AP 3227 RAF BAND DRILL. 200 (Torquay) Sqn ATC Edition

Transcription

1 AP 3227 RAF BAND DRILL 200 (Torquay) Sqn ATC Edition

2 CHAPTER 1 FOREWORD 1. This manual should be read in conjunction with the Royal Air Force Manual of Drill and Ceremonial (AP818), to which it is complementary. It contains those instructions concerning drill and ceremonial which are unique to RAF bands and musicians. THE BAND FORMATION 2. Bands are normally to be formed as follows: 24 or less Four in each rank 25 to 45 Five in each rank 45 and over Six in each rank 3. Bands are to be formed at two paces between files from left to right and similarly from front to rear. This formation is to be maintained wherever local conditions permit. The Drum Major will be responsible for checking the alignment of the band. 4. The Drum Major is to be positioned five paces front and centre of the band. If a Director of Music (or Bandmaster) is present the Drum Major is to be positioned seven paces front and centre of the band. The Director of Music (or Bandmaster) is to be positioned two paces behind the Drum Major. If both a Director of Music and a Bandmaster are present, the Director of Music is to be positioned as stated, with the Bandmaster located two paces to the rear and centre of the band. If the Drum Major is not present the Director of Music (or Bandmaster) is to be positioned as for the Drum Major and is to give all signals with the baton held in the right hand. 5. The Drum Major will be responsible for maintaining the direction of the band when on the march. Dressing for all ranks will be by the centre except when executing a right or left wheel. In these cases dressing will be by the right until the completion of the right wheel and by the left until completion of the left wheel, when the dressing will revert to the centre. 6. Should the Director of Music (or Bandmaster) require to conduct the band, the Drum Major is to position himself two paces on the left or right of the leading rank, wherever local conditions permit. INSTRUMENTAL FORMATION 7. The charts below show the instrumental line-up of an Established RAF Band. It should be noted that, as a general rule, the taller players are placed in the outside files, and heights graded to the centre accordingly. For this reason, some slight modification to the line-up may be necessary, but it is customary to place trombones in the front rank, as they require more space for playing. 1-1

3 8. Where bands differ in size the following chart is to be used as a guide, bearing in mind that instruments of the same kind with similar parts should be grouped together wherever possible. If only three Trombones are available they should be flanked either side by Bass instruments on the front rank. Although double reed instruments are not normally used on parade they may be utilised if required. It has however become the practice to encourage double reed instrumentalists to play cymbals or bass drum or a single reed or brass instrument in order to fill the positions annotated as spare on the chart DRUM MAJOR DIRECTOR OF MUSIC TENOR TROMBONE BASS TROMBONE EUPHONIUM TENOR TROMBONE TENOR TROMBONE BASS BASS EUPHONIUM TENOR SAX BASS FRENCH HORN FRENCH HORN FRENCH HORN FRENCH HORN ALTO SAX CYMBALS SPARE BASS DRUM SIDE DRUM SIDE DRUM CORNET CORNET CORNET CORNET CORNET PICCOLO SPARE CORNET SPARE PICCOLO CLARINET CLARINET ALTO SAX CLARINET CLARINET CLARINET CLARINET CLARINET CLARINET CLARINET BANDMASTER 1-2

4 9. When required to perform inside for a Pass Out or Graduation Parade the following chart is to be used as a guide, bearing in mind that instruments of the same kind with similar parts should be grouped together wherever possible. DRUM MAJOR DIRECTOR OF MUSIC or BANDMASTER BASS TENOR TROMBONE TENOR TROMBONE BASS FRENCH HORN FRENCH HORN TENOR SAX EUPHONIUM CYMBALS ALTO SAX BASS DRUM SIDE DRUM CORNET CORNET CORNET PICCOLO CLARINET CLARINET CLARINET CLARINET METHOD OF CARRYING INSTRUMENTS 10. The method of carrying each type of instrument is laid down in the following illustrated pages. There are four positions as follows: a. CARRY - For the positions of STANDING EASY, STAND AT EASE and while marching but not playing. b. ATTENTION - For the position of ATTENTION. c. READY - For the position of READY to commence playing. d. REST - For the position of sectional resting while the band is playing. 11. Basses and drums are not to be unhooked except for STAND EASY from STAND AT EASE position. Trombones may be rested vertically with the bottom of the slides touching the ground during extended periods of STAND AT EASE only. When the band is marching AT EASE no specific method of carrying instruments is to be enforced. 1-3

