COUNT 5

Open your right hand andreturn it to your side. Stopmarching as your right footstrikes the ground.62.

63.

64.

65.

66.

67.

68.

69.

70.Figure 2-14

(Continued) HALT

71.

72.

73.

74.

75.

76.77.

78.

79.

80.

81.

82.

83.

84.

85.16. CUT OFF (Figure 2-15)


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Signal the CUT OFF from theLEFT CARRY. Use the CUT OFFsignal to stop the band from playingor to stop a drum cadence. Thedrums will normally continue

playing a cadence after a musicalselection until separately cut off.

COUNT 1

Grasp the staff just above the ferrulewith your right hand. Your thumbshould point toward the ball.

COUNT 2

(Silent Count)

COUNT 3

Raise the mace to a horizontalposition just above your eyes. Slideyour left hand out toward the ball.

COUNT 4

(Silent Count)

COUNT 5

Open your left hand and return it toyour side. Extend your right armoutward in an arc from your shoulder.Push up with your thumb until the ballis centered over your head.

NOTE: You may hold the positionsin counts 3 and 5 for more than onecount.

Figure 2-15 CUT OFF


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CUT OFF(Continued)

SIGNAL OF EXECUTION

COUNT 1

Keeping the ball stationary,move your right hand to a

position in front of your chin.Begin this sequence three

beats before you want themusic or cadence to stop.

COUNT 2

Thrust your arm to a fullextension upward.

COUNT 3

Thrust the mace downwardand release the grip of yourright hand. Allow the mace tofall through your fingers asyou move your hand to a

position in front of your chin.Grip the mace as the ballreaches your hand.

Figure 2-15

(Continued) CUT OFF


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CUT OFF(Continued)

COUNT 4

(Silent Count)

COUNT 5

Move the ball in an arc towardyour left shoulder. Grasp thestaff with your left hand in theLEFT CARRY position. Thissignals bandmembers toREADY INSTRUMENTS.

COUNT 6

(Silent Count)

COUNT 7

Open your right hand and dropit to your side. This signals

bandmembers to assume theCARRY.86.

87.

88.

89.

90.

91.

92.

93.

94.

95.

96.

97.

98.Figure 2-15 (Continued) CUT OFF

99.

100.

101.

102.103.

104.

105.

106.

107.

108.

109.

110.


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111.

112.17. LEFT TURN113.(Figure 2-16)

Signal the LEFT TURN with the left hand while holding the mace in the

RIGHT CARRY.

READY POSITION

From the RIGHT CARRY, arc your left arm slightly to the left and thenright and upward in front of your body. Continue the arc until your arm isextended upward and to the left at a 45-degree angle from your shoulder.Your palm should face forward. Turn your head to the left.

PREPARATORY SIGNAL


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Raise your left forearm slightly by bending your elbow as your right footstrikes the ground. Do this one beat before the SIGNAL OF EXECUTION.

SIGNAL OF EXECUTION

On the next left step, drop your left arm to your side. Do a left turn bypivoting on your right foot as it strikes the ground.

Return to the LEFT CARRY.114.

115.

116.

117.

118.

119.Figure 2-16 LEFT TURN

120.

121.

122.

123.

124.125.

126.

127.

128.

129.

130.

131.

132.


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133.18. RIGHT TURN134.(Figure 2-17)

Signal the RIGHT TURN with theright hand while holding the mace

in the LEFT CARRY.

READY POSITION

Arc your right arm slightly to theright and then left and upward infront of your body.

Continue the arc until your arm isextended upward and to the right ata 45-degree angle from yourshoulder. Your fingers are extendedand joined. Your palm should faceforward. Turn your head to theright.

PREPARATORY SIGNAL

Raise your right forearm slightly bybending your elbow as your left footstrikes the ground. Do this one beat

before the SIGNAL OF

EXECUTION.

SIGNAL OF EXECUTION

On the next right step, drop yourright arm to your side. Do a rightturn by pivoting on your left foot asit strikes the ground.135.

136.

137.

138.

139.Figure 2-17

RIGHT TURN

140.

141.

142.

143.

144.

145.

146.147.

148.

149.

150.

151.

152.

153.

154.

155.19. THE TRAIL (Figure 2-18)


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Use the TRAIL at the HALT or

on the march. It is the READY

POSITION for theCOUNTERMARCH.

