POSITIONS – ATTENTION AND PARADE REST

Purpose: Consistent correct playing and marching position

Attention without instrument

• Heels and toes together
• Knees nearly straight, not locked
• Hips in line with ankles
• Spine tall and upright
• Shoulders back and relaxed
• Hands in a thumb-forward fist aligning the thumb with the seam of the
pants
• Elbows slightly bent and back
• Stomach tight
• Chest lifted
• Chin at 10 degrees above level
• Eyes forward
Voice command 1 2 3 4 Band response
Ten hut ten hut PRIDE

Attention with instrument

• Heels and toes together
• Knees nearly straight, not locked
• Hips in line with ankles
• Spine tall and upright
• Shoulders back and relaxed
• Hands in a thumb-forward fist aligning the thumb with the seam of the
pants
• The instrument is held perpendicular to the ground with the
mouthpiece at eye level
• Percussion sticks are at ready over the head of the drum
• Stomach tight
• Chest lifted
• Chin at 10 degrees above level
• Eyes forward
Voice command 1 2 3 4 Band response
Ten hut ten hut PRIDE

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NOTE: The director will frequently say “Set”. This is also a command for
immediate attention position, but without vocalization.

Teaching Attention Position – Build up from the ground

• Start in a crouched position
• Leaving the upper body in a limp state, stand up
• Roll the spine into position one vertebrae at a time
• Lift the chest and tighten the stomach
• Roll the shoulders up to the ear, roll back and settle into position with
elbows and hands properly placed (grab the seam of the pants to
familiarize the position of the hands)
• Roll the neck up to where the chin is 10 degrees above level and eyes
are forward
• Practice this in 4 and 2 count movements from the ground up (knees,
hips, spine, shoulders, head)
• This position must be snapped to once the members are comfortable
with it

Parade Rest without instrument

• From Attention position only
• Right foot does not move
• Move the left foot to shoulder width from the right foot
• Right hand does not move
• Left hand opens and the back of the fingers are placed in the small of
the back
Voice command 1 2 3 4 Band response
Pa- rade rest,pa-rade rest TSST

Parade Rest with instrument

• Same as above except for right hand
○ Flutes and clarinets are placed down the seam of the right pant
leg with the mouthpiece down
○ Saxophones keep BOTH hands on the instrument and hold it
parallel to the ground
○ Trumpets, marching horns, trombones and euphoniums hold the
instrument in the right hand at a 45 degree angle across the
chest. The mouthpiece (except euphoniums) will be over the left
shoulder
○ Sousaphones do not change instrument position
○ Percussion sticks are held in both hands in front of the
bellybutton as if holding onto a shopping cart

Teaching Parade Rest

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• Start at attention
• Place left foot at shoulder width
• Place an open left hand in the small of the back
• The “TSST” should not last more than the blink of an eye

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HORN MOVEMENT AND CARRIAGE
Purpose: Uniform movement and carriage of instruments

Horns Up without instrument (simulated horns up)

• From attention position only
• Left hand in a fist and right hand over the left forming an equilateral
triangle with the forearms and elbows
Voice command 1 2 3 4 Band Response
Hornsup horns up (snap to position – no vocal)

Horns Up with instrument

• From attention position only
• Snap instrument into playing position
○ Flutes are parallel to the ground and parallel to the sideline with
elbows relaxed
○ Clarinet bells are 10 to 12 inches from the body with the face
forward
○ Saxophones are 10 degrees above perpendicular to the ground
○ Trumpets, marching horns, and trombones are 10 degrees above
parallel to the ground with elbows relaxed
○ Euphoniums are held with the bells slightly forward
○ Sousaphones bells are lined up parallel to the sideline
○ Percussion sticks are over the drumhead at ready
Voice command 1 2 3 4 Band Response
Hornsup horns up (snap to position – no vocal)

