The University of Michigan Marching Band

2014-2015 Marching Fundamentals

Handbook

Michigan Marching and Athletic Bands Dr. John Pasquale, Director

Dr. Andrea Brown, Associate Director Revelli Hall

350 East Hoover Street Ann Arbor, Michigan 48104-3707 734.764.0582 | Fax: 734.763.2018

http://mmb.music.umich.edu

The University of Michigan Marching and Athletic Bands are ensembles of the

School of Music, Theatre & Dance, Christopher Kendall, Dean.

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Table of contents Introduction……………………………………………………………………………………………………….4 Part I: Marching Fundamentals

Basic Foundation………………………………………………………………………………………...4 Position of Attention Cueing

Whistle Commands Horns Up Slow horns up Star Spangled Banner Whistle Entries whistle

Vocal Commands.…………………………………………………………………………………….…8

Attention Right Face and Left Face Dress Command

Traditional Step…………………………………………………………………………………………..9 Traditional Step by the Numbers Traditional Step: Mark Time Traditional Step: One Step Traditional Step: Two, Four, and Eight Steps

High Step…………………………………………………………………………………………….…..14 High Step Leg Positions High Step Motions High Step by the Numbers Full Attention Double Command High Step: One Step High Step: Two, Four, and Eight Steps Breaking Down the High Step

Entries.……………………………………………………………………………………………………18

Some Physical Concerns…………..……………………………………………………………………19 Tips on Toe Point Physical Conditioning and Marching Fundamentals

Glide Step……………………………………………………………………………………………..…20 Glide Step Mark Time Slow Glide Step Drill Glide Step: Step-offs Glide Step: Closing Glide Step Fundamental: One Step Glide Step Fundamental: Two, Four, and Eight Steps Glide Step Fundamental: Alternate Step Sizes Backward Glide Step Marching

Slides……………………………………………………………………………………………………...24

Glide Step Transitions……………………………………………………………………………………25

Practicing Marching Fundamentals and Receiving Help……………………………………………..25

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. Part II: Drill Marching

Basic Information………………………………………………………………………………………..26 The Field Steps Reading Drill Charts

Drill Chart Terms Coordinate Sheets Coordinate Sheet Terms

Finding Coordinates

Rehearsal Procedure and Etiquette…………………………………………………………………….30 The Dress Command Marking Music

Learning Drill Quickly

The MMB Drill Marching System: Phase I and Phase II………………………………………………32 Phase I: Coordinate-based drill Phase II: Form-based drill Guiding and Dressing Notes on Phase I and II Part III: Parade Marching………….……………………………………………………………………………..35

Full Ranks, Half Ranks, and Quarter Ranks….……….………………………………………………..36

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Introduction Welcome to the Michigan Marching Band Marching Fundamentals Handbook. This document, in conjunction with the MMB Marching Fundamentals Video (which can be found online at http://www.youtube.com/watch?v=vqgsJS_pHQI, is the MMB member’s guide to all of the marching techniques that are used by the Michigan Marching Band. Some of this material may be similar to what many students learned in their respective high school marching bands. However, much of it will be completely new; furthermore, maneuvers that may seem familiar to you may be approached in slightly different ways by the MMB. As such, it is important that every student1 learn and practice the material below in advance of Band Week. The physical conditioning and motor control necessary to perform these steps cannot be obtained in the five days between the first day of Band Week and First Look.2 These types of skills must be developed over time. It is also imperative that each MMB Student Leader hopeful thoroughly master these techniques and exercises. Explanations of each fundamental with instructions on execution, “tips,” and exercises appear below.

Part I: Marching Fundamentals

Basic Foundation

Position of Attention The Position of Attention is the foundation upon which our marching fundamentals are built. All marching fundamentals begin in this position. The most important feature of the Position of Attention is the visual presence it produces. Mental focus is important in communicating this presence. Execution

1. Place the heels together with the feet at a 45-degree angle. The middle of the arch of the foot crosses the line or coordinate. Imagine a straight line projecting down along the line of the shin, through the foot and to the center of the yard line or coordinate. The weight of the body should be on the balls of the feet, not on the heels.

2. Knees should be straight but not locked or bent. 3. Stand tall by pulling body out of the hips. 4. Chest should be slightly forward. 5. Shoulders should be relaxed and down in a natural position. 6. Head should be slightly raised with eyes fixed on the horizon. 7. The body should remain straight and perpendicular to the ground, not leaning back or forward.

1 Percussionists are not required to learn all of the material in this handbook. They may exclude the information on traditional step, high step, entries, and slides. However, percussionists are expected to read and understand the rest of the material contained within. Percussionists are instructed in various techniques that are unique to them during drumline camps and during Band Week. 2 For more information on First Look, see “Reserve System and Challenge Procedures” in MMB Rules and Procedures, also on the Members Only website.

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8. The free arm should be relaxed at side of body with hands cupped at seam of pants, fingers together.

9. The arm that holds the instrument should be parallel to the ground with the instrument perpendicular to the ground. Saxes hold the instrument across the body and parallel to the ground (tubas and percussion: ask individual section members for details on instrument carriage).

Tips • Imagine a line going from the feet up through the top of the head and extending toward the sky.

Imagine someone pulling that line to stretch the body upward from the hips through the back to the top of the head. Retain this position.

• Avoid tension or “shrugging” in the shoulders. Stay relaxed in the shoulders while at the same time

pushing the chest forward slightly. • The fact that the eyes are “fixed” while at attention does not mean that the eyes are never to move

during marching maneuvers. The “fixed” nature of the eyes is important while at attention to communicate a mental and physical energy to the audience. However, the eyes are a necessary part of guiding, dressing, and finding coordinates while marching drill.

“Set” command This command is used by the Drum Major and staff to call the MMB quickly to attention. Once this vocal is vociferated, participating MMB members are expected to immediately assume the Position of Attention outlined above, while repeating “Set!” with intensity.3 Drill to Position of Attention To practice the Position of Attention, a drill entitled “Drill to Position of Attention” is used as a mental checklist of the elements of the Position of Attention that are most important. During Band Week, the Drum Major vociferates the cues, which are followed by responses from the whole MMB as follows: Drum Major MMB “Heels!” “Together!” “Stomach!” “In!” “Chest!” “Out!” “Shoulders!” “Down!” “Head!” “Up!” “Eyes!” “Fixed!” Each element is checked and refined as the command is executed. Maximize/Minimize Drill This drill is used to allow MMB members to feel the difference between a correct, or “maximized” Position of Attention and an incorrect, weak one. A maximized Position of Attention involves a posture that fills as much space as possible, communicating strength and confidence. A minimized position usually includes a slumped back with shoulders forward and the head and eyes down. We practice alternating between these two with emphasis on the correct, “maximized” position, as described above.

3 Note: All vocal commands are performed with high intensity and at full volume. For best results, push air from the abdomen quickly with short, rhythmic bursts (except during glide step fundamental practice).

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For the purpose of this exercise, it is best to make the difference between the maximized and minimized positions subtle, not extreme.

1. The Drum Major says “Minimize, 1-2-3-4-5.” As he counts, the Band assumes a minimized position. Do not “minimize” the legs—only the upper body.

2. The Drum Major says “Maximize, 1-2-3-4-5.” As he counts, the Band assumes a maximized position, as described above.

“Get down” exercise This exercise aims to train MMB members to assume the Position of Attention quickly. It requires astute concentration and quickens the reflex of assuming this position. It also emphasizes that the weight of the body should be on the balls of the feet at all times, as it would be nearly impossible to execute this exercise with the weight of the body on the heels.

1. The Drum Major exclaims: “Get down!” 2. The MMB members bend at the knees, squatting on the balls of the feet with knees out and hands

(and instrument) outstretched for balance. Head is up and back is straight, not slumped. 3. The Drum major calls: “Get ready!” 4. The MMB keeps the same basic posture, but comes out of the squat position to halfway between

squatting and standing, as if ready to pounce, awaiting the next command. 5. The Drum Major exclaims: “Everybody Up!” 6. The MMB immediately shoots up to the maximized Position of Attention while shouting “Check!”

Cueing

With an ensemble our size, verbal communication is vitally important. Cueing, or assisting in passing the verbal command down the ensemble, is important to ensure that the entire band is moving and performing as a unit. All cues must be crisp, clear, and in tempo with the given command. An example of cueing is the “3-4-up!” used for the horns up, as described below.

Whistle Commands The Michigan Marching Band uses four basic whistle commands: Horns Up, Slow Horns Up, the Star Spangled Banner whistle, and Entries whistle. These are utilized to mark the tempo for show music and signal the horns up and down. Execution

1. Horns Up This whistle command is used to begin pieces of show music that have a moderate to fast tempo. It is accompanied by a precise, metered horns up4 occurring on the fifth count following the first whistle of the command. Be sure to subdivide at moderate tempo markings: “1-and-2-and-3-and-4-and…”

Counts: 1 2 3 4 1 2 3 4 1 Drum Major: Tweet Tweet Tweet Tweet Band Cues: (rest) “3 4 Up” Piece Begins

4 “Horns up” positions (playing position) are as follows: Piccolos: parallel to ground, elbow out Clarinets: instrument approximately 40 degrees from angle of body Alto and Tenor Saxes: instrument is parallel to body Trumpets, horns, trombones, euphoniums: instrument at a 15-degree angle above parallel to the ground

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Horn move: Up 2. Slow Horns Up This whistle command is used to begin pieces of show music with slower tempo markings, and is accompanied by a precise, slower, metered horns up beginning on “1” of the measure after the first whistle. Your instrument should arrive in playing position on the seventh count of the command (beat three). Take all of the counts to get there, and be sure to subdivide!