FROM ATTENTION

Raise the mace slightly so the ferruleclears the ground. Bring the ball forwardand downward to your side in a circularmotion until the staff is horizontal. Theferrule should point to the rear. Normallythis is used in situations requiring an

immediate COUNTERMARCH

following a verbal FORWARD

MARCH.

FROM THE LEFT CARRY

COUNT 1

Move your right hand in an arc acrossyour body. Grasp the mace just below the

ball. Your fingers should be together.Your thumb should point toward the ballof the mace.

COUNT 2

(Silent Count)

COUNT 3Return your left hand to your side. At thesame time, move the ball forward anddownward to your right side until the staffis horizontal. The ferrule should point tothe rear. Your right arm should be fullyextended along your side. Resume thenatural swing of your left arm. Swingyour right arm with a natural motion whilekeeping the mace parallel to the ground.

Figure 2-18 THE TRAIL


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156.

157.20. COUNTERMARCH158.(Figure 2-19)

Give the signal for aCOUNTERMARCH from theTRAIL

PREPARATORY SIGNAL

COUNT 1

Twirl the mace 1-3/4 revolutions.Arc the ferrule down and forward.Raise your right hand to allow theferrule to clear the ground. Thiscount starts as the left foot strikes theground.

COUNT 2

This occurs during the process of thetwirl.

COUNT 3

As your next left foot strikes theground, stop the mace with theferrule pointing straight upward.The ball should be in the pocket of

your right shoulder. MARK TIMEuntil the first rank is in line with you.If the band has an odd number offiles, take one 30-inch step to the left

before marking time. Step off withthe first rank as it comes on line with

you.

Figure 2-19 COUNTERMARCH

COUNTERMARCH


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(Continued)

SIGNAL OF EXECUTION

Arc the mace forward to a vertical position infront of your body as your left foot strikesthe ground. Withdraw the mace vertically towithin three inches of your body while takingone step to the rear. As your left foot strikesthe ground, pivot 180 degrees to the right.Complete the pivot by the next left step.March at a full step. After clearing the band,

return to the CARRY. If necessary, adjustyourself to the proper distance in front of thefirst rank. If the band has an even number offiles, take one 30-inch step to the right afterclearing the band.a.

b.a. NONREVERSIBLE COUNTERMARCH

When executing the NONREVERSIBLECOUNTERMARCH, signal the guide file toMARK TIME when they have completed theturn. When the band is on line, signalFORWARD MARCH.c.

d.b. REVERSIBLE COUNTERMARCH

When executing the REVERSIBLE

COUNTERMARCH, assume thehalf-stepand return to the carry after clearingthe band.After the entire band has completedthe turn,signal FORWARD MARCH.

Figure 2-19 (Continued) COUNTER MARCH


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159.ROLL OFF(Figure 2-20)

The ROLL OFF is a four barintroductory figure played by the

percussion section to signal theband to play a march. Signal theROLL OFF from the LEFT

CARRY.

READY POSITION

Grasp the staff with your righthand approximately 20 to 24inches above the bottom of thestaff. Your palm should faceyour body. Your right armshould be straight. Move the ball

of the mace in an arc across thefront of your body until the maceis in a vertical position along theright side of your body.

PREPARATORY SIGNAL

On the first beat of an eight-barcadence, thrust the mace upwarduntil your right arm is fullyextended. Return your left arm toyour side.

SIGNAL OF EXECUTION

On the first beat of the eighth bar,thrust the mace downward while

bringing your hand to a point levelwith your chest. Grasp the mace ata point just below the ball.

On the next downbeat, thepercussion section will play aROLL OFF.

Figure 2-20 ROLL OFF


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ROLL OFF

(Continued)

RETURN TO CARRY

COUNT 1

Move the ball in an arc acrossyour body to your left shoulder.Grasp the staff with your lefthand in the LEFT CARRY

position. Bandmembers willautomatically, in response to the

drum ROLL OFF, execute theREADY INSTRUMENTS

position.

COUNT 2

(Silent Count)

COUNT 3

Return your right hand to yourside. Bandmembers willautomatically execute thePREPARE TO PLAY

position.160.

161.

162.

163.

164.

165.

166.

167.

168.

169.

170.Figure 2-20 (Continued) ROLL OFF

171.172.

173.

174.

175.

