Genesis Visual

guide
2021 Season
Created by: The 2021 Genesis Visual Staff

The legs feed the wolf

Visual Staff Contact Information

Frank Solis
visual@genesisdbc.org

Eugene Castellanos
eugeniocast@yahoo.com

George Salinas
geosali4494@yahoo.com

Noe Garcia
Nogarcia@sbcisd.net

Zach McCullough
zachary_mccull@ymail.com

Veronica Salinas
grahamva@yahoo.com

Michelle Stanley
mcstanley@tamu.edu

Marc Montelongo
M.montelongo@yahoo.com

Hunter Hale
hhale@atlisd.net

Need to knows before hitting the field

● Etiquette
What is the Mentality to approach rehearsals, camps,
auditions? Open mind, be a sponge, willing to learn and adapt
to new ideas, GO FOR IT, TRY IT!
 Suggestions/rules:
■ Above everything else, be respectful. Treat others around
you the way you want to be treated. Please :)
■ During visual rehearsal, Talking is not encouraged while
someone is giving instruction. The chances of you talking
and missing important information, is likely. Don’t do it.
■ Questions are encouraged, always. But, Wait for the
instructor to finish his/her thought to ask a question.
■ Process for questions: ask section leader, sl goes to field
staff, field staff to box.
■ Be prepared, have all your equipment and necessary
things for rehearsal.
● BASEBALL HAT
● 1 GALLON WATER JUG/FULL
● DOT BOOK
● RUNNING SHOES
● YOUR INSTRUMENT
■ 100% effort all the time you are on a field. Effort is not
talent, effort is work ethic and willingness to work towards
your goals. BE HUNGRY TO GET BETTER. “It has to be
a need, a fire within to accomplish something great as an
individual and as a UNIT.”
■ Counting, always!(unless told otherwise). During visual
rehearsal, we always count when we are not singing,
playing, and air and valve during a rep.
■ Have fun while getting better, but do it safely. DRINK
WATER!!!!
Vocabulary glossary at end of the packet/guide
Commands from instruction(stand by, set, check, adjust, reset.)
Definitions and Field Reading

“Dot Marching”
At Genesis, the movement of performers on the field is defined as “dot marching.” This means
that the performers will travel from set to set focusing on arriving at their dot, rather than
adjusting their pathway to fit the form. This definition is in place to boost accuracy of form and
consistency from rep to rep. All members are expected to know and be responsible for every dot
in their show. At times, performers will be given a staged position rather than a specific dot. This
will be defined on a case-by-case basis. Performers are responsible for these positions on the
field, even though they might not have a specific coordinate.

Body-to-Dot Orientation
The default body-to-dot orientation at Genesis is right ankle bone on dot. This means that when
performers take their last step in a set they will place their foot so that the ankle is directly over
the given field coordinate.
There will be some sets in the show where performers will need to use a body center dot
orientation. This means that the performers will overstep their given coordinate so that the
center of their body is directly over the dot. This will be defined on a case-by-case basis. Once
the body center definition has been given, performers are responsible for knowing and
achieving this dot orientation.

Marking off Dots

At Genesis, we use the closest field marking to mark off our dot. This saves time in between
reps and allows us to be more accurate in marking off our dots. It is imperative that we know the
field markings and references and their distances. These are: the center X, bottom and top of
the numbers, the relation of the high school to college hashes, and our feet positions in relation
to the inserts. Our goal is to mark off as few steps as possible as we read the field to “see” our
relationships to the markers listed above.

