2014 2015

Independence HS Band

Visual Program Manual

Chris Cansler, Director of Bands

Tanner Smith, Associate Director of Bands

Revised 7/20/14 1
 2014 2015 IHS Knights Marching Band

--TABLE OF CONTENTS

Introduction 2
Nutrition/Physical Fitness 3
Posture 4-5
Moving Maneuvers 6
The First Step/Marking Time 7
Step outs/Exlpination 8
Movement Marching 9
The Close 10-11
Direction Changes 11
Slides 13
Other Forms of Movement 14
Basic Exercises 15

Introduction
The purpose of this guide is to outline and detail the most important elements that will
help us achieve the highest level of clarity, starting with the basics and moving through to highly
technical and emotive performance techniques. Everything covered in this guide will be taught
during summer band and developed throughout the course of the school year, but each band
member should be responsible for all of the information shared with you. Once you feel
comfortable with the technique, use this as a reference for any questions you may have. It is
important that we commit these concepts to memory in a positive manner from day one by
putting forth our best effort and committing to success.

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 Nutrition/Physical Fitness
Strength
It is essential that members take care of their bodies. No matter how well you know your
show or play your instrument, if you are unable to perform because of health or injury then all
of the hard work goes to waste. The most basic idea of pre-season preparation is that
everyone can spare 10 minutes a day. Changing ten minutes of your morning routine or
exchanging ten minutes of Facebook or television time for a little exercise every day will
change your life and our summer. You may notice that ten minutes does not cause the same
heart rate spike or sweat later in the summer/fall. That is good; it means you are getting
stronger. As this happens, increase the intensity or lengthen the amount of time you are
exercising to build strength and endurance.

Conditioning comes in several forms:

Body awareness
Core strength
Flexibility
Cardio endurance
Muscular endurance
Injury prevention/care

Please take the time to take care of your body now in order to be able to perform your show
to the greatest ability and with the least risk of injury down the road.

Stretches
Be sure to protect against injury by beginning to build flexibility now. Stretching your
legs by standing with straight legs and touching your toes is a great start to every morning.
More complex stretches targeting injury prone areas, running muscles, and flexibility will be
taught throughout the summer camp.

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 Posture
Posture is arguably the most important aspect of marching and movement. It is the pillar
on which we base all other parts of the technique. Without proper posture, it is impossible to
create the best sounds from your horn, and likewise, it is impossible to achieve true visual
clarity.

The Feet
Good posture is developed from the ground up, beginning with the feet. The feet should
begin in the open first position. In this position, each foot is turned 20 degrees outwards from
parallel, creating a 40 degree angle when viewed from above. A quick check is to place your
fist knuckles down on the ground between your arches and it should fit perfectly between your
two arches. It is important to make sure that your weight is evenly distributed between both
feet and slightly pushed forward onto the platform of each foot. The platform of your foot is
the triangle created from connecting the ball of your foot, the point where your big toe and
second toe meet at the tip, and the base of the smallest toe. Think of wanting to spread the
bottom of your foot as wide and as long as possible across the ground to provide maximum
balance.

The Ankles
Moving up from the platform, we encounter the ankle. This is the first of five checkpoints
we refer to simply as points of posture. Each point can be used as a check to make sure your
body is aligned correctly. The ankles should be side-by-side to ensure that the feet below are
evenly placed beside one another. Check that your ankles are not rolled in OR out, as this
creates both posture and musculoskeletal problems, but instead directly over your heels. Rolling
the ankles outward or inward causes the weight of your body to be unevenly distributed across
your feet.

The Knees
The next point of posture is the knee, which is to be pulled back (but not locked),
connecting a straight line between the hip and the ankle. In order to achieve this, engage your
quadriceps in the fronts of your thighs. Another way to feel this sensation is to pull the knee-cap
(front of the knee) up toward the thigh. Locking your knees WILL cause damage and can cause
you to pass out after prolonged periods of time.

The Hips
A critical point of posture is the hip. Many marchers fall into a habit of letting the hips
fall in front of rest of the body, breaking perfect posture. For the hips to be aligned correctly,
they should be rolled underneath the body slightly so that the small of the back where extra
space is naturally createdis diminished. To identify this space, lie on the ground on your back
and feel the natural space between the floor and your lower back. Decrease that space using
your lower abs to roll your hips under and forward. This allows the spine to elongate as much
as possible, separating the lower body from the upper body, and enabling the performer to
play his or her horn while moving.

