RDMADrillManualv

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DRILL MANUALFOR

PIPES AND DRUMS

v. 3.0

2007

By

Paul E. OlsonIain D. McGion

Mic!a"l #. S$"%a&$'a("s A. )a&&in*$on

+i"&an G. Boyl"

REGIMEN,AL DRUMMA'OR ASSO-IA,ION



FOREWORD

This publication is the second major publication of the Regimental Drum Major Association: a drillmanual for pipes and drums. The idea for this manual came from D&u( Mao& 'o!n Moon during theediting of the RDMA Mace Manual for ipes and Drums. This project turned out to be !uite comple".

This manual is targeted for ci#ilian pipe bands$ although militar% Drum Majors &ill find the information #er% familiar. Additionall%$ this manual is designed to be used in conjunction &ith the RDMA MaceManual for ipes and Drums.

'ompletion of this manual &as significantl% dela%ed &hen ( disco#ered that 'ommon&ealth drill is notnecessaril% the same among sister countries. For this manual ( ha#e included both )* and 'anadian drill.+earl% e#er% drill mo#ement is slightl% different bet&een the t&o countries. ( included both so that theDrum Major ma% select the drill that most suits his or her unit.

This manual is not e"hausti#e. ( ha#e included those maneu#ers that the Drum Major &ill mostcommonl% use. Further$ this manual is not all,inclusi#e to an% au"iliar% units that ma% be attached to thepipe band. That is not to sa% there &ill not be subse!uent editions to address these areas.

For this manual ( ha#e used the )*-s /01 Drill 2All Arms3 manual as &ell as the 'anadian Forces Manualof Drill and 'eremonial 2A,D,45,5556T5553 as the primar% reference. ( ha#e re,&ritten the te"t tohopefull% ma7e the information contained herein more user,friendl%.

As &ith the mace drill$ one should use foot drill that the band 7no&s and understands8 ho&e#er$ the DrumMajor and band should also be 7no&ledgeable in 'ommon&ealth drill should the% appear in massed bandor tattoo situations.

aul E. OlsonDrum Major$ 9te&art Tartan ipes Drums of 9an Franciscoresident$ Regimental Drum Major Association5; August 4551 2# .53

Addendum 44 Ma% 455< 2# =.53 Added: ermission to march band2s3 off parade$ age ;/



A'*+OW>ED?ME+T9

The Regimental Drum Major Association e"tends its appreciation to those &hose e"pertise ha#e refinedman% of the finer points of this manual:

D&u( Mao& 'o!n Moon has a most impressi#e resume. A fe& of the man% highlights include: being

the %oungest drum major 2 Scots Guards3 in the histor% of the @rigade of ?uards$ being appointedDrummer to the Ro%al ousehold$ being the 9enior Drum Major of the @rigade of ?uards and of the@ritish Arm%$ and of bringing the Fifes and Drums of 'olonial Williamsburg to national prominence.

D&u( Mao& 'o" MacDonal/ career highlights include eight appearances at the Edinburgh Tattoo2t&o as the 9enior Drum Major3 and 9enior Drum Major appearances at the Ro%al Tournament$ theRemembrance 9er#ice at the Ro%al Albert all$ and man% other &orld reno&ned tattoos and pageants.Boe &as Drum Major of the Cueens O&n ighlanders$ 29eaforth and 'amerons3 from /<4 /<< and/ , /;.

Pi" Mao& B&uc" )i$c!in*s joined the Cueen-s O&n ighlanders as a piper in /<. (n /0 @ruce &as appointed @attalion ipe Major$ a position he &ould hold for si" %ears. e &as posted as WO ipeMajor$ the 9enior ipe Major of the @ritish Arm% and 'hief (nstructor at the Arm% 9chool of iping o#er

his last eight %ears of regular ser#ice. e has since been commissioned into the Territorial Arm% and isresponsible for TA and 'adet piping.

P!ili B&an1in has been the 'ompan% 9ergeant Major of the 'hicago ighland Rifles since April 455.e is responsible for the discipline$ drill and deportment of the organiGation. e spent nearl% %ears ina similar position &ith the 'hicago based Fort Dearborn ighlanders ipe @and. hil ser#ed si" %ears inthe )nited 9tates Arm%$ reaching the ran7 of 'aptain and has nearl% =5 %ears in la& enforcement.

The Regimental Drum Major Association further e"presses its gratitude to the man% contributing authorsto this manual:

D&u( Mao& Iain D. McGion. (ain signed into the Toronto 9cottish Regiment as a bo% drummerlearning bass$ alto$ s&inging tenor$ and side drum. (ain has participated in the Wemble% ageant$ The9cottish World Festi#al Tattoo$ The 9tone Mountain Tattoo and man% others. (n //1$ he &as transferred

to the >orne 9cots Regiment$ 'anadian Forces Reser#e Arm%$ as Drum Major and continues in thatappointment toda%. 'urrentl%$ (ain is the 9enior Drum Major of ipe @ands for the amilton Tattoo andothers.

D&u( Mao& Mic!a"l #. S$"%a&$. Mic7 ser#ed in se#eral ci#ilian pipe bands from / 455including the amilton ipe @and 2ouston$ TH3$ ouston ighlanders ipe @and$ and the ipes andDrums of 9outheast Te"as. e &as Drum Major of the ;5 Air 9upport ?roup ipe @and from 455 to4554. Mic7 has ser#ed as 9enior Drum Major$ Massed @ands at the Te"as 9cottish Festi#al 2//$ //=3$ouston ighland ?ames 2//5$ //43$ and the 'eltic (rish Festi#al in +e& Orleans$ >A 2//<$ ///3.

D&u( Mao& 'a("s A. )a&&in*$on. Bim has been a Drum Major since /0<. e started &ith the'ul#er Militar% Academ% and then the 'apuchino igh 9chool @and. e has ser#ed as Drum Major forthe Dun#egan ipe @and as &ell as the rince 'harles ipe @and$ both of 'alifornia. Bim has been the

9enior Adjudicator and 9enior Drum Major of the W)9@A. e has regularl% been the coordinator of theMassed @and sho& of the 9an Francisco 'aledonian ?ames at 9anta Rosa and leasanton.

D&u( Mao& +i"&an G. Boyl". *ieran joined the @lac7 Watch 2Ro%al ighland Regiment3 of 'anadain /1. e &as a tenor drummer &ith the @lac7 Watch ipes and Drums from / until his retirementfrom the 'anadian Forces Reser#e Arm% in //. *ieran has participated as Drum Major in the Iirginia(nternational Tattoo and as >ead Drum Major of the Iictoria 'ross Tattoo. e &as Drum Major of Ro%al'anadian >egion @ranch J0=$ and the aris Do#er ipes and Drums.

Regimental Drum Major Association K 455; , 455< Drill Manual for ipes and Drums &&&.drummajor.net A>> R(?T9 RE9ERIED # =.5

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,ABLE OF -ON,EN,SI. BAND PERSONNEL b% Drum Major (ain D. Mc?ibbon$ The >orne 9cots

The Drum MajorThe ipe MajorThe Drum 9ergeant

The ipe 9ergeantThe Drum 'orporalThe ipe 'orporalThe @and ManagerThe Cuartermaster

44

====;

II. DEPOR,MEN,

D"o&$("n$ b% Drum Major aul E. Olson

O#er#ie& The AttributesThe 9%nthesis of Attributes9ummar%

1

111<

D"o&$("n$4 ,!" +"y $o P&o5"ssionalis( b% Drum Major Michael W. 9te&art

(ntroductionDefinition'haracteristicsRole in 'i#ilian @andsResources'onclusion

<

<//

55

III. DRILL -ONS,RAIN,S

Time A#ailabilit% of @and Members

h%sical Abilities or >imitations of @and MembersDominance of the ipe MajorFocus of the @and

4

I6. DRILL INS,RU-,ION

Teaching Method@e Direct and Objecti#eRemedial (ssuesDedicated Drill (nstruction

3

==;;

6. DRILL FOR ,)E BAND

A. FUNDAMEN,AL -ON-EP,SDefinitions

Words of 'ommand'omponentsoint of Dress9tride

Words of 'ommand TimingFree Arm 9&ing9alutes'ommand of the @and

11000<<//


iii






i#





B. DRILL A, ,)E )AL,

Attention At Ease9tand Eas%Fall (n'enter 2Right3 DressE%es FrontDismiss6Fall Out

About Turn>eft TurnRight Turn>eft (nclineRight (nclineMace 2or and3 9alute

45

45454444444=4=4;4;414140

-. DRILL ON ,)E MAR-)

Cuic7 March9lo& March

9lo& March to Cuic7 MarchCuic7 March to 9lo& MarchMar7 Time

From Cuic7 MarchFrom 9lo& March

Ad#anceFrom Mar7 Time 2Cuic7 Time3From Mar7 Time 29lo& Time3

altFrom Cuic7 MarchFrom 9lo& March

From Mar7 Time 2Cuic7 Time3From Mar7 Time 29lo& Time3

Mace 9aluteE%es Right 2>eft3E%es Front

Wheel 2>eft or Right3'ounter March'ircleReform

From Mar7 Time 2Cuic7 Time3From the alt

4<

4<4<

44/=5=5

=5,=

===4

=4=4==

===;

=;=1=1=0=<====/


#





D. INS,RUMEN, DRILL

ipes from 'arr% to la%ing ositionipes from la%ing to 'arr% ositionDrummers 9tic7 Drill

Drummers Read% )p9tic7 Drill for the Rolls9tic7 Drill at the End of the Tune

Attac7 &hile in Formation At the altE#entual March Off (mmediate March Off Dela%ed March Off

While on the March

;5

;5;;4;4;4;4

;=;=;=;;;;;1

Tune 'hange

At the altOn the March

;0

;0;0

Tempo 'hange At the altOn the March

;<;<;<

'ut Off At the altOn the March

;;;

E. MASSED BAND,A,,OO DRILL

ermission to March Off arade

;/

;/

6I. BAND PERFORMAN-ES

A. PARADES

1

B. MASSED BANDS

)o% $o Run a Mass"/ Ban/ b% Drum Major Bames A. arrington$9enior W)9@A Drum Major Adjudicator

?ames 'ommittee (nstructions9enior Drum Major (nstructions

ipe @and (nstructions

Mass"/ Ban/ b% Drum Major Michael W. 9te&art

14

14

1=


#i





-. ,A,,OO b% Drum Major (ain D. Mc?ibbon$ The >orne 9cots

The ierarch% of a TattooDrillMace Drill9eniorit% of @ands'olour arties 6 ?uards

1

11/000

D. -OMPE,I,ION -IR-LE b% Drum Major *ieran ?. @o%le 04

6II. SUMMAR8 93


#ii





I. BAND PERSONNEL b% Drum Major (ain D. Mc?ibbon$ The >orne 9cots

Man% pipe bands ha#e adopted the militar% pipe band hierarch%. This section describes &hat the functionof the #arious ran7s in a militar% pipe band entails so that pipe bands can ma7e decisions as to &hatduties and responsibilities should be accorded to officers of their band.

We &ill assume that the Drum Major and ipe Major are of e!ual ran7 and therefore share e!ual duties as bandleaders.

(n some bands the Drum Major ma% out ran7 the ipe Major or #ice #ersa. )nfortunatel% in some bandsthe Drum Major is nothing more than a figurehead or ceremonial position. o&e#er$ in the truetraditions$ the follo&ing are the duties of the band appointments.

,!" D&u( Mao&

The Drum Major is responsible for setting the standard or calibre of the ipes and Drums. When peoplesee the Drum Major the% should e"pect to see a band that loo7s and carries itself as &ell as the DrumMajor.

The Drum Major is al&a%s LO+ &hether parading for ro%alt%$ the local scout group$ at a band meeting$ inor out of uniform. The image of the band$ the Regiment$ or the sponsoring organiGation$ rests on theDrum Major-s shoulders. o& people #ie& the Drum Major is ho& the% &ill remember the e#ent. ence$the Drum Major must be mindful of their position and of ho& others percei#e them.

( ha#e told se#eral 'ommanding Officers of m% Regiment: L(t matters not ho& man% soldiers orcompanies follo& the ipes and Drums on parade$ the cro&d &ill onl% see the band and$ as ( lead the

band$ ( am the one the% &ill remember.

Dress$ drill$ deportment$ and discipline are the major responsibilities of the office. ( stress to each DrumMajor that the% should loo7 at themsel#es as the ambassador of the band just as one loo7s at anambassador of a countr%. @eha#iour$ speech$ conduct$ and appearance should be abo#e reproach$ not

onl% in public but also at practice and life in general. The Drum Major is the band and must be theparamount e"ample.

The Drum Major:

• Teaches indi#idual drill and trains band members- as re!uired.

• Teaches$ trains$ and maintains the band drill.

• 'reates and trains the band drill routines.

• Teaches$ trains$ and inspects all bandsmen in the proper &earing of the uniform.

• >eads the band on parades and in certain performances as re!uired.

• 'oordinates special instructions pertaining to parades$ performances$ or duties.

• 'oordinates communication &ith the ipe Major$ Drum 9ergeant$ and ipe6Drum 'orporals to

facilitate the passing of instructions through the band during performances.• (s ultimatel% responsible for the sound of the drum section.

• (nspects the entire band on regular inter#als to maintain high !ualit% of sound and appearance.

• erforms all administrati#e duties pertinent to the band in the absence of a @and Manager orCuartermaster. This includes: acting as liaison &ith Regiment or 'ommanding )nits8performing Cuartermaster duties8 financial and ban7ing duties8 and6or acting as thead#ertising or public outreach contact person.






,!" Pi" Mao&

The ipe Major is responsible for the music of the pipe band.

The ipe Major should be of good character and conduct oneself in a manner befitting the appointment.The ipe Major is the senior piper$ usuall% the most e"perienced and generall% the most capable. Theipe Major is the person that the pipe section tries to most emulate. The ipe Major is usuall% the mostmusicall% inclined$ selects the repertoire of music$ and ensures that the repertoire reflects the needs$duties$ and responsibilities of the band.

The ipe Major should 7no& as much as possible about the ?reat ighland @agpipe: it-s histor%$maintenance$ care$ up7eep$ and of course tuning. Further$ the ipe Major should 7no& the histor%$meaning$ and uses of the tunes that the band pla%s. The ipe Major must 7no& the ceremonial aspects of each tune as &ell as &hich tunes are to be pla%ed on specific occasions.

The ipe Major should ha#e a good 7no&ledge of the pomp and circumstance surrounding each functionto a#oid being caught short in an% situation re!uiring music. (n militar% or para,militar% performancesthe ipe Major must 7no& &hom to salute$ ho& to address dignitaries$ and the duties of piping the Lheadtable in and out.

On man% occasions the ipe Major &ill parade solo &ithout benefit of a Drum Major8 therefore$ he must7no& &hen to accord militar% honours such as salutes during >ast ost or Anthems$ and to comport &ithproper decorum.

The ipe Major:

• )suall% decides tunes to be pla%ed at parades$ functions$ and e#ents.

• (s responsible for maintaining the le#el of musical proficienc% of pipe section.

• Directs the ipe 9ergeant or ipe 'orporal to instruct the pipe section.

• Teaches maintenance and6or modification of bagpipes.

• 'ontrols the selection and teaches the proper care of chanter and drone reeds. ipers should not

sha#e or other&ise alter reeds unless appro#ed b% ipe Major.

