LEFT FOOT IS ALWAYS FIRST
Marching Band
A marching band is a group consisting of instrumental musicians performing outdoors for the purpose of entertainment, exercise, and sometimes in competition. Instrumentation typically includes brass, woodwinds, and percussion instruments. Most marching bands use some kind of uniform that include the school or organization's name or symbol, shakos, pith helmets, feather plumes, gloves, and sometimes gauntlets, sashes, and/or capes.
Marching bands are generally categorized by function, size, age, gender, instruments and by the style of show they perform. In addition to traditional parade performances, many marching bands also perform field shows at special events like competitions. Increasingly, marching bands are performing indoor concerts that implement many of the songs, traditions, and flair from outside performances.
There are many different ways to march.
A marching band is a group consisting of instrumental musicians performing outdoors for the purpose of entertainment, exercise, and sometimes in competition. Instrumentation typically includes brass, woodwinds, and percussion instruments. Most marching bands use some kind of uniform that include the school or organization's name or symbol, shakos, pith helmets, feather plumes, gloves, and sometimes gauntlets, sashes, and/or capes.
Marching bands are generally categorized by function, size, age, gender, instruments and by the style of show they perform. In addition to traditional parade performances, many marching bands also perform field shows at special events like competitions. Increasingly, marching bands are performing indoor concerts that implement many of the songs, traditions, and flair from outside performances.
There are many different ways to march.
The High Step
"Tucking" or "ankle knee" high step involves bringing the foot up to the inside of the leg to the knee before coming down and forward.
The "Chair Step" involves the lifting of the knee with legs directly in front, thighs parallel to the ground, and toes pointed downward. When the leg is elevated, there should be a 90-degree angle with the body and the thigh, and a 90-degree angle with the thigh and the shin. The leg is then lowered, and this is repeated with the other leg.
The "extended high step" requires the thigh to be parallel to the ground (perpendicular to the body) with the lower leg extended outward at a 45-degree angle from the body (135-degrees from the thigh) and toes pointed downward. The leg is then driven quickly back to the ground while the other leg repeats in this fashion. At the same time, the upper body swaggers 22.5-degrees left or right of center with each step. The most important part of this style of marching is known as "stop action," which means all movement ceases momentarily at the apex of each step. This requires a band to have a great deal of stamina, but is effective visually.
"Tucking" or "ankle knee" high step involves bringing the foot up to the inside of the leg to the knee before coming down and forward.
The "Chair Step" involves the lifting of the knee with legs directly in front, thighs parallel to the ground, and toes pointed downward. When the leg is elevated, there should be a 90-degree angle with the body and the thigh, and a 90-degree angle with the thigh and the shin. The leg is then lowered, and this is repeated with the other leg.
The "extended high step" requires the thigh to be parallel to the ground (perpendicular to the body) with the lower leg extended outward at a 45-degree angle from the body (135-degrees from the thigh) and toes pointed downward. The leg is then driven quickly back to the ground while the other leg repeats in this fashion. At the same time, the upper body swaggers 22.5-degrees left or right of center with each step. The most important part of this style of marching is known as "stop action," which means all movement ceases momentarily at the apex of each step. This requires a band to have a great deal of stamina, but is effective visually.
Glide Step/Roll Step
Many bands are known for using some variation of the glide step, also known as the roll step. This step involves bringing the heel gently to the ground with the toe pointed up, and then rolling forward onto the toes before lifting the foot. You can also walk on the ball of the foot with heel elevated when backwards marching. This style is used by drum and bugle corps. It gives the drill a fluid and smooth appearance, and allows for better control of the difficult formations and various styles of music played by those bands which roll step. With this control comes the ability to perform a much broader range of tempos; the proper execution of a roll step will give a player marching at 40 beats per minute the same smooth tone as a player who is marching at 180. The roll step allows for much better control of the upper body, and thus better control of the air support needed for playing.
Many bands are known for using some variation of the glide step, also known as the roll step. This step involves bringing the heel gently to the ground with the toe pointed up, and then rolling forward onto the toes before lifting the foot. You can also walk on the ball of the foot with heel elevated when backwards marching. This style is used by drum and bugle corps. It gives the drill a fluid and smooth appearance, and allows for better control of the difficult formations and various styles of music played by those bands which roll step. With this control comes the ability to perform a much broader range of tempos; the proper execution of a roll step will give a player marching at 40 beats per minute the same smooth tone as a player who is marching at 180. The roll step allows for much better control of the upper body, and thus better control of the air support needed for playing.
Marking time
When a band is not moving, the members may mark time, or march in place. The step used usually resembles the step that is used for marching forward, though mixing a high step mark time with a roll step march (or vice versa) produces an interesting visual effect. For a typical mark time, the foot is raised to the ankle bone of the opposite leg. The toe should not come off the ground and the knee should not come out much past the still-straight leg.
Some bands mark time by bringing their feet all the way up to their knee, this is also known as high-mark time. Some bands practice marking time during concert arch with the toes coming off of the ground in order to give the marcher a greater sense of marching while actually standing still. The heel should hit the ground on the beat. Some bands forgo marking time and instead come to a complete halt when not marching. Traditionally, the drumline would put their feet in a V-shape and lift their feet fully off the ground a few inches. This is to avoid hitting the drums.
When a band is not moving, the members may mark time, or march in place. The step used usually resembles the step that is used for marching forward, though mixing a high step mark time with a roll step march (or vice versa) produces an interesting visual effect. For a typical mark time, the foot is raised to the ankle bone of the opposite leg. The toe should not come off the ground and the knee should not come out much past the still-straight leg.
Some bands mark time by bringing their feet all the way up to their knee, this is also known as high-mark time. Some bands practice marking time during concert arch with the toes coming off of the ground in order to give the marcher a greater sense of marching while actually standing still. The heel should hit the ground on the beat. Some bands forgo marking time and instead come to a complete halt when not marching. Traditionally, the drumline would put their feet in a V-shape and lift their feet fully off the ground a few inches. This is to avoid hitting the drums.
