By Mark Richardson

Di rector of Bands
Corona del Sol High School
Tempe, A rizona
Preface 3
Body Posture 3
Commands While Standing Fast 3
Attention 3
(Ready) set 4
At ease 4
Parade rest 4
Horns up 4
Horns down 5
Dress Left/Dress Right/Dress Center 5
Heads front 5

Commands in Motion 6
Mark time 6
Step off 6
Forward marching/glide step 7
Halt 7
Backward march 7
Prep Steps (direction changes 8
Roll-through prep step 8
Stab-prep 9

Horns to the Box 9

Focalizing a Form 10
Quote, by Martin Luther King Jr. 10
Individual Responsibilities In Formation Marching 11
Interval 12
Distance 12
Cover 12
Dress 12
Step Size 12

Quote, by Tim Galwey 12

Quote, by Arnold Bennett 13
Technique-Based Exercises 14
Block Drill 14
Block A Series to the Right 14
Block A Series to the Left 14
Block B Series 15
Circle Drill 16

An Untitled Poem: The Value of Time 17

Who am I? by Sean Covey 18

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 PREFACE

The following pages describe a method of marching that has been developed as a result of decades
of experimentation and change. Many of the techniques discussed are endorsed by some of the
most experienced and skilled teachers in the marching arena and were originally compiled by Mr.
Mark Richardson with Corona Del Sol High School and Arizona Academy for the Performing Arts. As
he noted in his own writings, the techniques discussed are one of countless ways to approach
marching technique and should not be considered the sole way to approach marching technique. In
fact, marching technique tends to be in a constant state of evolution.

The second consideration worth noting is that the techniques discussed in the manual are subject
to adaptation, especially when extreme tempos, slow or fast, are considered. A few examples of
this scenario are included in the manual. However, as one becomes more involved in the art form of
progressive marching, one will discover a possible need to alter the techniques that might not be
mentioned in this text. The final point is that one considers marching technique that makes an
ensemble's execution as effective and efficient as possible without being unnecessarily tedious.

Enjoy the manual as well as the thought-provoking quotes at the end. Happy marching!

BODY PO STURE

heels together with balls of the feet separated to form a v-shape

knees not locked; relaxes by not bent
hips back, but not sticking out
stomach tall
chest out
shoulders relaxed and back
instrument not too far from body
elbows should be out at all times, slightly more than 90 from elbow to elbow
chin should be level with marching plane
mouth should be closed
plumes vertical

COMMANDS WHILE STANDING FA ST

ATTENTION:
When called to this command, respond by vocalizing the sound, "TST" once as shortly and loudly as
possible on the following count after the command is given. Refer to the following guidelines below
as standard checkpoints regarding the attention position and overall excellent body posture:

1. Heels are together with toes apart and the knees are slightly bent and relaxed.
2. The torso is lifted with the hips and shoulders back, creating a squared look without
tension.
3. The head is angled straight ahead and the chin is parallel to the marching plane.
4. The physical execution needs to be confident, strong, intense, yet simple and
relaxed.

When not using an instrument or equipment, the arms should drape by the sides of your body with
a natural bend in the elbow. The hands are in a fist position with the thumbs facing forward and the
fists centered on the seams of the pants.

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(READY) SET:
This command can be used at any time as a quick way of continuing a rehearsal or performance.
When given this command, respond immediately with no regard to tempo of the command by
assuming the previous set of directions given.

AT EASE :
A command that can be used at any time but is most often used after the attention command or
after a run through during rehearsals. The performer responds immediately with no regard to
tempo of the command by relaxing without talking or leaving their spot on the field.

