NORTHERN CALIFORNIA

BAND ASSOCIATION

DRUM MAJOR
GUIDE
MARIO SEBASTIAN
Drum Major Caption Head
ERIK GEROLAGA
Drum Major Judge
 NCBA Drum Major Guide
Updated 2023
M. Sebastian – Drum Major Caption Head
E. Gerolaga – Drum Major Judge

History of the Drum Major

The position of drum major originated from the British Army fife and drum corps in the
1600s. At this time, the corps’ purpose was to communicate with other field units.
Responsibilities
1. Defending and alerting the fife and drum crops.
2. In charge of discipline among corps members.
3. Maintaining standards of dress and behavior.
4. Responsible for corps military choreography and drill.

Military Bands (1800’s)

1. President Abraham Lincoln signed an Act of Congress in 1861 to re-organize the
Marine Band with a Leader (principal musician), Drum Major, and thirty other
musicians. There have been 34 Drum Majors of “The President’s Own” United States
Marine Band.
2. In the Royal Marines Band Service and the regimental corps of drums of the British
Army, the Drum Major is always a side drummer (titled Bugler in the Royal Marines)
and would normally be required to have passed several courses in music, military
skills, and leadership throughout his military career before he would be considered
for appointment as a Drum Major.

US Marching Bands (1900’s)

Typically, the drum major in today’s marching bands takes on leadership and instructional
roles and is chosen as a band member who has demonstrated excellent leadership and
conducting qualities.
PARADE DRUM MAJOR
The leader of the marching band in the competition is the Drum Major. Each Drum Major
competes in a separate category with one adjudicator evaluating the Drum Major as a solo
performer. The Drum Major’s performance is also adjudicated in the Marching and
Showmanship categories as an overall package.
Separate Drum Major classifications that may be judged during a parade competition are:

• Mace (long equipment/baton): The mace may vary in length from 50 to 66 inches.

• Military (short equipment/baton): The military baton may vary in length from 32 to
49 inches.

• Open (no equipment or baton)

Once given the starting signal by the Head Judge, or designee, the Drum Major must start
the band within 30 seconds. Failure to do so will result in one point (1pt) being deducted
from the marching band’s overall score.
Failure to salute the reviewing officer, which could be the Host Drum Major, military
representative, or a designee, during the competition will result in the Drum Major’s
disqualification from competition that day.

PERFORMANCE PROCEDURES

The Drum Major will perform an oral command to bring the band to attention before
beginning the opening routine. This may happen before or after the Head Judge has given
the signal to begin competition.
OPENING ROUTINE: The Drum Major has 30 seconds to perform an opening routine. It is
not recommended that the Drum Major take the whole 30 seconds, a penalty will be noted
in the comments on the sheet, as would be applied in a competitive performance. This is
typically concluded with an ending form such as the pike or “Victory V.”
The Caption Areas for comment are:

• BATON/MACE Moves: The flourishes, prop spins, and various moves made with the
mace or baton. Open Drum Major conducts the band and uses various hand drill
movements that lead the music.

• STOPS: A measure of how well the Drum Major stops the baton or mace motion
during the opening performance. Clean, precise angles, and accuracy of stopping in
the routine are important. Upper body strength is important to help show superior
control.

• BODY CONTROL: A measurement of how well the Drum Major can maintain
attention position while doing the different moves in the opening routine. Attention
to the free hand during the routine must be considered. Making the free hand a part
of the routine is essential.
STEP-OFF: Once the opening routine has concluded, the Drum Major will give the forward
command (by whistle or vocals), following a step-off routine.
The Caption Areas for comment are:

• WHISTLE/ORAL COMMANDS: The Drum Major uses a whistle or oral command to

start the band. Signals should be sharp, clear, and performed rhythmically. Oral
commands must be complete commands with preparatory and execution. The
volume of commands must be loud enough to be heard at the Judging stand.

• PATTERN: The combination of different moves with the baton or mace in the step-off
and salute.

• FOOTWORK: Correct military-style footwork must be followed. All standing

commands must be made from the attention position.