Lateral Marching
When band members are marching in one direction but want to focus their sound in another, they may rotate their bodies at the waist, so that only the upper portion of the body faces in the direction of play. This is known as "lateral marching", but is more commonly known as either "shifting", "traversing", or "sliding". A lateral march is not a change in the direction of march, only in the direction the upper body faces. Percussion players, whose large drum harnesses often prevent them from twisting their torsos, and sometimes tuba and sousaphone players, will instead use a crab step when moving sideways. During a crab step, the musician crosses one leg over the other, either marching on the toes or rolling the foot sideways. Percussionists may also substitute roll step when their instruments would interfere with performing the high step.
When band members are marching in one direction but want to focus their sound in another, they may rotate their bodies at the waist, so that only the upper portion of the body faces in the direction of play. This is known as "lateral marching", but is more commonly known as either "shifting", "traversing", or "sliding". A lateral march is not a change in the direction of march, only in the direction the upper body faces. Percussion players, whose large drum harnesses often prevent them from twisting their torsos, and sometimes tuba and sousaphone players, will instead use a crab step when moving sideways. During a crab step, the musician crosses one leg over the other, either marching on the toes or rolling the foot sideways. Percussionists may also substitute roll step when their instruments would interfere with performing the high step.
Changing direction
A true direction change involving the feet moving in a new direction requires the use of a "prep step", sometimes referred to as a "flank" or "touch stop and go". To perform the prep step, on the last count of movement in the first direction, a marcher will plant the foot with the heel turned outward in half the angle of the turn desired with the upper body still facing forward. On the next count, the other foot snaps into position completing the turn. The upper body may or may not turn with the lower body. Some bands plant the heel on the prep step rather than the toe, but the angle of the foot is preserved.
A true direction change involving the feet moving in a new direction requires the use of a "prep step", sometimes referred to as a "flank" or "touch stop and go". To perform the prep step, on the last count of movement in the first direction, a marcher will plant the foot with the heel turned outward in half the angle of the turn desired with the upper body still facing forward. On the next count, the other foot snaps into position completing the turn. The upper body may or may not turn with the lower body. Some bands plant the heel on the prep step rather than the toe, but the angle of the foot is preserved.
Backward marching
A back march may be used when the band wishes to move in the opposite direction from where it is projecting its sound. There are several ways to back march, one of which is to walk backwards, putting each foot down and rolling from the toe to the heel (the exact reverse of the roll step). Another variation involves marching on the platforms of the feet, dragging the toe of the moving foot on the ground. Backwards marching usually employs the same preference for leg straightness as forward marching. If the band marches with legs completely straight while marching forwards, they will also do so while marching backwards, to preserve uniformity of style. Using peripheral vision to align oneself to formations or field markings is even more important during backward marching.
A back march may be used when the band wishes to move in the opposite direction from where it is projecting its sound. There are several ways to back march, one of which is to walk backwards, putting each foot down and rolling from the toe to the heel (the exact reverse of the roll step). Another variation involves marching on the platforms of the feet, dragging the toe of the moving foot on the ground. Backwards marching usually employs the same preference for leg straightness as forward marching. If the band marches with legs completely straight while marching forwards, they will also do so while marching backwards, to preserve uniformity of style. Using peripheral vision to align oneself to formations or field markings is even more important during backward marching.
Staying in step
Even when marking time, it is often considered good form for all band members to stay in step—that is, step with the same foot at the same time. A large majority of bands step off with, or start marching on, the left foot. Staying in step is generally easier when the band is playing music or when the drums are playing a marching cadence.
When the band and percussion are not playing, rhythm may be maintained in a variety of ways: a drummer may play clicks or rim shots, the drum major may clap or use a wood block, a drum major or band member may vocalize a sharp syllable like "hit", "hut", or "dhut". The latter is usually characteristic of the drum line, and often said before playing in the rhythm; dhut, dhut, dhut-dhut-dhut-dhut [one, three, one two three four] , or band members may chant the military call of "Left, left, left right left". Band members may count the steps of the move out loud so as to keep the entire band together. Typically most moves consist of a number of steps that are a multiple of four. This is because most marching band music is in the time signature of 4/4. Even-numbered time signatures like 4/4 aid in staying in step because they assign odd-numbered counts to the left foot, and even-numbered counts to the right foot. If a band member is on the wrong foot, for instance odd on the right foot and even on the left, this is out of step but when a band member is completely off tempo is called being out of phase. For example landing on the left foot on the + of 3 (+ of 3 or and of 3 is half way in between 3 & 4).
Even when marking time, it is often considered good form for all band members to stay in step—that is, step with the same foot at the same time. A large majority of bands step off with, or start marching on, the left foot. Staying in step is generally easier when the band is playing music or when the drums are playing a marching cadence.
When the band and percussion are not playing, rhythm may be maintained in a variety of ways: a drummer may play clicks or rim shots, the drum major may clap or use a wood block, a drum major or band member may vocalize a sharp syllable like "hit", "hut", or "dhut". The latter is usually characteristic of the drum line, and often said before playing in the rhythm; dhut, dhut, dhut-dhut-dhut-dhut [one, three, one two three four] , or band members may chant the military call of "Left, left, left right left". Band members may count the steps of the move out loud so as to keep the entire band together. Typically most moves consist of a number of steps that are a multiple of four. This is because most marching band music is in the time signature of 4/4. Even-numbered time signatures like 4/4 aid in staying in step because they assign odd-numbered counts to the left foot, and even-numbered counts to the right foot. If a band member is on the wrong foot, for instance odd on the right foot and even on the left, this is out of step but when a band member is completely off tempo is called being out of phase. For example landing on the left foot on the + of 3 (+ of 3 or and of 3 is half way in between 3 & 4).
