Foreword Fort Collins High School Purple Regiment Visual Technique Book The style and technique of the Purple Regiment Marching Band is designed to have you look the best, play the best, and move efficiently with grace and fluidity. Although perfection is rarely attained, our goal is to strive for performance levels as close to perfection as possible. The level of awareness, knowledge, commitment and focus you will develop and maintain will be key to the success of this style of marching and the organization. Every performer must be aware of his/her responsibilities at all times: individual location, belonging to a form, understanding shapes, their development, pathways, intervals, dress points, rehearsal system and musical responsibilities. Your ability to know exactly what is going on around you at all times is the goal. You will need to develop the ability to know what just happened, what is happening now, and what will happen next. Having this total awareness will give you the knowledge to react to each situation accordingly. Posture The marching technique begins with posture. The posture is designed to allow as much relaxation as possible and to absorb all shock while maintaining this relaxation. Here are the specifics of the posture: Heels and toes together Arch of the foot on the yard lines Knees directly above the ankles (not locked) Hips directly over the knees Rear end is firm (clenching grapes) and pelvis rolled forward from the bottom to lengthen the spine Lower and upper backs straight with lengthened spine Body center (abdominals) is activated: pushing out and lifting the upper body Rib-cage extended (left to right) for greater air capacity Shoulders relaxed, but not rolled forward Align the shoulders with the hips Head held at level, eyes straight ahead Use no facial expression, not happy, not sad, not angry, just nothing Initiation of Movement If the tempo is below 120, initiate movement on the & of count 8. If the tempo is above 120, initiate movement on count 8. ALL of the stationary visual technique, and the visual technique on the move, can be thought of as being initiated after a series of 8 verbal counts (though sometimes we use just 1,2,3,4, sometimes 5,6,7,8, or sometimes 5,-,6,-,5,6,7,8). For the use of commands early on in the teaching process (and throughout the season when needed), ALL commands are vocalized during counts 5,6,7, with the response following and movement initializing on 8 or the & of 8 as you will see by the pages that follow.
Stationary Visual Technique: Attention & Parade Rest Attention: The attention position is used for several reasons. These include getting performers focused, starting an exercise, realigning their posture, etc.. However, calling members to attention is not a trivial process. Focus on the exact process of getting them to attention and emphasize perfect posture. The attention position is having them stand with all the posture specifics listed above without any movement or talking. When they are at the attention position, have them find a focal point in the distance and create a Superman-like Heat Vision right at it. A performer never looks directly at anyone who is speaking to them or is not distracted while in the attention position. Call to Attention: clap 1-4 to set steady pulse vocal command: "band, ten-hut" on counts 5, 6, 7 vocal response: ONE! on the next count (count 8) Parade Rest: The parade rest position is just like the attention position, but their instruments are lowered (in many cases to the side of the body) and their heads may now follow the instructor. There is still no talking or moving of the lower body. This can also be used as a preemptive position in order to get ready for what is happening next. If your section is not being worked with during field rehearsal time, this is the perfect position to be in for both being relaxed and maintaining ultimate focus. The command to come into parade rest is not in rhythm; you simply say, fall in. The command to come to attention must be given in rhythm from the parade rest position as detailed above. Horns Up: The horn up technique is rather simple. The forearms rotate up to the playing position while the entire coat hanger shape of their arms lifts up. Posture is