• MARCHING: Style should be consistent with the military style of march.

• STRIDE: The step size or stride should be a consistent size throughout the
performance.

• PHASING OF STRIDE: The heel should contact the street exactly on the beat.
• BEATING TIME: The visual method used to display the tempo and timing of the
music. Characteristics to be considered include visibility, position, and accuracy of
the tempo. Beating of time is done with a baton, mace, or prop that fits into the
theme of the band.

Drum Majors using military batons must beat time with the right hand following the
traditional military style. The left-handed beating of time is not recommended and is
not part of the traditional military style and will be judged for educational critique
only. Drum Majors using maces must beat time with the right hand unless the Drum
Major uses a Scottish/British style. Scottish/British style drum majors may beat time
left-handed or right-handed. This is tradition and shows proper respect and
knowledge of a Scottish/British Drum Major. The same style of beating of time must
continue throughout the routine even after the salute.

• COMMENCEMENT OF BEAT: Beating of time is to commence after the Drum Major

has finished the opening routine, called the forward command, and has completed
the step-off routine after taking the first step into competition.

• 1ST BEAT: All military and mace Drum Majors (except the Scottish/British style mace)
will place the highest point on the 1st beat and consistently return to the same
location each time. The Scottish/British style mace may beat left or right-handed. If
left-handed, the 1st beat would be the lowest point. If right-handed, the 1st beat
would be the highest point.

• 2ND BEAT: All military and mace Drum Majors (except the Scottish/British style
mace) will place the 2nd lower than the 1st. Enough distance between the 1st and
2nd beat must occur to be able to distinguish a difference.

• ANGLE: The angle of the baton or mace should be consistently the same degree
between the 1st and 2nd beat. Angles between 90 degrees (straight up) and 45
degrees are recommended, typically shoulder to opposite hip.

• STYLE OF BEAT: The style must match the mace or baton used.

• VISIBILITY: This evaluates the ability of the judge to view the Drum Major and
baton/mace movements from the judge’s stand.

• OUT OF PHASE WITH MUSIC: This occurs when the Drum Major’s beat is not in sync
with the band’s beat or tempo. Being ahead or behind the beat or tempo is
unacceptable.
SALUTE: The Drum Major salutes for the entire marching unit. The Drum Major should
SALUTE in the final position of the salute six (6) steps before the salute line and six (6) steps
after the salute line. A reviewing officer (Host Drum Major, military representative, or
designee) may also be present. The salute line will be 250 feet beyond the competition line
at the center of the Judges’ stand.
The Caption Areas for comment are:

• PREPARATION TO SALUTE: Preceding the salute, the Drum Major is allowed to

demonstrate showmanship ability with the baton or mace.

• FLOURISH COMPOSITION: A full range of expressive and musical qualities is

demonstrated with the use of the baton or mace.

• BATON/MACE MOVES: The pattern of flourishes, prop spins, and various moves
made with the baton or mace.

• USE OF FREE HAND: The appropriate use of the hand that is holding the baton or
mace.

• CONTINUITY: The smoothness and blend between all baton/mace moves.

• BODY CONTROL: Centering, balance, and alignment of the upper and lower body is
maintained during the preparation and execution of the salute. Body control must
be maintained to continue military bearing. Side-to-side movement or the body
coming forward does not present an appropriate appearance.

• HEAD CONTROL: The head should turn smartly towards the judge’s stand at the end
of the salute preparation, looking directly over the right shoulder. The head should
be in line with the rest of the body. After the salute, the Drum Major turns head
forward, facing down the street. This move should be made clearly and quickly.

• FACIAL EXPRESSION: A pleasant but still military expression is appropriate. The

expression should demonstrate that the Drum Major is in control of the unit and
displays self-confidence.

• BATON/MACE POSITION DURING SALUTE: The baton head should be up and higher
than the left shoulder. The mace should be in the left hand with the mace head up.
 • DURING SALUTE: The adjudication form allows for the judge to mark (when
possible) how many steps before and after the salute line the Drum Major saluted.
The salute should be six (6) steps before the salute line, flag, or reviewing officer and
held for six (6) steps past. The ability to perform a routine before the salute (in
preparation for the salute) and being able to give an appropriate salute is one of the
main parts of the Drum Major’s overall performance.