176.

177.

178.

179.

180.


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181.22. GUIDE SIGNAL(Figure 2-21)

Use the GUIDE SIGNAL toindicate half-turns and toguide the band aroundobstacles.

Do the GUIDE SIGNAL byraising your left or right armhorizontally outward to yourside at shoulder height. Raiseyour right arm to guide the

band to the right. Raise yourleft arm to guide the band tothe left. Your palm shouldface forward. Your fingersshould be extended and

joined. First you assume thenew direction of march.

Keeping your arm in position,wait until the entire band hasassumed the new direction ofmarch, then drop your armand resume the full step. NoFORWARD MARCH signalis necessary. The guide filewill maintain the appropriatedistance behind you.

Figure 2-21 GUIDE

SIGNAL

182.183.184.185.186.187.188.189.190.191.192.193.194.


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195.196.197.198.199.23. RIM CADENCE200.201.Signal for a RIM CADENCE (TAP) by executing a CUT OFF (See paragraph 16,Figure 2-15) on the last three beats of a drum cadence. A previously appointed drummerwill take up the RIM CADENCE.202.203.If you wish the drum section to resume playing on the head, execute a CUT OFF on

the last three beats of a RIM CADENCE. The drum section will then begin playing adrum cadence.204.205.206.207.208.209.210.24. THE CEREMONIAL MACE SWING

211.(Figure 2-22)

Use the CEREMONIAL MACE SWING on the march as an embellishment to theCARRY. Do the CEREMONIAL MACE SWING from either the LEFT orRIGHTCARRY. Use a smooth motion. Balance the action of the swinging arm with that of thefree arm.

The CEREMONIAL MACE SWING is best achieved by supporting the weight of themace with your forearm rather than with your upper arm. Emphasize your wrist movementto keep the ball constantly rotating. Before giving signals to the band you must resume theCARRY.

Swing your free arm nine inches in front of and six inches behind the trouser seam. Anexaggerated arm swing is acceptable, provided it meets the high standards of militaryappearance and professionalism.

Resume the CARRY before giving any signal.


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THE CEREMONIAL MACE SWING(Continued)

FROM THE LEFT CARRY

COUNT 1

As your left foot strikes the ground,take the mace down to your left thigh.Keep your left elbow by your side.Curl your left wrist downward andoutward. Swing your right armforward.

COUNT 2

As your right foot strikes the ground,bring the mace up to your chest.Bend your left wrist upward andinward. Swing your right arm to the

rear.

FROM THE RIGHT CARRY

COUNT 1

As your left foot strikes the ground,bring the mace up to your chest,bending your right wrist upward andinward. Swing your left arm to therear.

COUNT 2As your right foot strikes the ground,take the mace down to your rightthigh. Keep your right elbow by yourside. Curl your right wrist downwardand outward. Swing your left armforward.

Figure 2-22 THE CEREMONIAL MACE SWING


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212.25. SOUND OFFSEQUENCE

(Figure 2-23)

Signal INSTRUMENTS UP

COUNT 1

Command SOUND OFF

Signal the downbeat of the firstchord by moving your right hand toa position in front of your chin.

COUNT 2

(Silent Count)

COUNT 3

Execute an about face on thedownbeat of the second chord.

COUNT 4

(Silent Count)

COUNT 5

(Silent Count)

Figure 2-23 SOUND OFF SEQUENCE


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SOUND OFF SEQUENCE(Continued)

COUNT 6

On the second beat of the third chord, thrust your right arm to a full extensionupward.

COUNT 7


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On the third beat of the third chord, thrust the mace downward. Release thegrip of your right hand and move your hand to chest level. Catch the mace asthe ball reaches your hand.

COUNT 8

(Silent Count)

COUNT 9

Step off with the left foot on the downbeat of the march. At the same time,move the ball in an arc to your left shoulder. Grasp the mace with your left

hand in the CARRY POSITION.

COUNT 10

(Silent Count)

Figure 2-23 (Continued) SOUND OFF SEQUENCE

SOUND OFF SEQUENCE


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(Continued)

COUNT 11

Open your right hand andreturn it to your side.

Signal the LEFT TURN andFORWARD MARCH,COUNTERMARCH, RIGHTTURN and FORWARD

MARCH,COUNTERMARCH, MARK

TIME, and HALT.