PARADE RE ST :
This two-count command is similar to the at ease command, although generally used in a more
formal setting such as performances. Respond by vocalizing the sound "TST" once as shortly and
loudly as possible on the count after the command is given. The left leg moves out shoulder's
width apart with the toes in third position. For upper body position, refer to the staff. When not
using an instrument or equipment, bring both hands together centered in front of the body, with
the right hand in a fist and the left hand covering the right hand, allowing the arms to drape
naturally. Regardless of whether or not an instrument is used, refer to the following guidelines
below as standard checkpoints regarding overall body posture:

1. The torso is lifted with the hips and shoulders back, creating a squared look without
tension.
2. The head is angled straight ahead and the chin is parallel to the marching plane.
3. The physical execution needs to be confident, strong, intense, yet simple and relaxed.

HORNS UP:
This one-count command is executed from the attention position. Respond by vocalizing the sound
"TST" once as shortly and loudly as possible once on the following count after the command is
given. Snap the instruments up to the proper playing angle as designated by the staff. Refer to the
following guidelines below as standard checkpoints for overall body posture:

1. Heels are together with toes apart and the knees are slightly bent and relaxed.
2. The torso is lifted with the hips and shoulders back, creating a squared look without
tension.
3. The head is angled straight ahead and the chin is parallel to the marching plane.
4. The physical execution needs to be confident, strong, intense, yet simple and
relaxed.

HORNS DOWN :
This one-count command is executed from a playing position. Respond by vocalizing the sound,
"TST" once as crisply as possible on the following count after the command is given. Snap the
instruments down to the proper attention position as designated by the staff. Refer to the following
guidelines below as standard checkpoints for overall body posture:

5. Heels are together with toes apart and the knees are slightly bent and relaxed.
6. The torso is lifted with the hips and shoulders back, creating a squared look without
tension.
7. The head is angled straight ahead and the chin is parallel to the marching plane.
8. The physical execution needs to be confident, strong, intense, yet simple and
relaxed.

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DRE SS LEFT/DRE S S RIGHT/DRE SS CENTER:
This two-count command is executed from an attention position and is used to help align the
spacing, interval, distance, cover, and dress of a formation. This is one of the few commands where
body motion is acceptable in order to improve formations. On beat one, the instrument is snapped
up to playing position. On beat two, the head faces toward the direction of the command or dress
preference. On beats one and two, add the crisp, vocal responses, "TST". Refer to the following
guidelines below as checkpoints for overall body posture:

1. Heels are together with toes apart and the knees are slightly bent and relaxed.
2. The torso is lifted with the hips and shoulders back, creating a squared look without tension.
3. The head is angled straight ahead and the chin is parallel to the marching plane.
4. The physical execution needs to be confident, strong, intense, yet simple and relaxed.

HEAD S FRONT:
This one-count command is executed from a dressing position and is used to return back to the
previous position while leaving the instrument in playing position. On beat one, the head returns to
the previous position. Add the command, "TST" to the body movement. Refer to the following
guidelines below as standard checkpoints for overall body posture:

1. Heels are together with toes apart and the knees are slightly bent and relaxed.
2. The torso is lifted with the hips and shoulders back, creating a squared look without tension.
3. The head is angled straight ahead and the chin is parallel to the marching plane.
4. The physical execution needs to be confident, strong, intense, yet simple and relaxed.

COMMANDS IN MOTION

MARK TIME :
This execution consists of marching in place by always keeping the toes on the marching plane and
lifting the heels high enough to make contact with the angle bone of the opposite foot. Start with
the left foot and march to the tempo of the music. The execution needs to be confident, strong,
intense, yet simple and relaxed.

THE STEP OFF :

In most cases, the step off leads with the left foot. The first step should land directly on beat one
with the heel. The foot should not come off of the ground very much at all on the first step.
Instead, a more straight leg approach with little bend in the knee is preferred. The weight of the
body should go with the lead foot, not before or after. At the completion of the first step, the
weight of the body should be in between the left and right food while keeping exactly the same
upper body posture. The first step needs to be confident, strong, intense, yet simple and relaxed.

In situations where the tempo is below 144mm, initiate the execution one/half beat before count 1.
In situations where the tempo is above 144mm, initiate the execution one beat before count 1. In
all situations, make sure to use the full value of time to execute and start and end together.

