MHS Marching Band Visual Handbook 1

Transcription

1 Morton High School Marching Band Visual Handbook 2007

2 MHS Marching Band Visual Handbook 1 Introduction The visual program for the Morton High School Marching Band is the culmination of many approaches and techniques that have been developed throughout the years. The Morton staff has a vast spectrum of experience in the performing arts which have been utilized in the creation of this handbook. Our hope is that together, the staff and students of this organization will be able to create a visual presentation that is distinctively our own and that exhibits the best in technical proficiency and creativity, setting the standard for years to come. We invite and encourage you to embrace the ideas in this visual guide, as this will be the cornerstone that sets the foundation of an excellent performing ensemble. The term visual as it is used in this manual applies to all aspects of our bodies and how we move both in practice and performance. Our intent in this guide is to sequentially outline and break down the most important aspects of visual rehearsal and presentation. The visual handbook is meant to serve as a reference to which each performer can turn in order to better understand and implement the elements of our visual style. As you read and apply the principles in this manual, you will gain the information, formula, and opportunity for great success. Contents Rehearsals 2 Materials and Equipment 2 Rehearsal Procedures.3 Individual Visual Presentation. 4 Body Alignment.4 Breathing.8 The Visual Warm-Up..10 Positions..10 Movements..11 Visual Warm-Up Sequence..13 Instrument Technique 16 Performance Positions..17 Marching Technique..24 Pulse and Subdivision 24 Basic Step Styles 25 Basic Step Sizes.29 Direction...30 Ensemble Visual Presentation..35 Layout of the Football Field.35 The Drill.37 Finding Your Dot.37 Making Your Dot Book..38 Moving Between Sets 39 Glossary..41

3 MHS Marching Band Visual Handbook 2 Rehearsals Rehearsals During the course of the season, the majority of the time we devote to this activity will be spent in rehearsal, and only a small percentage of your time will be spent in actual performance. Efficient and productive rehearsals are necessary in order to have the best performances possible, and this section of the handbook will outline the equipment you will need, the procedures we will follow, and the behavior that we expect in order to have effective rehearsals. Remember, we always need to practice the way we want to perform! Materials and Equipment In order to have the most efficient rehearsals possible, it is imperative that each performer arrives with all the necessary equipment. The following materials and equipment will help you to be as prepared as possible for every rehearsal. Instruments Guard Equipment Dot Books & Pencils Clothing Red Shirts Footwear Sunscreen Water Because instruments and instrument carriage are an important part of our visual presentation and because we may want to incorporate music even in early visual rehearsals, instruments need to be brought to each and every rehearsal. Performers should also bring any necessary instrumental equipment. For woodwinds, this means reeds, swabs, or any other equipment needed to play and maintain your instrument. Brass players should bring valve oil, mutes (if called for in the music), and any other necessary materials. Percussionists need to have all sticks, mallets, and accessories present. Color guard members should bring all flags, weapons, props, or other equipment utilized on the field to every rehearsal. All performers MUST have their dot books on hand at each and every rehearsal. This should be attached to your body as you march (yarn or a shoe string works well) so that you or your staff member can refer to it as needed. Be sure to clip a pencil to your dot book so that you can make any changes or adjustments necessary. Section leaders or any other students who are given drill charts should bring them to each rehearsal, and all charts should be secured in clear page protectors within a binder. Proper clothing is a must. Jeans are not allowed at marching rehearsals because they limit movement. In order to help the staff clean and adjust the drill, please try to avoid wearing overly long or oversized clothing. We need to be able to see your ankles to be sure everyone looks and moves the same. Also, be aware of weather conditions and dress appropriately or bring extra clothes, and it s also wise to bring rain gear to every rehearsal just to be safe. To help the staff in cleaning the drill, please plan to wear your band t-shrt or another red shirt to our Tuesday evening rehearsals. Sneakers must be worn at all times in visual rehearsals. Sandals or high-tops are not allowed, as they not only impede your marching ability but also increase your chances of injury. Especially during the summer and the early months of the season, be sure to bring sunscreen to every rehearsal and re-apply often to avoid sunburn. Remember that you can still get a sunburn on a seemingly cloudy day if you re outside for long enough! You may also want to remember to bring sunglasses and hats for especially bright days. If possible, please try to bring a small water jug or a water bottle to each rehearsal. While water will always be made available, we will be able to take quicker breaks and rehearse more efficiently if every performer has his or her own water.

4 MHS Marching Band Visual Handbook 3 Rehearsals Rehearsal Procedures Because of the large number of performers and staff involved in each rehearsal, it is important that we follow certain procedures during our time together in order to have efficient, productive rehearsal time. Referring to and applying the following guidelines will help all of us to be at our best at all times. Punctuality Equipment Placement Chain of Command Questions Staff & Student Roles Pencils Breaks Performers are expected to be on time to every rehearsal and by on time, we mean that you have all necessary equipment and be ready to begin at the designated rehearsal time! Remember that if you miss or are late to a rehearsal, you are responsible for any new information learned or changes made. We cannot alter our rehearsal schedule to re-learn what was missed by one performer. And of course, please don t be afraid to ask a staff member or student leader if you are in need of help. Water coolers, jackets, or anything else you bring to rehearsal should be off the field and away from the pit area. It is wise for sections to keep their extra equipment together so that it is easier for members to find their belongings when needed. Once rehearsal begins, no one is allowed to leave the field unless previously arranged or in case of emergency, so be sure to bring all equipment needed for each portion of rehearsal onto the field with you. Due to the large area in which we learn and perfect our production, it is essential that the majority of talking be limited to the instructional staff. Corrections and instructions will come from the instructors on the top (scaffold, bleachers, or press box) first, followed by instructions from the staff on the field. When indicated by the staff, student leaders may also help to correct issues. Questions during rehearsals are expected and encouraged under proper circumstances. If at any time you are unsure as to whether what you are doing is correct, PLEASE don t be afraid to ask for help rather than risk performing incorrectly! However, we ask that you raise your hand and wait for a staff member to come to your aid if you are in need of help. Simply asking the students around you not only creates excess talking on the field, but it also increases your chances of miscommunication or misinformation! The staff has specific goals for each rehearsal, and we want every performer to be prepared to be the best they can be based on the goals of the day or week. Remember that sometimes what may seem like an oversight to you or your section may be an valid concern, but may not be a priority in reaching our larger goals for that particular rehearsal. We ask that you do not second guess your instructors during rehearsal. Instead, voice any problems or concerns you might have to the appropriate staff member(s) after the rehearsal is over, and don t let anything affect your (or anyone else s) performance quality or attitude during rehearsal. Please be patient and flexible - chances are that your issue will be addressed, but it may not be able to happen at that particular point in time. Please be sure to have a pencil on hand at all times. If a staff member asks you to correct your coordinates or add notes on choreography or other instructions to your dot book, do so at the time when you are asked rather than trusting yourself to remember later! You will be given many breaks please use them wisely! This is your time to relax, drink water to rehydrate, and rest your body. If you avoid playing your instrument, spinning your equipment, or running around, you will be able to get a fresh start and have a more productive rehearsal when your break time is over. Be sure to use the restroom on longer breaks or before rehearsal begins, as we do not allow performers to leave the field during rehearsal.