Combined video for 3 explanations

Basic Field Measurements

Most of our performance and rehearsal fields will be standard NCAA football fields. It is
important to be aware of the basic measurements of the field so that we understand dot and
form relationships to key field markings.
● NCAA field are 300 ft. from end zone to end zone and 160 ft. from side line to side line
● There are 20 yard lines, spaced out in 5-yard increments
● The hashes are 60 ft. inside each side line (2 hashes: front and back)
● There are 32 steps from the sideline to the hash (front sideline to front hash and back
sideline to back hash)
● The bottom of the numbers are 21 ft. from the front sideline (11.25 8-to-5 steps)
21’ x 12” = 252” ÷ 22.5” = 11.2
● The top of the numbers are 27 ft. from the front sideline (14.5 8-to-5 steps)
 ● 27’ x 12” = 324” ÷ 22.5” = 14.4
● STANDARD STEPSIZE: 5 yards = 15 feet, so 15’ x 12” = 180” ÷ 8 steps =
22.5” PER STEP (universal marching band standard)
High School Measurements
● High school hashes are 53.4 ft. from each side line
● High school numbers are the same as NCAA numbers
Field Measurements Diagram

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Description video highlighting spots on ilustration

Insert Measurements
Yard line inserts mark where each yard line is at the front and back sidelines, and on the front
and back hashes. It is important to know how our standard 8-to-5 step size relates to each of
these inserts.

"

Performer perspective

FH=Front Hash

BH=Back Hash

FSL=Front Side Line

BSL=Back Side Line

IN=Towards 50 yard line

OUT=Away from 50 yard line

ON=Directly on indicated marking

Side 1=Left side of the field (audience perspective)

Side 2=Right side of the field (audience perspective)

Drill learning section using previous info

Field measurements
Hashes
Ticks/Inserts
Step sizes
Marking off (.25 .5 .75) (1 2 3 4)
Vocabulary

"

Use nick video

Before We move, our “axe”

Trumpet/Mellophone/Baritone

Stand By:
Instrument is held in the right hand, and is vertically folded across the body so that the crook
rests approximately at the belly button (depends slightly on height of the performer). Bell is
parallel to the ground and rests in between the performer’s legs (on the left leg for
mellophones). The left hand rests on top of the right hand, with pointer finger and thumb
creating a wrap around the wrist

"
Carry:
Instrument is held in front of the body about the length of a fist and a thumb away from the
chest. Bell is parallel with the ground. Rim of the mouthpiece is at eye level. The weight of the
horn rests on the left hand. Right hand should rest on top of valves in a blade position, index
middle and ring finger should be over the valves and pinky is inside ring.

" "
" "

Playing Position: Right hand is shaped in a “C” position. The tip of the right thumb sits in
between the 1st and 2nd valve, directly beneath the lead pipe. Fingertips of the three middle
fingers rest on top of the valves. The pinky rests on top of the pinky ring (NOT inside it). The
right wrist is curved slightly up to create the appearance on a straight wrist. Elbow is at a 45-
degree angle. The left hand holds the weight of the trumpet. Palm is away from the guts of the
horn. Most of the weight of the instrument is supported on the fingers, above the knuckles. Left
wrist is curved slightly up to create the appearance of a straight wrist. Elbow is a 45-degree
angle. Bell is 10 degrees above parallel.
" "