It is the first step that gives the step size and the path from which to follow and needs to be
precise. For example, if you have a line of marchers in a perfectly straight line and they all step off
with slightly different step sizes, their line is already crooked from the very first step and
adjustments have to be made on the move. However, if all members step off the same step size,
the line will be straight and only needs to be maintained on the move.

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 Example of an incorrect step off:

Example of a correct step off:

FORWARD MARCH/GLIDE STEP:

This command initiates forward marching. It most often follows four counts of mart time and
continues with the left foot alternating with the right foot to the tempo of the music. While in
motion, the foot should roll from the heel to the toe and alternate with both feet as smoothly as
possible. The upper body should be completely void of any lower body movement if this command
is done properly.

The easiest way to learn the technique of forward marching is to see it as an extension of walking
with the following refinements:

1. The heel is the timekeeper. It hits the ground on every beat.

2. On every step (every beat) both of the legs are straight.
3. On every step, the toes are lifted up higher than in normal walking.
4. The upper body is neither leaning forward, nor backward, but always erect with the same
good posture.
5. The feet are placed down parallel to the path taken. No feet should be turned out or in, i.e.:
pigeon-toed marching.

Think about driving each step with the ankle and keeping the weight of the body over the lead food.
Careful not to lean forward. Strive for a relaxed feel with a strong look. The relaxed feel comes
from the fluidity of the feet and the weight of the body in a controlled momentum. The strong is
achieved with strong upper body posture and unified technique.

HALT:
A term simply used to stop a moving command such as mark time, forward march, backward march,
and the like. It is completed in two counts following the command by planting the right foot on
beat one and bringing the left foot, heels together-toes apart.

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B ACKWARD MARCH:
This command initiates backward marching. It can follow four counts of mark time and continues
with the left foot alternating with the right foot to the tempo of the music. When executing at a
moderate or fast tempo, the left toe grazes the marching plane backward without the left heel ever
touching the marching plane. While in motion, both feet alternate using as smooth of an execution
as possible. The upper body should be completely void of any lower body movement if the
execution of the command is done properly.

The easiest way to learn the technique of backward marching is to consider the following
refinements:

1. The ball of the foot, called the platform, is the timekeeper. It hits the ground on every beat.
2. On every step (every beat) both of the legs are straight.
3. On every step, unless otherwise indicated, the heels do not touch the marching plane. As
one executes backward marching, the body is lifted to a higher platform.
4. Slow tempos may require that the heels be used in some instances. In such cases, the toe
remains on the marching plane and the legs remain straight on every beat.
5. The ankle drives the step and no noticeable lifting of the foot off the ground should occur.
6. The feet are placed down parallel to the path taken. No feet should be turned out or in, i.e.:
pigeon-toed marching.

PREP STEPS (DIRECTION CHANGE S ) :

Prep steps are easy to execute and should make marching more fluid, relaxed, and less stressful.
When done correctly, prep steps eliminate the rigidity of pivoting and whipping the lower body in
the new direction of march. Furtermore, by eliminating the popping of the turns from certain
performers, the ensemble looks more unified. The prep step occurs on the last count before a
direction change and makes turning very easy. It involves turning the foot toward the new direction
of march on the count previous to the direction change. There are two kinds of prep steps: the roll
through, and the stab.

1. Roll-through prep st ep (Used when going from a forward march to another

forward march change of direction). The foot rolls from heel to toe as it would
normally on a forward march. If one is going straight and want to turn right after
four counts, the last step will be with the right foot. Instead of placing the last step
forward like all of the others, simply angle the right foot half of the angle that the
new direction change occurs. For example, if the turn is 90, then prep the last step
at a 45 angle.

= foot placement and toe

direction. Note: The heel of the right
foot stays in the line of path while the
rest of the foot turns out.

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 2. S t ab prep step (Used when going from forward to backward marching or backward
to backward marching. The foot does not roll through. Instead, the ball of the foot
is first to touch the marching surface. The leg that stabs extends straight out and
stops the momentum of the body in order to make a direction change.