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The Shoulders
The shoulders should be rolled slightly back. This creates a broader presentation of the
chest and also prevents the back from arching. Shoulders should be dropped down by the
natural weight of gravity in order to relieve tension from the neck and back. To achieve this,
consider pulling your shoulder blades down and toward your spine rather than moving your
actual shoulders. This will decrease the tension in your upper back. The neck should be
lengthened as much as possible without tension. Try to create as much space as possible
between the shoulders and the ears.

The Head
Finally, the head should rest comfortably on top of the body in alignment and the
performers chin and eyes should be focused 10 degrees above the horizon. The ears should
be in line with the rest of the points of posture. The neck should not feel strained in anyway.
The head should also be vertical between the shoulders (no tilting to one side) and looking
straight ahead (no twisting from side to side).

When all five points of posture are vertically aligned, the front of the body will be broad,
lifted, and strong to create a brilliant appearance to the audience, as well as supplementing open
lung space for the instrumentalist. Additionally, maintaining perfect posture through movement is
achieved by separating the ribcage from the hips, and engaging the abdominal muscles through
higher intensity maneuvers.

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 Moving Maneuvers
50/50 Weight Concept

The basis of the movement program can be narrowed down to one concept: 50/50. This
is the idea that your weight should be centered 50% on your front foot, and 50% on your
back foot at all times. If 50/50 can be achieved, vertical alignment, leg shape, timing and
visual articulation will be much improved. Although the concept applies to most everything in
the visual package, there are numerous exercises that provide a foundation on which 50/50 is
built.

50/50 can be broken down into 3 separate steps. These will be referred as the 1-
step, 2-step, and 3-step. (Note: The title of the exercise involving all 3 steps is called
POINTE EXERCISE.) The description for each is as follows:

Pointe Exercise:
1-step The extended leg (front) is completely straight, while the standing leg remains planted
firmly on the ground. There is NO weight transfer in this step, and the extended legs toes
should remain touching the ground. This may also be referred to as a pointe. A strong pointe is
created by pushing with the shin muscles and pulling with your calves.

2-step The extended leg is completely straight with a pointe, while the back heel rolls slightly
off the ground. There IS a weight transfer in this step, and the weight should be centered
50/50. Each heel should be raised only 1-2 inches off the ground, so your upper body does
not dip or rise with the step.

3-step This is the exact same as the 2 step, however, the front toe is now in the air (flexed).
There IS a weight transfer, and the back heel should only be 1-2 inches off the ground (or the
height necessary to keep your upper body from sinking). This step is the equivalent to taking
a step forward with regular marching technique.

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 The First Step
Forwards

Your feet prior to the first step should still be in open first position, heels touching and
toes apart at a 40-degree angle.
Prior to the first step, all muscles required to march properly should be engaged. This
includes your core muscles, which stabilize your upper body, thighs, and glutes. These should be
lifted to create balance and movement. Your calves and shins will be engaged through the
motion to cushion and smooth out the step. Though your front heel will touch the ground on the
downbeat, you will push off your back foot on the last beat of the count-off. This is often
vocalized as push-and-one. In extremely slow tempos (below 100 bpm), the push is adjusted
back to the and of count 4. The full beat initiation is the default. You will be specifically told
anytime that we want you to do the half beat initiation.
The first step should imitate the 3-step from the Pointe exercise

Backwards

Backwards differs little in concept. With the muscles engaged, you will push off the front
foot and point the toe of the push foot one count prior to the step off, so that the stepping
foot touches the ground on the downbeat. The shape of the leg should be long, as the platform
of the stepping foot hits the ground on the downbeat. This means that the pointe shape should
be one long line from the hip down the front your leg and across the top of your foot until the
flex which allows your platform to hit the ground.
Your hips are the pivot point for this motion and are cushioned by your ankles. Very little
else should change about your body during a backwards march. While moving backwards, the
heels should stay as low to the ground as possible. Doing this will ensure a straight leg, and it
will improve balance and posture.