Tuba
Stand By: The performer will have the instrument on the floor upright and directly in front of her/
him. Both hands will rest on the “bow” of the instrument with the right hand over the left and all
fingers touching.
Moving to Carry: There will be a three-count horn move to bring the instrument from stand by
to carry position. On the first count the performer will move their right hand directly underneath
the “bow” that it is resting on and lift straight up, on the second count the left hand will move to
the outermost tubing and continue moving the instrument up while the right hand moves to its
final position, on count three the left hand will finish moving the instrument to carry position
while the right will move to the valves of the instrument. As the instrument moves up it will also
move slightly towards the performers left so it ends in front of the performers left shoulder.
Carry: At carry position the instrument will rest in front of the performers left shoulder. The
instrument will be a “fist and a thumb” away from the performers body with outer brace at eye
level and the bell must be parallel to the ground.
Horns Up: The horns up will be a two-count move from stand by to playing. On the first count
the performer will move to playing position by using a pulling motion with their left hand and a
pushing motion with their right to bring the instrument to the proper position. On the second
count the performer will bring her/his left hand down to a lower piece of tubing for a more stable
position, performer will also open her/his right hand to an open “C” shape.
Playing Position: When at Playing position both arms should be open and take up as much
space as possible. Performers should think of maintaining a “coat hanger” shape with their
arms. There should be a straight line from their hands all the way to their elbows with no break
at the wrist.
Horns Down: To move from playing positon back to carry will be a two-count move. The first
count will be a prep count with left hand moving to the upper/outermost tubing. The second
count both hands will pull the instrument to carry position. The first count will occur one beat
before the intended count the instrument need to come down i.e. if the instruments need to be
down on count three the prep will occur on count two.
From Carry to Stand By: This move will be three counts just like moving from stand by to carry.
On count one the left hand will begin lowering the instrument and the right hand will move
straight up to the bottom of the “bow” of the instrument. On count two the left hand will meet with
the right on the bottom of the bow of the instrument and both hands will lower to the ground. On
count three both hands will flip to the top of the “bow” completing the move. As the instrument
moves down it will also move slightly to the performers right so it can rest in the center of her/his
body.
Trail: The performer will hold the instrument in the middle of the third valve slide with their right
hand and the instrument parallel to the ground. Their left will be free and left in a relaxed
position with fingers closed together.

Brass percussion alternative

● Horn command from brass peeps to horns up*******(video)
● Horn holding(all instruments) Done by staff(video)
● Different trails, standby, carry, horns up and to box(can we squeeze
in horn holding?)(video)
● Horn manuals(carry and horns up and box) One video?(video)
● Slides on filed and standing. (video) ??????????
○ BAMF 1 2 3(video)
● Point of orientation, horn angles(video)

Posture
Posture is essential for every aspect of this visual program. It is the foundation of everything that
we do.
Posture, and the way we present ourselves is defined from the toes all the way up to the top of
the head. Weight is distributed 60/40, 60% on the ball of the foot(power triangle), and 40% on
the heel of your feet. This allows for fast initiation and movement in any direction. Feet are
turned out in an “open first” position. Heels should be together, and a fist should be able to fit in
between the arches of the feet. Legs are straight but knees are not locked. Hips are rotated so
that they are directly over the knees. Core muscles are slightly engaged to support the weight of
the upper body and prevent it from sinking into the hips.
There should be several inches of space between the hips and the bottom of the rib cage. This
ensures that the body stays lifted to its full height, and allows for the deep and controlled
breathing that is necessary while marching around the field.
Shoulders are slightly back and completely relaxed. Head is slightly lifted and positioned directly
over the torso.

Mark Time percussion alternative

Mark time is used to establish and maintain tempo in the feet while standing in a music
rehearsal. It simulates marching and integrates foot timing with the music.
Feet start in open first position. We determine this by placing a fist in-between the arches of our
feet. Initiation of the first step takes place one full count before count 1.
Count 1, brings the left foot into a parallel position. The entire foot raises parallel to the ground
and comes half an inch off the ground. Count 2, brings the right foot into parallel, directly next to
the left foot in the same manner. There is a natural and slight knee bend in order naturally
facilitate the motion without “toy soldiering” side to side. Hips should remain parallel to the
ground. After count 2 feet will remain together until the end of the exercise given to you.

