1

Number #1 Rule of Marching

Always look GREAT!

Commitment usually means: giving up convenience, going the extra mile,

inviting personal discomfort, embracing confrontation, sacrificing instant
gratification for the mission at hand. There are no miracle solutions.
Excellence is achieved through commitment!

To Excel
To excel is to continually perform.
Not for a moment or moments
Not for a day or days
But to perform day after day
Month after month after month
To make the uncommon performance
Look commonplace
To excel is to take the inner drive
Of competition and not only embrace it
But master it
It is no wonder then, that when one
Truly excels, one is known for excellence
It cannot be taught, or legislated, or
Willed into existence
It must come from
The very depths of an
Individuals desire
To be the best

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 Table of Contents

Introduction 4
Physical Conditioning . 5
What you need to know for auditions .... 6
Posture- The Hindu Exercise . 8
Standing, Hands and Arms 17
Standby position .. 18
Mark Time .. 18
High Mark Time 20
Forward Marching 23
Step outs/ First Step .... 26
Backwards Marching ... 28
Halting .. 30
Slides 33
Horn Angles 35
Crabbing . 37
Direction Changes ... 38
Figure 8 Block 40
Figure 8 with Backward Slide 41
Direction Change of 180 degrees, Re-steps, Stop and Gos. 41
Dance Elements ... 43
Dance Terminology . 47
Circle Drill . 49
2017 Bluecoats Rehearsal Technique 52

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Introduction

Welcome to the 2017 Bluecoats Marching Technique Handbook. We are going to have a
wonderful journey together through the 2017 DCI season. We, as a staff, are very excited
about the opportunity to teach you. We are excited to build upon the excellence here at the
Bluecoats

Any marching program is about definitions. We, the staff, define everything from how to hold
our equipment, how to step, how to rehearse and so on. You, the member, need to show that
you have a complete understanding of those definitions and execute them in time perfectly.

There are two ways to learn, cognitively and tactilely. When we define something within our
program you learn it cognitively. We then run exercises so that you may learn the definition
tactilely. We learn tactilely much slower than we do cognitively.

When we are being adjudicated the adjudicators sample small groups and compare one
performer to the next. They are trained to sample groups of five performers at a time. They
look for what is the same and what is different. If the sampling of performers is all-consistent
with their definitions it is clear to the adjudicator and they will comment positively. If there are
variations in the definitions then the adjudicator will comment negatively.

You are accountable for the definitions that you are given. You are accountable to demonstrate
them at all times. You are accountable for your performance. You are accountable for
preparing for rehearsals. This not only includes daily rehearsals but the behind the scenes
work you must perform in the winter between camps.

Your performance must be the best in the world.

This includes knowing the information regarding your performance intimately i.e. memorizing
your co ordinates. We will uphold your accountability. You will at times feel pressure from the
staff to maximize your performance. Our goal is for you to maximize your potential as an
individual and our potential as a group. To go beyond what you believe you are capable of you
need positive, direct coaching.

Performing as a member of the Bluecoats is the highest performance level you will ever
achieve in pageantry. You came to the Bluecoats because this drum corps performances have
made an impression upon you. You came here to be part of the excellence of this group. You
are expected to have a commitment and work ethic beyond anyone else in DCI.

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Physical Conditioning

The importance of physical conditioning cannot be understated. Drum corps is neither sport
nor art. It is both. You must be physically strong and have great cardiovascular strength to
participate at your fullest. You must be fit for your body type.

Someone who is not ready physically when the corps moves in to spring training will not
perform to their best. When we do not perform to our best, we are not the best. We are here to
be the best in DCI.

When someone arrives at spring training and they are not ready physically they are more likely
to get injured. When injured you are unable to participate in rehearsals. When you cannot
participate in rehearsals we are not getting better as a drum corps. If you become injured then
an alternate will begin to learn you spot. This puts stress on you because you become
concerned about losing your position in the drum corps. You will also feel the pressure of your
peers to be out on the field participating. This can also be very stressful.

Being fit and strong allows you to participate in rehearsals. When you participate in rehearsals
we get better as a drum corps. When we get better as a drum corps we have competitive
success. This all leads to you having the experience at the Bluecoats that you want to have.

Get fit, Get Strong.

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What do you need to know for auditions?

The more of an understanding you have of our Visual program when you audition the better.
We do understand that this handbook is quite thorough and it can feel over whelming to try and
learn so much information. You will not need to know everything in this book when you
audition. We do strongly recommend that you understand the following at you audition.

- The Hindu exercise (posture)

- Instrument carriage at a carry and at a playing position
- Mark Time
- High Mark Time
- Rehearsal Technique. For your audition you will learn a short drill excerpt. When
learning the excerpt we will exercise the rehearsal technique.
- Forward technique
- Backward technique
- Re-step direction change
- Jazz run both in pli and releve
Dance
- Ballet positions
- Passe
- Over/under curves
- Lunge
- Tendu
- Demi Plie
- Grand Plie
- Chasse
- Forced Arch
- Ground roll
- Scorpion kick

There are videos to support each of these techniques on our Bluecoat Strong Auditioner
Facebook Page. If you havent joined that page please do so.

Good Luck!

The Bluecoats Visual Staff

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!

7
 Posture
The Hindu Exercise

Posture
1. The relative disposition of the parts of something.
2. The position of the limbs or the carriage of the body as a whole: poor posture; a sitting
posture.
3. A mental or spiritual attitude: His ideas reveal a defensive posture.
Posture (psychology) - In humans, posture can provide a significant amount of important
information on nonverbal communication and emotional cues.
We all have different body types and we all stand differently. The Hindu posture exercise is an
exercise that creates uniformed posture throughout all body types. The Hindu breaks down
one individuals posture and re-builds a uniformed look amongst a performing ensemble.
Posture is as fundamentally important to marching as breathing and air usage is on a wind
instrument. Before we can look great on the move we must look great standing still
We have 6 points of reference within the Hindu exercise.

These references points are :

1.Ear
2.Shoulders
3.Ribcage
4.Hips
5.Knees
6.Ankle

Your ankle is the base that all other reference points are built upon. The desired posture is
having these six points aligned vertically in a straight line. When these six points are aligned
your ideal Hindu posture is created.

