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The Organization and Administration of the Marching Band

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The Organization and Administration of the Marching Band Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1960 The Organization and Administration of the Marching Band George L. Bailey Eastern Illinois University Follow this and additional works at: https://thekeep.eiu.edu/theses Part of the Music Education Commons 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 Instrumental 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 trumpets, horns, reedpipes, shaums, drums, kettledrums, cymbals 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 oboes, 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 oboe 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 flutes, two oboes, two horns, one or two trumpets, two bassoons and one bass trombone. The English then added the.clarinet 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 concert 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 clarinets, two bassoons, one trtnnpet, one triangle, one bass drtnn, one French horn, two trombones and one serpent . It is recorded in 1812, that the army still had only two field musicians: fife and drwn or trumpet 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 snare drum and one bass drum. 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 tuba with its valve system came into beingo In Philadelphia in 1840 to.1845, Anderson' s Band was well known.
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