Parade marching
For parades, bands usually line up in a marching block composed of ranks (or rows) and files (or company fronts). Typically, each member tries to stay within his or her given rank and file, and to maintain even spacing with neighboring musicians. It is usually the responsibility of the people at the end of each rank and the front of each file to be in the correct location; this allows other band members to guide to them.
Band members also try to keep a constant pace or step size while marching in parade. This usually varies between 22 and 30 inches (56–76 cm) per stride. A step size of 22.5 inches is called 8-to-5 because the marcher covers five yards (about 4.6 m) in eight steps. A step size of 30 inches is called 6-to-5 because five yards are covered in six steps. Because yard lines on an American football field are five yards apart, exact 8-to-5 and 6-to-5 steps are most useful for field shows.
A drum cadence (sometimes called a walkbeat or street beat) is usually played when the band is marching, sometimes alternating with a song. This is how the band keeps time. Alternatively, a drum click or rim shot may be given on the odd beats to keep the band in step. Between songs and cadences, a roll is usually given to indicate what beat in the measure the band is at. Cadence tempo varies from group to group, but is generally between 112 and 144 beats per minute.
For parades, bands usually line up in a marching block composed of ranks (or rows) and files (or company fronts). Typically, each member tries to stay within his or her given rank and file, and to maintain even spacing with neighboring musicians. It is usually the responsibility of the people at the end of each rank and the front of each file to be in the correct location; this allows other band members to guide to them.
Band members also try to keep a constant pace or step size while marching in parade. This usually varies between 22 and 30 inches (56–76 cm) per stride. A step size of 22.5 inches is called 8-to-5 because the marcher covers five yards (about 4.6 m) in eight steps. A step size of 30 inches is called 6-to-5 because five yards are covered in six steps. Because yard lines on an American football field are five yards apart, exact 8-to-5 and 6-to-5 steps are most useful for field shows.
A drum cadence (sometimes called a walkbeat or street beat) is usually played when the band is marching, sometimes alternating with a song. This is how the band keeps time. Alternatively, a drum click or rim shot may be given on the odd beats to keep the band in step. Between songs and cadences, a roll is usually given to indicate what beat in the measure the band is at. Cadence tempo varies from group to group, but is generally between 112 and 144 beats per minute.
Street performances
In Minnesota, Upstate New York, and Wisconsin, bands perform on city streets (called a performance route) with compact formation elements, sometimes referred to as a street show. These shows are judged using similar criteria as any other marching band competition. Elements of difficulty increase with street marching competitions because of the varying widths of streets in each community. Street marching is typical for bands who operate during the spring and early summer months. Typically, a band that performs street marching competitions will not be involved with field marching, and vice versa. Various venues exist for street marching competitions between high school marching bands.
In Minnesota, Upstate New York, and Wisconsin, bands perform on city streets (called a performance route) with compact formation elements, sometimes referred to as a street show. These shows are judged using similar criteria as any other marching band competition. Elements of difficulty increase with street marching competitions because of the varying widths of streets in each community. Street marching is typical for bands who operate during the spring and early summer months. Typically, a band that performs street marching competitions will not be involved with field marching, and vice versa. Various venues exist for street marching competitions between high school marching bands.
Field marching
While playing music during a field show, the band makes a series of formations, called drill, on the field, which may be pictures, geometric shapes, curvilinear designs, or blocks of musicians, although sometimes it may be pure abstract designs using no specific form.
Typically, each band member has an assigned position in each formation. In many show bands and most drum corps, these positions are illustrated in a handheld booklet called a drill book (also known as a dot book). Drill books, or drill charts, show where each person stands during each set of the show. The drill charts include yard lines and hashes as they would be on an actual football field, which shows the band members where to stand in relation to the yard lines and hashes. There are many ways of getting from one formation to the next:
Each member can move independently – this is called scattering or "scatter drill".
All the members can move together without deforming the picture – this is called floating.
The members can stay in their lines and arcs, but slowly deform the picture – this is sometimes called rotating, expanding, or condensing.
The members can break into ranks or squads, each of which performs a maneuver (such as a follow-the-leader) which may or may not be scripted – an unscripted move is sometimes called a rank option.
Each member may have a specifically scripted move to perform – in these cases, the desired visual effect is often the move itself and not the ending formation.
Often if band members are at an extended halt, they will perform a stationary visual move, such as a ripple (like "the wave") or they might do some sort of choreography.
Players may point the bells of their instruments in the direction they are moving, or slide (also called traverse) with all the bells facing in the same direction. Bands that march in time with the music typically also synchronize the direction of individuals' turns, and try to maintain even spacing between individuals in formations (called intervals). Sometimes bands will specifically have wind players turn their instruments away from the audience in order to emphasize the dynamics of the music.
Auxiliaries can also add to the visual effect. Backdrops and props ("scrims") may be used on the field that fit the theme of the show or the music being performed. In comedic shows, particularly for university bands, an announcer may read jokes or a funny script between songs; formations that are words or pictures (or the songs themselves) may serve as punch lines.
While playing music during a field show, the band makes a series of formations, called drill, on the field, which may be pictures, geometric shapes, curvilinear designs, or blocks of musicians, although sometimes it may be pure abstract designs using no specific form.
Typically, each band member has an assigned position in each formation. In many show bands and most drum corps, these positions are illustrated in a handheld booklet called a drill book (also known as a dot book). Drill books, or drill charts, show where each person stands during each set of the show. The drill charts include yard lines and hashes as they would be on an actual football field, which shows the band members where to stand in relation to the yard lines and hashes. There are many ways of getting from one formation to the next:
Each member can move independently – this is called scattering or "scatter drill".
All the members can move together without deforming the picture – this is called floating.
The members can stay in their lines and arcs, but slowly deform the picture – this is sometimes called rotating, expanding, or condensing.
