Part I: The Rehearsal Atmosphere

In order to have a successful and productive marching rehearsal certain policies and procedures
should be in place prior to ever stepping onto the rehearsal field.

Preparing for Marching Band Rehearsals:

1. Always arrive at rehearsal at least 15 minutes early so that you have time to get your
instrument and get to the practice location.
2. Almost every rehearsal will begin with Basics Block. If you are late, you must remain
after rehearsal for your own basics time, which may include running laps.
3. Rehearsal is always initiated with a warm-up and stretch-out (run by either staff or
student leaders as per head staff).
4. Bring your instrument, music, and a pencil to each rehearsal.
5. Wear socks and sneakers – not sandals or flip-flops; we often wear band shoes during
Thursday night rehearsals later in the season.
6. When it is HOT, wear sunscreen, a hat, and appropriate summer clothing.
7. When it is RAINY, wear a poncho, hat, and waterproof shoes.
8. When it is COLD, wear warm clothing and gloves.
9. You are encouraged to bring a water jug to each rehearsal, which you may use during the
break(s).
10. Rehearsal is always initiated with a warm-up and stretch-out (run by either staff or
student leaders as per head staff).

Rehearsal Etiquette:
1. Once rehearsal begins, absolutely no talking is allowed on the field unless you are a staff
member, drum major, or section leader. Squad leaders are empowered to speak and give
corrections when called upon. Corrections and instructions will come from the tower
first and then from the field technicians.
2. Students must have required materials at all rehearsals. This includes: a water jug,
appropriate clothing including athletic shoes, drill sheets, instrument and accessories.
3. Questions from the members are expected and encouraged. Please do not hesitate to ask
them. However, make sure the question is circumstance appropriate.
4. The basic starting procedure for all fundamental exercises, both music and visual is as
follows:
a. Eight “clicks” from the metronome and the exercise will begin.
b. On counts 5,6,7 and 8 of the initial eight counts the members will vocalize in
quarter notes a short and percussive “dut, dut, dut, dut"
5. During rehearsal, members are expected to return to sets quickly.
6. Unless otherwise directed, you will begin and end movement of a particular set with your
feet apart in the last count of the previous set (prep step) or the first count of the next set
(plus one). This ensures a proper check of the change of direction technique into and out
of a particular set. You will hold the “plus one” position until the person running the
rehearsal says “relax” or “at ease”.
7. In performances of the marching production, upper bodies will either be “Box Direction”
or "Sideline". "Box direction" indicates that all woodwind and brass students should
face a single point beyond the tower approximately 50 feet outside the performance field
in line with the 50 yard line. "Sideline" indicates that performers’ bodies should be
parallel to the front sideline. Certain formations will be "Box Direction", while others

FM Marching Manual p. 1 ~
 will be "Sideline". These will be indicated by the director. It is understood that the
members’ upper body facing will change dependent upon their position on the field.

Always Look Good

This is the rule that will save lives in the world of judges and numbers and also with the people in the
stands. Never do anything that looks bad (i.e. bad posture, bad technique, bad shapes, running in uniform,
etc.). In order to always look good, cover each other on the field. If the mistake is made, the error must be
followed. This is called recovery. Recovery is key in marching band! A judge’s job is never to dock points
for mistakes, but reward you with points for good recovery.

You must also realize that looking good does not only refer to the performance aspects of this
activity. From the time you leave for school in the morning, you have the responsibility of
looking and acting as professional as possible. You are a member of an organization that is
constantly in the public eye. Be aware of how your appearance and actions affect the image of the
entire ensemble on and off the field.

Take pride in your uniform appearance. All performers should have guidelines as to shako
placement. No hair should show outside of the shako. No jewelry is to be worn when in uniform.
When in uniform always move with a partner, never go anywhere alone. NEVER run in uniform;
it looks tacky and unprofessional. Always carry yourself with a sense of pride and respect. Be
respectful in the stands. Remember that everyone works hard at what they do and deserves your
silence and attention during their performance.