To conclude the sound offsequence:

CUT OFF the march.

Following the SIGNAL OF

EXECUTION, rather thanallowing the mace to fall throughyour fingers thrust it back intothe air (arm fully extended).Command SOUND OFF.

COUNT 1

Signal the downbeat of the firstchord by moving your right handto a position in front of yourchin.

COUNT 2

(Silent Count)

Figure 2-23

(Continued) SOUND OFF SEQUENCE


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COUNT 3

On the downbeat of the secondchord, extend your right arm out inan arc from your shoulder. Pushup with your thumb until the ball iscentered over your head.

COUNT 4

(Silent Count)

COUNT 5

Signal CUT OFF.Keeping the ball stationary, moveyour right hand to a position infront of your chin.

COUNT 6

Thrust your arm to a full extensionupward.

Figure 2-23

(Continued) SOUND OFF SEQUENCE


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COUNT 7

Thrust the mace downward.Release the grip of your righthand. Allow the mace to fallthrough your fingers as you moveyour hand to a position in front ofyour chest. Grip the mace as the

ball reaches your hand.

COUNT 8

(Silent Count)

COUNT 9

Move the ball in an arc to your leftshoulder. Grasp the staff withyour left hand in the CARRY

position. This signalsbandmembers to READYINSTRUMENTS.

COUNT 10

(Silent Count)

COUNT 11

Open your right hand and return itto your side. This signals

bandmembers to assume theCARRY.

Figure 2-23 (Continued) SOUND OFF SEQUENCE


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LESSON TWO

PRACTICAL EXERCISE

The following items will test your understanding of the material covered in this lesson. There is only onecorrect answer for each item. When you have completed the exercise, check your answers with the answer

key that follows. If you answer any item incorrectly, review that part of the lesson which contains theportion involved.

1. The parts of the mace are the ball, staff, chain, and ferrule.

A. True B. False

2. The mace is used by the drum major to

A. convey commands in signals to units, other than the band, that are marching on the field.

B. draw attention to the band as it is marching.

C. convey commands or signals to the marching band.

D. Both A and B are correct.

3. When marching, the drum major swings the free arm in a natural motion from approximately__________inches forward to ________inches behind the trouser seam.

A. 6, 9

B. 9, 6

C. 5, 10

D. 10, 5

4. The hand salute is performed while at the left carry position.

A. True B. False

5. While standing at attention, the drum major holds the mace with the

A. right hand on top of the ball.

B. left hand just below the ball.

C. right hand just below the ball.

D. left hand on top of the ball.

6. While standing at attention, the drum major places the ferrule of the mace

A. on line with, and touching, the toe of his left shoe.

B. touching the heel of his right shoe.

C. on line with, and touching, the toe of his right shoe.


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D. touching the heel of his left shoe.

7. When the drum major is moving from attention to the position of parade rest, he should

A. move his right foot ten inches to the right of his left foot.

B. move his left foot ten inches to the left of his right foot.

C. Both A and B are correct.

D. Neither A nor B is correct.

8. The left carry position is assumed from the position of

A. attention.

B. parade rest.

C. mark time.

D. None of the above are correct.

9. When marching, the drum major is permitted to use an exaggerated arm swing if it is in good taste andconforms to the high standards of military professionalism.

A. True B. False

10. To assume the left carry from the position of attention, on count one of the movement

A. moves the ball of the mace across your chest with your left hand until it is touching your rightshoulder.

B. moves the staff of the mace across your chest until it is touching your right shoulder.

C. moves the staff of the mace across your chest until it is touching your left shoulder.

D. moves the ball of the mace across your chest with your right hand until it is touching your leftshoulder.

11. The mace is _________________ with your arm(s) extended___________________________________ for the preparatory signal of the mark time signal.

A. in a horizontal position, above your neck and six inches apart

B. in a vertical position, to your right side parallel to your body

C. in a horizontal position, to your left side parallel to your body

D. None of the above are correct.

12. When giving the right GUIDE signal, the drum major's arm should extend

A. diagonally down from his side with his palm facing backward.

B. straight downward with the palm facing inward.


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C. vertically from the shoulder with the palm facing outward.

