Jacksonville Pipes & Drums Marching Formations

Transcription

1 Jacksonville Pipes & Drums Marching Formations Option Page 4-Count urn... 3 Around the op... 9 Figure quads Delayed ections Delayed Irish nakes Grand March

2 Dennis asked for some quick routine for the Pub & Parade group to use in front of the reviewing stand for the t Augustine Parade. Most Pipe ands simply do a couple of Counter Marches and continue in the original parade direction. A circle stops the parade for too long. Here are diagrams of the standard Pipe and counter march and a couple alternative styles. Regardless of the marching tricks, the MUIC has got to be the primary hookfor the audience! Always PLAY YOUR E! On the following diagrams, the square with an X is the Pipe Major and the one with / is Pipe ergeant. tandard Counter March puts P/M on the opposite side. Alternative counter marches end with the P/M s column on the same side each time (dressing right), just remember to always dress to the side with the P/M. Maintain 2½ paces, as this allows room between columns for drones and drums and keeps the rows in line as they pass. It is impressive to see all rows fall in a straight line, with every other step having rows going in opposing directions both in the same line. All start to half step (½ the length for each step) at the arrival to the place to turn, then maintain half stepping until the last row completes their 4-count turn. Keep basic spacing, avoid bunching up. Absent a Drum Major to give the signal, the P/M must designate a spot to commence the turn. ALL in that row need to start the 4-count turn at the same time, watching the P/M. uccessive rows start at the same place exactly as the previous row ends their turn. Also absent a D/M to signal, the P/M & P/ should count to 4 for each number of rows in the formation. hat way, they know without turning around when it is time to step out to full-length steps again. It s easier to use the start of a bar (in a 4/4 tune) or start of a 2-bar phrase of music (in a 2/4 tune). We can also use some drummer s signal to sound when the last row turns. he 4-count turn is: 1) ½-step 45 o to right; 2) ½-step 45 o to right so you are ½ pace ahead and perpendicular to original direction; 3) ½-step 45 o to right; 4) ½-step 45 o to right so you are going the opposite direction directly centered between the columns approaching and directly in line with the oncoming row as they prepare to start their fist 45 o turn on their next step. wo steps later, the P/M row is in the same line as the third row while the second row is perpendicular at their #2 step in their turn. 2

3 asic Line-up 2 ½ paces 2 ½ paces Rows 2 ½ paces = P/M C o l u m n s 2 ½ paces 2 ½ paces Direction of ravel 2 ½ paces 3

4 Arriving at point (or music) to start the turn. Commence half-step. 4

5 Counter March step #2. Row 1 is Perpendicular and offset by ½ pace. 5

6 Row 1 is at Counter March step #4. Row 1 & 2 are in line. Row 2 starts their 4-count turn on the next step. 6

7 Row 2 is on count #2. 90 o and ½ pace to the right of the remaining columns. 7

8 New Direction of ravel Row 1 is directly in line with Row 3, dress left to P/M side. Row 2 ends their turn 2 paces directly behind row 1 and ready to step out to ½ pace in the new direction, row 3 starts their 4-count turn on the next step. 8

9 Counter March Alternative Center column does the same as the standard 4-count countermarch. P/ column goes outside, larger paces. P/M column goes between the center column and the P/ column, medium larger paces. When P/M & P/ columns catch-up to the center column, dress center and commence ½- stepping until all following rows have finished. his will take longer than 4- count due to the distance P/M & P/ columns go, but ends the turn with P/M on the right again. When last row is done, go back to full pace length and dress right (P/M) again. If there is a D/M, always dress center. 9

10 Direction of ravel 10

11 P/ Column to outside (to keep drones to outside as columns meet). Center column commence half-step. 11

12 New Direction of ravel 12

13 Counter March Figure 8 Alternative Center column goes to alternate side columns, row 1 center behind P/M, row 2 center to left behind the person in row 2 who was behind P/, and so on. P/ goes to the outside, P/M inside but still an arc with drones outside the arc and people just missing right shoulder to right shoulder. P/M & P/ lead their columns to cross in the center, person on the right just ahead. hen repeat the arc, P/ & drones outside, at the bottom of the Figure-8. he size of the 8 should allow for only 1 crossing point, so there may be 4 basic looks: 1) the upper loop of the 8 2) a large X on the field 3) the 8 with P/M & P/ at the center just after the last nare passes center 4) or the upper loop ready to turn again or to re form into 3 columns. 13

14 Direction of ravel 14

15 P/ Column to outside (to keep drones to outside as columns meet). Center column commence half-step. 15

16 16

17 17

18 o countermarch in opposite direction, Center rank fills in after ONE-and-a- HALF figure 8. P/M on right side, P/ on left side. Cross in center, person on right steps in front, every other time. o continue in same direction, Center rank fills in after ONE figure 8. P/M on right side, P/ on left side. 18

19 quads Delayed March Alternative Good when we have a lot of musicians. Four or six squads (Columns). No need to change direction of march. Odd number columns go into slow march having the Even columns still at quick march. During the next four measures of music, the opposite columns go into their opposite marching speeds. y the next four measures, UUALLY everyone is back into the normal band formation and all are back into quick march. Never change from full pace length and dress right (P/M) at the finish. If there is a D/M, always dress center. 19

20 3 2 Direction of ravel 20

21 2 3 At the appointed place in the music, like the start of a part, P/M Column and Column 3 change in the same tune to low March, taking a step every other beat. 21

22 3 2 At the next line of music, P/M & #3 Columns resume regular Quick March and Colum 2 & P/ Column go to low March. At the next line of music, all Quick March, caught up, dress right. 22