When we mark time, technique is defined as heel to ankle. Power triangle of the feet is allowed
to come off the ground a tad but nothing more than a quarter inch while doing so. Remember
the purpose of marking time is to help with timing and recreate a similar sensation in the body
when we are in place. You are looking for your heel to hit the ground on every downbeat, use
the bend of the knees to align subdivision. Subdivision and timing is key in everything we do!
On the last count of the exercise, the right foot lands in open first position and come to a halt.
On the first beat of the hold (or the next beat after the end of the exercise) the left foot lands in
open first and comes to a halt. Weight stays evenly distributed at 60/40.
Brass
● Mark time and step outs
○ Initiation FULL COUNT (8 TO 1)(video)

○ Subdivision KNEE GETS THE 8TH NOTE(video)

○ Downbeat ACCENT ON THE HEEL(video)

○ Heel and toe heights HEEL TO TOP OF THE ANKLE(video)

○ Transitions REARTICULATED(video)

● Stamp exercise for brass

Backwards Marching
○ Platform contact/big toe, inner and outer ball of foot/power triangle
○ Push comes from the platform contact
○ Ankle rotations
○ Body traveling over center of both feet
Backwards March
Initiation of the first step takes place one full count before the first step.
The initiation of the first step with the leading leg is a PUSH off of the right leg or trailing leg.
Energy in the body extends up and out as the leading leg moves behind the body (in a ski-line
track). Both legs are straight, and the left foot is led by the platform. All energy comes from the
front leg, specifically from the power triangle. The leading leg is only responsible for direction of
travel and demonstration of technique. The back foot skims the ground and lands on the power
triangle once it reaches the desired step size. The back heal does not come off the ground more
than half an inch, and stays at this height until the backwards move is complete.
As the back foot moves out, the front heel comes off the ground half an inch to get a greater
push. The front ankle is flexed. Weight is 50% on the front foot and 50% on the back foot once
the back foot lands. The CROSS of the legs will occur on the “and” count. The crossing leg will
be straight. No knee bend is necessary. Crossing leg will not come more than a quarter inch
above the ground. As soon as the leg crosses it begins to assume the responsibilities of the
front leg, and the back leg begins to PUSH to initiate the next step.

● &1s initiation (video)

● Explaining leg shape through gait cycle from STANCE through the SWING
(video)
● Repeat the process (video)
● Where is our body? (video)
Forwards Marching
Forwards March percussion alternative
Initiation takes place one full count before the first step.
The initiation of the first step with the left leg is a PUSH off of the right foot. Energy in the body
extends up and out as the left leg moves out in front of the body (in a ski-line track).
Both legs are straight, and the leading(left) leg is led by the heel.
All energy comes from the trailing leg. The leading leg is responsible for direction of travel and
demonstration of technique. The front heel skims the ground and does not come off the ground
more than a quarter inch, while the ankle is flexed and toes are high in the air aiming for a
bigger roll through.
When the front heel reaches the desired step size, the foot begins to roll through. Once the foot
has rolled down to the ball of the foot, you are ready to repeat the process. Use energy from the
power triangle to initiate the next step, bringing heel low and toes high. This will only happen if
your ankle rotates and flexes when the ball of the heel touches the ground.
The CROSS of the legs will occur on the “and” count. The crossing leg will be nearly straight
except for a slight knee bend to allow for pass-through. The crossing leg will not come more
than a quarter inch above the ground. As soon as the leg crosses it begins to assume the
responsibilities of the front leg, and the back leg begins to PUSH to initiate the next step.

○ 5050 weight distribution

○ 5 Points of Alignment
○ Strong Initiation
○ Keep Core engaged at ALL times
○ Flex foot vs pointed foot
 ○ The exercise/move begins before the first step and doesn’t end until
after the close (initiation?)
○
○ Initiation and power. Where's it coming from? Platform (3 points), big
toe, away from the ground. from back/trailing leg
○ Leg swings from hip
○ Foot rotates forward into ski line
○ Articulate w/ very back of heel
○ Flex foot w/ high toes (reference)
○ Space between thighs
○ Push forward by lengthening back leg/trailing leg through the
platform, while maintaining core engagement and height.
○ The Initiation
○ The Articulation
○ The Roll-Through Process
○ The Cross Count (Visual Subdivision)
○ The Rearticulation
○ Articulation, Roll-Through, Cross Count, and Rearticulation
○ The Halt