Marking Time

Marking time is one of the basic parts of all marching bands. The use of the feet
to keep time is the most important concept to learn. We will utilize marking time whenever it is
appropriate in relationship to the show, therefore if you are moving in the drill, you should be
marking time in the music arc. We will be going for one of the most simple and straight-
forward techniques.
During the mark time, the feet are in parallel first (toes and heels together, pointing
straight). The platform of the feet will remain grounded the entire time. Only the heel and arch
will be raised off the ground (about ankle height). The articulation of the heel accents the beats
in tempo. Each downbeat will be with two straight legs with two heels on the ground. On the
up-beat (and/te) counts, the heel of the moving foot will rise up to the height of the
stationary legs ankle. This will cause the knee to travel forward to approximately the end of
the toe. The knees should track over the toes, but not extend past them.

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Step Outs

Step outs (along with marking time) are the bread and butter of the visual program for
the marching band. They are essentially mini-drill moves. They help us fix direction changes
and tempo control issues while in the arc or form. Almost all timing issues occur in the first two
and last two counts of each drill move.
This is a relatively simple concept. You take two steps in any direction at the beginning
of the drill move. Over the next two counts, you return to your original position, where you will
continue marking time until it is time to take the next step out. There is no point in doing step outs
unless you simulate the correct step size and direction change.
If you practice show-like steps and directions, they will be easier when it is time to
achieve in a performance.

Step Out Explanation

Take 2 full steps in any direction at the beginning of a musical phrase or during what
would have been a drill move, and then return back to the original position.

When marching forward with left foot lead

Count 1: Full step, roll through

Count 2: Full step, point the toe, lightly stab with the platform
Count 3: Re-plant the left foot in place in time
Count 4: Full step back, right foot is now in the original spot
Count 5: Left foot is back with right foot, continuing to mark time in place

When marching backward with left foot lead

Count 1: Full step, on the platform

Count 2: Full step with right platform, left toe kicks up
Count 3: Left heel hits and roll through
Count 4: Full step forward, right returns back to the original spot
Count 5 Left foot is back with right foot, continuing to mark time in place

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 Movement - Marching
Forwards

After the first step, momentum naturally guides the back leg forwards. The foot of the
forward leg should roll smoothly and evenly through the beat. On the and count (also
referred to as the cross-count), both legs should be parallel, keeping the heel of the passing
leg as low to the ground as possible. This will cause the knee to be RELAXED in the cross count.
Keeping the heel of the passing foot low prevents the illusory walking effect of poor
marching ensembles.
After the cross-count, the passing leg follows all the way through until the heel hits the
ground, again, with weight distributed 50/50 and the toes stretched high to demonstrate
uniformity and control. Keeping the toes flexed (up) will naturally lower the heel on the cross
count and improve tempo control.
One of the most important parts of moving forwards is the back heel. This heel should be
kept as low to the ground as possible. The higher the heel, the more bent the knees are, and
the harder it is to push off of at extended step-sizes. If the heel is kept low, articulation and
tempo is drastically improved. This is an important concept that must be achieved to establish
visual clarity.

Backwards

From the first downbeat of a backwards step, the cross count is simple. Just as going
forwards, the right foot will fall into parallel as it crosses past the left. Throughout the entire
backwards marching process, both legs remain long and stretched, resisting the urge to bend
at the knee. The toes should only slightly skim the ground during movement in order to create just
enough space for the leg to pass through while keeping the straight shape of the leg. On each
downbeat, weight should be distributed 50/50. It is easiest to achieve this technique by
thinking of pushing off the front foot and pointing the toe, keeping both legs straight through
bursts of momentum and maintaining fluidity of movement.
A common error while moving backwards is letting the hips drop closer to the ground
and reaching behind you, creating a bent leg and adding difficulty to pushing off the front
foot. This may be fixed by simply keeping vertical alignment, isolating your upper body from
your lower body while moving, and standing up tall. Just like we did in posture, engaging the
quadriceps will allow you to maintain a straight, but not locked, leg shape.

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Step Size

Step sizes are measured in the number it takes to travel five yards. We give these step
sizes in a ratio, such as 8 to 5, 6 to 5, or 16 to 5. The first number represents the number of
steps to the number of yards. The standard step size is 8 to 5, which translates to 22.5 inches
per step. Your show will have many different varieties of marching step sizes. Therefore, we
must be comfortable, confident, and in control of all step sizes. Here is a table with some step
sizes and their equivalent in inches:

Step Size Inches per Step

6 to 5 30
8 to 5*** 22.5
12 to 5 15
16 to 5 11.25

There is something tricky about step size and tempo control. Step sizes change on the first step
of the new phrase. However, timing is dictated by count 2 of each phrase. Count 1 is still in
time with the previous tempo, because it is still the last count of the previous phrase up to count
1. This odd little trick of fate can cause your feet to travel at a faster or slower speed during
these transitions. The best piece of advice you can get is to internalize the pulse and calculate
step sizes as you march.