The Rehearsal Mode

The purpose of the Rehearsal Mode and is to create maximum efficiency in all rehearsals.

EFFICIENCY = PRODUCTIVITY = EXCELLENCE

The main goal of the rehearsal mode is to empower students to determine the effectiveness and
success of their rehearsals! Goals are set at the beginning of every practice. It is the student’s job
to reach those goals. The level of student intensity will determine the attainability of those goals.

Staff Philosophy/Responsibilities
• There is only one instructor at a time
• Head instructor only gives directions
• Staff stays out of basics block/drill forms as much as possible
• Student/staff technical concerns/questions are addressed by field staff at “field
correction”

Student Leader Philosophy/Responsibilities

• Intensity level will ALWAYS be set and maintained by the section leaders
• Section leaders/block captains will anticipate head instructors next move at ALL TIMES
• Section leader or block captain sets all positions at all times (horns up/down etc.)
• Head instructor/section leaders sets positions at all times, MODE NEVER BREAKS
• In field rehearsal, unless instructed otherwise, staff makes corrections, not section leaders
• Section leaders may be asked, by head staff only, to break out and make corrections

FM Marching Manual p. 2 ~
Member Philosophy/Responsibilities
• In marching band, the field is a canvas of art. All instrument cases, etc., are to be setup
off the field. While on the field silence is required unless addressed by the staff.
• When you are on the field, your feet are always together.
• Eyes are constantly checking the section leader for position assignment.
• Silence on the field is required as it does away with confusion.
• Quick resets are required, dead time kills intensity.
• Perform all the time! If you do not perform you will never improve. Do nothing
halfway.
• Understand that you are a team.
• Take criticism and correction and use it. Everyone will be corrected. Everyone will be
wrong.
• Never take it personally and remember that without mistakes improvement is impossible.
• It is your job to make rehearsals move along quickly. Push your staff and be more intense
than they are.
• Take information; correct yourself, reset, repeat! This is the secret to success.

Learning Drill
• Head staff gives main directions at all times.
• All questions are saved for field correction times.
• Eyes are constantly checking the section leader for position assignment.
• Either the section leaders or head staff sets positions; Mode never breaks.
• Students are given a moment to find their dot on the drill chart.
• After released to go to new set, students go to “standby” and wait for instruction.
• Sub-sets are found and executed for every drill move.
• During a cleaning rehearsal, set-to-sets and plus-ones the dot is king.
• During run-throughs and performance, form is king.
• Repetition is key; the more times something is performed, the better it gets. Maximum
number of reps is always the goal.
• Dot books are always to be completed before rehearsal.
• Section leaders check do a weekly dot-book check on all performers.
• During dead time, you should be attempting to get stronger. Group and individual push-
ups and sit-ups always help your cause.
• Dead-time is dot book time....do you know what count you should cross the yard line?
• Once the entire show is taught, it MUST be cleaned! We will always be adding something
to the show and refining problem areas. Your intensity for perfection should leap another
notch at this point, not the opposite.

NEVER DO ANYTHING HALFWAY - PERFORM ALL THE TIME

FM Marching Manual p. 3 ~
 Part II: Posture
Body Posture:
The single most important trait of a successful marching band is the ensemble body posture. The
manner in which a member stands directly affects the level they will be able to play, spin, dance
or march. Improper body carriage can put unwanted strain and tension on the body. Tension is
the number one cause of poor performance no matter the section; winds, percussion or guard.