• ARM/HAND POSITION: Attention should be given to the free hand and arm position
during the salute.

o Military: Right hand should be holding baton up by left shoulder with right
elbow horizontal to the ground. The left hand should be placed on the left
side of the body, on the hip, in a pleasant-looking position.

o Mace: The right hand should be giving a hand salute. The left hand should be
cradling or holding mace.

• RECOVERY TO THE BEATING OF TIME / STRUT / CANE WALK: Resumption of the

beating of time, strut, or cane walk must begin immediately following the salute. The
Drum Major should return to the beating of time after coming out of the salute.

• VARIETY: Movements should be varied in appearance, type, and form.

• VISUAL MUSICALITY & CONTINUITY: The completeness of musical phrases

throughout the visual presentation.

ADDITIONAL AREAS FOR COMMENT IN A PARADE ROUTINE

• LEADERSHIP: The ability to make and communicate decisions.

• CONFIDENCE: The projection of command and control of the unit.

• POSTURE: The alignment of the body should be uniform, healthy in appearance,

erect, and pleasing to the eye.

• APPEARANCE: The physical appearance of the Drum Major.

• GROOMING: The personal appearance of the Drum Major should include

cleanliness, neatness of hair, and reasonable use of cosmetics.
• UNIFORM: The uniform of the Drum Major should be consistent with the theme
presented by the band. A Scottish or British theme must also be evident in the band
for the Drum Major to wear such uniforms. The entire uniform should be in good
repair, clean, pressed, and properly fit.

o Headwear should conform to the type of uniform being worn. It should be in

good repair, clean, and properly fit.

o Footwear should conform to the type of uniform. It should be in good repair,

clean and polished.

o Recommended/optional items: Gloves and gauntlets should conform to the

type of uniform. They should be in good repair, clean, and properly fit.

o A minimum of Scottish or British uniform components are needed for the

uniform to be considered Scottish or British in style. The following items
must be part of the uniform to be considered: Scottish or British headwear
(Bearskin, Feather Bonnet, Tam, or Glengarry) and Scottish tunic or British
style jacket and Scottish plaid with broach pin and Sergeant sash or British
sash and Sergeant sash.

o If a school-issued performance drum major uniform is not available due to

factors outside of the participant’s control, the participant can dress in their
school band shirt, with pants color that compliments the shirt, and footwear
that would be worn while wearing the school drum major uniform. Concert
attire may also be substituted in this condition.

• EQUIPMENT: The equipment used by the Drum Major during the execution of his/her
duties.

o The whistle should be a high-pitched instrument with sufficient volume to be

heard throughout the band. A traditional whistle with a cork ball inside is
recommended. The whistle lanyard should match or blend with the uniform
jacket. The use of a whistle is not required for Scottish or British-style drum
majors.

o The military baton must be a type that is made for Drum Majors. Batons for
twirlers are not permitted. It may vary in length from 32 to 49 inches. If
wrapped with a cord, the cord color must blend with the uniform. The baton
and cord must be in good condition and neatly wrapped. Baton ball
protectors are allowed. The mace may vary in length from 50 to 66 inches. If
wrapped with a chain or cord, the color should blend with the uniform and
should be neatly wrapped. The mace and cord/chain must be in good
condition.
 Solo Drum Major “L” Pattern Guide
“L”-pattern: L-shaped pattern, 150’ at the long
leg and 70’ at the short leg.

a. L-Pattern timing begins after inspection

once the judge has asked the competitor to
Opener begin.
b. Timing ends one beat after the competitor
START dismisses their band.
c. The time limit is 4 minutes.
Mark Time / Halt
Dismiss Band The following commands will be executed in
Transition to beat of time. the order in which they are listed:

I. Vocal commands as requested by the

judge
Beat of time.
II. Forward March
Strut – Cane Walk III. Left Turn
Beat of time IV. Counter March
V. Right Turn
Salute VI. Salute
Sequence VII. Mark Time/Halt
VIII. Dismiss Band
Salute 6 before Transition to left turn.
and 6 after the After the forward march and following each
command up to the mark time signal, some
salute line.
type of beating of time must be shown.
No salute = DQ
Creativity and originality to the chosen style will
Salute be part of the adjudication criteria.
sequence after
the right turn

Left turn signal / sequence

Beat of time.
Beat of time – Strut

Countermarch
Transition to
Canewalk

COUNTER
MARCH

Right Turn signal / sequence

 Updated by M. Sebastian/E. Gerolaga (2023)

NCBA Drum Major Solo Competitions

L-Pattern classifications
NOVICE A – Introductory to Beginning Level

• Limited to no experience, has not competed before.

NOVICE AA – Intermediate Level

• Flourishing Composition: The drum major displays some variety, using one or two
planes with mostly basic spins. The degree of difficulty is limited with limited
exposure to error using basic transitions and moves which may be repetitive and/or
ineffective. Routine may favor one direction and one side of the body.

• Flourishing Achievement: The drum major exhibits a beginning level of degree of

control and precision. Some angles, planes, free-hands, and moves may be placed
ineffectively and may not be accurately executed. Speed of movement may be
inconsistent. Beating of time may be inconsistent and unclear at times. Moves
cause many minor body control problems (e.g., shoulder movement, head
movement). Salute may not be presented in the designated competition area.

• Marching & Maneuvering: The drum major demonstrates a fair level of confidence,
leadership, and poise. Chin, eye, back, and shoulder placement may limit
confidence and/or be inconsistent. Stride may be inconsistent – possibly leading to
spacing or phasing problems within the band block. The presentation is in the
beginning stages. The drum major presents some degree of presence and
leadership.

SCHOLASTIC CLASS – Intermediate and Some Advanced Level

• Flourishing Composition: The drum major displays an intermediate level of variety

using multiple planes and/or unique moves. The degree of difficulty is good with
some exposure to error and effective, complex moves or transitions. The routine is
built around music in some sections and is approaching a high level of
ambidexterity and directionality.
SCHOLASTIC CLASS – Intermediate and Some Advanced Level (continued)

• Flourishing Achievement: The drum major exhibits a good degree of control and
precision at the intermediate level. Angles, planes, free-hands, and moves are
mostly placed effectively and executed with accuracy. The speed of movement is
approaching an excellent level of consistency. The beating of time is mostly clear
and accurate. Moves may cause one or two minor body control problems (e.g.,
shoulder movement, head movement). Salute is presented in the designated
competition area.

• Marching & Maneuvering: The drum major demonstrates a good level of

confidence, leadership, and poise. The chin and eye position are mostly consistent,
and back and shoulder placement is appropriate. Stride is mostly maintained
through performance. The drum major is approaching strong presence and
leadership.

OPEN CLASS – Advanced to Standard-Setting Level

• Flourishing Composition: The drum major displays a high level of variety, using
multiple planes and unique moves. The degree of difficulty is very high, with
exposure to error and effective, complex moves, and transitions. The routine is
integrated with the music and demonstrates a high level of ambidexterity and
directionality.

• Flourishing Achievement: The drum major exhibits a high degree of control and
precision. Angles, planes, free-hands, and moves are placed effectively and
executed with high accuracy. The speed of moves is at an excellent level of
consistency. The beating of time is accurate and very clear. Moves do not visibly
affect body posture. Salute is presented in the designated competition area.

• Marching & Maneuvering: The drum major demonstrates a high level of

confidence, leadership, and poise in the performance. A strong posture is shown
through consistent chin and eye position, along with appropriate shoulder and back
position. Stride is maintained consistently. The presentation is consistent with the
style shown. The drum major exerts a strong presence and leadership.
 FIELD CONDUCTING

Preparing to Conduct
Foot position is extremely important. It is the foundation of your body and therefore
supports the conducting pattern.

