West Salem Marching Band

2 0 1 0 V I S U A L T E C H N I Q U E A N D E N S E M B L E P RO G R A M

CONTENTS
Introduction
Why We Do So Much Ballet
Program Over view: The Big Picture

Technique
Posture
Warm Up

Warm Up 1: Upper Body

Warm Up 2: Lower Body
Foot Articulation 1: Definition
Laying Stretches

Abdominal Exercises
Floor Barre
Supine
Prone

Standing Center

Foot Articulation 2: Agility

Balance: Coup-Fondu

Across the Floor

Prances
Ballet Walks
Jazz Run Sequence
Pas de Bourre
Forward/Backward Technique
8s and 4s
Torso-Twist (Winds Only)
Slides
Hip-Shifts

Crab Technique

Initiating Lateral Motion

Obliques
Crabbing at Angles: Which Foot Leads?

Ensemble
Diamonds
Boxes A and B
Zig-Zags
Zig-Zags 2
Circle Drill
Snowcones
Echelon

Drill Concepts
Determining Step Size
Common Step Sizes
Drill Learning Exercises
How to Assemble Your Dot Book

Rehearsal Etiquette
Rehearsals
The Rehearsal Mode
Typical Procedures
Adding Music to Drill

INTRODUCTION
Our approach to the visual caption is all about creating a certain look. That look is defined
by demonstrating strength, achieving graceful body lines, moving through each phrase with
intent and purpose, making the show look easy, and having a presence on the field thats easy to
recognize but impossible to describe.
As visual performers, our performance medium is physical in nature. This may seem obvious, but
often we place too much emphasis on what we think or feel or believe. However, our audience
cannot see into our head, heart, or soulthey can only see what we do and how we do it.
Correspondingly, this guide uses a mix of kinesthetic and metaphorical imagery to help convey
concepts in a visual and physical way.

WHY WE DO SO MUCH BALLET

The way muscle groups and body awareness are developed in ballet exercises offers an excellent
means to effectively and efficiently create the look were after, while covering the full range of
physical conditioning in a way that is relevant to our marching technique. Our goal is to move
well as humans first, then apply those movement concepts to our marching.
You may have heard this distinction between marching well and moving well before. For our
purposes, this is the difference: Marching well means separating the upper half from the lower half;
moving well means integrating the upper half with the lower half.
Can we do both, march well and move well? Absolutely. The biggest difference has to do with
the approach, treating each exercise as a holistic, full-body experience rather than having separate
exercises for the upper- and lower-half.
Utilizing dance techniques might be a different experience for you. Traditional marching band
instruction tends to focus on uniformity over technique, setting the bar fairly low so that
everyone can achieve a technique with relative ease. This technique program, while not ignoring
uniformity, will challenge everyone to achieve at a higher level.
The concepts found here are specific to a certain technique and, when applied correctly, will
further develop that technique through a combination
of movement training, body awareness, and
strengthening and flexibility exercises. None of the
Practice is a means of inviting
dance work we do is superfluousevery technique
the perfection desired.
and exercise applies directly to some aspect of your
Martha Graham
field show.

PROGR AM OVERVIEW: THE BIG PICTURE

In addition to the meat of the visual program, we want everyone to understand our goals for
the season so it is clear how each part of what we are doing fits into the broader organizational
picture.
Our approach to organizing the visual program this season uses a framework of Goals,
Objectives, Strategies, and Tactics (GOST).

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GOST Outline
Goal: Look great during every visual phrase in the show
Never have phrases or individuals that look bad, weak, or out of control
Display clearly evident training and achievement of training at all times
Maximize the uniformity of technique and movement across the ensemble
Always attain the highest level of ensemble clarity
Objectives
Achieve more challenging exercises in basics than called for in the show
Perform exercises at faster tempos than called for in the show
Look at least as good during basics exercises as we want to look in the show
Strategy: Have a great fundamentals program that relates to the current and future shows
Fundamentals of technique
Fundamentals of movement
Understanding of ensemble concepts
Tactics
Demand individual and ensemble quality from every repetition
Sometimes fundamentals exercises should push us beyond our comfort zone, especially in terms of
movement and ensemble competencies
Ensure the movement, technique, ensemble, and drill programs complement each other and use
overlapping skill sets
Use the movement program to increase tempos early in the season to begin developing the
dexterity, strength, and stamina needed later

The objectives are easy to conceptualize and achievement can be clearly measured. The tactics
are largely incorporated in this guide and can continue to be reinforced on a daily basis. The
structure of this outline helps to ensure that our daily work fits into our strategy for success and
constantly pushes us toward the achievement of our big-picture goal.
Finally, we work to ensure that the variety of skills
we develop not only fit into a broad strategy, but
that each skill area complements and builds on the
others. Throughout this guide, as well as the season,
you can expect to see our emphasis slowly shift from
purely movement and technique to ensemble concepts
and the drill itself. This shift will occur according to
the ebb and flow of our skill development and the
progress of the season.