Some Key Points:

1. Relaxation of the upper body:
• The shoulders are down and round
• The neck, chest and arms are all soft.
2. The upper and lower body should be “separated” at the hips. The upper body can be
imagined as the musical machine while the lower body is the visual machine. The two
rely on each other to work effectively, but they must remain autonomous to be
maximized.
• Lift the abdomen up and away from the hips
o Try to make the distance between your lowest rib and hipbone as tall as possible.
o The back should be straight and flat. This method of standing creates a taller
more dignified look to the ensemble. It also teaches you a posture which
enhances respiration and circulation.
3. Proper Weight Displacement
• The student’s body weight should remain on the front 2/3 of the foot at all times.
(Also known as the “platform” of the foot) All motion, no matter the direction,
begins from the platform. So, it would only make sense to keep the body weight on
this area to be most efficient in our movement. Never allow your body weight to
settle into your heels!
4. As with any musical exercise, timing of all visual exercises is dependent on proper
subdivision.
5. Without proper breathing techniques and breath support, our music would never reach a
proficient level. Likewise, our visual fundamentals will plateau if proper breathing is not
occurring. It is vital that you use the same breathing principles during all fundamentals
in music and visual performance.

The Posture Breakdown:

The “Posture breakdown” is an exercise used to demonstrate how it feels to stand correctly while
creating a uniform posture throughout the ensemble. It is executed as follows:
• Begin by standing with the “best” possible posture. It is important that you begin each
day with your best posture. This is the only way the group can continue to develop its
visual identity.
• Stand with the heels together and toes separated at a 45 degree angle, hands are at the
side in a fist with the thumbs along the seams of the pants.
• Breathe in deeply for four counts (be sure you use proper breathing techniques)
• Roll head over in four counts while simultaneously breathing out for four counts.

FM Marching Manual p. 4 ~
 • Roll shoulders back, up, around and forward in four counts while again breathing in for
four counts.
• Roll/Stretch upper spine over in four counts/breathe out
• Roll over lower spine, top to bottom, in four/breathe in
• Release knees in four counts/breathe out and hang completely relaxed
• STAY RELAXED AND HOLD/breath in and out.
• Breathe in deeply for four counts and reverse the process to build the perfect posture.
• After reversing the process and completing the head roll:
o Stretch the arms/body in circular motion towards sky for four counts, breathe in
o Release the arms in four counts, but maintain a tall body posture, breathe out
o Arms to playing position in four counts, breathe in and out for four beats.

***Remember to stack and extend the vertebrae (creating as much space as possible between
each individual vertebrae) on the way back up. You should feel taller and your back should be
perfectly straight. Hips are rolled forward. The sternum and ribs are lifted off of the diaphragm
and hips.

Use this checklist when correcting posture:

• Head is facing forward, the chin is slightly up.
• Shoulders are relaxed and aligned through the lower back with the hips and ankles.
• Spine is extended through the skull.
• The upper body is “lifted” off the lower body.
• Pelvis is centered (tuck your butt in).
• Body Weight is distributed so that it falls on the platform.
• Heels are together, toes are 6 inches apart.

Holding the Horn:

Your horn should not be held with any kind of force or tension. Your hands are only used as a
platform for your horn to rest upon. Relaxation must always be maintained in the fingers, hands,
arms, shoulders and back or unnecessary tension will occur. All horns will be held by the
fingertips not gripped in the palms. Proper breathing must always be maintained while holding
the horn. When holding the horn up for a long period of time, you will begin to experience a
burning sensation in the shoulders and arms. This is the result of lactic acid buildup in the
muscles held in a state of static contraction. Deep breathing will aid in eliminating the lactic acid.
It will become easier to hold the horn up for longer periods of time with practice.

Horns Up/Down (one count)

• The command is “Band Horns UP – X”
• crack on 4 of command
• All wind players - lift your elbows away from your ribcage.
• Brass players - your forearms should form a 90 degree angle in front of your face.
• All bell-front brass will hold their horns 10° above parallel.
• Press Box position is achieved by lifting the chin and arms to a position approximately
25° above parallel. “Press Box” should not be achieved by arching the back or allowing
the hips to fall forward.