Counts: 1 e + a 2 e + a 3 e + a 4 e + a 1 2 3 4 1 Drum Major: Tweet Tweet Tweet Tweet Band Cues: (rest) “3 Slow Slow— Up” Piece Begins Horn move: Start up…………arrive

3. The Star Spangled Banner Whistle This whistle command is used prior to and following the Star Spangled Banner and Yellow and Blue. Visual cues for this whistle command can be observed by watching the Drum Major or a conductor on the tower or ladders. Subdividing the “and” after the whistle can help keep the “up” or “drop” together. Snap up and down quickly!

Counts: 1 + 2 + 3 Drum Major: Tweeeeeeet Tweet Band Cues: “Tweeeeeet” + Up” (before song) “Drop” (after song) Horn move: Up

4. The Entries Whistle The Entries whistle is a fast (about quarter note=220), four-count whistle used only to begin the “Entry Cadence.” Note that there is no horns up for entries; as such, the cue “no no-up” is used.

Counts: 1 2 3 4 e + a 1 2 3 4 1 Drum Major: Tweet Tweet Tweet Tweet Band Cues “3 No No—Up” Cadence Begins Horns Up Tips • Think about “exploding” with the instrument into playing position (except for slow horns up). Use the

“snapshot” analogy; pretend that there are two positions only: the set position and the “horns up” position. If someone were to take a picture during the horns up, they should only be able to get a shot of one or the other, and nothing in between. Be sure to avoid excess tension in the body once the instrument is set, while at the same time remaining maximized.

• Rhythmic subdivision, as noted above, is imperative in order to assure uniform movements across the

ensemble, especially at slow tempo markings. • Once the instrument is in place, breathe and stay still; avoid extraneous movements and fidgeting. • Be sure to remind yourself to keep the upper body maximized yet relaxed while the instrument is in

playing position. Horn “drop” Tips

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• Keep the body maximized after the drop. • Be sure the arm does not move down farther than parallel to the ground.

Vocal Commands

The Michigan Marching Band uses four different verbal commands given to direct the band to perform certain specific marching maneuvers. The Double Commands are the following: Attention, Right Face, and Left Face. The Dress Command is used by the Drum Major during drill rehearsals and will be discussed further in Part II of this document. Each command has an accompanying marching fundamental in the tempo of the command.

The Attention Command The Attention Command is used in many situations to improve the presence of the band. The tempo is approximately 80 beats per minute. Note that the “Double Command” call is articulated in a 16th note-triplet rhythm. Before attempting to learn this maneuver, it is best to learn and refine the “High Step” fundamentals, as outlined below and on the MMB Marching Fundamentals video. Counts: 1 trip- let + 2 + 3 + 4+ 1 + 2 + 1 + 2 + 3 Drum Major: “Double Command (rest) Ten Hut!” Band Cues: “Ten Hut 1 + 2 + 3!” Step execution: Lock Lock Close Execution: (Using the High Step Fundamental)

1. On count one after the Band Cues “Ten Hut,” explode the left leg to 90 degrees with toe pointed downward and shin perpendicular to the ground. Respond: “One.”

2. Exchange quickly to the right leg at 90 degrees, lock into place, and respond: “Two.” 3. Quickly lower the right leg to the ground to close and respond: “Three.”

Tips • Subdivide in 8th notes during the cues to ensure proper timing and uniformity across the ensemble.

Think “Lock—Hold—Lock—Hold—Close.” This maneuver tends to rush, especially after Band Week. • As noted above, learn the basic High Step fundamentals and the “Attention by the Numbers” exercise

(below) before attempting to assimilate this fundamental.

Right Face and Left Face The Facing Commands, also known as Right and Left Face are used to alter the directional facing of the ensemble. These commands can be given at any time; however, they are most often used on game days after marching to the stadium. The Right Face is as follows: Counts: 1 trip- let + 2 + 3 + 4+ 1 + 2 + 1 + 2 Drum Major: “Double Command (rest) Rite Hace!” Band Cues: “Rite Hace 1 + 2!” Step execution: Pivot Close Execution:

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1. With weight on heel of right foot and ball of left foot, pivot the body 90 degrees to the right with a snappy motion, responding: “One!”

2. Snap the left foot into place so that the feet form a 45-degree angle and respond: “Two!” 3. The upper and lower body should move exactly together, maintaining proper posture throughout.

The Left Face is the same maneuver backwards: Counts: 1 trip- let + 2 + 3 + 4+ 1 + 2 + 1 + 2 Drum Major: “Double Command (rest) Leff Hace!” Band Cues: “Leff Hace 1 + 2!” Step execution: Pivot Close Execution: (Using Glide Step Fundamentals)

1. With weight on the heel of left foot and ball of right foot, pivot the body 90 degrees with a snappy motion to the left and respond: “One!”

2. Snap the right foot into place so that the feet form a 45-degree angle and respond: “Two!” 3. The upper and lower body should move exactly together, maintaining proper posture throughout.

Tips: • The vocals are altered to allow for a short, precise rhythm: “left” is vocalized “leff,” etc. • When pivoting, lift the part of the foot that is not required for the pivot slightly off the ground. • Imagine a piece of plywood rotating on a vertical axis. • Right and Left Faces tend to shift a person to the side of the position they previously maintained. This

is natural; do not attempt to adjust back to the previous spot. If one completes four consecutive Right or Left Faces, they should end up back on the same spot they began.

The Dress Command

The Dress command is used during Pregame and halftime drill rehearsals to allow the individual members of the MMB time to review and correct their position on the field. Details on this command are outlined below within the discussion of “drill marching” in Part II.

Traditional Step The Traditional Step was introduced to the MMB by Dr. William D. Revelli. Characterized by a smooth, flowing, graceful motion, it is the primary step used in our Pregame performance. It is helpful to first view the MMB Marching Fundamentals Video for a demonstration of this fundamental.

Traditional Step by the Numbers Before attempting to master the traditional step as a whole, it is best to break down the step into parts to emphasize the most salient elements. The Drum Major cues each part of the exercise and the Band repeats. Remember to begin at the maximized Position of Attention, and keep the weight of the body on

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the balls of the feet, even when balancing on one leg. Keep the instrument in playing position during this exercise. Execution: Drum Major: Band cues: “Traditional Step by the Numbers!” “Traditional step” “Ready, One” “One” On one, smoothly roll the left foot upward from the heel, creating an extreme toe point (the toe should be pointed straight down and is still touching the ground). The knee should be pointed out slightly in the direction of the 45-degree foot angle. “Ready, Two” “Two” On two, the left leg comes up so that the top of the thigh forms a 60-degree angle to the ground. The knee should now be pointed straight forward. The shin is perpendicular to the ground and the foot remains pointed down so that the top of the foot is in a straight line with the shin (see below for tips on addressing physical concerns with relation to toe point). Balance is an issue during the exercise. It is good to practice holding the left leg in place while maintaining balance in a maximized position. This is one of the most important skills to develop as a member of the MMB, as balance and weight transfer are keys to proper execution of the majority of the MMB marching fundamentals. Practicing holding your balance for long periods of time when developing the Traditional Step and High Step will significantly improve your comfort on these steps. “Ready, Three” “Three” On three, the toe comes back down with the leg in the same position as on “one,” except the knee should be facing straight forward. Maintain the extreme toe point (which means you are bending and stretching at the ankle). “Ready, Four” “Four” On four, the left foot comes down to the ground as if in the Position of Attention, except the foot is facing straight forward, not at a 45-degree angle. Simultaneously, the right leg moves into the “one” position, as described above. This “transition” should be smooth, not “explosive,” as with the High Step. Be sure that the weight of the body is always on the balls of the feet. “Ready, Five” “Five” Same as “Ready, Two” except with right leg. “Ready, Six” “Six” Same as “Ready, Three” except with right leg. “Ready, One” “One”

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Same as “Ready, Four” except with opposite feet. Continue to repeat this pattern until the Drum Major discontinues the commands.

Traditional Step: Mark Time The next step in mastering the Traditional Step is marching in place, using the same basic angles and transitions described in the “Traditional Step by the Numbers” exercise (above). As well as being a good “stepping-stone” to the full Traditional Step, this fundamental is a practical skill used during Pregame. As such, it must look as good as the Traditional Step proper. Execution

1. Stand in the maximized Position of Attention with the instrument in playing position. 2. Lift the left leg up to the “two” position slowly (thigh to 60 degrees, knee straight forward,

shin perpendicular to the ground, with toe point), while simultaneously twisting the upper body slightly to the left, over the raised leg, about 15 degrees. This is the “horn sway;” it should feel natural and be subtle. The horn sway involves motion in the upper body as a whole, not just the shoulders.

3. Lower the left leg to the ground while moving the upper body to the right, lifting the right leg simultaneously to the 60-degree position. The transition between the two legs occurs as the toe of the left foot touches the ground and rolls down, while the heel of the right foot comes up (think about the foot “peeling” from the heel to the toe from the ground, leaving the ankle pointed downward at all times when the leg is in the air). The instrument arrives over the right leg (15 degrees) as the right leg arrives at the 60-degree position.