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TECHNIQUE
Posture
Standing with great posture is the most important thing we do. Each of our exercises is first and
foremost a posture exercise. If you dont have great posture, nothing else matters.
Begin standing with your feet in parallel and a small space between them. Make sure your weight
is centered between your feet, imagining the center of each foot as the bone leading from your
ankle to the second inside toe. Dont roll your weight to the outside of your foot where your toes
are weaker.
Keep ankles and knees soft but straight. Pelvis should be in neutral position, which means held
perfectly aligned and flat to the ground. Roll your pelvis under your body slightly, trying to point
your tailbone toward your heels. Think of your hips being in a box that sits flat on the ground.
Abdominal muscles should be active and braced, which means sucking in your stomach, trying
to press your belly button back toward your spine to have a flat lower back. Imagine an eye in the
small of your backkeep that eye wide open. Press your lower abs down to keep your hips flat
and stretch your upper abs up to lift your ribcage.

swayed

flat

lordotic

ideal

Center the upper body over your abs, stretching away from your hips and not leaning forward or
back. Try to take up as much space as possible with your upper body, expanding front to back,
left to right, and up. Center your shoulders by slightly pulling them back and down, creating a
long neck. Neck should be relaxed and chin lifted. You should be able to move your head around
without resistance (bobblehead).
Always be conscious of how you carry your body. You should constantly be trying to stretch taller
and expand your chest more. The way you stand is a performance, and it is often the first and last
impression you make on audiences and judges.

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Warm Up
This section outlines a daily workout program. We may not complete the entire routine every
rehearsal, but we will always do at least part of it.

WARM UP 1: UPPER BODY

Begin standing with great posture, feet in parallel and space between them, arms relaxed by your
sides.
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Begin by rolling the shoulders slowly 4 times, then adding in the arms, 4 more times. Then
slowly reach both arms up, grab the left wrist with your right hand and stretch over to the
right. Hold for 2 or 3 breaths then switch.
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Relax the arms and hang over, allowing the knees to bend and stretching the hamstrings
and lower back. Slowly straighten and bend the knees 2 or 3 times. Then straighten the
right leg, twist your torso and stretch up with the right arm. Hold for 2 or 3 breaths then
switch.
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Return to hanging, then roll up and stretch both arms all the way up. Release and return to
the hanging position. Step back with the right leg and bring the knee and top of the foot
to the floor. Gently lunge forward while leaning back with the upper body and relaxing
the arms. After 2 or 3 breaths, sit back on your right foot while straightening the left leg
and flexing the foot. Lean forward slightly for a hamstring and calf stretch. Hold for 2 or 3
breaths before releasing, recovering through the lunge position and returning to hanging.
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Repeat the sequence to the other side, then return to standing and repeat the arm stretch.

WARM UP 2: LOWER BODY

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With feet still in parallel, demi pli 4 times. Tendu forward with the right foot and slowly
roll the ankle 4 times. Repeat left. Now change the feet to first positionturned out from
the hip to a 90 angle. Return to parallel. Repeat 2 or 3 times. Then bring the arms to first
position, then second.
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Demi pli in first, arms emanate to low fifth. Pli again, arms to first, then second. Now
grande pli: heels come off the ground, arms to low fifth, then press the heels away as you
return, arms to first then second. Bend at the waist and stretch over, arms to (upper) fifth
position and roll back up, arms still in fifth. Pli and roll up onto platforms, forced arches,
then straighten the legs to rlev. Return to first, then rlev again. Two more rlevs for a
total of four. Then tendu right to the side and step into second position with the feet, arms
emanate to second.
Port de Bras means carriage of
the arms. Always keep a lifted
chest, long neck, and shoulders
down and back. Keep your arms
slightly in front of you in second
and fifth position, being careful
not to overextend your chest or
back. Allow the arms to move
easily and from your center.

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fifth
first

second

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t
In second position, two demi plis following

the same sequence, then one grande pli,
this time heels stay on the ground. Now
four faster demi plis: hold in pli as arms
go from second to fifth and back, then
straighten. One more grande pli, then
lunge to the right, press out of the right leg
to tendu, and close into first, relax the arms.

FOOT ARTICUL ATION 1: DEFINITION

From first position, take the arms through first to
second.

Pli Technique
Pli means to soften the knees and ankles and
bend the legs. We will mostly use the demi-pli,
which is a half-bend, leaving the heels on the
ground. Movement begins in the inner thigh.
The knees open outward over the toes until the
depth of the demi-pli is reached (determined by
the length of the Achilles tendon). Then the legs
lengthen to the starting position.
It is important that alignment remain intact during
a pli, the pelvis remains in neutral position
and weight distribution in the feet does not
change. You should also feel opposition in your
pli: as you pli down, feel your upper body
stretch upward; as you return to standing, feel
your center press down into the ground. The
movement of the pli should be smooth and
deliberate, without any pauses.

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With the right leg, tendu forward, using a

half-count initiation and hold. Recover to
first, initiating on the and of 1, closing
on the downbeat of 2. Repeat, 3 4. Now
tendu, flex the foot, point, and close (and
5 and 6 and 7 and 8). Repeat the sequence
to the side (in line with turnout), back, and
side. Pli twice in half time, arms follow the
sequence above. Repeat the entire sequence
with the left leg.
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Right leg again, two tendus, then tendu,
turn the leg in to parallel, turn out, and
close. Continue side, back, side.
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Now relax the arms and return the feet to
parallel. Step back with the right leg and
lunge forward, stretching the calf. Hold for
2 or 3 breaths then slightly bend the right
leg, feeling a gentle stretch in the achilles tendon and hold for 2 or 3 breaths. Repeat other
side.
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Now grab the right ankle and stretch your quadkeep the pelvis neutral and a long lower
back. Hold, then repeat left.