Teaching Horns Up
• From attention position only
• Check instrument angles as described above
• Bell-forward instruments will point toward the press box - trumpets,
marching horns and trombones should not be able to see the press
box for their bells being in the way
• Woodwinds and sousaphones turn their face 10 degrees toward the
press box, lifting their instruments to meet their facial position, not the
other way around
• Snares and tenors should have their sticks at a 90 degree angle 1 inch
off of the drum head
• Bass drums should have their sticks at a 45 degree angle from the
ground about 1/3 the diameter of the head from the nearest side of
the rim
• Say the command and have students say “UP” for the band response
without their horns

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• Say the command and have students clap on the band response and
put their hands in the simulated horns up position (fist and triangle)
• Do the move with the instruments from attention position

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MARK TIME
Purpose: Physically reproduce and internalize the pulse of the music

Technique
• When the command is given, initiation of the move is on the “upbeat”
• The heel is lifted off the ground approximately 1 inch and toes stay on
the ground
• The downbeat is felt when the heel hits the ground
• The upbeat is felt when the heel is in the air
• Minimize upper body movement
Vocal command 1 2 3 4 5 6 7 8& 1
Mark time mark band vocalizes counts
execute
Band halt band halt band closes feet

Teaching
• Mark time one count vocalizing 8 & 1. Check heel height.
• Mark time continuously vocalizing counts, watching for unnecessary
upper body movement. This is usually caused by technique problems.

ROLL STEP FORWARD

Purpose: Smoothest movement for playing an instrument or using
equipment

Technique
• Every move begins on the left foot; initiate the movement on the
upbeat of the final count of the command or previous move
• Push forward with the ball of the back foot (below toes)
• Lead with hips, keeping weight centered between the feet
• During the stop, the kneed bends naturally to allow the foot to cross –
legs are straight on the downbeat with toes up as high as possible
• The downbeat is felt on the heel
• The upbeat is felt when the ankles cross
• Each foot moves in a straight line, without crossing the path of the
other foot
• Minimize upper body movement
• Step size will vary; in an 8 to 5 maneuver (22½ inch step), the HEEL of
the right foot should be on a yard line
Vocal command 1 2 3 4
Forward march forward march

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Teaching
• Take the first step with the toes lifted high
• Rock forward and backward to get the feeling of rolling the foot and
evenly distributing weight
• Isolate counts 1 and 2 – on count 1, check for step size, on count 2,
check for pulse
• Practice marching 4 and 8 steps only – check for consistent pulse,
timing and toe height
• Only after progress with technique, discuss step size
• March 8 steps to 5 yards with varying sequences (march 8, hold 4,
march 16, hold 8, etc.)
• Change step size to 6 steps to 5 yards and 12 steps to 5 yards and
vary tempo
• Execute movements using simulated horns up
• Add breathing exercises with simulated horns and then with
instruments
• Add instruments playing long tones while moving

BACKWARDS STEP
Purpose: Smoothest movement for playing an instrument or using
equipment

Technique
• Every move begins with the left foot on the upbeat of the final count of
the command or of the previous move
• Push back with the ball of the front foot
• Lead with hips, keeping the weight centered between the feet
• During the step, the leg bends naturally to allow the foot to cross
• Legs are straight on the downbeat
• The downbeat is felt when the ball of the foot hits the ground
• The upbeat is felt when the ankles cross
• Do not let heels touch the ground, the toes skim the grass
• Each foot will step straight back without crossing the path of the other
• Minimize upper body movement

Teaching
• Isolate the first step, establish a comfortable platform on the toes with
weight evenly distributed
• Isolate steps 1 and 2 – 1 is step size, 2 is pulse
• Practice marching 8 to 5 with varying sequences as with forward
march
• Change step size as with forward march
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 • Execute movements using simulated horns up
• Add breathing exercise with simulated horns up and then with
instruments
• Add instruments playing long tones through movement

DRESS AND COVER

Purpose: maintain intervals and forms

Technique
• “Dress” refers to adjusting left to right while “Cover” refers o adjusting
front to back.
• Dress – align ankles
• Cover – center of chest aligned with the center of the front person’s
back
• Can only dress and cover in front of you, not behind you
• Use peripheral vision for dressing during a maneuver, DON’T TURN THE
HEAD WITHOUT THE VOCAL COMMAND
• Dress to the person next to you toward the 50 yard line
Vocal command 1 2 3 4 1
Dress right dress (inhale)(turn head/exhale)
Ready front (inhale)(turn head/exhale)