5 MHS Marching Band Visual Handbook 4 Individual Visual Presentation Individual Visual Presentation As each performer has a thorough and consistent understanding of visual techniques, we will be able to create greater unity across the entire ensemble. Individual visual presentation refers to each performer s application of specific movement and marching techniques that are a part of our organization s visual style. This section of the handbook will describe and illustrate how you will move and carry your own body in warm-up, rehearsal, and performance. Body Alignment Creating a uniform visual style throughout the ensemble takes great attention to detail on the part of each individual. Your primary responsibility one which sets the stage for all aspects of your individual visual presentation is to understand and apply the principles of efficient body alignment. A thorough understanding of these concepts will help you to develop a sense of balance and to avoid letting unnecessary tension affect the way you move. In order to balance and center our bodies in a normal standing position, six important skeletal joints, or balance points, must fall into place along an imaginary vertical line of gravity. Keep in mind that although these balance points will not always fall along a straight line as we march and move, it is still important to have an understanding of where they are located and how they function in order to find your center of gravity, maintain balance, and eliminate tension during movement. Specific techniques for centering your body during movement will be discussed in further sections. From the top down, the six balance points that should fall into alignment as we stand are as follows: Atlanto-occipital joint Shoulder joints Lumbar vertebrae Hip joints Knee joints Ankle joints

6 MHS Marching Band Visual Handbook 5 Individual Visual Presentation Ankle joint The ankle bones are the foundation above which we align the other five balance points. Take a moment to look at your ankles and find the bump created by this joint. Many performers make the mistake of centering their weight over the heel bone rather than the ankle joint. Because the center of the ankle joint falls approximately two inches in front of the back of the heel, trying to balance your weight over your heels will lead to instability and tension throughout the rest of your body. Knee joint Hip joint The knee joints should balance over the ankle joints. The knee joint falls in the center of the knee region, with the knee cap located in front of the joint. Knees are hinge joints that allow only forward and backward motion of the lower leg; any side-toside or rotational motion comes from the hips. In order to stand with our legs straight, our knees should neither be bent nor locked (with the kneecap pushing back towards the back of the leg). Instead, think of keeping the knees soft. Do not confuse the knee cap with the knee joint because the knee cap falls in front of the actual joint, trying to align the knee cap over the ankle joints will push the knees backwards and result in locked joints. Once the knees are balanced over the ankles, the hip joints can fall into place. The hip joints are the first joints at which we can initiate leg movement. Because they are ball-and-socket joints, the thighs can be moved in any direction from these joints. It is important to realize that the hip joints are located towards the bottom sides of the pelvic bone the rigid structures that we feel near our waist and often refer to as our hips are actually the top of the pelvic bone. Try using your thigh to lift your knee, as in a high-step march. The angle where your thigh meets your pelvis shows you where your hip socket falls.

7 MHS Marching Band Visual Handbook 6 Individual Visual Presentation Lumbar Vertebrae The lumbar vertebrae form the fourth balance point which should fall into alignment. The lumbar vertebrae are located in the lower portion of the back and have the largest diameter of all the bones in the spine and thus form the core of support for our bodies. Place your hand at the small of your back here you can feel the very back edge of the lumbar vertebrae. The centers of the vertebrae are the area that aligns over the other balance points trying to align only the portion that you can feel through your skin will result in unwanted tension and straightening of the back. While we often hear the phrase stand up straight, we need to realize that the spine is actually curved when it is in its natural alignment, and trying to unnecessarily straighten the back can cause tension or injury. Shoulder joint The shoulder joints are the second-to-last balance point to be centered along the imaginary line of gravity. These joints fall to either side of the top of the ribcage, where they join the meeting points of the collarbones (in front) and the shoulder blades (in back). Like the hip joints, shoulder joints are ball-andsocket joints the allow motion to be initiated in any direction. To keep the shoulder joints relaxed and aligned, you must allow the collarbones and shoulder blades to rest on top of the ribcage. When relaxed, the arms should hang from these joints and the shoulders should not be pushed towards the ears. When holding your instrument, the arms need to be raised from the shoulder joint using the collarbones or shoulder blades to lift the horn will only make you get tired more easily, which will allow tension to creep into your chest and affect your breath control. To feel the natural, relaxed position of your shoulders, drop your arms to your sides and let gravity pull your hands towards the floor.

8 MHS Marching Band Visual Handbook 7 Individual Visual Presentation AO joint The sixth and final balance point, the atlanto-occipital (AO) joint, is located approximately in the middle of your head, directly between your ears. This joint is the point at which the spine meets the skull. While you can move your head in many directions due to the flexibility of your spine, the only motion this joint is capable of creating is a slight back-and-forth tilt of the chin. When aligning the head over the other five balance points, it is this joint and not the very back of the skull that must fall along the line of gravity. Trying to align the back of the head rather than the AO joint will cause your chin to jut forward, your neck to become tense, and your airway to become constricted. To feel the natural alignment of the AO joint, try reaching to the top of your head and gently pulling up on a tuft of hair, or simply think of a string pulling you up from the top of the head.