L AYING STRETCHES
Begin laying on your back, both feet flat on the floor and arms relaxed to the side. Keep the
lower back flat and aligned, with no space between your back and the ground.
Tendu. Leave all the weight in
the standing leg and stretch
the active leg through the toeball area, then point the toe.
Always keep alignment of the
upper body.

press through the toe-ball

tendu

dgag

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1. Gently pull your right knee to your chest. Slowly make circles with the knee, opening up
your hip flexors. Now, keeping the right hip connected to the floor, grab behind your leg,
flex the foot, and stretch up until the leg is straight. Its okay if you cant lift very highits
more important to have a straight leg right now. As you gain flexibility, you will be able to
lower the leg closer to your chest. Demi pli with the knee, pulling it closer to your chest
and pressing the hip down, then extend again. Hold for
2 or 3 breaths, then release the leg, turn it out from the
Success is not the result of
hip, then cross the ankle over your left knee and pull both
legs toward your chest. Keep breathing and keep the neck
spontaneous combustion.
and shoulders relaxed and back connected to the ground.
You must set yourself on fire.
Release the legs and gently release the foot to the ground,
Fred Sero then stretch the right leg up, and release to the ground.
Repeat the sequence on the other side.
2. Now, take both arms out to the side, palms down, straighten the left leg down and drop the
right knee over your body (to the left), twisting the torso. Straighten the right leg to the side
and stretch out. Increase the stretch by reaching up toward the sky with the right arm, then
leave the lower body there and reach the arm out to the right as far as you can. Follow the
arm with your head.
Release and repeat the entire sequence to the left.

Abdominal Exercises
The abdominals are your bodys core and some of the most important muscles we can develop.
We will strengthen our abs every day. Begin by returning to neutral position, both feet flat, and
aligned lower back. Bring fingertips up behind your head for support.
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Crunches 1: in half time, bring the shoulder blades off the ground in two counts, then
return in 2 counts, 4 times total. Then continue 8 more times in normal time. Then back
to half time, up in 3 counts, down in 1, four times. Then change to up in 1, down in 3,
four times.
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Crunches 2: Everything in two counts, crunch up and lift the right leg. Then left. Repeat
each side. Again right, this time hold in the up position, straighten the leg, return, and
relax. Repeat left, and again right and left. Again right, but now when recovering the leg,
twist the torso to touch the knee with the left elbow. Three more reps, L R L.
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Leg Darts: Continuing immediately, relax the upper body and bring both legs off the
ground, extend one leg and lift the other to pass (toe to knee). Switch the legs quickly
every 4 counts, 8 times. Lift the shoulders off the ground and continue with 8 leg darts.
Now twice as fast, twisting the torso and touching elbows to opposite knees, 8 times (R+L
is one rep).
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Crunches 3: Legs off the ground in tabletop position, 8 crunches, up-2, down-2.
Continue, but now extending both legs together while holding the upper body (up, out,
back, down), 2 counts each, 8 reps.

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Floor Barre
Floor barre exercises are ballet exercises designed
to lengthen and strengthen all the muscles you
use to stand with excellent posture and move with
control.

SUPINE
Begin laying on your back, arms relaxed by your
sides, feeling your entire back, hips, and tailbone
against the ground, abs braced.
Dvelopp. Taking 8 slow counts, slowly lift the
right leg, pass, pointed foot, toe to knee (1 2),
then extend the leg, stretched knee, to the ceiling
(3 4). Flex the foot (5) and continue to press the
heel away as you trace a wide arc down to the
left ankle, not quite to the ground (6 7 8). Point
that foot (8-and) and repeat three more times.
Distinguish each motion, but remain fluid.
Tendu. Flex the foot, turn out the leg, and lift
only to the other knee, then back to the ankle, 2
counts up and down, 8 times. Hold at the top on
8. Turn the leg in and out four times, then point
the foot and continue with 8 more tendus. Return
that leg to the ground and repeat the sequence
with the left leg.

PRONE
Roll onto your stomach, hands under the chin for
support, legs extended, feeling the backs of the
legs together, feet pointed and abs lifted.

Posture Checklist
Legs turned out, feet at 90
Weight distributed evenly over the feet, not

leaning forward or back, trying to stretch toes

out across the ground
Knees and ankles straight but soft, not locked
Pelvis in neutral, in a box that is resting on the
ground
Trying to squeeze the backs of your legs
together, tucking your tail between your legs,
pointing the tailbone toward your heels
Think of abs in three parts: lower abs press
down on the hip-box, middle abs squeeze the
belly button back toward the spine, upper abs
lift and support the ribcage
Chest expanded and stretching upward from
the sternum, but not overly tense, let a light in
your ribcage shine out as much as possible
Imagine an eye in the small of your back and
between your shoulder blades: keep the eyes
wide open
Shoulders relaxed back and down, long neck,
chin up slightly
Imagine your shoulder blades sliding down
your back
Arms should be hanging off your body, not
resting against your torso this should occur
naturally if your posture is correct

Tendu. Right leg tendu back, keeping the right hip against the ground and pelvis neutral, abs
lifted, and leg straight. Two counts up, two counts down, eight times, then eight more with the
foot flexed. Switch to the left. Then both legs together, four times, slower, feet pointed. Focus on
extending out rather than lifting up.
Pushups. Set in Feline position, then step each leg back into push-up position and do 8, 10, or
12 reps, slowly, two counts down, two counts up. Focus on staying smooth and in control, with a
flat back, shoulders back, and achieving full extension and contraction.