Jazz running
Jazz Run
The initiation of the first step with the left foot is a PUSH off of the right foot. Energy in the body
extends up and out as the left foot moves out in front of the body. Both legs are straight, and the
left foot is led by the big toe or inside part of the foot. All energy comes from the back foot. The
front foot is only responsible for direction of travel. Both feet stay low to the ground. They should
not come off the ground more than 1 inch.
Feet land in a turned out position, with the pinky toe hitting the ground first and the whole foot
slowly accepting weight. There is a slight knee bend as the back leg begins to initiate each step.
This bend is only large enough to facilitate the extra energy required for larger step sizes.
Upper body stays lifted and still. Core muscles must be engaged in order to maintain posture
and projection.

Slides
Correct forwards, backwards, or jazz run technique applies throughout any move that requires a
slide.
Upper body is lifted and project, and torso remains still by engaging corps muscles. The twist for
a slide occurs in two different places. Hips turn 45 degrees in the direction of the slide. Chest
turns 45 degrees in the same direction as the hips in order to combine for a 90-degree rotation.
As the hips and chest turn, the entire torso lifts up to create more space in between the hips and
the bottom of the rib cage. Elbows maintain their triangle, and shoulders stay low.

Slides on the move

○ Forwards
○ Backwards
○ Box drill
○ 4 to a hash
○ Snowcones
○ Diamonds

Exercise List
This is a list of fundamental exercises that we will use to develop skills such as forward
marching, backwards marching, slides, foot placements, posture, horn manuals, and oblique
angles of travel.

Hindu
This exercise is a posture breakdown exercise meant to isolate each component of correct
posture. Full range of motion should be practiced in each step of the hindu.
Step 1: Stand with feet shoulder width apart
Step 2: Inhale, 4 counts
Step 3: Exhale and lower chin to chest, 4 counts
Step 4: Inhale and roll shoulder up and around to the front, 4 counts
Step 5: Exhale and release upper back, 4 counts
Step 6: Inhale and release lower back, 4 counts
Step 7: Exhale and slowly release knees, 4 counts
Step 8: Hold for 8 counts, inhale for 4 and exhale for 4
Reverse the exercise all the way back to step 1. Maintain steady, relaxed 4-count breaths.
*think of your 5 points of alignment: ankle bones, knees, hips, shoulders, and ears.

Tendu Exercise
This exercise should be used to teach dance basics, performance quality, moving evenly
through time and space. It is also an introduction to jazz run.
Performers stand in open first position with their hands on their hips. They should be standing
with perfect posture and focusing on projecting up and out.
Foot remains turned out as it travels in and out of tendu. Big toe should drag across the ground
as the foot travels. At no point is the foot disconnected from the ground. The inside of the leg is
presented as the foot travels out. Ankle rotates as the foot travels out to create a toe point.
Heels remain in ski line path, and foot should not move out at an angle.
Left foot forward 2 counts, in 2 counts. Left foot to the side 2 counts, in two counts. Left foot
back two counts, in two counts. Left foot to the side 2 counts, in two counts. Right foot forward 2
counts, in 2 counts. Right foot to the side 2 counts, in two counts. Right foot back two counts, in
two counts. Right foot to the side 2 counts, in two counts.

Plie Exercise
This exercise should be used to teach dance basics, performance quality, and moving evenly
through time and space.
Performers stand in open first position with their hands on their hips (arm motions can be added
later). They should be standing with perfect posture and focusing on projecting up and out.
Knees move out over toes, and heels stay on the ground when moving up and down. Upper
body remains vertically aligned (in the “toaster”).
Down in 4 counts, up in 4 counts (twice), Down in 3 counts, up in 3 counts (twice), Down in 2
count, up in 2 counts (twice), HOLD for 2 counts, Left foot moves out to open second position in
two counts (leading with toe), Down in 4 counts, up in 4 counts (twice), Down in 3 counts, up in
3 counts (twice), Down in 2 counts, up in 2 counts (twice).