23 ections Delayed March Alternative Good when we have a lot of musicians. Any number of Columns but Pipe & Drum ections about even or at least filled out. No need to change direction of march. Pipers go into slow march (Waltz-like Left-and-pause, Right-and-pause, ) having Drummers still at quick march. During the next four measures of music, the opposite ections go into their opposite marching speeds. y the next four measures, UUALLY everyone is back into the normal band formation and all are back into quick march. Never change from full pace length and dress right (P/M) at the finish. If there is a D/M, always dress center. 23

24 Direction of ravel 24

25 At the appointed place in the music, like the start of a part, Pipe ection change in the same tune to low March, taking a step every other beat. Drummers pass on the left as they Quick March through. 25

26 At the next line of music, Pipers resume Quick March and Drummers go to low March. Pipers pass on the right. At the next line of music, all Quick March, caught up, dress right and cover (columns line up on squad leader). his can be done in a show in stages where drummers go to the front to perform a Drum alute at the halt. Upon resuming the march, the sections again fall into regular formation by reversing which section low Marches. he group can then do other maneuvers like Counter March, Figure 8, Circle, or simply depart the performing area, etc. 26

27 t Patrick Driving the nakes Out of Ireland Alternative Any number of Columns. No need to change direction of march. All columns go to the right behind P/M and simply follow the person in front. P/M marches a large circle. As the circle closes, the lead would march inside the column making a spiral of the column. Continuing the spiral, forming it tighter and tighter, but leaving a gap between the lines of the spiral wide enough for the lead and pursuing column to perform a countermarch at the spot indicated. Where the lead counter marches, each in turn doing the same, as the spot was reached. his now presents 2 spirals moving in opposite directions one inside of the other. pectators thinkasthe spiral tightens that they will all collide, how will they get out of this mess? he single column snakes it's way out of the spiral and reforms in parade formation. 27

28 Direction of ravel 28

29 Zipper effect into single P/M side Column. 29

30 P/M snakes Column into spiral, about three circles in. hen counter marches to spiral the snake back out as the rest are spiraling in. (In on the black, out on the white). 30

31 Direction of ravel P/M departs the outbound spiral, half turns left to resume the original direction. Columns reform by reversing the initial zipper. Half step to allow the last of the spiral (P/ side snare, last row) to resume formation. 31

32 Grand March Alternative (complex) Good when we have a lot of musicians. Four or six squads (Columns). akes a long time to complete, though. Form into two (02) columns, led by P/M & P/, marching down the center of the show floor. Upon reaching the far end they would each cast off, separating and each turning to the outside to lead each column down the outsides of the ballroom to the opposite end (like opposing ovals). Upon reaching the end of the hall, the columns again turn toward each other but form into twos. As the twos approach, they turn to the original direction, making four across, P/M to the right, P/ left. At the far end of the show floor, the four abreast make two abreast, twos cast off to the outside, then back to the end of the floor. Reaching the opposite end, twos turn inward, making four, and march toward the opposite side also in fours. he fours wheel toward the original direction of march, P/M to right, P/ to left, and form a row of eight across to march in a single line in the original direction, marching the length of the hall. In this fashion it repeats until all form a single line marching abreast in the original direction, P/M to the extreme right. At the midpoint of the hall, all turn toward P/M, who leads the group into either a Circle or nakes piral as before. he finish is to reform into the original formation by reversing how the columns were separated to start with. 32

33 3 2 Direction of ravel 33

34 3 2 P/M & P/ angle inward to form two columns, zippered by successive rows. 34

35 3 2 35

36 3 2 P/M & P/ cast outward to form opposite direction D. 36

37 3 ass stays in middle as a landmark. ingle columns form two s as they turn inward, then four across with a wheel to the original direction. 2 37

38 3 2 Original Direction of ravel P/M & P/ wheel to original direction, four abreast as started. 38

39 3 2 Original Direction of ravel P/M & P/ wheel to original direction, four abreast as started. Following pairs do likewise. Option 1: Resume original direction, maneuver over. Option 2: Repeat the cast off outward at the top, 3 or 4 abreast to round the D, coming together at the bottom to form a single line. 39

40 Original Direction of ravel P/M & P/ wheel to original direction, four abreast as started. Following pairs do likewise. Option 1: Resume original direction, maneuver over. Option 2: Repeat the cast off outward at the top, 3 or 4 abreast to round the D, coming together at the bottom to form a single line. 40

41 3 2 Original Direction of ravel Each side wheels down, 3 abreast. Wheel in at bottom, still in threes. Wheel up, 6 across, with following row(s) also up to six depending on how many are marching. 41

42 Original Direction of ravel Each side wheels down, 3 abreast. Wheel in at bottom, still in threes. Wheel up, 6 across, with following row(s) also up to six depending on how many are marching. 42

43 3 2 Original Direction of ravel Each side wheels down, 3 abreast. Wheel in at bottom, still in threes. Wheel up, 6 across, with following row(s) also up to six depending on how many are marching. 43

44 3 2 Last time around, all are abreast. A number of optionsto take from here: 1) All turn at top to follow P/M into the nakes spiral; 2) Opposite ends turn outwards, ass stays center, P/M & P/ curve to form head-on Figure 8, crossing either side of ass; 3) Original rows stagger slow march to align in the original fore/aft spacing, then oblique (angle in/out to once again cover on original quad Leaders (line up on front row); 4) Form a Circle (good for trathspey/reel or low Air/Hornpipe); 5) Etc. (group ideas?) 44