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Standing Center
After strengthening and stretching our muscles on the ground, we can begin to transfer that work
to our posture and technique.

FOOT ARTICUL ATION 2: AGILIT Y

Stand in first position and take the arms through first to second.
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With the right leg in half time: press to the toe-ball, forcing an arch, then lift to the toe,
pointing the foot but with a relaxed knee, then back to forced arch, and heel down. Now
two brushes all together, pressing through heel, ball, toe and an inch or two off the ground,
and returning, toe, ball, heel. Repeat the sequence once, then twice to the left.
Think about motivating by pressing quickly out of the ground, through the top of the
foot.
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Now from third position (right heel against left arch), tendu forward, lift, touch, and close.
Then all together, dgag twice. Repeat front three more times, then tendu to the side as
you change the feet to right foot behind. Repeat the sequence four times to the back with
the right leg. Now dgag to the side (in line with turnout) four times, alternating closing
front and back.
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Repeat the entire sequence with the left leg.

BAL ANCE: COUP-FONDU

Starting in first position with the legs and low fifth with the arms.
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In two slow counts, pass right, carving the toe up the leg to the knee, arms coming to
first. Dvelopp side and arms to second in two more counts, carve the leg around to the
front, tendu (7), and close (8), for a total of 8 counts. Arms return to low fifth 7 8. Repeat
left.
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Now pli twice, breathing with the arms. Then coup right as you pli left and bring arms
to second.
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Coup/fondu four times front, straightening both knees, 2 counts each move. Hold the last
fondu, pli left and tendu. Lift the leg, dgag, four times. Brush the leg through first and
tendu back, then lift and touch four times. Close the legs and arms to low fifth.
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Repeat the sequence to the left, starting with plis.

Across the Floor

PR ANCES
Start standing in parallel, prep the left foot in coup, toes together and foot pointed. Small
jump off the left leg to start. Coming down from the jump, press the foot into the ground,
toe-ball-heel, as you lengthen the knee. At the same time, lift the left leg, rolling the foot
off the ground and pointing the toe. Dont worry about the distance you travel; focus on
shaping your leg and foot. Heel touches and weight is shifted on the downbeat. Keep the
knee and ankle soft to absorb the landing.
prance prep

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Prances: articulate and shift the weight, toe-ball-heel, keeping the toes pointed in the air

BALLET WALKS
Leg shape and foot articulation are similar to tendus, but now we travel across the floor. Prep
with left leg tendu front, turned out. Push off of a straight leg and land toe-ball-heel, with the
heel touching on the downbeat. Use the entire count to shift the weight. Crossing counts should
be coups. Use movement concepts from the dvelopp and coup-fondu exercises to control the
leg shape and foot articulation, shifting weight constantly forward and never sitting back or
resting. Ballet walks may be in half time or normal time.

JA ZZ RUN SEQUENCE
Running helps us move quickly across the field when needed. Lower body technique is very
similar to ballet walking, with only two differences. First, the stationary leg will pli after
downbeats to absorb weight, exactly like the standing fondu exercise. Second, both legs will
disconnect from the ground between beats, allowing us to stay lifted and smooth while extending
the step size.
1. Ballet Walk Combo. Ballet walk in half time for four, then regular time for
eight, all at 6-to-5. Repeat the sequence across the floor, staying in total control
of the upper body and hips.
2. Walk-Run Combo. Ballet walk in half time for four, then run in regular time
for eight, repeat, all 6-to-5. Lower the body center with a slight pli, but keep
the upper body stretched and lifted.
3. Busy Bees. Four ballet walks in half time, then jazz run the rest of the way at
6-to-5, focusing on controlling technique and floating the upper half down the
floor. Tempos may reach 200 to 230 bpm.

jazz extension

This jazz run sequence focuses on control, so the step size is 6-to-5 throughout. Jazz runs may
also be performed at 5-to-5, 4-to-5 or larger. But even then, the emphasis must be on body
control.

PAS DE BOURE
Travel laterally in half point, on the platforms. This exercise develops muscles needed for
marching technique, as well as continuing to maximize turnout, balance, and hip stability.
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Start with the legs in first position, arms in low fifth
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t
Arms move to first then open to second on the prep (rlev and return)
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Move to rlev with the leading leg as you take your first step, motivating with the support
leg
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Travel laterally, taking small 16-to-5 steps; feet move side-back-side-front with the trailing
leg crossing over in turnout. Legs are straight, hips are flat and controlled.
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Take the same size stride with the side and crossover feet.
Pas de Boure Combo. Always start with a left foot lead: 8 counts pas de boure, switch to
backwards march, 16-to-5, in a two-count turn (1 2), for 8 counts, then 8-to-5 for 8 counts, and
optionally finish with 6-to-5 running backwards for 8, 12, or 16 counts.