Passe Extension Exercise

This exercise should be used to teach dance basics, as well as core engagement and balance.
Performers will stand in a closed first position (feet together, toes pointing straight ahead), with
hands at their hips. They will start by bringing their pointed foot up to their knee evenly for four
counts. Once the arch of the foot is in line with the knee (parallel passe), the leg will be
extended for four counts. The performer should strive to keep their thigh at the same height
during the extension as it was at passe. The extended leg will then lower with pointed foot for
four counts to the ground in a forward tendu. The performer will then bring the left foot back for
four counts to OPEN first position (at this point, only the left foot is turned out. The right is still
parallel). This will repeat on the right side (the performer will end with both feet in a turned out
first position).
From there, the exercise will repeat on the left side with the same count structure and same
motions. However, the leg will draw up to a turned out passe (knee pointing out to a 45 degree
angle), extend to the 45 degree angle, lower to the 45 degree tendu, and draw in to open first
position. The exercise will repeat on the right side, ending with the legs in open first position.

Contraction Exercise
This exercise is used to teach the full range of motion of the body, as well as to add an
expressive quality to the movement. Contraction is the forward curving of the spine starting from
the pelvic zone. Leg and arm movements are added and defined depending on the quality that
is required of the performer
Performers will stand in a parallel first position (feet hip width apart, toes pointing directly in
front, not turned out) with hands by their sides. They will plie and contract their upper body
simultaneously over the course of 4 counts. While doing so, their arms will scoop forward with
palms up. The performer will then rise up for four counts and draw their hands back and extend
them over their head. They will plie and contract for four counts, bringing their arms down with
palms down. They will rise up for four counts, bringing their hands back up and then down to
their sides. Repeat.
The exercise will repeat in 3 count increments (2 times) and in 2 count increments (2 times).

Across-the-floor
This exercise is very useful for individual evaluation and specific individual comments. Can be
used with any step size or count structure. Very good for lot warmups, and moving dance
phrases or exercises.
Performers start at the end of the field/gym/assigned yard line, etc. Performers step off in lines
to complete the given exercise. Most exercises will incorporate horn manuals and/or dance.

Box Drill
This exercise focuses on direction changes, foot placements, slides, and form control. Count
structure and step size can change, but the basic 8 step block is defined here. The left and right
boxes can be done separately or combined to create a continuous exercise like circle drill.
Left Box
Performers start in a block, preferably 4x4 spacing. 8 steps forwards (horns snap up on 1). On
count 8 the right foot places toe down at a 45-degree angle to the left. 8 steps left at a slide. On
count 8 the right foot places toe down at a 45-degree angle to the left. 8 steps backwards. On
count 8 the right foot places at a 45-degree angle to the right. 8 steps to the right at a slide. On
count 8 the right foot places toe down at a 45-degree angle to the right. If halting here, the left
foot closes on 1 and the horn snaps down.
Right Box
Performers start in a block, preferably 4x4 spacing. 8 steps forwards (horns snap up on 1). On
count 8 the right foot places toe down at a 45-degree angle to the right. 8 steps right at a slide.
On count 8 the right foot places toe down at a 45-degree angle to the right. 8 steps backwards.
On count 8 the right foot places at a 45-degree angle to the left. 8 steps to the left at a slide. On
count 8 the right foot places toe down at a 45-degree angle to the right. If halting here, the left
foot closes on 1 and the horn snaps down.

Circle Drill
Circle drill is used to teach and reinforce many aspects of marching. It incorporates forwards
marching, backwards marching, slides, interval control, shape control, foot placements, and
horn manuals. This exercise is excellent for both battery and hornline.
Members stand in a circle facing inward.
8 counts straight back (horns come up on step-off), 16 counts to the right (forward slide), 16
counts to the left (backwards slide), 8 counts straight into the circle, place/close/horns down,
halt for 8 counts.
8 counts straight back (horns come up on the step-off), 16 counts to the left (forwards slide), 16
counts to the right (backwards slide), 8 counts straight into the circle, place/close/horns down.
These two are sets are done in a pair and considered one rep. Step size is an 8-to-5. This can
exercise can be continuous with an 8 count halt in between each set.