• (s responsible for issues or concerns of the pipe section and$ in discussion &ith Drum Major$arranges for the discussion$ documentation$ and6or appropriate resolution6discipline &henre!uired.

• Addresses suppl% issues in coordination &ith the Drum Major.

• >eads the band in the Drum Major-s absence.

,!" D&u( S"&*"an$

The Drum 9ergeant is responsible for the rh%thm of the band.

The Drum 9ergeant:

• 9ets the e"ample for the drum section.• (s responsible for maintenance and continuit% of the drums.

• (s responsible to the Drum Major for the good order and discipline of the drummers.

• ro#ides and instructs maintenance on drums and stic7s.

• Will usuall% be the most e"perienced drummer in the band.

• (s responsible for issues or concerns of the drum section and discusses these &ith the DrumMajor.


4





,!" Pi" S"&*"an$

The ipe 9ergeant is the primar% assistant to ipe Major. +ormall% the ipe 9ergeant &ill assist in tuning$teaching$ etc. The ipe 9ergeant assumes command of the pipe section &hen the ipe Major is absent.

The ipe 9ergeant:

• 9ets the e"ample for the pipe section.

• (s responsible to the Drum Major for the good order and discipline of the pipers.

• (s responsible for tuning the pipe section$ chanters$ and drones.

• Trains the pipers$ especiall% those not %et on bagpipes.

• Teaches and monitors maintenance of the bagpipes.

• (nspects pipers on parade prior to the Drum Major and discreetl% fi"es deficiencies.

• erforms duties as directed b% the ipe Major.

,!" D&u( -o&o&al

The Drum 'orporal is the assistant to the Drum 9ergeant and is the first le#el of super#ision of drummers

in the band. The Drum Major and6or ipe Major appoint Drum 'orporals. This ma% be done as a specialrecognition of position$ abilit%$ or leadership s7ill. 'orporals &ill perform duties as directed b% 9ergeants.

The Drum 'orporal:

• (s responsible to the Drum 9ergeant for the good order and discipline of the drummers.

• Ma% be tas7ed to assist &ith the tuning the drums.

• Ma% be tas7ed &ith maintenance duties such as head changing$ snare replacement$ etc.

,!" Pi" -o&o&al

The ipe 'orporal is the assistant to the ipe 9ergeant and is the first le#el of super#ision of pipers in the

band. The ipe 'orporal loo7s after an% small jobs that the ipe 9ergeant$ ipe Major or Drum Majorha#e issued. The Drum Major and6or ipe Major appoint ipe 'orporals usuall% as a special recognitionof position$ abilit%$ or leadership s7ill. 'orporals &ill perform duties as directed b% 9ergeants.

The ipe 'orporal:

• (s responsible to the ipe 9ergeant for the good order and discipline of the pipers.

• Ma% be tas7ed to assist &ith tuning the drones.

• Ma% be tas7ed &ith maintenance duties such as bore oiling$ t%ing,in bags$ etc.

,!" Ban/ Mana*"&

The @and Manager handles man% of the administrati#e duties that &ould other&ise be handled b% theDrum Major or ipe Major. While the @and Manager is not a ran7 per se$ it is a critical position thatre!uires a person that is reliable and trust&orth%.

The @and Manager:

• (s responsible for ban7ing$ finances$ and for pa%ments to band personnel.

• lans$ schedules$ and is responsible for all practices.

• 'oordinates logistics for band trips$ e#ents or functions.


=





,!" :ua&$"&(as$"&

The Cuartermaster handles the in#entor%$ issuing and ordering of uniforms and e!uipment. TheCuartermaster$ li7e the @and Manager$ is not a ran7 per se$ but it is also a critical position that re!uires aperson that is reliable and trust&orth%.

The Cuartermaster:

• (n#entories$ issues$ and orders band uniform$ supplies$ and e!uipment.

• Arranges all purchases and storage.

• Maintains a timetable for replacement of uniforms$ instruments and accoutrements.


;





II. DEPOR,MEN,

DEPOR,MEN,@% Drum Major aul E. Olson

Ov"&vi"%

Deportment is a nebulous concept that is not easil% e"plained %et is #itall% important for the loo7 andprofessionalism of the band. (t is defined as: the manner in &hich one conducts oneself$ beha#ior. TheDrum Major is the e"emplar of this in#isible standard. Deportment encompasses man% interrelatedattributes that include$ but are not limited to poise$ bearing$ confidence$ diplomac%$ courtes%$ a&arenessof personal limitations$ conduct$ 7no&ledge$ and attitude. Deportment is the s%nthesis of these attributesinto intra,personal and inter,personal components. The Drum Major must be a&are of these componentsand ho& the% affect the perceptions of a gi#en audience be it spectators$ band members$ or persons inauthorit%. For the purposes of this chapter &e &ill address the impact of deportment of the Drum Major8ho&e#er$ this &ill e!uall% appl% to the indi#idual band members.

,!" A$$&iu$"s

To assist us in discussing the notion of deportment$ it is helpful to ha#e an understanding of &hat se#eralof the #arious attributes mean. Once &e ha#e a grasp on these concepts &e can assimilate them into ho&

&e adapt deportment into our position and appearance.

• Attitude: @eliefs$ feelings$ #alues$ and dispositions to act in certain &a%s.

• @earing: Dignified conduct or manner.

• 'arriage: 'haracteristic bearing of one-s bod%.

• 'omposure: 'alm$ rela"ed appearance$ and steadiness of mind particularl% under stressfulsituations.

• 'onduct: The &a% a person beha#es to&ard other people.

•'onfidence: 9elf,assurance$ belief in %our abilities &hile being free of doubt.

• 'ourtes%: Well,mannered$ polite$ noble$ generous$ elegant$ and considerate beha#ior

to&ards others.

• Diplomac%: Abilit% to the subtle and s7illful handling of a gi#en situation.

• Focus: 'oncentration of attention on something &ith ma"imum clarit% or distinctness.

• *no&ledge: )nderstanding and a&areness of facts and situations.

• oise: A person-s assurance of manner$ confidence in handling situations$ and one-s

composure.

,!" Syn$!"sis o5 A$$&iu$"s

)pon re#ie& of the #arious attributes &e can group them into three basic components:

• *no&ledge @ase

• ersonal Discipline

• resence

A Drum Major e"hibiting e"emplar% deportment &ill result in being fa#orabl% percei#ed b% others.


1





Knowledge Base

For the Drum Major or band to e"ude confidence$ poise$ and bearing$ s6he must be 7no&ledgeable in allaspects of his6her position and the tas7 at hand. This &ill include the finer points of dress$ drill$ andmusic. (n addition to being the band e"pert on dress and drill$ the Drum Major must be 7no&ledgeableabout the tunes the band pla%s. 96he should attend e#er% band rehearsal and be proficient on the drumsor pipes. This proficienc% &ill cause the Drum Major to intimatel% 7no& e#er% tune.

Further$ the Drum Major must 7no& the d%namic of the band both in ho& the band operates and of thepersonalities in#ol#ed. The Drum Major must 7no& e#er% person in the band. The Drum Major must7no& the limitations of the band and to a#oid$ at best$ embarrassment or$ at &orst$ ph%sical harm to the

band or band member. Moreo#er$ the Drum Major must be 7no&ledgeable and comfortable &ithe"ecuting the tas7 at hand &hether it is conducting drill rehearsal$ a parade$ a tattoo$ or a competition.The scope of 7no&ledge is so large that the prudent Drum Major is al&a%s learning the craft.

Personal Discipline

The position of Drum Major is one borne from a militar% heritage. Accordingl%$ one must adopt a militar% bearing &hile in the position. This trait is de#eloped b% practice$ repetition$ and consistenc%. The DrumMajor must rehearse the mace signals so that the% are the same e#er% time. The Drum Major must

practice personal drill and the handling of the mace so that e#er% mo#ement is deliberate &ith purpose$forethought$ and reason. That is$ all e"traneous mo#ement is eliminated. (f at Attention or At Ease$ theDrum Major is motionless. (f the Drum Major needs to loo7 to one side$ the head is snapped to one side$and after the information is attained$ the head is snapped bac7 to its original position. This is done

&ithout effect on the shoulders or the rest of the bod%. When Mar7ing Time$ mo#ement is constrained tothe hips and belo& &ith no mo#ement of the bod% abo#e the hips. Again$ this ta7es practice.

The Drum Major must displa% e"cellent posture &ith an air of self,assuredness$ the chin slightl% ele#atedand e%es fi"ed. The Drum Major should rehearse as if s6he &ere performing and should perform as s6herehearse. This &ill result in the performance persona to appear effortless and natural &hen on parade.roperl% engrained$ it &ill be second nature.

9imilarl%$ one must lead the band &ith a clear$ thoughtful$ and focused mind. The Drum Major must

anticipate and ha#e a read% response for an% situation that ma% present itself. Additionall%$ the DrumMajor must factor in ho& the band &ill react in an% gi#en situation. Ade!uate preparations &ill alle#iate basic issues such as the proper uniform$ the music sets$ an% special drill$ the parade route$ the location of the re#ie&ing stand$ and the li7e. The prepared Drum Major ma% then focus on the une"pected: a bandmember faints &hile on parade or a police unit must une"pectedl% clear the parade route to respond to anemergenc%. 'alm$ direct$ and timel% responses to such issues are the trademar7s of a s7illed Drum Major.

Presence

o& do &e present to othersN The Drum Major necessaril% has contact &ith others relating to the band.This puts %ou in a position of dealing &ith a #ariet% of personalities. This includes band members$ bandleadership$ the audience$ the organiGers of a particular e#ent$ the parade marshals$ among others. Eachinteraction is a reflection of the Drum Major and of the band s6he represents. 'are must be ta7en tohandle e#er% situation &ith tact$ diplomac%$ courtes%$ and honest%. These interactions ma% occur in less

than ideal circumstances and &ith tactical or strategic repercussions. Man% circumstances ma% be #er% stressful$ under strict timelines$ or detrimental to the group. One must 7no& &hich issues are of littleconse!uence and &hich are not. The calm confident conduct and objecti#e thoughtfulness of the DrumMajor should help to impro#e$ stabiliGe$ or e#en defuse a potentiall% dire situation.

The Drum Major must also be mindful of dress. The uniform should be e"emplar% and &ornappropriatel%. Dress is one of the band-s primar% #isual presentations. The Drum Major must 7no& thehistor% and purpose of the #arious uniform parts and ho& the% are correctl% assembled &hen &orn.


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The uniform is commonl% a militar% uniform such as Full Dress or a common national dress such as Da% Wear. (t must be &orn correctl%. To do other&ise is to insult man% 9cottish militar% units rich in histor% and sacrifice. The correct &earing of ci#ilian dress &ill displa% a sophistication that those in the 7no& &illappreciate. @and members should be clearl% instructed in proper dress of the uniform and tactfull% andgentl% corrected if necessar%. A Drum Major or band that is smartl% dressed &ill be remembered.

The Drum Major must be punctual to all band gatherings and performances. The Drum Major shouldha#e the band staged and read% to perform on time. This &ill re!uire ad#ance planning &ith the ipeMajor. The Drum Major should be conser#ati#e in his or her personal lifest%le so that embarrassment &illnot be brought on the unit or the person.

>astl%$ accommodate the public as best %ou can. There are man% stories of %oungsters meeting the DrumMajor and later in life recounting that encounter as being influential in their ta7ing up the pipes or drums.@e gracious in social settings. ou &ill be long remembered for %our appearance$ demeanor$ and &hat

%ou sa%.

Su((a&y

(f the Drum Major and his6her unit has adopted$ &or7ed$ and polished an e"emplar% deportment$ those

that #ie& the Drum Major and band &ill come a&a% &ith a fa#orable impression. The band and the DrumMajor &ill de#elop a reputation as being a professional and !ualit% enterprise$ one that &ill ac!uire astrong$ supporti#e$ and impressed audience base.

DEPOR,MEN,4 ,!" +"y $o P&o5"ssionalis(@% Drum Major Michael W. 9te&art

In$&o/uc$ion

Of LThe = D-s 2Dress$ Drill and Deportment3$ the most important is Deportment . Deportment is the 7e%

building bloc7 for the other t&o components. Without deportment$ dress and drill are meaningless.

Deportment is the foundation on &hich Dress and Drill are taught. (t is the 7e% to understandingleadership$ professionalism$ and personal conduct and ho& each can be understood$ de#eloped$ ande"hibited. Deportment is also the primar% incenti#e behind the motto: L>ead b% E"ample. What &e sa% and do on parade &ill be long remembered once &e ha#e departed. (f &e are to lead b% e"ample &e must7no& ho& to conduct oursel#es both on and off the parade ground. As a Drum Major$ it is necessar% tounderstand this most maligned and often misunderstood trait of the Drum Major.

Without deportment$ &e are nothing more than &ell,adorned sho&men pla%ing dress,up. o& man% times ha#e &e &itnessed a Drum Major in Full Dress e"hibit poor conduct on parade or ham it up inpublic for laughsN o& man% times ha#e &e seen a bandsman pulled from the ran7s$ handed a mace andtold to Lgo to itP Man% times the problems are the result of our ignorance or lac7 of e"perience. Ier% often it is the result of poor leadership &ithin ci#ilian bands. Without deportment$ &e are indeed

Lpeacoc7s on parade a characteriGation that is upsetting but %et$ brutall% accurate.

9ee7 out instruction current of former @ritish$ 'anadian$ and ).9. Arm% Drum Majors$ bandsmen$ and9enior +'Os &hose attention to detail and professionalism are unmatched. The most important things toremember during one,on,one instruction is the constructi#e and possibl% harsh criticism that one ma% recei#e. These are designed to ma7e the performer the best as one can be on parade. As a Drum Major &eoften hear nothing but accolades from the public. Rarel% are &e gi#en judicious criticism.

@efore a no#ice Drum Major is gi#en the mace and the reins of command of the band$ s6he should first beschooled in three areas of Deportment: Definition$ Characteristics and Role.


<





D"5ini$ion

A clinical definition of deportment is:

LQDeportSmentQ$ n. F. deUportement8 demeanor. 9ee VDeport.U Manner of deportingones self 8 manner of acting8 conduct8 carriage8 especiall% $ manner of acting &ith respectto the courtesies and duties of life8 beha#ior8 demeanor8 bearing.

'WO(( 9.>. >um7in$ )9+ 2Ret.3 defines deportment as:

SThe establishment and maintenance of self,discipline and conduct pertaining to amarching aggregation.S

'anadian Arm% regulations for Officer 'adets pro#ide an interesting definition:

para 16. Deportment and Militar% @earing. O'dts Officer 'adetsU in uniform shallcomport themsel#es in a manner$ &hich projects a positi#e militar% bearing. @eha#ioursuch as che&ing gum$ slouching$ placing hands in poc7ets$ smo7ing on the street and

&al7ing hand in hand is forbidden. 4

WO(( B.E.E. 9mith$ former deportment +'O of the @lac7 Watch 2RR3 and a 9enior +'O of theEdinburgh Tattoo$ presents a soldier-s definition:

S...deportment is 7eeping %our mouth shut$ %our chest out$ and %our e%es fi"ed on a point$ &hilst on parade.S

(n its basic elements$ Deportment is composed of si" areas:

• 'onduct

• rofessionalism

• >eadership

• Demeanor

• Maturit%

• E"ercise of authorit%

All si" components ma7e up the finite aspect of Deportment b% combining a Drum Majors personalconduct 2on and off the parade ground3$ his le#el of professionalism 2techni!ue$ 7no&ledge$ application of that 7no&ledge3$ leadership 2his abilit% to &or7 as a leader or a follo&er &ithin his host band3$ demeanor2his abilit% to &or7 &ell under pressure3$ maturit% 2his abilit% to &or7 &ell &ith recalcitrant peers3 leadinge#entuall% to his e"ercise of authorit% 2the maturit% to ma7e decisions based upon his e"perience3. TheDrum Major must possess a portion of these traits if he is to be an effecti#e contributor to his host band.