FORWARD/BACK WARD TECHNIQUE

Initiations. Always lead from your body center. At slow tempos (below 140 bpm) take an and
count before count 1 to initiate. At tempos above 140, take an entire count to begin moving.
Begin shifting weight into your front leg as soon as it leaves the groundcommit to the first
stepand make sure posture remains intact, not leaning forward or backward.
Feet (and legs) always halt in turnout, first position. Anklebones are on your dot (or the
yardlines), not arches or heels.
Forward march. Keep the toes high and heels low. Leg motion emanates from the body center,
so lead with the upper leg, using the hip flexor muscles to hinge the femur bone. Technique is
defined in two places. First, the crossing count should look like we are standing with feet parallel,
but all the weight is in one leg while the traveling foot hovers. Second, downbeats should have
weight centered between feet for an instant, stretching
from the back platform and to the back of the front
Technique is arbitrary and very
heel, and keeping the toes high to roll through the
difficult. It never becomes easy
foot. Be sure to pick up the back foot from the entire
it becomes possible.
toe-ball area, not the front of the toesuse the
platform to push yourself forward and flex the foot as
Agnes de Mille
you release.
Backward march. Downbeats and crossing counts are nearly identical to forward march, except
we stay on the platforms the entire time marching backward. Stretch back and touch with
the entire platform on downbeats, not just the toes. There will be a slight elevation change on
the crossing count as the heel comes closer to the ground, allowing for more stability. Stretch
the shoelaces up when picking up the front foot, pointing the foot as you release each step.
Dont lean forward or backward, but feel your weight up over the toe-ball area the entire time,
stretching your posture upward.
Marking time. We only mark time to maintain pulse during music rehearsals. Always initiate
on 8 by lifting the left foot, heel-ball-toe, off the ground from first position to parallelby the
downbeat of 2, both feet should be in parallel, heels and toes together. From there, platforms stay
on the ground and heels only come up to the ankle of the other leg. The upper body remains
perfectly still throughout.

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8s AND 4s
March for 8, halt for 4, repeat. Focus on posture and timing on initiations.
Halting forward: count 8 is a tendu step, turned out, toe first, just like ballet walks.
Shift your weight down into the heel on the downbeat and close in time.

90

Halting backward: similar to a normal backward stride, except land in turnout and
take a full count to shift weight into the heel. Close the left foot in time.

60
30

TORSO-T WIST ( WINDS ONLY )

Begin with feet parallel, horns up. Keep weight centered and the insides of the feet
(over the second toe) down; dont roll to the outside of the foot.
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Start left: turn hips and upper half 30 in two counts (three 8ths) and return
in two counts. Then turn to 60 with the hips stopping at 30, and back.
Then turn the shoulders and upper chest to 90 with the center stopping at
60 and the hips stopping at 30, and return to center. Repeat the 30-60-90
sequence to the right.
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Optional: displace feet, one front, one back, and repeat. Then switch the feet.

torso twist

SLIDES
Transfer concepts from the torso-twist exercise to marching slides. Always get taller when
twisting around for a slide and maintain alignment of the pelvis, body center, and shoulders. Pay
attention to tracking with your feet and take the time to learn what it feels like to march in track
with a correct slide and great posture. Do not close down the space you take up with your upper
body.

Foot Placement for 90-Degree Direction Changes

forward - forward left

forward - backward right

forward left - forward

forward left - backward

forward - forward right

forward - backward left

forward right - forward

forward right - backward

backward - backward left

backward - forward right

backward - backward right

backward - forward left

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HIP-SHIF TS
Slide forward for 8, then backward for 8, along one pathway. For the direction change, place
your right foot halfway in the new direction, toe first (tendu), and platform only, straight leg. For
hip-shifts, that direction change foot will be perpendicular (90) to your direction of travel.
Note: When needed, forward to backward direction changes will always be replants; no dead counts
or touch and gos.

Crab Technique
Primarily for percussionists, but beneficial for everyone. Crabbing is very similar to pas de
boure, but the feet stay in parallel the entire time and the crossover foot is always the same foot.

INITIATING L ATER AL MOTION

Left. Start in first position, ready to travel sideways (laterally) to the left. First step takes the left
platform slightly behind your pathway and foot into parallel; the front/crossover foot will be in
track the entire time. Crossover right, into parallel, 8-to-5 step.
Right. Right foot preps on 8, stepping straight back into parallel and out of the way of the left
(crossover) foot. Dont let the left foot turn in (past parallel); hips stay flat on the crossover steps.
When crabbing, the trailing foot should always cross over in front of the lead foot, e.g. traveling
to the left, the right foot crosses in front. The lead foot rests on the entire platform with the leg
as straight as possible but with a soft knee. The trailing foot doesnt contact the ground with as
much platform, just from the pads of the toes to the top of the platform. Weight stays up over
platforms, similar to backwards marching. A slightly bent back leg will help stabilize the pelvis,
create smoother overall motion, and allow for better-defined technique in the front leg.

OBLIQUES
This technique is similar to the lateral technique, but now both knees are slightly softer. Forward
oblique technique should feel very similar to toe walks, but in parallel and staying on the
platforms the entire time. Backward technique is not much different from marching straight
backward just add a slight angle and crossover at first, then transition to more of a pure crab
technique as the angle of travel becomes flatter.

CR ABBING AT ANGLES: WHICH FOOT LEADS?

Forward. Divide the space in front of you in half two halves of
a pie. Starting from the left, take 75 percent of the left quarter
of the pie; this is right foot lead. The first 75 percent of the right
quarter is left foot lead.
Backward. When moving at a backward angle, the rule inverts.
Divide the space behind you the same way. For the first 75
percent of the backward left quadrant, take a left foot lead. Right
foot lead on the right side.

PAG E 12

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ENSEMBLE
Ensemble exercises focus on field reading and marching in relation to other performers.
Developing field reading competency will make every set of your drill better and teach you good
habits so you can clean your own show without field staff watching your every move.