4. The right leg lowers and the process is repeated. When this fundamental is practiced in time, the Drum Major uses a whistle command. The first step is initiated on count 4, arriving on 1: Counts: 1 2 3 4 1 2 3 4 1 2 3 etc. Drum major: Tweet Tweet Tweet Tweet Band Cues: “3 4 Up!” Step Execution: Horns up Lift to 60 Step Step Step, etc. Tips Note: Many of these tips apply to the Traditional Step at large and are practiced most effectively by addressing each element of the Traditional Step Mark Time first, before adding in movement. • The “horn sway” always occurs over the leg that is in the air. Remember to keep it relaxed, smooth

and subtle, only 15 degrees or so. • A tendency on the Traditional Step Mark Time is to “kick in,” which means that the shin never appears

to reach an angle perpendicular to the ground. It is sometimes necessary to counter this tendency by pushing out at the ankle slightly while keeping the ankles stretched downwards (toe point). The perception of the correct angles is dependent as much on the timing of the leg movement as the angle itself; the longer the leg is in the correct angle, the better the step will look.

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• While the step is smooth, it is not a consistent speed throughout; the leg should bob up to the 60-degree position and remain there for a millisecond before coming down. Imagine the motion of a ball bouncing—the faster part of the motion is at the bottom, when it hits the ground; at the top, the motion slows down. This is how the Traditional Step should look.

• It is a common mistake for the leg angles to come down during the “mark time” version of the

Traditional Step. Be sure to keep them up at 60 degrees. • Keep the weight of the body on the balls of the feet. • The back leg (the one that is on the ground) should remain straight while it is on the ground. However,

the weight of the body should not move back to the heel of the foot. • Do not slam the feet into the ground; rather, control the downward motion and cushion the impact of

the ground by rolling from the toe to the heel (but still no weight on the heel) while rolling up with the opposite foot. Use the calf and shin muscles to control this motion. This cushioning is highly dependent on the “toe point.” Difficulty making this step smooth often is a result of a poor toe point and little cushioning at the transition points. Try to make as little contact sound on the ground as possible while executing this step.

• Be aware of the tendency to drift away from your spot while marking time.

Traditional Step: One Step Once the Traditional Step by the Numbers and Mark Time fundamentals have been developed, little must be added to begin taking steps forward. Therefore, it is recommended that the MMB student gain mastery over those two exercises before adding forward movement. The better one’s basic skills, the easier it will be for one to think about weight transfer and step size. Execution In this exercise, we focus only on making one step. The Drum Major initiates the step with whistles: Counts: 1 2 3 4 1 2 3 4 1 Drum major: Tweet Tweet Tweet Tweet Band Cues: “3 4 Up!” Step Execution: Horns Up Lift Step

1. On beat four, lift the left leg to 60 degrees (with shin perpendicular to the ground and toe pointed), while pushing from the right foot to propel the body forward to the correct 8-to-5 step (22.5 inches).

2. The horn sway should coincide with the lift of the left leg on count four, arriving over the right leg on one of the next measure.

3. When the toe of the left foot hits the ground, the back leg should be straight, with the heel only a few millimeters from the ground.

4. After contact (this happens very quickly), the left foot rolls down to the heel (weight still on ball) while the right knee bends and the foot rolls up to the toe. The ball of the left foot now has the weight of the body, as the next step is initiated—the right leg moves up to a 60-degree angle. Hold this position—the right leg should be hanging in the air with the weight balancing on the left leg.

Tips

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• Assuming the other elements of the step are sound, one can focus on pushing from the back foot (for momentum) during this exercise. For this to happen, the weight of the body must always be on the balls of the feet.

• During the foot transition, be sure that the feet roll (albeit in an opposite motion) simultaneously.

Control this motion by keeping a small amount of tension in the ankles at all times, as if they are loaded with springs.

Traditional Step Two, Four, and Eight Steps Try adding more steps. Attempt to stop on count 2, 4 and 8, each time ending with the left leg hanging at 60 degrees. As you add steps, consider the following points: • Consider step size, which should be 8 steps to 5 yards (8-to-5). See Part II for more information on

step size accuracy. • Review the “tips” listed under Traditional Step Mark Time, as many of these points apply to the step

when it is in motion. Especially be aware of “kicking in” when moving forward; remember, the timing of the step is as important as the angles. The forward leg should “spring” (not lock) out to a 60-degree angle, with the shin perpendicular to the ground, so that it is there long enough for the observer’s eye to perceive that angle.

• The ankle “spring” (toe point) is the key to making this step smooth and relaxed. It will be very

difficult to get this step down without developing the toe point (see below for tips on this). • Watch for “leading with the knee,” another common, but not desirable, tendency. This is also

described as “bicycling.” Focus on leading forward with the shin or ankle, while maintaining the maximum toe point. Pretend that you are using the ankles to push a box across the field as you march.

• Have people watch you march to ensure that you are not “kicking out.” Kicking out can often be

remedied by focusing on increasing the toe point. • Stay maximized in the upper body, leaning very, very slightly forward to maintain forward

momentum. • The general feel should be somewhat “bouncy” with the legs, but smooth with the upper body. Think

“floating” and “stately.” • Note: Some marchers with longer legs have trouble reaching a 60-degree angle without taking too

large a step. What is most important is the flow and motion of the step. It is understood that this is an issue amongst staff and Rank Leaders. If you have this problem, try to keep all other variables consistent while bringing the angle down slightly.

• The Marching Fundamentals Video is an invaluable tool in developing this step; watch and imitate!

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High Step (Lock Step) The High Step is one of the most exciting and physically demanding steps of the MMB. It is also a step unique to the Michigan Marching Band. The High Step is used primarily in our Pregame performance, but is occasionally used in halftime performances as well. The aim of the High Step is to communicate energy through motion, which contributes to an exciting performance.

High Step Leg Positions It is first useful to define the location of each leg in the proper High Step position. The instrument need not be in playing position for these exercises. Balance on your right leg with your left leg positioned so that the top of the thigh is parallel to the ground, with the shin perpendicular to the ground. This is the “90-degree” angle that is mentioned with regard to the High Step. Point the toe toward the ground by stretching and bending at the ankle, as with the Traditional Step. This toe point always exists when the foot is not on the ground; it is one of the most important elements in correctly executing the step. The “post leg” is the leg that is on the ground while the other is at 90 degrees. The strength of this leg in this position has a dramatic effect on the ability to perform this step properly. Put the left leg up to 90 degrees. Balance on the right leg by stretching out of the hips while maximizing the upper body and flexing in the quads, hamstrings, and buttocks. Keep this leg as straight as possible; think about “locking” your kneecap as far back as you can. If you have trouble keeping your balance, fix the eyes on an object along the horizon. Imagine a wooden post extending from the ground, through the posted leg, up the side of the body, and out the top of your head. One should practice holding this position for longer and longer periods of time in order to make it feel more comfortable. It is not possible to do the High Step correctly without proper balance on both post legs. Repeat this process with the other leg.

High Step Motions Now that the High Step leg positions have been established, we can begin to work on the explosive, efficient motions that get the legs to these positions. The quickness of these motions often distinguishes between a good versus a poor High Step. There are two basic motions in the High Step: the “up” motion of the leg that is locking into the 90-degree angle, and the “down” motion of the leg that is planting on the ground. First, we will address the “up” motion. Put the left leg in the 90-degree position as described above. Think about what this looks and feels like, and then lower the left leg to assume the Position of Attention. Now thrust the left leg up to the 90-degree angle you just had by pushing up from the ball of the foot, stopping quickly, with no extraneous bobbing or dropping. Repeat this motion; see how fast you can explode the leg up, while keeping your balance and avoiding extra motion at the 90-degree position. View the MMB Marching Fundamentals video to get an idea of just how fast this motion should be. Always work to make this motion quicker—it is one of the most important elements reviewed by staff when the performance block is being set.

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A common tendency with the High Step is the “lock-drop,” which occurs when the leg moves beyond the 90-degree angle and then settles down into the 90-degree position. This occurs because it is easier to let the leg settle at 90 than to stop it quickly, which involves intensity in the groin and thigh muscles. Practice the “up” motion at different angles (30, 45, 60 degrees) with the intent of stopping the leg in the desired position with no extra up movement or lock-drop. Now address the “down” motion by starting with the leg in the locked 90-degree position, with a maximum toe point. Shoot the leg down to the ground, cushioning the impact of the foot hitting the ground using the “spring” tension in the toe point. Avoid “slapping” the ground with the heel; focus on controlling the weight once the toe hits. As always, be sure that the weight is on the balls of the feet, never on the heel.

High Step by the Numbers Next we combine the “up” and “down” motion to form the “exchange,” in which these two motions happen simultaneously. We use an exercise entitled “High Step by the Numbers” to practice this exchange. The instrument can be either up or down during these exercises. Drum Major: Band cues: “High Step by the Numbers!” “High Step” “Ready, One” “One” On one, explode the left leg upward, pushing from the ball of the foot, creating an extreme toe point. The knee should point straight forward, with the shin perpendicular to the ground and the thigh parallel to the ground. He post leg should be taught, with flexed quad, hamstring, and buttock muscles. Work to maintain balance; if you lose your balance, keep your focus on the post leg while using the left leg to spring you back into the correct position. “Ready, Two” “Two” On two, simultaneously:

• Shoot the left leg down to the ground, cushioning with the “spring” tension of the pointed toe. The

foot should be facing straight forward at this point.

