Belton High School Marching Fundamentals 2016

Transcription

1 Belton High School Marching Fundamentals 2016 Fundamentals of Teaching Fundamentals: 1. Say the name of the maneuver (INSTRUCT) 2. State its purpose (INSTRUCT) 3. Demonstrate it slowly, several times, then work slowly up to speed (INSTRUCT) 4. Check for understanding (OBSERVE) 5. Allow students to practice it as long as necessary (OBSERVE) 6. Perform maneuver together (OBSERVE) 7. Add details and give constructive criticism (FEEDBACK) 8. Repetition of maneuver (REPEAT) Stationary Positions: Set or Attention Five Points of Alignment Ankle bones Knees Hip bones Shoulders Bones behind the ears Tip: Build from the bottom up Relaxed upper body Shoulders are down and round (not up and tense) Chest is wide (the chest should take up space) Neck, chest, and arms are all soft (not hard and tense) Tip: Pet your shoulders to explain down Upper and lower body are separated at the hips Make the distance between the lowest rib and the hip bone as wide as possible Do not settle into the hips (lift and separate) 1

2 Upper body plays, lower body marches Tip: Put your hands around your neck and lift up Tip: Put your hands on your ribcage and lift to separate from hips Tip: Pull the top of the hat or (gently) hair to reinforce lifted posture Back is straight and flat Hips are directly under the shoulders Feet are in First Position Proper weight displacement 60% body weight on the balls of the feet 40% body weight on the heels Hips and chest do not stick out either direction Do not lean backward Ankles are on the yard line Tip: Describe the platform as a tripod (the three points are the big toe knuckle, pinky toe knuckle, and bottom of big toe) Head placement Face is 10 above the horizon The face is indicative of the horn angle The eyes are not a measurement of reference Tip: Make an L with the Right hand, placing the thumb on top of the breast bone and the index finger under the chin Tip: The face is a spotlight Instrument carriage Without horns Hands are Right over Left Left hand makes a fist Right hand covers left fist Thumbs are Right over Left Hands are only a reference point for the instrument With and without horns Arms are at a 120 angle NEW Upper arms are parallel with shoulders NEW No bent wrists (long line from the elbow to the knuckles) Do not hold with force or tension Instrument is one fist width from the body Horn is held in down position (instrument is perpendicular to the ground) 2

3 Instruments should be as close to the same height as possible (students should look at the same spot on their instrument) Horns Up (from Set or Attention to Horns Up) Total of 2 counts from beginning to the end of the move Horn moves to 10 above the horizon to match the angle of the face Preceded by four counts ( ) Action starts on count 5 Smooth motion going up and locking the mouthpiece into place 1 from the mouth Action stops on count 6 Absence of motion on the final count of the move Tip: Practice sizzling the motion of the instrument from down to up Horns Down ( Down & Down, all students saying the words) Gets instrument from playing position to set to standby Horn moves to down position (instrument is perpendicular to the ground) Preceded by 6 counts ( ) Move on count 7 Quick, sharp motion on beat 7; instruments brought to set position 1 beat rest on count 8. Move on next beat 1 to standby position Tip: Use absence of motion.a LOT. Between between beats especially. Stationary Exercises: Passé Exercise utilized to work upper body control and balance while maintaining the platforms, core, and lifted upper body Platform the bottom part of the foot used for balance, the balls of the feet Balls of the feet where the toes join with the rest of the foot, the widest part Core muscles of the torso, especially the abdominals, which assist in the maintenance of good posture Begin at Attention with feet in Parallel Total of 8 counts from the beginning to the end of the move 3