In the following picture, performer 1 exhibits strong Hindu posture, with the six points in line.
Performer 2 exhibits poor posture- his six points are not vertically aligned

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 (1) (2)

! !

Why is this important?

1) Performer 1 looks better. He is as tall as possible, creating a much greater

performance quality or presence. It is important for the performer to be as tall as
possible since the audience may be far away. (For example, a plume is intended to
make the performer appear taller. However, a plume is not a substitute for proper
posture.)

2) Performer 1s posture will make simultaneously moving and playing much easier. His
body is much more balanced and stable.

3) The most common error in aligning the five points is having the hips too far forward (like
Performer 2)
4)
5) Standing with Performer 1s posture is an unfamiliar and uncomfortable feeling for most
people.

6) The performer must maximize the distance between the head and the ankles. The
further away these two points are, the taller they will become

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Exercise breakdown
When we start the Hindu we start from what we will call the "set position". At the "set
position" your feet will be slightly outside shoulder width, your middle finger will be on the
steam of your pants and you need to find a focal point with your eyes. Your focal point should
be in front of your face just above the horizon. Do not look at the ground or up towards the sky/
ceiling. Your eyes are also a very important part of body language. You need to focus solely on
your focal point and do not look around. This will communicate focus and determination.

The Hindu is done in 4 count phrases.

Counts 1-4 Head to Chest - At the end of these four counts your chin should touch your chest
and you should feel a stretch in the back of your neck.

Counts 5-8 Shoulders back, back and up, forward and up, forward and down. At the end
of these four counts you should feel a stretch between your shoulder blades. Your wrists
should be crossed cross each other. Your chin should still be to your chest.

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Counts 9-12 Upper back/rib cage - In these four counts you roll your vertebrae forward from
your shoulders down to the bottom of your ribcage. At this point you should feel a "good hurt"
just below your shoulder blades. Wrists are crossed; chin is to your chest. You are not looking
around.

Counts 13-16 lower back - In these 4 counts you relax your lower back. You should be
hanging over your waist. Your chin will lose contact with your chest and your wrists should
become uncrossed. Be Relaxed.

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Counts 17-20 Release the hips - At this point you be relaxed hanging. Knees should be
slightly bent. Head should be hanging. Arms are hanging. Relax your tongue within your
mouth. Breathe deeply. With each breath feel your lower back expand. With each exhalation
fall towards the ground and relax more.

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Now we will reverse the breakdown and align body parts on top of
each other. We have broken down your posture. Now we will create Hindu posture.

Counts 1-4 Straighten legs. Your knee point should straighten onto your base point and your
hips will align onto your knee point.
Counts 5-8 Lower back onto hips on knees on ankle point
Counts 9-12 Rip cage onto lower back on hips on knees on ankle point
Counts 13-16 Roll your shoulders forward and up, back and up, back and down middle finger
aligning to the steam of your pants. Your shoulders will become aligned onto your rib cage
Counts 17-20 Bring your head back up. This will align your ear point onto your shoulders. Find
you focal point. Stare at it. It is important
Counts 21-24 on your own bring your feet together, heels and toes touching. DO NOT FIDGET!!!
We are creating muscle memory. You must learn the physical feeling of Hindu posture. If you
fidget at any point of the exercise you lose muscle memory thus taking away from everything
we have done.

Counts 25-28 Rise up onto your platforms and gain maximum height. Ankles together.
Counts 29-32 Reach towards the sky in 8 counts. On count 4 your arms will be half way with
your palms facing down. This will lift your rib cage off your lower back/ trunk area. Arms move
up in a half circle, fully extending out through your fingertips. Keep the shoulders relaxed and
do not them to raise with tension.

!
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!
Counts 33-36 Bring your arms down for 8 counts leaving rib cage raised and relaxed. Arms
move down in a half circle, fully extending out through your fingertips.

Counts 37-40 Lower yourself down onto heels and seek to maintain the same height you had
when you where on your platforms. Seek to stretch your spine towards the ceiling

Counts 41-44 Raise horn to playing position

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!

When your horn is up to playing position your palms should not touch your horn. Hold the horn
with your fingertips. This will create more space in your triangle. Your triangle is the shape your
arms take when your horn is up at the playing position. Your right hand should make a
backwards C. The weight of the horn is held by your left hand up to your left shoulder. Your bell
should be up at a 15-degree angle. We perform to people in football stadiums. We want them
to hear you playing. At the Bluecoats we stand with our feet in first position.

Have your weight 60% on your platforms and 40 % on your heels. All steps come for the
platforms. By having 60% of the body weight on the platforms it allows us to better push to
count one.

Have all your Hindu posture points in alignment.

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Common tenancies and things to look for:
-Lack of definitive starts and stops. Use all counts when breaking down/-aligning points. Be
smooth in your movements. Use all the space and time you are given.

- Make sure you understand where each point starts and stops.
- Poor positioning of hands on equipment at end of exercise
- Improper embouchure set-ups
- Chins facing the ground
- Tight and raised shoulders and tension

Food for Thought

93% of the way we communicate is non-verbally (body language and tone of voice). An
audience will see you and base an opinion on you from the way you look coming onto the field.
What is your body language communicating about you?

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Standing

Given that the performer is standing with the six points of alignment- when the performer
stands with his/her ankles on the dot, the other four points in vertical alignment will be directly
over the dot. This is most desirable and disregards any discrepancies. People have different
foot sizes; so standing on the dot with any other part of the foot will create variations.

Hands/ Arms

For the attention position, without instruments, the marching performers are to hold their
left hand out in front of their nose at a comfortable distance (or about 4 fist lengths). Their left
hand will cover their right (so brass players can recreate fingerings while marching). This is a
preferred method.
The angle of the forearms and elbows should be slightly greater than 45 degrees, to
ensure that the performer does not collapse their upper body and elbows into their instrument.
Keeping the forearms and elbows open also makes the performer appear larger- as shown in
pictures A and B- with the elbows covering a greater horizontal distance and greater surface
area of the chest exposed.
(A) ( B )

Alternative angle

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Standby Position

In the Stand By position, the performer is to stand with proper six points of alignment.
Their hands and arms are to be relaxed down to their sides. Their feet should be in first
position.