• Push up from the ball of the right foot, exploding the right leg into the 90-degree position, as explained above.

“Ready, Three” “Three” • Do the same motion as “two,” except using the opposite legs. • This may continue, with increasing numbers, indefinitely. Tips • As the legs are moving simultaneously, there will be a moment when both legs are in the air at the

same time. This point is crucial; it is a common mistake to wait for the left leg to touch the ground before shooting the right leg up into position. This way, the lock will appear to be late. Instead, be sure to move them at the same time. The faster the motions, the easier it is to move the legs simultaneously.

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• Furthermore, the speed of the “down” motion is critical for maintaining a sharp looking High Step. As

the “downward” moving leg is about to create the post leg that is so crucial for balance, it is important that this leg reaches the “down” position as quickly as possible. Many marchers focus too little on this important part of the High Step.

• As with the Traditional Step, practicing keeping balance is important. When practicing as a group, the Drum Major may put time in between each command to force members to keep their balance for longer periods of time. Practice it on your own until you have no trouble balancing on the post leg with the other leg in the 90-degree position. This skill is invaluable!

Full Attention Double Command

This command is repeated here for use as an exercise that is aimed at refining the High Step. The tempo is approximately 80 beats per minute. Note that the “Double Command” call is articulated in a 16th note-triplet rhythm. The instrument stays down during this command. Counts: 1 trip- let + 2 + 3 + 4+ 1 + 2 + 1 + 2 + 3 Drum Major: “Double Command (rest) Ten Hut!” Band Cues: “Ten Hut 1 + 2 + 3!” Step execution: Lock Lock Close Execution: (Using the High Step Fundamental)

1. On count one after “Ten Hut,” raise the left leg to 90 degrees and lock into place. Respond: “One.”

2. Exchange quickly to the right leg at 90 degrees, lock into place, and respond: “Two.” 3. Quickly lower the right leg to the ground to close (feet at 45 degrees) and respond: “Three.”

Tips • Subdivide in 8th notes during the cues to ensure proper timing and uniformity across the ensemble.

Think “Lock—Hold—Lock—Hold—Close.” This maneuver tends to rush, especially after Band Week. • As noted above, learn the basic High Step fundamentals and the “Attention by the Numbers” exercise

before attempting to assimilate this fundamental.

High Step: One Step Now we are ready to move forward, taking one step. This will be the same as doing one step of Traditional Step, except using the High Step fundamentals. The Drum Major will take a considerably slower tempo, about quarter=60-70; therefore, subdivision of the beat is very important. As with the Traditional Step, the first lift of the leg occurs on beat four. In this exercise, there is a horns up, but there is no horn sway with the lock step; the instrument remains straight forward. Execution: Counts: 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 Drum major: Tweet Tweet Tweet Tweet Band Cues: “3 4 Up!” Step Execution: Horn up Lock (hold) Step

1. On beat four, the left leg explodes up to the locked 90-degree position, while the back leg remains posted. However, the weight (which has been on the ball of the foot) of the body begins to move forward, over the first 8-to-5 step.

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2. On beat one, the left leg shoots down into the correct 8-to-5 step, while the right leg explodes up

into the 90-degree position. The left post leg is flexed to provide support and balance.

3. Hold this position until asked to relax…

High Step: Two, Four, and Eight Steps The same process is used to do two, four, and eight steps, except the marcher ends each drill by holding the left leg in the air with the right acting as the post leg. As with the Traditional Step, step size is now the focus. The effort needed to reach the correct step size varies depending on the length of the marcher’s legs. See Part II for more details on correct step sizes. Always begin at a maximized Position of Attention!

Breaking down the High Step One way of developing the High Step is to break it down into its constituent elements. An important part of this process is experiencing what a fast lock speed feels like, as this is initially difficult to do at the full 90 degrees. Breaking a step down this way allows one to determine if the issues with the step are purely physical, a bad habit, or are based in a faulty understanding of its elements. Try out this process:

1. Remember that speed is the goal. It may be useful to see if you understand what it feels like to execute a quick transition. Put your instrument down and do some High Step exchanges at about 45 degrees (or less, if necessary), in place. If they are slow, attempt to explode from the ground to 45 degrees, with more “still time” in between steps. Think about the muscles you need to use to make this happen: calf muscles to push the foot upward, and quad and groin to stop the leg at 90 degrees. Think logically: if your motion is slow at 45 degrees, will you be able to have a quicker motion while playing, marching at 90 degree angles, and taking 8-to-5 steps? Probably not.

2. Once you have gotten the right feel and speed at 45 degrees, raise to about 60 degrees. Go

through the same process. If you have trouble with this, keep practicing this until you can do it satisfactorily.

3. Add other elements in slowly. If it is good at 60 degrees, go to 90, but still in place, with horns

down.

4. If correct, do the same thing in place with the horns up, but with no playing.

5. If correct, march straight down a yard line with small steps, and still with no playing. This way you can get used to marching, without worrying about step size.

6. If correct, march 8-to-5 steps, no playing.

7. Add in the playing. Often technique suffers as soon as the playing is added. If this is a problem,

add playing to one of the earlier steps (i.e. play while marching in place at 45 degrees). Then add the other elements gradually.

It may be necessary to go through this process a number of times before the composite step is mastered. Be patient and go back to individual elements when you run into trouble.

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Entries Performed at 220 beats per minute, Entries are another exciting marching step unique to the Michigan Marching Band. In addition to their function at the ends of rehearsals, the Postgame performance, and concert performances, they communicate energy and excitement to Michigan Stadium at the beginning of the Pregame performance. Execution: • Begin at the maximized position of attention. • After the entries whistle and on beat “4” of the drum clicks, lift the left leg to a position slightly higher

than 90 degrees, with a slight toe point. Keep the lower leg straight. Do not bring the instrument into playing position. The free hand makes a fist and is placed in the center of the abdomen on “4,” with the lift of the leg.

Counts: 1 2 3 4 e + a 1 2 3 4 1 Drum Major: Tweet Tweet Tweet Tweet Band Cues: “3 No No—Up Cadence Begins Step execution: Lift Step… • Exchange to the right leg using the same fundamental as the left leg. • Repeat until the drumline’s “Halt Cadence.” • Close as follows: Counts: 1 2 3 4 1 2 3 4 1 2 3 4 Band Cues: “Go!” “Up!” Step execution: Down Close Horns Up The drumline “Halt Cadence” is 12 counts. The beginning of this cadence is easily decipherable, as it sounds different from the Entries Cadence before it. On beat four of this halt sequence, the MMB shouts “Go,” the cue to end the step. On beat two of the next measure, the right foot plants on the ground. On beat three, the left closes next to the right in the proper 45-degree angle position. On beat four, the horns come up with cue “Up!” (for Pregame and before M Fanfare in standstills only). At the end of standstill performances, nothing happens on this beat. Tips • A standard Pregame performance involves 12-15 sets of entries (each set is 16 counts). One should

practice entries daily to ensure the proper conditioning in preparation for game days. Many sections practice entries as a section after daily rehearsals to build stamina. Do not underestimate the strength and stamina necessary to make it through a Pregame performance. More information on physical conditioning is outlined below.

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• Control breathing (it is helpful to breath in rhythm as if jogging or running) during entries. After these 12-15 entries, one must be able to play M Fanfare with good tone and sound projection.

• This step does not have the rigidity of the High Step. Be sure the balls of the feet, not the heels, are in

contact with the ground, and be sure the angles of the legs are above 90 degrees.

Some Physical Concerns

Tips on Toe Point As stated above, the “toe point” is one of the most important elements of the Traditional Step and High Step. The toe point may be described as an “ankle bend,” in that the flexibility of the ankle and strength of the calf and muscles around the shin are more pertinent than the toe, per se. However, the toe is pointed to ground—so over the years this element has been described as the “toe point.” The pointed toe (or bent ankle) acts like a spring that is uncoiled, ready to accept the weight of something. When the foot reaches the ground in either the Traditional Step or the High Step, this spring absorbs the “shock” or impact of the foot, catching the weight of the body so that the heel does not “slam” into the ground. In order for this to happen, there must be a certain amount of tension in the calf and shin muscles when the leg is in the air, and the foot must come down so that the toe (or as close as possible to it) first touches the ground. The more room the foot has to roll down to the heel (no weight on the heel!), the more “cushion” is possible. The “toe-point” needs to be approached aggressively; that is, you should feel a significant amount of tension in the ankle and bottom of the calf from flexing your ankle and toes downward. Without this tension, the “toe-point” cannot serve its purpose of absorbing shock. Some people naturally have more flexibility in the ankle than others. This flexibility can be developed over time by spending some time each day flexing the ankle forward to develop the calf and shin muscles and stretch out the ankle. Flex the foot down, creating the toe point, keeping it there for approximately 10 seconds. You should feel some tension and mild “burning” in the ankle and the bottom of the foot. Repeat this 3 to 4 times. Also, when practicing the Traditional Step and High Step, focus on flexing the muscles that point the toe down. You should feel noticeable tension in the ankle and foot.5 With consistent practice over a period of weeks or months, the toe point should more closely resemble a straight line from the line of the shin, down the top of the foot, and through the toe.

Physical Conditioning and Marching Fundamentals As you may imagine, the Pregame fundamentals outlined above are physically demanding. Pregame entails 12-15 sets of entries and marching the full length of the field in traditional step with a set of 16 High Steps in the middle, all while playing the Victors in a heavy uniform. Needless to say, many MMB members are shocked at how physically difficult it is to make it through Pregame on game day. As such, it is important for each MMB member to engage in an exercise program that develops cardiovascular and respiratory stamina and muscular strength. This program should begin in the off-season and continue through the summer for maximum benefit.