5 WORDS OF COMMAND 12. All words of command on parade are to be given by the Drum Major. If a Drum Major is not present words of command are to be given by a Director of Music, Bandmaster or the Senior SNCO as required. 1-4

6 CHAPTER 2 DRILL MOVEMENTS Forming Lane and Re-Forming Band (for frontage of five) 1. This movement is used principally on funerals when the band is required to form two files on either side of the road in order to allow the funeral cortege to pass through. The movement may also be used on ceremonial occasions such as route lining. 2. The front rank is to be numbered from left to right the files in the rear taking their numbers from the front rank. The centre file is to be numbered from front to rear. The signal to FORM LANE will be given by the Drum Major. The outer files Nos. 1 and 5 are to step short, files 2 and 4 are to incline right and left and move into position behind the musicians on their immediate right and left. At the same time the ODD numbers of the centre file are to incline right, and the EVEN numbers left, moving into position behind files 2 and 4. The band will then be in two files. The Drum Major will remain in position in the centre of the band. The Director of Music (or Bandmaster) will take up position at the head of the right file. The signal to HALT will be given by the Drum Major and the band will carry out a normal halt. The band will turn inwards on the first beat of the next bar and bring the rear foot up to the position of ATTENTION on the next beat. After the band has halted the Drum Major will turn left and take up position at the head of the left file. The Director of Music (or Bandmaster) will give the signal to CEASE PLAYING. 3. To re-form ranks, the Drum Major is to give the order RE-FORM BAND QUICK MARCH or SLOW MARCH (whichever is applicable). Files are to wheel inwards, stepping short as necessary until correct band formation has been regained. The Advance in Review Order 4. The Parade Commander will give the word of command ADVANCE IN REVIEW ORDER BY THE CENTRE QUICK MARCH, on this command the band is to step off and commence playing without any preliminary drum roll. Prior to carrying out this movement the Drum Major gives the word of command BAND READY. At the end of the music, the band will HALT. Alternatively, the Parade Commander may give the order to halt by word of command. Instruments will remain in the READY position for playing the General Salute. This is to be conducted by the Director of Music (or Bandmaster). Instruments will be brought to the ATTENTION position on a signal from the Director of Music (or Bandmaster). Right Wheel 5. The Drum Major will give the signal to wheel by extending the right arm level with the shoulder, turn right and march forward a minimum of five paces past the right hand musician of the front rank and proceed to mark time. Seven paces if a Director of Music (or Bandmaster) is present or five paces if alone. Upon completion the Drum Major will march forward in the new direction, the right arm resuming its normal function. On receiving the signal to wheel the right hand musician will mark time (as this is the pivot or point of wheel) and gradually turn in the new 2-1

7 direction. The remainder of the front rank will dress by the right and wheel round to the right. The outside musician will take a full pace but the length of pace will shorten towards the point of wheel. The interval of two paces between musicians will be maintained. When the wheel has been completed the front rank will carry on marching in the new direction. As each successive rank reaches the point of wheel they will carry out the same movements as the front rank. During the wheel, no attempt will be made to cover off. When the wheel has been completed, normal dressing and covering will be resumed. Left Wheel 6. The detail of movement is the same as for the right wheel except that left is substituted for right. The Halt 7. The following instructions will apply both to SLOW and QUICK TIME. The Drum Major will raise the mace with the right hand to a perpendicular position when the left foot is forward and on the ground. The Bass Drummer on seeing this signal will immediately give a double beat on the Bass Drum. The band will commence to mark time on the next left foot. Correction of covering and dressing will be carried out during the period the band is marking time. In quick time the Drum Major will lower the mace as a left foot comes to the ground. The band will carry out two further mark time movements and HALT. In slow time the Drum Major will lower the mace as a right foot comes to the ground. The band will HALT in tempo. The band will carry on playing until receiving the signal to CEASE PLAYING. Cease Playing (mace signal) 8. The Drum Major will raise the mace to an angle of 45 degrees to the ground, right arm extended level with the shoulder with the top of the mace above the head of the Drum Major. On seeing the signal the Bass Drummer will give a double beat to attract the attention of the band to the mace. At an appropriate point in the music, the Drum Major will bring the mace to a perpendicular position to the ground, the right hand level with the face. On this signal the music will CEASE. When the Drum Major lowers the mace, instruments will be brought to the ATTENTION position. Advance Whilst Playing 9. This movement is carried out to enable the band to move forward from a static position whilst playing. The Drum Major will raise the mace to a horizontal position above the head. On seeing the signal the Bass Drummer will give a double beat to attract the attention of the band to the mace. The mace will be lowered on the first beat of the bar, and on the first beat of the next bar the band will step off commencing with the left foot. The Counter March 10. This movement is carried out to enable the band to move in the opposite direction without changing the formation of the band. On reaching the point of counter-march, the Drum Major will 2-2