Stance
1. Feet
a. Together
b. 45 degrees
c. 3rd Position

2. Back
a. Straight with a slight lean forward. If anything, you want to feel as if you are in
the band's face.

3. Shoulders
a. Relaxed. You are going to be in this position for quite some time so they might
as well be relaxed. This also allows for more movement in the pattern.

4. Arms
a. In front. Your arms should never go very far from the front of your body.
b. Your forearms should line up with your elbows.

5. Head
a. Looking straight ahead. You should be able to look into the eyes of every
person on the field, including every member of the color guard and the front
ensemble.
Hand Position
The position that is most comfortable and provides the most clarity should be the one you
use.
A. Wrist Options

• The wrists should be straight away from the arms (parallel to the ground, 90-degree
angle to your body).

OR…

• They should be angled slightly up (away from ground).

B. Hand and Finger Options

• Cup the hands slightly with the thumb touching the forefingers
o Common hand position
o Easy to use and match
o Can feel constrained and rigid
o Heavy

• Flat palms with thumbs separated from forefingers

o Widest position so can be easier to see
o Lighter than the previous example
o Allows for more flexibility and style
o Still relatively heavy
o More difficult to match exactly

• Hang arms and hands down by side

o Make an "ok" sign with your fingers by touching the tip of your forefinger to
the tip of your thumb and making a circular shape.
o Bring up to the conducting position and turn your wrists so that the palms are
facing the ground.
 Is lighter than the other hand positions
 Is very flexible and free to change with style
 Difficult to match
 Can be unclear
Arm Position
A. Beginning Position
1. Put your arms down by your side and relax. Only using the shoulders for motion,
move the arms until they are straight in front of you, parallel to the ground. Bend
your elbows so that your hands come closer to your body and your elbows end up
slightly in front of your torso. Experiment with the height and arm lengths until you
find the one most comfortable. You are going to be in this position for quite some
time.
B. Beat 1
1. At the beginning of the pattern, your arms should be positioned as if you were riding
a motorcycle (slightly wider than your body).

2. Do not go too wide, but do not go toward the opposite extreme, and ride a scooter
with your arms too close together.
C. Beat 2
1. Whatever pattern you decide to use, at Beat 2 your hands should be relatively close
together just short of touching or crossing.

D. Beat 3
1. Imagine that you must catch a very large but very light beach ball. Look at the
pattern Section and notice that with each one, Beat 2 and Beat 3 are the same
distance away from Beat 1, only on different sides. Look in the mirror to gauge this.
The elbows should extend at this point to clarify the pattern’s symmetry.

E. Beat 4
1. Once you have established Beat 1, Beat 4 is in practically the same place. You
should think of this beat as preparation for Beat 1.
Basic Conducting Patterns
2/4 Pattern:

3/4 Pattern:

4/4 Pattern:

For 5/4 patterns – NCBA Recommends using 2+3 or 3+2 depending on the music score.

For 7/4 patterns – NCBA Recommends using 4+3 or 3+4 depending on the music score.

Cues
It is important to emphasize the role of a conductor as just that, a conductor, not a dancer.
Do not sacrifice the clarity of the pattern or the tempo for your showmanship as in having
too many cues. Your top priority is to keep the band together.
Balance
• One must have an appropriate measure of pattern alone, active gestures, and
passive gestures, with the pattern far outweighing the others.

• Cues must be used for a desired effect and should never be used more than they
are called for--so do not go looking for places to "insert" unnecessary cues for the
sake of filling space.

Having more than one Drum Major

1. Being a drum major is a very exposed position and most members of the band will
notice how well one is getting along with the director, the other band members and
with each other. You should always treat your colleagues with respect and must act
with the highest amount of professionalism.

2. When conducting on the field or on the side as an assistant, know the music well
enough to conduct the full band. However, try to focus on the parts around you.
Make sure that everyone there has a good view of you. Compromise! Even if it
means having to do a little marching and conducting. You should always have your
eyes glued to the center podium. If you are not together, all else is unimportant.

3. Try to conduct together often to match styles. Each person's conducting is like a
fingerprint, unique and their own, but the BEST conductors can fit their pattern to
match others. MATCH THE CENTER PODIUM IN STYLE AND IN TEMPO.

