Eastern Illinois University The Keep

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1960

The Organization and Administration of the

George L. Bailey Eastern Illinois University

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Recommended Citation Bailey, George L., "The Organization and Administration of the Marching Band" (1960). Masters Theses. 4735. https://thekeep.eiu.edu/theses/4735

This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THE ORGANIZATION AND ADMINISTRAT ION OF THE MARCHING BAND

George L. Bailey THE ORGANIZATION AND ADMINISTRATION

OF THE MARCHING BAND

A Thesis Presented To The Mus ic Department Eastern Illinois University

In Partial Fulfillment Of The Requirements For The Degree. Master of Science in Education

by

George L. Bailey

July, 1960 '.APPROVED:

Connnittee:

Dr. Alan Aulabaugh

Dr. Geo�ge Wescott

Dr. Fred Bouknight PREFACE

It is the purpose of this paper to present general information on

the·· organization 11n? �dm4ti�tration of �he public sch o_l ma chfo.g ban� � � , progrmn, its. purpo.�_e, design � control. It is impractical in a pape� � • f • I;; �'

o.f, this typ�. to_ g� in.to g�eat d�t�il; therefore, a list of references

coyering such detail will be found at the end of each chapter 0

· The 'w:t:it.�r� wis��s t;o, a�knowl.e�g� ,th_e assistanfe received and infor-

bands and ,from�·Al• 'Wright_ - and... ·Frank Piersol in particular. ·- .- f � ... • •• ·- "' • • TABLE OF CONTEN.rS

Page

• • • • • • • . PREFACE • • • 0 • • • • ...... iii

LIST OF ILLUSTRATIONS • ...... v

INTRODUCTION ...... 1

CHAPTER

I HISTORY OF MARCHING BAND o ...... 2

II PURPOSES AND OB JECTIVES OF THE MARcHING BAND • ...... 8

III DESIGN OF THE MARCHING BAND 0 • • • • • • • • • • • • • • 14

Instrumentation Interval and Spacing Distinctive Movement s Show Styles Music

IV ADMINISTRAT ION OF THE MARCHING BAND ...... 26

Promotional Activities Activ{ties Concerning Personnel Curriculum Scheduling Finance Equipment Physical Conditions Records

• v TRAINING THE MARCHING BAND ...... 42

• VI REGULATIONS AND REQUIREMENTS FOR THE MARCHING BAND . . . 46

• • • • • • • • • VII UNIFORMS 0 ...... • • 0 • 48

• • • VIII AUX ILIARY GROUPS ...... 50

IX CURRENT TRENDS OF THE MARCHING BAND ...... 53

• SELECTED BIBLIOGRAPHY ...... 54

iv LIST OF ILLUSTRATIONS

FIGURE PAGE

1 Tra?it ion�l Style Marching Formation •••••••• 16

2 Symphonic Style Marching Format ion ••••••••• ! • 17

3 Reversi� le Style Marching Format ion •••••••••• 17

4 Column Style Marching Format ion •••••••••• 18

•••• � • ••• 5 Triangular Style Marching Formation . o 19

6 Organizat ion Chart • ...... 29

7 Personne l Card Form ...... 34

8 Music Questionnaire Form ...... 35

9 Instrumentation Chart Form • • • • • • • 0 • • • • • • • 35

10 Mus ic Library Card Form • • • • • • • 0 • • • • • • • • 36

11 Student Record Card Form . . • • 0 • • • 0 0 • • • • • • 37

12 Instrument Repair Card Form ...... 38

13 Instrument Inventory Sheet Form ...... � . . . . 38

14 Instrument Check-out Card Form • ...... 39

15 Mus ic Check-out Card Form ...... 39

16 Uniform Issue Card Form ...... 40

17 Uniform Inventory Sheet Form ...... 40

v INTRODUCTION

"The band on parade! o ••a picture of uniformed men marching in perfect rank and file, with a rhythmic swing of their bodies, to the playing of a good sounding march .111 This statement by Ray Dvorak states better than any other the perfect description of the marching band per­ forming to perfectiono But, how is this picture created?

A marching band director can 'INOrk hard for a long period.of time to ach ieve the picture he desires. Many hours of ·planning, drilling and rehearsal are involved before the des ired result is achieved; ·The follow­ ing pages give in general form the background, planning, ·and problems encountered and the results that can be derived through developing and maintaining such a group.

The marching band can be a beautiful picture with benefits and satisfaction to everyone: the student, the director and the people of the community who de light in it.

1a.aymond R. Dvorak, ,.Band � Parade (New York: Carl Fischer, 19 37), p. ix. CHAPTER I

HISTORY OF MARCHING BAND

One of the earliest references to a marching band can be found in

the accounts of the Crusades during the eleventh century. In the battles with the Saracens the armies of the.Saracens and the Turks had bands in the field which were composed of , horns, reedpipes, shaums, drums, kettledrums, and bellso Prior to this time there are few references to trumpets and horns in earlier western· Europe. 2

In a book by Garrard, called "Arte of Warre," written in 1591, the

following quotation appeared: "According to the stroke of the drum . . . '

so shall they go, just and even, with a gallant and sumpt ious pace; for by doing so they shall be honoured and connnended by the lookers on, who shall take wonderful delight to behold them. 113

In the general cultural elevation of the seventeenth century, wind bands rose in popularity. In 1622, infantry bands cons isted of fifes and drums, cavalry ban�s of trumpets and kettledrums. The town band of

Norwich, England, during this period, consisted of four , three recorders, two cornetts and three tromboneso The following statement

from Farmer shows the use made of these bands :

2rhe majority of the information below, as to names and dates, comes from books by Henry Farmer and William Carter White. Henry Farmer, Military Music (New York: Chanticleer Press, Inc .; Northampton, England: Clarke and Sherwell Ltd., 1950) . William Carter Wh ite, � History of Military Music ·..!!! America (New. York: The Exposit ion Press, Carl ·Fischer, 1944).

3 Farmer, p. 15, quot ing Garrard, Arte of Warre, 159 1. 3

We see these bands everywhere in the official and social life of the towns where, besides playing twice daily, they officiate at the great public functions, taking part in processions, providing inctdental music for mystery plays , as we ll as playing in church.

The beginning of the military band in its modern role occurred in

France with the band of Louis XIV. Growing out of this band, the

French and German bands during the first part of the eighteenth century

consisted of two , two oboes, two horns, one or two trumpets, two

and one bass . The English then added the. to

these bands. The English bands started making progress about 1750 and

by 1770 had no competitors. The English march of this period served as

a model for Europe and America and made the 6/8 time figure for the march

popular.

During the Revolutionary War, the British field bands consisted of bugles (keyed) , fifes and drums. The Revolut ionary War was the culmina-

tion of rudimental drumming which incidentally has not changed much

since then. The military bands in th is country started about this time

in New England -- Boston,. New York, Philadelphia and Salem -- and were

patterned after the English bands . In 1773, Josiah Flagg started the

Boston Band which was not very well accepted. The religious beliefs of

the people were a great hinderance to the success of the band. In 1775,

the u. s. Army band cons isted of only fifes and drums; however, in 1776 ,

General Andrew Lewis established the Fifer-Major and Drummer-Major in

the army bandso The Drummer-Major, now referred to as the "drum major"

has been retained to the present although his dut ies have changed some-

what.

4 Ibid., p. 20. 4

In 1783, the Massachusetts Band of Boston gave its first in Salem and was enthusiastically accepted. The bands were now using

three types of marches : the slow march (MMJ=80), the quick march (MM .J �

100) in 2/4 or 4/4 time and the double quick march with higher cadence 5 and using the 6/8 time signature. In 1786, Janissary Music brought about a restoration of the muscially cadenced step.

In 1792, the army took steps to permit one band to be formed in each brigade. In 1799, the Marine Band was formed as well as the famous

Salem Band. In 1806, the Brigade Band of Salem Light Infantry was form- ed and consisted of five , two bassoons, one trtnnpet, one triangle, one bass drtnn, one , two and one serpent .

It is recorded in 1812, that the army still had only two field musicians: fife and drwn or and drum; however, in 1814, the

Boston Brigade Band was formed,.and in 1820, the army band became a separate squad. In 1829, the cornet was introduced to the band and was first used in the William Tell overture.

In 1834, the army band was increased to ten men and a chief musician.

In 1837, the Salem Brass Band (brass now being popular) was organized.