Teaching
• Determine dress points (with whom and when to line up) for all
maneuvers
• Dress and/or Cover with the horn in playing position
• Dressing and Covering during a maneuver should be done using
peripheral vision and constantly

DIRECTION CHANGES
Purpose: Solidify forms with clear changes in direction

Technique
• Forward to backward
○ Counts 1-7 as normal
○ Count 8 – heel of the right foot hits, roll to the ball of the foot,
weight is centered between the two feet
○ On the upbeat of count 8, use the ball of the right foot to push
back on the ball of the left foot to begin the backwards march
(this is the back check step)
○ Ball of the left foot hits on count 1
○ Right foot establishes pulse on count 2
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 • Backward to forward
○ Counts 1-7 as normal
○ Count 8 – right foot hits with the ball of the foot with weight
centered between the feet
○ On the upbeat of count 8, use the ball of the right foot to start
hips forward and allow the left heel to place on count 1 (this is
the front check step)

Teaching
• Isolate counts 8, 1, 2 to evaluate transition
• Move forward 8 and backward 8 continuously
• Change step sizes and vary tempo
• Focus on check steps and proper weight distribution

SLIDES
Purpose: Keep sound and upper body to the front while moving side
to side
Technique
• Turn the upper body to the side while keeping feet forward
• Shoulder and instrument or equipment should be parallel to sideline
• Upper body is the same as regular attention position facing the sideline

Teaching
• With feet and upper body facing the same direction, have the students
place hands above their shoulder like goalposts. Have them rotate
their hips to 45 degrees. Continue the rotation from the lower back so
that the navel is at 90 degrees from the feet. Continue the rotation so
that the shoulders are 110 degrees from the feet, all the while keeping
the hands in a perfectly flat goalpost.
• Hold for a few seconds and relax to a 90 degree slide position.
• It is sometimes helpful to get up against a wall for this position
• Execute the same maneuver in simulated horns up position, then with
instruments
• Add slides to forward and backward march maneuvers with direction
changes
• Be sure students are marching in a straight line as they slide
• Do not allow the elbows to be uneven and watch for toe height

REVERSE SLIDE DIRECTION

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Purpose: Reverse side to side direction while keeping
horn/equipment to the front

Technique
• Sliding right, reverse left (based on an 8 count move)
○ Counts 1-7 as normal
○ Count 8 – Heel of the fight foot hits, roll through to the ball of the
foot, weight is centered between the two feet. On the upbeat,
use the right foot to push back onto the platform of the left foot
○ Count 1 – Ball of the left foot places on the beat
○ Count 2 – place right foot 45 degrees to the sideline
○ Count 3 – place left foot 45 degrees to the sideline (feet are in a
“Y” position)
○ Count 4 – right foot parallel to new direction
○ Count 5 – left foot parallel to new direction
• Sliding left, reverse right (based on an 8 count move)
○ Counts 1-7 as normal
○ Count 8 – Heel of the fight foot hits, roll through to the ball of the
foot, weight is centered between the two feet. On the upbeat,
use the right foot to push back onto the platform of the left foot
○ Count 1 – Left foot places flat on the ground 45 degrees to the
sideline
○ Count 2 – Place right foot 45 degrees to the sideline (both feet in
a “Y” position)
○ Count 3 – Left foot parallel to new direction
○ Count 4 – Right foot parallel to new direction

Teaching
• Proper footwork is key. Work feet first, then add upper body.
• Isolate counts and go slowly
• Incorporate slide direction changes in forward and backward
maneuvers

FLANK TURNS
Purpose: To facilitate crisp turns for abrupt changes of direction

Technique
• Left flank
○ Count 7 as normal
○ Count 8 – check step left – continue forward, but turn the right
toe 45 degrees to the left (inward)
○ Count 1 – left foot steps in the new direction
• Right flank