5 This “tension” should be akin to the feeling one has when exercising; of course, if there is ever pain, discontinue the practice and rest the legs and feet. Keep in mind that this type of stretching can only happen over a long period of time and should be practiced moderately and consistently.

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1. A “cardio” workout that emphasizes strength training, such as aerobics. Many of these routines enable one to practice shifting weight distribution and developing leg muscles. While running or biking may be helpful for cardiovascular fitness and leg strength, aerobic routines often involve physical motions that are more similar to what we do when marching.

2. Strength training, such as lifting weights or Nautilus, especially focusing on the quads, hamstrings, and calf muscles. For those that carry large brass instruments, upper body conditioning is also recommended.

3. Flexibility training: daily stretching of muscle groups that are used in unnatural ways during the marching fundamentals. Examples are:

a. The stretching of the ankles for “toe point,” as described above and in the opposite direction for glide step “toe lift,” described below. b. Flexibility in the groin area for High Step. c. Twisting at the waist for slides (described below). Be sure to stay maximized!

When stretching these muscle groups, be sure to breathe in when going into the stretch, then hold for 5-10 seconds, breathing out as you go out of the stretch. Do not “bounce” stretch the muscles repeatedly—this can injure them. Remember, stretching will only be effective if done consistently and gradually over a long period of time. No one can gain more flexibility in a muscle group after only days or even a week. Be patient and let the muscles stretch out over time.

Glide Step The Glide Step is the most commonly used step of the Michigan Marching Band. It is used in halftime shows and parade marching. First, view the MMB Marching Fundamentals Video to see the composite step.

Glide Step Mark Time The Glide Step Mark Time is used during shows to keep the pulse of the music in the feet and allow MMB members to adjust to coordinates and forms while marching drill. This fundamental is characterized by the lifting of the heel from the ground about ½ inch and making contact with the ground on the beat. The toe should stay on the ground during this fundamental,6 and the knees should bend slightly when the heel lifts. At the initiation and ending of sequences that involve Glide Step Mark Time, the feet are adjusted to straight forward (initiating) and to 45 degrees (ending), as follows: Initiating the Glide Step Mark Time: Counts: 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 etc. Drum major: Tweet Tweet Tweet Tweet Band Cues: “3 4 Up!” Step Execution: Horn up Lift heel In (Left) In (Right) Ending (closing) the Glide Step Mark Time Counts: 1 2 3 4 + 1 Step Execution: Out Out

6 The drumline actually lifts the whole foot from the ground slightly.

To feet pointing straight forward and parallel To feet at 45-degree angle

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Slow Glide Step Drill It is helpful to break down the Glide Step into its constituent parts. If this is the first time you are doing this, get up and actually walk through each step as you read. For the Glide Step we count “1 e + a 2 e + a 3 e + a 4 e + a” to define each part of the step. It is helpful to actually say these counts (smoothly, just like the step) as you march. As you are practicing this, keep in mind that while each count is associated with a respective foot position, ultimately these motions should be smooth and continuous, with no more speed in one part of the step than any other part.

1. Begin with the heel of the left foot on the ground, in front of the right foot, as if you are taking one step. The toe of the left foot should be about 3 inches from the ground, while the ball of the right foot should be on the ground with the heel raised about 3 inches. Balance in this position with the body weight evenly distributed between the two legs. This is the “1” position.

2. Roll forward and down to the ball of the left foot while rolling up from the heel to the toe (the heel

comes up away from the ground) in the right foot. On “e” the toe lifts from the ground. At this point, the right knee should be bent as much as necessary to ensure that the heel is nearly perpendicular to the ground. The left knee is very, very slightly bent, and definitely not locked.

3. Roll slightly through the left foot while slowly bringing the right foot to cross the left leg on “and.”

The weight should now be fully on the ball of the left foot. When the right foot crosses, the ball of the foot should “skim” close to the ground. Do not attempt to flatten out the foot, as the bottom of the foot should not be parallel with the ground at this point.

4. Continue to roll slowly through the left foot as you begin to lift the heel of the foot from the ground

very slightly. Move the right foot forward while initiating the “toe point” in this foot, to reach its maximal angle on “a.” The right leg straightens as it reaches “a” and maximizes the toe point. This is the only time in the step that the leg should be straight. While the weight is still on the ball of the left foot, it should be shifting forward.

5. Touch the heel of the right foot down on “2,” to assume a position similar but opposite to the

position in #1, above. Next, do the step in time, counting 16th notes calmly and smoothly (as described above), extremely slowly. You can use mnemonic devices to recall the most important parts of the step: “lift,” “cross,” and “point.” 1 e + a 2 e + a 3 e + a 4 e + a lift cross point lift cross point lift cross point lift cross point Practice this drill until you can keep your balance while ensuring that there is no more speed in one part of the motion than any other. Very gradually speed up the 16th’s, while keeping the motion smooth. Once you are comfortable with these mechanics, put the instrument into playing position and march 8-to-5 steps (still very slowly, approximately 16th note=100 beats per minute). Be sure to maintain a maximized Position of Attention throughout the entire exercise. Tips • The most important thing to remember when practicing this exercise is to keep the motions smooth in

between counts. This means that no more time is spent on one count than any other count. This

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becomes difficult with this exercise, as you are required to control the motions and keep balance at a very slow tempo. Especially watch for the space between “e” and “and;” as it is difficult to keep balance here, many students end up rushing this motion, which makes the step look jagged. Control the balance of the body with the planted foot as you roll, while slowly moving between the “lift” and the “cross.” It is useful to stand on the left foot and practice moving back and forth between these two positions (“e” and “and”). This balance becomes extremely important when marching at slow tempo markings.

• Go for maximum toe point in the front foot (work to get the toe higher and higher from the ground)

and maximum roll up in the back foot (i.e. on “e” be sure that the foot is nearly perpendicular to the ground and the knee is bent. These two elements are what characterize the Glide Step, and will be assessed heavily when decisions are made about the performance block.

• Use your leg and foot muscles to control the body’s weight and roll slowly and smoothly. • In the MMB Marching Fundamentals Video, it is suggested one should roll on the “outside” of the foot.

This is simply implying that one should focus on rolling along the part of the foot that is most continuous with the ground. As the arch is on the inside of the foot, it is best to think about rolling toward the outside, while keeping the foot relatively flat. Of course, do not go to extremes and roll to close to the side of the foot as you may risk rolling the foot over.

Glide Step: Step-offs

Unlike the Traditional Step and High Step, which step off on “4” before the first note of the piece, the Glide Step initiates the step on the “and of 4.” We add this to the beginning of the Slow Glide Step Drill during Band Week. On “and” the left foot initiates movement, pushing forward, pointing maximally on “a,” and touching down on “1,” in the position described above. At the same time, the ball of the right foot pushes the body’s weight forward (the right heel should be about 3” from the ground on “1”). Keep the left heel close to the ground as it moves forward to avoid “bicycling” into the first step. Drum Major: 1 e + a 2 e + a 3 e + a 4 e + a 1 Band Cues: “3 e + a 4 e + a 1” Step execution: Push Point Touch

Glide Step: Closing To “close” with glide step, simply take all of the counts between “e” and the next beat to close with the feet in the proper 45-degree angle. Since there are three 16th notes to cover, make the motion slower. It is not necessary to achieve a maximum toe point on the close.

Glide Step Fundamental: One Step Now that we understand the basics of the Glide Step motion and how to begin and end, we are ready to move at faster tempo markings. While it is impractical to continue to count “1 e + a 2 e + a,” etc., the same elements of these counts apply. We shorten the counting to 8th notes, and initiate the step with a whistle command from the Drum Major, as described above. Notice that the heel of the foot should touch the ground right on beat “one.” Take a correct 8-to-5 step (22.5 inches), landing in the “1” position described in the Slow Glide Drill. Be sure to think about pushing off with the ball of the right foot. Counts 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 Drum Major: Tweet Tweet Tweet Tweet Band Cues: “3 4 Up!”

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Step Execution: push touch

Glide Step Fundamental: Two, Four, and Eight Steps Once Glide Step technique has been developed using the exercises above, adding steps is a relatively simple process. Add in steps, with particular attention paid to step size. Continue to accentuate the roll of the foot with maximized toe point and heel roll-up. Go for a uniform, smooth motion throughout the step.

Glide Step Fundamental: Alternate Step Sizes Very rarely (apart from challenges) does one march Glide Step with perfect 8-to-5 steps. Therefore, it is useful to practice marching at different step sizes. The most common alternate step sizes that are practiced during Band Week are 6-to-5 and 12-to-5. It is important to practice these other step sizes, as the mechanics of the steps change slightly when step size changes. For example, when marching step sizes both larger and smaller than 8-to-5 (especially at faster tempo markings) it is helpful to bend the knees slightly more in order to be sure the toe-lift and heel-roll remain accentuated. Also, as described below, be sure that the 1st step is correct when changing to a new step size. See Part II for more information about executing correct step sizes. Forward Glide Step Tips • While the mechanics of the heel-to-toe roll are of primary importance in the Glide Step, the

mechanics of weight transfer are nearly as vital to the performance of halftime drill. When initiating a step, focus on pushing with the back leg to gain forward momentum. In transitions between steps, use the balls of the feet to shift the weight of the body to the new trajectory.