Another aspect of the definition of Deportment is the phrase: setting the eample. The Drum Major is the focal point of the !and . The Drum Major is the first person to be seen as the band marches past there#ie&ing stand. (n man% instances$ the band is judged based upon its Drum Major-s dress$ drill ands7ill &ith the mace. A flustered or inept Drum Major$ no matter ho& &ell dressed and adorned &ill not

set the e"ample to other bandsmen or be loo7ed upon as the focal point. To set the e"ample$ he muste"hibit maturit% and demeanor 2L!uiet professionalism on parade3 during a parade or in e#en moretr%ing circumstances such as during an Annual ?eneral Meeting.

1 'ourtes% of %per Dictionar% Online 2&&&.h%perdictionar%.com32 'anadian Arm% 2Armee 'anadienne3 'adet Officer Regulations. 'ourtes% of 'anadian Ro%al Militar% Academ% 2'adets3. &&&.rma.com






The late ipe 9ergeant (ain Macherson$ ?lasgo& ighlanders 2>(3: L@oth on and off the parade field$the Drum Major must be professional. e must e"hibit true sincerit% of purpose and sound command indealing both &ith the musical6parade portion of the band as &ell as &ith the business side of it. @oth gohand in hand. (f he has control of one$ but not the other$ he &ill not be effecti#e.

-!a&ac$"&is$ics

WO(( 9mith" #$he Brigade of Guards are well %nown for their deportment on parade. Pro!a!l& the finest in the world. Certainl& the !est in the British 'rm&. $he Guards ha(e set the standard with$rooping the Colour and their duties at Buc%ingham Palace.) The #ideos Trooping the 'olour and theEdinburgh Tattoo help illuminate this point.

Other good e"amples of deportment are the 'anadian Regimental ipe @ands$ e"hibited at the +o#a9cotia Tattoo$ the amilton Tattoo and #arious militar% band e#ents across 'anada.

)nited 9tates militar% units pro#ide a uni!ue understanding of American militar% deportment$ especiall% important and certainl% no different from a pipe band. The crac7 efficienc% of the 9ilent Drill Team of the).9. Marine 'orps 2)9M'3$ the SsnapS of =d )9 (nfantr% 2The Old ?uard3 onor ?uard at the Tomb of the )n7no&ns. et another e"cellent displa% of American deportment is the breathta7ing e"pertise and

precision of the ==5,member SFighting Te"as AM Aggie @andS 2and its three signal baton &ieldingDrum Majors3. These are all superb e"amples of American design and efficienc% on the definition of deportment.

Drum 'orps (nternational 2D'(3 e"hibit e"cellent ci(ilian drum corps deportment on parade. D'( haspro#ided ci#ilian pipe bands &ith &ell,trained Drum Majors not to mention &ell,trained drummers.Man% D'( members go onto careers in the ).9. Armed Forces &here their prior 7no&ledge$ 7een attentionto detail$ and professionalism ma7e them e"cellent additions to militar% bands.

Rol" in -ivilian Ban/s

The understanding of deportment for an all,#olunteer$ ci#ilian pipe$ fife$ or brass band is critical. (t is

#ital to the establishment and maintenance of bearing during public parades. Deportment is the glue thatcements self,discipline$ demeanor and personal conduct &hen %oung$ impressiona!le pla%ers loo7 to the band leadership for e"ample in public.

Drum Major WO(( T.E.R. Mc?rad% of the Cueen-s O&n 'ameron ighlanders made mention that &henhe came to the ).9. in /01$ deportment &as e"ceptional. Thirt% %ears later$ he made the remar7 thatdeportment among bands and Drum Majors had become Secessi(el& poorS at the ighland ?ames thathe attended around +orth America. Drin7ing on parade$ lo&ering instruments$ tal7ing$ shuffling about ,Drum Majors included , led him to belie#e that the subject of conduct,on parade &as not ta7en seriousl%.ipe,9ergeant Macherson made mention about the lac7 of deportment &hen he said$ *...these !andsmenand Drum +a,ors ma& not care- !ut the pa&ing pu!lic in the stands see it. t/s reall& not the !andsmen0s

fault- it0s the leadership/s. $here must !e emphasis on personal conduct &ou simpl& can/t tal% a!out it-&ou must ehi!it it whene(er &ou step off.*

(n the earl% //5s$ a &ell,7no&n American competition pipe band fle& to 9cotland to compete in the World 'hampionship in ?lasgo&. After the 9alute to the 'hieftain the 9enior Drum Major of the Massed@ands$ an e",@lac7 Watch Warrant Officer$ approached the leadership of this band and made mention of their e"cessi#e tal7ing on parade$ complaining$ poor turnout and deportment. The 9enior Drum Majorpro#ided fair &arning: (f %ou return ne"t %ear$ %our personal conduct must be abo#e reproachP

9cenes such as this should ne#er ta7e place. The root cause is the lac7 of instruction and preparation intothe facets of deportment. All bands$ regardless of genre 2and competiti#e abilit%3 should discuss the roleof deportment in their corps both at rehearsal and at the Annual ?eneral Meeting.


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There should be the establishment of deportment standards for public e#ents for all bandsmen &ithe#er%one held accountable. 99gt Tom White$ ;5 'ommando: *+ost of the 'merican pipers and drummers ha(e seen are ecellent on parade- !ut man& of the host Drum +a,ors simpl& lac% the (er&!asics. With a good instructor- one can clean this up and present !etter on parade. 'mericans are well %nown for their turn2out. 'll that0s needed is a good scru!2up on the fundamentals and the& should !egood to go.*

Deportment should be taught directl% from the band leadership$ &hether it be the Drum Major or ipeMajor. When the band leadership places a central focus on conduct and demeanor bandsmen ha#e atendenc% to ta7e deportment issues seriousl%.

R"sou&c"s

The best resource is one,on,one instruction. The search for a Drum Major instructor$ especiall% &ithinones location and competiti#e peripher%$ is the best route. An instructor can also conduct Deportment

&or7shops for the band and criti!ue the band during practice. One,on,one allo& instructors to personall% correct discrepancies and fi" the faults.

The second best resource is #ideotape or DID. Where no instructors can be found in remote areas$ the

no#ice Drum Major ma% purchase man% different t%pes of #ideos for instruction. Iideos can be purchasedfrom the Edinburgh Militar% Tattoo and #arious pipe band suppliers at reasonable prices. Iideos of Trooping the 'olour$ other pipe band or militar% e"hibitions are also outstanding items to re#ie&.

Drum 'orps (nternational 2D'(3 is not onl% a good resource for their summer concerts$ but the tic7etprices are economical. D'( concerts are e"cellent #isual tools for beginners. 'ontact D'( for moreinformation.

-onclusion

(f &e are capable of learning$ an% person$ regardless of abilit%$ can become a suitable Drum Major for theirhost band. Drum Major Mc?rad%: LAn% person &ho can learn from another can be a good Drum MajorP

There is no such thing as a born leader.

Ma7e Deportment an item on %our list &hen %ou go to practice. Discuss it &ith %our band8 gi#e e"amplesof smart conduct and turn out. (f %our band leadership allo&s$ sho& a #ideotape and then ha#e adiscussion about ho& to adapt more professional$ militar% st%les of conduct &hile on parade.

@ut most importantl%$ if %ou are the Drum Major$ set the e"ample. +e#er be in a position &here %ou aretold %ou are not professional enoughP ?et s!uared a&a%$ learn deportment traits$ and get so enamored

&ith professionalism &hile on parade that others see7 %ou out for ad#ice. The greatest compliment %oucould e#er recei#e is to ha#e another Drum Major sa%$ *3oo% at Smith. 4ow that is Deportment5*


5





III. DRILL -ONS,RAIN,S

Full Time Militar% bands ha#e an ad#antage o#er Reser#e unit or ci#ilian bands in that the% ha#e time tode#ote to drill in addition to perfecting the music. Reser#e unit or ci#ilian bands are constrained b% se#eral factors:

• Time A#ailabilit% of @and Members.

• h%sical Abilities or >imitations of @and Members.

• Dominance of the ipe Major.

• Focus of the @and.

,i(" Availaili$y o5 Ban/ M"("&s

Members of ci#ilian bands often ha#e to consider &or7$ school$ and famil% responsibilities along &ith band commitments. This often results in limited time a#ailable to de#ote to band rehearsals. @ands ma% rehearse once$ t&ice$ or sometimes three times a &ee7 depending on band grade and the emphasis oncompetition. As a result$ drill rehearsal is often postponed until just before a performance.

An% marching unit must ha#e a continuous and regular curriculum of marching drill to sta% sharp andinstincti#el% perform &ell. To dela% drill instruction until just before a performance &ill result in the bandappearing tentati#e in its marching techni!ue and performance. A parade spectator ma% not be able totell &hether a ' doubling or flam is missed8 ho&e#er$ the% can easil% tell &hether a ran7 is dressed or a

bandmember is out of step.

E#en regular marching instruction of 1 to =5 minutes per &ee7 &ill dramaticall% impro#e the appearanceand confidence of the pipe band.

This does re!uire planning on the part of the Drum Major or marching instructor. The Drum Majorshould ha#e a solid understanding of their band-s strengths and &ea7nesses. A proper balance of drillmaintenance and remedial drill should be determined. An agenda can then be de#eloped and

implemented.

P!ysical Aili$i"s o& Li(i$a$ions o5 Ban/ M"("&s:

Man% bands ha#e a &ide range of member ages. 9ome bands ha#e children as &ell as retirees in the same band. This presents its o&n set of challenges. Depending on %our band-s demographics$ care must beta7en that performances are &ithin the capabilities of the band. A fi#e,mile parade ma% not beappropriate for either end of the age spectrum. 9ome performances ma% not be appropriate for membersthat are minors. >ong periods of pla%ing ma% not be appropriate for ne& pla%ers.

Do(inanc" o5 $!" Pi" Mao&

(n ci#ilian pipe bands$ the Drum Major must negotiate &ith the ipe Major for the amount of timea#ailable for drill. 9tress that a fa#orable impression of the band to the public or to the judges is the goalof both the ipe Major and the Drum Major.

Once an agreement has been reached it is paramount that the ipe Major supports the Drum Majorduring drill instruction. Drill rehearsals &ill be of little #alue if instruction is undermined b% indifference$fri#olit%$ or agitation b% the ipe Major. 9hould this occur$ it is best to discuss this situation &ith the ipeMajor a&a% from the band and the drill floor.






Focus o5 $!" Ban/

@ecause of the current method of some pipe band competitions$ particularl% in +orth America$ the pipe band is more concerned about musical perfection. (t follo&s that a competition band &ill spend moretime &or7ing the tunes than drill. Drill ma% be an afterthought. Budges &ill tell %ou those firstimpressions do ha#e an impact and ma% affect the &a% %our band is judged. The band that canconfidentl% perform drill into a circle &ill start &ith a fa#orable impression in the judge-s mind as opposedto a band that is tentati#e in its drill.

A street band must drill on a regular basis to maintain its credibilit%. While a street band ma% be thee!ui#alent of a grade I( or I band$ should the band ha#e impeccable drill the% &ill commonl% rate higherthan a musicall% superior band in a parade setting.


4





I6. DRILL INS,RU-,ION

,"ac!in* M"$!o/

Teaching drill effecti#el% has e#ol#ed o#er the %ears into a common protocol. Most people learn b% se#eral

means including #isual$ #erbal$ documentation$ imitation$ and most effecti#el% a combination of all four.The basic components that consolidate these means of learning drill are:

• E"plain

• Demonstrate

• ractice

• Feedbac7

To facilitate drill instruction$ the instructor should e"plain the position6maneu#er and then demonstratethe desired position6maneu#er. Drill charts should be prepared and pro#ided to the performers forcomplicated floor$ field$ or street drill.

The instructor &ill ha#e the band mimic eas% and comprehendible portions of the drill. These portions or

Lbloc7s ma% last one count$ se#eral counts$ or comprise a musical part 2i.e. first part$ first time through9cotland the @ra#e.3

After the band has attempted the drill$ corrections should be made as immediatel%$ directl%$ andobjecti#el% as possible.

(f need be$ the instructor ma% again describe and demonstrate the drill.

The instructor &ill then ha#e the band repeat the drill$ ma7e the corrections$ and repeat the c%cle until thedrill is performed to the instructor-s satisfaction.

As bloc7s of drill are completed$ the instructor &ill need to e"ecute drill bloc7s together$ ma7e corrections$and ensure that bloc7 transitions are smooth. 9e#eral repetitions ma% be re!uired to achie#e the desired

results.

E#entuall% as bloc7s are added$ e"ecuted$ and corrected$ the entire drill &ill be complete and read% toe"ecute.

After se#eral e"ecutions of the complete drill$ the instructor &ill identif% an% areas that need to becorrected or$ in e"treme situations$ re,&ritten.

Once the drill is taught it &ill need to be re#ie&ed and e"ecuted on a regular basis until the targetperformance. The initiation of drill instruction &ill depend on the comple"it% of the drill$ the siGe of the

band$ and the familiarit% of the drill performance of the band. o&e#er$ the method of instruction is thesame.

B" Di&"c$ an/ O"c$iv"

(n smaller groups$ it is far more producti#e to directl% correct those members performing errors inaddition to addressing the group in general. Often the offending part% &ill not realise the% are performingthe drill incorrectl%. The 7e% is to ma7e corrections as directl% but as objecti#e as possible. )se calm$e#en tones &hen ma7ing corrections. This method must be used in a consistent manner &ith all membersand not just on a select fe&.


=





R"("/ial Issu"s

(f there is a particular maneu#er or drill that the band is ha#ing difficult% then brea7 the drill do&n to itselements. Wor7 on each particular element until fla&s are remo#ed. As the elements are corrected$combine portions of the drill and rehearse again. Augment and repeat until the entire drill can beperformed satisfactoril%. ou should find that this method$ &hile appearing to ta7e longer$ &ill be moree"pedient and less frustrating for all concerned.

For e"ample$ &hen perfecting the slo& march$ &or7 on the elements of the first step. Wor7 on the firstmo#ement 2e"tension of the left leg3 b% repeating the motion until all are performing in unison. ou ma% find that ha#ing the band in a compan% front for these 7inds of training e"ercises &ill allo& errors to beplainl% seen and corrections e"peditiousl% made. Once the first mo#ement is correct then &or7 on thefirst mo#ement and the second mo#ement 2placing the left foot on the ground3 combined. +e"t &or7 onthe third mo#ement 2e"tension of the right leg3 and so on until the entire mo#ement is complete.