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 ○ Count 7 as normal
○ Count 8 – check step right – continue forward, but turn the right
toe 45 degrees to the right (outward)
○ Count 1 – left foot steps in the new direction

Teaching
• Isolate counts 7,8,1,2. Be sure check steps are still a forward motion.
• Establish check steps by moving forward 8, left 8, forward 8, right 8,
etc.
• Add simulated horns, instruments and equipment, long tones
• Extend movements 16 counts, vary tempo
• Footwork is key, don’t allow the students to cut the corner by swinging
the check step any direction but forward
• Keep the upper body straight

DRAG TURNS
Purpose: Slow changes of direction

Technique
• Left turn 180 degrees
○ Count 1 – left foot at 90 degrees with heels touching, UPPER
BODY AT 45 DEGREES
○ Count 2 – right foot at 45 degrees with toes touching, UPPER
BODY AT 90 DEGREES
○ Count 3 – left foot at 135 degrees with heels touching, UPPER
BODY AT 135 DEGREES
• Count 4 – right foot at 180 degrees, UPPER BODY TO REAR
○ Count 5 - Close
• Left turn 90 degrees
○ Count 1 – left foot at 45 degrees with heels touching, UPPER
BODY AT 22.5 DEGREES
○ Count 2 – right foot at 22.5 degrees with toes touching, UPPER
BODY AT 45 DEGREES
○ Count 3 – left foot at 67.5 degrees with heels touching, UPPER
BODY AT 67.5 DEGREES
○ Count 4 – right foot at 90 degrees, UPPER BODY TO LEFT
○ Count 5 - close
• Right turn 180 degrees
○ Count 1 – left foot at 45 degrees with toes touching, UPPER BODY
AT 45 DEGREES
○ Count 2 – Right foot at 90 degrees with heels touching, UPPER
BODY AT 90 DEGREES

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 ○ Count 3 – left foot at 135 degrees with toes touching, UPPER
BODY AT 135 DEGREES
○ Count 4 – right foot at 180 degrees with heels touching, UPPER
BODY AY 180 DEGREES
○ Count 5 – close
• Right turn 90 degrees
○ Count 1 – left foot at 22.5 degrees with toes touching, UPPER
BODY AT 22.5 DEGREES
○ Count 2 – Right foot at 45 degrees with heels touching, UPPER
BODY AT 45 DEGREES
○ Count 3 – left foot at 67.5 degrees with toes touching, UPPER
BODY AT 67.5 DEGREES
○ Count 4 – right foot at 90 degrees with heels touching, UPPER
BODY AY 90 DEGREES
○ Count 5 – close

Teaching
• Isolate foot placement
• March 8 to 5 for 8 counts, Drag turn left to the rear (180 degrees), 8 to
5 then to the left (90 degrees), etc.
• Change to right drag turns
• Change step size and vary tempo

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 DRILL TERMINOLOGY

DRILL CHART INSTRUCTION ABBREVIATIONS

BM = backward march FM = forward march LS / RS = left slide /

right slide
DTL = drag turn left FTL = follow the leader M = measure
DTR = drag turn right GTP = go to position MT = mark time
FL = float LF / RF = left flank / PB = press box
right flank

DEFINITIONS

Backwards March – March in the opposite direction to which the body is

facing.

Drag Turn Left or Right – A turn in place of either 4 or 8 counts in which

the upper body follows the feet.

Float – A method of transition from one form to another in which all

individuals.

Forward March – March in the same direction to which the body is facing.

Follow the Leader – A method of transition in which the marcher will

directly follow the marcher in front of them, placing each foot in the leader’s
footprint.

Go to Position– Another term for “Float” or it may refer to a specific body

position. Read drill instructions carefully.

Left or Right Flank – A method of directional change while continuing the

flow of the previous motion.

Left or Right Slide – A method of directional change similar to a flank, but

keeping the upper body facing the press box at all times.

Measure – Denotes the measure of the music in which motion to a new set
is begun.

Mark Time – A method of internalizing the pulse with the feet before motion
begins.

Press Box – The press box is always on the home side of the stadium.

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