8 bring the mace in front of the body, perpendicular to the ground, the right hand grasping the mace just underneath the head and the left hand as far down the mace as naturally allows. The Drum Major will then turn about smartly and march through the ranks of the band to the right of the centre file (if in fives). When the front rank reaches the point of counter-march, the senior trombone player will raise and then lower his slide. This will be the signal for the front rank to countermarch. Each musician will wheel round to the right and march along the right hand side of their respective file. Each successive rank will carry out the same movements as the front rank. During the movement the band will step short until completion when a normal pace will be resumed. 2-3

9 Changing from Quick Time to Slow Time Whilst Playing 11. The Drum Major will give the signal for CEASE PLAYING when the left foot is forward and on the ground. A check pace will be taken with the right foot and the band will commence to SLOW MARCH on the next left foot with the drums playing the preliminary rolls. Changing from Slow Time to Quick Time Whilst Playing 12. The Drum Major will give the signal to CEASE PLAYING when the right foot is forward and on the ground. The band will commence to QUICK MARCH on the next left foot with the drums playing the preliminary rolls. 2-4

10 CHAPTER 3 MUSIC FOR CEREMONIAL OCCASIONS 1. In selecting a march for parade purposes, its adaptability to the band that will play it should always be kept in mind. For the best results a parade should have no long and complicated break strains and the melody and rhythm should lend itself to the usual parade tempo of 116 paces per minute. The same applies to the slow march, which should be played at 65 paces per minute. Since it is usual to place the trombones in the front rank, marches with uninteresting parts for trombones should, if possible, be avoided. The QUICK MARCH is to be preceded by five beat drum rolls and the SLOW MARCH by three beat drum rolls. 2. Ceremonial music for the Royal Air Force can be obtained from the publishers, Messrs Boosey & Hawkes Ltd, 295 Regent Street, London, W1. For quick reference, scores of the official Royal Air Force General Salute, Advance in Review Order, and Point of War are included as Annexes A to C. Tempos are to be as indicated on the scores. 3. The Advance in Review Order consists of eight bars, equalling sixteen paces. It has been composed in such a manner as to allow the last four bars, equalling eight paces, to be played should the depth of the parade ground be smaller than the dimensions laid down in the RAF Manual of Drill and Ceremonial (AP 818). 4. The Point of War is to be played for the Marching On and Off of the Colour or Standard. 3-1

11 CHAPTER 4 SALUTING 1. When a band is parading, only the Director of Music (or Bandmaster) and Drum Major are to salute, the right hand being used. 2. When a band is marching but not playing, on the command EYES RIGHT or EYES LEFT, all ranks are to turn their heads in the direction ordered. Only the Director of Music (if junior to the officer being saluted) (or Bandmaster) and Drum Major are to salute. 3. When a band is to be dismissed and an officer is present, the following procedure will be adopted. All musicians will ensure that the instruments are held in the left hand, leaving the right hand free to salute. The Drum Major (or Senior NCO) will give the word of command OFFICER ON PARADE DISMISS. On this word of Command, the band will right incline, observe a pause equal to one pace in quick time, execute a SALUTE TO THE FRONT (as in foot drill), observe another pause equal to one pace in quick time, then march smartly off the parade ground. 4. If carrying anything when walking, that prevents a Musician from saluting, the head is to be turned smartly towards the officer when passing. If standing still, the musician is to stand to attention when an officer approaches. 4-1