The members can break into ranks or squads, each of which performs a maneuver (such as a follow-the-leader) which may or may not be scripted – an unscripted move is sometimes called a rank option.
Each member may have a specifically scripted move to perform – in these cases, the desired visual effect is often the move itself and not the ending formation.
Often if band members are at an extended halt, they will perform a stationary visual move, such as a ripple (like "the wave") or they might do some sort of choreography.
Players may point the bells of their instruments in the direction they are moving, or slide (also called traverse) with all the bells facing in the same direction. Bands that march in time with the music typically also synchronize the direction of individuals' turns, and try to maintain even spacing between individuals in formations (called intervals). Sometimes bands will specifically have wind players turn their instruments away from the audience in order to emphasize the dynamics of the music.
Auxiliaries can also add to the visual effect. Backdrops and props ("scrims") may be used on the field that fit the theme of the show or the music being performed. In comedic shows, particularly for university bands, an announcer may read jokes or a funny script between songs; formations that are words or pictures (or the songs themselves) may serve as punch lines.
Corps Style bands
Corps Style bands directly reflect the trends seen in modern drum and bugle corps of Drum Corps International (DCI). Unlike the military band style, drum corps style step sizes are constantly changing to accommodate the differing forms the band is creating on the field. Forms may be linear, curvilinear, or scatter. Music selections can include anything from symphonic music, film scores, to world music, jazz, rock, or pop music.
Unlike a Military band's usage of baton twirlers, Corps Style bands may include the usage of a "color guard" which spin flags, rifles, sabres, and may also incorporate dance into their routines. Other visual elements unique to the corps style is the usage of props, backdrops, and even costuming - with the purpose of adding more theatrical elements to the show.
Other elements unique to the Corps Style bands are the incorporation of the "front ensemble". This includes the usage of keyboard percussion such as: xylophone, marimba, and bells; and/or any other color percussion instruments such as: timpani, cymbals, conga, tambourine, triangle, drum set, etc. The front ensemble may also use sound amplification or electronic instruments such as synthesizers.
The "Corps Style" is constantly evolving, with contributions coming from college bands, high school bands, and drum and bugle corps throughout the United States. Typically, corps style bands are gearing their performances for marching competitions and marching festivals. Competitions featuring the corps style on the national level include: Drum Corps International; Winter Guard International; and Bands Of America.
Corps Style bands directly reflect the trends seen in modern drum and bugle corps of Drum Corps International (DCI). Unlike the military band style, drum corps style step sizes are constantly changing to accommodate the differing forms the band is creating on the field. Forms may be linear, curvilinear, or scatter. Music selections can include anything from symphonic music, film scores, to world music, jazz, rock, or pop music.
Unlike a Military band's usage of baton twirlers, Corps Style bands may include the usage of a "color guard" which spin flags, rifles, sabres, and may also incorporate dance into their routines. Other visual elements unique to the corps style is the usage of props, backdrops, and even costuming - with the purpose of adding more theatrical elements to the show.
Other elements unique to the Corps Style bands are the incorporation of the "front ensemble". This includes the usage of keyboard percussion such as: xylophone, marimba, and bells; and/or any other color percussion instruments such as: timpani, cymbals, conga, tambourine, triangle, drum set, etc. The front ensemble may also use sound amplification or electronic instruments such as synthesizers.
The "Corps Style" is constantly evolving, with contributions coming from college bands, high school bands, and drum and bugle corps throughout the United States. Typically, corps style bands are gearing their performances for marching competitions and marching festivals. Competitions featuring the corps style on the national level include: Drum Corps International; Winter Guard International; and Bands Of America.
Show bands
Show Band, more commonly known as Traditional Style Band, refers primarily to marching bands geared towards crowd entertainment that perform on fields (for example, a football field). Typically, they perform a routine before the game, another at halftime, and sometimes after the game as well. Competitive show bands perform only one show that is continually refined throughout a season, while bands that focus on entertainment rather than competition usually perform a unique show for each game. These shows normally consists of three to five musical pieces accompanied by formations rooted in origin from Patterns in Motion, a book penned by one-time Michigan State University Spartan Marching Band assistant band director William C. "Bill" Moffit, who would later become bandmaster of Purdue University All-American Marching Band and University of Houston Spirit of Houston. Depending on the band, though the show could be practiced and completed before the football season at band camp but mostly this is only done by competition show bands.
There are several varieties of Traditional Style Bands, the most recognizable would be the type depicted in the film Drumline. This style of band is based upon an amalgamation of traditional styles from bands in the Big Ten and African American traditions, where the music selections are largely based on rhythm & blues and contemporary popular music. Band members are also known to include a smaller dance routine while standing in their forms instead of marking time. Many of these types of show bands may have both a twirler line and/or a dancer line. Show Style bands are promoted by the National Show Band Association which is the largest Show Band Network in the U.S. Some of the Show Band promoted by NSBA are Grambling State Tiger Band, Prairie View Marching Storm Band, Southern University Human Jukebox Band, Jackson State Sonic boom of the South Band, FAMU Marching 100 Band, and the list goes on and on. You can see more of the list at www.nationalshowbands.com
Other Show Bands are semi-military and semi-corps style, such as some of the Big Ten bands. These bands perform a show that is designed to entertain the audience, but feature more traditional symphonic styles of music rather than contemporary music (marches, film scores, jazz, or older pop music).
Most show bands of either type include the traditional military band instrumentation of woodwinds, brass, and battery percussion. Some also include the front ensemble keyboard percussion, and may also incorporate the use of a color guard for flag and rifle routines.