• Watch for the tendency to move the upper body. The goal of the Glide Step is to provide the upper

body and embouchure with a “shock” system so that no extra movement or disturbance affects it. Imagine that you must balance a glass of water on your head while marching, keeping the upper body as still as possible. Also, be careful not to add a “horn sway” to the Glide Step, especially at fast tempo markings.

• If you have trouble achieving an adequate toe point, use the stretching exercises outlined above in the

section entitled “Physical Conditioning and Marching Fundamentals.” • Be sure not to “bicycle,” which involves lifting the foot too high as it crosses the opposite leg. This is

especially common when taking small steps. • Be sure to walk with the feet facing straight-forward and parallel to each other, not one in front of the

other in “tight rope” fashion.

Backward Glide Step Marching Backward Glide Step marching is similar to forward Glide Step in that it involves a rolling motion of the foot. However, in this case, the step utilizes only a “toe-to-heel” motion, with the toe staying close to the ground at all times. This is demonstrated in more detail during Band Week. Below are instructions for developing the backward Glide Step technique.

1. Much like forward Glide Step, backward Glide Step is initiated on the “and” of “4” of the previous bar. Push with the ball of the right foot, propelling the body and left foot backward toward an 8-to-5 step.

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2. On “1” touch the ground with the ball of the left foot behind you. The heel should be raised as high as possible to provide maximum roll through the foot. At this point, the right leg should be extended with the toe on the ground and the left knee should be bent with the ball of the left foot on the ground. Before the roll, the weight is centered between the legs.

3. Roll down to the left heel while allowing the right toe to “whisper” along the ground (a few millimeters above), crossing on the “and” as the left foot rolls. Shift the weight to the ball of the left foot.

4. Continue to move the right foot backward, touching with the ball of the foot on “2,” as described in #2. Continue in this manner.

Backward Marching Tips • Knees should be bent when steps are being initiated. As you roll through the foot, the knee straightens

out. • Be sure to keep the toes near the ground at all time. There should be no “lifting” of the feet upward.

Similarly, the body should remain at the same height at all times. Do not “elevate” or “lift” onto the toes with the legs straight. The “toe-to-heel” roll enables the step to be smooth without a change in height.

• Backward steps nearly always feel bigger than they really are. Push with the front foot to gain

momentum and reach back farther than you normally would. Unfortunately, achieving the correct step sizes with backward marching is often a “trial and error” experience.

• Be sure to keep maximized, with the chest forward. A common tendency is to lean back as you move

backward. Control the weight of the body with the balls of the feet and the rolling motion of the heels. • When tempo markings are faster, it is possible and sometimes necessary to roll down less in the back. • Most importantly: Do not allow the weight of the body to be on the heels at any time during this step.

While the heels may touch, the weight is always on the balls of the feet.

Slides When MMB members (apart from the drumline) march during halftime, they almost always use either the forward or the backward Glide Step fundamental. Sliding is the process of turning the upper body so that, despite what angle one marches on the field, the upper body is always facing the audience. As such, there are an infinite number of potential body positions involved in halftime drill.

Practicing Slides

1. Stand in the Position of Attention, on a yard line but facing down the line instead of perpendicular to it. Put the instrument in playing position.

2. Turn the upper body at the waist as far as it can go, without changing the upper body maximization or feet.

3. Now turn the upper body (at the shoulders) even more, to reach a 90-degree angle from the initial starting position.

4. Maintain this position while marching a forward Glide Step fundamental with unspecified step size.

5. Be sure to keep the legs together; a common tendency is to put a gap in between the legs, marching in “crab step” style. You should feel the legs “whisking” by one another, as with the ordinary Glide Step.

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6. Use the same, maximized toe lift and heel roll as in the forward Glide Step fundamental. 7. Note whether or not your path remained straight. Did you stay on the line? The tendency is to veer

off the line, toward the direction your upper body is facing. 8. Do the same process, but with backward Glide Steps. 9. Try turning in the opposite direction and repeat.

Glide Step Transitions Halftime drill marching requires the marcher to master a variety of Glide Step transitions:

a. Forward to backward b. Backward to forward

c. Backward to right slide d. Backward to left slide

e. Forward to right slide f. Forward to left slide

g. Right slide to backward h. Right slide to forward

i. Left slide to backward j. Left slide to forward

These transitions are taught and practiced during Band Week, and are relatively straight forward, as long as the basic Glide Step and Slide fundamentals are sound. Remember that the body reaches its destination coordinate on the last beat of each move; for example, if a move is 8 counts, the marcher should arrive with the center of his or her body over the coordinate on beat eight. Some transitions require that one step slightly past a spot in order for the center of the body to reach that spot on the correct count. This is discussed in further detail during Band Week.

Practicing Marching Fundamentals and Receiving Help Students often seek out help from Rank Leaders and MMB Staff outside of rehearsal. This is, by far, the best way to receive feedback about your marching in order to improve from week-to-week. MMB Staff are available for 15-20 minutes after each rehearsal to help individual members with their marching. Rank Leaders are also available to help members of their section. As discussed in the “MMB Rules and Procedures Manual,” the individual “challenge” is only one part of the process that determines the performance block. One must understand his or her tendencies over a long period of time to determine how well he or she will actually perform on game day. Therefore, it is important that MMB members habitually seek out the advice of others when it comes to their marching technique.

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Part II: Drill Marching

Basic Information Pregame and Halftime drills are designed on drill writing software that enables one to print out drill charts and coordinate sheets, which are used by the MMB to learn drill. Each member of the performance block is given a small sheet of paper with coordinates (also called “dots”) for each set of the show. Rank Leaders are given drill charts in order to help the members of their rank find their coordinates and understand the form to which they contribute. Because the Michigan Marching Band hires multiple drill writers (who use different drill writing programs) during a season, the following information may vary slightly from week-to-week. Under such conditions, the Directors will discuss any changes prior to the first drill rehearsal. First, it is useful to learn some terminology that is used to interpret drill charts and coordinate sheets.

The Field

• Side Lines: Border the long sides of the field. Referred to as “Tower” (“Home” or “Front”) and

“Coliseum” (“Away” or “Back”). • Yard Lines: Run from sideline to sideline every five yards. There are eight 22.5” steps between two

yard lines.

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• Hash Marks: Divide the field into three sections from front-to-back. Referred to as the Front (Home or H1) and Back (Away or H2) Hashes.

• Tick Marks: These markings delineate the individual yards in between yard lines, and are extremely

helpful in finding side-to-side coordinates. They are located near the sidelines and hashes and stretch from end zone-to-end zone.

• The “Grid:” This is a set of dots that are painted on the Elbel Field blacktop to assist with learning

drill. These dots are four steps apart and are marked in yellow paint on the yard lines. As side-to-side coordinates are best found using the tick marks, these dots assist with the location of front-to-back coordinates, because there are relatively few front-to-back references painted on the average football field.

• Numbers: The bottom of the yard line numbers (painted on the field) is usually 11 steps from the

sideline while the top of the numbers is 14 .5 steps. These can be helpful in quickly determining one’s front-to-back coordinate when the “Grid” is not available. Unfortunately, these values change from year-to-year and stadium-to-stadium. The Directors will communicate the number dimensions for each field on which the MMB practices or performs.

• Sides: When looking at the field from the tower, the right side is the “White House” (North or B), and

the left side is the “Railroad” (South or A). “North” and “South” refer to the respective sides of the field when looking from the Press Box in Michigan Stadium.

Steps

• A standard marching step is 22.5 inches, which works out to 8 steps for every 5 yards, or 8 steps in

between yard lines. When marching 8-to-5, the marcher crosses the yard line on count “8” of each set of eight steps.

• There are thirty-two 22.5” steps between the sidelines and the hashes, and twenty 24” steps between

the hashes in the middle of the field. Note that the step size is slightly larger in the middle of the field than on the outsides. This adjustment reflects the inconsistencies of the relationship between the front-to-back dimensions of the football field and the 22.5” step (which is most convenient in between yard lines, or side-to-side).

Reading Drill Charts

• Each member of the MMB is assigned an identification symbol for use in the drill charts. This symbol

consists of their rank letter and their number within that rank (e.g. D-1). On most drill charts, the person’s position is directly in the center of their letter on the drill chart, not their number.

• On each drill chart, there is a four-step grid superimposed over the whole field to aid in coordinate

determination. • There are a set of directions at the bottom of each drill chart:

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Drill Chart Terms

• Adjusted Stride (AS) or Float (FL): Take the specified number of steps to get from one coordinate to another with a consistent step size and straight-line path. The step size will vary depending on the distance to travel and the number of counts specified. Remember to stay facing the front sideline, using the Slide fundamental, unless otherwise specified.

• Slide: The term “slide” may be used as an instruction on drill charts. This is not to be confused with

the more general “slide” fundamental that is discussed above. While the Slide technique is used, this command refers to movement horizontally across the field (parallel to sideline) with an 8-to-5 step, unless otherwise specified.

• Forward March (FM): March forward using 8-to-5 steps unless otherwise specified. • Backward March (BM): March backward using 8-to-5 steps unless otherwise specified. • Follow the Leader (FTL): “Follow the leader,” either facing the direction of travel or sliding,

maintaining consistent interval and step size. • Mark Time (MT): Use the Glide Step Mark Time fundamental for the specified number of counts. The

Mark Time is often used as an opportunity to adjust to coordinates and dress forms (discussed further below).