9 MHS Marching Band Visual Handbook 8 Individual Visual Presentation Breathing While we all know that proper breathing is an integral part of playing our instruments, it also plays an important role in the visual aspect of our production. Marching band can be as physically demanding as any sport, and just as in athletics, good breathing techniques allow us to perform at our best. Furthermore, the concepts of body carriage and alignment that were discussed in the previous section of the handbook are essential to maintaining good air support. The information that follows will provide you with a thorough knowledge of the mechanics of proper breathing. Parts of the Body Involved in Respiration Lungs Diaphragm The lungs are the primary organs of respiration, supplying oxygen to our bloodstream as we take in air. The lungs fill almost the entire thoracic cavity, which is about the upper half of the inside of the ribcage area, or the upper third of the torso. The only other organs that intrude on the lungs space are the heart and the esophagus. While the lungs fill are vessels for the air we take in, it is important for us to realize that the diaphragm is actually the muscle that operates our inhalation and exhalation. The diaphragm is a large, dome-shaped muscle which expands across the area directly under the lungs and separates the thoracic and abdominal cavities. The diaphragm is the muscle which is responsible for causing the lungs to expand, which pulls air into our bodies, and contract, which pushes air out. It is important to know the location and function of this muscle in order to maintain good breath support: The diaphragm attaches to the lower ribs. The diaphragm descends and flattens during inhalation. The diaphragm contracts and ascends during exhalation. As the diaphragm descends during inhalation, it helps the ribs to move slightly upward and outward so that the lungs have more space to fill with air. When the diaphragm descends during inhalation, it pushes the organs and muscles of the abdominal cavity downward and outward.

10 MHS Marching Band Visual Handbook 9 Individual Visual Presentation Abdominal Cavity Falling below the diaphragm and taking up approximately the middle third of the torso is the abdominal cavity. This area contains organs such as the stomach, liver, and other organs involved in the digestive process. Although actual air intake occurs only in the lungs, the downward motion of the diaphragm upon inhalation causes the organs in the abdominal cavity to push down and out. Upon exhalation, the muscles of the abdominal wall are engaged, helping to support the diaphragm as it pushes air back out of the lungs. Pelvic Cavity Even the muscles of the lower third of the torso, the pelvic cavity, are involved in good breathing. The pelvic floor is made up of muscles that extend across the open space in the bottom of the pelvic bone. The pelvic floor is actually almost a mirror image of the diaphragm. Tension in this area, too, can inhibit good breathing. Abdominal & pelvic cavities, front view Abdominal & pelvic cavities, side view Muscles of the pelvic floor The Ribs The rib cage is not your typical cage. Because cartilage forms part of the rib structure, this cage is actually flexible: it moves upward and outward as air fills the lungs. While we generally stress the expansion that should occur in the lower back and abdomen as we breathe, it is important to realize that this upward and outward expansion will also cause our shoulders to rise slightly as the collarbone and shoulder blades rest on top of the ribcage. What we try to avoid is having expansion ONLY in this upper area if we force all of our air into the thoracic cavity and do not allow the diaphragm to push downward on the organs of the abdominal cavity, our shoulders will rise excessively, causing tension across our chest and inhibiting our air support. In natural, free breathing, the shoulders will move up slightly as the rest of the torso expands all around. The lungs move upward and outward upon inhalation.

11 MHS Marching Band Visual Handbook 10 Individual Visual Presentation The Visual Warm-Up The visual warm-up is an exercise we will often use at the beginning of rehearsal that incorporates some basic dance positions and movements. Its purpose is twofold: first, it helps to warm up our muscles before we rehearse; and second, it allows us to define and practice some basic forms and movements that will later be applied to marching and choreography in our production. In the visual warm-up, we progress through a series of movements using five basic foot positions. Positions First position We often refer to this as open first. The heels are placed together. The toes turn outward so that the feet are at a 45 angle to one another, forming a V shape below our bodies. The knees must turn out so that they are pointing in the same direction as the toes. Our weight is centered over our ankle bones. Second position The legs are moved apart so that our feet are placed apart at about shoulder s width. The toes and knees remain turned outward at a 45 angle. Third position The left heel is brought in to touch the right instep. The feet remain turned outward so that they are perpendicular to one another, and knees remain aligned with the toes. Fourth Position The left foot steps straight forward from third position. Feet and knees remain turned outward at the same angle as in previous positions. Fifth Position The left heel is brought back to touch the right toe. Feet and knees remain turned outward at the same angle as in previous positions. Your feet should now look like a greater than symbol (>), with about a 90 angle forming where the heel meets the toe.

12 MHS Marching Band Visual Handbook 11 Individual Visual Presentation Movements With the feet starting in each of these positions (beginning with first and ending with fifth), we will progress through a sequence different dance movements. Each of these movements should be performed smoothly and evenly, taking the full number of counts specified to reach the end of the motion. Tendu The tendu is an extension of the leg. As we extend the leg and point the foot, the leg remains straight and we touch the ground with the platform of the foot. We bear our weight on the ball of the standing foot, and no weight rests on the leg that is extended. A tendu can be performed to th e front, side, or rear. In each of these, the foot remains pointed at the same angle as it is in open first position and the knee stays aligned in the direction of the toes. Note: While the tendu illustration below shows only the toe touching the ground, we will keep our foot bent slightly so that the entire platform touches. Rond de Jambe For the ronde de jambe, we extend the leg to a front tendu and keep it extended as we rotate it around into a rear tendu before closing the foot back into position. The motion used should be smooth and even, taking the full amount of counts specified. Passé In the passé, one knee bends and draws the foot up the leg until it reaches the standing knee, with the toe extended and pointing towards the ground. Demi Plié To plié, we bend our knees, being careful to keep them turned to the same angle as the feet and aligned over the toes. For the demi plié, the knees bend as far as possible without lifting the heels from the ground. The entire torso lowers towards the ground as the knees bend, and upper body carriage should remain balanced. Shoulders will align over hips, which will align over the ankle bones in first position. Grand Plié The gran d plié is the same basic movement as the plié, but we allow our heels to lift off the ground so that the thighs become parallel with the ground. As the knees bend more deeply, be careful to keep them aligned in the same direction as the feet and toes to avoid injury. Relevé To perform a relevé, we lift our heels off the ground, raising our upper bodies away from the ground. The knees should remain soft and straight, not locked or bent, and our upper body carriage must remain balanced.