D"/ica$"/ D&ill Ins$&uc$ion

At some point it ma% be necessar% to plan and implement a drill,onl% rehearsal. This ma% result becauseof a number of ne& recruits$ an up coming e#ent$ or as a basic refresher for the entire band.

Most importantl%$ the Drum Major or marching instructor &ill need an agenda and a time schedule. This &ill ensure that all topics are co#ered. 'are must be ta7en to allo& enough time to co#er an% particulartopic. Depending on ho& adept the band is grasping the drill and maneu#ers$ fle"ibilit% should be builtinto the agenda so that it can e"pand or contract accordingl%.

During the course of the rehearsal$ 7eep se#eral things in mind:

• *eep it interesting and pro#ide praise &hen a tas7 is performed satisfactoril%.

• ro#ide the group &ith sufficient &ater brea7s particularl% in hot &eather.

• Ma7e sure that rest room facilities are a#ailable near the practice site.

The practice surface should mimic the t%pe of surface on &hich the band normall% performs. A large

pa#ed area is preferable if the band is normall% found on the street or a turf field if the performance is on ala&n$ etc. (f significant distractions such as noise or bright lights are e"pected then consideration ma% begi#en to replicate the e"pected en#ironment. This &ill help desensitiGe the band so that the% ma% focus ontheir performance.

The band should dress comfortabl%. The% should &ear their normal marching foot&ear. eels$ open toedshoes6sandals$ or bare feet should be strongl% discouraged. roper marching techni!ue cannot beperfected &ithout proper foot&ear. 9ome bands ha#e de#eloped a rehearsal Luniform &hich could be assimple as a band shirt and blac7 trousers. The &earing of a uniform seems to create a sense of purposeamong the members allo&ing for a more producti#e rehearsal.


;





6. DRILL FOR ,)E BAND

'c%nowledgements"$he RD+' ac%nowledges and epresses its appreciation to Drum +a,or ohn +oon- Drum

+a,or oe +acDonald- Pipe +a,or Bruce 7itchings- Drum +a,or Kieran Bo&le- Drum +a,or +ichael Stewart- and Drum +a,or ain +cGi!!on for their significant contri!utions. $heir

epertise greatl& clarified and impro(ed the precision of the following chapter.

A. FUNDAMEN,AL -ON-EP,S

In$&o/uc$ion

This manual &ill describe the )* and 'anadian techni!ue of foot drill. While the #isual and mechanicaldrill of the t&o countries is #er% similar$ the timing of the &ords of command #ar% considerabl% &hen onparade. For those bands adopting the traditional )* foot drill$ it must be noted that the timing of #ocalcommands #aries from mace commands. 'are must be ta7en to teach both to %our band. The timing of 'anadian &ords of command is generall% similar to that of the appropriate mace command.

Iocal commands$ along &ith mace and hand signals$ are the means b% &hich the Drum Major has of communicating &ith the band. 'lear$ correct$ and concise #ocal commands &ill assist %our band toperform confidentl%.

'oncise: Direct and to,the,point. *eep the #oice command simple.

'orrect: Ma7e sure the command being issued is correctP This &ill 7eep the band a&are of theiren#ironment and 7eep confusion at a minimum.

'lear: The #oice command must be gi#en clearl% and slo&l%. Enunciation and elocution areessential.

Further$ all commands should be loud and &ithout an% hesitation. 'ommands must be loud enough to beheard b% the rear ran7 of the band in either !uiet or nois% settings. Iocal commands &ith long pauses arepoor form and impl% that the Drum Major lac7s confidence in the drill desired from the band.

Drum Majors must learn to de#elop their command #oice. When gi#ing #oice commands the Drum Majormust use their diaphragm and not their #ocal cords. Other&ise$ the #ocal cords &ill become strained andcause the #oice to become distorted.

D"5ini$ions

Regulation Pause" This is the space of time that separates t&o drill mo#ements. The length of thespace of time is t&o counts of !uic7 time tempo or t&o paces of !uic7 time.

Bend the 8left or right9 %nee" While one leg is 7ept straight &ith the foot planted firml% on theground$ the other 7nee is raised so that the foot hangs naturall% &ith the toe in line &ith and

belo& the 7nee. The foot is raised si" inches abo#e the ground during Cuic7 Time. During9lo& Time the thigh is raised to be parallel to the ground.

Straighten the 8left or right9 leg" The leg is straightened bac7 to the ground. The ball of the foot isplaced on the ground first to absorb the impact.

Shoot the 8left or right9 foot forward" While one leg is 7ept straight &ith the foot planted firml% onthe ground$ the other leg is shot for&ard$ 7nee braced$ read% to carr% to bod% for&ard.


1





#o&/s o5 -o((an/

Words of 'ommand are comprised of three parts: the introductor%$ the cautionar%$ and the e"ecuti#e.

(ntroductor%: All commands should start &ith the full name of the band or group to &hich thecommand is directed as &ell as some preliminar% information. This is the

ntroductor& Command . This performs t&o functions. First$ it announces the nameof the band or group to the audience. 9econd$ it alerts the band or group thatmo#ement is imminent. E"amples include: Laris ipes and Drums$ Lipes Drums$ LMassed @and-$ L@and$ etc. (ntroductor% commands ma% also includeinformation about the maneu#er to be e"ecuted. L@% the Right indicates that dress

&ill be to the right$ LMar7 Time through the Rolls indicates that the band &ill Mar7 Time during the rolls and step off on the first note of the tune$ etc.

'autionar%: This is the last &arning of the impending maneu#er before the e"ecuti#e command isgi#en. +OTE: the 'anadian manual combines the ntroductor& and Cautionar&commands into a single Cautionar& command.U

E"ecuti#e: All commands are gi#en &ith the e"pectation that the% &ill be performed. Thetriggering portion of the command is the :ecuti(e Command . Aside from setting in

motion the desired mo#ement$ the :ecuti(e Command in conjunction &ith theCautionar& Command ma% set the tempo as described in the follo&ing section.

-o(on"n$s

Ran7s: (n a bloc7 formation the ran7 refers to the band members comprising the breadth orfrontage of the bloc7. Ran7s are numbered from front to rear.

Files: The file refers to the band members comprising the depth of the bloc7. Files arenumbered from right to left.

(nter#als: The inter#al bet&een members of a ran7 and a file is t&o and a half paces. (f the band

is proficient in it-s sound$ some bands set the inter#al at three paces b% three paces.'on#ersel%$ if there are se#eral &ea7er pipers to be concerned about$ the band ma% be better suited to inter#als of t&o paces b% t&o paces. The Drum Major is located threepaces in front of the bloc7. A 9enior Drum Major is located three to fi#e paces infront of the ran7 of drum major2s3.

'omposition: ?enerall%$ pipers are in the front of the bloc7$ follo&ed b% the bass and tenor line$follo&ed b% the side drummers. The ipe Major 2or senior piper if the ipe Major isuna#ailable3 is in the front right position. The ipe Major ma% be in their o&n file tothe right of the bloc7 if the number of regular personnel &ould other&ise form acomplete bloc7.

Poin$ o5 D&"ss

The point of dress is defined b% the !uic7 or slo& march command: B& the Center 8or Right9- ;uic%- +arch

'enter 2DMaj3: (f the band has a Drum Major$ then the dress is through the center file2s3. The centerfile2s3 &ill maintain a three step inter#al bet&een the Drum Major and the bloc7. Theran7s &ill dress to the center. The center file &ill maintain the distance bet&een theran7s


0





Right 2Maj3: (f the band does not ha#e a Drum Major$ then the dress is set to the ipe Majorthrough the right file. The front ran7 &ill dress to the right. The right file &illmaintain the distance bet&een the ran7s.

>eft 2Maj3: This #ariation is #er% rare. This occurs if the band does not ha#e a Drum Major andthe ipe Major 2or$ if absent$ the senior bandmember3 is at the uppermost leftposition of the band bloc7. The dress is set through to the ipe Major 2or$ if absent$the 9enior @andmember3 through the left file. The front ran7 &ill dress to the left.The left file &ill maintain the distance bet&een the ran7s.

S$&i/"

The band-s stride &hile marching must be smooth and consistent. Drill rehearsal should include timede#oted to stride control. Methods to reinforce stride control include the use of a pace stic7 or a linedfield or street. The common stride lengths are:

9lo& Time: =5 inchesCuic7 Time: =5 inches9tepping Out: == inches

9tepping 9hort: 4 inchesDouble Time: ;5 inches

The common stride tempos are:

9lo& Time: 01 paces per minute 2'anadian: 05 paces per minute3Cuic7 Time: 0 aces per minute 2'anadian: 45 paces per minute3Cuic7 Time for ipe @and: +6A 2'anadian: 5 paces per minute3Double Time: 5 paces per minute 2'anadian: 5 paces per minute3

#o&/s o5 -o((an/ ,i(in*

$iming of Cautionar& Commands"

'autionar% 'ommands should be gi#en o#er four paces of !uic7 time2'anadian: t&o paces3

nter(al !etween Cautionar& and :ecuti(e Command"

E"ecuti#e 'ommands should be gi#en after the follo&ing time has elapsed since the'autionar% 'ommand:

• At the alt: A Regulation ause

2'anadian: A Regulation ause3

• Cuic7 Time: Four paces2'anadian: t&o paces3

• 9lo& Time: Three paces2'anadian: t&o paces3


<





$iming of :ecuti(e Commands"

#o&/ o5 -o((an/ :uic1 ,i(" Slo% ,i("

C)('* or 9>OW MAR' LC)('* on left foot andLMAR' on successi#e right

foot.

L9>OW on left foot andLMAR' on successi#e right

foot.

MAR* T(ME LT(ME o#er entire left pace2&hen left foot passes right3.

LT(ME o#er entire right pace2&hen right foot passes left3.

FOR WARD &hile Mar7ingTime

LWARD &hen left 7nee isfull% lifted.

LWARD &hen right 7nee isfull% lifted.

A>T &hile Mar7ing Time LA>T &hen left 7nee is full%lifted.

LA>T &hen right 7nee isfull% lifted.

A>T &hile on the march LA>T &hen right foot passesleft.

LA>T &hen left foot passesright.

'anadian:

#o&/ o5 -o((an/ :uic1 ,i(" Slo% ,i("

C)('* or 9>OW MAR' LC)('* on left foot andLMAR' on successi#e rightfoot.

L9>OW on left foot andLMAR' on successi#e rightfoot.

MAR* T(ME LT(ME on the right foot. LT(ME on the right foot.

FOR WARD &hile Mar7ing

Time

LWARD on the left foot. LWARD on the left foot.

A>T &hile Mar7ing Time LA>T on the left foot. LA>T on the right foot.

A>T &hile on the march LA>T on the left foot. LA>T on the right foot.

F&"" A&( S%in*

Cuic7 March: The arm is freel% s&ung for&ard until the arm is parallel to the ground. (t iss&ung bac7 as far bac7 as is comfortable. The arms &ill reach these points &henthe heel hits the ground such that the right arm &ill be as for&ard as possible andthe left arm is bac7 as far as comfortable &hen the left heel stri7es the groundand #ice #ersa.

9lo& March: There is no free arm s&ing during the 9lo& March. @oth arms are 7ept close tothe side as in the attention position.






Salu$"s

A salute is a militar% courtes% afforded as follo&s:

Music 2e"ecute salute on first note$ do&n on last note3:

• At the pla%ing of a national anthem.

• The pla%ing of >ast ost.

'olours:

• Al&a%s salute a colour part% if the% parade past %ou or %ou parade past the colour part%.

• Al&a%s salute militar% colours of a regiment or unit e#en if the% are cased as the% pass %ou.

• Do not salute e#er% posted flag %ou pass &hile on the march.

ersons:

• Ro%alt%$ resident$ or ead of 9tate.

• A re#ie&ing officer if s6he comes to inspect %our band. A second salute is e"ecuted once s6he

has concluded the inspection.• A uniformed senior militar% officer if his6her path crosses %our parade.

Memorials:

• 'enotaphs or other legitimate or authoriGed &ar memorials &hen marching past.

Re#ie&ing 9tands:

• When manned b% a dignitar% &ho &ould ordinaril% &arrant a salute 2retired militar% officeror &ar #eteran.3

• When manned b% a designated honorar% dignitar% 2police chief3 or ci#ilian public ser#ant

&hen accompanied b% a militar% officer &ho can return the salute.

• (n 'ommon&ealth countries$ do not salute unless &earing a headdress. A dignitar% shouldalso &ear a headdress in order to return the salute.

• The compliment is paid &hen approaching a re#ie&ing stand. The Drum Major

simultaneousl% snaps the head and e%es to right 2or left3 and brings the salute up on theleft foot. The salute is held until after passing the line of dignitaries or the end of there#ie&ing stand. The salute in dropped on the ne"t left foot.

-o((an/ o5 $!" Ban/

Drum Major: While in formation$ &hile performing static$ and &hile on the march$ the DrumMajor has command of the band. This includes starting and cutting off the tunes.

ipe Major: The ipe Major has musical command of the band &hile in the circle. This includescalling the tunes or sets$ setting the tempo$ starting the tunes$ and cutting off thetunes. While on the march the ipe Major &ill call the tunes or sets. The ipeMajor has full command of the band &hile in formation and &hile on the march if the Drum Major is not present.

'olour 9ergeant: (f the band has an associated 'olour art%$ the 'olour 9ergeant &ill call the Marchoff from a alt so that the band and colour part% are stepping off together.


/





B. DRILL A, ,)E )AL,

A$$"n$ion

@ringing the band crispl% to the attention position &ill set %our e"pectations for the band and thetone for the performance. A command performed in a slopp% fashion &ill tend to ma7e the band-sdrill loo7 slopp%. )se smart and crisp commands and the band &ill follo& the lead.

'ttri!utes"

• eels together.

• Toes at a =5o angle.

• Arms straight.

• Elbo&s close to side.

• Fists 'lenched$ thumb on top$ thumb faces for&ard$ and at imaginar% seam,line.

• 9houlders bac7 but rela"ed.

• 'hest up.

• 'hin slightl% abo#e le#el.

• E%es slightl% abo#e the horiGon.

• ?ood posture.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: @and 2or arade3E"ecuti#e: 9hun

:ecution"'ount One: Bend the left %nee and straighten the left leg ne"t to right foot.

'anadian'ount One: Bend the left %nee and straighten the left leg ne"t to right foot in double

time.

A$ Eas"

This is a position of rest for the Drum Major and the band. (t is e"ecuted &hile halted at A$$"n$ion.

4<$:" Drum +a,or to resume the position of Attention prior to attempting an& su!se=uent commands.

'ttri!utes"

• As in A$$"n$ion abo#e e"cept:

• >eft foot is placed 4 a&a% from planted right foot 2'anadian 5.3

• Do not brea7 militar% bearing 2posture and poise3 during e"ecution of mo#ement.

• Arms remain at the side 2not in small of bac73$ hands are in a fist.

Command :(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: 9tand AtE"ecuti#e: Ease

:ecution"'ount One: Bend the left %nee and straighten the left leg 4 a&a% from right foot.

'anadian


45





'ount One: Bend the left %nee and straighten the left leg 5 a&a% from right foot indouble time.


4





S$an/ Easy

This is a position of rest for the Drum Major and the band. (t is e"ecuted &hile the band is in the A$ Eas" position onl%. The Drum Major must be at A$$"n$ion to call this command.

4<$:" Drum +a,or to resume the position of Attention prior to attempting an& su!se=uent commands.