Show Band, more commonly known as Traditional Style Band, refers primarily to marching bands geared towards crowd entertainment that perform on fields (for example, a football field). Typically, they perform a routine before the game, another at halftime, and sometimes after the game as well. Competitive show bands perform only one show that is continually refined throughout a season, while bands that focus on entertainment rather than competition usually perform a unique show for each game. These shows normally consists of three to five musical pieces accompanied by formations rooted in origin from Patterns in Motion, a book penned by one-time Michigan State University Spartan Marching Band assistant band director William C. "Bill" Moffit, who would later become bandmaster of Purdue University All-American Marching Band and University of Houston Spirit of Houston. Depending on the band, though the show could be practiced and completed before the football season at band camp but mostly this is only done by competition show bands.
There are several varieties of Traditional Style Bands, the most recognizable would be the type depicted in the film Drumline. This style of band is based upon an amalgamation of traditional styles from bands in the Big Ten and African American traditions, where the music selections are largely based on rhythm & blues and contemporary popular music. Band members are also known to include a smaller dance routine while standing in their forms instead of marking time. Many of these types of show bands may have both a twirler line and/or a dancer line. Show Style bands are promoted by the National Show Band Association which is the largest Show Band Network in the U.S. Some of the Show Band promoted by NSBA are Grambling State Tiger Band, Prairie View Marching Storm Band, Southern University Human Jukebox Band, Jackson State Sonic boom of the South Band, FAMU Marching 100 Band, and the list goes on and on. You can see more of the list at www.nationalshowbands.com
Other Show Bands are semi-military and semi-corps style, such as some of the Big Ten bands. These bands perform a show that is designed to entertain the audience, but feature more traditional symphonic styles of music rather than contemporary music (marches, film scores, jazz, or older pop music).
Most show bands of either type include the traditional military band instrumentation of woodwinds, brass, and battery percussion. Some also include the front ensemble keyboard percussion, and may also incorporate the use of a color guard for flag and rifle routines.
Carnival bands
Carnival bands are a UK variant of show bands. Carnival bands typically march in time to the music, and may also participate in parades and competitions.. They contain brass and percussion, but may or may not use woodwinds. In The United States, specifically Southern California, carnival bands (known as Parade bands in the states) perform regularly in parades and parade competitions
Scramble bands (also referred to as 'Scatter' bands) are a variation on show bands. They generally do not march in time with the music, but, as their name implies, scramble from design to design and often incorporate comedic elements into their performances. Most of the bands in the Ivy League use this style, excepting only Cornell University.
Carnival bands are a UK variant of show bands. Carnival bands typically march in time to the music, and may also participate in parades and competitions.. They contain brass and percussion, but may or may not use woodwinds. In The United States, specifically Southern California, carnival bands (known as Parade bands in the states) perform regularly in parades and parade competitions
Scramble bands (also referred to as 'Scatter' bands) are a variation on show bands. They generally do not march in time with the music, but, as their name implies, scramble from design to design and often incorporate comedic elements into their performances. Most of the bands in the Ivy League use this style, excepting only Cornell University.
Auxiliary
Many bands have auxiliaries that add a visual component to the performance. For ceremonial bands, this could be a traditional color guard or honor guard. For drum & bugle corps and corps-style field bands, this could include Dance lines, majorettes, Auxiliary units may be collectively referred to as color guard or visual ensemble.
Auxiliaries may perform as independent groups. In the early 1970s, color guards began to hold their own competitions in the winter (after the American football season, and before the beginning of the summer drum and bugle corps season). These became known as winter guard. There are also numerous dance competitions in the off-season.
The color guard of a marching band or drum and bugle corps may contain sabers, mock rifles, and tall flags. In modern bands, other props are often used: flags of all sizes, horizontal banners, vertical banners, streamers, pom-poms, even tires, balls, and hula hoops or custom built props. The color guard may also employ stage dressing such as backdrops, portable flats, or other structures. These can be used simply as static scenery or moved to emphasize block drill, and are often used to create a "backstage" area to store equipment and hide personnel.
While military color guards were typically male, band color guards tend to be primarily female, though it is becoming more common for men to join as well. A few independent units are all-male. Guard members nearly always wear a special uniform or costume that is distinctive from that of the band, not necessarily matching in design or color. The men's and women's guard uniforms are usually designed in one of two ways: nearly identically, but with gender-specific parts (i.e. skirts) adapted for the use of the opposite sex; or complimentarily, with the two uniforms designed similarly but with variations in color or form. The color guard uniform, especially in a high school marching band, need not be in school colors; in fact, they rarely are. These uniforms are designed to represent a certain aspect of the halftime show, characterize the guard members through costumization, or tell some sort of story, and can thus be in any design or color (a surprisingly common complaint among the high school audience is that guard uniforms and equipment "aren't school colors").
Indoor color guards have become popular within high schools and universities throughout the United States. These groups perform a theme-based show in competitions after the outdoor marching band season ends. Indoor color guard shows are typically performed in school gymnasiums and are adjudicated.
Modern color guard has evolved over the years into a form of entertainment similar to dance theater. Color guard can be found in most American colleges, universities, high schools, and independent drum corps. Color guard uses props, along with movement, to express dynamic passages in the music accompanying the marching band show. Usually marching bands and color guards perform during football games at halftime, out of tradition. During marching band competitions, the guard adds to the overall score of the band and is also judged in a category usually called auxiliary.
A band would accompany the soldiers to play music to keep their spirits up and to keep them in beat. Along with the band, they also had a soldier holding a flag with their colors on it.
Color guard has evolved into a separate activity known as winter guard, which is an indoor sport where the guard performs unaccompanied by the band, but performing to a piece of pre-recorded music. Winter guards compete independently in such circuits as Winter Guard International (WGI) and Tournament Indoor Association (TIA).
Many bands have auxiliaries that add a visual component to the performance. For ceremonial bands, this could be a traditional color guard or honor guard. For drum & bugle corps and corps-style field bands, this could include Dance lines, majorettes, Auxiliary units may be collectively referred to as color guard or visual ensemble.