DIAMONDS
Each move is 8 counts at an angled pathway. The sequence is:
t
Forward right, backward right, backward left, forward left, halt, forward left, backward left,
backward right, forward right, halt

Start out traveling 8 steps up and down and 4 steps side to side for each angle. Then expand
side to side to 6 steps each time. Additionally, the number of counts may change (e.g. 12 count
moves, traveling over 8, up/down 8). The exercise may also stretch horizontally, creating flatter
diamonds (not pictured).

BOXES A and B
Boxes have all 90 angles and everything is in 8, 12, or 16 counts. Each exercise has two cells, the
right cell is first.
t
A: Forward, Forward right, Backward, Backward leftforward, forward, backward,
backward. Then (second cell) to the left, same way, F F B B. In the first cell, every direction
change is the same: 45 placement to the right. In the second cell, every placement is 45 to
the left.
t
B: Right first: forward, backward,
There is a difference between knowing
backward, forward. Now, in the first
the path, and walking the path.
cell every direction change placement is
45 to the left, and 45 to the right in
Morpheus
the second cell.
t
Halt 8, 12, or 16 in between boxes;
halt between cells in optional.

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PAG E 13

ZIG -ZAGS
Simply, forward, left, forward, right. Everything is in 8 counts, 8-to-5 step size. Direction
changes are toe down, halfway in the new direction; all direction changes are 90 so each foot
placement is 45.Variations may include: backward slides, 6-to-5 slides, all 6-to-5 in 12s,
everything in 16s, etc.

ZIG -ZAGS 2
Not too different from regular zig-zags. The pattern is the same: forward-left-forward-right. But
now the sideways moves will have an angle and everything is in 16s.
t
First: forward 16, forward left
16 (up 4, over 16), forward
16, forward right (up 4, over
16)
t
Then: travel 8 steps up field
on the angles, still in 16
counts
t
Then travel 12 steps up field
on the angles
t
Finally: travel 16 steps up, 16
steps over on the angles, 45,
5.65 to 5, jazz running.

Zig Zags 2

CIRCLE DRILL
Start standing on the soccer field circle, everyone facing toward the center (focal point).
t
Mark time for 8, backward march (expand) for 8, forward 8, backward 8
t
March forward-right around the circle in a curved pathway for 16 counts, replant and
march backward-left for 16 counts
t
March forward (condense) for 8, mark time for 8 and repeat the exercise to the left.
t
Optional: hip-shift after 8 on the curved pathway
Circle drill focuses on ensemble skills: arc-dress, space control, and orientation to a focal point.

SNOWCONES
This exercise works on step size and direction changes, as well as straight and curved pathways.
A. Starting in a 4 by 4 block, columns are 1s and 2s. March forward right (or left), over 4 steps,
up 2. Then curve around, backward right then backward left, creating a semi-circle in 8 counts,
staying 2 steps away from someone. Then straight, forward left over 4 up 2, back to where you
started. Total of 16 counts. Then 2s go, usually the other direction.

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B. Starting at 8s side to side and 4s front to back, rows are 1s and 2s. March forward right, up
4 and over 4 in 4 counts. Then forward left, up 4 over 4. Now march an arc backward, traveling
back 4 and to the right 2, and continue around back 4 and to the left 2, returning to the starting
point.
Twos go the same direction.
Then ones start again, left
first, followed by twos.

Snowcones

ECHELON
This exercise works on maintaining ensemble awareness as form responsibilities change. Begin
on the yardlines in rows 17 across at 2-step intervals. Each move is 16 counts, though this can be
adjusted.
t
Center moves forward 16 at 8 to 5 step size and posts mark time. Others form diagonal
lines between those people, eyes toward center.
t
Float the form forward at 8 to 5.
t
Recover the lines forward, with the center marking time and posts moving at 8 to 5.
t
Invert the diagonals, continuing at the same step size, but now looking to the outside
posts.
t
Float the form forward at 8 to 5.
t
Recover the diagonals forward, with the posts marking time, and finish.

W E S T S A L E M M A R C H I N G B A N D 2 010 V I SUA L P R O G R A M

PAG E 15

DRILL CONCEPTS
Determining Step Size
Our standard step size on the field is 8-to-5: 8 steps for every 5 yards or 22.5 inches per step.
Though we often march different step sizes, 8-to-5 is our reference point. Once you begin
marching field reading exercises and the drill in your show, you might find it helpful to know
your step size on a given move. You can do so with the formula:
8
(steps / counts)

= step size to 5

where steps is the distance traveled and counts is the number of counts of the move. The table
below gives several examples of common drill moves.

Common Step Sizes

Using the 8-to-5 standard step size allows us to divide the entire field into a 1-step by 1-step grid,
making it possible to learn and clean drill more efficiently. Below are some common step size
measures of the field, as well as various step sizes, in more common units.