13 MHS Marching Band Visual Handbook 12 Individual Visual Presentation

14 MHS Marching Band Visual Handbook 13 Individual Visual Presentation Visual Warm-Up Sequence The visual warm-up will be performed with a metronome. All movements should be smooth and even, taking the full number of counts specified; for example, you should not arrive at the bottom of a 4-count grand plié until beat 4, and your knees should bend at a consistent speed (not faster or slower at the top or bottom) as the motion is performed. We will begin this sequence in first position. In the four remaining positions, we will only perform the very last portion (plié and relevé) of the sequence. LEFT FOOT (WHEN IN FIRST POSITION ONLY) Tendu TWICE to the FRONT (step out on beat 1, close feet on beat 2, repeat) Tendu TWICE to the LEFT SIDE (same counts as front tendu) Tendu TWICE to the REAR (same counts as front tendu) Tendu TWICE to the LEFT SIDE (same counts as front tendu) Rond de jambe for 8 COUNTS (initiate motion on & beat, step to front tendu on count 1, reach rear tendu at count 7, close on count 8) RIGHT FOOT(WHEN IN FIRST POSITION ONLY) Tendu TWICE to the FRONT (step out on beat 1, close feet on beat 2, repeat) Tendu TWICE to the RIGHT SIDE (same counts as front tendu) Tendu TWICE to the REAR (same counts as front tendu) Tendu TWICE to the RIGHT SIDE (same counts as front tendu) Rond de jambe for 8 COUNTS (initiate motion on & beat, step to front tendu on count 1, reach rear tendu at count 7, close on count 8) LEFT FOOT (WHEN IN FIRST POSITION ONLY) Passé for FOUR COUNTS with knee to front, not angled (foot is at knee at count 4) Rotate knee 90 to LEFT for FOUR COUNTS (knee perpendicular to its starting position at count 4) Straighten knee to extend leg for FOUR COUNTS (leg is straight with pointed toe at count 4) Hold leg extension for FOUR COUNTS Bend knee to bring foot back towards body for FOUR COUNTS (foot is back to knee at count 4 Rotate knee 90 back to FRONT for FOUR COUNTS (knee points straight ahead at count 4) Extend leg to bring feet back to first position for FOUR COUNTS (feet reach 1 st position at count 4) R IGHT FOOT (WHEN IN FIRST POSITION ONLY) Passé for FOUR COUNTS with knee to front, not angled (foot is at knee at count 4) Rotate knee 90 to RIGHT for FOUR COUNTS (knee perpendicular to starting position at count 4) Straighten knee to extend leg for FOUR COUNTS (leg is straight with pointed toe at count 4) Hold leg extension for FOUR COUNTS Bend knee to bring foot back towards body for FOUR COUNTS (foot is back to knee at count 4 Rotate knee 90 back to FRONT for FOUR COUNTS (knee points straight ahead at count 4) Extend leg to bring feet back to first position for FOUR COUNTS (feet reach 1 st position at count 4) BOTH FEET (IN ALL POSITIONS) Demi plié TWICE for 4 COUNTS each (bend knees for 2 counts, straighten knees for 2 counts) Grand plié ONCE for 12 COUNTS (bend knees for 4 counts, hold for 4 counts, straighten knees for 4 counts) Relevé TWICE for 4 COUNTS each (lift heels for 2 counts, lower heels for 2 counts, repeat) Relevé ONCE for 12 COUNTS (lift heels for 4 counts, hold for 4 counts, lower heels for 4 counts)

15 MHS Marching Band Visual Handbook 14 Individual Visual Presentation Illustration of Visual Warm-Up Mo vements 1. Tendu Sequence This sequence is performed using both the left and right leg. 2. Rond de Jambe This portion of the sequence is performed with each leg and falls immediately after the tendu sequence with the respective leg.

16 MHS Marching Band Visual Handbook 15 Individual Visual Presentation 3. Passé and Leg Extension This part of the warm-up is performed in first position only and falls immediately after the right leg rond de jambe. 4. Plié and Relevé Sequence Only the relevé is shown below. The plié sequence follows same count structure, but begins with downward motion followed by upward motion.

17 MHS Marching Band Visual Handbook 16 Individual Visual Presentation Instrument Technique Since the instrument is an integral part of what we do, we will more often than not have our instruments with us for all visual rehearsals. It is important that we develop a consistent manner of carrying our instruments as well as efficient finger technique in order to look and play our best. Carriage Finger Technique Since the instrument is an integral part of what we do, we will more often than not have our instruments with us for all visual rehearsals. We should consider that we do not hold or grasp our instruments. Rather, the hands are used as a platform on which the instrument rests so that the instrument may resonate more freely. The wrists should be in a natural alignment, and any extreme angle of the hand to the forearm should be avoided. The shoulders should always remain relaxed, with the collarbone and shoulder blades resting on top of rib cage and bearing the weight of the arms. The head, neck, chest, and upper back must remain relaxed so that full expansion of the diaphragm and ribcage is possible and the airway is not constricted. Always remember to check your balance points in order to stand with relaxed, balanced body alignment; this will help keep tension from creeping into your upper body and inhibiting your air support. Whether you play a woodwind or a brass instrument, your fingers and wrists should remain relaxed at all times. Allow the fingers to curve slightly, as if resting on a ball approximately the size of a grapefruit. All finger movement should initiate from the FIRST KNUCKLE, or the joint where the finger meets the palm. This allows you to avoid unnecessary finger motion or tension. Keys or valves should be pressed with with the tips or pads of the fingers, and brass players should be careful that valves are pressed straight down and not Wrists and forearms should be relaxed and aligned with the hand. Try not to bend your wrist unnaturally to one side or the other or to the front or back when holding the instrument, as this will create tension in your hand and fingers and cause your wrists and forearms to tire more easily. Location of the first knuckle Finger moves from first knuckle, allowing the finger to remain curved & relaxed