unaffected. This is done quickly in one count. Call for Horns Up: clap 1-4 to set steady pulse vocal command: "band horns up" on counts 5, 6, 7 vocal response: HIT! on the next count (count 8) Horns Down: the horn down technique rotates the forearms down and the coat hanger slightly lowers down into the attention position. Posture is unaffected. This is done quickly in one count. Call for Horns Down: clap 1-4 to set steady pulse vocal command: "band horns down" on counts 5, 6, 7 vocal response: HIT! on the next count (count 8) Slow Horns Up: The slow horn up technique is slightly more complex. The forearms rotate up to the playing position. Posture is unaffected. This is done in slow motion with a little flick on the initiation count and a little flick on the ending count. There is a sense of constant resistance keeping your arms from freely moving through space (like if you were doing this in the pool). Call for Slow Horns Up: clap 1-4 to set steady pulse vocal command: "slow horns up in 4" on counts 5+,6+,7, -pause on 8- there is no vocal response to this move, the move proceeds in tempo beginning on count 1
Slow Horns Down: The slow horn down technique is simply the reverse of the slow horn up. The forearms rotate down to the attention position. Posture is unaffected. This is done in slow motion with a little flick on the initiation count and a little flick on the ending count. There is a sense of constant resistance keeping your arms from freely moving through space (like doing this in the pool). Call for Slow Horns Down: clap 1-4 to set steady pulse vocal command: "slow horns down in 4" on counts 5+,6+,7, -pause on 8- there is no vocal response to this move, the move proceeds in tempo beginning on count 1 Dress Right Dress/Dress Left Dress/Ready Front: The dress technique is just like the horns up position, except your head turns to focus to the direction called (90 degrees to the right or left when in a block formation, or down a diagonal line in either direction). When dress is called, performers go to the horns up position while snapping their heads in the direction of the focal point. You will then have about 5 seconds to check your individual location, focalize your dress, and make major adjustments to position. Once adjustments have been made, the ready front command is given. Heads snap back forward and the hands/instruments return down to the attention posture. Call for Dress: clap 1-4 to set steady pulse vocal command: "dress right dress" on counts 5,6,7 Call for Ready Front: clap 1-4 to set steady pulse vocal command: "ready front" on counts 5,+, pause,7 vocal response: HIT! on count 8 vocal response: HIT! on count 8 Mark Time: Marking time is design to maintain a steady pulse while in the stationary position. The pulse is felt in the heel. The initiation process brings the left heel up before the downbeat of the next command or phrase. The mark time height is 1-2 inches off the ground. Posture is unaffected. Shoulders should never rise and fall with the step. Think of separating the lower and upper body movement so the upper body can remain completely still when the lower body is marking time. The ball of the feet stays securely on the ground so that it is a relaxed motion. Slow Tempo (below 120) Call for Mark Time: clap 1-4 to set steady pulse vocal command: "mark time mark" on counts 5,6,7, -pause on 8- physical response: left heel lifts on the + of count 8, left heel hits ground and right heel lifts on 1, begin alternating (left heel touching on 1, 3, 5, 7 and right heel touching on 2, 4, 6, 8) Fast Tempo (above 120) Call for Mark Time: clap 1-4 to set steady pulse vocal command: "mark time mark" on counts 5,6,7 physical response: left heel lifts on count 8, left heel hits ground and right heel lifts on 1, begin alternating (left heel touching on 1, 3, 5, 7 and right heel touching on 2, 4, 6, 8) For Halting Call for Halt: clap 1-4 to set steady pulse vocal command: "ready, halt" on counts 5,+,pause,7, pause on 8 physical and vocal response: continue marking time during drum cadence for 7 counts, then leave the left heel in contact with the ground on 8 (breaking the alternating pattern) and as the right heel touches on 8 they shout YEAH! bringing them back in the attention position.