PAG E 16

Counts

Up/Down

Over

Steps

step size (to 5)

10

10

12

12

16

16

1
2
3
4
2
4
6
2
4
8
12
2
4
6
8
16
4
8
20
32

4.12
4.47
5
5.66
8.25
8.94
10
10.2
10.77
12.8
15.62
12.17
12.65
13.42
14.42
20
16.49
17.89
25.61
35.78

7.77
7.16
6.4
5.65
7.77
7.16
6.4
7.84
7.43
6.25
5.13
7.89
7.59
7.16
6.67
4.79
7.77
7.16
5
3.57

W E S T S A L E M M A R C H I N G B A N D 2 010 V I SUA L P R O G R A M

Step-Size Grid

Field Measurements

step size

measurement

Front HS Hash

53 ft 4 in

28 steps

16 to 5

11.25 inches

Front College Hash

60 ft

32 steps

8 to 5

22.5 inches

Front SL to Back HS Hash

106 ft 8 in

56 steps

7 to 5
6 to 5
5 to 5

25.7 inches
30 inches
36 inches

Front SL to Back College Hash

Front SL to Back SL
Yardlines

100 ft
160 ft
15 ft

53 1/3 steps
85 1/3 steps
8 steps

4 to 5

45 inches

Gaks

7.5 ft

4 steps

Please note that football fields were not designed with marching in mind, so there are a few
minor errors. For instance, the gaks we use are slightly larger than 4 steps and, correspondingly,
the difference between the high school and college hashes is slightly more than 4 steps. When in
doubt, use the painted gaks and the high school hashes, since they will be most common for us.

Drill Learning Exercises

Before we start learning the show, it is important that everyone be able to read drill charts and
understand how drill moves work. Please complete the following exercises. This completed page
is your ticket to a drill number in the show.

#1 COORDINATES
Fill in the coordinates of the listed performers on the first drill page (page 19). This page has only
college hashes, so go ahead and use them. Distinguish between sections by the icons used: winds
and drums are + signs, guard are Xs, Os, or =s. Please be accurate to within a third of a
step.

1. Winds #13:

2. Guard #31:

3. Winds #33:

4. Drums #B1:

5. Winds #17:

#2 MIDWAY SETS
Now use both pages to find the halfway sets for the following performers. Determine how many
steps they travel up or down field as well as across, then divide each number by two to find the
dot for count 6 of the 12 count move. For more on this process, see How to Assemble Your Dot
Book on Page 22.

1. Winds #26:
2. Guard #14:

,
,

W E S T S A L E M M A R C H I N G B A N D 2 010 V I SUA L P R O G R A M

PAG E 17

3. Drums #S9:

4. Guard #3:

5. Winds #41:

#3 STEP SIZE
Using the help of the formula above, write down the step size for each performer listed below.

1. Guard #10:

steps in

counts;

to 5

2. Winds #24:

steps in

counts;

to 5

3. Drums #C3:

steps in

counts;

to 5

4. Winds #23:

steps in

counts;

to 5

5. Guard #32:

steps in

counts;

to 5

#4 INTERVALS
Write down the space in the form for each group below.

1. Winds p.1 - distance in cover down file #3-26:

2. Winds p.1 - space and distance in block on s1:

by

3. Winds p.1 - formula and approximate space in diagonal #3-4:

formula on the grid: over

up

space:

4. Guard p.2 - space in the arc:

5. Drums p.2 - space in bass/cymbal arc:
6. Winds p.2 - space in low brass arc #47-43:
7. Winds p.2 - approximate focal point of the low brass arc (hint: draw the rest of the
circle):

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W E S T S A L E M M A R C H I N G B A N D 2 010 V I SUA L P R O G R A M

PAG E 19

PAG E 2 0

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W E S T S A L E M M A R C H I N G B A N D 2 010 V I SUA L P R O G R A M

PAG E 21

10

10

15

4-Step
Gaks

40

40
45

Front
Hash

Back
Hash

Back
Sideline

50

50

45

45
In Front
BSL

40

20

25

Director Viewpoint

45

Front
Sideline

40

Outside

35

35

Outside

30

30

Inside

25

Inside

20

Side 1

15

35

35

30

30

25

Side 2

25

20

Behind
FSL

In Front of
Front
Hash

Behind
Front
Hash

In Front
of Back
Hash

Behind
Back
Hash

20

15

15

10

10

How to Assemble Your Dot Book

1. Find a small spiral-bound notebook that is both durable and light (or pocket-size
Moleskine booklets). These are generally sold at any office supply store or superstore, such
as Fred Meyer, Target, or Office Depot.
2. Attach a shoelace or string so that you can wear it on your person somehow, around your
waist or over the shoulder. Choose a method that will be comfortable while marching, as
you will have your dot book with you at all times on the field.
3. Expect to include as many as 80-90 dots in your dot book. Be sure that you have enough
pages in your dot book, or divide the pages into halves.
What to Include on Each Page:
t
Set Number
t
Counts
t
Measure Number(s) and Rehearsal Letters e.g. MM 270-273; Letter B
t
Coordinate (Yardline Relationship and Front-to-Back)
t
Small Sketch of Form (Include the surrounding performers spots and intervals)
t
Midset for the move traveling to the current page (Sketch and Label Mid-Set)
t
Notes (Turns, Facings, Crossing counts, Choreography, Music)

Example Dot Book Page

space:3

Page34

move12
MM56-58,LetterB
4outsideS145,8infrontoftheFH
set33

midset:onthes1
40,6downFH

down4

across8

set34

Notes:
-HornsDownoncount1
-Turntobackfield:turn2-lock(hipshifton2)
-BeginningofDrum
Feature

Additionally, create a summary section that includes only the move, an arrow to show the
direction of travel, and coordinates, for quick and easy reference during rehearsal, for example:
t
p34 m12
t
p35 m8