Auxiliaries may perform as independent groups. In the early 1970s, color guards began to hold their own competitions in the winter (after the American football season, and before the beginning of the summer drum and bugle corps season). These became known as winter guard. There are also numerous dance competitions in the off-season.
The color guard of a marching band or drum and bugle corps may contain sabers, mock rifles, and tall flags. In modern bands, other props are often used: flags of all sizes, horizontal banners, vertical banners, streamers, pom-poms, even tires, balls, and hula hoops or custom built props. The color guard may also employ stage dressing such as backdrops, portable flats, or other structures. These can be used simply as static scenery or moved to emphasize block drill, and are often used to create a "backstage" area to store equipment and hide personnel.
While military color guards were typically male, band color guards tend to be primarily female, though it is becoming more common for men to join as well. A few independent units are all-male. Guard members nearly always wear a special uniform or costume that is distinctive from that of the band, not necessarily matching in design or color. The men's and women's guard uniforms are usually designed in one of two ways: nearly identically, but with gender-specific parts (i.e. skirts) adapted for the use of the opposite sex; or complimentarily, with the two uniforms designed similarly but with variations in color or form. The color guard uniform, especially in a high school marching band, need not be in school colors; in fact, they rarely are. These uniforms are designed to represent a certain aspect of the halftime show, characterize the guard members through costumization, or tell some sort of story, and can thus be in any design or color (a surprisingly common complaint among the high school audience is that guard uniforms and equipment "aren't school colors").
Indoor color guards have become popular within high schools and universities throughout the United States. These groups perform a theme-based show in competitions after the outdoor marching band season ends. Indoor color guard shows are typically performed in school gymnasiums and are adjudicated.
Modern color guard has evolved over the years into a form of entertainment similar to dance theater. Color guard can be found in most American colleges, universities, high schools, and independent drum corps. Color guard uses props, along with movement, to express dynamic passages in the music accompanying the marching band show. Usually marching bands and color guards perform during football games at halftime, out of tradition. During marching band competitions, the guard adds to the overall score of the band and is also judged in a category usually called auxiliary.
A band would accompany the soldiers to play music to keep their spirits up and to keep them in beat. Along with the band, they also had a soldier holding a flag with their colors on it.
Color guard has evolved into a separate activity known as winter guard, which is an indoor sport where the guard performs unaccompanied by the band, but performing to a piece of pre-recorded music. Winter guards compete independently in such circuits as Winter Guard International (WGI) and Tournament Indoor Association (TIA).
Personnel
The Pride of the Sunshine the marching band which represents the University of Florida during athletic events
Irishman Patrick S. Gilmore started the concept of a band leader. A marching band is typically led by one to three or, occasionally, four drum majors, also called field commanders, who are responsible for conducting the band (sometimes using a large baton or mace, though such tools are used rarely in modern marching bands for conducting) and commonly referred to as the leader of the band. When there is more than one drum major, one may be the head drum major, who stands on the 50-yard line while conducting, whereas the other(s) often directs from convenient angles (should the marching block not be facing forward) and/or functions as an apprentice of sorts. The number of members in the band often determines how many drum majors are needed, based on the complexity of the show (in which case, in a three-person scenario, one stands on the 50-yard line while another stands on the 30-yard line and the third stands on the other 30-yard line), and occasionally, additional individuals may be asked to perform brief conducting duties if beneficial in a particularly tricky part of the show (more often, such people are those on the sidelines or in the pit). The modern-day concept of the Drum Major has been exponentially expanded upon by George N. Parks, often known as the "Dynamic Drum Major", through his Drum Major Academy. Bands may also be led by a more traditional conductor, especially during field shows, where a stationary conductor on a ladder or platform may be visible throughout the performance. Aural commands – such as vocal orders, clapping, or a whistle – may be used to issue commands as well. In show bands, particularly in HBCU and Big Ten bands, drum majors often have a visual on-field role with a baton or mace, with the job of conducting relegated to the director(s). In these cases, the number of drum majors is often based on tradition, rather than being in proportion with the number of musicians. For example, the Florida A&M Marching 100 has one drum major for each university president. Other leaders within the band may include field lieutenants and captains of sections such as brass, drumline, and woodwinds, and members that lead a section, squad, letter, row, etc.
The size of the band may not only determine how many drum majors there are, but how many section instructors are needed as well. Section instructors function like the music director, but are mainly responsible for teaching members of a given section. Because they are commonly previous members of the section they teach, they're able to provide better instruction to combine the needs of the show with the characteristics of the given instrument.
As bands require leadership from within as well as from without, section leaders will usually be selected from among the members of each instrumental section (a "section" comprises all the band members who play the same musical instrument). The section leader is always an experienced band member, and is usually selected by the band director (rather than elected or self-appointed) for his or her leadership skills and experience. The section leader is responsible for the minute-to-minute instruction of his or her section members, and reports to the drum majors and the band director.
The director provides general guidance, selects the repertoire, interprets commentary and evaluations from judges, and auditions and/or recruits prospective members. What content is not provided by the director may be contracted from arrangers (who compose original works or adapt existing works) and copyists (who reproduce the parts of the score), choreographers, and drill designers (primarily for field bands). With the assistance of section instructors, the director also teaches performance technique—musical, martial, and visual—and assesses the pool of talent, choosing leaders and soloists as needed. The director also selects venues for public performance and oversees the staff that help provide funding and equipment. Many opportunities for member improvement are present: the director may organize clinics with various professionals, send representatives to specialty schools or camps, and/or plan trips abroad for education or exhibition.
Large bands also require a number of support staff who can move equipment, repair instruments and uniforms, create and manipulate props used in performances, and provide food, water and medical assistance. Additional staff may be utilized when the band hosts functions such as competitions and reviews. In high school bands, these activities are usually performed by volunteers, typically parents of band members or the band members of the lower grades. These people are often referred to as "runners" or "boosters". Significant support staff for college bands and independent corps are typically paid by the university or the corps organization, respectively.