Mark Time
The purpose of the Mark time is to establish strong timing in the feet. Strong time is the
bonding of music and marching. Everyone must have their feet in time and learn how the
rhythms relate to their feet. If this happens then we all play and move in time together.
We dont always have the opportunity to march and play. Marking time gives the marcher the
sensation of marching while standing on the spot.

The initiation of the mark time starts on 4& when the tempo is 132bpm or lower. If the tempo
goes above 132bpm then the initiation starts on 4.
On the initiation the left heel comes up until only the platform is left on the ground. This will
also have the heel meet the height of the opposite anklebone. The left knee should bend at
this point.
On count 1 the left heel comes down. The moment the left heel makes contact with the ground
the right heel goes up,
On 1& the right heel raises to the platform and the right knee bends.

On count 2 the right heel touches the ground. Once the right heel touches the ground the left
heel rises to the platform and the left knee bends.
You should think of your weight as being rested at slower tempos. The weight will be placed on
the one foot that has complete contact with the ground and the opposite foots platform. The
marcher should not bob side to side when they mark time. The upper body must be fluid.
At a faster tempo you should have your weight towards the front of the feet/platforms. This will
keep the your weight less rested. This makes it easier for you to mark time at a faster tempo.

Common tenancies and things to look for:

The knee does not stop when the opposite heel hits the ground. You should always be in
motion.

Dont let motion become rigid.

Make sure the height of foot rises to the platform. After time a marchers feet tend to fall lower
and lower.
Dont have lazy feet!!!

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Moving: General Statements about the marching technique-

1) Tension is a marching performers worst enemy. The performers are to use only the
muscles required to perform their given task. The performers should not engage
muscles that do not help them.
2) When moving and taking the first step, it is crucial that the performers maintain their six
points of alignment. A common tendency for performers is to skew and bend the six
points of alignment. More fundamental errors will arise from this.
3) The technique in this handbook features a long leg marching technique. The long leg
creates maximum efficiency in movement, decreases variables from performer to
performer, and maximizes the performers height.

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 High Mark Time

Purpose:

High mark time is used to develop several skills critical to our movement program.
Within this exercise we will explore its execution based on timing, balance, separation of the
upper body from the lower body, controlling of body weight, and moving evenly through time
and space. These skills are critical for the expected excellent execution of our technique.

Goals for execution:

1. Timing - interpretation equal across all beats, demonstrated via visual

checkpoints.
2. Posture - maintaining posture as described via Hindu exercise (demonstrating
knowledge of which points of alignment are stacked or broken during exercise);
balance between active and passive body parts, demonstrating a skilled control
through the body parts via separation and malleability.
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The exercise:

High mark time begins in closed-first position with instruments at

carry or playing position. This exercise will be done using a variety
of count structures to allow for optimal understanding in its
performance and function.

Fours
This exercise moves in motions of 4s, where the legs/feet lift up in
four counts and lowered the next four. Each leg creates an 8-count
phrase. The checkpoints are as follows:

1. Counts 1 + 2: Up and off - The foot peels off of the ground,

similar to the roll step, to the platform, at which point the
platform (and thus entire foot) is lifted above the ground on count 2. The foot will be pointed by
count 2.
2. Counts 3-4: The entire leg travels in the upward motion, with the ankle traveling alongside the
stable leg. Feet are pointed. Only the knee is broken from alignment.
The upward motion continues exponentially towards count 5.
3. Counts 5-7: The entire leg travels in the downward motion, with the ankle traveling alongside the
stable leg. Feet are still pointed, knee still broken from alignment.
4. Counts 8-1: Touch-Roll - The platform engages the ground on count 8 (touch), and the foot rolls
down to the heal through the and count (roll).
5. The exercise is then repeated on the opposite foot on the simultaneous count 1.

Ones
This exercise is similar in motion to the Fours, but each leg moves in one-count phrases. The
checkpoints are as follows:

1. Initiation: On the 8-beat preparatory count-off, the left leg will initiate on count 8, and travel to the
upward position to the peak position on the and of 8. The ankle moves in alignment with the stable
leg, feet are pointed. The middle of the ankle will go up to the performers knee of the stable leg.
2. Count 1: The left leg is placed onto the ground, with
emphasis on the weight being over the platform
(shoelaces). The motion is technically a roll, but happens
too fast to define into counts.
3. Count 1+: The right leg will be at the peak position - ankle in
line with the stable leg and knee, feet pointed, etc.
4. Count 2: The right leg is placed onto the ground, similar to
the left.
5. Repeat steps 1-4 until called to a halt. Halts will be called in
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tempo: Ready (click) Halt (click) (close) - Wherein the performers left foot articulates when ready
and Halt are called, as well as the closing of the feet.

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Forward Marching

When teaching the first step, it is important to notify the performers that they are not stepping
forward; rather they are moving forward. All movement is pushing. All of the performers six
points of alignment must move simultaneously. They need to push their weight forward. All
movement is pushing. Performers will step with the left foot first.

When taking the first step forward, the most common tendency is to do just that- STEP
forward, leaving the upper body behind. This causes the six points of alignment to become
skewed (the head and shoulders fall behind the hips).

The picture below depicts where the body begins (in yellow) and where the body ends on beat
1 (red). Notice how the hips, shoulders, and head move forward. Notice how the heel of the
right foot slightly lifts and moves forward while the right knee is pulled back. If this does not
happen, the six points of alignment will not move forward in unison.

When the left leg moves forward, the entire right leg must be engaged to push the entire body
forward. This is especially true for the thigh and quad muscles.

The initiation and push of the weight must begin prior to beat one in order for the left foot to
land on beat 1. The initiation of the first step starts on 4& under 132bpm. If the tempo is higher
than 132bpm, then the initiation starts on count 4.
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The following pictures depict two crucial parts of the foot involved in marching. The part in red
is the platform and part in yellow is the heel.

! !

When taking the first step, the platform of the right foot is too be firmly planted into the ground
when pushing forward. Since the right leg pushes the body forward and the platform is in
contact with the ground the platform is what pushes all of the body weight. When holding the
step, as in the picture below, the performers weight is centered between the feet.