The instrtnnentat ion of this group consisted of one Eb bugle, one Bb bugle, one trumpet, one Eb alto, one post horn, four trombones, one baritone, two basses, one and one . This band was under the direction of F. w. Morse. This band became very popular in 1839 .

5 Janissary Music meant the adoption of the bass drum, a deep but portable kettledrum and the tamborine, together with cymbals, triangle and "Jingling Johnnie", the last being a popular imitat ion of the Turkish Chagl1ana. This was originated from the Turks and was introduced by Poland to Europe, which in 1720, had received a full Turkish band from the Sultan. 5

At this same time, the Boston Brass Band, a group that was cons idered

a fine marching unit with excellent military appearance, was organized.

The use of the serpent, an old bass horn, also came to an end as the

with its valve system came into beingo

In Philadelphia in 1840 to.1845, Anderson' s Band was well known.

It was rated as an excellent marching band but a poor , while

in New York, Dodsworth initiated the ''Monkey" band. This was a brass

band and a fife and drum corps which alternated in the musico

In 1841, Dodsworth developed the come� band using the "oV'er-the-·

shoulder" instruments. In the same year, the army band was increased to

12 men plus a chie f musician. Between 1850 and 1860, there are reports·

of the New York City Band playing for co llege commencements.

One of the first references to a balanced brass and woodwind band

is found in 1853, when Kroll and Reitsch balanced the Seventh Regimental

Band. It is further recorded that on March 4, 1857, the Salem Band

marched in Buchanan 's inaugural parade .- In 1859, the Boston Brass Band

became Gilmore' s Band.

The Civil War army bands had 15 instruments consisting of: two Eb

bugles, two French horns, one post horn, one trombone, one F bass trom­

bone, one ophecleide (brass) , one serpent (still in some use), ·one pair

of cymbals, one snare drum and one bass drum. In 1865; at the end of

the Civil War, in Washington, D. c., a grand review was held and consis­

ted of continuous music by brigade bandso

In 1889, the instrumentation of the army bands.again changed to: b b b Db piccolo, concert , E clarinet, B clarinet, E cornet, Eb alto,

Bb trumpet , Bb baritone, Eb bas�, snare drum, bass drum and cymbals . 6

This instrumentat ion is very similar to that used today . Only minor changes have been made since this timeo

In the second inaugural parade for Gr,over Cleveland, lti9 3, there were 71 bands in the parade . In August, 189 5, in Boston, at a Knight 's

Templar parade , 156 bands were includedo This parade took 6 hours and 7 minutes to pass the revie.wing stand. The BBb bass and were introduced to bands in 1900.

In 1907, the first high school band made its appearance at Connors- ville, Indiana. Before this, only vocal music had been taught in the schoolso Since this time, instrumental music has been on the rise. In

19 12, A. R. McAllister formed the Joliet, Illinois High School Band. In

1924, the first band contests were held in Chicago with.the first official contest held in Fostoria, Oh io in 1926, under the auspices of the Music

Educators National Confer7nce (MENC) . Since then, with the use of festivals, clinics, contests and other educational programs, the instru- mental music program, and especially the marching band program, has·come into its own.

In many areas there is still room for much improvement . One has but to look at any community during football season to see the place of the marching band in both the school and the community.

Additional References

Bourquin, M. J. "Fostoria High School Band': Musician, XXVII (April, 19 22) , 3.

. Eastman , A. J. "Renassiance of the Band; Interview with E. F • Go ldman, " Etude, LV II (April, 19 39), 223-4.

Fleck, H. c. "America 1 s Oldest Civic Band, Allentown, Pa. ," Etude, LV II, (Apr il, 1939) , 288. 7

Gordon, E. B. '"Birth of the School Band and ,"· Mus ic Educators Journal, XLIII (November, 19 56) , 34-6.

Kjos, Ne il. "The Marching Band," �Yearbook, 19 31, 184.

McAllister , A. R. ''Marching Band," Etude, I.XVII (June, 19 29 ) , 433.

Olsen, W. R. "Silver Cornet Band, " Etude, LXII (May, 1944) , 27 1-2.

''Military Bands of the Nation.,�" Technical World, XVII (July, 19 12) , 535-8 .

Topper, T. "Follow the Band," Mus ician, XXII (May, 19 17) , 338 .

Wiggin, Paul. "The Marching Barid," �Yearbook, 19 33, 143.

Zealley, A. E. "Evolution of the Military Band, 11 Etude, LXV (June, 1941) , 319 .

Wilson, Harry R. Mus ic in the High School. New York: _Silver Burdett, 1941 . CHAPTER II

PURPOSE AND OBJECTIVES OF THE MARCHING BAND

Having looked briefly into the background of the marching band, the question of the educational and avocational objectives of the marching band needs to be examined. To obtain the informat ion necessary to answer this question, it is important first to know the objectives

of educat ion in general and music educat ion in particular •.

Formal educat ion is a special institut ion with a primary function designed to inculcate the skilled use of tools, attitudes and bodies of knowledge wh ich society at large (other inst itutions and teachers in 6 particular) has deemed necessary to society and to the individual.

Educat ion provides a medium for developing the individual for life-ad- justment , to further self-realization, to encourage and foster human relat ionships, to provide for economic efficiency, to develop a sense of civic responsibility and in our modern age to encourage a desire for world citizenship.

The process of living and process of adjust ing to the many facets of modern civilization are continuous. Th e separation of living and education would be a great detriment to either. Learning to live with peop le, to work and play with them, is a bas ic requirement for a happy and successful adjustment to the social and economic problems of every- day livingo

6 neveloped theory in an Educat ional Sociology class at Eastern Illinois University:inthe sllllllller of 19 59 under the direction of Dr. Raymond F. McKenna. 9

Learning can be provided in such a way that the process itself

is pleasant , but whether pleasant or unpleasant , the habits and attitudes

developed become a part of the personality of the learner. Musical

activit ies provide channels through which pleasant learning and �ts

development of the social relationships can take place. Personal disci-

pline also has to be learned as an essential part of personal develop-

ment and as an essential part of life adj ustment . "Musical activities

are a means of present ing both the problems and the solutions of these 7 problems in experience.11 ·

One of the bas ic funct ions of the school and educat ion is to

provide a medium for children to develop the art of self-expression.

Mus ic provides a medium for developing many social values important to

every individual. The performing group, such as a marching band, provides

one of the best mediums for developing these values, however, the medium

is not limited to the performing group.

Music is a natural act ivity of all persons and is present through-

out their lives. All people should recognize this presence of music

and all educators must recognize and understand this fact . Since educa-

tion cannot be separated from living, music must therefore be a part of

educat ion.

"Music is the key to understanding people everywhere, to learning

that we are much alike . 118 This, also, is a social value, for it is the

7 Harl R. Douglas , et . al, Education for Life Adjustment (New York: The Ronald Press, 19 50) , p. 181.

8 Frances M. Andrews and Clara E. Cockerille, Your Schoo l Music Program (Englewood Cliffs, New Jersey: Prent ice-Hall, Inc., 19 58) , p. 43. 10 product of a people or of many people's musical heritage. Mus ic belongs to all the people. Although most often centers around the talented child, it is still an activity for all people. The

ideal situat ion is to provide mus ic for all children. The marching band is only a part of the_ total picture, but an important part.

Music is a real subject . It is a subject which prov ides for its own discipline, a subject through ·which children obtain knowledge, skill and appreciation. In the light of the basic function of educat ion as stated above, music and youth are compatible. Often the teacher's in- ab ility or unwillingness to interest the rank and file of the students

is responsible for the lack of interest students show for music. Classes should be arranged to meet the needs , interests and ab ilit ies of all.

Music should: (1) provide for an aesthetic experience and develop discrimination with good taste; (2) provide the medium for development of desired social qualities such as teamwork, cooperation, self-discipline, respect for one another, and the need for belonging to a group; (3) stimulate and nourish the spirit; (4) provide an emotional release; (5) offer one of the best roads to the understanding of other peoples.

Marching band does. provide for these things. Mus ic in general and the performing group , such as the marching band in particular, is of value to students in that it also provides for demonstration of indivi-

dual respons ib ility to the group . Marching band provides the opportunity to serve the school and the community. It provides the opportunity to

develop student leadership� With proper direction, it provides the

students with the opportunity to acquire understanding, skill and

. . technique in the performance of mus ic for the present and for future 11 enjoyment .