The Pride of the Sunshine the marching band which represents the University of Florida during athletic events
Irishman Patrick S. Gilmore started the concept of a band leader. A marching band is typically led by one to three or, occasionally, four drum majors, also called field commanders, who are responsible for conducting the band (sometimes using a large baton or mace, though such tools are used rarely in modern marching bands for conducting) and commonly referred to as the leader of the band. When there is more than one drum major, one may be the head drum major, who stands on the 50-yard line while conducting, whereas the other(s) often directs from convenient angles (should the marching block not be facing forward) and/or functions as an apprentice of sorts. The number of members in the band often determines how many drum majors are needed, based on the complexity of the show (in which case, in a three-person scenario, one stands on the 50-yard line while another stands on the 30-yard line and the third stands on the other 30-yard line), and occasionally, additional individuals may be asked to perform brief conducting duties if beneficial in a particularly tricky part of the show (more often, such people are those on the sidelines or in the pit). The modern-day concept of the Drum Major has been exponentially expanded upon by George N. Parks, often known as the "Dynamic Drum Major", through his Drum Major Academy. Bands may also be led by a more traditional conductor, especially during field shows, where a stationary conductor on a ladder or platform may be visible throughout the performance. Aural commands – such as vocal orders, clapping, or a whistle – may be used to issue commands as well. In show bands, particularly in HBCU and Big Ten bands, drum majors often have a visual on-field role with a baton or mace, with the job of conducting relegated to the director(s). In these cases, the number of drum majors is often based on tradition, rather than being in proportion with the number of musicians. For example, the Florida A&M Marching 100 has one drum major for each university president. Other leaders within the band may include field lieutenants and captains of sections such as brass, drumline, and woodwinds, and members that lead a section, squad, letter, row, etc.
The size of the band may not only determine how many drum majors there are, but how many section instructors are needed as well. Section instructors function like the music director, but are mainly responsible for teaching members of a given section. Because they are commonly previous members of the section they teach, they're able to provide better instruction to combine the needs of the show with the characteristics of the given instrument.
As bands require leadership from within as well as from without, section leaders will usually be selected from among the members of each instrumental section (a "section" comprises all the band members who play the same musical instrument). The section leader is always an experienced band member, and is usually selected by the band director (rather than elected or self-appointed) for his or her leadership skills and experience. The section leader is responsible for the minute-to-minute instruction of his or her section members, and reports to the drum majors and the band director.
The director provides general guidance, selects the repertoire, interprets commentary and evaluations from judges, and auditions and/or recruits prospective members. What content is not provided by the director may be contracted from arrangers (who compose original works or adapt existing works) and copyists (who reproduce the parts of the score), choreographers, and drill designers (primarily for field bands). With the assistance of section instructors, the director also teaches performance technique—musical, martial, and visual—and assesses the pool of talent, choosing leaders and soloists as needed. The director also selects venues for public performance and oversees the staff that help provide funding and equipment. Many opportunities for member improvement are present: the director may organize clinics with various professionals, send representatives to specialty schools or camps, and/or plan trips abroad for education or exhibition.
Large bands also require a number of support staff who can move equipment, repair instruments and uniforms, create and manipulate props used in performances, and provide food, water and medical assistance. Additional staff may be utilized when the band hosts functions such as competitions and reviews. In high school bands, these activities are usually performed by volunteers, typically parents of band members or the band members of the lower grades. These people are often referred to as "runners" or "boosters". Significant support staff for college bands and independent corps are typically paid by the university or the corps organization, respectively.
Music
Some marching bands have their members hold music on lyres attached to the instrument.
The traditional music of the marching band is the military march, but since show bands also evolved from the concert and brass band traditions, music has always been varied. Often, music from other genres is adapted for the specific instrumentation of a marching band.
Commercial arrangements that are tailored for the "average" band instrumentation are also available. Military and university bands typically have a repertoire of "traditional" music associated with the organization they serve. Some competitive bands will choose to use an arrangement of popular music varied for marching band, as well as music from a movie or other such theme. However, the largest and most successful marching bands tend to steer clear of "show tunes" and popular music, instead preferring compilations or arrangements of classical or traditional concert pieces (i.e. Stravinsky's The Rite of Spring or Puccini's Nessun Dorma) or of entirely new compositions.
Music may be memorized, or it may be carried on flip folders, which are held by lyres that clip onto the instruments. Having music memorized is usually considered an advantage for competitive bands, and at competitions, there is usually a penalty for the use of the sheet music on the field written into the scoring rubric. Practically, memorization prevents obstruction of vision caused by the folders. The memorization of music is usually a matter of pride for the marching band, as a band that must use sheet music might be seen as of lesser caliber than one that performs with memorized music.
Some marching bands have their members hold music on lyres attached to the instrument.
The traditional music of the marching band is the military march, but since show bands also evolved from the concert and brass band traditions, music has always been varied. Often, music from other genres is adapted for the specific instrumentation of a marching band.
Commercial arrangements that are tailored for the "average" band instrumentation are also available. Military and university bands typically have a repertoire of "traditional" music associated with the organization they serve. Some competitive bands will choose to use an arrangement of popular music varied for marching band, as well as music from a movie or other such theme. However, the largest and most successful marching bands tend to steer clear of "show tunes" and popular music, instead preferring compilations or arrangements of classical or traditional concert pieces (i.e. Stravinsky's The Rite of Spring or Puccini's Nessun Dorma) or of entirely new compositions.
Music may be memorized, or it may be carried on flip folders, which are held by lyres that clip onto the instruments. Having music memorized is usually considered an advantage for competitive bands, and at competitions, there is usually a penalty for the use of the sheet music on the field written into the scoring rubric. Practically, memorization prevents obstruction of vision caused by the folders. The memorization of music is usually a matter of pride for the marching band, as a band that must use sheet music might be seen as of lesser caliber than one that performs with memorized music.