When the left foot moves forward, it is crucial to keep the heel of the left foot as close to the
ground as possible to achieve a long leg. If the left heel comes up, the left leg will bend. A bent
leg does not achieve a long leg shape. When moving the left foot forward, the performer must
maximize the distance between the hips and the ankles- just like in the six points of alignment.
Maximizing the space between two points (hips and heels) creates a longer line.

24
Your feet should cross during the and counts. During this checkpoint your forward leg should
move straight below your body. The leg passing through should be slightly bent, 10%, to clear
the ground. The marcher should keep their heels as low to the ground as possible. The toes
should be flexing to start establishing the roll step.

Maximizing the space between two points (hips and heels) creates a longer line.

! !

As the left heel moves forward with the foot, the toes are to be flexed and lifted so that when
the left foot lands, a person standing in front can clearly see the platform.

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Lifting the toes as high as possible and exposing as much of the bottom of the foot as possible
makes the performer appear larger. However, performers often sacrifice a long leg shape and
the six points of alignment for higher toes.

High toes are not as important as a long leg shape and the six points of alignment since the
legs are much larger body parts and the five points of alignment are fundamentally crucial.

Step outs/ First Step

The most important step in any visual phrase is the first step. The first step determines pace
size within a drill set. If the first step is too big or too small then the remaining paces will be
inconsistent to finish the move. The first step must also be taken in the correct path. If the first
step is not taken in the correct path then the remaining steps must compensate to make the
correction. Most importantly the first step breaks inertia and starts momentum

inertia (! -nr! sh! )

n.
1. Physics. The tendency of a body to resist acceleration; the tendency of a body at rest to
remain at rest or of a body in straight line motion to stay in motion in a straight line
unless acted on by an outside force.
2. Resistance or disinclination to motion, action, or change
Learning to break the inertia threshold is a skill. Naturally when we walk we break the inertia
threshold by leaning forward until momentum is achieved. When we march we want to fight
this tendency of leaning forward. Our goal is to increase pace size using the legs while
eliminating leaning.

All movement is pushing

The initiation of the first step starts on 4& under 132bpm. If the tempo is higher than 132bpm,
then the initiation starts on count 4.

When we take our first step we want to push ourselves forward with the opposite foot than the
step out foot. If we lead with our left foot then our right foot pushes. You should push your
weight from your platform.

You should lead with the core of your body or trunk area. Make sure you are pushing your
weight with each step. We never mark time into a step out in a performance. Therefore we will
never practice a mark time into a step out/first step.

26
Tendencies to look out for:

At no time does the knee need to bend.

Do not lock your knees.

Do not bend the pushing legs knee.

Do not confuse straight legs with tension.

When you are relaxed you have less friction; with less friction movement is more fluid.

We do not walk down the center of our foot naturally. During the exercise you should think of
pushing your big toe towards the ground. Your natural tendency would be to have your outside
platform point closer to the ground then the point under your big toe.

Make sure the weight is transferred from one foot to the other. All movement is pushing!!!

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Backwards Marching

When marching backwards, the same concepts apply from forward marching:
- Maintaining the six points of alignment
- A long leg shape, maximizing the distance between the heels and the hips
- Keeping low heels
- Engaging and pushing from the stationary leg
- Initiating properly

When marching backwards, the most common tendency is to lead with the shoulders, causing
poor alignment of the six points.

It is crucial to think about leading with the back of the left knee when taking the first step
backwards. And, just like in forward marching, it is crucial to move and push all the six points of
alignment with the right leg. All of the force is directed down into the right platform, and the
entire leg is engaged, especially the thighs and quad muscles.

The initiation of the step starts on 4 if the tempo is 132bpm or higher. If the tempo is below
132bpm the initiation is on 4&. As we push towards count we want to rise on a 45-degree
angle to our platforms.

The entire left leg through the platform will touch the ground on beat one. On count 1 you
should raised up to both platforms with both heels off the ground. Your center of body is
between your legs as with the forward march. Find a comfortable medium height while
standing on your platforms. If you are too high then you cannot maintain your balance.

28
As a checkpoint your ankles should pass on 1&. Your count 1 foot should be straight from your
hip checkpoint through the knee checkpoint to the ankle/base checkpoint. This leg is pushing
your body over top of it. As the opposite is moving towards count 2, you must relax your foot.
This will allow your leg to clean the ground. As you move backwards your legs do not need to
bend. Do not lock your knees. On count 2 your right foot makes contact with the ground.
Your weight again is centered between your legs.

! !

A common error in backwards marching is to go too high on the platforms. Maximizing height
should not come from lifting the heels as high off the ground as possible. Marching too high on
the platforms will likely result in instability causing lack of balance and/or bouncing. Keeping a
large surface area of the platform on the ground is crucial in preventing high heels. They heels
should stay as low to the ground as possible.

The picture on the right is not ideal for backwards marching

29
 Halting

Halting on the Forward March

When marching forward for an 8-count move, the right platform will be placed just in front of
the dot to ensure that the ankles will be on the dot. On count 1, after 8, the left ankle will meet
the right ankle above the dot. The step on count 8 should be the same size as the previous 7
steps.

Just like in the initiation, all of the weight and force will go into the right platform. From beat 8
to 1, it is crucial that the performer feels the weight go into the right platform and feels the right
heel slowly release down to the ground.

When halting forward, it is crucial to keep the six points aligned from count 7 to 8 to 1. A
common tendency is to allow the shoulders to fall behind the hips from beat 8 to 1, causing the
lower body to reach the dot before the upper body. All five points of alignment need to reach
the dot simultaneously. To avoid the shoulders falling behind the hips, it is crucial that the
performer lifts UP. Lifting up from the shoulders will maximize the distance between the hips,
sternum, and head. This will create a straight line and prevent the six point of alignment from
becoming skewed. Another way to approach this action is to focus on elongating the spine-
maximizing the space between each vertebra.

30
We halt with our platform first because we want to stop our inertia. The performer should think
long when they halt. The performer should seek to lengthen the distance from their ankle to
their ear points. The performer should think of sending their energy through their head towards
the sky when they halt.