D. horizontally outward from the side with the palm facing forward.

13. Two of the signals that may be given from the right carry position are

A. cut off and halt.

B. forward march and roll off.

C. left turn and guide to the left.

D. instruments up and mark time.

14. When giving the guide around signal, the drum major holds the signal

A. until the band commander has faced the new direction of march.

B. until the front rank of the band has assumed the new direction of march.

C. for eight counts only.

D. until the entire band has reached the new direction of march.

15. The trail is the ready position for the drum manor reverse.

A. True B. False

LESSON TWO

PRACTICAL EXERCISE

ANSWER KEY AND FEEDBACK

Item Correct Answer and Feedback

1. A. True(Paragraph 1b)

2. C. convey commands or signals to the marching band.(Paragraph 1a)

3. B. 9, 6(Paragraph 11, Count 7 NOTE)



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5. C. right hand just below the ball.(Paragraph 4)

6. C. on line with and touching the toe of his right shoe.(Paragraph 3)

7. B. move his left foot ten inches to the left of his right foot.(Paragraph 4)

8. A. attention.(Paragraph 5)


10. D. move the ball of the mace across your chest with your r ight hand until it is touchingyour left shoulder.(Paragraph 5)

11. D. None of the above are correct.(Paragraph 14)

12. D. horizontally outward from the side with the palm facing forward.(Paragraph 22)

13. C. left turn and left guide.(Paragraph 7)

14. D. until the entire band has reached the new direction of march.(Paragraph 22)

15. B. False(Paragraph 19)


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LESSON THREE

MARCHING BAND DRILL

OVERVIEW

DESCRIPTION:

In this lesson you will learn the formation, alignment, turns, and countermarches of Army bands on the drill field.You will also learn the actions of each individual bandmember during these movements.

LEARNING OBJECTIVE:

OBJECTIVE: After completing this lesson, you will be able to identify the movements required tolead marching band drill.

CONDITIONS: Given the instruction in this subcourse.

ACTIONS: You will identify the movements required to lead marching band drill.

STANDARDS: IAW with the information contained in this lesson.

INTRODUCTION

In order for you to lead the band on the field, you must know every movement a drum major is required to performas well as the movements of the commander and bandmembers. This lesson includes information on movementsthat involve the drum major and the band commander. It also includes the movements of each bandmember duringthe marching drill.

PART A - FORMATIONS AND ALIGNMENT

NOTE: Words in UPPER CASE indicate commands or actions of the band commander, the drum major, or theband. Words in "UPPER CASE" with quotation marks (") indicate actions, commands, or directives given by thecommander of troops, the adjutant, or unit commander other than the band commander. Words underlinedindicate the titles of music.

1. Normal and Close Formations.

a. Army bands normally march in a column formation with 60 inches (two full steps) between ranks and 60inches (two full steps) between files. Figure 3-1 shows Army band formed at normal intervals.

Figure 3-1. Army Bands Formed At Normal Intervals.


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b. Army bands can also march in close formation. The intervals are 30 inches (one full step) between filesand 60 inches (two full steps) between ranks. Figure 3-2 shows Army bands formed at close intervals.

Figure 3-2. Army Bands Formed At Close Intervals.


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NOTE: When marching, the full step is 30 inches; the half step is 15 inches

2. Marching Positions.

Drum Major: MARCH centered between the flanks of the band. The distance between the drum majorand the first rank is one step less than the number of files in the band. For example, if the band has fivefiles, the drum major stands four steps in front of the first rank; if the band has four files, the drum majorstands three steps in front of the first rank (See Figure 3-1). Do not include the band commander's positionwhen measuring the band's width. When the band commander is conducting the band, STAND 60 inchesto the right of the first rank of the band.


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Band Commander: MARCH in the position 60 inches to the right of the first rank of the band. In streetparades, there may not be enough room to march with the first rank. When this happens, MARCH in frontof the second file from the right. When conducting the band, STAND in the drum major's marching

position. If the band has an odd number of files, STAND off-center. This will permit the bandmembersbehind the first rank of the center file to see your baton movements. If all bandmembers still cannot seeyour baton movements, you may modify your position by moving slightly further from the band.

Band Senior Sergeant When you are not the drum major or performing as an instrumentalist, MARCH60 inches to the left of the first rank of the band. In street parades, there may not be enough room to marchwith the first rank. When this happens, MARCH in front of the second file from the left

3. Instrumental Placement. There is no prescribed pattern for positioning instruments within the band. However,band commanders can increase the effectiveness of the marching band by following these basic principles

Place French horns so that their bells project into the center of the band, not away from the band.

