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.

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 Transitions25
Practicing Marching Fundamentals and Receiving Help..25

.
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 II32
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

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 members
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.

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
Heels!
Stomach!
Chest!
Shoulders!
Head!
Eyes!

MMB
Together!
In!
Out!
Down!
Up!
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.
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).
3

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 legsonly 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:
Drum Major:
Band Cues:

2
3
4
1
2
Tweet Tweet Tweet Tweet
(rest)
3
4
Up

1
Piece Begins

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

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:
Drum Major:
Band Cues:
Horn move:

1 e + a 2 e + a 3 e + a
Tweet
Tweet
Tweet
(rest)
3

4 e + a
1
2
3
Tweet
Slow
Slow Up
Start uparrive

1
Piece Begins

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:
Drum Major:
Band Cues:
Horn move:

1
+
2
Tweeeeeeet
Tweeeeeet

+
+

3
Tweet
Up (before song) Drop (after song)
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:
Drum Major:
Band Cues

1
2
3
Tweet Tweet Tweet
3

4e+a
1
Tweet
No NoUp

1
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

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 notetriplet 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
+
Drum Major:
Double Command
Band Cues:
Step execution:

2+
(rest)

3+
Ten

4+
Hut!

Ten

Hut

1
+ 2 +
Lock
Lock

3
3!
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 LockHoldLockHoldClose. 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
+
Drum Major:
Double Command
Band Cues:
Step execution:

2+
(rest)

3+
Rite

4+
1 +
Hace!
Rite

Hace

1
+
Pivot

2
2!
Close

Execution:

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
+
Drum Major:
Double Command
Band Cues:
Step execution:

2+
(rest)

3+
Leff

4+
1 +
Hace!
Leff

Hace

1
+
Pivot

2
2!
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

the balls of the feet, even when balancing on one leg. Keep the instrument in playing position during this
exercise.

Execution:
Drum Major:
Traditional Step by the Numbers!

Band cues:
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

10

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
Drum major:
Tweet
Band Cues:
Step Execution:

2
Tweet

3
Tweet
3

4
Tweet
4

1
Up!
Horns up

etc.

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.

11

While the step is smooth, it is not a consistent speed throughout; the leg should bob up to the 60degree position and remain there for a millisecond before coming down. Imagine the motion of a ball
bouncingthe 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 ones 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
Drum major:
Tweet
Band Cues:
Step Execution:

2
Tweet

3
Tweet
3

4
Tweet
4

1
Up!
Horns Up

4
Lift

1
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 initiatedthe right leg moves up to a 60-degree angle. Hold
this positionthe right leg should be hanging in the air with the weight balancing on the left leg.
Tips

12

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 observers 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!

13

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 quickerit is one of the
most important elements reviewed by staff when the performance block is being set.

14

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:
High Step by the Numbers!
Ready, One

Band cues:
High Step
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.

15

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 notetriplet rhythm. The instrument stays down during this command.
Counts:
1 trip- let
+
Drum Major:
Double Command
Band Cues:
Step execution:

2+
(rest)

3+
Ten

4+
Hut!

Ten

Hut

1
+ 2 +
Lock
Lock

3
3!
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 LockHoldLockHoldClose. 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 +
Drum major:
Tweet
Band Cues:
Step Execution:

2 +
Tweet

3 +
Tweet
3

4 +
Tweet
4

Up!
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.

16

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 marchers
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.

17

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:
Drum Major:
Band Cues:
Step execution:

1
2
3
Tweet Tweet Tweet
3

4e+a
1
Tweet
No NoUp

Lift

Exchange to the right leg using the same fundamental as the left leg.

Repeat until the drumlines Halt Cadence.

Close as follows:

Counts:
1
Band Cues:
Step execution:

4
1
Go!

Cadence Begins
Step

4
Up!
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.

18

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 groundso 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.

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.

19

To feet at 45-degree angle

To feet pointing straight forward and parallel

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
repeatedlythis 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 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 +
Drum major:
Tweet
Band Cues:
Step Execution:

2 +
Tweet

3 +
Tweet
3

4 +
Tweet
4

2 + 3 + 4

Up!
Horn up

+
Lift heel

1
In (Left)

2 etc.
In (Right)

Ending (closing) the Glide Step Mark Time

Counts:
Step Execution:

4
Out

1
Out

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

20

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
lift

+
cross

a
2
point

e
lift

+
cross

a
3
point

e
lift

+
cross

a
4
point

e
lift

+
cross

a
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 16ths, while keeping the motion smooth.
Once you are comfortable with these mechanics, put the instrument into playing position and march 8-to5 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

21

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 bodys 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 bodys 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
Band Cues:
Step execution:

3
3

e
e

+
+

a
a

4
4

e
e

+
a
1
+
a
1
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
Drum Major:
Band Cues:

1
+
Tweet

2
+
Tweet

3
+
Tweet
3

4
+
Tweet
4

Up!

22

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.

23

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.

24

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.
j.

Left slide to backward

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.

25

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.

26

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 ones
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 frontto-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
persons 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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Sheet Terms
Using Tick Marks to Find Coordinate
Side-to-Side Coordinates

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

29

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:

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Drum Major:
Band Cues:

Dress

Set

Dress!
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:
Drum Major Tweeet
Band Cues:

1
e +
Ready

2
+
Front
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 ones ability to make
the performance block is ones 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 individuals 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 ones 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 marchers 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 members 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 ones 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

33

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:

34

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
Leaders responsibility for facilitating this process. If a rank is having considerable difficulty

35

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.
2.

3.

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.
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 (frontto-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.
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

36

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.

37