Five stationary positions

FM Marching Manual p. 5 ~
 1. Attention: described above. The command is “Band, A-ten hut!” Immediately after Hut,
snap to the position of attention.
2. Parade Rest: The command is “Band, Pa-rade Rest.” It is the same as attention but with
the feet shoulder width apart and the instrument down with the arms extended in front of
the waist.
3. Stand-by: informs the band that a command or count-off is about to be given. When you
hear “Stand-by”, stand on your “dot” in the position of attention with the horns in the
playing position and be prepared for a command or count-off within 3 seconds.
4. Eyeballs: The right hand is in a fist, covered by left hand, fingers together with hands
placed just in front of the crotch. Head and eyes always follow the instructor who is
speaking.
5. At Ease: You may relax your body; however, your right foot may not move from its
original location.

Part III: Movement Principles

Marking Time:
• The command is “Mark Time Mark Set &.”
• When initiating, do not move on “set.” Bend the left knee and lift the left heel on the
“&.” Place the left heel on the ground on count one.
• All motions should be smooth.
• The heel should rise to approximately one inch off the ground.
• On the downbeat both heels should be on the ground. On the “&” the heel reaches its
apex and the knee is bent.
• Toes come together on the first two counts of mark-time.
• Upper body should remain completely still.
• The hips should not break when performing a mark time correctly. They must remain at
the same level

Forward march:
The forward march technique is designed to allow for the most comfort and relaxation possible.
Lack of upper body tension greatly helps the musical aspects of performance. The important thing
to remember is the relaxed pendulum motion. Each beat reveals perfectly straight legs,
eliminating phasing of the pant leg seams. The feet should always move in a straight line from
where they begin. Do not allow one foot to cross the “line” of another. Use your posture to absorb
the shock of motion, as bending of the legs and lowering of the body is NEVER acceptable.
Again, remember the importance of upper/lower body separation. The standard step-size for this
style of movement is 22 1/2 inches or 8 steps for every 5 yards.

1. Subdivided – vocalize 16th note subdivision throughout the exercise

• This is the first evolution in learning the forward march.
o The body weight is shifted to the platform of the right foot on four.
o Initiation of knee/forward motion begins on the “&” of four.
o Forward motion continues on the “a” of four. This should be lead by the center of
the body with the momentum created by pushing from the platform of the right foot.

FM Marching Manual p. 6 ~
 o The left heel makes contact with the ground on count one, with the left toes as high
as possible and straight legs.
o Release of the right foot occurs on the “e” of one.
o The legs will again pass on the “&” of count one.
o Forward motion continues on the “a” of one and the weight shifts to the ball of the
left foot.
o The right heel makes contact on the next beat, with the right toes as high as possible.
o Continue the process.
• The command is “Forward – March, Push and Heel”
• 3 steps of initiation
1) right foot pushes forward from the platform
2) center of body moves forward
3) left foot moves forward with heels low, toes high
• Straight Legs on the down beat
• Heels should ALWAYS lightly brush across grass or turf
• Following through with the first step, the front foot rolls completely from the heel to the
toe as the back platform pushes forward
• To maintain the timing and to allow the “new” front leg to be straight on the beat, the
“new” back foot pushes with the platform; this is the basis for motion. Initiation with the
knees will cause a bicycle pedal effect that destroys timing of the pant seams and causes
serious visual phasing on the “&” counts
• Remember alignment checkpoints!! (shoulders, hips, ankles)

Common Problems:
1. Improper upper body carriage – It must appear as if you are standing still
2. Leaning into and out of the step off – This is most often caused by not leading the motion
from the center of the body or by improper weight displacement on the foot.
3. Upper body not centered over the lower body on the move – Again caused by not leading
the initial motion from the center of the body.
4. Extreme upper body motion while on the move – Usually a culprit of not separating at the
hips, not rolling from the back edge of the heel all the way through the foot, or by lifting
the foot too high off the ground and thereby slamming the heel on the ground versus
placing it. The heel should graze across the surface of the ground.
5. Timing Tendencies – count two will probably be slow while count eight to one will be
fast