The Close
Forwards

The last phase of any marching technique is the close step. The close returns one to base
position outlined at the very beginning of this manual, most often with the feet together, toes
apart and exemplary posture. Most often, the right leg will pass through exactly as outlined in
the previous section on movement, the difference being that as the right foot approaches the
downbeat, it will turn out at a 20 degree angle and point into a pointe with the platform
touching the ground on the downbeat. As the left leg passes into a close step, it should remain
long as it meets the right leg at the opposite 20 degree angle. The tendency of the back foot
will be to bend, as it has to move only half the distance of previous steps, but in the same amount
of time. This should be avoided, and it can be accomplished by slowing down the back foot into
the close and engaging the quadriceps to keep the leg straight. The weight should evenly roll out
into an open first position, with the finished posture being that of the basic good posture
already outlined.

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Backwards

Just like forward technique everything remains the same up through the pass through
(cross count) before the last step. As the foot continues back, the toes will smoothly angle out
reaching 20 degrees just as the platform hits on the downbeat. The trailing leg again travels
straight in order to arrive even with the stationary foot on the next downbeat. Both feet will be
angled out at 20 degrees to create an open first position. The posture should be maintained
throughout the close.

As with forward closing, there are certain tendencies toward sloppiness and laziness that
create timing/form/body issues. The most common breakdown is in body alignment while
traveling backwards. The shoulders and ears are behind the waist typically. Because of how
our body works, the knees tend to be bent when the shoulders are leading. As we close, we
bring our bodies up to perpendicular. There should be no sudden elevation change during the
close. Just like everything we do, it should be smooth.

Direction Changes
Direction changes are critical to the cleanliness of visual technique. As marchers, you will
constantly be using them on the field. It is important to understand and master them so that they
are second nature by the time you perform them in the drill.

Primary

Forwards to Backwards
Think of primary direction changes as direction changes that occur in the ski linethat is,
directly from one direction to the exact opposite direction (forward to backward and vice
versa). On the last downbeat of a forward to backward primary direction change, your right
foot will point to stop your momentum (note: This is a 50/50 2-step). After the downbeat, there
is a slight re-articulation of the back foot, which serves as the downbeat of the next visual
phrase backwards and a change in step size if necessary. In this re-articulation, the ankle
rotates just enough to allow the toes to slightly lift from the ground and replant in the exact
same spot, or at the new step size. Note that this is an ankle motion, and should not affect the
level of the body or the knee.

Backwards to Forwards
In the final count of the backwards to forwards change, the weight stops with the back
foot freezing in parallel position with the heel off of the ground in 50/50. Like the forwards to
backwards change, this downbeat should look like a snapshot of a normal backwards step, or
a Pointe exercise 2-step. On the following downbeat, however, the ankle of the front foot
flexes so as to lift the toes and create a roll step. The height change here is minimal to none.
There should not be a sudden drop from the performer. The weight, again, should remain
50/50 throughout this process, and by the second downbeat, you should return to a normal
forwards motion.

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Secondary

A secondary direction change is any change that is not directly forward to backward or
backward to forward. While you may still be changing from a forward step to a backward
step or vice versa, the angle of the change is anything but 180 degrees. Thus, a secondary
direction change usually consists of a 90 degree angle.

On the last downbeat of a forward to forward 90 degree direction change to the

RIGHT, the right foot will point at a 45 degree angle to the right, prepping to complete the
angle change. This step will be a 2-step, with the toes of the right foot being the articulation of
the beat. This is called a place step. The left leg will then complete angle change, as the track
of your feet should now be on a forward slide directly to the right.
For going forward and to the left on a 90 degree direction change, the same concept
applies. The right foot should turn out and point to a 45 degree angle to the left, followed by
the left foot completing the 90 degree change on the next downbeat.

