Redcoat

Band Marching Technique Manual

"Consistency is everything."--Scott Hamilton

Posture, Horns Up, and Marking Time

Standing up (posture)

The ability to stand up correctly is an essential component of both playing and marching
that must be mastered. "Slouching" and "leaning back" can put unwanted strain on the
diaphragm and upper airway, which distorts the sound and look of the Redcoats. Each
individual must learn how it feels to stand up properly and use these words only as a tool
to enhance your understanding of correct posture. You will find that standing up properly
will make it easier to hold the horn and play for longer periods of time. Always
remember to stay relaxed!! Keep your toes and heels together at all times, as though you
are wearing skis.

Feet together (heels and toes together)

Weight is distributed equally throughout the feet
Hips are centered above the ankles
Pelvis is centered (NOT slightly back as in anatomical position)
Spine is extended through the sternum (lift up)
Shoulders are relaxed, slightly back, and aligned through the lower back
Head is facing forward, chin up slightly
Remember to always look good!!!!!!!!!!!!
o (This means standing up in horn arc and while practicing at home)

Attention

The body should be in attention position with the defined posture.

The horn should be held parallel to the body two fists width away from the chest.
o Saxophones hold the instrument parallel to the ground with the bell
down and mouthpiece up.
The mouthpiece should be at eye level so that the performer can look across the top
of the mouthpiece.
The horn should be gripped with hands in playing position so that the hands are set
 after the horns go up.
Horns Up

The horns-up is a snapping motion from attention to the up position in one quick
movement.
o Movement should begin on the and of 4.
o The call for horns up is a part of a two-measure count off. There are
whistles on counts 1 and 3 of the first measure and the horns snap up on
count one of the second measure. (Tweet-2-Tweet-4-UP-2-3-4-PLAY)
o Slow horns up: the horns come up slowly with the drum majors hands.
The instrument should be 20 degrees above parallel from the ground at all times.
The hands should be relaxed on the instrument making sure to avoid gripping the
instrument tightly. Avoid tension.
The forearms and elbows should be at 45-degree angles creating a 90-degree angle
from elbow to instrument to elbow.
Horns-down is achieved by performing the same actions in reverse.

Marking Time

Start with heels and toes together (feet together)

The toe or platform of the foot stays on the ground
Starting the mark time
o The knee and heel initiate the movement.
o Movement starts on beat 4 for tempos at or above 120-bpm and on the
and of 4 for tempos slower than 120-bpm
The heel lifts off the ground to just below the other ankle (approximately 1 inch)
The foot should be flat on the ground on the beat.
The knee should be bent slightly with the heel off the ground (approx. 1 inch) on
the and counts.
Control the upper body to avoid swaying during the mark time. Control is achieved
through lifting from the center of the body.
While rehearsing music in arcs, mark time during the music segments that
correspond to your movement on the field.
 Forward, Backward, and Slides

Marching Forward

The first step or an 8-to-5 step is 22.5 inches.

Every step leads with the bottom of the heel and foot.
Pushing off with the platform of the right foot begins momentum
o Avoid leaning into a step-off.
When you are stepping off all of the force of energy should drive through the left
heel going forward and the right foot pushing into the ground from the platform.
The entire foot should glide across the field giving the illusion of cross- country
skiing.
o Each foot should travel forward on its own plane parallel to the other
foot.
o The foot should glide just above the surface rather than drag through the
surface.
o Toes up become a byproduct of driving the foot from the heel.
o Avoid pounding the heel into the ground.
Roll through the center of the foot as you move forward. This allows for greater
control of the upper body and aids smooth playing.
On each beat the legs should be relatively straight
On the and count as the ankles cross the leg will have a natural, slight bend.
While moving performers should maintain control of the upper body as defined for
attention and posture.
o Consider the idea of lifting up from the center of the body or core to
help achieve independence of upper and lower body.
o This will help us look and sound better.

Halting from a Forward March

The forward halt is a two-step process of planting and closing.

When moving forward one prepares a halt by placing heel of the plant-foot as a
normal forward-march step.
The plant-foot starts with the toe lifted on the beat and rolls through the center of
foot until all of the foot is in contact with the ground.
o The front of the foot should be down on the and count.
o All forward motion of the body should end by the and count.
The halt-foot continues motion as defined by the forward-march but travels only
half the distance as it closes next to the plant-foot.
o The halt-foot actually slows momentum while the pace or tempo
remains the same into the close.
o The close is a return to the foot placement defined in the attention
 position.
o In an 8-to-5 step the closing-foot only travels 11.25 inches.