• Hold: Stand in the assigned coordinate or drill form without marking time.

Coordinate Sheets

Most of the coordinate sheets the MMB uses are made on the Pyware 3D computer program. The directions below are for this program only. Other programs are similar, with some important differences; these differences will be explicated at the first drill rehearsal if and when different programs are used.

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Coordinate Sheet Terms • In Front of: Refers to sideline-to-sideline orientation. In front of is toward the Home (Tower or Press

Box) side. • Behind: Refers to sideline-to-sideline orientation. Behind is toward the Away (Coliseum) side. • Inside: Refers to end zone-to-end zone orientation. Inside is toward the fifty yard line. Can also refer to

sideline-to-sideline orientation; in such cases, inside is toward the center of the field. • Outside – Refers to end zone-to-end zone orientation. Outside is away from the fifty yard line. Can

also refer to sideline-to-sideline orientation; in such cases, outside is away from the center of the field.

Finding Coordinates Take the following steps to find a coordinate on the field:

1. For the desired chart number, go to the side of the field indicated on the coordinate sheet (Railroad/A/South versus Whitehouse/B/North).

2. Side-to-side coordinates: Locate the yard-line indicated on the coordinate sheet. Go to correct

distance inside or outside the yard line. Use the tick marks to locate the exact spot to center the body. See “Using Tick Marks to Find Side-to-Side Coordinates,” below. Note that the dots indicate

Using Tick Marks to Find Side-to-Side Coordinates

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the center of the body, in between the feet.

3. Front-to-back coordinates: Locate the hash or sideline indicated on the coordinate sheet. Go to correct distance, in the correct direction, from the hash or sideline. If practicing on Elbel Field, use the four-step “Grid” to expedite this process. If on another field, numbers may also be used to find front-to-back coordinates. Important: When practicing in Michigan Stadium or any other field without a four-step grid, it is best if one member of the section (most likely a Rank Leader) step off a “landmark” front-to-back coordinate that the other members of the rank can use to find their own coordinate. This saves time, as each member of the rank will not have to step off the distance from the sideline or hash.

Rehearsal Procedure and Etiquette

The Dress Command The Dress command is used during Pregame and halftime drill rehearsals to allow the individual members of the performance block to review and correct their position on the field or within the marching formation. It was discussed earlier as a “Whistle Command.” Below is an explanation of its role during drill rehearsals. A marching sequence occurs. At the conclusion of the maneuver, the band members take one additional step in the next direction of travel and freeze. The Drum Major calls out the command: Execution Counts: 1 2 3 4

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Drum Major: “Dress Set Dress!” Band Cues: “Go!” (horns go up; members adjust to coordinate or to form) On “Go,” members have the opportunity to adjust either to their coordinate (Phase I) or the drill form (Phase II), as needed. The directors then have the option of calling "Rank Leaders Out,” which signals that the Rank Leaders are permitted to give feedback to their ranks. During this process, the band remains "frozen" with horns up and feet in place, awaiting further instruction from the Directors and Drum Major. At this point, talking should be limited to instructions from the Rank Leaders, staff, and Directors. "Rank Leaders In" is the command for Rank Leaders to return to their position and await the next command or set of instructions. The Drum Major then calls the MMB back to the Position of Attention after blowing a whistle: Counts: 1 e + a 2 + Drum Major Tweeet “Ready Front” Band Cues: “Blue!” (snap horn down, back to Position of Attention) The MMB cues “Go!” and “Blue!” are not merely a formality, but a tool to maintain ensemble focus and solidarity. These vocals should remain strong all season long.

Marking Music Performance block members are expected to mark their music with the counts and types of moves (i.e. “Float” or “Mark Time”) that occur at the appropriate times in the music. For example, if a “Float 24” occurs at letter D of the music, this should be penciled in at that spot. This helps expedite the drill learning process and enables music to be learned with relation to events in the drill. It is each band member's responsibility to make sure their music is marked before the first rehearsal on the new drill. To facilitate this, Rank Leaders (who have been given drill charts) are responsible for meeting with their ranks to disburse this information. This can occur immediately before rehearsal, if necessary. Example: According to the graphic below, the marcher would write HOLD 24 above measure 22, FLOAT 28 above measure 28, HOLD 36 above measure 35, MT 4 above measure 44, and TURN 4 above measure 45. It is also helpful to mark: • Arrows to denote direction of moves • Notes to remind one of step sizes (small, large, etc.) • Small pictures to signify forms and dress points

Learning Drill Quickly

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As described in the MMB Rules and Procedures Manual, one of the most important variables in one’s ability to make the performance block is one’s ability to learn drill quickly and march it accurately. The following tips may help to guide less experienced drill marchers: • As explained above, mark drill moves into the music. • Always bring music and coordinate sheets to rehearsal. This is each individual’s responsibility. • Memorize the music as quickly as you can, before the first drill rehearsal on that music, if possible. Learning

drill takes twice as long if one is attempting to memorize music as he or she marches. The focus on playing the music correctly also takes away from one’s ability to absorb the field maneuvers efficiently. Also, attempt to memorize the coordinates for that show as quickly as possible.

• Think about drill moves when practicing the music alone, in sectionals, or in ensemble rehearsal. Stand and

mark time, emphasizing step-offs and standing still during holds. • Be sure you understand how to line the music up with the beat. Those that struggle with this skill are often “out

of step” during difficult rhythmic passages. Practice these passages in advance of the first rehearsal to be sure the feet are lining up properly with the music. Write lines into the music where the feet fall and practice these passages very slowly at first. If necessary, clap the rhythms with the feet to be sure the hands and feet line up correctly. If you still have trouble with this, consult an MMB Staff member or Section Leader to help you with this important skill. If you cannot stay in step during difficult rhythmic passages, your chances of making the performance block diminish considerably. As such, deal with these issues quickly before incorrect patterns become habitual.

• Use rehearsal time wisely. Memorize music, address guide-points, and evaluate performance during “down”

time in rehearsals. Stay focused! • If you are having trouble early in the week, do not wait until the last two days of rehearsal to address these

concerns. Come early or stay late to practice early in the week, before new material is expected to be assimilated. Ask Rank Leaders and MMB Staff for help.

The MMB Drill Marching System: Phase I and Phase II The “Phase I” and “Phase II” terms were developed by MMB Staff to distinguish between two important elements of drill marching: individual, coordinate-based movement and group-oriented, form-based movement. Phase I emphasizes each marcher’s personal responsibility to locate and march to his or her coordinate. Each performance block member is expected to understand how to find a coordinate (see information above) and follow instructions to reach that coordinate in the correct way. Individuals are not to “follow” other members of their rank to the general vicinity of their spots; they must take responsibility for reaching their spot on their own. Phase II emphasizes the “fine tuning” of the drill with use of “guiding” and “dressing” skills. These skills enable one to adjust to other members of the form as needed to ensure that the lines stay straight and curves are even, etc. While these are two separate sets of skills, the use of the term “phase” does not imply that the marcher is only addressing one set of skills at a time. Marching drill involves a synthesis of all of these skills for maximum efficiency and proper performance. There may be times (e.g. when a drill is first being learned) that “Phase I” skills may (out of necessity) be emphasized over more form-based skills.

Phase I

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Phase I involves “coordinate-based” drill learning which emphasizes each member’s individual responsibility to reach their individual spot for each move properly. The following tenets apply to “Phase I” drill learning:

1. First, it is important to understand how to locate a coordinate correctly. See “Finding Coordinates,” above.

2. The majority of the drill crafted for the MMB involves straight-line paths with equal-sized steps. There are a number of important elements of this style of drill marching:

a. Straight-line paths: Find the destination coordinate on the field visually and imagine a straight line between your position and that coordinate. b. Equal-sized steps: To be sure all the steps of a move are equally-sized, locate the

destination of the move and visualize the halfway point (and smaller fractions, if necessary). Determine on what count and where in the music you will arrive at one of these intermediate points. As you march the move, keep these intermediate points in mind, adjusting slightly when necessary. This point is crucial, as many drill moves utilize motions that depend on consistent step sizes throughout the move.

c. First Steps: Taking a proper-sized first step is an essential part of executing straight-line

path drill. Use intermediate points to determine how big the first step needs to be. Keep in mind that you may have to take a bigger first step than you may think for some Glide Step transitions (especially those that most resemble “front-to-back” transitions.

d. Coordinates are reached on the last count of each move. For example, if a

move is “Float 24,” the marcher should arrive with the center of the body over the correct spot on count 24.

3. Other styles of drill writing, including “follow-the-leader” and more traditional styles, will be

explained during rehearsal as needed.

Phase II If all marchers consistently executed their coordinate-based, straight-line path maneuvers perfectly, there would be no need for “Phase II” skills, which involve “guiding” and “dressing” to key spots in drill forms. Phase II skills “fine tune” the drill so that lines are perfectly straight and curves are evenly spaced, etc. Guiding and Dressing

The terms “guiding” and “dressing” are synonyms that refer to the skill of adjusting one’s position in a form to other, key spots in that form. Guiding and dressing may occur while marching or standing still. While it is ideal to assume that all members of the performance block will execute their coordinate-based maneuvers perfectly, some system is necessary to ensure that the desired composite forms take shape in the performance. As Michigan Stadium and other performance facilities do not have the “Grid” that we use to learn drill quickly on Elbel Field, the chance of every person executing all of their coordinates correctly under these conditions is slim. As the MMB nears a performance, keeping the drill forms intact becomes the main goal. As such, it is important that members “guide” and “dress” to key spots on the field for each move. These “key spots” are people that are in positions that others can see and are easily

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“dressed-to.” Members in these key positions must hit their coordinate in order for the forms to be accurate. Guiding and Dressing Tips

1. Generally, dress points are “forward” and “toward the 50.” “Forward” is more important than “to the 50,” as it is impossible to dress or guide backward, because one cannot see behind them.