Marching band is an outgrowth of music educat ion. Marching band is an organization dedicated to providing good music while marching in parades and on other occasions where mus ic is performed out-of-doors.

The marching band serves the school and community as it serves athletics and civic parades. It fosters a sense of pride in the school and the community and attracts the interest, att ention and affection of many cit izens. It brings forth acclaim for the school and the school commun- ity and helps to unite the community in support of al l music.

The advertising power for music education lies in the marching band. It helps to provide the incentive for new students to take up the study of musical instruments.

The statements above will apply to practically all musical per- forming groups, however, the marching band has one distinction. It is a group basically designed for performance out-of-doors. As such , the marching band training program provides for physical exercise and develop- ment of muscular coordination.

The fo llowing two statements sum up very we ll the importance of the marching band: ''Training the marching band is an integral part of 9 the music educat ion program." "The marching band is important enough to take time, toil, and equipment for smooth playing0" lO

9 Mark H. Hindsley, "Some Aspects of the Marching Band," MENC Yearbook, 1934, 188.

10 Dvorak, ££• cit., p. ix. 12

Additional References

Andre� and Leeder. Guiding Junior High School Students in Musical Experiences . I

Cecil, Herbert M. "Are We Training or Educating Mus icians?" Mus ic Journal, XVI (January , 19 58) , 46 .

Cecil, Herbert M. 'Fundamental Principals of the Organization, Management � Teach ing of the School Band . Rochester , New York: Eastman School of Music, 1953.

Dvorak, Raymond F. Band£!!. Parade. New York : Carl Fischer, 19 36 .

Dykema and Gehrkens . High School Music. Boston, Mass .: Birchard, 1941 (Section P. 147ff)

''Marching Band, " Etude , LV (July , 19 37) , 441.

Prize Winning Essays , "Value of our School Band and Orchestra, " Etude, L (November , 19 32), 817.

Feirstein, I. "Band as an Educational Force in the High School Curricu­ lum," High Points, XX (November, 19 38) , 24-8.

Goldman, E. F. "Function of the Band, 11 (Edited by R. Heylbut) , Etude , I.XX (November, 19 52) , 9.

Hindsley, Mark H. Band Attention. Chicago , Illinois: Gamble Music Company , 19 32.

Hindsley, Mark H. ''Musical and Educational Values of the March ing Band," Etude, LX (; 1942) , 671.

Hindsley, Mark H. School Band and Orchestra Administration. New York: Boosey and Hawkes, Inc., 1940.

Hjelmervik, Kenneth and Richard C. Berg. Marching Bands . New York: The Ronald Press Company , 19 35.

Hovey, Nilo . Administrat ion of.School Instrumental Music. Rockville Center, New York: Belwin, Inc., 1952.

Jones, E. w. "Discipline Improves Your Marching Band," Etude, LXXIII (September, 19 55), 19 -20.

Leeder and Haynie, Mus ic Education in the High School. Englewood Cliffs , New Jersey: Prentice-Hall, Inc., 19 58.

MENC. Music in Senior High School. Washington, D. C.: MENC , 19 59 . 13

Petersen, D. No ''Music Education and the Marching Band," Music Educators Journal, XLIII (November, 19 56) , 50-2.

Richard, Brother H. "Value of High School Bands ," School Musician, XXVI (June , 19 55) , 17 .

Righter, Charles B. Success in Teaching School and Bands . Minneapolis, Minnesota: Paul A. Schmitt Music Company, 1945. CHAPTER III

THE DESIGN OF THE MARCHING BAND

"The band on parade! •••a picture of uniformed men marching in

perfect rank and file with a rhythmic swing of their bodies to the play­

ing of a good sounding march."11 This statement , wh ich also appeared

in the introduction, is an excellent description of the march ing band,

but , how is this picture achieved? What is the design to develop such

a group as this?

For the marching band, the elements of des ign can best be described

as : (1) instrumentation, (2) interval and spacing, (3) distinctive

movements, (4) show styles, and (5) music.

As the word ins trumentation suggests, the number and type of

instruments used by the marching band is of prime consideration. The

actual instrumentat ion will be determined by the availability of players

and the personal preference of the director, however, there are certain

trends and desired instrumentations being used by those who do not have

the probl�m of player availability to cons ider as a necessary factor.

The present general tendency is toward the predominance of brass instru-

ments. For example, the University of Oh io Marching Band is a completely 12 brass and percussion band. The Iowa State College March ing Band

11 Raymond. F. Dvorak, Band � Parade (New York: Carl Fischer, 19 37)' p. ix.

12rh is information obtained in conversation with Dr. Leo J. Dvorak on June 29 , 1959 . 15 instrumentation uses only clarinets (in the clarion register) , alto, tenor and baritone in the woodwind section, with cornets, trumpets, trombones, baritones and basses (sousaphones) in the brass section, and, of course, the percussion section. 13 The Purdue Marching

Band uses about the same instrumentation with the addition of· the piccolos.14 The elimination of the double reeds , flutes, and French horns seems to be a general trend .

The instrumentat ion of the marching band not only includes the selection of the instruments to be used, but also the alignment of these instruments within the group. The basic consideration for instru- ment alignment is to achieve the best sound by grouping the instruments into melody ins truments, counter-melody instruments and rhythm instru­ 15 ments . Both rank and file balance must also be considered. There are as many styles or forms of alignment as there are directors of marching bands; however, in studying these alignments, it is possible to·group these into general catagories. The most common.alignment used can be 6 referred to as the "traditional �tyle.111

This "traditional s!'yle" places the trombones in the front rank· of the band, followed by baritones and cornets. Then drums are placed in the middle of the band behind wh ich we find the basses, fo llowed by the woodwinds (see Figure 1) . This gives a solid band sound,- but

l3This informat ion obtained in conversation with Frank Piersol on June 30, 1959 . 14r:his .info�at ion obtained from Al G. Wright in conversation at a clinic during the Southern Music Educators Convention in Roanoke, Virginia in Apr il of 1959 . 15 ak · · n vor , 2£.• �., p. 9 • 16 Al G. Wright , The Show Band (Evanston, Illinois : The Instrumenta­ list Company , 19 57) , p-:--1.- -- 16 relegates the woodwind players to a secondary position in the rear of the band where they can not hear or be heard very we ll.

x Drum Major

7 6 5 4 3 2 1 (files)

1 x x x x x x x Trombones

2 x x x x x x x Baritones - Cornets

3 x x x x x x x Cornets - Trumpets

4 x x x x x x x Drums

5 x x x x x x x Basses - ·Horns

6 x x x x x x x Saxophones - Clarinets

7 x x x x x x x Clar inets - Flutes

FIGURE 1

TRADITIONAL STYLE :MARCHING FORMATION

17 The "reverse traditional11 style or, as it is somet imes called, the "symphonic" marching order, is an approximate reverse of the

"traditional style" (see Figure 2) . Th is gives a fuller sound but tends to reduce the volume.

The "revers ib le" or doub le fronted band is yet another alignment being used today (see Figure 3) . This permits the band to execute a to-the-rear march and st ill have the same balance. This system will _work only with larger organizations .

17Ibid. , p. 2. 17

x Drum Major

6 5 4 3 2 1 (file)

1 x x x x x x Clarinets

2 x x x x x x Clarinets - Flutes

3 x x x x x x Saxophones

4 x x x x x x Drums

5 x x x x x x Cornets - Trumpets

6 x. x x x x x Cornets

7 x x x x x x Baritones - Horns

8 x x x x x x Trombones - Basses

FIGURE 2

SYMPHONIC STYLE MARCHING FORMATION

x Drl.IIIl Ma jor

5 4 3 2 1 (file)

1 x x x x x Baritones - Trombones

2 x x x x x Cornets - Trumpets

3 x x x x x Clarinets

4 x x x x x Drums - Saxophones

5 x x x x x Basses - Horns:.:;

6 x x x x x Drums - Saxophones

7 x x x x x Clarinets

8 x x x x x ·cornets - Trumpets

9 x x x x x Baritones - Trombones

FIGURE B 18

A fourth system is to align the instruments by file (see Figure

4) . This is good for certain formation work , but does not lend itself to a good band sound. It should be noted that many directors place basses in outside files only, to allow the rest of the band to see the drmn major's signals . This practice could apply to any of the al ignments used. The actual alignment to be used will depend on the particular situation and the instrumentation available to the director.

x

6 5 4 3 2 1 col sax trb drm cor cor els flu bar bas hns trp

1 x x x x x x

2 x x x x x x

3 x x x x x x

4 x x x x x x

5 x x x x x x

6 x x x x ·x x

7 x x x x x x

8 x x x x x x

FIGURE 4

COLUMN STYLE MARCHING FORMATION 19

Interval and spacing are as important to the design of the marching band as any other element.· The most common, or "block style", is the preferred system for street parades and by many for all uses. The block varies from long narrow bands (Figure 3) to wider and square format ions

(Figure 2) . A few even have used a triangular formation (Figure 5) with good·results. On a football field, the wider the ranks , the more effec­ tive the show. Th is practice is sometimes extended to the use of a single line formation.

x Drum Major

x x Trombones

x x x Trombones - Baritones

x x x x Horns

x x x x x Trumpets - Cornets

x x x x x x Drums

x x x x x x x Saxophones - Basses

x x x x x x x x Clarinets

FIGURE 5

TRIANGULAR STYLE MARCHING FORMATION 20

In setting up intervals between players, the spacing of ranks and

files is usually the same, A common practice is to use a two and one-

half yard interval. This is convenient for use on the football field

with its five yard markers.