'ttri!utes"

• As in A$ Eas" abo#e e"cept:

• 9ta% in place.

• Other&ise ma% mo#e head$ arms$ and6or torso.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: 9tandE"ecuti#e: Eas%

:ecution"'ount One: Rela" &hile at the A$ Eas" position.

'anadian:'ount One: 9nap to arms to Attention. *eep feet in A$ Eas" position.'ounts T&o and Three: Regulation Pause'ount Four: Ma% rela" but sta% in formation. Tal7ing is not permitted.

Fall In

This command alerts the band members to form up and prepare for parade.

'ttri!utes"

• @and members should e"hibit a sense of urgenc% to form the band upon the hearing

of the Fall In command.• The Drum Major &ill establish the ipe Major-s position in the bloc7 to facilitate the

assembl% of the formation.

• Each band member-s position should be determined before the performance and the band member should 7no& &here this position is.

• Follo&ing the Fall In command &ill be A$$"n$ion$ -"n$"& D&"ss$ etc.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: FallE"ecuti#e: (n

:ecution"

• @and members &ill effecti#e$ efficientl%$ and e"peditiousl% form up into theirpredetermined band formation.

• )pon finding their location )pon constructing the formation the band member shall

assume the position of attention and then$

• The band &ill assume the A$ Eas" position.


44





-"n$"& ;Ri*!$< D&"ss

Turn the head to the point of dress and ma7e adjustments to the alignment of the ran7.

'ttri!utes"

• As in A$$"n$ion abo#e.

•

ead is snapped to the point of dress indicated.• The Drum Major &ill set the person designated as the dress point. This designee does

not adjust their position unless so instructed b% the Drum Major

• The person designated as the dress point does not snap their head upon thecommand.


Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: 'enter 2or Right3E"ecuti#e: Dress

:ecution"

'ount One: 'rispl% snap the head to the center 2or right3 dress point.'ount T&o and Three: Regulation Pause.'ount Four: Adjust alignment of the ran7 as e"peditiousl% as possible using short bris7

steps.

'anadian'ount One: Shoot the left foot forward- ta7e a half pace then !end the right %nee and

straighten the right leg ne"t to the left in double time assuming the attentionposition. Dress file stands fast.

'ounts T&o and Three: Regulation pause.'ount Four: 'rispl% snap the head to the center 2or right3. Dress file does not turn head.'ount Fi#e and 9i": Regulation Pause.'ount 9e#en: Adjust alignment of the ran7 to the dress file as e"peditiousl% as possible

using short bris7 steps starting &ith the left foot. Dress file stands fast.

Ey"s F&on$

Return the head to front after e"ecuting Ey"s Ri*!$ ;L"5$< or from -"n$"& ;Ri*!$< D&"ss.

'ttri!utes"


• ead is snapped bris7l% to the front.


Command"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: E%esE"ecuti#e: Front

:ecution"'ount One: 'rispl% snap the head from the right 2or left3 to the front.


4=





Dis(issFall Ou$

This command signifies the end of the parade or instruction 2Dis(iss3 or a temporar% brea7 inaction 2Fall Ou$.3

'ttri!utes"



Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: Dis 2Fall3E"ecuti#e: Miss 2Out3

:ecution"'ount One: 'rispl% pi#ot /5o to the right on the heel of %our right foot and the ball of

%our left foot.'ounts T&o and Three: Regulation Pause.'ount Four: Bend the left %nee and straighten the left leg ne"t to the right.'ounts Fi#e and 9i": Regulation Pause.'ount 9e#en: (nitiate :uic1 Ma&c! off the parade ground.

'anadian'ount Four: Bend the left %nee and straighten the left leg ne"t to the right in double

time.'ounts Fi#e and 9i": Regulation Pause.'ount 9e#en: (nitiate :uic1 Ma&c! off the parade ground.

Aou$ ,u&n

'lose order drill to change the facing of the band to the rear b% 5o.

'ttri!utes"• As in A$$"n$ion abo#e.


Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: AboutE"ecuti#e: Turn

:ecution"'ount One: 'rispl% pi#ot 5o to the right on the heel of %our right foot and the ball of

%our left foot.'ounts T&o and Three: Regulation Pause.

'ount Four: Bend the left %nee and straighten the left leg ne"t to the right.


time.


4;





L"5$ ,u&n

'lose order drill to change the facing of the band to the left b% /5o.

'ttri!utes"


•

Do not brea7 militar% bearing 2posture and poise3 during e"ecution of mo#ement.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: >eftE"ecuti#e: Turn

:ecution"'ount One: 'rispl% pi#ot /5o to the left on the heel of %our left foot and the ball of %our

right foot.'ounts T&o and Three: Regulation Pause.'ount Four: Bend the right %nee and straighten the right leg ne"t to the left.

'anadian'ount Four: Bend the right %nee and straighten the right leg ne"t to the left in double

time.

Ri*!$ ,u&n

'lose order drill to change the facing of the band to the right b% /5o.

'ttri!utes"



Command"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: RightE"ecuti#e: Turn

:ecution"'ount One: 'rispl% pi#ot /5o to the right on the heel of %our right foot and the ball of

%our left foot.'ounts T&o and Three: Regulation Pause.'ount Four: Bend the left %nee and straighten the left leg ne"t to the right.


time.


41





L"5$ Inclin"

'lose order drill to change the facing of the band to the left b% ;1o.

'ttri!utes"


•

Do not brea7 militar% bearing 2posture and poise3 during e"ecution of mo#ement.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: >eft$ (n,E"ecuti#e: 'line

:ecution"'ount One: 'rispl% pi#ot ;1o to the left on the heel of %our left foot and the ball of %our

right foot.'ounts T&o and Three: Regulation Pause.'ount Four: Bend the right %nee and straighten the right leg ne"t to the left.

'anadian'ount Four: Bend the right %nee and straighten the right leg ne"t to the left in double

time.

Ri*!$ Inclin"

'lose order drill to change the facing of the band to the right b% ;1o.

'ttri!utes"



Command"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: Right$ (n,E"ecuti#e: 'line

:ecution"'ount One: 'rispl% pi#ot ;1o to the right on the heel of %our right foot and the ball of %our

left foot.'ounts T&o and Three: Regulation Pause.'ount Four: Bend the left %nee and straighten the left leg ne"t to the right.


time.


40





Mac" ;o& )an/< Salu$"

This position is used as a form of greeting and recognition presented b% the Drum Major. (t ise"ecuted from the L"5$ -a&&y &hile at the )al$.

'ttri!utes"

•

As in A$$"n$ion abo#e.• ead$ e%es$ and hand mo#e in a single simultaneous motion.

• ead is snapped bris7l% to the side facing dignitar%$ colours$ or ran7ing officer.

• Wrist and hand are flat and straight.

• The Drum Major onl% &ill salute for the unit.

• (f no Drum Major is present$ then the ipe Major &ill represent the unit and salute.

• 'anadian: the palm faces do&n &hen at salute.

:ecution"Read% the Mace: Mo#e the mace to the L"5$ -a&&y . 9nap the right arm into the

A$$"n$ion position.

'ount One: E"ecute h and Salu$". The right arm is brought up in a X circularmotion to the right side from the A$$"n$ion position. When the arm is parallelto the ground the palm opens to a flat to front position. The rest of the motionoccurs &ith the forearm being brought o#er to&ards the head completing the 16circular mo#ement. The right forefinger should be centered upon and touch theright e%ebro&$ palm flat$ fingers together$ palm facing front. The &rist and handare straight.

'ount T&o: Right hand is brought straight do&n to the A$$"n$ion position.9imultaneousl%$ the head is brought to the front.


4<





-. DRILL ON ,)E MAR-)

NO,E4

• Odd numbered counts are on the left foot.

• E#en numbered counts are on the right foot.

:uic1 Ma&c!

(nitiate and maintain for&ard motion of the band or indi#idual.

'ttri!utes"

• 'onsistent stride.

• Tempo set b% command :uic1 and Ma&c! &hich are on successi#e beats.

• Attributes of A$$"n$ion position from hips up.

• Free arm s&ing consistent 2Cuic7 March onl%.3

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.$ @% the 'enter 2or Right3

'autionar%: Cuic7 E"ecuti#e: March

:ecution"'ount One: Shoot the left foot forward &ith a full 2=53 pace &ith right free arm

e"tending for&ard to a position parallel to the ground.'ount T&o: Full 2=53 pace &ith right foot. Right free arm brought bac7 to a comfortable

position e"tending to the rear.

'anadian'ount One: Shoot the left foot forward &ith a half 213 pace &ith right free arm



Slo% Ma&c!

'ttri!utes"


• Tempo set b% command Slo% and Ma&c! &hich are on successi#e beats.


• Maintain balance.

• +o Free arm s&ing.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.$ @% the 'enter 2or Right3$'autionar%: 9lo& E"ecuti#e: March

:ecution"'ount One: Shoot the left foot forward a half 213 pace then complete the remainder of

the =5 gliding pace &ith the ball of the foot. *eep the toes pointed do&n andpointed slightl% out&ards.


4





'ount T&o: Shoot the right foot forward a full 2=53 pace then complete the gliding pace &ith the ball of the foot. *eep the toes pointed do&n and pointed slightl% out&ards.


4/





'anadianCommand"

(ntroductor%: +ame of @and$ ipes Drums$ etc.$ @% the 'enter 2or Right3$'autionar%: 9lo& E"ecuti#e: March

:ecution"'ount One: Shoot the left foot forward a half 213 pace then complete the gliding pace

&ith the ball of the foot. *eep the toes pointed do&n and pointed slightl% out&ards.

'ount T&o: Shoot the right foot forward a full 2=53 pace then complete the gliding pace &ith the ball of the foot. *eep the toes pointed do&n and pointed slightl% out&ards.

Slo% Ma&c! $o :uic1 Ma&c!

'ttri!utes"


• Tempo set b% command.


• Maintain balance.

• Resume free arm s&ing upon :uic1 Ma&c!.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.$ @rea7 into Cuic7 Time$'autionar%: Cuic7 E"ecuti#e: March 2&hen the right foot stri7es the ground3

'anadian(ntroductor%: +ame of @and$ ipes Drums$ etc.$ 'hange to Cuic7 Time$'autionar%: Cuic7 E"ecuti#e: March 2&hen the right foot stri7es the ground3





=5





:uic1 Ma&c! $o Slo% Ma&c!

'ttri!utes"


• Tempo set b% command.


• Maintain balance.• 'ease free arm s&ing upon Slo% Ma&c!.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.$ @rea7 into 9lo& Time$'autionar%: 9lo& E"ecuti#e: March 2&hen the right foot stri7es the ground3


e"tending for&ard to a position parallel to the ground.'ount T&o: Bend the right %nee and bring the instep of the right foot behind and

touching the left heel. 'ut the arms a&a% to the a$$"n$ion position.

'ount Three: Shoot the left foot forward a half 213 pace then complete the remainder of the =5 gliding pace &ith the ball of the foot. *eep the toes pointed do&n andpointed slightl% out&ards.

'ount Four: Shoot the right foot forward a full 2=53 pace then complete the gliding pace &ith the ball of the foot. *eep the toes pointed do&n and pointed slightl% out&ards.

'anadianCommand"

(ntroductor%: +ame of @and$ ipes Drums$ etc.$ 'hange to 9lo& Time$'autionar%: 9lo& E"ecuti#e: March 2&hen the right foot stri7es the ground3

:ecution"'ount One: Shoot the left foot forward &ith a half 213 pace &ith right free arm

e"tending for&ard to a position parallel to the ground.'ount T&o: Bend the right %nee and bring the right foot alongside the left foot in double

time. 'ut the arms a&a% to the a$$"n$ion position.'ount Three: Shoot the left foot forward and complete a half 213 gliding pace &ith the

ball of the foot. *eep the toes pointed do&n and pointed slightl% out&ards.'ount Four: Shoot the right foot forward a full 2=53 pace then complete the gliding pace

&ith the ball of the foot. *eep the toes pointed do&n and pointed slightl% out&ards.


=





Ma&1 ,i("

(nitiate and maintain the march &hilst in a stationar% position.

'ttri!utes"

• *nees lifted &ith feet at a natural angle to a position in line &ith the top of the spats.

•'onsistent height of 7nee lift.

• 'onsistent ground placement of feet to a#oid mo#ing from stationar% position.


• +o Free Arm s&ing.

Ma&1 ,i(" 5&o( :uic1 Ma&c!

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: Mar7 E"ecuti#e: Time 2o#er left pace3

:ecution"'ount One: 'omplete full stride &ith left foot.'ount T&o: Ta7e a short pace &ith the right foot so that right foot is 0 in front of left

foot. 'ut arms to side. Bend the left %nee.'ount Three: Straighten the left leg. Bend the right %nee.'ount Four: 'ontinue Ma&1 ,i(".

'anadianCommand"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: Mar7 E"ecuti#e: Time 2right foot3

:ecution"'ount One: Ta7e a half 213 pace &ith the left foot.'ount T&o: @ring the right foot ne"t to the left$ cut arms to side$ assuming the position of

A$$"n$ion. Bend the left %nee.'ount Three. Straighten the left leg. lant the left foot. Bend the right %nee.'ount Four: 'ontinue Ma&1 ,i(".

Ma&1 ,i(" 5&o( Slo% Ma&c!

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: Mar7 E"ecuti#e: Time 2o#er right pace3

:ecution"'ount Yero: 'omplete full 2=53 pace &ith right foot. Bend the left %nee so that >eft thigh

is parallel to the ground.'ount One: Straighten the left leg. Bend the right %nee so that right thigh is parallel to

the ground.'ount T&o: 'ontinue Ma&1 ,i(".


=4





'anadianCommand"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: Mar7 E"ecuti#e: Time 2right foot3

:ecution"'ount One: Ta7e a half 213 pace &ith the left foot.'ount T&o: @ring the right foot ne"t to the left$ assuming the position of A$$"n$ion.

Bend the left %nee so that the left thigh is parallel to the ground.'ount Three. Straighten the left leg. Bend the right %nee so that the right thigh is

parallel to the ground.'ount Four: 'ontinue Ma&1 ,i(".

A/vanc"

Transition from Ma&1 ,i(" to for&ard march.

'ttri!utes"

• Do not lift the left 7nee more than is re!uired for a normal first step for&ard.• At the end of the part if pla%ing.


A/vanc" 5&o( Ma&1 ,i(" ;:uic1 ,i("<

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: ForE"ecuti#e: Ward 2as left 7nee is at highest point3

:ecution"

'ount One: Straighten the left leg. Bend the right %nee.'ount T&o: Straighten the right leg to assume the A$$"n$ion position.'ount Three: Shoot the left foot forward a full 2=53 pace to initiate :uic1 Ma&c! &hile

s&inging the right arm for&ard.

'anadian'ommand:

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: ForE"ecuti#e: Ward 2left foot3

:ecution"'ount Yero: Straighten the right leg.

'ount One: Shoot the left foot forward a half 213 pace to initiate :uic1 Ma&c! &hiles&inging the right arm for&ard.'ount T&o: Ta7e a full 2=53 pace &ith the right foot &hile s&inging the right arm bac7.