Slow Turns: Slow turns are used to change the orientation of the performer smoothly. Although several variations of degrees exist, we will mainly use turns that change the orientation either 90 o or 180 o (front field to back field or back to front). The turns can be initiated from the halted position or a marking time position. The turns can end in a halted position or in a marking time position. Turns can also initiate from a forward march/backward march or lead into a forward or backward march. There can also be a variety of counts to complete the turn. The turns can be done to either the left or right. Performers rotate around an imaginary pole in the center of the feet to avoid drifting off the dot. Practice both 90 o and 180 o turns. The examples below are 90 o turns. To the Left: Call for slow turn left: clap 1-4 to set steady pulse vocal command: "4 count turn to the left" on counts 5,+,6,+,A,7, -pause- physical response: lift left foot on count 8, place left foot at 45 o angle on count 1, bring right foot to match on count 2, move left foot remaining 45 o on count 3, bring right foot to match on count 4. Allow the upper body to follow the feet throughout the 4 count move, arriving in the position of attention. To the Right: Call for slow turn right: clap 1-4 to set steady pulse vocal command: "4 count turn to the right" on counts 5,+,6,+,A,7, physical response: lift left foot on count 8, step in place with the left foot on count 1, place right foot at 45 o angle on count 2, move left foot to match on count 3, move right foot remaining 45 o on count 4, bring left foot to match on count 1 (either closing feet together in the attention position on one or entering a mark time step). Allow the upper body to follow the feet throughout the * 5 * count move, arriving in the position of attention. To the Rear: a 180 o turn to the left Call for turn to the rear: clap 1-4 to set steady pulse vocal command: "4 count turn to the rear" on counts 5,+,6,+,A,7, -pause- physical response: lift left foot on count 8, place left foot at 90 o angle on count 1, bring right foot to match on count 2, move left foot remaining 90 o on count 3, bring right foot to match on count 4. Allow the upper body to follow the feet throughout the 4 count move, arriving in the position of attention. Visual Technique on The Move Forward March: The forward march technique is designed to allow the most comfort and relaxation possible. Lack of upper body tension greatly helps the musical aspects of performance. Think of a relaxed pendulum motion. Our technique is defined on the crossing counts. On every & count your feet should cross in such a way that your feet are directly side-by-side. A slight bending of the leg in motion will occur but should not be exaggerated. Remember the separation of the lower and upper body. The standard step size is 22.5 inches or 8 steps per every 5 yards. Aspects of the forward march technique: The heel feels the pulse of the forward march step The forward step is led with the center core of the body (no leaning forward or backward) o It is never led with the foot or the knee (or the head!) To initiate the first step three things must happen: o The right (back) foot pushes forward o The center of the body moves forward
o The left (front) foot steps forward with toes pointing to the sky and a relaxed leg attached...feel the heel brush across the grass...there is never a moment when the toes are not pulled back (pointing up)... and hit the turf with the back of the heal. It is important to not lean into any move. If you are truly leading from your body center, this will never be an issue! Following through with the first step, the front foot rolls completely from the heel to the toe as the back foot pushes from its flat platform. To take the next step, the back and front feet switch responsibilities o The back foot relaxes and swings (pendulum) to the front, crossing ankles on the & count and barely hovers on top of the ground. o Achieving this motion on the crossing counts is essential to the look of this technique. o Initiation with the knee or crossing with the foot anything other than flat to the ground will cause a bicycle pedal effect that destroys timing and visual phasing on the & counts. Track with the feet. Imagine creating two straight tracks side by side in the grass (like cross country skiing or a Nordic-Trac machine, but closer together). Heels low/toes high (look for gum on their shoes ) Call for forward march: after initiating mark time, clap 1-4 to set steady pulse vocal command: "forward march" on counts 5,+,pause,7,pause physical response: plant the right heel into the turf on count 8 (it will serve as your pusher for forward motion), lift left foot on the and of count 8, place left heel on turf 22.5 inches in front of you on count 1 Call for mark time or for halt is identical to the procedures above using read-dy, pause, halt, pause Backward March: The backward march technique is designed to allow the most comfort and relaxation possible in the upper body. This technique requires more muscle use and can be more difficult to achieve, but once mastered this technique will allow for perfect timing and a smooth relaxed performance. While marching backward, it is important to maintain a complete separation of lower and upper body by keeping your center tight and lifted. The standard step size is 22.5 inches or 8 steps per every 5 yards. Aspects of the backward march technique: If the tempo is below 160, the initiation is on the + of 8. If the tempo is above 160, the initiation is on count 8 Motion is initiated by pushing off the right platform to the toes. Toes feel the pulse. The heels NEVER touch the ground. Motion originates from the hip flexors. Think of using your quads to push yourself backwards. The crossing counts will look identical to the crossing counts going forward. Facilitate this by rotating your ankles. Keep the abdominals activated and tight the whole time. This will prevent your hips from leading the motion as well as preventing you from leaning back. Keep the body center tight and don t fall forward or back. Call for backward march: after initiating mark time, clap 1-4 to set steady pulse vocal command: "back march hut" on counts 5,6,7,pause physical response: at a slow tempo the right heel will still hit the turf on count 8, then the weight shifts fully to the right toes on the + of 8, drop the left foot back 22.5 inches and place the toes on the turf on count 1. At a faster tempo the right foot will go to the toes on count 8. Call for mark time or for halt is identical to the procedures above.