4 out s1 45, 8 dn FH
3 in s1 40, 11.5 up FS

The correct format of this information is whatever makes the most sense to you.
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REHEARSAL ETIQUETTE
Rehearsals
Fast paced, efficient, and well-organized rehearsals are the standard. The rehearsal will be the
largest factor in the amount of success we obtain. Your work ethic must be unmatched and intact
at all times. Be aware of the schedule. Be prepared and on time for every rehearsal. Here are some
responsibilities to remember:
t
When you step on to the field, you must shift to a working mentality with clear goals and
your secure work ethic.
t
Silence on the field is required at all times. This helps diminish confusion and strengthens
the level of instruction we can provide.
t
Efficiency creates Productivity and Productivity creates Excellence!
t
Everything is done quickly and quietly. Quick resets means dead time is gone and
rehearsals will move much more efficiently.
t
The essence of quality repetition:
Realize the more times something is performed, the better it will become as long as each
individual on the field is giving 100% every time and trying to be as perfect as possible.
The goal is the maximum number of reps possible in the shortest amount of time.
t
Always Perform. If you lack a performance attitude, improvement will be difficult. Your
performance mentality will establish a performance comfort level.
t
You must work together at all times.
Arguing is counterproductive.
When discussing corrections and suggestions, be positive.
t
Take criticism and correction.
Everyone is human. Everyone will be wrong at some point. Everyone will be corrected.
Take nothing personally.
Without mistakes being identified and isolated, how would improvement exist?
t
Accept the responsibility for a fast paced rehearsal.
Push your staff by always being prepared and ready.
Push your peers, friends and colleagues.
Always know the coordinates of your dot, halfway set, space, and dress points.
The moment you think you have it down, you will
t
Stop improving.
t
Hold the group back.
Never stop trying to improve yourself. Push yourself as hard as you can. Your success will be
amazing and you will go farther than you imagined!

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PAG E 2 3

The Rehearsal Mode

The Rehearsal Mode is a rehearsal system established to organize every procedure and practice
on the field in a command-less environment. This means once we get past the first initial visual
techniques, most commands will cease to exist. This idea came from many realizations that
important information given to students was often falling on deaf ears due to an over-saturation
of commands. Also, the inefficiency of having to give commands before and after each move can
be a huge detriment to the pace of rehearsal. Here are the aspects to this command-less system:
t
Section leader sets all positions
Members follow section leader in a ripple
t
Silence while in all positions is absolute
t
Section leader anticipates the next move of the director or staff
t
If the section leader is asked to step out to monitor and adjust
The assistant section leader assumes responsibility
The section leader only speaks at the relax position (during field time)
t
Questions are not encouraged in this system
In the early stages, if a pressing question is necessary, it may get addressed duringfield
time.
Wait until a break to ask questions
t
If there is a major visual issue around you (such as defining a direction change) go ahead
and raise your hand (learning stages only)
t
Additional dead time positions (not the norm)
Stretching!
One knee
Crouching
Do not sit on the field
When you section leader pops up, get up as fast as possible
t
If being addressed by the director or staff, remain at standby and pay attention.
t
All changes in positions are done with lightning speed and perfection

T YPICAL PROCEDURES
Learning Drill: When the ensemble is first learning drill, simple procedures are followed and
executed to achieve efficient and productive rehearsals.
t
Members must have a 1 drill binder with plastic sheet protectors
t
Members have 15-20 1 pieces of masking tape secured on their binder with their drill
numbers written on each one in ink
t
Members gather new drill from the drum majors and put in binder
t
Members are asked to find a set:
Always stay in rehearsal mode and follow your section leader
Once you have found your dot, go to stand by
Once everyone is set, adjustments may be made

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 Members will be asked to mark your spot with tape: Use a 1 piece of tape to mark your
dot, then go back to stand-by
t
Members input new drill into Dot Book as soon as possible
When reviewing/performing sets, start in the minus-one position (left foot back one step
toward the last set, right foot in the prep position). When the segment is finished (and you
know where the next set is), end in the plus-one position (right foot in the direction change
prep position, left foot one step toward the next set.

ADDING MUSIC TO DRILL

When the ensemble is adding the music to the drill, simple procedures are followed and executed
to achieve efficient and productive rehearsals.
t
Members must have an up-to-date Dot Book on them at all times
t
Have Drill Notebook on sideline (always)
t
You will be given instruction on where to start
t
Get there quickly and follow your section leader to stand by
t
Instructions will be given from the press box
t
Section leaders set the position needed based on instructions
Section follows in a ripple instantaneously
t
Performers start in a minus one position, unless initiating from a halt
t
Once ensemble is ready (5 seconds), the metronome is turned on and the center snare taps
us off with the drum majors hands (8 from the nome may also be used).
t
Once the chunk is completed, members freeze in the plus-one position. The center snare
will give 3 clicks, signaling everyone else to dress-set-dress. Remember to dress with the
eyes only, no turning of the head just yet.
t
After 5 seconds, the center snare will give 3 clicks, signaling the ensemble to ready front.
After 3 more seconds, everyone goes to stand by.
Members follow section leaders in a fast ripple at each position
t
You will then be asked to focalize, dress the form, check dots, and monitor and adjust.
t
Remember, helping others is not desired in this system. Everyone must be responsible for
their own dots and forms.
t
After comments are given from the press box, field time may be given
If field time is given, check your dot book and/or step off your spot. Stay at stand-by,
when instructed by field staff. Otherwise, stretch and stay loose, or practice something
(silently). Do not start talking.

W E S T S A L E M M A R C H I N G B A N D 2 010 V I SUA L P R O G R A M

PAG E 2 5