If a marcher is going
backwards to backwards, stab
If a marcher is going on the transition step at about
forward to backwards, stab half of the angle of the direction
on the transition step at change.
about half of the angle of
the direction change

HORNS TO THE BOX

This is a performance concept easily added to one's marching technique, yet it makes a drastic
improvement on the overall appearance and sound of the ensemble. While marching drill, the
instruments are at an angle higher than parallel and not straight to the sideline. Each individual's
angle is slightly different according to field placement. This solves several problems. When on the
field, the entire ensemble is facing the same direction with the horns, usually the (press) box. It
helps unify the sound and balance problems are minimized. Performers can solve their own
questions regarding instrument directions when learning drill if they know that the goal is always to
face the box. The same idea of facing the shoulders to the form in the circle drill applies here.
From the audience (press box/center of the stands), everyone is facing in with the shoulders and it
creates a much more uniform look. Try to notice this when watching other ensembles perform.
Notice the difference between horns to the box compared to flat to the front.

Make sure that if performers are marching horizontal across the field with the horns to the box,
there should be a marching/body direction change at the 50-yard line. For example, if the
ensemble is marching from side one to side two, they need to make a transition from forward to
backward marching as they cross the 50-yard line. This is necessary because those standing with
their lower bodies facing away from the 50-yard line would have to twist their upper body too far in
order to face the box.

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 FOCALIIZNG A FORM

The focalizing concept is very effective when attempting to clean a curvilinear form. Drill basically
cleans itself if the performers take advantage of this technique and adjust noticeable
inconsistencies. When stopping on a curved form of drill, the students should take time to set and
fix the form by focalizing. All that the students really need to do is face the inside of the curve so
that their feet are perpendicular to the arc and in a consistent interval according to the form.

If a specific performer has an critical coordinate, such as a yard line, the rest of the ensemble
should adjust to the critical coordinate. Prior to continuing, if time allows, the entire ensemble
should turn back and face the direction from which they came, see how it looks, and then either
reset, or continue. Many ensembles frequently do this when they reset a form or stop on a form.

INDIVIDUAL RE SPONSIBILITIE S IN FORMATION MARCHING

At any time, a performer may be responsible for one or more of the following applications when
marching in formation.

INTERVAL : The space to the left and right of the marchers(s) standing next to you.
DISTANCE : The space between you and the marcher directly in front of you.
COVER: Standing directly behind the person in front of you in your file at any given distance.
DRE SS : Aligning the row of marchers usually to one person at the center, left, or right to create
the desired shape; arc, or line.
STEP SIZE : A responsibility usually given to one person and all other marchers are asked to dress
and adjust distance from that person.

In a block, various members hold different responsibilities depending on where they are in the block.
For example, if the block is either moving straight forward or backward, then

Marcher 2 Marcher 2 Marcher 1 Marcher 2 Marcher 2

Marcher 4 Marcher 4 Marcher 3 Marcher 4 Marcher 4

Marcher 4 Marcher 4 Marcher 3 Marcher 4 Marcher 4

For everyone, the dress is to the center person. Refer to the diagram above.

Progressive Marching Techniques, Page 9

Marcher I: is responsible for the step size of the entire block. They set the pace for everyone to
guide from. It is crucial for this marcher to maintain a consistent step size and maintain a
consistent path, whether it is curved or straight.
Marchers 2: have two responsibilities; to maintain the cover, and to maintain the distance. It is
important for these marchers to maintain the distance because the individuals to the left and right
of them are keeping the dress on them. If they are wrong, then their entire line is wrong.
Marchers 3: also have two responsibilities; to maintain the cover, and to maintain the distance. It
is important for these members to maintain the distance because the individuals to the left and
right of them are keeping the dress on them. If they are wrong, then their whole line is wrong.
Marchers 4: have two responsibilities; to maintain the dress to the center and to maintain cover.

Marcher 2 Marcher 2 Marcher 2 Marcher 2 Marcher 1

If the block shifts to slide to the right on forward, the responsibilities change.