Oblique Drill
This exercise is excellent for both hornline and battery. It incorporates obliques, changes in step
size, slides, and foot placements.
Members stand on the sideline facing down a yard line.
8 counts straight forwards down the yard line (horns up on the step-off), 8 counts to the right
(traveling over 8 steps to the next yard line and up 8 steps at a slide), 8 counts forward up the
yard line, 8 counts to the left (traveling over 8 steps to the next yard line and up 8 steps at a
slide).
Members step off every 8 counts. Can be done at any step size. Can be done backwards.

Physical Training Program

Physical training is an essential part of developing a drum corps, both physically and mentally.
The goal of this program is to safely and effectively strengthen the members through a series of
exercise that target all of the muscle groups used during a performance. In addition to
strengthening, the program will develop flexibility and endurance through stretching and cardio.
Physical training will primarily take place before breakfast, in addition to pre/post block
stretching, as well as a dynamic/static stretching routine before performances.
Every day, PT will start with a very light jog or another form of gentle cardio to warm up muscles
and engage us mentally. After the jog, there will be series of 1-3 exercises that target either
arms, legs, or abs. These exercises will be in sets of 3 with rest time in between each set. Many
days, this workout will be accompanied by a longer and more rigorous run of 1 to 2 miles. After
the workout there will be at least 15 minutes of stretching before breakfast.
At the start of visual block there will be another light jog as a rewarm and then 5-10 minutes of
stretching. If possible, there will be a 5-minute stretch at the end of each visual block.
Arms
● Pushups
● Shoulder pushups
● Dive bomber pushups
● Slow pushups (3 seconds and 5 seconds)
● Arms raises (equal number of pushups and arm raises done in a series of 1,2,3,4……
10)
● Water bottle exercises (members use full gallon water jugs as weights)
● 4-minute pushup challenge (members have 4 minutes to do 100 pushups)
Legs
● Lunges
● Squats
● Mountain climbers
● Calf raises (in sets of 20 with feet in parallel, pigeon toe, and open first)
● Burpees
● Toe taps
Core
● Baker’s Dozen (can also be used as an arm exercise, standalone)
● Extension pushups (feet step out and in from 1,2,3…..7 steps)
● Russian twists
● Leg scissors (up/down, side-to-side, crossed side-to-side)
● Planks (straight and on either side)
● Elbow rockers
● Sit ups
● Slow roll ups/down
Cardio
● Running/jogging
● Jumping jacks
 ● Sprints
● Stairs/stadiums
● Burpees
● Biking
● Jump rope

Physical Appearance
It is important to understand that, as members of a drum corps, you will constantly be in the
public eye. At show sites we are watched by large audiences. At housing sites we are seen by
band directors, band members, parents, and school administrators. You will be traveling around
the United States and representing Genesis, DCI, and Texas. Physical appearance plays a
large role in how the public perceives you. Because of this, there are several rules about
appearance that are important to follow.
● Men’s show hair must be cut short and kept neatly trimmed. Hair gel must be used as
needed.
● Women’s show hair must be in a tight and neat bun with no fly-aways. Hairspray or hair
gel must be used.
● No unnatural hair colors (blue, green, pink, etc.)
● Men may have facial hair, but it should be neatly trimmed for shows.
● During shows, no jewelry should be worn (earrings, facial piercings, rings, watches,
etc.). The only exception is Genesis corps necklaces.
● No nail polish or makeup can be worn during shows.
● At housing sites, shirts must be worn during meals and when inside the building (except
in the member gym and in locker rooms). At times, shirts will be required on the field as
well.