These lines are maintained by the use of line guides as a point of

reference when on the street and is best achieved on a football field by

using a system of eight equal steps to every five yards on the field.

Another important element of design is the distinctive step or movement of the marching band. The "normal" marching step (military step)

is performed at a cadence ranging from 120 to 136 steps per minute and

favoring about 128, The stride is 24 to 30 inches long. The foot strikes the ground heel first. This is desirable especially for long parades,

l8 but demands the utmost in precision, The "glide-step" is a special

effect used by some bands for slow marching numbers, but should not be

used for a great length of time due to difficulty of execution and lack

of flash. In this step, the knee does not lift and the foot remains

parallel to the ground, giving the effect of skating, The "knee-high" step is becoming very popular. It works well with fast cadences and short strides, and gives a very flashy appearance. The toe is pointed and strikes the ground first and is raised till the knee and thigh are horizontal. A uniform lift is difficult to obtain, especially with

drummers.

The most important thing to consider in all movements is uniformity.

The playing an9 carrying positions of the instruments should also be

18 Ibid,, p. 3, uniform to add to the appearance of the band. The uniforms of the band

should be identical in all parts and worn in the same manner by every member of the band. Special arm movements can be used to develop dis­ tinctive styles as well.

�p.der the subject of design , some consideration should be given to

the half-time football shows. The school marching band usually is seen by more persons more frequently in this capacity than any other . A highly recommended technique in building a band show is to design the show on a set and distinctive formula. The director who sets his own

special formula wi ll give his band a style to identify it from others .

There are many formulas , however, one example will be presented here to

illustrate the possibilities .

1. Entrance

2. Fanfare

3. Pass in review

4. Salute to visiting school

5. Specialty of the week

6. Finale

7. Exit

The entrance and exit should be quick and precise, designed to

catch the attention of the audience from the first moment to the last.

The finale should be the climax and may be either a standard set-up

using the school song and letter or the actual climax number of the

specialty.

The show itself (specialty) may be one of several types . The

"maneuver" type show based on precision dri ll or the dance step s is

becoming more prominent . The "theme" show in which music, action and :2:2 format ions are combined with a script using the public address system to tell a story is still being used extensively. "Pageantry" is being used on many occas ions . This uses groups and blocks of people for

"balanced pattern" effects rather than precise formations . Pageantry also uses propert ies, costumes, and outs ide group s to build the show.

The selection and style of the music used are also cons idered an element of design. The first considerat ion is to select music that is easy enough for the group to perform well while marching. Simplicity

is the key word here, provided that mu sical quality is present . After all, the good musical performance is the primary purpose of the marching band. Variety in style, key, tempo and meter should be cons idered in - this selection. Much of the time music may have to be specially arranged to suit the situat ion. 19 The style of the music is also important .

Poorly styled music and poorly selected music can wre.ck a good show.

The actual process of designing the show must necessarily be done by each director to suit his particular group . At the end of this chap- ter are listed references and guides wh ich will help in doing this task.

In addition to these, there are many published shows wh ich may be used with some alteration to meet the demands of the particular group .

Additional References

{The references of this chapter are explained due to the wide diversity of material present ed. )

Bennett, George T. Field Routines for March ing Band Contests and Pub lic Exhibitions . Chicago, Illinois : Gamb le Mus ic Company , 19 38.

Contains five show ideas, four rout ines for football field use

l9Not e: In arranging mus ic copyright laws must; be observed. Usually the copyright owner will give permission to arrange tunes· if contacted in advance and proper credit is given when broadcasting. and one show for baseball field use. Vol. VI of the Marching Maneuver Series.

Bennett, George T. Grooming� Marching Band for High Scnool Contests. Chicago, Illinois: Gamb le Music Company , 19 37 .

A necessary book for directors who enter marching contests and festivals. Vol. III of the Marching Maneuver Series.

Bennett, George T. Requ�red and Special Maneuvers for High School Marching Band Contests. Ch icago , Illinois: Gamble Mus ic Company , 19 37.

Vol. IV in the Marching Maneuver Series

Bennett, George T. Street Routine s for Marching Band Contests and Public Exhibit ions . Chicago, Illinois: Gamb le Music Company , 19 38.

Contains five easily adaptable routines. Vol. V of the March ing Maneuver Series.

Bennett, George T. The "IN" and "OUT" of Twenty-six Letter Format ions . Chicago, Illinois: Gamble Mus ic Company, 1939 .

Contains good pointers for the director. Vol. IX of the Marching Maneuver Series .

Bennett and Wh itfield. New and Novel Format ions for Marching Bands and Drum Corps .. Chicago , Illinois: Gamble Mus ic Company , 1938.

Precision marching routines, Vol. VII in the Marching Maneuver Series.

Bergen, Hal . Band Pageantry. New York: Remick, 1948.

Five half-time shows , plus a sect ion on "Building the Football Band" and other sect ions on organizat ion and preparat ion of the marching band. Conductor , $1.50, parts $.40.

Brodt Music Comp any . Mus ic for the Marching Band. Charlotte, North Carolina: Brodt Publis�ing:i.Company , Current.

A very complete list of material� for the marching band.

Buford, Cary Olive. We 're Loyal to You, Illinois. Danville, Illinois: Interstate Printers, 19 52 (Part 13, Chapters 31,32, 33) .

Story on football pageantry at the University of Illinois . Illustrated.

Cantrick, R. B. ''Marching Band as an Art ," Mus ic Educators Journal, XLI (September, 19 54) , 35-8. 2A

Cavander, G. "New Look for the Marching Band; Dance Steps Developed by the University of Michigan Band, " Etude , LXXIII (August, 1955), 19.

Cecil, Herbert M. Fundamental Principals of the Organization , Management, an d Teaching of the School Band. Rochester, New York: Eastman School of Mus ic, 1953.

Dale, Carroll R. Fundamentals of Drill. Chicago , Illinois: Gamb le Mus ic Company , 1942.

Ideas for basic drill maneuvers . Illustrated.

DeVita, Ray. Standard Dance Mus ic Guide. Brooklyn, New York: 150 Knicker­ bocker Avenue, 19�

A very complete listing of thousands of popular tunes, show tunes, and old standards. Title only, plus starting note and key. Annual supp lements keep it up to date. ·An invaluable aid to the director looking for show ideas .

Hackney and McCord. Novel Drills and Formations for Basketball Games . Chicago , Illinois: Gamble Music Company , 1939•

Very good basketball floor show ideas. ·Vol. VIII in the March ing Maneuver Series .

Hackney and Emerson. Parade Stunts. Ch icago , Illinois: Gamble Music Company, 1941.

Contains some good suggestions to he lp the director on parade appearances. Vol. X in the March ing Maneuver Series.

Haug, Leonard H. Gridiron Work Sheet. Minneapolis, Minnesota: Paul A. Schmitt, 1954.

A pad of SO work sheets ( letter size) for laying out format ions and movements from 8 steps to 5 yards . Covers the fie ld between the 25 yard lines.

Hindsley, Mark H. Band Attention. Ch icago , Illinois: Gamble Music Company , 1932.

Hindsley, Mark H. "Some Aspects of the Marching Band, " MENC Yearbook, 1934,. 188.