Moving Backwards

The first step or an 8-to-5 step is 22.5 inches.

Each step leads with a straight leg from the back of the knee.
Pushing off with the platform of the right foot begins momentum
o Maintain proper posture throughout the backward march
o Avoid leaning back into a step-off.
o In fact, a slight forward lean of the upper body will help to counter
balance as you move backwards.
When stepping off, the energy of the right foot pushing into the ground should
propel the body backwards. The left leg will reach back and remain straight
giving the legs the image of an inverted V.
When moving backwards the performer will move with heels lifted off the ground.
o The motion from heels on the ground to heels off the ground is achieved
in a single movement as the momentum of the body pushes backwards
(lifting as we move) rather than up and then back (lifting before we move).
The platform of the foot should glide across the field giving the illusion of cross-
country skiing in reverse.
o Each foot should travel backward on its own plane parallel to the other
foot.
o The toe should glide just above the surface rather than drag through the
surface.
o The heel of the foot should remain slightly elevated giving enough
room for the ankle to cushion each step without the heel touching the
ground. This allows for greater control of the upper body and aids smooth
playing.
During all parts of the backwards march the legs should remain relatively straight
While moving performers should maintain control of the upper body as defined for
attention and posture.
o Consider the idea of lifting up from the center of the body or core to
help achieve independence of upper and lower body.
o This will help us look and sound better.

Halting from a Backwards March

The backward halt is a two-step process of planting and closing.

When moving backward one prepares a halt by placing the platform of the plant-
foot as a normal backward-march step.
The plant-foot starts with the heel lifted on the beat and rolls through the center of
foot until all of the foot is in contact with the ground.
 o The heel of the foot should be completely down on the halt count. (NOT
THE SAME AS THE FORWARD)
o Backward motion will continue until the halt count.
The halt-foot continues motion as defined by the backward-march but travels only
half the distance as it closes next to the plant-foot.
o The halt-foot actually slows momentum while the pace or tempo
remains the same into the close.
o As the feet close there is a toe-to-heel motion returning heels of each
foot to the ground. This motion is down-and-back rather than back-then-
down.
o The close is a return to the foot placement defined in the attention
position.
o In an 8-to-5 step the closing-foot only travels 11.25 inches.

Slides: (The method of movement for side to side travel on the field.)

During slides shoulders are always square or parallel to the sidelines.

Shoulders parallel to the sideline; hips on a 45-degree angle with the sideline; feet
on a 90-degree angle with the sideline.
During a right forward slide, pull the left shoulder back and left hip back.
During a left forward slide pull the right shoulder and right hip back.
Remember to rotate your hips.
o During a forward slide there is a tendency for the individual to drift
forward. Keep this in mind. If you are marching in a slide correctly it will
feel slightly awkward (like your feet/legs are slightly crossing over).
o Practice slides on a line.
Always keep your shoulders down and relaxed.
The same concepts apply for backward slides.

Foot Placements and Change of Direction

Foot Placements

Foot placements determine the direction of the next move.

The placement of feet helps to smooth a direction change and allow the performer a
full step in the new direction.

Change of direction

A Change of direction from Forward to Backward marching

o The Redcoats use a rock-step to change direction from forward to
 backward march.
o On the last step of a forward march before a change of direction, the
performer should place the platform of the foot on the ground rather than
the heel.
o The first step of the back march will essentially have the left foot
placing on the same spot it was with the performer on the platform of the
left foot.
o By the end of the first step the performer should be on the platforms and
would then follow the principles of backward marching.
A Change of Direction from Backward to Forward marching.
o The Redcoats use a rock-step to change direction from backward to
forward march.
o On the last step of a backward march before a change of direction, the
performer should place the platform of the foot on the ground. (A normal
back step)
o The first step of the forward march will essentially have the left foot
placing on the same spot it was with the performer on the heel of the left
foot.
o By the end of the first step the performer should be on the heel of the
left foot and the platform of the right foot and would then follow the
principles of forward marching.