18 MHS Marching Band Visual Handbook 17 Individual Visual Presentation Performance Positions The following section describes the basic positions of the body that we utilize during performance and rehearsal. Pictures are provided to help each performer understand the body alignment and instrument carriage that should be used, and staff members or section leaders can help to clarify the position for your specific instrument. Parade Rest Parade rest is a relaxed but focused position that prepares us for performance. Our feet are in second position that is, turned out at a 45 angle to one another and planted apart at about shoulder s width. Make sure that all six balance points are aligned along the line of gravity. With your feet apart, your upper body, from the hip joints up, should centered directly between your ankles, and your weight should not be shifted to either side. The collarbone and shoulder blades rest on top of the ribcage, which puts the shoulders and chest a natural position and allows the chest to open; shoulders should not be forced forward, backward, or upward. Arms are suspended from the meeting point of the collarbone and shoulder blade. If we are not carrying instruments, the elbows bend to let the hands meet in front of the body, with the left hand in relaxed fist and the right hand covering the top of the left fist. When carrying instruments, check with your section leader or staff member for the proper position of your instrument. The head should be centered along the line of gravity with the eyes looking straight ahead; the chin should not be tilted downward. Attention The attention position is a focused position that is used during performance. the six balance points to help find the proper attention position. Use The feet are in open first position. To move from parade rest to attention, we bring the left foot in to our right on command. You should feel that your weight is centered between the platform of your foot (that is, front part of the foot and toes that come into contact with the ground) and your heel. When you are centered, the ball of the foot will feel like it is supporting most of the weight, though you should not try to force the ball into the ground. The knees are soft, not locked or bent, and centered above the feet. The hips are aligned over the knees. To help the hips balance properly, think about slightly tilting the pelvis so that the tailbone tucks under and the top of the pelvic bone shifts back. This will pull your navel closer to the spine and help the hip joints to fall along the line of gravity. Do not let your tailbone stick out in back, as this will cause extreme the spine to curve to the extreme; likewise, tilting the tailbone too far forward will cause the spine to straighten. The lumbar vertebrae must be balanced over the hips, knees, and feet any imbal ance in the joints below them will keep them from aligning and put unnecessary strain on your back. The shoulders are relaxed and the chest is open. Do not try to force your shoulder joints backwards or allow them to slump forwards simply allow your collarbone and shoulder blades to rest on top of the rib cage as we discussed in the previous section.

19 MHS Marching Band Visual Handbook 18 Individual Visual Presentation Without horns, the arms fall at the sides with the elbows slightly bent and pointing backwards and the hands in relaxed fists next to the hip sockets. When holding instruments, the arms will raise the horn to the carry position, and we are careful to allow the shoulders to remain relaxed. If your arms begin to tire from holding the horn, be careful not to force the collarbone and shoulder blades upwards towards your ears this will only create tension in your chest and neck that will inhibit your breathing. Check with your staff member or section leader for the specifics of your instrument carriage. When holding your instrument, hands should be relaxed; there should be no need to tightly grasp the horn. Our head rests atop the spine with the chin parallel to the ground. The AO joint should be released and free of tension so that the head feels slightly lifted, as if it is floating above your shoulders, helping the body to stand tall and poised. Our gaze is focused straight ahead. Think of your body as two separate blocks the lower block, from the pelvis down to the toes, and the upper, from the rib cage up to the head. If we visualize separating these two blocks, lifting the upper block off the lower, it helps our spine to lengthen and decompress and our bodies to stand tall. The balance points of the body are now stacked along the line of gravity, and we use the idea of a 10% forward lean to help center our upper bodies above our feet. If our balance points are aligned and our weight is distributed evenly between our platforms and heels, the 10% lean happens naturally. If you feel that most of your weight is being supported by the platform or just the toes, you have leaned forward too far. If you feel that most of your weight is distributed over your heels, you are not incorporating the 10% lean. Horns Up When we move to the horns up attention position, the horn is simply brought into playing position, and the majority of the body should remain poised as it is for the carry position. The difference in position will be mainly in the hands, wrists, forearms, with some change in upper arm position depending on the instrument. Be sure to let the balance points continue to align and to keep incorporating the 10% lean. Continue to allow the collarbone and shoulder blades to rest atop the rib cage without pushing forward or upward and creating unnecessary strain. This helps our chest to remain open and relaxed so that we may get the most out of our air support. See your staff member or section leader for specifics on playing position for your instrument. Performance Positions for Each Instrument 1. Parade Rest 2. Attention (Carry) 3. Attention (Horns Up) Flute 1 2 3