Hindsley, Mark H. Twenty-Four Formations, Designs , and Entrances for the March ing Band. Ch icago, Illinois : Gamble Mus ic Company , 1935.

Vol. I in the Marching Maneuver Series . Johnston, Lawrence. Parade Techniques . Rockville Center , Long Island, New York: Belwin Inc. , 1944.

A method book for parading a coordinated marching band, twirling corps, and color guard, wi th illustrations.and charts.

Kj os, Neil. "The Marching Band, " MENC Yearbook, 19 31, 184.

Lang , Phillip . Scoring for Band� New York: Mills Music Company, 1950.

Lee, Jack. Modern Marching Band Techniques. Winona, Minnesota: Hal Leonard, 19 55.

A we ll organized and quite complete book on the marching band. Many ideas and good illustrations.

Leonard, Hal. Band Shows � be Easy. Winona, Minnesota: Hal Leonard, 1948.

Contain s entrances, show ideas , music and drum beats an d show formula.

Long, A. H. Marching to the Yard Lines. Ponca City, Oklahoma: Luther Music Company, 1952.

Exp lains procedures used when marching to the yardlines, plus many field formation suggestions . Illustrated.

Marcoullier. Marching for Marching Band. Dubuque, Iowa: B�own, 19 58.

Mills and Wettlaufer. Show Band Perspective Plotting Chart and Handbook. New York: Mills Music Company , 1946 .

Oldfield, Willis P. Twenty and Seven Drill Band Maneuvers . New York: Mi lls Music Company.

Opsahl, Julian E. Steps and Maneuvers for the Marching Band. Evanston, Illinois: Instrumentalist, 1954.

Covers fundamentals, steps and movements for developing show bands . Illustrated in detail.

Righter, Charles B. Gridiron Pageantry. New York: Carl Fischer, 1941.

Rohner, Traugott. Football Maneuver Chart . ·Evanston, Illinois: Instru­ mentalist, 1947 .

Charts about 10" by 3111, · laid out graph style.

Savage an d Paint er . Six Football Programs . Chicago , Illinois : Gamble Music Company , 1943. 26

Shilling, Richard. Colored-Light Band Format ions . Chicago , Illinois: Gamb le Music Company , 1949 .

Shilling, Richard. Marching Band Maneuvers. Evanston, Illinois : Instrumentalist, 1952.

Contains many well illustrated show ideas, plus specialties using sound effects, co lored flames and microphone .

Shilling, Richard. New Format ions andMa terials for the Marching �· Evanston, Illinois: Instrumentalist, 1948.

Many show ideas from directors throughout the country.

Smith and Capel. Practical Stunts and Evolutions . Chicago , Illinois: Gamble Music Company, 19 35.

Good ideas for both street and field use. Vol. II in the Marching Maneuver Series.

Tatgenhorst and Wolf. Precision Marching With the Band. New York: Bourne, 19 54.

Includes sections on the reason for precision marching, organi­ zat ion of the marching band, as well as six precision drills shows with entrances and exits.

Wettlaufer, Maynard J. Building�� Show. Rockville Centre, New York: Belwin, 1948.

A practical treatment of the entire marching band area with

sect ions on publicity, uniforms , transportation and other details •.

Wilcoxon, Charles. The Drumm.er£!!. Parade. Wilcoxon 's Drum Shop , 1947.

Contains 50 street beat s for drum sections .

I Yoder, Paul. Arranging Method for School Bands. · New York: Big Three.

A complete text to help the director who must or chooses to make his own arrangements.

The Instrumentalist Magazine . Evanston, Illinois.

Many art icles have appeared in this magazine which are of great help and assistance to the director on many problems of the marching band. CHAPTER IV

ADMINISTRATION OF THE MARCHING BAND

Effective supervis ion and administration by the music specialist

is a necessity if music is to become a part of the lives of all the

ch ildren.. Administration of the marching band is usually· a part of the

over-all administrative work of the band director. There are eight

bas ic categories into which marching band administration can be divided.

They are : (1) promotional activities, (2) activities concerning personne l,

(3) curriculum, (4) scheduling, (5) finance, (6) equipment , (7) physical

conditions, and (8) records .

The first of these, promotional �ctivit ies, might well be called

public relations . There are five major components in this field pertain­

ing to a performing organizat ion such as a marching band. Public rela­

tions with the pupils that make up the organization is the first concern

and responsibility of any good band directoro The health and welfare of

the students must always be protected. The second category is the rela­

tion with parents. Parents are very important members of the public

· relat ions group . Parents are also the biggest fact;or in minimumizing

conflict difficulties .

'.fhe third category is the relations with the school. The march ing . band is a school organizat iono It does not just represent the music

department, but the·ent ire school. All teachers on the faculty are also

concerned with this public relat ions work.

Lastly, public relations with the conununity are considered. After all, the schools are provided by the conununity, for the community and to satis fy the needs of the community . A good mus ic director will maintain all such contacts on a sound intellectual bas is in order to promote the organization, the pupils, the parents, the teachers, the school and the community. There are many methods and means for doing this big job. The situation itself will dictate the course to followo

The public sees the school music program through its performing organizations. Possibly more than any other department in the school, the music department is the window to the school •. More than any other teacher, the music teacher meets the citizens of the community. Of all performances made by a school group , a marching performance is seen by more of the citizens of the.conununity. How the students perform, how they look, how they sound, and how they behave represent to many peop le how the school looks, how the school is run , and. the discipline of the school.

A few activities that are of importance are conferences with students, parent s' meetings, faculty meetings, administrat ive staff conferences and newspaper publicat ions. Communicat ion with all branches of the organization must be established and maintained on an effective and efficient level. Proper selection of performances is also to be given strong consideration. Limits must be placed on the demands made upon the march ing band.

All of these factors must be cons idered if satisfactory relat ions and promotional activities are to be carried ono

The second phase of administration concerns personnel. A good marching band, like any other organization wh ich performs, must have a good staff of officers and working personnel selected from the group either by vote or by appointment . "Producing band shows can be a pleasure or a drudgery, depending on how diligent the director has been about his advance planning. This involves the proper selection and training of students to share their portions of the many duties and responsibilities that go into the production of the band half-time show. 1120

Below is a chart (Figure 6) showing a suggested organization, many of the ideas coming from art icles in the Music Educators Journal and The

Instrumentalist.

I I I Band Captain Co-Captain Secretary Drum Major Drill Sergeant (•l t•d) or (el cted) (Selected (appointed). Lieutenant by tryout) . r ce 1eyed) l I Uniform clerk Color Guard Treasurer Charting Sec. Transportation Head Twirler Librarian (asst. D.M.) clerk Property Mgr . Asst. Lib . Staff Art ist Section Leaders Typist Announcer Student Director (may be Capt.)

FIGURE 8

ORGANIZATION CHART

The dut ies performed by these pup ils in most cases are self exp lana- tory. A few conunents about their duties may be of value. It is important

20 carroll Copeland, "Utilizing Students Help in the Administration of the Marching Band," Instrumentalist, XIII (June, 1959) , 46-9 . 3'.0 that each student understand his dut ies and responsibilities and that the line of command be clearly established.

The captain should assist the band director, take charge of the band in the director's ab sence, appoint any necessary committees to func­ tion within the band, and, as well, supervise the work of those persons working directly under him. The co-captain should take charge of the band in the ab sence of both the band director and the captain, take charge of the band set-up for all rehearsals and supervise those persons directly under him. The secretary should take daily attendance at rehearsals and performances and make all reports to the band office or band director. The secretary should also be responsible for proper functioning of the demerit system (if any)o The drum major will assume command of the band when marching. The dr ill sergeant will assist the director and drWII; major in working out drills and movement s. Section leaders will be responsib le for the presence of their sect ions , with proper equipment, and for the conduct of their section. The student dir­ ector (if possible) should be the band captain, and direct the band in the absence of the director o.r assist in the direction of the music as· directed by the liand director. The head twirler will take charge of all drum majorettes or twirlers, the formation of all twirling routines and take charge of twirling practices. Librarians will catalog, mark , stamp and keep in repair all band music, keep records of all music in folios and add and remove music from folios as necessary .

This staff must be well organized with each member being able to do his job. A proper cooperat ive attitude must be established and main­ . tained with the understanding that the organization and work of the staff is for the good of the entire organization0 Th e third category, curriculum, wi ll be discussed here only briefly. In Chapter II, under "Purpose", the place of music and the marching band in the curriculum has been established. The administrative work involved is that o� establishing the marching band in the curriculum and maintaining its position in the curriculum. Over-emphasis on such a program should be avoided as it could lead to other problems for both the director and the administrator .