Instruments
The size and composition of a marching band can vary greatly. Some bands have fewer than twenty members, and some have over 500. American marching bands vary considerably in their instrumentation. Some bands omit some or all woodwinds, but it is not uncommon to see piccolos, flutes, soprano clarinets, alto saxophones, and tenor saxophones. E♭ clarinets, alto clarinets, bass clarinets, and baritone saxophones are less common, but can be found in some bands. Bassoons and oboes are very seldom found on a field due to the risk of incidental damage, the impracticality of marching with an exposed double reed, and high sensitivity to weather. The brass section usually includes trumpets or cornets, French horns, alto horns, or mellophones, tenor trombones, baritone horns or euphoniums, and tubas or sousaphones. |
|
E♭soprano cornets are sometimes used to supplement or replace the high woodwinds. Some especially large bands use flugelhorns and bass trombones. Specially designed versions of the lower brass have been created for use while marching. These are typically wrapped in such a way that allow the bell to face toward the audience at all times. Bands may also modify their instrumentation to remove slide trombones completely and replace them with another instrument, such as a valved trombone or marching baritone horn.
Marching percussion (often referred to as the drumline, battery, or back battery) typically includes snare drums, tenor drums, bass drums, and cymbals and are responsible for keeping tempo for the band. All of these instruments have been adapted for mobile, outdoor use. Marching versions of the glockenspiel (bells), xylophone, and marimba are also rarely used by some ensembles. Historically, the percussion section also employed mounted timpani that featured manual controls.
For bands that include a front ensemble (also known as the pit or auxiliary percussion), stationary instrumentation may include orchestral percussion such as timpani, tambourines, maracas, cowbells, congas, woodblocks, marimbas, xylophones, bongos, vibraphones, timbales, claves, giros, and chimes or tubular bells, concert bass drums, and gongs, as well as a multitude of auxiliary percussion equipment. Drum sets, purpose-built drum racks, and other mounted instruments are also placed here. Until the advent of the pit in the early 1980s, many of these instruments were actually carried on the field by marching percussionists by hand or on mounting brackets. Some bands also include electronic instruments such assynthesizers, electric guitars, and bass guitar, along with the requisite amplification. If double-reed or string instruments are used, they are usually placed here, but even this usage is very rare due to their relative fragility. Unusual percussive instruments are sometimes used, including brake drums, empty propane tanks, trashcans, railroad ties, stomping rigs, and other interesting sounds.
A rare inclusion in a marching band that is becoming more popular is the use of Electrophones in a marching band. The most common electric instrument seen is a bass guitar, but some schools also use keyboards and lead guitar. To make the electric instruments usable, external power in the stadium is normally used, but some groups may use a car-battery mechanism that requires a car battery and a converter to give the instruments and amplifiers remote power. Most bands will have the guitars in the pit with keyboard and auxiliary percussion, but some guitarists do march in the field show. This is made possible by the use of wireless transmission systems that allow the guitarists to hook a wireless transmitter to their instrument, while a receiver is hooked to the amp. This allows free motion of the guitarists to a fixed range of distance between the transmitter and receiver. This implementation of equipment can also be used in parades. Some band scores have parts for bass guitar, but in the event that a score does not, the bass guitarist will normally play tuba/sousaphone, bassoon, baritone-bass clef, euphonium-bass clef, or trombone music. It is very rare for a score to have a part for electric guitar, but the guitarist may use oboe or flute music in this situation.
Marching percussion (often referred to as the drumline, battery, or back battery) typically includes snare drums, tenor drums, bass drums, and cymbals and are responsible for keeping tempo for the band. All of these instruments have been adapted for mobile, outdoor use. Marching versions of the glockenspiel (bells), xylophone, and marimba are also rarely used by some ensembles. Historically, the percussion section also employed mounted timpani that featured manual controls.
For bands that include a front ensemble (also known as the pit or auxiliary percussion), stationary instrumentation may include orchestral percussion such as timpani, tambourines, maracas, cowbells, congas, woodblocks, marimbas, xylophones, bongos, vibraphones, timbales, claves, giros, and chimes or tubular bells, concert bass drums, and gongs, as well as a multitude of auxiliary percussion equipment. Drum sets, purpose-built drum racks, and other mounted instruments are also placed here. Until the advent of the pit in the early 1980s, many of these instruments were actually carried on the field by marching percussionists by hand or on mounting brackets. Some bands also include electronic instruments such assynthesizers, electric guitars, and bass guitar, along with the requisite amplification. If double-reed or string instruments are used, they are usually placed here, but even this usage is very rare due to their relative fragility. Unusual percussive instruments are sometimes used, including brake drums, empty propane tanks, trashcans, railroad ties, stomping rigs, and other interesting sounds.
A rare inclusion in a marching band that is becoming more popular is the use of Electrophones in a marching band. The most common electric instrument seen is a bass guitar, but some schools also use keyboards and lead guitar. To make the electric instruments usable, external power in the stadium is normally used, but some groups may use a car-battery mechanism that requires a car battery and a converter to give the instruments and amplifiers remote power. Most bands will have the guitars in the pit with keyboard and auxiliary percussion, but some guitarists do march in the field show. This is made possible by the use of wireless transmission systems that allow the guitarists to hook a wireless transmitter to their instrument, while a receiver is hooked to the amp. This allows free motion of the guitarists to a fixed range of distance between the transmitter and receiver. This implementation of equipment can also be used in parades. Some band scores have parts for bass guitar, but in the event that a score does not, the bass guitarist will normally play tuba/sousaphone, bassoon, baritone-bass clef, euphonium-bass clef, or trombone music. It is very rare for a score to have a part for electric guitar, but the guitarist may use oboe or flute music in this situation.