12 CHAPTER 5 PROCEDURE ON MISCELLANEOUS CEREMONIAL OCCASIONS 1. The outline of procedure in respect of the ceremonial of Review and Inspections, Honours and Saluting on Parade, the Queen s Birthday Parade, Ensign Hoisting and Hauling Down Parade, Lining the Streets on Ceremonial Occasions, Firing a Feu-de-Joie, Funerals, Guard of Honour, Presentation and Trooping of Colours or Squadron Standards, is laid down in the RAF Manual of Drill and Ceremonial (AP818). 5-1

13 FLUTES, PICCOLOS, CLARINETS and OBOES CHAPTER 6 ILLUSTRATED PLATES 1. CARRY The instrument is to be held in the left hand at the point of balance, horizontal to the ground, mouthpiece to the front. The arms to be straight down the sides. 2. ATTENTION The left forearm to be raised parallel to the ground, the instrument in a perpendicular position. 3. READY This position will be adopted on the word of command BAND READY or by signal from the Director of Music. The instrument will be raised to the lips to the playing position. 4. REST The instrument will be lowered to a position in front of the body, the fingers remaining on the keys of the instrument. 6-1

14 SAXOPHONES & BASSOONS 5. CARRY/ ATTENTION The instrument will be hooked on the sling and held by the left hand at the point of balance, the right arm to be straight down the side of the body. 6. READY This position will be adopted on the word of command BAND READY or by signal from the Director of Music. The instrument will be raised to the lips to the playing position 7. REST The instrument will be lowered from the mouth so as to hang naturally from the sling, the fingers remaining on the keys of the instrument. 6-2

15 FRENCH HORNS 8. CARRY/ ATTENTION The instrument will be held in the crook of the right arm, with bell to the rear. The left arm to be straight down the side of the body. 9. READY This position will be adopted on the word of command BAND READY or by signal from the Director of Music. The instrument will be raised to the lips to the playing position. 10. REST The instrument will be lowered in front of the body with the fingers of the left hand on the valves and the right hand in the bell as in the playing position. 6-3

16 CORNETS 11. CARRY The instrument will be held in the left hand, fingers round the valves, mouthpiece to the front. The arms to be straight down the sides of the body. 12. ATTENTION The left forearm to be raised parallel to the ground, the instrument in a perpendicular position, bell pointing to the ground. 13. READY This position will be adopted on the word of command BAND READY or by signal from the Director of Music. The instrument will be raised to the lips to the playing position. 14. REST The instrument will be lowered in front of the body, the hands remaining on the instrument in the playing position. 6-4

17 TROMBONES 15. CARRY The instrument will be held in left hand, the fingers round the slide stay bell pointing to the rear, the arms to be straight down the sides of the body. 16. ATTENTION The left forearm to be raised parallel to the ground, the instrument in a perpendicular position, bell and slide pointing to the ground. 17. READY This position will be adopted on the word of command BAND READY or by signal from the Director of Music. The instrument will be raised to the lips to the playing position ensuring that the slide is horizontal to the ground. 18. REST The instrument will be lowered in front of the body, the hands remaining on the instrument in the playing position. When marching and not playing for periods of more than 8 bars the position of ATTENTION is to be adopted simultaneously swinging the right arm. 6-5

18 EUPHONIUMS 19. CARRY/ ATTENTION The instrument will be cradled centrally against the body, both arms supporting the instrument, the bell of the instrument facing to the right. 20. READY This position will be adopted on the word of command BAND READY or by signal from the Director of Music. The instrument will be raised to the lips to the playing position. 21. REST The instrument will be lowered in front of the body so that the mouthpiece is a few inches away from the lips. 6-6

19 BASSES 22. CARRY/ATTENTION/ REST The instrument will be hooked up, the left arm across the instrument and fingers round the valve sleeve, the fingers of the right hand resting on the valves and the mouthpiece away from the lips. 23. READY This position will be adopted on the word of command BAND READY or by signal from the Director of Music. The instrument will be raised to bring the mouthpiece to the lips. 6-7