20 MHS Marching Band Visual Handbook 19 Individual Visual Presentation Clarinet

21 MHS Marching Band Visual Handbook 20 Individual Visual Presentation Saxophone Trumpet

22 MHS Marching Band Visual Handbook 21 Individual Visual Presentation Mellophone Baritone & Euph onium

23 MHS Marching Band Visual Handbook 22 Individual Visual Presentation Tuba Snare & Tenors

24 MHS Marching Band Visual Handbook 23 Individual Visual Presentation Mallets Diet Pepsi 1 2 3

25 MHS Marching Band Visual Handbook 24 Ensemble Visual Presentation Marching Techniques T Pulse and Subdivision Timing of the feet is crucial in marching band. Whether we are marching or marking time, we must move our feet in time with the pulse, or beat, of the music. This requires not only taking one step per beat, but also recognizing the subdivision of the beat and using it to move our feet at a consistent rate. To march in time, not only must a foot hit the ground with each beat, but the ankles must cross on the ands of the beat (meaning halfway in between each beat). The drum majors are responsible for the tempo, or speed, of the music. To make sure that we march and play in time as an ensemble, we first must watch the drum majors hands and make sure our feet move in time with the tempo they give. If you always make sure that the tempo of your feet matches the tempo of the music you play, many timing problems within the ensemble will be eliminated. Our performance area covers a large area, and because sound travels more slowly than light, we must often rely on our eyes rather than our ears to play in time. There will be times, often when the drumline is behind you, that you will need to listen back or listen across the field to play in time. The further back on the field you are positioned, the more on top of the beat you must be. If you are confused about where you should be watching or listening at any given point in the production, please don t hesitate to ask a staff member. You should NEVER listen forward to the pit or another instrument group who is in front of you, as your sound will reach the audience after the sound of the group who is closer to the stands and you will sound as though you are playing out of time (or phasing). Basic Step Styles Marking Time To mark time is to keep the tempo in our feet without changing our location. In marking time, we always begin motion with the left foot unless otherwise specified. The technique we use to mark time is as follows: Motion is initiated in the left knee on the and prior to the first count of the mark time. The left heel comes off the ground on the and and raises to halfway between the bottom of the heel and the ankle of the right foot. The platform of the foot remains on the ground at all times. The left foot closes to the ground on the first count of the mark time. On the and of the first count, the right knee initiates motion and brings the right heel off the ground. On the second count of the mark time, the right heel closes to the ground. This process continues, with knees initiating motion on each and beat and heels planting on each beat.

26 MHS Marching Band Visual Handbook 25 Ensemble Visual Presentation Forward March The following steps define our basic forward marching technique. While alternative techniques may be defined and used at certain times, this is the basic forward marching technique that we will utilize unless otherwise instructed. On the and count before the first count of the move, we shift our weight into the ball of the right foot, using the right calf muscle to put pressure into the foot. The right knee and leg remain straight as the right heel rolls off the ground.. Simultaneously, the toe of the left foot lifts slightly. The left knee is kept straight. The ball of the right foot and the muscles of the right leg are used to push off for the step. Motion must be initiated in the upper body at the same time as in the feet. The torso moves at the same rate of speed as the foot and stays centered between the two feet. The left knee remains straight as it moves forward, and you should feel the energy of the muscles of the back of the leg all the way down to the heel, helping to push it forward. The foot should remain at a 90 angle to the leg, as in standing position, all the way through each step. If an 8-to-5 step is the designated step size, the left heel strikes the ground 22.5 inches from its starting place on the first count of the move. After the left heel strikes the ground, the foot rolls down all the way to the toes. This rolling motion is complete by the time the and of the beat is reached. It may help to visualize trying to squeeze toothpaste out of a tube from the bottom up, using your foot from heel to toe. We roll the MIDDLE of the foot down from heel to toe; rolling to either side will cause the ankles to turn and increase the risk of injury. As the left toe rolls down, the right heel rolls off the ground and weight is transferred to the ball of the left foot. At this point, your feet will be in the position of a rear tendu. The ball of the left foot now bears our weight as we push off to bring the right foot forward for the next step. The ankles should cross on the and beats as we take each step. Legs basically remain straight at all times, though we must allow a SLIGHT bend in the moving knee as the ankles cross. Visualize only creating enough space between your heel and the ground to slide a piece of paper through. The heel should only slightly come off the ground and be moved straight in the direction of your pathway. On the final count of the forward march, we plant the heel and roll through the final step. In most moves with an even number of counts, this will be the right foot. The left heel is then brought forward to the right heel, and the left foot is closed and planted in first position (unless otherwise specified) one count after the final count of the move. While our basic technique is to march with straight legs, as step size increases, the legs will need to have a natural bend (plié) in order to keep the upper body from bouncing, and the torso must lower slightly towards the ground to accommodate the larger extension of the legs. Extremely large forward step sizes will generally need to utilize the jazz run technique (explained later). It is of utmost importance that our upper bodies move smoothly at all times, as this will allow us to play with the best possible technique and sound.

27 MHS Marching Band Visual Handbook 26 Ensemble Visual Presentation Heel plant for first step forward Weight transfer as back heel lifts Back foot in rear tendu as front foot completes roll through Alternative Close Roll Step At slower tempos, we may sometimes use an alternative method of closing the last step of the forward march. In this technique, we take the last step with a pointed toe, instead of rolling the heel down to the toe. In this technique, follow these steps as you approach the end of the move: On the final count of the move, we point the toe of the right foot as we bring it to its final position. The right platform/toe stabs the ground on the beat. The left foot closes to first position one count after the final step of the right foot, and the right heel is brought to the ground. As we take each forward march step, think about rolling through the center of your foot rolling down the outside or inside of the foot will cause your ankle to turn out and could cause injury. We will often practice the roll step by subdividing it into four beats to help us learn to roll through the step smoothly: On beat one, the heel plants. On beat two, the middle quarter of the foot contacts the ground. On beat three, the platform contacts the ground. On beat four, the toes contact the ground.

28 MHS Marching Band Visual Handbook 27 Ensemble Visual Presentation Backward March The following steps define our basic backward marching technique. While alternative techniques may be defined and used at certain times, this is the basic backward marching technique that we will utilize unless otherwise instructed. On the and count before the first count of the move, we shift our weight into the ball of the right foot, using the right calf muscle to put pressure into the foot. The right leg is pushed up and back, with the knee remaining straight. Simultaneously, the left toe lifts off the ground slightly. The shin muscle must be flexed to accomplish this. The left leg is pulled back (22.5 inches for an 8-to-5 step) and remains straight. The ball of the left foot meets the ground on the first count of the move. Just as in the forward march, motion must be initiated in the upper body at the same time as in the feet. The to rso moves at the same rate of speed as the leading foot and stays centered between the two feet. The left heel remains lifted from the ground, and our weight is on the left foot platform as the right leg swings backwards to take the next step. On the and beat, the ankles will cross. On the second count of the move, the ball of the right foot comes into contact with the ground and the platform of the right foot is used to push off for the following step. As th e move continues, our heels do not come into contact with the ground. Only o ur platforms will be planted on each count of the move. On th e final count of the move, the foot taking the final step is rolled down from toe to heel to be planted flat on the ground. The weight is shifted to this foot, and the remaining foot is placed next to the planted foot in first position (unless otherwise specified) one count after the final count of the move. While our basic technique is to march with straight legs, as step size increases, the legs will need to have a natural bend (plié) in order to keep the upper body from bouncing. It is of utmost importance that our upper bodies move smoothly at all times, as this will allow us to play with the best possible technique and soun d. Slight left toe lift before first step backward Platform plants on beat 1, left leg in rear tendu