Marcher 4 Marcher 4 Marcher 4 Marcher 4 Marcher 3

Marcher 4 Marcher 4 Marcher 4 Marcher 4 Marcher 3

For everyone, the dress is no longer to the center; it is to the right. Refer to the diagram on the
previous page.

Marcher 1: now has the responsibility to set the consistent step size. That performer also needs
to travel on a consistent path.
Marchers 2: have two responsibilities; to maintain the interval and keep the dress to the right.
Marchers 3: also have two responsibilities, to maintain the distance and keep the cover.
Marchers 4: have two responsibilities: to keep the dress to the right and maintain cover.

If the block is sliding to the right on a backward march or sliding left on a forward march, then

For everyone, the dress is to the left. Refer to the diagram below.

Marcher 1: now has the responsibility to set the consistent step size. That performer also needs
to travel on a consistent path.
Marchers 2: have two responsibilities; to maintain the interval and keep the dress to the left.
Marchers 3: also have two responsibilities, to maintain the distance and keep the cover.
Marchers 4: have two responsibilities: to keep the dress to the left and maintain cover.

Progressive Marching Techniques, Page 10

 Player 1 Player 2 Player 2 Player 2 Player 2

Player 3 Player 4 Player 4 Player 4 Player 4

Player 3 Player 4 Player 4 Player 4 Player 4

In all cases regarding formation marching, marchers should know the responsibilities that they and
all others have. In a box (block) drill, the responsibilities change several times. For each change,
the marchers' eyes need to move to see what they need to look for and adjust to. If every marcher
is doing their job and keeping their responsibilities and using consistent marching technique,
fluctuation in the shape of the box throughout the exercise will be minimized.

TECHNIQUE-BASED EXERCISE S

The following is an exercise towork on the prep step and the changing responsibilites in a block in
motion.

B LOCK DRILL S: Two series of turns that work every possible turning situation for the marcher.
Therefore, every prep step can be worked on and every change in block responsibility is introduced.

Block A Series to the Right : Four directions to make a box to the right.

Direction 1: forward march, 8 counts,

Direction 2: forward slide to the right, 8 counts,
Direction 3: backward march, 8 counts,
Direction 4: backward slide to the left, 8 counts

All executions should use sliding technique (facing forward/the same upper body direction).
After 8 counts of mark time, the block is repeated to the left.

Block A Series to the L eft: Four directions to make a box to the left.

Direction 1: forward march, 8 counts,

Direction 2: forward slide to the left, 8 counts,
Direction 3: backward march, 8 counts,
Direction 4: backward slide to the right, 8 counts

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All executions should use sliding technique (facing forward/the same upper body direction).
Refer to the diagram below for the Block A Series to the right and left.

S Direction 6: R R Direction 2: S
Forward Slide Forward Slide

Direction 7: Direction 1, 5: Direction 3:

Backward March Forward March Backward March

Direction 8: Direction 4:
S Backward Slide S S Backward Slide S

START
Watch for proper prep step when executing the block drill:

Roll (R) through from direction 1 to direction 2.

Stab (S) from direction 2 to direction 3.

Stab (S) from direction 3 to direction 4.
Stab (S) from direction 4 to direction 5.
Roll (R) through from direction 5 to direction 6.
Stab (S) from direction 6 to direction 7.
Stab (S) from direction 7 to direction 8.
Stab (S) from direction 8 back to direction 1.

Make sure on each direction change that marchers change the dress and adjust to the
different responsibilities that go along with the block direction changes. The prep step is
crucial at rapid tempos for easy hip shifts and smooth, flowing transitions. In each direction,
maintain upper body presence; the shoulders should remain facing the front at all times and
there should be no movement of the shoulders on direction changes.

Block B Series: This block series consists of the same directions as Block A. The only
difference is the lower body direction of march on the prep steps.