4 Taught in 2 groups of 4 o Count 1 Up (heel up 1 ) o Count 2 Release (toe release from the ground) o Count 3 Three (on the way up) o Count 4 Four (ankle next to the knee, toe pointing down) o Count 5 Down (on the way down) o Count 6 Two o Count 7 Three o Count 8 Touch roll (to the Platform) Tip: Balance issues occur from letting the lower body movement affect the upper body Tip: Stay on the platforms Tip: Engage the Core Extreme Passé Advanced exercise utilized to work upper body control and balance while maintaining the platforms, core, and lifted upper body Begin at Attention with feet in Parellel Total of 20 counts from the beginning to the end of the move Taught in 5 groups of 4 o Count 1 Up (heel up 1 ) o Count 2 Release (toe releases from the ground) o Count 3 Three (on the way up) o Count 4 Four (ankle next to the knee, toe pointing down) o Count 5 Out (begin turning leg out using hips, keeping leg bent) o Count 6 Two o Count 7 Three o Count 8 Four (leg flat to the front 180 ) o Count 9 Extend (begin straightening the leg out, keeping the toe pointed towards the ground) o Count 10 Two o Count 11 Three o Count 12 Four (toe of the shoe touches the ground) o Count 13 Around (begin rotating the leg inward, keeping only the toe of the shoe on the ground with the leg straight) o Count 14 Two o Count 15 Three o Count 16 Four (leg straight out in front of the body) 4

5 o Count 17 In (bring the leg in without using the knee, only using hips) o Count 18 Two o Count 19 Three o Count 20 Touch roll (to the Platform) Tip: Balance issues occur from letting the lower body movement affect the upper body Tip: Stay on the platforms Tip: Engage the Core Movement: Forward March Begin at Attention with feet in First Position Preceded by 8 counts ( ) Counts 1-4 are either hand claps or metronome clicks Say counts 5-6 Count 7 is squeeze (a reminder to engage the core and lift) Count 8 is silent while the weight shifts to the Right foot On the and of count 8, say push o Push from the Platform of the Right foot o The Left leg moves forward into Parallel position o The Left foot travels close to the ground o Right heel lifts off the ground 1 o Right leg is straight and extended in First Position o If the tempo is quick, use the full count 8 to push On count 1, say 1 o Left heel touches the ground in Parallel Position o Left leg is straight and extended o Left toe is high and elevated o Weight is centered between the feet Tip: If the leg is extended, the toe will be high and elevated Tip: HI MOM on the bottom of the shoe Tip: practice swinging the straight leg back and forth to reinforce straight leg Forward Technique Motion is led by the center of the body (the core) Momentum is created by pushing from the Platform of the Right foot 5

6 Legs are straight on the downbeats Trailing leg has a slight natural break when weight moves on top of leading foot Feet travel in Parallel Position Feet pass as low to the ground as possible without dragging Ankles pass on the upbeats (or ands ) Keep the leading toe as high as possible for as long as possible Roll heel up on the trailing foot Upper body remains motionless Tip: Roll from heel to toe Tip: Analogy of using the feet to squeeze a tube of toothpaste Tip: Practice counting subdivision to check when the ankles are crossing Halt from Forward March On the final beat of the marching phrase, say Tendu close Tendu French term meaning stretched ; the working leg is extended to either the front, side, or back where only the toe remains touching the ground; in marching technique, the Tendu is used as a preparation for a halt Say ten on the final beat of the marching phrase; the Right toe touches the ground forward in First Position; Left heel is extended 1 from the ground Say du on the upbeat of the final beat of the marching phrase; the Right toe then rolls down to the heel; Left foot releases from the ground Say close ; close the Left foot into First Position Tip: Touch Roll from the Passé exercises and Tendu are the same motion Tip: Keep the trailing foot in tempo when closing into First Position Tip: Tendu close must be said in tempo to clean up the halt Tip: Watch for students closing the Left foot early and not in tempo Tip: Watch for students upper bodies arriving after their feet (need to lift) Slow Legato Forward March Legato in a smooth, even style without any noticeable break Begin at Attention with feet in First Position Count structure is the same as Forward March On the and of count 8, say push o Push from the Platform of the Right foot o The Left leg moves forward in First Position with Pinky toe turned out o The Left foot travels close to the ground 6