The scheduling of marching band practice is one phase of administra­ tion that takes very careful planning and must be done with each student .

The band rehearsal should be so placed in the schedule of the school that it provides its benefits to the most of the students. It should allow time for all students desiring to take the course to do so, and not conflict with other subjects in the schedule . It is realized that , especially in a large system, this quite often becomes a problem that can only be solved in cooperation with the school administrators and the other teachers . A thor9ugh understanding of the band program by all teachers and administrators will do much to help . A thorough understanding of other teachers and school administrat ion, by the band director, is also recommended. It is also nece�sary for the band director, as well as the guidance personnel, to assist the student or prospective student in scheduling their individual programs to include the band.

One of the biggest tasks. of administrat ion is the problem of finan­ cing the program, not only of marching band , but �he entire music progr;;un .

It wo uld seem logical to assume that public funds set up by the school board or school administrat ion should adequately cover the purchase of instruments, music, uniforms , and other equipment . Freq.uently, however, 32 this is not the c�se, so the band director must find other sources to supplement his program. There are two likely sources through which funds may be obtained: through the efforts of the performing group and, or

with, the help of parents' club activ ities.•

As to the ad.mini.stration of these funds ,. it must be remembered that all funds , regardless of their source, are being used for public purposes and must be considered as pub l.ic funds . Therefore , all purchases become the property of the school system and should be approved by pro�er authority, .usually a supervisor or administrator, or someone delegated by them to do so. In some cases the director may be the designated authority. In such cases, an accurate account of all funds must be maintained.

Acquisition and control of equipment is still another phase of the over-all administrat ion . The first step in a new school is to acquire the necessary equipment: music, stands , and instruments. An older school may have these things already. Some system of account ing, issuing, con­ trol and replacement of procurement is µecessary . A current list of needs

should always be maintained. .After establishing a priority for procure­ ment and obiaining a budget, pr acquiring the necessary funds, the director must proceed to obtain what he can from h�s priority list . Then a letter

to all local or nearby music dealers should be sent out requesting bids on the desired equipment . In requesting bids , be sure to state makes or

models acceptable and accessories desired so that no misunderstanding is

created. Failure to . do so may cause a low bid on inferior quality mer­

chandise to be submitted and should someone else make the decis ions from

the bids , they may not realize the quality differences involved . Upon acceptance of a bid, an order should be placed with the approval of the necessary persons .

Ano ther factor in equipment administrat ion involves advising students and their parents in the purchase of instruments in cases in which the school does not furnish them. Few people know much about mus ical instruments as to the accepted quality or how to properly acquire them. In most cases, dealers are honest and helpful, but advice from the b�nd director is a big help not only to the parent but to show parents that you are interested in them. Be carefui not to work for any part icu­ lar dealer or brand unless you are sure that nothing else can be done .

Physical facilit ies for the band must be cons idered. A place for rehearsal inside and out , storage space for equipment and uniforms , all must be cons idered. Although most persons cons ider the marching band to be a performing group wh ich rehearses outside , inclement weather forces the group ins ide and the need to rehearse the mus ic often requires ins ide rehearsal since the music is so important to the pro ficiency of the marching band. If these facilit ies . are available, it is just a matter of proper use of them. If not available, then proper planning should be undertaken to provide for them. This must, of course, be done with the

full cooperat ion and understanding of the school adm inistration. For details of such planning, consult some of the references at the end of this chapter.

Finally,. but very important , is the matter of records to be maintained for proper administrat ion. Each of the fol lowing illustrations

is only a suggested form. Many other types of forms are in use as well as parts or combinat ions of these forms may be used. 34

The personnel card is used to keep an accurate and systematic record of the students enrolled in band (see Figure 7) .

INSTRUMENTAL MUSIC DEPARTMENT

Name Age

Address Phone

Father' s Name Front Father' s Occupat ion

Mother' s Name

Instrument

Name Grade

(Home) Room Number

Class Schedule Period Course Room Teacher l 2 Back 3 4 5 6

FIGURE 7

PERSONNEL CARD FORM 35

The instrumental music questionnaire is used as an aid to recruit­ ing new members for the band (Figure 8) .

INSTRUMENTAL MUSIC QUESTIONNAIRE

Name .Grade Room Number

Address Phone

Parents Name

Do you play a musical instrument? If so, what kind?

How long have you played?

If not , would you like to play? What instrument?

Do you have an instrument at home that you could use?

FIGURE 8

INSTRUMENTAL MUSIC CARD FORM

The instrumentation chart is used to maintain an accurate listing of the students and their instruments by grade levels. This is an

invaluable aid for planning future work (Figure 9) .•

INSTRUMENTAT ION CHART

Instrument/Grade 5 6 7 8 9 10 11 12

Flute

Oboe

Clarinet

Alto Clarinet

Bass Clarinet

FIGURE 9

INSTRUMENTATION CHART FORM ' �3'6

The mus ic library card is used to index and catalog the music in the band' s library (see Figure 10) .

MUSIC LIBRARY CARD

Library Number ---- Data

Title--�-���--��-----�

Composer�------�----�---

Arratiger�------

Character------�

Publisher · Cat . No . �----��--�----�---

FIGURE 10

MUSIC LIBRARY CARD FORM

The student record card is used to keep a. running record of each student , covering attendance, merits and demerits, performances, etc. (see

Figure 11). 3f/

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Total Private lessons 160 ots. for 16 Daily practice 5 pts/hr/week Rehearsals 5 pts. each

Service

Scholarship 1st 2nd 3r d A-100.B-75.c-so. Six Wks "."· ·Six Wks Six Wks

Perfect Attendance No Tardies Solo-Ensemble 40 Pts Solo-Ensemble Contests District State Nat ional

Credits from preceding Sem

Grand Total to Date -----

FIGURE 11 121 STUDENT RECORD CARD FORM

21 The reverse side of the card is the same; thus each card provides space for reco�ding award point s for one student for a full year. 38

The instrument repair card is used to keep a running record of each instrument .with its repairs , accessories and purchase informat ion

(see Figure 12) .

INSTRUMENT REPAIR CARD

INSTRUMENT INVENTORY NO .

MAKE SERIAL NO.

. FINISH CASE LYRE

MOUTHPIECE KEY CLEANINGROD

OTHER ACCESSORIES

DATE PURCHASED PURCHASE PRICE

REPAIRS:

Date Item Cost

FIGURE 12

INSTRUMENT REPAIR CARD FORM

The instrument inventory card is used to keep a record of all instrument s and their location or to whom �ssued (Figure 13) .

INSTRUMENl' INVENTORY SHEET Instrument Inventory No. Ser. No. Locat ion Date

FIGURE 13

INSTRUMENl' INVENTORY SHEET FORM .39

The instrument checkout card is used to issue school instruments on a contract bas is (Figure 14) .

INSTRUMENT CHECKOur CARD NAME----��---���-�INVENTORY NO ·�-��- RECEIVED FROM SCHOOL ONE

------� ------� ______MAKE SER.NO. VALUE______

FINISH------ACCESSORIES------�

CONDITION------� I hereby agree to hold myself personally responsible for loss of, or any damage to this instrument or its accessories while in my care. I agree that no person other than myself will be allowed to use the instrument , and that I will return it to the school when requested by the director. I will not use the instrument for any professional purpose. Approved by:

FIGURE 14

INSTRUMENT . CHECKOUT CARD FORM

The music checkout card is used to issue school music on a contract basis, (Figure 15) .

MUSIC CHECK.Our CARD

BAND A--- B------C---- INSTRUMENT�-�------��-�-�

____ $' ______MARCH FOLIO NUMBER (VALUE ) AND SET OF _

PARTS (VALUE $ ) •

I acknowledge receipt of the above specified band property. I agree to be responsible for the return of this equipment in good condition. In case of damage or loss, I agree to pay for some at rate specified.

Signed______

FIGURE 15

MUSIC CHECKOUT CARD FORM 40

The unifonn issue card is used when checking out uniforms to the individual band members (Figure 16) .

UNIFORM ISSUE CARD

COAT NUMBER�___ _TROUSERS NUMBER�____ HAT NUMBER·-�--�-

SHOULDER PAT CH.______OFFICERS STRIPES ______

TOTAL VALUE $______

I acknowledge receipt of the . above specified band property. I agree to be responsible for the return of th is equipment in good condition. In case of damage or loss, I agree to pay for same at rate specified.