20 BASS DRUM 24. READY This position will be adopted on the word of command BAND READY or by signal from the Director of Music. The right hand to be raised to the position for beating. 25. ATTENTION/ CARRY/ REST The bass drum will be hooked up, one stick in each hand, the arms straight down the sides of the body. When standing easy the drum may be unhooked and rested on the ground 6-8

21 SIDE DRUM 26. CARRY/ATTENTION The drum will be hooked up, sticks held in each hand. The left hand will rest on the hoop, the right arm straight down the side of the body, stick pointing down the side of the leg. 27. READY This position will be adopted on the word of command BAND READY or by signal from the Director of Music. Sticks will be raised a few inches above the drum head in readiness for the beating. 28. REST Both sticks will be grasped in the hands across the drum head. When standing easy the drum may be unhooked and rested on the ground if not required for some time. 6-9

22 CYMBALS 29. ATTENTION CARRY/ REST Cymbals will be held in each hand with the arms fully extended by the sides. 30. READY This position will be adopted on the word of command BAND READY or by signal form the Director of Music. Cymbals will be raised so that the forearms are horizontal to the ground, elbows into the side of the body. 6-10

23 HERALD TRUMPETS 31. ATTENTION/CARRY Trumpets will be held in a diagonal position, in front of the body, bell towards the ground, fingers of the left hand round the valve casing, fingers of the right hand on the valves. When marching the right arm will be swung. 32. READY AND REST As for Cornets. When coming to the READY position, the movement will be carried out in a slow and dignified manner. 6-11

24 CAVALRY (PARADE) TRUMPETS 33. CARRY AND REST. While marching, trumpet is held in the right hand, with fingers round main tubing, mouthpiece to the front and arm extended down the side of the body with the centre of the hand in line with the seam of the trousers. 34. READY Two movements are necessary from the CARRY. 1. Hand gripping the trumpet is to be stretched out to full extent in front of the body in line with the shoulder and trumpet perpendicular to the ground. 2. Trumpet is to be brought smartly to the playing position. 35. ATTENTION AND STAND AT EASE On this word of command the left foot will be carried 12 inches to the left; the trumpet will remain in the same position as for CARRY AND REST. 6-12

25 THE DRUM MAJOR 36. STANDING AT EASE The feet are to be 12 inches apart, the body relaxed and the mace held with both hands near the top part, the point of the mace on the ground mid-way between the feet and the mace in a perpendicular position. 37. STAND AT EASE The mace will be held in the right hand, the fingers grasping the cane just below the head and the thumb upright on the head. The point of the ferrule to be 12 inches away and in front of the right foot, the right arm slightly bent with the elbow held into the body. The left arm to be straight down the left side of the body. 38. ATTENTION The left foot will be brought smartly into the right, heels together, feet at an angle of 45 degrees, the mace remaining as in the position of STAND AT EASE. 6-13

26 THE DRUM MAJOR (Contd) 39. QUICK MARCH On the word of command QUICK MARCH the left foot will be advanced a pace of 30 inches and the mace brought diagonally across the body, the left hand grasping it at the point of balance. A further pace will be taken with the right foot. On the next left foot, the right arm will be brought smartly to the right side and the mace will then be firmly held in the left hand. Another pace will be taken with the right foot. On the next left foot, the right arm will commence to be swung as in ordinary drill, the mace will move across the body controlled by the left hand. 40. HALT (by mace signal) The mace will be grasped at the top of the ferrule by the right hand on a left foot. On the next left foot the mace will be brought across the body to a perpendicular position by the right side. On the next left foot the mace will be raised still in a perpendicular position as high as possible. Marking time will be commenced on the next left foot. At the appropriate time the mace will be lowered down the right side of the body, the right hand catching the mace just below the head, this movement will occur as the right foot comes to the ground. Two further mark time movements will be carried out and HALT. The mace will then be returned to the position of ATTENTION. 41. CEASE PLAYING (by mace signal) Detailed movements as paragraph 20. The Drum Major will raise the mace, right arm extended level with the shoulder, the mace at an angle of 45 degrees. The top of the mace to be above the head of the Drum Major. The Drum Major will bring the mace to a perpendicular position to the ground, the right hand level with the face. On this signal the music will CEASE. When the Drum Major lowers the mace, instruments will be brought to the ATTENTION position. 6-14