==





A/vanc" 5&o( Ma&1 ,i(" ;Slo% ,i("<

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: ForE"ecuti#e: Ward 2as right 7nee is at highest point3

:ecution"'ount Yero: Straighten the right leg.'ount One: Shoot the left foot forward a full 2=53 pace to initiate Slo% Ma&c!.'ount T&o: 'ontinue &ith the right foot.

'anadian'ommand:

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: ForE"ecuti#e: Ward 2left foot3

:ecution"'ount Yero: Straighten the right leg.

'ount One: Shoot the left foot forward a half 213 pace to initiate Slo% Ma&c!.'ount T&o: Ta7e a full 2=53 pace &ith the right foot.

)al$

Transition from on the march to position of A$$"n$ion.

'ttri!utes"


• At end of part if pla%ing.

)al$ 5&o( :uic1 Ma&c!

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: @andE"ecuti#e: alt 2as right foot passes left foot3

:ecution"'ount Yero: 'omplete a full 2=53 pace &ith the right foot.'ount One: Shoot the left foot forward a half 213 pace. Bend the right %nee.'ount T&o: Straighten the right leg &hile cutting right arm to side assuming the position

of A$$"n$ion.

'anadian

'ommand:(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: @andE"ecuti#e: alt 2left foot3

:ecution"'ount Yero: 'omplete a full 2=53 pace &ith the right foot$ bra7ing the momentum &ith

the heel.'ount One: Shoot the left foot forward a half 213 pace. Bend the right %nee.'ount T&o: Straighten the right leg in double time &hile cutting right arm to side

assuming the position of A$$"n$ion.


=;





Halt f &o( Slo% Ma&c!

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: @andE"ecuti#e: alt 2as left foot passes right foot3

:ecution"'ount One: Shoot the left foot forward a half 213 pace 29lo& Time3. Bend the right

%nee.'ount T&o: Straighten the right leg in Cuic7 Time and assume of the position of

A$$"n$ion.

'anadianCommand"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: @andE"ecuti#e: alt 2right foot3

:ecution"

'ount One: Shoot the left foot forward a half 213 pace 29lo& Time3. Bend the right %nee.

'ount T&o: Straighten the right leg in Cuic7 Time and assume of the position of A$$"n$ion.

)al$ 5&o( Ma&1 ,i(" ;:uic1 ,i("<

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: @andE"ecuti#e: alt 2&hen left 7nee is at highest point3

:ecution"'ount One: Straighten the left leg. Bend the right %nee.'ount T&o: Straighten the right leg.

'anadianCommand"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: @andE"ecuti#e: alt 2left foot3

:ecution"'ount Yero: Straighten the right leg. Bend the left %nee.'ount One: Straighten the left leg. Bend the right %nee.'ount T&o: Straighten the right leg in double time and assume the position of

A$$"n$ion.


=1





)al$ 5&o( Ma&1 ,i(" ;Slo% ,i("<

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: @andE"ecuti#e: alt 2&hen right 7nee is at highest point3

:ecution"'ount Yero: Straighten the right leg 2in Cuic7 Time3 and assume position of A$$"n$ion.

'anadianCommand"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: @andE"ecuti#e: alt 2left foot3

:ecution"'ount Yero: Straighten the right leg 2in Cuic7 Time3 and assume position of A$$"n$ion.

Mac" Salu$"

This position is used as a form of greeting and recognition presented b% the Drum Major. (t ise"ecuted from the L"5$ -a&&y &hile on the March.

'ttri!utes"


• ead$ e%es$ and hand mo#e in a single simultaneous motion.

• E"ecution and resolution of the Salu$" occurs on the left foot.

• ead is snapped bris7l% to the side facing dignitar%$ colours$ or ran7ing officer.

• Wrist and hand are flat and straight.

• The Drum Major onl% &ill salute for the unit.

•

'anadian: the palm faces do&n &hen at salute.

:ecution"Read% the Mace: Mo#e the mace to the L"5$ -a&&y . 9nap the right arm into the

A$$"n$ion position.

'ount One: E"ecute h and Salu$". The right arm is brought up in a X circularmotion to the right side from the A$$"n$ion position. When the arm is parallelto the ground the palm opens to a flat to front position. The rest of the motionoccurs &ith the forearm being brought o#er to&ards the head completing the 16circular mo#ement. The right forefinger should be centered upon and touch theright e%ebro&$ palm flat$ fingers together$ palm facing front. The &rist and handare straight.

'ount Odd +umber 'ount: Right hand is brought straight do&n to the A$$"n$ionposition. 9imultaneousl%$ the head is brought to the front.


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Ey"s Ri*!$ ;L"5$<

Mo#ement of head to ac7no&ledge a dignitar% or ran7ing officer.

'ttri!utes"


•

ead is snapped bris7l% to the side indicated in the command.• Do not brea7 bearing during e"ecution of mo#ement.

• The right 2left3 guide does not e"ecute mo#ement.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.$ @% the Right 2left3'autionar%: E%esE"ecuti#e: Right 2left3 2on left heel3

'anadianCommand"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: E%es

E"ecuti#e: Right 2left3 2on left heel3

:ecution"'ount One: 'rispl% snap the head to /55 to the right 2or left3. Right 2left3 guide does not

e"ecute head mo#ement.

Ey"s F&on$

Return the head to Front after e"ecuting Ey"s Ri*!$ ;L"5$< or from -"n$"& ;Ri*!$< D&"ss.

'ttri!utes"


• ead is snapped bris7l% to the front.

• Do not brea7 bearing during e"ecution of mo#ement.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: E%esE"ecuti#e: Front 2on left heel3

:ecution"'ount One: 'rispl% snap the head from the right 2or left3 to the front.


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#!""l ;L"5$ o& Ri*!$<

This maneu#er is used to change the direction of the band /5 5 &hile maintaining the originaldressing. This is best accomplished &hen limited to ran7s comprised of si" or fe&er persons.

'ttri!utes"

• The Drum Major &ill need to ensure that the band is sufficientl% into the intersection

before e"ecuting the command so that the band &ill lea#e the old path of tra#eland enter the ne& path of tra#el centered on the street or path&a%.

• >ength of stride &ill #ar% depending &here in the ran7 the member is placed.

• Each person on an% particular ran7 &ill ha#e a path on a concentric X circle on a /5 5

turn. The siGe of the concentric paths increases from the inside person to theoutside person.

• The person on the outside ran7 &ill step out$ the inside person &ill step short.

• The turn initiates on count one. 9ome ma%$ incorrectl%$ not begin the turn untilse#eral counts into the &heel.

• Free arm s&ing to remain consistent 2:uic1 Ma&c! onl%.3

• Maintain stead% tempo.

• After an% gi#en ran7 has initiated the turn$ the files behind and &aiting to turn shall

co#er on the first a#ailable ran7 that has not initiated the turn.• When an% particular ran7 is e"ecuting the turn$ the members of the ran7 should dress

to both the left and right to ensure proper dressing.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: >eft 2Right3E"ecuti#e: Wheel

:ecution"'ount One: The front ran7 &ill initiate the turn.

• The inside person &ill adopt a path on an imaginar% concentric circle &ith a

radius of t&o feet 'anadian: four feetU and &ill step short. The insideperson &ill not reach the end of the concentric path before or after the othersin their ran7.

• The outside person &ill step out on their concentric path. ersons in bet&een

those t&o e"treme positions &ill adjust their stride accordingl%. The outsideperson &ill not reach the end of the concentric path before or after the othersin their ran7.

• Those positioned bet&een the inside and outside person &ill adjust their stride toa length bet&een that adopted b% the inside and outside person. The lengthof stride &ill shorten the closer one is positioned to the inside person and &illlengthen the closer one is positioned to the outside person.

+OTE:

• (f the band is re!uired to &heel more than /55$ then the command &ill be gi#enagain &hen the initial /55 turn is about to be completed b% the front ran7.

• (f the band is to complete a turn less than /5 5$ then the A/vanc" command isgi#en as the desired direction of tra#el is about to be reached b% the frontran7.

• (f the band is to Ma&1 ,i(" in the middle of the &heel then the band shall co#eron the leading ran7. 'anadian: the band &ill maintain their currentposition. (f gi#en the command R"a& Fil"s -ov"& then the band shall co#eron the leading ran7.


=





• 'anadian: after the band has completed the turn$ dress shall be confirmed b% the

command: By $!" -"n$"& ;Ri*!$= L"5$.<U


=/





-oun$"& Ma&c!

This maneu#er is used to change the direction of the band 5 5. This maneu#er &ill in#ert theoriginal dressing.

'ttri!utes"

• The Drum Major establishes the counter,march line at the point the Drum Major

turns about.

• Each ran7 of the pipe band &ill turn to the right in a four count semi,circular path

upon reaching the counter,march line. +OTE: brass6&ind bands counter,marchto the left.

• After turning about$ the Drum Major shall step short to permit the remaining ran7s

to regain their position and dress.

• +o free arm s&ing during the 55 turn.


• After an% gi#en ran7 has completed the turn$ the% shall co#er on the lead ran7.

• +OTE: if$ after the -oun$"& Ma&c!$ the ipe Major (us$ be on the right side

2pla%ing in front of dignitaries$ etc.3$ then consideration ma% be gi#en to start the band in an in#erted position. That is$ start &ith the ipe Major on the left side so

that the ipe Major &ill be in the correct position after the completion of the-oun$"& Ma&c!.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: 'ounterE"ecuti#e: March

:ecution"'ount One: The Drum Major &ill initiate an 55 turn to the right thus establishing the

counter,march line.

• Each ran7 of the pipe band &ill turn to the right in a four count semi,circular

path upon reaching the counter,march line.• After e"ecuting its turn$ the ran7 shall step short to permit the remaining

ran7s to regain its position and dress.


;5





-i&cl"

This maneu#er is used to circle the pipe band for competitions or for e"tended pla%ing &hile atthe halt.

'ttri!utes"

• The Drum Major establishes the center of the -i&cl".

• The method of building the -i&cl" differs from band to band.

• A common circle construct is for the Drum Major to be the center of the -i&cl". The

bass drum immediatel% behind the Drum Major &ith the tenor drums flan7ingthe bass drum. The side drummers stand on the circle and centered behind the

bass drum. The pipers and side drummers stand e#enl% spaced on the circle &iththe side drums centered behind the bass drum.

• The Drum Major$ bass drummer$ and Drum 9ergeant 2>ead tip3 should all be able tosee the ipe Major.

• While in the -i&cl" the ipe Major is in command.


Command"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: 'ircleE"ecuti#e: March

:ecution"'ount One: The Drum Major initiates Ma&1 ,i(" thus establishing the center of the

-i&cl".

• When the band is in position e"ecuting the Ma&1 ,i(" and &aiting for the

)al$ command$ the indi#idual members should adjust their spacing soto be e#enl% spaced around the -i&cl".

• Once the band is in the -i&cl" position$ the Drum Major shall gi#e the )al$command.

R"5o&(

Transition from -i&cl" or other Form to @loc7 formation.

'ttri!utes"

• Do not lift the left 7nee more than is re!uired for a normal first step for&ard.

• At the end of the part if pla%ing.


R"5o&( 5&o( Ma&1 ,i(" ;:uic1 ,i("<

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.$ Reform @and$ @% the 'enter

2right$ left3'autionar%: Cuic7 E"ecuti#e: March 2as left 7nee is at highest point3

:ecution"'ount One: Straighten the left leg. Bend the right %nee.'ount T&o: Straighten the right leg to assume the A$$"n$ion position.


;





'ount Three: Shoot the left foot forward a full 2=53 pace to initiate :uic1 Ma&c! &hiles&inging the right arm for&ard.


;4





'anadianCommand"

(ntroductor%: +ame of @and$ ipes Drums$ etc.$ Reform @and$ @% the 'enter2right$ left3

'autionar%: Cuic7 E"ecuti#e: March 2left foot3

:ecution"'ount Yero: Straighten the right leg.'ount One: Shoot the left foot forward a half 213 pace to initiate :uic1 Ma&c! &hile

s&inging the right arm for&ard.'ount T&o: Ta7e a full 2=53 pace &ith the right foot &hile s&inging the right arm bac7.

R"5o&( 5&o( $!" )al$

'ttri!utes"


• Tempo set b% command :uic1 and Ma&c! &hich are on successi#e beats.


• Free arm s&ing consistent 2Cuic7 March onl%.3

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.$ Reform @and$ @% the 'enter

2right$ left3'autionar%: Cuic7 E"ecuti#e: March




'anadian'ount One: Shoot the left foot forward &ith a half 213 pace &ith right free arm




;=





D. INS,RUMEN, DRILL

Pi"s 5&o( -a&&y $o Playin* Posi$ion

Ta7e the pipes from the -a&&y Posi$ion up to the Playin* Posi$ion. This &as the method used b% the Cueen-s O&n ighlanders 29eaforth and 'amerons3.

'ttri!utes"

• Ma7e each motion as effecti#el%$ efficientl%$ and e"peditiousl% as possible.

• The pipe section should ma7e each motion simultaneousl%.

• The Cueen-s O&n ighlanders 29eaforth and 'amerons3 method &ill al&a%s ha#e atleast one hand on the chanter.

• This is e"ecuted from the position of A$$"n$ion.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: ipesE"ecuti#e: )p

:ecution"'ount One: 9imultaneousl% thrust pipes directl% for&ard and grasp bass drone and

chanter &ith left and right hand. With the right hand grasp the chanter andun&rap from the cord connecting the middle and bass drones. This &ill alsocause the middle drone to hang free. At the conclusion of count one$ the left hand

&ill hold the bass drone and the blo& pipe &hile the right hand &ill hold thechanter.

'ount T&o: Drum tapU With the left hand lift the bass drone6blo& pipe assembl% to theleft shoulder as &ell as place the blo& pipe in the mouth. The right hand &ill ta7echanter to pla%ing position. Once the bass drone is on the shoulder$ place the lefthand on the chanter. At the conclusion of count t&o$ the bass drone &ill rest onthe left shoulder and the left and right hands &ill finger LE on the chanter.

'ount Three: Drum tapU 'ut the right hand a&a% to the A$$"n$ion position.

'anadianCommand"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: ipes and DrumsE"ecuti#e: Read%

:ecution"'ount One: 9imultaneousl% thrust pipes directl% for&ard and grasp bass drone and

chanter &ith left and &ith the right hand grasp the chanter.'ount T&o: Drum tapU With the left hand lift the bass drone to the left shoulder and

release the chanter &ith the right hand. ?rasp the bass drone and blo& pipe &iththe right hand &hile the left hand grasps the chanter in the LE position.



;;





Pi"s 5&o( Playin* $o -a&&y Posi$ion

Ta7e the pipes from the Playin* Posi$ion do&n to the -a&&y Posi$ion. This &as the methodused b% the Cueen-s O&n ighlanders 29eaforth and 'amerons3.

'ttri!utes"

• Ma7e each motion as effecti#el%$ efficientl%$ and e"peditiousl% as possible.

• The pipe section should ma7e each motion simultaneousl%.

• The Cueen-s O&n ighlanders 29eaforth and 'amerons3 method &ill al&a%s ha#e at

least one hand on the chanter.


Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: ipesE"ecuti#e: Do&n

:ecution"'ount One: With the right hand grasp the blo& pipe and ta7e it do&n to the chanter.

Also grasp the chanter &ith the right hand and ta7e the blo& pipe and chanterassembl% up to the bass drone. 9imultaneousl%$ place the left hand on the bassdrone. At the conclusion of count one$ the left hand &ill hold the bass drone andthe right hand &ill hold the blo& pipe and chanter ne"t to the bass drone.