Exercises

The HINDU or POSTURE BREAKDOWN (Equal space in time, separation of body

parts, relaxation, posture)

The Hindu or Posture Breakdown is an exercise that is used as a tool to help one
understand how it "feels" to stand up correctly while creating a uniform posture
throughout the ensemble. Here it is:

1. Stand with feet shoulder width apart

2. Align hips over ankles and shoulders directly over the hips
3. In counts of "4" begin by moving the chin directly to the chest. Remember to take the
whole 4 counts when moving from landmark to landmark. Each landmark is a change of
speed.
4. Next roll shoulders straightforward keeping the shoulders down.
5. Upper back: push straight down with your hands towards the ground until only the
upper half of your back is bent. Remember to not release your hips at this point and keep
them rolled forward.
6. Lower back: still keeping hips rolled forward slightly (this helps keep the lower back
straight and extend the lower vertebrae.)
7. Now release hips as you bend knees and dangle arms towards the ground. Do the
opposite on the way back up and add "4" counts to move arms to playing position and
feet together. Remember to STACK and EXTEND THE VERTEBRAE (having as much
space as possible between vertebras) on the way back up. You should feel taller and your
back should be perfectly straight. Hips are rolled forward. The sternum and ribs are lifted
off the diaphragm. Shoulders are slightly back. If you are standing up properly you will
feel like you are slightly leaning forward. Check your lower back to see if it is straight
with your hand (MIRRORS ARE GOOD ALSO TO CHECK HOW YOU LOOK). There
is a difference between feeling like you have the correct posture and actually having it!!!

Figure 8 Block

The figure-8 block combines the forward, backward, and slides techniques.
The step size is 8-to-5.
It starts at attention with a two measure horns up whistle.
The step off of the move is the first count following the two measure count-off.
The directions are as follows:
o Forward Left Back Right Forward Right Back Left Halt
o Sometimes we may add the following to the end of the exercise:
Forward rock-step Back Rock-step Forward Halt
Keep all aspects of the marching technique in mind throughout the exercise.
A chart with the foot placements for the exercise is below.
 Feet also tend to be slow in changes in direction. Undershooting a step size is t
reason for interval/spacing discrepancies in the drill. Each step size must be of e
length when marching from set to set. Remember to not overcompensate and t
big of a step too fast!

Across the Fields

- 33 -
The Across the Field exercise combines the forward, backward, and slides
techniques.
The step size is 8-to-5.
The band should face the end zone to begin the exercise.
It starts at attention with a two measure horns up whistle.
The step off of the move is the first count following the two measure count-off.
The directions in 8 count segments and are as follows:
o Forward Left Slide Back Right Slide Back Back Left Slide
Right Slide Forward Halt
o The performer continues motion in the same direction as he/she started
throughout the move despite the direction he/she is facing at any point in
 time.
There are special foot placements for the lower body direction changes in the
exercise.
o When changing from forward left slide to back right slide.
On count 7, place the left foot on a 45-degree turn with the toe of
the foot turned out toward the front sideline.
On count 8, place the left foot on a 45-degree turn with the toe of
the foot turned in so that the two feet are placed with toes close
and heals apart.
Shift the hips to parallel with the front sideline on count 8
On count 1 place the left foot back to parallel with the front
sideline.
On count 2 the right foot becomes parallel to the sideline
o When changing from back left slide to forward right slide
On count 8, place the right foot on a 45-degree turn with the toe of
the foot turned in toward the center of the body.
On count 1, place the left foot with the toe turned out (both feet
should be in open second position) with the hips parallel to the
sideline and standing on both platforms.
On count 2, the right foot should swing over the left and land on
the ground heel first (forward marching).
On count 3, the left foot should place heel first as both feet are
parallel to one another with the lower body in forward slide.
Keep all aspects of the marching technique in mind throughout the exercise.

General Points to Remember

When setting a position on the field the ankle is our personal point of reference.
o For instance, if your spot is on the front hash, your ankles should be on
the center of the white hash mark.
Instruments and shoulders remain squared to the front unless otherwise directed.
Keeping your shoulders squared can be aided by keeping the navel as close to 45
degrees and the hips rotated during a lateral slide.
Controlling the weight of the body and proper foot placements are the keys to
flawless direction changes and spacing.
Always roll through the center of your feet when marching forward.
Always stay up on your toes/platforms with legs as STRAIGHT AS POSSIBLE
when marching backward.
 Keep your upper body as motionless as possible.
Keep your mouthpiece on your lips in proper playing position at all times.
Practice how you perform.
Practice with the thought in mind that you will perform for over a million people
this year at games and exhibitions.
Stay relaxed: As a general rule, tension is your enemy