The universal concept that you will notice in regards to direction changes is that the
angle of the foot placement always splits the angle of a given direction change exactly in half.
Here are other direction changes you might encounter:

~ 90 degree Backwards going to the left change to a forward slide:

45 degree angle, pointed to the left

~ 90 degree Backwards going to the right change to a forward slide:

45 degree angle, pointed to the right

~ 90 degree Backwards going to the left change to a backward slide:

45 degree angle, pointed right

~ 90 degree Backwards going to the right change to a backward slide: 45 degree angle,
pointed left

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Slides

No matter which direction your feet are traveling, your upper body must constantly be
oriented beyond the front sideline at the 50 yard line. The ability to separate the upper and
lower body is a critical element to your success both musically and visually. This is why we have
designed exercises to isolate each half of the body.
A slide on a 90 degree angle across the field is undeniably one of the most
uncomfortable and challenging positions to master, which is all the more reason to isolate these
extreme slides. Your shoulders should be parallel to the front sideline, and your spine should
twist in a spiral so that your feet are facing the end zone. Think of your spine as a spiraling
staircase, with your hips starting to angle towards the sideline and every vertebra in your back
twisting slightly, culminating with the vertebrae in your upper back and neck facing the front
sideline so that your chest and shoulders are square.
Your instrument, head, and shoulders should all have the same focal point. It is easy to
allow your knees or shoulder to absorb some of the twist. Doing this not only shortens you and
closes down your posture, so you will have to work at keeping your posture tall and separated.

Direction of Travel

Though not technically a part of slides, this concept is closely associated with slides. The
rule of thumb is that when traveling toward the front of the field, you use forward technique.
When traveling toward the back, you use backward technique. When traveling toward the 50
yard line, you use forward technique. When traveling toward the end zone (away from the 50
yard line) you use backward technique.
There are always exceptions to these rules. If you are ever in doubt as to if you should
be doing forward or backward technique, then you should look at the people on either side of
you. If they are both doing the same thing, do that as well. If they are not, ask the staff to
clarify for all of you.

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 Other Forms of Movement (advanced)
It is important to be familiar with these terms, because we will sometimes refer to them.
We will teach you the movement if it is need in the marching show, but dont hesitate to ask
questions or look up tutorials on Youtube.

Stationary Movement

Demi Pli
A Demi Pli may start in open first or second position. Your knees will bend slightly and
track over toes, squeeze your thigh muscles for support. The tailbone travels straight down
toward your heels; however, your heels will stay on the ground. The motion should remain
smooth and consistent over the given number of counts. As always, the upper body does not
collapse upon movement.

Grand Pli
Much like a Demi Pli, this one may also start in open first or second position. Your knees
will bend and track over the toes. Your heels will come off the ground as the knees travel past
the toes. Again, your tailbone travels straight down, toward the heels. Note that motion is still
consistent over the given number of counts and the upper body does not collapse upon
movement.

Lunges
In a lunge, a given foot travels out in given direction (generally forwards, to the
immediate left or right, or at a 45 degree angle). The given knee bends slightly and tracks
over toes. The stationary leg remains straight. The stationary heel stays on the ground, and the
knee stays on top of the toes. Your upper body may stay vertical or travel with the lunge,
creating a long angle from shoulder or head through the heel of the stationary leg.

Tendu
The given foot travels out in a given direction. Body weight is not transferred, as the toe
comes to a point, gently touching the ground. The foot returns evenly through the count structure
of the given move. This should remind you of a 1-step, because thats what it is.

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 Basic Exercises
These are some basic movement exercises that you will be taught during band camp and
reviewed throughout the season.

Pointe Exercise

This exercise will help us build strength in our legs and core. The exercise begins in
parallel first (i.e. toes and heels together).

1-step Forward Pointe (start with left foot)

Counts:
(1) Forward Pointe 1-step
(2 4) Hold
(5 8) Lift leg/rotate hip
(9 12) Hold
(13 16) Flex foot
(17 20) Hold
(21 24) Pointe foot
(25 28) Hold
(29 32) Lower leg
(33) Replace foot
(34 36) Hold
Repeat with right foot

HABT (Habit)

This exercise will allow us to focus on feeling our weight transfer through each step. The
terminology is quite straightforward. The words heel, arch, ball, and toe will be used to
articulate each beat.

HABT Full beat initiation before first step

Counts:

(1) Left foot extended out flexed with no heel contact (hold to beat 4)

(5-8) Left HEEL contacts the ground (5) roll through to the ARCH (6) roll onto BALL (7)
and roll weight to the TOE (8)

(&) Right Foot swings in to the crossing count ready to extend to beat 1 with the next
foot
Repeat process with the Right leg and continue for 8 steps.

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