'ount T&o: Drum tapU With the left and right hands ta7e the pipes off the left shoulderso the bass drone is parallel to the ground$ the blo& pipe and chanter are ne"t tothe bass drone and the tenor drones hang free. With the right hand place the soleof the chanter under the pipe cord connecting the middle and bass drones. Thenmo#e the chanter around the bass drone in a countercloc7&ise$ semi,circularmanner. This &ill &rap the cord around the bass drone and 7eep the chantersecure &hile the blo& pipe &ill rest on top of the chanter. Mo#e the pipes to&ardthe left side of the bod% &ith the bass drone$ middle drone$ chanter$ and blo& pipe assembl% pointing for&ard and the outer drone hanging free. lace the leftarm around and under the bass drone assembl% and the outer drone. At the

conclusion of count t&o the bass drone assembl% &ill rest cradled on the leftforearm$ the left hand in a fist and resting on the &aist belt buc7le. The righthand remains on the bass drone assembl%.


'anadianCommand"

(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: ipes and DrumsE"ecuti#e: Do&n

:ecution"'ount One: With the right hand grasp the chanter$ blo& stic7 and bass drone.

'ount T&o: Drum tapU With the right hand ta7e the pipes off the left shoulder and intothe carr% position &ith the right hand on the bass drone.'ount Three: Drum tapU 'ut the right hand a&a% to the A$$"n$ion position.


;1





D&u(("&s S$ic1 D&ill

9tic7 drill is generall% onl% used on ceremonial occasions. (t is sometimes used to begin and end a drumsalute.

D&u(("&s R"a/y U

'ttri!utes"

• The drum section should ma7e each motion simultaneousl%.


Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.'autionar%: Drummers Read%

9ide and tenor drummers cross and touch stic7s 2right stic7 o#er left stic73 o#er the center of the drum. Tenor drummersha#e the bac7s of both hands uppermostU

E"ecuti#e: )p 'anadian: 9tic7s upU

:ecution"'ount One: 9ide Drummers @ring heads of stic7s to the mouth &ith the heads of

the stic7s together and the stic7s parallel to theground.

Tenor Drummers , @ring the stic7s$ still crossed in front of the face. Thepoint of the cross in front of the mouth. 9tic7sremain right stic7 o#er left stic7.

S$ic1 D&ill 5o& $!" Rolls

'ttri!utes"

• Foot Drill is consistent &ith :uic1 Ma&c! abo#e.

• Tempo set b% command :uic1 ;o& Slo%< and Ma&c! that are on successi#e beats.

• Attributes of A$$"n$ion position from hips up.• (f not gi#en D&u(("&s R"a/y U$ then Drummers &ill ha#e their stic7s up on the

introductor% &ord: 2@% the3 -"n$"&= 2b% the3 Ri*!$= or 2at the3 )al$.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.$ @% the 'enter 2or Right3 or

At the alt.U'autionar%: Cuic7 29lo&3E"ecuti#e: March

:ecution"'ount One: 'ommence the initial three,count roll.'ount Four: 9tic7s are brought to the U position.

'ount Fi#e: 'ommence the second three,count roll.'ount Eight: 9tic7s are brought to the U position.'ount +ine: 9tart tune beatings.

S$ic1 D&ill a$ $!" En/ o5 $!" ,un"

:ecution">ast +ote of Tune 2'ount Yero3: 9tic7s are brought to the U position.'ount One: 9tic7s are brought do&n to the A$$"n$ion position.


;0





A$$ac1 %!il" in Fo&(a$ion

A$$ac1 %!il" a$ $!" )al$

This command &ill be gi#en if the band &ill stri7e in and initial attac7 of the tune b% the pipes anddrums &hile at the halt 2i.e. the band &ill not march off.3

'ttri!utes"

• ipes are in pla%ing position.

• 'an be in @and Formation or -i&cl".

• Efficient$ effecti#e$ and e"peditious stri7e in.

• Tempo set b% command On" and ,%o &hich are on successi#e beats.

• Attributes of A$$"n$ion position maintained.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.$ At the alt$ Rolls'autionar%: OneE"ecuti#e: T&o

:ecution"'ount One: Drums initiate the rolls. ipers maintain the A$$"n$ion position.'ount Fi#e: lace right hand on bag and stri7e in pipes.'ount 9i": lace right hand on chanter in LE position.'ount 9e#en: 9ound LE &ith the chanter.'ount Eight: 'ontinue to sound LE &ith the chanter.'ount +ine: 9tart tune.

A$$ac1 %i$! Ev"n$ual Ma&c! O55

9tri7e in and initial attac7 of the tune b% the pipes and drums at the halt &ith the intent to step off at some point during the tune.

'ttri!utes"



• Tempo set b% command :uic1 ;o& Slo%< and Ma&c! that are on successi#e beats.

• Attributes of A$$"n$ion position maintained.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.$ f 'pplica!le" Reform

@andU$ At the alt'autionar%: Cuic7 2or 9lo&3E"ecuti#e: March

:ecution"'ount One: Drums initiate the rolls. ipers maintain the A$$"n$ion position.'ount Fi#e: lace right hand on bag and stri7e in pipes.'ount 9i": lace right hand on chanter in LE position.'ount 9e#en: 9ound LE &ith the chanter.'ount Eight: 'ontinue to sound LE &ith the chanter.'ount +ine: 9tart tune.

• 9tep off &ith A/vanc"R"5o&( signal at the end of a part.


;<





A$$ac1 %i$! I(("/ia$" Ma&c! O55

9tri7e in and initial attac7 of the tune b% the pipes and drums &hile stepping off from the halt.

'ttri!utes"


•

ipes are in pla%ing position.• Efficient$ effecti#e$ and e"peditious stri7e in.

• Tempo set b% command :uic1 ;o& Slo%< and Ma&c!= &hich are on successi#e beats.


• Free arm s&ing consistent upon march off 2:uic1 Ma&c! onl%.3


@andU$ @% the 'enter 2or Right3'autionar%: Cuic7 2or 9lo&3E"ecuti#e: March

:ecution"'ount One: 9tep off &ith the rolls 2=5 stride )*$ 1 stride 'anadian.3 The right free

arm e"tending for&ard to a position parallel to the ground.'ount T&o: Full 2=53 pace &ith right foot. The right free arm brought bac7 to a

comfortable position e"tending to the rear.'ount Three: Full 2=53 pace &ith left foot and right free arm e"tending for&ard to a

position parallel to the ground.'ount Four: Full 2=53 pace &ith right foot. 'ut right free arm to A$$"n$ion position.'ount Fi#e: Full 2=53 pace &ith left foot. lace right hand on bag and stri7e in pipes.'ount 9i": Full 2=53 pace &ith right foot. lace right hand on chanter in LE position.'ount 9e#en: Full 2=53 pace &ith left foot. 9ound LE &ith the chanter.'ount Eight: Full 2=53 pace &ith right foot. 'ontinue to sound LE &ith the chanter.'ount +ine: Full 2=53 pace &ith left foot. 9tart tune.

A$$ac1 %i$! D"lay"/ Ma&c! O55

This command &ill allo& the band to stri7e in and sound LE during the Ma&1 ,i(" through therolls. The band &ill then step off on the first note of the tune. This permits the pipes and drumsto get comfortable &ith the tempo and increases the li7elihood of a crisp step off.

'ttri!utes"

• Foot Drill is consistent &ith Ma&1 ,i(" and :uic1 ;o& Slo%< Ma&c! abo#e.



• Tempo set b% command :uic1 ;o& Slo%< and Ma&c! &hich are on successi#e

beats.• Attributes of A$$"n$ion position from hips up.


;






@andU$ Mar7 Time for the Rolls$ @% the 'enter 2or Right3'autionar%: Cuic7 2or 9lo&3E"ecuti#e: March

:ecution"'ount One , Four: Ma&1 ,i(" &ith the rolls. The right arm remains at the A$$"n$ion

position.'ount Fi#e: During Ma&1 ,i("$ place right hand on bag and stri7e in pipes.'ount 9i": During Ma&1 ,i("$ place right hand on chanter in LE position.'ount 9e#en: During Ma&1 ,i("$ sound LE &ith the chanter.'ount Eight: During Ma&1 ,i("$ continue to sound LE &ith the chanter.'ount +ine: While stepping off &ith left foot 2=5 initial stride )*$ 1 initial stride

'anadian3$ start tune.

A$$ac1 %!il" on $!" Ma&c!

9tri7e in and initial attac7 of the tune b% the pipes and drums &hile on the march.

'ttri!utes"




• Tempo set b% command :uic1 ;o& Slo%< and Ma&c!= &hich are on successi#e beats.


• Free arm s&ing consistent 2:uic1 Ma&c! onl%3.

Command"(ntroductor%: +ame of @and$ ipes Drums$ etc.$ Rolls

'autionar%: Cuic7 2or 9lo&3E"ecuti#e: March

:ecution"'ount One: Drummers initiate the rolls. Full 2=53 pace &ith right foot. The right free

arm e"tending for&ard to a position parallel to the ground.'ount T&o: Full 2=53 pace &ith right foot. The right free arm brought bac7 to a

comfortable position e"tending to the rear.'ount Three: Full 2=53 pace &ith left foot and right free arm e"tending for&ard to a

position parallel to the ground.'ount Four: Full 2=53 pace &ith right foot. 'ut right free arm to A$$"n$ion position.'ount Fi#e: Full 2=53 pace &ith left foot. lace right hand on bag and stri7e in pipes.'ount 9i": Full 2=53 pace &ith right foot. lace right hand on chanter in LE position.'ount 9e#en: Full 2=53 pace &ith left foot. 9ound LE &ith the chanter.

'ount Eight: Full 2=53 pace &ith right foot. 'ontinue to sound LE &ith the chanter.'ount +ine: Full 2=53 pace &ith left foot. 9tart tune.


;/





,un" -!an*"

'ttri!utes"

• This signal is used for changes bet&een tunes of li7e tempo.

• Al&a%s at the end of a part$ but preferabl% on the second time through 2also called the

repeat or forte section.3

•The ,un" -!an*" signal is b% the bass drummer pro#iding $%o hea#% double taps

to the band.

• The Drum Major is in control &hen in formation and &hile in motion or &hilstperforming static as in a circle8 ho&e#er$ the ipe Major usuall% sets tempo &henin the circle.

• After double taps there &ill be four counts 2beats3 to the end of the tune.

• The end of the tune &ill be on the right foot or e#en numbered beat. The beginning of the ne"t tune &ill be on the ne"t left foot.

,un" -!an*" %!il" a$ $!" )al$

Command"

Drum Major: Mace 9ignal 2@and in Formation3ipe Major: 9tep out and6or #isual signal 2@and in 'ircle3

:ecution"'ount Minus 9e#en: First set of Double Taps b% @ass Drum.'ount Minus Fi#e: 9econd set of Double Taps b% @ass Drum.'ount Yero: End of Tune.'ount One: 9tart ne"t tune.

,un" -!an*" %!il" on $!" Ma&c!

Command"

Drum Major: Mace 9ignal

:ecution"'ount Minus 9e#en: First set of Double Taps b% @ass Drum.'ount Minus Fi#e: 9econd set of Double Taps b% @ass Drum.'ount Yero: End of Tune.'ount One: 9tart ne"t tune.


15





,"(o -!an*"

'ttri!utes"

• This signal is used for musical tempo changes 2for e"ample: bet&een a Cuic7 March

and a 9lo& March or from march to strathspe%$ etc.3


repeat or forte section.3• The ,"(o -!an*" signal is b% the bass drummer pro#iding a sin*l" hea#% double

tap to the band.

• The Drum Major is in control &hen in formation and &hile in motion or &hilstperforming static as in a circle8 ho&e#er$ the ipe Major usuall% sets tempo &henin the circle.

• The @ass Drummer is signaled either b% the Drum Major 2mace signal3 or b% the ipeMajor 2#isual contact.3


,"(o -!an*" %!il" a$ $!" )al$

Command"Drum Major: Mace 9ignal 2@and in Formation3ipe Major: 9tep out and6or #isual signal 2@and in 'ircle3

:ecution"'ount Minus Fi#e: 9ingle set of Double Taps b% @ass Drum.'ount Yero: End of Tune and old tempo.'ount One: 9tart ne& tune and tempo.

,"(o -!an*" %!il" on $!" Ma&c!

Command"

Drum Major: Mace 9ignal

:ecution"'ount Minus Fi#e: 9ingle set of Double Taps b% @ass Drum.'ount Yero: End of Tune and old tempo.'ount One: 9tart ne& tune and tempo.


1





-u$ O55

'ttri!utes"


repeat or forte section.3

• The -u$ O55 signal is b% the bass drummer pro#iding $%o hea#% double taps to the

band.• The @ass Drummer is signaled b% either b% the Drum Major 2mace signal3 or b% the

ipe Major 2#isual contact.3

• Do not stop pla%ing until after the double taps are gi#en b% @ass Drummer.


• The end of the tune &ill be on the right foot or e#en numbered beat.

-u$ O55 %!il" a$ $!" )al$

Command"Drum Major: Mace 9ignal 2@and in Formation3ipe Major: 9tep out and6or #isual signal 2@and in 'ircle3

:ecution"'ount Minus 9e#en: First set of Double Taps b% @ass Drum.'ount Minus Fi#e: 9econd set of Double Taps b% @ass Drum.'ount Yero: End of Tune.'ount One: 'ut right hand a&a% to right side at the A$$"n$ion position.

-u$ O55 %!il" on $!" Ma&c!

Command"Drum Major: Mace 9ignal

:ecution"'ount Minus 9e#en: First set of Double Taps b% @ass Drum.'ount Minus Fi#e: 9econd set of Double Taps b% @ass Drum.'ount Yero: End of Tune.'ount One: 'ut right hand a&a% to right side to the A$$"n$ion position.'ount T&o: old right arm at side at the A$$"n$ion position.'ount Three: Resume free arm s&ing &ith right hand 2:uic1 Ma&c! Onl%.3


14





F. MASSED BAND,A,,OO DRILL

P"&(ission $o Ma&c! O55 Pa&a/"

(f there is a re#ie&ing officer or dignitar% at a performance 2stage$ floor$ or field sho&3$ it is proper

to re!uest permission to march the band or bands off parade. @efore the last tune$ the 9eniorDrum Major &ill approach the re#ie&ing officer$ salute$ re!uest permission to march off parade$salute$ and then return to their normal position in formation. As the band2s3 pass the re#ie&ingofficer as the% retire$ the re#ie&ing officer is again saluted.

Se=uence mmediatel& Prior to Re=uest"

• 9enior Drum Major Approaches the Re#ie&ing Officer.

• 9enior Drum Major 9alutes Re#ie&ing Officer.

• Re#ie&ing Officer returns the salute.

• 9enior Drum Major re!uests permission to march band2s3 off parade.

Command"(ntroductor%: 9ir$

'autionar%: Ma% ( ha#e %our permission to march massed bands 2or bandname3 off parade

E"ecuti#e: 9(R$ >EA9E

'anadian(ntroductor%: 9ir$'autionar%6E"ecuti#e: Ma% ( ha#e %our permission to march off the massed bands

Se=uence mmediatel& 'fter Re=uest"

• Re#ie&ing Officer grants permission 2'arr% on$ Drum Major3.