27 THE DRUM MAJOR (Contd) 42. COUNTER - MARCH Detailed movements as in paragraph 22. On reaching the point of countermarch, the Drum Major will bring the mace in front of the body, perpendicular to the ground, the right hand grasping the mace just underneath the head and the left hand as far down the mace as naturally allows. When the Drum Major has cleared the rear rank, the mace will be returned to the left hand and normal marching will be resumed. 43. RIGHT WHEEL OR LEFT WHEEL Detailed movements as in paragraphs 17 and 18. The Drum Major will give the signal to wheel by extending the right or left arm level with the shoulder. 6-15

28 THE DRUM MAJOR (Contd) 44. ADVANCE WHILST PLAYING Drum Major will raise the mace to a horizontal position above his head. Details as outlined in paragraph a. MARCHING AT EASE From the carry position the mace is to be cradled in the left arm as illustrated and returned to the CARRY position when required. 45b. MARCHING AT EASE As an alternative from the carry position the mace is to be trailed by extending the left arm down the side of the body with the mace held horizontal to the ground as illustrated and returned to the CARRY position when required. 6-16

29 ANNEX A TO AP 3227

30 ANNEX B TO AP 3227

31 ANNEX C TO AP 3227

32 OFFICIAL MARCHES OF THE ROYAL AIR FORCE ANNEX D TO AP 3227 To be played in accordance with the relevant GAI / DCI Serial Formation/Unit Title Composer and Date Publisher Notes 1 Royal Air Force The Royal Air Force March Past Davies & Dyson (1918) Boosey & Hawkes 2 Royal Air Force Regiment Holyrood Alford (1968) Boosey & Hawkes 1, 2 3 Strike Command Strike Command March Hutchinson (1968) Boosey & Hawkes 3 4 Royal Air Force Police Royal Air Force Police March Past Stephens (1968) Boosey & Hawkes 4 5 No 51 Squadron Swift and Sure Thomas (1969) (Not Published) 5, 6 6 Central Flying School Those Magnificent Men in Their Goodwin (arranged Francis, Day & Hunter 7 Flying Machines Baldwin) (1969) 7 Air Training Corps Silver Linings (Slow March) Price (1979) (Not Published) 8 8 Royal Air Force Regiment Centurion (Slow March) Banks (1982) Studio Music 1, 9 9 PMRAFNS Skywards Barker (1989) Studio Music 10 Air Training Corps Venture Adventure Hingley (1996) (Not Published) Royal Air Force Red Arrows Diamond Nine Stubbs (1996) (Not Published) No 32 (The Royal) Squadron The Royal Squadron March McDonald (1997) (Not Published) No 3 (Fighter) Squadron No 3 (Fighter) Squadron March Cunningham (Not Published) No 47 Squadron No 47 Squadron March Wiffin (2001) (Not Published) Search & Rescue Units Search & Rescue Force Wiffin (2001) (Not Published) NOTES: 1. Approved by AO Regiment. 2. Always to be played when units of the RAF Regiment are on parade. 3. Always to be played when units of Strike Command are on parade. 4. Always to be played when units of the RAF Police are on parade. 5. May be played at the discretion of the Officer Commanding No 51 Squadron during events considered exclusive to No 51 Squadron occasions. 6. This march should not replace the Strike Command March, which will continue to be played where appropriate. 7. To be played at the discretion of the Officer Commanding when personnel of the CFS are on parade. 8. To be played when units of the Air Training Corps are on parade and when a slow march is appropriate. 9. To be played when units of the RAF Regiment are on parade and when a slow march is appropriate. 10. To be played when units of the Air Training Corps are on parade. 11. To be played at the discretion of the Officer Commanding when personnel of the RAF Red Arrows are on parade. 12. To be played at parades and other formal occasions when the Squadron Standard is paraded. In all cases the RAF March Past will continue to be used when appropriate and will not be replaced by an Official March. Both marches may be played in the same musical programme.