Halt
• The command is “Band – Halt X X”
• the secret to stopping is the control of weight
• ”stab” with right toe on 8 (turned out), slowly relax heel into ground (when the heel hits
the ground is predicated on what needs to be done to keep perfect balance and weight
control; no one can see exactly when it happens, so do what most helps your balance)
• left foot is placed flat on count 1 (foot is not rolled through but NOT stomped)

Backward Technique:
The backward techniques are a little more difficult than the forward efforts. They require the most
muscle use, but once perfected they accommodate perfect timing. All motion, no matter the
exercise begins with the center of the body. Pushing off with the platform of the right foot will

FM Marching Manual p. 7 ~
create the necessary momentum for each exercise. All backward techniques are smooth and fluid
and allow for a relaxed upper body while playing. Remember that relaxation is the key to success.
While backing, it is very important to be sure that there is definite separation between the upper
and lower body. This is key in combating the bouncing that can happen so easily.

1. Subdivided – vocalize 16th note subdivision throughout the exercise

• This is the first evolution in learning the backward march.
o The body weighted is shifted to the platform of the right foot on four.
o Initiation of move/backward motion begins on the “&” of four.
o Backward motion continues on the “a” of four. This should be lead by the center of
body with the momentum created by pushing from the platform of the right foot.
There should be no bend in the knees and the toes should barely graze the top of the
grass.
o The left platform makes contact with the ground on count one with the left heel
elevated a half inch off the ground.
o Release of the right foot occurs on the “e” of one.
o The legs will again, pass on the “&” of count one.(pass position is the same as
forward march) Both heels should be off the ground.
o Backward motion continues on the “a” of one
o The right platform makes contact on the next beat with the right heel a half inch off
the ground.
o Continue the process.
• The command is “Backward – March, Push and Place”
• The legs are perfectly straight on each beat, but relaxed between beats
• Heels never touch the ground
• toes gently glide across the ground; a sight amount of scuffing will be heard as each foot
passes through it’s range of motion
• legs straight and body tall at all times ALL TIMES
• Remember alignment checkpoints!! (shoulders, hips, ankles)

Common Problems:
1. A concern specifically associated with the backward march is often students will lift
too high on the balls of the feet so that very little upper body control exists. The
students should only lift to their platforms and no higher. Also, many times the back
heel will be higher off the ground than the front. Both heels should be equidistant off
the ground.
2. Improper upper body carriage – It must appear as if you are standing still
3. Leaning into and out of the step off – This is most often caused by not leading the
motion from the center of the body or by improper weight displacement on the foot.
4. Upper body not centered over the lower body on the move – Again caused by not
leading the initial motion from the center of the body.
5. Extreme upper body motion while on the move – Usually a culprit of not separating at
the hips or by lifting the foot too high off the ground and thereby slamming the
platform on the ground versus placing it.
6. Timing Tendencies – count two will probably be slow while count eight to one will be
fast

FM Marching Manual p. 8 ~
Slides:
Slides are the method of motion always used to maintain orientation in any defined direction,
usually to the front. Proper execution consists of pointing platform or heel directly to your
destination and keeping your upper frame square to the front.
• You must STAND TALL while doing this or your diaphragm will be pinched and you
will not have proper breath support. If your outside foot is difficult to control when
executing a slide, then your upper body placement is correct.
• All orientation is ALWAYS to the front unless otherwise specified. You should focus on
the sternum and shoulders facing the direction of the slide. As the angle of your slide
approaches 90 degrees, it will become more difficult to maintain proper body alignment.
• Make sure you are not trying to twist with just one part of your body. Use your hips,
chest and shoulders equally to minimize undo tension on any one section of your body.
• The axis running up through the center of your body that is created by using the
alignment checkpoints must be maintained. Like a DNA’s double helix, you are merely
twisting different sections of your body around that axis.
• Shoulders should be down and round
• Open chest area at all times – lift the rib cage.
• The upper body posture should remain the same no matter the position.