29 MHS Marching Band Visual Handbook 28 Ensemble Visual Presentation Jazz Step Jazz Run Crab Step The jazz step uses a reverse motion of the basic roll step used in forward marching. Instead of planting the heel and rolling through to the toe, the toe moves forward and is placed on the ground with each beat. The foot then rolls down from toe to heel. Again, the concept of squeezing the toothpaste out of a tube is helpful, but this time you will start from the toe and end at the heel. The main principle of the jazz run is to increase step size without losing control of the upper body and sound. On the count before the jazz run begins, you will lower the torso while keeping the back aligned (plié). Movement will initiate on the count before the first beat of the move. The toes will contact the ground before the heel, as in the jazz step. The knee bends slightly to absorb the weight of the body and keep it from bouncing. The back foot pushes off parallel to the ground, not in an upward motion. We should try to keep the hips the same distance from the ground at all times while maintaining a consistent knee bend and movement to avoid bounding in the upper body as the feet alternate. The bigger the step, the more you must lift and center the body to float over the ground. The use of momentum and the force of gravity will help you along if you are using good technique. For side-to-side movement across the field, the drumline generally uses a crab step technique. Feet remain pointing to the sidelines, and the motion of the legs is side-to-side. The knees bend slightly to help keep the upper body from bouncing. Throughout the crab step, one leg is slightly behind the body while the other is slightly in front (depending on which leg crosses in front of the other), which keeps the feet from hitting one another on the crossover and helps to center the performer s weight. The ankles will always cross on the and counts. As in forward and backward marching, a weight shift must occur simultaneously with the movement of the leg, and the upper body should remain centered between the ankles throughout movement. Which leg crosses in front of the other is determined by the direction of the move, since the crab step is used for diago nal movement at shallow angles (less than 45 in relationship to the sideline) as well as straight side-to-side moves. The left leg crosses in front of the right when moving parallel to the sidelines and to the right. The left leg crosses in front of the right whe n moving forward and to the right. The left leg crosses in front of the right when moving backward and to the left. The right leg crosses in front of the right when moving parallel to the sidelines and to the left. The right leg crosses in front of the left when moving forward and to the left. The right leg crosses in front of the left when moving backward and to the right.

30 MHS Marching Band Visual Handbook 29 Ensemble Visual Presentation Basic Step Sizes The following are some of the basic step sizes we will refer to in rehearsals. While we mainly use these step sizes when practicing basic marching technique, many step sizes falling in between the described steps are needed for performance. Techniques for finding the necessary step size are discussed in the section covering ensemble visual performance. 8-to-5 Small Step Sizes The basic step size that we use is called an 8-to-5 step. This means that 8 steps are used to span the length of 5 yards, which is the distance between two yard lines on the performance field. Because we use the 8-to-5 step when finding our position on the field in relationship to the yard lines, sidelines, and hashes, it is important to develop a good sense of how this step size feels. Each 8-to-5 step is 22.5 inches. We will also practice and utilize smaller step sizes. A 16-to-5 step is half of an 8- to-5 step, or inches. We may also sometimes practice step sizes that are between an 8-to-5 and a 16-to-5, such as a 12-to-5 (15 inches) or a 10-to-5 (18 inches). Large Step Sizes Larger step sizes are also used in practice and performance. Though rare, a 4- to-5 step (45 inches, twice the length of an 8-to-5) is probably the largest that will ever be called for. A 5-to-5 step is 16 inches, and a 6-to-5 step is 30 inches.

31 MHS Marching Band Visual Handbook 30 Ensemble Visual Presentation Direction Since our pathways vary in performance, it is important to define and practice a style for moving in different directions and changing direction while moving. The basics of movement direction and direction changes are discussed below. Facing Slides When marching forward, whether in a straight line to the front or following a diagonal pathway, our toes always point in the direction we are moving. In backward marching, the heels point in the direction of the movement. In crab stepping, the feet point toward the sideline that the performer plays towards. Our facing is the direction in which our upper body is turned. Our general rule is that the horn and shoulders should be turned to front sideline, with the shoulders parallel to the frong sideline, with the horn perpendicular to the shoulders and sideline (the exception being the flute, which would be parallel). Likewise, when marching facing backfield, the shoulders are parallel and the horn is perpendicular to the back sideline. When performers are positioned on the outer edges of the field, the staff may ask for the facing to be angled slightly to the center of the field. Performers may occasionally be required to use a facing that aligns with the direction of the feet throughout a move. A slide is a move in which the shoulders are turned out to a 90 angle. To position your body for a slide, use the following check points: The feet are at 0. The knees should stay aligned over the toes. The hips rotate 30 (generally towards the front sideline). The chest rotates 60. The shoulders rotate 90, with one shoulder pushing forward and the other pulling back. We call this squaring the shoulders to the front. Be careful to keep the shoulders relaxed, allowing the collarbone and shoulder blades to rest on the rib cage. The horn is perpendicular to the feet. As you rotate each portion of the body, it may be helpful to visualize turning a screw so that it moves upwards. As you march in a slide, the upper body stays centered between the ankles just as in any forward or backward march. Slides may be performed in a variety of directions: In a right front slide, the performer squares the shoulders and uses a forward march technique (toes lead) to move to his right. In a left front slide, the performer squares the shoulders and uses a forward march technique (toes lead) to move to his left. In a right back slide, the performer squares the shoulders and uses a backward march technique (heels lead) to move to his right. In a left back slide, the performer squares the shoulders and uses a backward march technique (heels lead) to the left.