Halting on the Backward March

All of the above applies to backwards halting except the common tendency of the six points of
alignment. In backwards halting, the most common tendency is for the hips to fall in front of the
hips from beats 7 to 8 to 1. It is crucial that the shoulders remain directly over the hips during
these counts.

To avoid the shoulders falling in front of the hips during beats 7,8, and 1, the performer must lift
up (achieve maximum distance between the head and ankles, creating the longest line
possible, NOT FROM THE HEELS!) and feel the weight go into the right platform.

The performer should think long when they halt. The performer should seek to lengthen the
distance from their ankle to their ear points. The performer should think of sending their energy
through their head towards the sky when they halt.

31
!

!
32
 Slides

A slide occurs when the upper body is not facing the same direction as the feet. From the
heels all the way up to the shoulders, the body goes into a rotation anywhere up to a maximum
of 90 degrees. Each point of alignment between the heels and the shoulders will undergo
specific tendencies that need to be addressed individually. It is crucial that the six point of
alignment remain vertically aligned to create a straight line. The performer should always think
of being long and tall.

The purpose of a slide is to get the shoulders around as much as possible is to expose as
much of the chest and upper body as possible. This makes the performer appear larger. The
hips must go halfway for the shoulders to go the full desired distance. For example, if the
performer is marching on a 90 degrees slide then the hips must be at 45 degrees. The
shoulders will not get to their desired angle without the hips going halfway.

Sliding to the left:

1)The heels are to stay firmly planted on the ground at all times. The
heels are the foundation of the slide- the knees, hips, and shoulders
need to remain vertically aligned directly above the heels during the
slide.

2)The knees will undergo some rotation during the slide. When sliding to
the left, the right knee will come forward slightly and the left knee will go
back slightly. This is normal and needs to occur. However, the knees
should not bend- both legs should remain straight and solid.

3) When performing a slide to the left, it is important to think about pulling

the left hip back and pushing the right hip forward. The opposite applies
to a right slide.

The shoulders are to be at a full 90 angle to the feet. The slight rotation
of the knees and larger rotation of the hips will make getting the
shoulders to this angle much easier. It is crucial to rotate the hips to
achieve full rotation of the shoulders. (The performer can also focus on
turning the belly button as far to the left as possible)

33
Slides: On the move

The natural and undesired tendencies for marching forward or backwards are amplified
when performing a slide on the move, especially regarding the un-alignment of the five
points. When practicing the first step with slides, it is important that the performers stand
in a T. This will easily expose the natural bad tendencies.

In this exercise, it is clearly visible when the five points become un-aligned.

To maintain flat shoulders when marching the performer should always think to push
back the opposite shoulder back then the direction they are traveling. If moving on a
forward right slide the performer should think of pushing the left shoulder back. If
traveling on a forward left slide then the performer should think of pushing the right
should back. If moving on a backward right slide the performer should think of pushing
the left shoulder back. If traveling on a backward left slide then the performer should
think of pushing the right should back. The tendency for the performer is to under rotate
their shoulders. Remember the hips must go halfway for the shoulders to go all the way.

34
 Horn Angles

The brass players horn angles are crucial. Their horns need to be at a 15-degree angle.
This allows sounds to travel directly to more audience members. Our stage is a football
field and this is a very, very large stage. Performers must overly project themselves to
the audience to come across. Performers should always think of projecting their chest to
audience. Performers must maintain a large triangle with their instrument carriage.
Performers must keep their palms off the instrument to increase the size of their
triangle. Always think long and to the sky with you posture. Take up space when you
perform.

Success, real success, in any endeavor demands more from an

individual than most people are willing to offer - not more than they are
capable of offering.

James Roche

35
 Crabbing

The crab step is used in a direction other than straight forward or straight backwards. Some
elements of the crab step will remain the same, regardless of the angle or direction your body
is facing. This technique is similar to backwards technique, in that your heels remain off the
ground at all times. The shoulders must stay parallel to your hips at all times. One must learn
to control the pelvis in order to maintain the best platform from which the instrument can be
played. The steadier your instrument, the better the sound and the easier it will become to
articulate a musical phrase.

When a performer carries a drum, they cannot allow the weight of the drum and carrier to
affect their drumming. They must have freedom of hands. To accomplish this, members of the
battery must think of getting the drum off their hips. They should think of filling up the chest
area of the carrier. This will allow the drum to hang instead of having the drum sit on their hips.
A drummer has two main concerns while marching. First is to control their drum, second is to
have freedom of hands. Both of these are achieved by getting the drum off the hips as much
as possible.

Our goal for the crab step is to produce a uniform visual presentation while maintaining an
appropriate facing (angle of body to the front sideline) and playing surface for musical
purposes. The visual program will enhance, not interfere, with the musical presentation if done
with the appropriate technique. It is crucial that correct posture is never neglected, for both
musical and visual reasons.

Crabbing to the left

There are two different steps while crabbing. They are the open step and the crossed step
where the open step is able to extend over a larger distance. If the first step of crabbing is to
the left, it is an open step (assuming count 1 is on the left foot). The left leg should not step
straight across. Instead, it should step back on a 30-degree angle. After the first step the left
platform is on the ground and parallel to the right anklebone. This will allow the second step to
cross over the left foot. When we walk most of us have a natural turn out to our feet. If the
marcher turns their feet out slightly this will give more support to the ankle and reduce the
chance of injury. The performer on count 1 should have the body weight centered between the
feet up on the platforms. While crossing legs, the performer should think about keeping the
thighs close together and keeping the hips parallel to reduce the movement of the hips into the
harness. This will keep them on a straight path as well as maximize the extended step. On
count 2, the right leg should be crossed in front of the left leg with the body weigh centered
between the feet. On count 3, the feet open with the left platform crossing under the right heel.
These counts are repeated until the performer arrives at a halt.
36

Crabbing to the right

When the performers first step is to the right, again assuming a left foot lead step off, we will
utilize a prep step to get started. On count 4, the right foot should move back and out the way
for the left foot. Initiation of travel should still occur on count 4 or the and of 4 depending on
the tempo. By count 1, both feet should be on the platform with the left leg crossed in front. On
count 2 the left leg should be crossed in front of the right leg with the body weigh centered
between the feet. On count 3 the feet open with the right platform crossing under the left heel.
These counts are repeated until the performer arrives at a halt.