Tondue s: The tondue technique is designed to allow a moment of visual silence in the picture. This requires absolute control of body, balance, and weight. Tondue s are utilized for opposite changes in direction without changing the orientation of the upper body. A tondue technique following an 8 count forward march that leads us to a backward march would look like the following: 1>>>2>>>3>>>4 5: Step (L) 6: Step (R) 7: Step (L) Begin Halt, but heel first 7.5: Roll (L) control weight heel to toe, cross at ankles like normal 8: (Straight leg) touch (R) toes on ground, no weight on front foot 1: Hold in place (the left foot is already the back foot and is in place for the count) 1.5: Cross 2: First step since 7, backward initiation o Vocalize: 5...6...stop...touch...1-cross-2 o Backward to forward is exactly the same o Control the weight of the body on one foot on count 7.5
Slides: Slides are designed to maintain a flat front or flat back upper body orientation while moving in a different direction with the lower body. In other words your upper body faces the sideline while your feet march toward the end zones. Slides are done using both forward and backward march technique. Proper execution consists of pointing your toes or heels-directly to your destination and keeping your upper frame square to the front The degree of change starts from twisting at the hips up to the shoulders (30 o -60 o -90 o ) o Don t try to pull the trailing shoulder back, this creates upper body tension. Instead think about twisting the middle of your body around more. o Do the mime in a box approach in practice to show how it can easily be achieved. Present your Polo-shirt logo to the audience. It should be as easy to read as when you re marching straight forward. If your outside foot is difficult to control, then you are doing it right All orientation is always to the front (sideline) unless otherwise specified When reversing direction with the lower body (l. slide to r. slide), there are no sudden hip shifts o All direction changes occur over 2 counts (1 and 2 of the next direction) o In any direction change the preliminary count is a placement of the foot at an angle which aids in the prevention of a hard hip shift (count 8), then count 1 continues smoothly in the new direction and by count 2 you will have made the smooth corner complete. Visual Technique Exercises v Hindu: The Hindu exercise is designed to build posture and also to parallel the aspects of field movement. The Hindu teaches relaxation and perfect posture, isolation of body parts, using full range of motion, resistance between counts, and balance. The Hindu is as follows: Four Counts Per Move Roll head down Bring shoulders together in front of you as if folding yourself in half like a book Roll down upper back only Roll down lower back Release the hips and slightly bend knees Hold Undo all steps in reverse order Raise arms over head in 8 counts and expand rib cage left to right to maintain expansion Arms lowered to side in 8 counts v 8 s & 8 s: This exercise is designed to practice going from a mark time to a forward/backward march and back into a mark time. These should be done at various tempos to gain awareness and control of step size. Remember to keep the left foot down on count 7 of the mark time so the left heel (forward) or the left toe (backward) can stay low as it glides to count 1. Also, remember your right heel does not rise on the + of 8, but stays down as well. Mark time 8 Forward march 8 Mark time 8 Forward march 8... Repeat as many series as needed at various tempi (slow to check for accuracy, and for error correction, then gradually faster to check execution) Do the same using backward march Repeat as many series as needed