2. When dressing and guiding, it is important to use the feet as the reference, not the upper

body.

3. Be sure to dress and guide according to spacing between marchers as well as making sure lines are straight, etc.

4. When dressing and guiding, use peripheral vision and even shift the eyes when necessary.

Be sure to remain maximized and keep the head facing forward with the chin slightly raised.

If you are dressing to others, you will almost always be dressing to the people nearest to you, in a designated direction. If someone close to you is clearly severely out of the form, it is possible to dress to people farther away. Always keep in mind that when forms start shifting away from the correct coordinates, it is important to go back and address Phase I issues. Ultimately, big problems are best fixed in Phase I. Analyze the drill as you are learning it to determine when you are in one of the “key” positions. Below are some specific examples of “key” dress points in specific forms: 1. Long straight lines parallel to the sideline that do not connect to other lines or curves on the ends:

Always dress toward the one person who is closest to the 50 yard line, unless this line is moving and will eventually connect with other lines on the outside of the line. If the latter is the case, dress to the points in the next example.

2. Long straight lines that do connect to other lines or curves on the ends:

Dress toward the points of connection. The two people on the ends of the lines that connect are the “key” points here. If it connects on both ends, designate one direction to dress and then work with those in other ranks to be sure that a connection is made on the other side.

3. Diagonals:

Dress toward the front-most point. The first three spots are the most important here, as the first spot sets the position of the diagonal and the next two spots are integral in setting the angle.

4. Curves:

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Again, dress forward to the first three spots. Base your spot on the person closest to you (unless he or she seems to be severely out of the form) and be sure to address spacing as well as trajectory.

5. Diagonals and curves that connect in the back:

These are tricky; for accurate lines and curves it is best to dress to the front of each line or curve. If you are near the back where the two segments meet, you may be asked to “connect the dots” to be sure that both segments meet. The best way to address these issues is to be sure that each marcher adheres to his or her coordinates and marches with a straight-line path.

Notes on Phase I and II

• Phase II works best if each member has learned their Phase I skills well. Phase II should be a “tuning

up” of Phase I; marchers should not be “following” other marchers around the field. • One may ask, “What do I do when I am on my spot but I am not in the form?” This question gets to

the heart of the rationale for having these two sets of skills. When drill is first being learned, it is best to stick to coordinates. One cannot dress to a form that is not well practiced and developed. If you feel that you are right and the rest of the rank is wrong, and it is early in the week, discuss this with Rank Leaders and MMB Staff. Toward the end of the week, it is best to start thinking more about forms; remember that there is no “Grid” in Michigan Stadium, and dressing will be essential there. Spend time during rehearsal focusing on dress points so that it is not a surprise during the performance. Sometimes, especially close to a performance, it is necessary to have a “happy medium” to suit the circumstances. Use your judgment, and attempt to make each form look as good as possible to the audience.

• Note for Rank Leaders: Rank Leaders are responsible for instructing their rank and addressing Phase I

and Phase II issues. Rank leaders may address both of these issues simultaneously (this is a change from past years, in which Rank Leaders awaited a command from the tower to “switch” to Phase II). The following are guidelines for Rank Leaders when they are cleaning drill:

1. When addressing a form, first determine if the members are on their coordinates,

especially at the beginning of the week. Adjust spots this way first while addressing the “key” dress points in each form. Constantly ask students if they know what their coordinates are to facilitate memorization.

2. People in positions that are not considered “key” points should be informed of their dressing and guiding responsibilities. However, they are still required to go to their spots until the rank has gained enough experience on a certain move for it to become consistently accurate, so that dressing is possible.

3. At the discretion of the Rank Leader, a rank may move into a “Phase II” orientation for a certain move, emphasizing the “key” dress points while keeping in mind their coordinates. If discrepancies continue to arise between coordinates and the form, emphasize coordinates until the last two days or so before the performance. In some situations, it may be best to simply allow the rank to dress (without worrying as much about coordinates), as long as other parts of the form do not suffer as a result.

4. It is important that each rank has a chance to practice guiding and dressing all of the sets in

a drill for long enough that they understand what their Phase II roles are. It is the Rank Leader’s responsibility for facilitating this process. If a rank is having considerable difficulty

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with a portion of a show, it is strongly suggested that “Ranktionals” (individual rank rehearsals that occur outside of class time) will be scheduled to address these concerns.

Part III: Parade Marching The Michigan Marching Band is routinely required to march in parade formation. This occurs when marching to and from Michigan Stadium, when traveling to and from rehearsal facilities on away trips, and in parade performances on bowl trips. Parade marching is a performance. As such, it is important that all members of the MMB appear professional, maintain proper maximization, and adhere to the points outlined below:

1. The MMB uses Glide Step when marching in parade formation. This means the same toe

lift and heel roll described above is utilized for the duration of the parade performance. 2. Dress points in parade formation are forward and to the side of the upcoming turn. All

spacing is adjusted as such. Spacing is dependent on the parade performance at hand. On the march to Michigan Stadium, ranks are separated by a two-step (8-to-5) interval (front-to-back), with the side-to side interval between individual marchers within ranks set at one step (8-to-5). Intervals in other parade performances are usually larger than this.

3. Of course, the most difficult part of marching in parade formation involves turning corners. The following rules apply to our approach to this skill:

a. Dress into the fulcrum of the turn: when taking a left turn, dress to the left, and vice versa.

b. Be sure to keep side-to-side intervals consistent. c. The dress points (people on the end on the side of the turn) should be careful to

take as consistent a step size as possible. However, the Band must slow down slightly (i.e. take smaller step sizes) when going into a turn. Therefore, when speeding up and slowing down, do so extremely gradually.

4. Note on marching to Michigan Stadium: It is important that the left side of the parade

block keep a consistent distance from the left hand curb as this corner is turned. As such, it is the responsibility of the 1st flag on the left side to keep a consistent distance from the curb, and the rest of the block to dress accordingly.

5. Rank moves: A series of “Rank Moves” have been created to augment the drumline

cadences while marching to the stadium. These are taught during Band Week. For more information or if you are having trouble remembering the rank moves, contact a Rank Leader in your section.

Full Ranks, Half Ranks, and Quarter Ranks

In order to adapt to smaller marching areas, the MMB has three different parade block widths:

a. Full Ranks: 12 people across b. Half Ranks: 6 people across c. Quarter Ranks: 3 people across

The following is the process for moving in between rank widths: • For marching to Michigan Stadium, the MMB starts out in Full Ranks. Once the entire band has completed the

first left-hand turn, the Drum Major signals the band to go into Half Ranks. At this point, the right half of each rank (X7-X12, with “X” denoting any rank letter) splits off and shifts towards the left and behind the left half of

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the rank (X1-X6) to end up aligned directly behind them. Thus, X7 ends up directly behind X1, X8 behind X2, and so on. As this transition occurs, the shifting rank halves should remain as straight lines and each marcher continues to march in step with the cadence. The interval between “Half Ranks” (front-to-back) tends to decrease slightly from the initial “Full Ranks” two-step interval. This is acceptable so long as the interval is consistent across all ranks. “Half Ranks” is necessary at this point due to the considerably smaller path width of “Tailgate Row”(a parking lot adjacent to the mouth of the stadium tunnel where there is a high density of tailgaters).

• When marching back from Michigan Stadium, the MMB assembles into Half Ranks on the football field at the

conclusion of Postgame (a small show put on at the conclusion of the football game where we perform halftime highlights). The Drum Major then leads the band up through the tunnel. As each Half Rank reaches the field entrance of the tunnel, they go into Quarter Ranks. This is necessary, as the width of the field entrance of the tunnel cannot accommodate Half Ranks. The transition into quarter ranks occurs in exactly the same fashion as the transition into Half Ranks, with the split now resulting in ranks of three. Note that there is no official command from the Drum Major signaling for this to occur.

Once each Quarter Rank has made it through the field entrance of the tunnel, and is now marching in the tunnel itself, they go into Half Ranks. Going from Quarter Ranks to Half Ranks is the reverse of the process described above. Consider two rows of Quarter Ranks: X1-X3, with X4-X6 directly behind them. X4-X6 shift forward and towards the right so that X4 ends up on the right X3, thus joining the two Quarter Ranks to form a Half Rank. The shifting parts of ranks should again remain as straight lines and in step with the cadence. The MMB remains in Half Ranks until the entire band has exited the tunnel, cleared “Tailgate Row,” and is marching on Green Street. At this point, the Drum Major signals the band to go into Full Ranks. This occurs in the same fashion as going from Quarter Ranks to Half Ranks, with the “joining” now occurring between X6 and X7. The band remains in Full Ranks for the remaining march back to Revelli Hall.

• During Quarter to Half, or Half to Full Rank transitions, it is extremely important that the entire band take

smaller step sizes. This is to give the shifting rank halves less distance to traverse as they move forward to join the other half segment of their rank.