Crabbing with direction changes

Right to Left Stop and Gos:

All weight must be stopped one count prior to the completion of the phrase by your left foot.
While keeping your left leg straight, allow your right foot to pass and continue on to the last
count into a tendu position. Your left foot should be flat on the ground. All of your weight
remains over the left leg. Your right foot touches the ground in the same step size and path
as the previous move. There is no movement on count one. Your right foot moves on the and
of count 1 and contacts the ground on count 2 after it has crossed in front of your left foot. On
count 2, your right foot should be in the correct step size and path for the next visual phrase.

Left to Right Stop and Gos:

All of your weight is stopped one beat prior to the completion of the phrase on your left foot.
Your right foot does not cross over your left, but does touch directly in front of (or behind,
depending on the angle of the move) your left foot. Your feet should form a straight line as if
walking on a tight wire. Your left foot should be flat on the ground with all of your weight
remaining over your left leg. There is no movement on count one of the direction change. Your
right foot moves on the and of count 1 and contacts the ground on count 2. On count two, your
right foot should be in the correct step size and path for the next visual phrase.

Stop and go's or Touch and gos are an important part of the visual program because they
occur at the end of one phrase and the beginning of the next. Understanding the changes that
occur in step size and path from one move to the next becomes crucial in maintaining clarity
during any visual phrase. Clarity in the visual phrase will support clarity in the musical phrase.

37
 Direction Changes

During a performance performers will at times be required to perform direction changes. A

direction change is when there is a path change from coordinate to coordinate. Ideally you
want to make direction changes as smooth as possible. A hard direction change can lead to
injury. Direction changes are different for wind players then the marching battery. We will break
down direction in 2 ways
1. Direction changes of 90 degrees or less
2. Direction changes of 180 degrees

For most direction changes of 90 degrees or less the quick rule is you want the last count to be
half way from where youre coming to where youre going.

For instance if a performer is going forward for 8 steps and then directly to the left (90 degrees)
in a forward march then count 8 would be on a 45 degree angle to the left 45. This allows
count 1 of the second move (to the left) to be in the new path. This is also makes the transition
from forward to the left a smooth one. If the performer is going into a backwards march then
the half way point (45 degree angle) will be to the right. If there is a hip switch during the
direction change then the direction change will take 2 counts and this usually pertains to
direction changes go 180 degrees.

Direction Change Exercise Figure 8 block

To define and work on direction changes the exercise we use is the figure 8 blocks. There are
two 45-degree angles to define
The left 45 (picture)
The right 45 (picture)

Set up you students in a block. We will create a figure 8 by going (in 8 count phrases) forward,
left, backwards, right, forward, right, backwards, left. Let us start with forward slides.

Start by moving forward for 8 counts. On count 8 have the right foot on a 45-degree angle to
the left 45. We will refer to this as a placement. This sets up count 1 to the left. The left (count
1) leg then cuts the corner with the left heel in line with the right ankle on count 1. Make sure
the left foot is pointing on a 90-degree angle. The tendency is for the foot to point on less than
a 90-degree angle. This will take the performer out of their path and will result in them being
pulled out of the shape.

38
Now we move on a left slide for 8 counts. On count 8 have the right foot points to the left 45-
degree angle. Count 1 will cut the corner behind the performer setting us up for count 1 going
backwards.
On count 1 the left platform will line up with the right ankle.

Take 8 counts backwards and on count 8 have the have the placement on a right 45-degree
angle. On count 1 the leg cuts the corner towards the 90-degree angle to the right. Keep the
thighs close together. Here the performer will want to cut the 90-degree angle short, again
taking them out of their proper path. Have the toe point on the 90-degree angle on count 1.

We are now moving to the right on a slide. The placement on count 8 should be to the right 45-
degree angle. The toes should be parallel to one another. Count 1 cuts the corner and heads
forward.

After moving forward for 8 counts the placement should be to the right 45-degree angle. The
left leg will move around the right towards our right slide. Keep the thighs as close together as
possible. This count 1 is the largest due to the left leg having to go around the right leg. We
want the left toe on that 90-degree angle.

We move to right for 8 counts. Our placement here in on the right 45 degree angle. The left leg
again cuts the corner and starts to head backwards.

Next we take 8 counts backing up. On count 8 have the placement on the right 45-degree
angle.

After moving to the left for 8 counts you can halt or have the placement on the right 45 to
repeat the exercise. It is important to note that all the placements should be on the platform.
Rolling through the step can slow the performer down. Placing with just the platform is a
stronger way to control the body weight.

39
Figure 8 block with backward slides

The quick rule of half waypoint for direction changes doesnt always apply when marching
backwards. Most of the direction changes are different due to the hips facing a different
direction.

For the backwards figure 8 we will by going backwards, to the left, forward, to the right,
backwards, to the right, forward, to the left and backwards to a halt all in 8 count segments.

Move backward for 8 counts. On count 8 the placement will be on the right 45. This is due to
the hips facing the opposite direction than the forward slide.

We now move to the left on a backwards slide for 8 counts. On count 8 the placement will be
on the right 45. This sets up the ski line for our forwards move.

Next we move forward for 8 counts. Our next placement will be on the left 45. For count 1
make sure to keep the thighs close together and to point the leg heel on the 90-degree angle.
It is natural to want to cut this angle short.

After moving to the left for 8 counts, the count 8 placement will be on the right 45. We are now
moving straight backwards.

Our next count 8 placement is on the right 45. This placement can also be 90 degrees. This
allows count 1 to move straight forward.

After moving forward for 8 counts our next placement is to the right 45 before heading
backwards to the left.

After moving backwards to the left our next placement is to the right 45. Now the left leg must
swing around the right to set up in the skyline to go straight back. This step requires adenoidal
energy, as it is larger than the paces we have been taking thus far.

We now move straight back for 8 counts into a halt.