v Zig-Zag s: This exercise is designed to practice changes of directions while maintaining a flat front orientation with the horn. Slides are used and these can be done using forward or back slides. Remember to turn on the ball of the right foot on count 8 toward the new direction to avoid a hard turn (prep step). Also, remember to keep the left foot from count 7-1 extremely low (hover) as it makes the corner. These should be done at various tempos to master control of the body during the change of direction and consistency of step size. Forward march 8 Left slide 8 Forward march 8 Right slide 8 Repeat as much as needed Repeat using backward slides Alter exercise by using a 6 to 5 step size (30 inch step size) v 8 s & 4 s: 8 s & 4 s are designed to practice going from a halt into a forward or backward march while maintaining step size, balance, body center and alignment. Remember the initiation step from a halt depends on tempo...below 120-initiate on the & of 8...above 120-initiate on count 8. It also allows performers to master the place-place halt technique from a forward or backward march. Remember not to roll heal to toe through counts 8 and 1 as place-place is with platform first. Forward march 8 Hold 4 (no marking time) Forward march 8 Hold 4 Repeat as many series as needed Do the same exercise, but with backward march. v 12 s & 4 s: 12 s & 4 s are designed to practice going from a slide to a hold while the orientation of the horn stays flat front. This allows the performer to develop an awareness of horizontal alignment and body center control when coming into and out of a hold. This exercise starts by facing their upper body flat front to the sideline, and then initiating a slide to the left or right for 12 counts followed immediately by a hold back to the front for 4, then repeats as needed. This also gets them off of the yard line and introduces the concept of lining up evenly between two lines. Left forward slide 12 Hold 4 Repeat as desired Right forward slide 12 Repeat as many series as needed Do the same exercise, but with backward slides
v 8-6-4-2: The 8-6-4-2 exercise is designed to practice a series of Stop & Go s (reversing direction with a momentary stop in between). Performers must be in absolute control of the body center at all times. There is absolutely NO leaning into the final counts; simply touch with the right platform while the weight stays centered over the left foot. Be aware of step size and tracking with the feet to maintain form and alignment. Forward march 8 Backward march 8 Forward march 6 Backward march 6 Forward march 4 Backward march 4 Forward march 2 Backward march 2 Place-Place (left-right, a 2 step halt) v Boxes A & B: The boxes exercise is a series of drills put together to stress important skills like form awareness, guiding, evenness and consistency of step size, prep steps, initiation of direction changes and full step sizes, no rounding of corners during a direction change, and keeping the feet low on corners. The Boxes exercise also emphasizes the accuracy of foot placement for smooth direction changes in both the forward and backward techniques as well as Stop & Go s. Always be aware of what is going on around you. Constantly monitor and adjust. Quick (unnoticed) recovery is the key to corrections. The exercise is broken down into 4 parts: Box A, which has 2 cells and Box B, which also has 2 cells. All moves are 8 or 16 counts Box A o Forward, left, back, right, forward, right, back, left Slide directions are all forward o Forward 8, stop and go, backward 8, stop and go Box B o Forward, left, back, right, forward, right, back, left Slide directions are all backward o Halt v Circle Drill: The Circle Drill is a great exercise to develop awareness of curvilinear lines and form. Performers rotate around the circle while maintaining a flat to the center orientation. Awareness, guiding, evenness and consistency of step size, prep steps, initiation of direction changes and full step sizes, and keeping the circle in tact are stressed. Mark Time 8 (all facing in towards the center of the circle) Backward March 8 (expanding the circle) Left Slide 8 (following the curve of the circle while upper body faces the center) Mark Time 8 (returning feet to face center) Right Slide 8 (following the curve of the circle while upper body faces the center) Mark Time 8 Forward March 8 (collapsing the circle) Mark Time 8, Halt (returning to their starting position) Repeat drill using backward march slides
The three most important things about circle drill are: 1) Arc Dress: whether or not you re in the circle side to side 2) Orientation: point your upper body directly at the center and keep it there 3) Space: must be even on both sides of you Repetition is a good thing! Master one element before moving on to the next.