Avoid dividing instrumental sections. As an exception, you may place piccolos on opposite flanks ofthe band.

Group instrumental sections with similar tonal registers and timbres together.

Fill the front rank, flanks and guide files. When necessary, leave open spaces in the last rank. Openpositions in the middle of the formation interfere with alignment. They also complicate turns andother marching movements.

Place sousaphones so that their bells are not obstructing other bandmember's view of the drum majoror band commander's signals.

4. Guide Files. The guide file has the responsibility of maintaining the correct distance between the ranks withinthe band and between the first rank and the drum major. The guide file must maintain the 60 inch (two steps)interval between ranks. The rest of the files can then maintain the correct interval simply by dressing on theguide file.

a. The center file is the guide file if there is an odd number of files in the band.

b. The file to the right of center is the guide file if there is an even number of files.

c. The right file is the guide file on right turns, and the left file is the guide file on left turns.

5. Alignment. Accurate alignment is fundamental to the appearance of the marching band. The drum majoraligns the band first by file, then by rank starting at the left file of the band.

a. To align the band at normal interval (See Figure 3-1) use the following procedure.

Drum Major: Hold the mace in the LEFT CARRY. Move directly to a point four steps in front of

the left flank file. Face the first person in the file. Perform the BAND ALIGNMENT SIGNAL. The

drum major commands "COVER"

Bandmembers: On the command COVER, if you are the first person in the file, align yourself on thedrum major's mace.

If you are not the first person in the file, align yourself on the person in front of you and the drum major'smace.


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Drum Major: Check the file's alignment. If necessary, correct it by telling the persons not aligned tomove. For example, say, THIRD PERSON, LEFT (OR RIGHT). After the file is aligned, return the mace

to LEFT CARRY. Do a LEFT FACE, MARCH two 30-inch steps FORWARD, and HALT. Do a RIGHTFACE. Repeat the alignment procedure for each file. After the last file is aligned, do a LEFT FACE.

MARCH two steps and HALT. Do a RIGHT FACE. To align the ranks, command, DRESS RIGHT,DRESS. MARCH forward to a position on line with the first rank, HALT, and do a RIGHT FACE.

Bandmembers: If you are in the right flank file, continue to face forward.

If you are not in the right flank file, on the drum major's command DRESS RIGHT, DRESS, TURN yourhead and eyes to the right. ALIGN yourself on the drum major and the person to your right.

Drum Major: Check the rank's alignment. If necessary, correct it by telling the persons not aligned tomove. For example say, FIRST PERSON FORWARD (OR BACK). After the rank is dressed, do aLEFT FACE. MARCH two steps and do a RIGHT FACE. Repeat this procedure to align each rank.After the last rank is aligned, do a RIGHT FACE. MARCH to a point four steps past the first rank, HALT,and do a LEFT FACE. Command, READY, FRONT.

Bandmembers: If you are in the right flank file, make no movement.

If you are not in the right flank file at the commandFRONT, TURN your head and eyes forward.

Drum Major: After aligning the band ,return to your position in front of the band (See Figure 3-1).Face away from the band and wait for the band commander to arrive. You may give the band PARADEREST.if there is time before the band commander arrives to assume control of the band. Call the band toATTENTION before the band commander approaches.

Band Commander: MARCH to a point four steps in front of the drum major. HALT and FACE thedrum major.

Drum Major: SALUTE the band commander and report, SIR (or MA'AM) THE BAND IS FORMED.Hold your salute until the band commander SALUTES you.

Band Commander: Return the drum major's salute and say, TAKE YOUR POST.

Drum Major: Do a RIGHT FACE. MARCH to a point two steps past the right flank file and HALT.Do a RIGHT FACE. MARCH to a point on line with the first rank. HALT and FACE FORWARD.

b. Use the same procedure to align the band at close interval (See Figure 3-2), but take only one 30-inch stepbetween files.

6. Changing Posts. Changing Posts occurs when the drum major and band commander change positions from thefront of the band to the right side of the band. The band commander always takes the shortest route of march(diagonal). The drum major always takes the longest route of march(square).

a. The band commander and drum major take the following actions to exchange positions when the drum

major is in front of and

us army music course - drum majoring mu3210

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