ADDITIONAL AREAS FOR COMMENT IN A CONDUCTING ROUTINE

• ICTUS: Ictus is clear and consistent on all points of the beat pattern, no
fluctuation of the tempo for outdoor field conducting.

• FIELD COVERAGE: Strong sense of field coverage by actively scanning the band
appropriately to maximize pattern visibility to the ensemble.

• PATTERN ADAPTABILITY: Change pattern styles to reflect the articulations and

styles of the music throughout the entire performance.
o Adapts the size of their pattern to portray the dynamics of the music
throughout the entire performance.
o The conductor can effectively utilize variations in pattern without
sacrificing clarity to effectively conduct in the appropriate style relative to
the music.
• SCORE EXPERTISE: The conductor displays thorough knowledge of music score
study through effective, clear, and confident field conducting.

• PREPATORY GESTURES: Clear and confident at prepping on the beat before the
cue with strong field coverage.

• CUES: Cues all the dynamic and tempo changes understanding musical
integrated preparatory gestures.

• PHRASING: Very strong sense of phrasing by cueing supporting entrances,

sustaining notes, and cut-offs with facial expressions.

• COMMUNICATION: Highly engaged with the ensemble; actively utilizing eye

contact, cues, and body positioning.
o Important musical events are effectively communicated to the ensemble
and led by the conductor using clear, unambiguous gestures giving visual
attention to musically thematic material.
o Visually leading the ensemble through conducting.

• TRANSITIONS: Clear knowledge of Transitions/Entrances and Exits and various

visual dynamic controls.

• FACIAL EXPRESSIONS: Appropriate facial and body expression is used

throughout the entire performance.

• POSTURE: Posture is well supported by lifting the rib cage, pulling, and pushing
shoulders back and down, and elongating the neck.

• CONFIDENCE: Very strong execution in commands, movements, and cues

throughout the entire performance.
o Highly knowledgeable of the music by leading the ensemble and not
following behind the music.

• SALUTE: The opening salute executed is appropriate and ends in a strong ending
position with an articulate blade.

• PERFORMANCE ENGAGEMENT: From the moment that the conductor steps onto
the podium, all body language and verbal communication from the conductor
inspires confidence in the ensemble.
NCBA Drum Major Solo Competitions
FIELD CONDUCTING classifications

NOVICE CLASS – Introductory to Beginning Level

• Conducting Fundamentals: The Drum Major displays a beginning approach to

field conducting through clear basic patterns with the music, understands a clear
ictus, and understands the basic use of space.

• Conducting Leadership: The Drum Major displays a beginning level of leadership

through prepping, cues with facial expressions, and a beginning level of leading the
music score.

• Showmanship: The Drum Major displays beginning showmanship through good

posture, confidence, and performance engagement.

SCHOLASTIC CLASS – Intermediate to Some Advanced Level

• Conducting Fundamentals: The Drum Major displays an intermediate approach

to field conducting through clear basic patterns with the music, understands a clear
ictus, and understands the basic use of space.

• Conducting Leadership: The Drum Major displays an intermediate approach to

leadership through prepping, cues with facial expressions, and a beginning level of
leading the music score. The Drum Major defines the music by leading impacts and
solos through cues.

• Showmanship: The Drum Major displays intermediate showmanship through good

posture, confidence, and performance engagement.
OPEN CLASS – Advanced to Standard-Setting Level

• Conducting Fundamentals: The Drum Major displays a mastery-level approach to

field conducting through clear basic patterns with the music, and mixed meters,
understands how to lead syncopation, displays a clear ictus, and understands the
basic use of space.

• Conducting Leadership: The Drum Major displays a mastery-level approach to

leadership through prepping, cues with facial expressions, and a beginning level of
leading the music score. The Drum Major defines music by leading impacts and
solos through cues. The Drum Major uses advanced footwork to show leadership
with the music and breath marks to help lead the ensemble.

• Showmanship: The Drum Major displays a mastery-level showmanship through

good posture, confidence, and performance engagement through emotion and
music support.