These figure 8 blocks cover all 45-degree direction changes that a performer will come across.
90 degrees is the extreme to which a performer will usually be faced. Most direction changes
will consist of a smaller angle. These figure 8 blocks can be combined into one exercise. This
would have the group moving Forward, left, back, right, forward, right, back, left (all forward
slides), back, left, forward, right, back, right, forward left and back (all backwards slides)

40
Direction changes of 180 degrees

The direction change technique is different when the performer is faced with a 180-degree
angle change. There are also various techniques that can be used. They include the re-step
and the stop and go.

Re-step

If the performer is moving forward for 8 counts and then directly backwards for 8 counts the re-
step is when the performer re-articulates count 1 of the back wards move. On count 8 of the
forward the performer will place the platform onto the ground. Placing the platform controls the
energy much better than rolling through the step into the placement. On count 1 backwards the
count 1 foot re-articulates the step. This step should be taken in the stride size of that new
direction.

When re-stepping from a backwards march into a forward march the performer needs to turn
the foot and re-articule the step with the heel. As with the forward to backwards, count 1 needs
to be in the stride size of the new direction.

Stop and Gos

The Stop and Go direction change grew out the Garfield Cadets 1987 production Appalachian
Spring. Created by Marc Sylvester, the technique sought to incorporate ballet technique into
the marching technique program. By adding a tondu into the direction change it pushed the
shows concept of Ballet.

The second last count of a move the performer should roll through the step and keep their feet
completely flat and in contact with the ground. If the move were an 8-count move then this
would happen on count 7. 90% of the weight of the body will be on this foot. As the performer
rolls their foot completely flat they should think of engaging the core of their body to help
eliminate the inertia they have created. The performer should also think of sending all the
energy up through their head to assist in eliminating the inertia.
On the final count of the move the performer should place only their platform of their right foot
on the ground. The performer is allowed to place 10% of their body weight on the platform.
This is to assist is eliminating the inertia. The performer should not place too much weight on
the right platform, as it will cause them to loose balance and thus lead to difficulty transferring
the weight into the new direction. On the final count of the move the left foot should be
completely flat with 90% of the body weight. 10% of the body weight is placed on the platform
of the right foot. The right anklebone should be directly over top of the co-ordinate.

41
On count 1 of the new direction nothing happens. The performer holds the tondu for the visual
effect of the move.

The performer then shifts their weight onto their left platform and begins pushing their weight
into the new direction. By count 1& both anklebones should be parallel from one another. By
count 2 the performer should be a proper step at the stride size of the new direction.

42
Dance

When learning dance, the performer is required to have an understanding of the elements.
These elements allow the performer to understand the ways in which their body and
movement are used to create dance and apply this to their own performance and interactions.
The elements of dance are the foundational concepts and vocabulary for developing
movement skills as well as understanding dance as an art form. All these elements are
simultaneously present in a performer.

The elements are best remembered by using the acronym DR. BEST

Dance is: Relationship, Body, Energy, Space and Time

RELATIONSHIP
This is all the about the connection and interaction.
There can be a relationship to self, others and to things or objects. In drill it would be our
personal relationship to the field, the people around us, the music that is being played and the
emotional connection to the choreography.

43
BODY
The who and what
All the words that would fit in this category are reflective of the who (performer) and the
what (performance)
Parts of the body and body shapes are the who
The choreography is the what- locomotor (traveling) or non-locomotor (stationary/axial)

The who does what:

WHO WHAT

Parts of the body: Non-locomotor (axial):

Head, eyes, torso, shoulders, stretch
fingers, legs, feet plier
Body shapes: twist
Symmetrical/asymmetrical turn
rounded relever
twisted fall
angular swing
arabesque suspend
Inner self: Locomotor (traveling):
senses slide
perceptions walk
emotions hop
thoughts somersault
intention run
imagination skip
jump
roll
turns

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ENERGY
This is the how
Everything that would fit with this category are reflective of the how

HOW

Attack: Quality:
sharp/smooth flowing
sudden/sustained tight
loose
Weight: sharp
Strength: push, horizontal, impacted swinging
Lightness: resist the down, swaying
initiate up suspended
Resiliency: rebound, even up and down collapsed
smooth
Flow:
free,
bound
balanced
neutral

45
SPACE
This is the where
Anything that would fit in this category are reflective of the where
Size, levels, pathway

WHERE

Size: large small narrow wide Orientation: facing

Level: High / medium / low Pathway: curved/straight

zig-zag random
Place: on the spot (personal space)
through the space (general space) Relationships: in front beside
upstage/downstage behind over under
alone/connected near/far
Direction: forward/backward individual & group proximity to
sideways diagonal right/left object

TIME
This is the when
Anything that would fit in this category are reflective of the when

WHEN

sensed time
Metered:
improvisation
pulse
cued
tempo
accent Timing relationships:
rhythmic pattern before
after
Free Rhythm:
unison
breath
sooner than
open score
faster than

Movement improvisation is a big skill to be able to show range of creativity as well

as willingness to explore with abandon. Movement improvisation is the process to
spontaneously create movement. Improvisation is freeing the body from habitual
movement patterns and exploring in a free and unstructured way. Movement
improvisation allows you to be in the moment. It is not something that is planned in
advance. As a performer, you need to relax and let yourself explore freely while
being you.

46
Dance terminology:

Attitude: performed by balancing on one leg while lifting and bending the other leg
either behind or in front of the body. The leg is bent at an angle higher than the
foot

Ballet positions:
First position: Heels together, toes facing the diagonal
Second position: Feet side by side about shoulder width apart

Chass: Step together step, a gliding movement

Coup: Changing of feet in which one foot cuts either in front of or behind the
other

Curve: An arch through space- under curve, over curve

Demi-pli: Half-bending of the knees

Flexed foot: Ankle in a flexed position so that the toes are pulled back towards the
body

Forced arch: On ball (platform) of the foot with heel off the floor and knee bent

Grand pli: Full bending of the knees (the knees should be bent until the thighs
are horizontal)

Isolation: A movement separating one part of the body from other parts, taking a
part of the body and placing it out of its natural position

Lunge: A position where one leg is in a pli and the other leg is straight

Pointed foot: Ankle must be extended and the toes follow the line
47
Relev: A lift onto the toes

Scorpion kick:

Swinging: Tension is held, then released to flow with gravity back and forth

Tendue: To extend the leg straight out from supporting leg with foot fully pointed -
front, side or back

Triple Step: Generic term for dance step patterns that describes three steps done
on two main beats of music. Usually they are two quick steps and one slow

Turn Out: The outward rotation of the legs from the hip sockets. The degree of turn
out is defined by skeletal structure of the pelvic girdle and by flexibility of the
muscles controlling the rotation of the femur in the socket

48
 Circle Drill
Using a circle to perform basics exercises is a very
powerful tool. It allows us to literally think outside the box
and foster our ability to read non-linear forms and find our
place in the form. While there are many variations of the
circle drill exercise we will cover only the first progression in
this book.
The Counts
1 8 Counts forward into right foot re-step
positioning.
2 - 8 counts backward into right foot placement
on the 45degree angle in preparation for forward
march around outer circle
3- 16 count front slide to left into right foot, stop
and go placement* on 16.

4 16 count backward slide into right foot

45degree placement in preparation to go
forward.

5 8 counts forward into right foot re-step

position*

6 8 counts backwards into a halt.

*Re-step and stop and go definitions can be

found on pg. 41-42 of this text.

4 2
S&G
6 5

3 1

49
Important features of the Circle Exercise
The Focal point
Unlike other basics exercise like the figure 8, circle drill requires us to stay focused on a single
point throughout the exercise, namely, the center of the circle. It is imperative that we keep our upper
body orientation facing toward the center throughout the exercise. While focusing on the center is a key
component of this you may also want to think about keeping your shoulders overtop of the sprayed
circle (see figure 1).

Condensing intervals
Another unique tenant of the circle drill exercise is maintaining proper intervals throughout the
exercise. When moving toward the center of the circle our intervals must condense significantly to
accommodate the same amount of performers on a smaller circle. Intervals must then expand as we
return to the outer circle. In order to accomplish this transition smoothly we must not only be diligent
in our step size and direction but we must focus on staying centered between those on either side of us.

Circle Drill Hacks

Figure 1
1. Keep our shoulders parallel
to the line and perpendicular
(90 degrees) to the center.

2. You will always be slightly

behind the line connecting
those on either side of you.
As well, the person on either
side of you will always be
behind the line you create
with the person two positions
down. (See figure 1).

3. It is much more important to

use the people around you
than the lines on the field.
The exercise is designed to
force you to read the form
not the field. Attempting to
aggressively manipulate the
form will cause you to stick

50
This is just one of many segments to the circle drill exercise. We can intuitively add
the next segment by turning the halt into a placement on the 45degree angle and
continuing around the circle to the right instead of the left. We are able to change
the re-steps to stop-and-gos if the need arises or add another placement on count
2 of the second count of the second 16 to reorient our bodies in a forward slide
position (see if you can figure out the placement Hint, think across the floor
exercise). We can even run the exercises on continuous to improve our
endurance. The point is the circle drill exercise is very adaptive making it a great
tool for improving all aspects of our marching. Because of its demanding nature it
is important to approach the exercise ready to attack and improve. While the circle
drill exercise is one of the more demanding exercises we will use in basics, it is
definitely one of the most rewarding.

51
 2017 Bluecoats Rehearsal Etiquette

Step 1: DM Command: SET

This command is given in order to gain the attention of the members. Corps
members bring their equipment directly to performance position. The tower gives
the instructions for the repetition, and the DM repeats those instructions. There
should be no talking by members or staff after the set.

Step 2: DM command: Minus One

At this point the membership places their feet into the final count of previous drill
movement they are about to practice. This is done to achieve the transition into the
excerpt being rehearsed. The corps proper will set their minus one foot into the
step size and path of the previous set. Their foot that is in the final count will
establish their direction change. For brass the direction change is halfway from
where they are coming to where they are going unless otherwise defined. The
drums in most cases will establish their final count as parallel to the yard line
unless other wise defined. If the set is defined as foot on dot then the corps proper
will place they anklebone from their final count on their co ordinate. If the set is
defined as center of body then the corps proper should have their sternum over
their co ordinate. The colour guard should go to their final count of the previous
set. This will always be different for them as their choreography is always different.

Step 3: DM begins repetition.

The DM points to the person operating the metronome. The repetition begins after
two measures of beats (in most cases), the last measure of which are conducted
by the DM. If the repetition begins at the start of a movement, the DM begins
without the use of the metronome.

Step 4: Repetition Ends, DM Command: Check & Adjust

The corps members finish each repetition with holding their last note and with their
feet in plus one position. The DM cuts off of the last note and then says, Check.
At this time all members on the field go to minus one and use their eyes to look at
the shape they finished the phrase in. The DM says, adjust and the members turn
their heads to look at the shape and dot dot, if there is one, and adjust the shape if

52
needed and return to a performance perspective. Performance perspective is
defined, as having your head is the position as it would be at that point of the show.
At this point the members take a mental snapshot of the shape they are in so they
may learn what it looks like to be in the show.

Step 5: Repetition Ends, DM Command: STAND-BY

The DM then says STAND BY. At that time all members on the field direct their
attention to the tower for instructions. Guard members should not spin or toss from
this time until the tower gives the FIELD command.

Step 6: Tower presents information to members.

This means all talking on the field (including both staff and members) must stop,
and all focus should go to the instructors on the tower. All field techs should face
the tower when information and instructions are given.

Step 7: Tower Command: FIELD

After instruction from staff on tower, tower will then command field staff to make
corrections from the field. During this time, members can also fix any mistake they
made in the previous repetition, step off their dot, and guard members can spin
and toss. If there is no field time at the end of a repetition, move immediately to
the next step.

Short Field: 20 seconds with no metronome

Long Field: 3-4 minutes with metronome

Step 8: Tower gives the members instructions for next repetition.

After information and/or field time has concluded, instructors on tower provide the
instructions for the next repetition, referencing only set numbers. Again, all field
techs should face the tower when information and instructions are given.

Step 9: Tower or DM command: RESET

If the tower does not designate field time, they can command, RESET after
completing Step 6. Membership will run to the requested position on the field at
the end of each repetition.

53
!

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