32 MHS Marching Band Visual Handbook 31 Ensemble Visual Presentation Oblique Movement When our pathway falls along an angle that is neither parallel nor perpendicular to our facing, we are using oblique movement. Much of your movement within the production will be oblique. To properly perform an oblique move, the shoulders remain parallel to the sideline (unless otherwise specified), while the feet point in the direction necessary for the move and follow a diagonal pathway. Oblique motion to a position behind your original position generally requires a backward march, while oblique motion to a position in front of your original position generally requires a forward march. Forward To Backward Direction Change A stop and go technique is used for forward-to-backward direction changes. One beat prior to the completion of the first move, we allow the left foot to roll down flat using the normal rolling motion. The right ankle will pass the left ankle as normal on the and beat, and the weight will remain centered on the left foot. Allow the right foot to continue forward motion to the completion of the count. The heel will strike the ground and roll down flat to the toes on the final count. The left heel will lift off the ground as the right foot rolls down, and the left platform will remain planted. On the and of the final count of the move, the right heel will lift off the ground, with the right platform planted on the ground. If a change in step size is required, the left foot will lift off the ground on the and of the final count of the move to adjust to the correct step size. The platform will then be planted at the adjusted step size on beat one. If there is no change in step size, there will be no movement on the first beat of the direction change because the left foot is already in position. Both feet are on the platforms. On the and of beat one, the right foot moves backward, reaching the ground behind the left foot on the second beat. Consistent backward motion then continues through the move. At slower tempos, we may sometimes utilize a toe point when changing direction. The technique for this is similar to that described above, but we do not roll through the last step: One beat prior to the completion of the first move, we allow the left foot to roll down flat using the normal rolling motion. The right ankle will pass the left ankle as normal on the and beat, and the weight will remain centered on the left foot. Allow the right foot to continue to the completion of the count and place the platform on the ground in a pointed position (tendu). The entire left foot will stay planted while the toe of the right skims the ground, and the right heel does not touch the ground. If a change in step size is required, we shift our weight to the right platform, lift the left foot on the and of the final count of the first move, and plant the left platform at the adjusted step size on beat one. If no change in step size is required, there is no movement on the first beat of the direction change because the left foot is already in position. On the and of beat one, the right foot moves backward, reaching the ground behind the left foot on the second beat. Consistent backward motion then continues through the move.

33 MHS Marching Band Visual Handbook 32 Ensemble Visual Presentation Backward to Forward Direction Change As in the forward to backward direction change, a stop and go technique is used in backward to forward transitions. One beat prior to the completion of the first move, allow the left hell to roll flat to the ground so that the weight can be centered over the left foot. The right ankle passes the left ankle on the and before the final count of the move. With the weight of the body centered on the left foot, allow the right foot to continue backward motion until the bottom of the toe skims the ground and is placed on the ground in a pointed position (tendu). Both legs will remain straight. If a change in step size is required, the left foot will lift off the ground on the and of the final count of the move to adjust to the correct step size. The heel will then be planted at the adjusted step size on beat one. If there is no change in step size, there will be no movement on the first beat of the direction change because the left foot is already in position. On the and of beat one, the right foot initiates forward motion and continues until the heel hits the ground on the second count of the move. Normal forward motion continues from that point.

34 MHS Marching Band Visual Handbook 33 Ensemble Visual Presentation Angled Direction Changes Not all or even most of our direction changes will be a simple front-to-back, or vice versa, switch. For direction changes of an angle other than 180, an angled prep step is needed on the last count of each move. In the prep step, the foot taking the last step turns to half the angle of the direction change. The prep step is the last step of the move before the direction change. To take the prep step, we judge the angle between the old pathway and the new pathway. On the last step of the move before the change, the foot will turn in or out to split the angle between the old and new pathways. If the both pathways are a forward marches, the foot taking the prep step rolls all the way down to the toe, just as in any normal step in a forward march. If both pathways are backward marches, the foot taking the prep step stays on the platform. If the first pathway is a forward march and the second pathway is a backward march, the foot taking the prep step takes the step on the platform. If the first pathway is a backward march and the second pathway is a forward march, the foot taking the prep step stays on the platform, and the foot taking the first step in the new direction rolls through the step. The following pictures illustrate prep steps for 90 direction changes. You will make direction changes at many different angle sizes throughout the production, but the same principles will always apply. Feet shown with a darkened toe represent steps taken on the platform; feet shown without a darkened toe represent a normal forward roll step. Numbers next to the feet represent the last four counts of the first visual phrase (5, 6, 7, 8) and the first two counts of the new visual phrase (1, 2). Prep Step for Forward March to Forward March

35 MHS Marching Band Visual Handbook 34 Ensemble Visual Presentation Prep Step for Forward March to Backward March Prep Step for Backward March to Forward March Prep Step for Backward March to Backward March

36 MHS Marching Band Visual Handbook 35 Ensemble Visual Presentation Ensemble Visual Presentation Now that we have discussed the particulars of our individual presentation, it is time to learn how to apply these techniques within the ensemble. Ensemble visual presentation refers to how each performer s individual technique fits into the big picture of our production. Layout of the Football Field The football field is the stage on which our production occurs. Each performer must understand the parts of field in order to find his or her place within the visual design. The following information will help you to understand how we use and refer to the parts of the field. Sides We divide the football field into two halves, separated at the 50 yard line between the two end zones where the goalposts are located. As the field is viewed from the press box or home stands, side 1 is on the left and side 2 is on the right. As a performer standing on the field and facing the press box, side 1 will be on your right, and side 2 will be on your left. Press Box SIDE 2 RIGHT SIDE 1 LEFT Yardlines Each 50-yard half of the field is divided by lines that are placed every five yards. They are labeled at the 10, 20, 30, 40, and 50 yard lines. The yard lines are labeled from the outsides of the field in to the center, where they meet at the 50 yard line. Therefore, the 45 yard lines are the next lines to either side of the 50, the 40 yard lines fall outside the 45 yard lines, and so on. Note the placement of the yard lines on the above diagram.

37 MHS Marching Band Visual Handbook 36 Ensemble Visual Presentation Hashes & Sidelines The field is divided along its length into thirds by two hashes. The home hash is closer to the press box and the home stands, from which the audience views the production. The visitor hash is closer to the visitor stands. The sideline is the side of the field. The home sideline is closer to the press box and the home stands, and the visitor sideline is closer to the visitor stands. Press Box HOME HASH VISTOR HASH Inside The inside of the field is the center of the field towards the 50 yard line from either end zone, and between the home and visitor hashes. Press Box Outside The outside of the field is towards the end zones and side lines. Press Box