7 o If the tempo is quick, use the full count 8 to push On count 1, say 1 o Left Pinky toe touches the ground first with Left foot turned out in First Position o Left toe then rolls down to the heel (like a Touch Roll) o Right heel lifts off the ground 1 Right foot does the same as Left when it moves forward Leading legs will stay straight Trailing legs will have a slight natural break in the knee Feet travel in turned out in First Position Same Tendu close to halt Tip: Strive for straight line from hip to toe when the leg crosses Tip: The purpose of Legato marching technique is to strive for a smooth, even style that alleviates bumps in the sound Backward March Begin at Attention with feet in First Position Preceded by 8 counts ( ) Counts 1-4 are either hand claps or metronome clicks Say counts 5-6 Count 7 is squeeze (a reminder to engage the core and lift) Count 8 is silent while the weight shifts to the Right foot On the and of count 8, say push o Push from the Platform of the Right foot o The Left leg moves backward into Parallel position o The Left foot travels close to the ground o Right heel lifts off the ground 1 o Right leg is extended in First Position o If the tempo is quick, use the full count 8 to push On count 1, say 1 o Left Platform touches the ground in Parallel Position o Left leg is straight and extended o Left heel is 1 off the ground o Right heel remains off the ground 1 in First Position o Weight is centered between the feet Tip: practice swinging the straight leg back and forth to reinforce straight leg 7

8 Backward Technique Motion is led by the center of the body (the core) Momentum is created by pushing from the Platform of the Right foot Legs are straight throughout the entire backward marching phrase Motion is at the hips Feet remain on the Platforms throughout the entire backward marching phrase Feet travel in Parallel Position Feet pass as low to the ground as possible without dragging Ankles pass on the upbeats (or ands ) Weight remains above the Platforms throughout the entire backward marching phrase Upper body remains motionless Tip: Keep heels off the ground, but only as high as necessary Tip: Practice counting subdivision to check when the ankles are crossing Tip: Leaning is caused by not leading the motion from the center of the body (the core) Tip: Focus on vertical alignment of checkpoints (all must move together) Tip: Watch for students rolling past the platform (toe-marching) Halt from Backward March On the final beat of the marching phrase, say Tendu close Tendu French term meaning stretched ; the working leg is extended to either the front, side, or back where only the toe remains touching the ground; in marching technique, the Tendu is used as a preparation for a halt Say ten on the final beat of the marching phrase; the Right Platform touches the ground backward in First Position; Left heel is extended 1 from the ground Say du on the upbeat of the final beat of the marching phrase; the Right toe then rolls down to the heel; Left foot releases from the ground Say close ; close the Left foot into First Position Tip: Touch Roll from the Passé exercises and Tendu are the same motion Tip: Keep the trailing foot in tempo when closing into First Position Tip: Tendu close must be said in tempo to clean up the halt Tip: Watch for students closing the Left foot early and not in tempo Tip: Watch for students upper bodies arriving after their feet (need to lift) 8

9 Forward to Backward Transition Same Step Size Also referred to as touch and go On last count of move, say place Place the Right Platform forward in First Position Left heel is off the ground 1 still in Parallel Position Legs are extended Keep the weight centered on both Platforms on the last count of the move and the first count of the next move Tip: Do not lift the Left foot Tip: Control the upper body through the transition Tip: Do not sink into the direction change (stay lifted) Forward to Backward Transition Different Step Size On last count of move, say place Place the Right Platform forward in First Position Move the weight onto the Right foot Left heel is off the ground 1 still in Parallel Position Legs are extended On count 1, say 1 #1 Going to a smaller step, adjust the Left foot closer to the Right foot #2 Going to a larger step, adjust the Left foot further from the Right foot Either way, the Left foot will remain in Parallel Position Tip: Control the upper body through the transition Tip: Do not sink into the direction change (stay lifted) Foot Positions Parallel Position Heels and toes together First Position Heels together and balls of the feet turned out 90 Second Position Like First Position, but with the heels directly under the shoulders Third Position Like First Position, but with the heel of the Left foot touching the middle of the Right foot Fourth Position Like Third Position, but with the Left foot one step forward 9