DATE�------SIGNED______

FIGURE 16

UNIFORM ISSUE CARD FORM

The unifonn inventory sheet is used to keep a running recor.d of location of all uniforms (Figure 17) .

UNIFORM INVENTORY SHEET

NUMBER COATS TROUSERS HATS BELTS GLOVES TIES 1

FIGURE 17

UNIFORM INVENTORY SHEET FORM Additional References

Andrews and Cockerille. Your School Mus ic Program. Englewood Cliffs, New Jersey: Prentice•Hall,Inc. , 19 58.

Andrews and Leeder. Guiding Junior � School Students in Mus ical Experiences . Englewood Cliffs, New Jersey: Prentice-Hall, Inc. ,1957.

Cecil, Herbert M. Fundamental Principals of the Organizat ion, Management and Teaching of the School Band. Rochester , New York: Eastman School of Music, 19 53. . Dykema and Gehrkens. � School Mus ic. Boston, Mass .: B irchard, 1941.

Hindsley, Mark H. School Band and Orchestra Administration. New York: Boosey and Hawkes, Inc. , 1940.

Hjelmervik, Kenneth and Richard Oo Berg. Marching Bands. Ne w York: Ronald Press Company, 1953.

Hovey, Nilo. Administration of School Instrumental Mus ic. Rockville Centre, Long Island, New York: 1952.

Lee, Jack. Modern Marching Band Techniques. Winona, Minnesota: Hal Leonard, 1955 .

Leeder and Haynie. Music Education _!!! � !!1&!. School. Englewood Cliffs , New Jersey: Prentice-Hall, Inc. , 1958.

MENC. Music in � Senior High School. Washington, D. C.: MENC, 1959 .

MENC. Business Handbook of Music Education. Mus ic Industry Council.

Righter, Charles B. Success _!:£ Teaching School Orchestras and Bands .

Minneapolis, Minnesota: Paul A •. Schmitt, 1945.

Skakoon, B. "Here is our Band Constitution and It will Work for You Too, 11 School Musician, XX (January, 1949) , 8.

Sur and Others . ''Music Supervision and Administrat ion in the Schools ," �' Chicago, Illinois: MENC, 1949 .

Virginia Department of Education •.''M usic Grades 1-12," Bullet in. Rich­ mond Virginia: Depar.tment of Educat ion. CHAPTER V

TRAINING THE MARCHING BAND

The training of the marching band is a long and continuous process.

As new personnel are coming into the band each year and seniors are

graduating, new training is always going on. At the same time, it is

always necessary· to retrain and refresh the remaining ·members of the band.

The training process itself can be carried out in many different

ways . The fo llowing should be considered the method felt to be best by

the author and used effectively by him; not the only method available or

acceptable.

The training of a marching bandsman can be broken down into two

main categories: individual training and group or team· training. The

individual must know all the bas ic maneuvers and be able to execute them, . and he must be ab le to coordinate these maneuvers with the entire group .

Many drill instructors train the individual well but fail when team work

is called for.· Many bands fail to make a good showing due to faulty

precision due to lack of group coordination.

The best place to start training is with the individual. This can

be done with large groups but on an indiv·idual basis. It is suggested

that the group form a large single circle in such a manner that everyone

can see the instructor in the center. The attitude of the instructor

is very important here. The band members should enjoy the drill in order

�o gain the greatest benefit from it. The instructor should use diplo­

macy, tact, originality, and psychology to develope the proper attitude and cheerful morale. Discipline is exceptionally important here, as

student behavior is very important , especially since the student in uniform is a representative of the school in the eyes of the connnunity

and of other communites. Student behavior also has a definite effect

on the amount of learn� that takes place.

Now the first instruction is ready to begin. The first instruc-

. t ion should be on basic movements, the posit ion of "attention" being

the most important. Students usually need continuous reminding of this position. Insist that it be executed properly at all times that it is

called for. Proceed from here to "parade rest," "at ease," and then the

facing movements. These should be learned individually and then the

students dr illed in small groups and finally together as a whole unit .

"Forward march" and "halt" should be learned next, using proper drum major commands and whistle signals . It is wise to have students call out

numbers with all movements to help develop the precision of movement .

The "counter-march" and colt.nnn movements should then be learned.

Enough maneuvers are now available to start marching as a group.

Every attempt _ should be made during the drill to keep students in straight

lines and in step . Next , the posit ion for �olding the instruments for

play ing and for carrying the instrument when not playing should be taught.

The group should now be drilled while playing and not play ing unt il th is

is learned well. All other movements,_ and formation work should be done

only after the before mentioned mane�ering is almost second nature to

the students. It is important to note that before work is begun on a

football field, students must learn to take eight steps to five yards.

To do this, the student should learn the length of one step at a time , 44 then progress to eight steps. After the student can take eight steps to five yards regularly blindfolded, the whole group should be drilled in single line up and down the field. Now you are ready to proceed to any football field work desired.

In all this work, the director must always keep in mind the main purpose of the band is still to play good music at all times. Without good musical performance, all marching precision and training wi ll go down the drain in the first appearance. In considering the music to be used, the cornet, trumpet, trombone , and baritone parts should be checked for solidity and proper playing. These are the parts that are most important for a marching band. Th�s does not mean that any other part should be overlooked. For details of proper ways to execute maneuvers and all special maneuvers ,the references below will be of great help.

Additional References

Cantri ck, R. B. ''Marching Band as an Art , 11 Music Educators Journal, XLI (September, 1954) , 35-8.

Cecil, Herbert M. Fundamental Principals of � Organization, Management � Teaching of the School �· Rochester, New York: Eastman School of Music, 1953.

Dvorak, Raymond F. Band £.!! Parade. New York: Carl Fischer, 1937.

Elkart Instrument Company. � Fundamentals £! Training .! �Marching Band. Elkart , Indiana: Elkart Band Instrument Company, 1940.

Ferguson, H. "Teaching Marching Band Fundamentals," Etude, LXV (September, 1947) , 499.

Hindsley, Mark H. Band Attention. Chicago , Illinois: Gamble Mus ic -- Company , 1932.

Hjelmervik, Kenneth , and Richard C. Berg. Marching Bands. New York: The Ronald Press Company, 19 53.

Johnston, Lawrence. Parade Techniques. Rockville Centre, Long Island, New York: 1944. Jones, E. W. "Discipline Improves your March ing Band," �' LXXIII, (September, 19 55) , 19-20.

Lee , Jack. Modern Marching Band Techniques. Winona, Minnesota: Hal Leonard, 1955.

Marcouiller, Don R. Marching for Marching Bands . Dubuque, Iowa: Wm. c. Brown Company, 19 58.

Revelli, W. D. "Can Your Marching Band March?" Etude, LXIX (1951) , 9-10.

Revelli, W. D. "More Tnan a Down Beat; Marching Band," Etude, LXXII (September and October, 1954) , 19 .

Righter, Charles B. Gridiron Pageantry. New York: Carl Fischer, 1941.

Tatgenhorst and Wolf. Precision. March ing With the Band. New York: Bourne, 19 54. CHAPTER VI

REGULATIONS AND REQUIREMENTS FOR THE MARCHING BAND

As is necessary in any group , certain rules and regulations must be established and enforced. A set of regulations us ing a demerit and merit system is· usually very effective. Rules and regulations will be discussed under three categories: (1) General regulations, (2) Performance regulations, and (3) Trip regulations . There is also, in some cases, a need for other special regulations . All rules and regulations must be enforced fairly and equally with all students. A certain amount of flexibility must also be used in administering the regulations.

General regulations are those which .apply in all situations, wh ether rehearsal or performance. Th is category includes rules for warmup , conduct during rehearsal, care of equipment, storage of equip­ ment , and rules regarding talking and playing, or any other situation in the normal routine of the band. A set of rules will not be given here due to the wide variation in rule s and regulations in each different situation.

Performance regulations include those extra regulations which app ly to any public performance, such as regulations regarding proper wearing of the uniform, rules regarding attendance at public performances, and rules regarding stage procedures.

Trip regulations are a special set for use when th e group is making a trip away from the school for any purpose. These will include rules for roll call checking at stops, wh en to get on and off busses, rules concerning chaperones , and rules concerning conduct and appearance . There may be other things to be covered by special rules in this category depending upon the particular situation.