Common Problems:
1. Tension creeping into the shoulders and chest area
2. Not fully rotated in either direction
3. Chest area begins to collapse

Transition Movement:
Hip Shift: All direction changes with the exception of “Touch and Go” are executed with a two
count hip shift.
• To change direction there are no sudden hip shifts. All direction changes occur over at
least two counts, NEVER one. This aids in the prevention of a hard hip shift.
• 90% of all motion in a competitive marching show will be executed from some version of
the slide position. It is a necessity that this position be created with no tension present
anywhere in the body.
• Changes of direction should be initiated from the center of the body (two inches below
your belly button).
• On the last step of a phrase, place your right platform on the ground at half the angle of
the direction change. Think about your hips (center of the body).
• With the weight of your body is over the right platform on the “&” count, you will
aggressively finish the direction change by pushing off the platform of the right foot.
• On count one of the new phrase, the left heel comes down in the direction of the new
visual phrase.
• When changing directions during the show, the first step of the next phrase must be fully
in the new direction and the first step must be the new step size. You may not take two or
three steps to change direction and/or step size. This is one of the most important
concepts to clean drill execution. ***The new direction and step size must be
established on the first count of the new phrase.

FM Marching Manual p. 9 ~
Movement Between Dots:
When moving from one dot to another you must move in a straight line with the same step size
for each count of the move. You must also move in time with the pulse. This direction and step
size is called your vector. A vector is a specific direction and magnitude (speed.) The step size
and tempo create the speed and the movement from one dot to another is the direction.

Touch and Go: This move is for direction changes of 180 degrees and is a transition from a
forward march style to a backward march or vice versa.
• On the next to final count of a visual phrase, the left foot should be planted so that the
weight of your body is primarily on that foot.
• On the final count of the phrase, the right foot should point towards the ground as if you
were taking the next step. The right toe is only used for balance and support and the
weight remains on the left foot. Do not place weight on the right toe and do not place the
right heel on the ground.
• Count 1 of the new phrase is a dead count where the body does not move. “Stop”
• On count 2, the right foot moves in the new direction very quickly. “Go”

Your “Dot” or Coordinate:

A dot is an absolute position in the field. It contains X and Y coordinate values. These
values are measured in 22.5 inch step sizes (which equals 8 steps for 5 yards) from common
points on the field such as yard lines, sidelines, and hash marks. The number of steps from a
given landmark can be divided into fractions as small as ¼ of a step (ex. 4.5 outside the front
hash, 3.25 outside the 35 yard line, side A). To read these coordinates, remember that “inside”
always means away from the center. For instance, if your coordinate reads “8 inside front hash,”
that means go towards the center of the field 8 steps from the front hash. If your coordinate reads
“8 outside 35,” that means to go out board the 35 or away from the 50 yard line toward the goal
post. Side A of the field is the right side of the field as you face the audience. As the audience
faces the field, side A is on their left as if they were reading fro left to right. Since there are two of
each yard lines on the field they must be differentiated by specifying side A or B.

EPILOGUE
Included here is all the information necessary to create a successful visual program. It is
important that you measure any success within yourself and not worry about scores. You cannot
control the success or failure of any other group but your own! You cannot control the reactions,
responses, or opinions of the judges or the audience! To perform and to affect others is the most
important aspect of this activity. Just do the best you can at what you’re doing and always strive

FM Marching Manual p. 10 ~
for improvement. Remember, your intensity will determine your efficiency. Do nothing
halfway. All or none...