10 Slides Slide The method of movement for side-to-side travel in order for the performer and instrument to remain facing the audience 99% of all moves in a competitive marching show will be executed from some type of slide 30/60/90 concept o Hips are at 30 in relationship to the feet o Chest is at 60 in relationship to the feet o Shoulders are at 90 in relationship to the feet Turn the body from the hips up For right slides, push the left shoulder forward and pull the right shoulder back For left slides, push the right shoulder forward and pull the left shoulder back Relaxed upper body Tip: Belly button is at 45 Tip: Relaxed upper body Marching Exercises Turrets (upper body) Begin in Set Position 2 count Horns Up Rotate upper body 90 to the left in 4 counts Hold 8 counts (focus on being completely relaxed) Rotate upper body 180 to the right in 8 counts Repeat exercise until the last time Rotate upper body 90 to the front in 4 counts 2 count Horns Down Turrets (lower body) Begin in Set Position 2 count Horns Up Rotate lower body 90 to the left in 4 counts Hold 8 counts (focus on being completely relaxed) Rotate lower body 180 to the right in 8 counts Repeat exercise until the last time 10

11 Rotate lower body 90 to the front in 4 counts 2 count Horns Down 8 s and 8 s (with Turrets) Same exercise as Turrets in Place Instead of holding for 8 counts, march either forward or backward 8 counts Airplane (with Turrets) Same exercise as Turrets in Place or 8 s and 8 s) Arms move out to the side in 2 counts (looks like an airplane) Box Drill (left and right) Box Drill Four direction drill that addresses all 4 angles of turn Forward March 8 counts Left Slide 8 counts Backward March 8 counts Right Slide 8 counts Halt (tendu close) o Placement of the Right foot on all turns will be a 45 Place o Tendu close on final direction change Tip: During drill, feet will split the difference ; sometimes it will not be a true 45 Place Bow Tie Bow Tie Incorporates 45 slides with forward and backward marching Diagonally march forward 8 counts to the Right (aim for the dot) Transition to straight backward march 8 counts Diagonally march forward 8 counts to the Left (aim for the dot) Transition to straight backwards march 8 counts Tendu close or continue Tip: Whatever size turn, the first step equals half of the angle (for example, 90 turn would equal a 45 Place 11

12 Stretches Trunk Twists Spread your feet slightly so they are beneath your shoulders Raise your open hands to shoulder level Gently twist back and forth Raise your hands above your head and repeat o Shoulder level arms o High arms Flop Over Bend over at your hips Breathe deeply, and with each exhale let your head and arms drop closer to the floor Upper body may rise slightly during inhalation o This stretch makes you aware of the rise and fall of the many body parts used in deep breathing Ankle Rolls Place hands on hips and stand tall Present a straight leg at a 30 from body Roll ankle (counter) clock-wise several times Two Way Stretch Reach for the sky with your hands above your head; reach as high as you can At the same time, push down into the floor with your heels o This stretch works best when exaggerating both the upward and downward movement Wrist Grab Put your arms behind your back, and grab your right wrist with your left hand Gently pull your right wrist to the left At the same time, lean your head to the left Take four deep breaths, and lean your upper body farther left each time Take four more deep breaths, and lean your upper body farther left each time 12

13 Sigh loudly when exhaling; each exhale makes the stretch deeper Stand straight, grab your left wrist with your right hand, and repeat the exercise leaning to the right Elbow Grab Put your left elbow behind your head, and grab it with your right hand Gently pull your elbow to the right Take four deep breaths, and move your elbow farther right each time Take four more deep breaths, and lean your upper body farther right each time Sigh loudly when exhaling; each exhale makes the stretch deeper Repeat the exercise with your right elbow, moving to the left Whole Body Stretch Interlock your fingers behind your back Breathe deeply; as you inhale, tighten your shoulder blades; as you exhale, loosen your shoulder blades Keep your fingers together behind your back and bend over at the hips; your hands will rise behind your body Breathe deeply, and with each exhale, let your head drop closer to the floor 13