Special rules may also be needed concerning such things as smoking, eating, and drinking.

Much can be said for rules and regulations , however, the only regulations put into force should be those that are actually required.

Nothing can be more bothersome than a lot of unnecessary regulations .

In most cases the students will respect any necessary rule and will, in fact, feel more at ease for having it as a guide. CHAPTER VII

UNIFORMS

To the marching band, un iforms are an important asset. Regardless of the amount of money spent . or the type of uniform selected, there are several things to cons ider. Sensibility is the keynote in this regard.

First, un iforms should be alike in their entirety, from tie to socks and shoes. Second, uniforms shol1ld be neat and we ll fitted for best appearance . The type of uniform selected should make use of school colors in some way , although selecting ent irely on this basis wo uld in many cases give a poor looking uniform. It may be necessary to select a neutral color with a portion of the trim utilizing the school colors .

Two things are now apparent concerning the actual selection of uniforms after making the bas ic considerations . They are design and

fabric. Design should be based on pract icability. After all, un iforms are intended for use over�·;.a period of years and not just once. "There 22 is also a trend toward conservat ism.n The money availab le will be an

important fac·tor in determining the fabric to be used . Cost must be balanced against wearability in det erminat ion of the actual expense.

In obtaining un iforms , alway s deal with a reliable manufacturer or

agent. It is wise to contact several with the intent of getting assis- tance in selection by bids and. compar isons of quality and price .

22Nilo Hovey, Administrat ion of School Ins trumental Music (Rockv ille Centre, Long Island , New York: 1952>:" pp. 52-3. Proper inventory, storage and ch eck-out systems are important for maintenance of the uniforms. (See Chapter IV for details of handling this.) It is also we ll to plan ahead and make provisions for addit ions,. replacement parts and replacement of worn out uniforms .

Careful wearing and care instruct ions should go to all band members at the time when the uniforms are issued, as proper care will insure a much longer life for the uniform. In some instances, uniforms are checked out at each performance and then returned at the end of the performance . In all cases , uniforms should be kept clean.

Additional Re ferences

Cecil, Herbert M. Fundamental Princip les of the Organization, Management � Teaching of the School Band. Rochester, New York: Eastman School of Music, 1935 .

Hindsley, Mark H. School Band and Orchestra Administration. New York: Boosey and Hawkes, Inc., 1940.

Hjelmervik, Kenneth and Richard C. Berg. Marching Bands . New York: The Ronald Press Company , 19 53.

Instrumentalist. Evanston, Illinois. (Many good articles in th is magazine .)

Lee, Jack. Modern Marching Band Techniques. Winona, Minnesota: Hal Leonard, 19 55.

MENC. Bus iness Handbook of Music Education. Music Industry Council. CHAPTER VII I

AUXILIARY GROUPS

There are three major auxiliary groups used with the marching band.

These groups are baton twirlers, color guard and drill team. Some other groups sometimes used are flag and pennant carriers , trumpeting groups, chorus lines, mascots, and drum and bugle corps. In mo st cases these small groups are a part of one of the major groups.

The twirling unit is used for the flash and sparkle which is attractive to the American public. A well trained twirling unit can be an asset to the marching band, but if used unwisely, can be a detriment .

If such a unit is used on all occasions , it can detract from the band itself. Never allow a twirling unit to become a group wh ich keeps public attention from the marching band un it . Both have their places and purpose, but the two units should always be cons idered separate un its.

Each unit should be allowed the spotlight independently. When twirlers are performing the band should only accompany and wh en the band is per­ forming, the twirlers should be kept out of the picture. Th is is also true of other auxiliary units, if used.

For street parades, a color guard is a valuable addition. This is also true for other ceremonies, such as the playing of the nat ional anthem prior to athletic events. Care should be taken to train the color guard thoroughly in the proper handling of the flags and rifles. No disrespect to the flag should ever be tolerated in any form . Gun bearers should know the manual of arms and be able to execute as soldiers . The color guard should not be a part of special maneuvers and should work

independent ly of the band even though always accompanied by the band.

The drill team may be either boys or girls. They may specialize

in precision marching or special dancing , flag twirling or rifle drilling.

Whichever the case may be, precision is the key to performance . Again,

care should be taken that the drill team not detract from the band but

add to the overall exhibit ion. When the drill team is performing, the band should only accompany it . On occas ion the two groups may ·be used

to complement each other, such as in the format ion of a special emb lem

or field des ign wh ere contrast is a big advantage .

Performances by all groups at the same time should never be

allowed. Give each its rightful place in the spotlight and keep others

from detracting. All performances are presentation ·of skills and ab ili-

ties with mus ic as the central theme. Always , the mus ic we ll played must be the bas is of all routines .

Additional References

Army Field Manual. Washington, D. C. : Government Print ing Office .

Benner and Painter. The Art of Baton Spinning. Ch icago, Illinois : Gamb le Mus ic Company, 1942, Vol. I and II.

Benner and Paint er. � Underhand Techniques of Baton Twirling. Chicago, Illinois: Gamb le Mus ic Company, 1942.

Booth, Gaedke and Miller. Baton Twirling� Ch'icago, Illinois : Ludwig.

Clark, Selmer. Twirl-A-Flag Manual. Elkhart , Indiana: H. Selmer Company, 1945 .

Duncan� c. J. Beginner's Baton �· Chicago, Illinois : Gamble Mus ic Company, 1942.

Dvorak , Raymond F. Band On Parade. New York: Cari Fischer; 1937.

Hindsley, Mark H. How to Twirl a Baton. Ch icago, Il linois: Ludwig Drum --- Company , 1930. � - Hjelmervik, Kenneth and Richard C. Berg. Marching Bands. New York: The Ronald Press Company , 19 53.

Johnston, Lawrence. Parade Techniques . Rockville Centre, Long Island, New York: 1944 .

Lee, Jack. Mo dern Marching Band Techniques. Winona, Minnesota: Hal Leonard, 19 55.

Roberts, Bob. The Twirler and the Twirling Corps. New Yor�: Carl Fischer, 19 54. CHAPTER IX

CURRENT TRENDS OF THE MARCHING BAND

Over the years, since march ing band has been in the public school mus ic program, many changes have taken place. The band has progressed

from street marching to the show band of today . When the march ing band

started making performances on the football fields,simp le letter forma­

tions were used. From here they progressed to the theme type show

comb ining a formation and script and the pageantry type show. Precision

drill and dance steps are coming more and more into the picture. The

choreographer's influence is being felt more now with emphas is being

placed on march choreography. Stress is being placed on military

precision for the parading band units, with more attent ion being placed

on spacing and alignment . Precision is the key to the present styles

in performance. Everyone must move together. 54

SELECTED BIBLIOGRAPHY

Books

Andrews , Frances M. , and Clara E. Cockerille . Your School Music Program. Englewood Cliffs, New Jersey: Prent ice-Hall, Inc�, 1958.

Band on Parade • New York: Carl Fischer, 1937 . Dvorak, Raymond F. ---

Farmer, Henry. Military Music. New York: Chant icleer Press, Inc.; Northampton, England: Clarke and Sherwell Ltd., 1950.

Hindsley, Mark H. Band Attention. Chicago , Illinois : Gamble Mus ic Company, 1932.

Hinds ley, Mark H. School Band and Orchestra Administrat ion. New York: Boosey and Hawkes, Inc., 1940.

Hjelmervik, Kenneth, and Richard c. Berg. Marching Bands . New York: The Ronald Press Company, 1935.

Hovey, Nilo. Administration of School Instrumental Music. Rockville Centre, Long Island, New York : Belwin, Inc ., 1952.

Johnston, Lawrence . Parade Techniques. Rockville Centre, Long Island, New York: 1944.

Le e, Jack. Modern Marching Band Techniques. - Winona, Minnesota: Hal Leonard, 1955.

Marcouiller, Don R. Marching for Marching Bands . Dubuque, Iowa: William c. Brown Company, 1958.

Righter, Charles B. Success in Teaching School Orchestrasand Bands . Minneapolis, Minnesota: Paul A. Schmitt Music Company, 1945 .

Wh ite, William Carter. History of Military Mus ic in America. New York: The Exposit ion Press, Carl Fischer, 1944.

Wr ight , Al G. The � Band. Evanston, Illinois: Instrumentalist, 1957.

Magaz ines

Instrumentalist, Evanston, Illinois .

Mus ic Educators Journal .