BE STUBBORN ABOUT YOUR EXCELLENCE

TERMINOLOGY
1. Arc: part of a curvilinear form
2. Attention: a defined, uniform posture that when commanded all movement and activity
ceases and total focus is demanded from all performers
3. Back Hash: The hash closest to the BACK sideline (coordinate sheet denotes as H2)
4. Back Slide: shoulders stay parallel with the defined sideline while the lower body
executes a backward march
5. Backward March: backward motion with the entire body in a defined direction
6. Company Front: 90% or more of an element in a horizontal line
7. Cover: front to back awareness and adjustment
8. Curvilinear Form: an element that forms a curved line
9. Distance: the space between performers that makes up a vertical element or form
10. Dot Book: a 3x5 spiral notebook containing a written coordinate for each page of a drill
book as well as information on counts, measures, technique, interval, etc.
11. Drill: a unique art form in which continuous, fluid animation is designed to music
utilizing individual performers to create elements; “snapshots” of defined points in the
continuous movement are called set or primary charts
12. Dress: left, right, fore and aft awareness and adjustment of interval
13. Element: a line of performers in a defined interval that makes up all or part of a form
14. File: the vertical lines in a solid form
15. Float: players move to position in same amount of counts utilizing an adjusted step size
16. Flutter run: performers move to position in an a-rhythmic, random, no-set-step-size
manner
17. Follow Leader: performers follow a designated person’s path while maintaining
interval
18. Forward March: forward motion with the entire body in a defined direction
19. Freeform: performers move to position utilizing a random pathway
20. Front Hash: the hash closest to the FRONT sideline (coordinate sheet denotes as H1)
21. Front Slide: shoulders stay parallel with the defined sideline while the lower body
executes a forward march
22. Glide Step: a refined style of walking that removes all shock and unnecessary
movement from the body; this is achieved by stepping first with the heel, then rolling
through to the platform of the foot
23. Halt: a ceasing of all motion of the body
24. High School Hash: two sets of hash marks positioned 28 (8 to 5) steps inside the front
and back sidelines
25. Hold: performers remain stationary for a stated period of counts. Body movement may
be added where defined
26. Horns Down: Performers’ horn (or arms) move from the playing position to a standby
position in a defined amount of counts.

FM Marching Manual p. 11 ~
27. Horns Up: performers horn (or arms) move from the standby position to a playing
position in a defined amount of counts
28. Integration: the placement of elements in a mixed fashion
29. Interval: the space between performers that makes up a horizontal element or form
30. Jazz Run: players move to position at least a 4 to 5 step size, possibly utilizing the
standard dance body form
31. Mark-Time: performer’s field position remains stationary while tempo is maintained by
marching in place, accomplished by a 1” lift of the heels
32. Mesh: when two of more elements merge into one
33. NCAA Hash: two sets of hash marks positioned 32 (8 to 5) steps inside the front and
back sidelines
34. Pass-through: when two elements merge into one for a single count then break apart
again
35. Plus-One: performers execute a defined section of drill and music and end by taking the
first step in their new direction and freezing
36. Push: performers move a shape in a straight line path from one point of the field to
another
37. Rank: the horizontal lines that make up a solid form
38. Rehearsal Mode: a rehearsal system in which all movement commands are discarded
and all performer positions and posture is defined by the student leader’s anticipation of
the instructor’s next move; maximum efficiency is achieved by total concentration and
anticipation by students and staff
39. Reset: all performers move quickly and assume a determined position on the field
40. Rotate: performers move a shape around a point along curved paths Secondary Chart:
the chart (or set, page) that the performers are moving from
41. Side 1: facing the field, everything left of the 50 yard line
42. Side 2: facing the field, everything right of the 50 yard line
43. Slide: performers move to position while keeping upper body toward a designated
direction on the field
44. Drag Turn: performers turn to a specified direction in a set amount of counts while their
position remains stationary
45. Solid Form: a closed in form made up of ranks and files (also called a “block”)
46. Stand-By: similar to attention but upper body is relaxed and the head and eyes follow
whatever instructor is speaking at the time
47. Touch & Go: the transition from a forward to a backward motion, or from backward to
a forward motion, designed to add visual “silence” to a form
48. Transition Step: a change of direction from any direction of motion occurring over two
counts by placing the right foot in the final step of a move with the toe pointing 45°
toward of the new direction of motion.
49. Vector: Movement between dots in a straight line with the same step size for each count
of the move.

FM Marching Manual p. 12 ~