Direction 1: forward march, 8 counts,

Direction 2: backward slide to the left, 8 counts,
Direction 3: backward march, 8 counts,
Direction 4: forward slide to the right, 8 counts

Progressive Marching Techniques, Page 12

 S Direction 6: S S Direction 2: S
Backward Slide Backward Slide

Direction 7: Direction 1, 5: Direction 3:

Backward March Forward March Backward March

Direction 8: Direction 4:
S Forward Slide R R Forward Slide S

START

All executions should use sliding technique (facing forward/the same upper body direction).
Refer to the diagram below for the Block A Series to the right and left.

CIRCLE DRILL :
The circle drillhelps with the more fluid shapes that are evident in today's drill. It helps marchers
learn how to:

easily clean forms by simply focalizing,

be aware of their upperbody posture on slide maneuvers,
adjusting intervals to create equal spacing when the intervals fluctuate in a move,
work foot technique in order to keep the form consistent throughout the entire exercise.

A circle needs to be painted on the field fifteen yards in diameter. It will accommodate up to 60
marchers. For ensembles with more than 60 members, either introduce the drill in smaller quantities
or paint 2 circles. Divide the total amount of marchers, up to 60, by 4 and up an equal amount of
individuals in each quadrant on the line facing in to the circle. Atempt to place good marchers
equally in each of the 4 quadrants.

Have the marchers adjust their feet looking left and right to achieve equal spacing. Once they have
finished dressing the circle, call them to attention have the staff make any adjustments necessary
in order to achieve accurate spacing. Make such adjustments from the focal point (center of the
circle). Keep in mind that corrections as minute as 1/4" are important. Also, marchers should be
aware that when one individual makes an adjustment in a given direction, that others in that same
direction should continue to make 50 % adjustments less than the person who precedes them until
corrections are no longer evident. Finally, once the spacing is properly established, make certain
the entire ensemble takes a mental snap shot of what the form looks like in attempt to achieve
similar results, more efficiently, in future opportunities.

Progressive Marching Techniques, Page 13

The marchers need to be aware that the form, like any form in the show, is connected by the
shoulders and upperbody of the individuals in the form. This is where the importance of marching
with shoulders flat to the front comes in to play. Ask them to feel the form connected by the front
of their body and shoulders. Quite often, forms do not look clean because the shoulders are
inconsistent rather than because the feet are in the wrong place. The concept of connecting to
each other will force the ensemble to always keep in mind how to shape a form on the field.
Learning and cleaning of forms and transitions will occur more efficientlyOnce the circle is dressed,
begin the drill sequence:

Instruction 1: mark time 8 counts

Instruction 2: backward march away from the focal point, 8 counts (stab on 8)
Instruction 3: forward march towards the focal point, 8 counts (stab on 8)
Instruction 4: backward march away from the focal point, 8 counts (stab on 8)
Instruction 5: forward slide to the right/left along the circle's path, 16 counts (stab on 16)
Instruction 6: backward slide along the circle's path, 16 counts (stab on 16)
Instruction 7: forward march towards the focal point, 8 counts (stab on 8)
Instruction 8: mark time 8 counts (adjust spacing while marking time)

Focal point

Every student has three responsibilities:

1. Face the focus; the shoulders should be facing the focal point at all times.
2. Arc dress; be able to maintain the arc shape in the circle between the marchers.
3. Interval; keep the interval in the expansion and contraction of the circle. The interval
should change with every step from every marcher. Achieve this by making a
straight path to the focal point.

The interval will break down at the changes in direction. This is where marchers can easily see how
imiportant proper foot placement on the prep step and first step of the transition is to the effect of
a form. Stop the ensemble after the first eight count expansion and see if they can adjust to make
a clean form with the paint under their feet. Have on quandrant at a time to perform the exercise
for the other three. Ask the observing members the following questions:

1. Were there inconsistencies in spacing and , if so, when did they occur?
2. Were there inconsistencies in spacing and, if so, why did they occur?
3. Did individual marchers move their shoulders on the direction changes?
4. Did the marchers make corrections in interval flaws on the mark time at the end?

Progressive Marching Techniques, Page 14