• 9enior Drum Major 9alutes Re#ie&ing Officer.

• Re#ie&ing Officer returns the salute.

• 9enior Drum returns to his position in band formation.

• @and2s3 march off parade.• As band2s3 pass re#ie&ing officer$ a salute is gi#en.


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This page is intentionall% left blan7U


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6I. BAND PERFORMAN-ES

A. PARADES

arades are a staple of most pipe band performances. The follo&ing are issues to 7eep in mind in

preparation of and &hile on parade:

#!a$ $o /o a$ R"!"a&sal;s< &io& $o $!" Pa&a/"

• Read the rules and regulations$ if pro#ided.

• +ote an% timing re!uirements in re#ie& area.

• 'onfirm &ith the ipe Major the sets6tunes to be pla%ed.

• 'oordinate &ith the ipe Major &here indi#idual pipers &ill be placed in band formation. a%

particular attention to placement of the &ea7er pipers 2interior positions$ if possible3.

• 9et the band formation.

• Ensure that all members satisfactoril% perform an% street drill and maneu#ers to be utiliGed.

• +ote placement of band staging area$ chec7,in area report time.

• ro#ide the band members &ith directions to the site and the report time.

#!"n $!" D&u( Mao& A&&iv"s a$ $!" Pa&a/" Si$"

• Arri#e earl% enough to dri#e or &al7 the route.

• (dentif% the location of the re#ie&ing stand$ media stands$ and an% ob#ious obstacles.

• 'hec7,in &ith the arade marshal$ if re!uired.

• Ensure that the band is at the staging area at the appropriate6re!uired report time.

Du&in* S$a*in* ,i(" an/ P&io& $o S$" O55

•

(nspect band and adjust uniforms.• Re#ie& the sets6tunes &ith the band.

• Re#ie& the parade route$ an% maneu#ers or special drill &ith the band.

• Meet and confer &ith the ipe Major and Drum 9ergeant to ensure band is read% for

performance.

• a#e the band Fall (n and set the alignment.

#!ils$ on Pa&a/"

• *eep alert as to progress of parade$ stopped units and other obstacles.

• *eep alert for unforeseen emergencies6incidents.

• Ma7e e%e contact &ith parade marshals %ou approach along the parade route be alert for an%

instructions.• Anticipate maneu#ers before e"ecution 2Mar7 Time$ Wheels$ 9alutes$ etc.3

• eed notices such as LCuiet Yone$ L9tart >ine$ LFinish >ine$- etc.

• 9top front ran7 of band on start line. 9et alignment if time permits.

• 9alute at re#ie&ing stand.

• +OTE: 'ounter motion usuall% results in Dis!ualification.

• At conclusion of the parade$ halt the band &ith sufficient room behind the band for other units or

bands to e"it or halt &ithout impeding the flo& of the parade.

• (f e"tended halts are e"pected$ tr% to 7eep band out of major intersections$ in shade 2if hot and

onl% if a#ailable on the actual parade route3$ and set At Ease or 9tand Eas%.Regimental Drum Major Association K 455; , 455< Drill Manual for ipes and Drums &&&.drummajor.net A>> R(?T9 RE9ERIED # =.5

11





B. MASSED BANDS

)O# ,O RUN A MASSED BAND b% Drum Major Bames A. arrington$ 9enior W)9@A Drum Major Adjudicator

Ga("s -o((i$$"" Ins$&uc$ions4

. lease ma7e sure that pipe band competition ends one full hour before the massed band finale.The reason is that a lot of bands li7e to &atch the higher grade bands compete. This hour gi#esthem enough time to collect their instruments and tune up before the massed band sho&. (t alsogi#es the 9enior Drum Major enough time to line e#er%one up before the sho& begins.

4. >imit the time the massed bands are performing. Do all of the introductions of dignitaries$pra%ers$ anthems$ athletic and dancing a&ards$ and an% other miscellaneous priGes prior to the

bands entering the field.

=. The ma"imum time for an% massed band sho& is 45 minutes. This is enough time to allo& forfour to fi#e tunes as &ell as the pipe band competition a&ards. 'reate a timed out performanceschedule for the final sho& and stic7 to it. ipe band members &ho ha#e competed indi#iduall% as &ell as collecti#el% 2&ith their band3 are usuall% e"hausted b% the end of the da% and dont &antto stand around &aiting.

;. a#e the games announcers announce 2throughout the games site3 one half hour before the finalsho& starts$ to ha#e the pipe bands begin forming up.

1. ire a 9enior Drum Major 2preferabl% the Drum Major Budge3 &ho &ill coordinate and e"ecutethe massed band sho&. This person should be 7no&ledgeable of all the games appro#ed massed

band tunes. The 9enior Drum Major should also be made a&are of the location of the arena 2ordesignated area3 &here the massed bands are to be held.

0. One &ee7 before the games$ inform the 9enior Drum Major as to:

a. o& man% bands &ill be performing in the massed band sho&2s3 b. The grade of each pipe band performing in the sho& c. The brea7do&n of each pipe band performing 2number of pipers$ sides$ tenors$ and bass3

This information &ill allo& the 9enior Drum Major to plan out 2in ad#ance3 formations andinstructions prior to the games &hich can be printed and handed out to each ipe Major in themorning before the competitions begin.

S"nio& D&u( Mao& Ins$&uc$ions

. Wor7 &ith the games committee in obtaining the information mentioned abo#e.

4. Dra& out the design of the massed band sho& the &ee7 before the games begin. When designingthe la%out of the massed bands$ ma7e sure that %ou spread out %our higher grade bands 2grades $4$ or =3 amongst %our grade ; 2and ju#enile3 bands. Also$ line up the larger bands ne"t to thesmaller bands in order to ma7e the Ss!uaring offS of the massed band easier.

=. lan out the tunes and the order the% are to be performed and inform the announcers in ad#anceof the sho&. An% marching instructions should be &ritten out as &ell and 7ept as simple aspossible eliminating as man% countermarches as possible. This a#oids Ssmashed bandsS$damaged drones$ and flared tempers. Write up the entire performance and gi#e a cop% to eachipe Major at the 9aturda% morning before the solo e#ents begin. This then gi#es %ou time to goo#er the instructions &ith the M before he6she gets bus% &ith their students and their bands.


10





;. our job is to e"ecute this plan and this sho&. (f %ou dont 7no& ho& to field direct......learn. Allmassed band participants 2and the audience3 enjo% participating in a &ell run$ &ell e"ecutedmassed band sho&. ?ood attac7s and clean finishes are the trademar7s of a good sho& and addto the pleasure and pride of performing.

1. Finall%$ coordinate and train all of the other drum majors to help assist %ou in the formation of the massed bands. o& else &ill the% learn if %ou dont sho& themN

Pi" Ban/ Ins$&uc$ions

. 9ho& up on time 2and be sober3.

4. @e dressed properl%. ipe Majors 2and6or Drum Majors3 should police their o&n bands.

=. ?o o#er the massed band instructions 2gi#en to %ou3 &ith all of %our band members. ipe Majors: &or7 &ith the 9enior Drum Major. The !uic7er he6she is able to get the bands formed up$ the!uic7er the sho& begins....and ends.

;. All @ass Drummers should use Ssingle beatsS onl% &hen performing in the massed bands. This

helps eliminate the tunes 2and bands3 from brea7ing apart.

1. All pipe band members: &atch the 9enior Drum Major-s field direction. This &ill help insuregood attac7s and clean cut,offs.

@ottom line$ the spectators &ho pa% at the gate rate the massed band sho& as the number one attractionat the ighland games. These people are for &hom &e are &or7ing. The% pa% our tra#el mone% and priGemone% and the% allo& us to get together four to ten times a %ear and ha#e fun. A 45 minute massed bandperformance is not as7ing a lot in return. Remember$ it ta7es e#er%one 2games committees$ drum majors$and pipe bands3 to put on a good sho&.

MASSED BAND b% Drum Major Michael W. 9te&art

P&">Ev"n$ B&i"5in*

The most important component to a &ell,run Massed @and is the re,Massed @and @riefing. This is ameeting in &hich the 9enior Drum Major and subordinate briefs participating Drum Majors on drill ande"pectations pertaining to the Massed @and e#ent. Topics should include the follo&ing:

• Time of E#ent

• The = Ds 2Dress$ Drill$ Deportment3

• Music 2tunes3

•

Wal7,through and 'horeograph%• Ioice 'ommands

• The 9tep Off

• Mace6and 9ignals

• The 'ounter March

• The >eft6Right Wheel

• The Double Taps

• The 9alute to the 'hieftain

• The March Off

• The alt Dismiss


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• Miscellaneous 2&eather$ etc.3


1





At the briefing$ the 9enior Drum Major &ill present$ &ith specificit%$ all pertinent and germane aspects of the Massed @ands sho& to all participating Drum Majors. (f it is possible$ the 9enior Drum Major shoulduse a chal7board for #isual demonstrations. The briefing is also a time &hen participating Drum Majorscan as7 !uestions as &ell as help coordinate the choreograph% of the sho&. 9uggesting changes$troubleshooting specific points of the sho&$ and discuss all aspects of the acti#it% &ith the 9enior DrumMajor and his subordinate should occur at this time. (t is anticipated that coordinating officials from theighland ?ames 2or (rish Feis3 'ommittee &ill be present for the briefing to ans&er !uestions. (n short$the objecti#e of the briefing is for the 9enior Drum Major to rela% the plan for the Massed @and sho& tothe indi#idual bands in addition to ans&ering an% !uestions the Drum Majors ma% ha#e. When themeeting has concluded$ all details should ha#e been &or7ed out and bandsmen read% to assemble.

Another 7e% to a smooth running Massed @and is the *(99 principle 2*eep (t 9imple3. The Massed @andis not an e#ening Tattoo$ a drill spectacular$ or a place to sho&case intricate maneu#ers. The inclusion of second or third part% elements into the sho& for SfluffS should be !uietl% remo#ed 2if possible3. As has

been said for man% %ears around the ?ames circuit: SThe Massed @and pa%s the bills.S The Massed @andreflects not onl% the professionalism of the 9enior Drum Major$ but of each participating Drum Major$ his

band$ and the ighland ?ames 2or (rish Feis3 'ommittee.

,i(" o5 Ev"n$

The time for marshalling the bands to the staging area and the step off time &ill be dictated b% theighland ?ames 2or (rish Feis3 'ommittee. The 9enior Drum Major &ill rela% the start times to allparticipating Drum Majors emphasiGing the need to arri#e earl% in the staging area. Drum Majors shouldimpress upon their bands and their ipe Majors$ that arri#ing earl% to the staging area to tune$ coordinate$align$ and Shurr% up and &aitS is of #ital importance. Timing is 7e% to 7eeping the Massed @ands sho& running on time.

,!" 3 D?s ;D&"ss= D&ill an/ D"o&$("n$<

The dress$ drill and deportment of the 9enior Drum Major should be impeccable. The participating DrumMajors should arri#e on time$ alert$ and read% to go. Dress should be clean and pressed. Drum Major

drill should be fluid$ sharp$ distinct$ and correct. The Drum Major should maintain his6herprofessionalism throughout the da%. >lawless deportment is %e& to the professionalism of +assed Bands. Drum Majors should ne#er brea7 ran7s$ chat amongst themsel#es during the performance$ or doan%thing that isn-t choreographed into the sho&. Deportment is self,discipline: the 7e% to professionalism

&hile on parade. Fi" %our e%es on a point and remained focused on the job at hand.

,unin*

Tuning is 7e% to maintaining the integrit% of the sound of the pipes. Although the Drum Major does notta7e part$ all bands should tune to the 9enior ipe Major. This is a good time for Drum Majors tocoordinate drill specifics.

Music

The Massed @ands repertoire should be mailed four to si wee%s prior to the ighland ?ames 2or (rishFeis3. The music should ha#e been appro#ed b% the ?ames Da% 'ommittee &ith tunes that are simpleenough for all bands to pla%$ but rele#ant to the program. ?ames Da% officials that re!uest a musicchange should be discouraged from doing so. The ipe Major and respecti#e Drum Major should 7no& the re!uested tunes and understand &hen and &here the cut,offs and tempo changes occur. The ipeMajor should address an% !uestions about the music &ith the ?ames Da% Officials.


1/





#al1 ,!&ou*! an/ -!o&"o*&a!y

After the briefing$ the 9enior Drum Major should ta7e all participating Drum Majors on a &al7,through of the intended march route for the Massed @and. The &al7,through &ill allo& Drum Majors a first andsecond opportunit% to become familiar &ith the intended march route. During this time$ the 9enior DrumMajor should ha#e all Drum Majors e"ecute 2in unison3 the follo&ing mo#ements the% &ill be performingli#e:

• The Wal7

• The 'ountermarch

• The Double Taps 2or cut off3

• The and 9alute 2if conducted3

The &al7,through &ill allo& e#er%one to acclimate to the actual route itself. Are there po&er cordscrossing the routeN Are the% taped do&nN Where is the line of departure for the countermarchN Are therean% chal7ed linesN o& far do &e ha#e to countermarchN

The 9enior Drum Major should stress the need to maintain distance$ alignment$ and ran7 during theperformance. The 9enior Drum Major should also stress choreograph% points during the &al7 through:

pla%ing of the +ational Anthem$ saluting$ deportment to&ard the cro&d$ timing of the music$ etc. +ochanges should be made once the &al7 through has been completed.

6oic" -o((an/s

All band members should remain !uiet in anticipation to the #oice command from the 9enior DrumMajor. The #oice command is composed of an ntroductor& Command $ a Cautionar& Command and thefollo& through$ or :ecuti(e Command .

Command"(ntroductor%: Massed @and$

@% the 'enter'autionar%: Cuic7

E"ecuti#e: March 2Cuic7 and March are on successi#e beats3

The 9enior Drum Major brings the mace to the carr% 2&ith all Drum Majors participating in concert3 andsteps off$ &ith the Massed @and behind him.

,!" S$" O55

All Drum Majors should bring the mace to the carr& position &hen the #oice command for the Cuic7 March is gi#en. The step off and resulting mo#ements should be sharpl% e"ecuted. 9ta% in stepP

Mac" an/ )an/ Si*nals

The 9enior Drum Major should ha#e briefed all participating Drum Majors about &hat mace and handsignals s6he intends to use. During the &al7 through$ these positions should be e"ecuted and practiced2man% times if necessar%.3 Onl% the 9enior Drum Major &ill gi#e hand signals. The participating DrumMajors &ill e"ecute the follo&ing 2E"ecuti#e 'ommand3 mace signals.

,!" -oun$"&(a&c!

Watch the 9enior Drum Major for the Counter +arch signal. Do not anticipate this mo#ementP


05





,!" L"5$Ri*!$ #!""l

Watch the 9enior Drum Major for the 3eft?Right Wheel signal. Do not anticipate this mo#ementP Duringthe maneu#er$ the Drum Majors at the pi#ot point &ill ha#e a #er% small step &hen compared to theoutside Drum Major &ho &ill maintain a == inch stride. All strides in bet&een these t&o points &ill #ar% according to the dress of the line. All participating Drum Majors should step short after e"ecuting the

3eft?Right Wheel until the 9enior Drum Major has gi#en the appropriate signal to begin resumption of a=5 inch stride. All Drum Majors should maintain a proportional hand s&ing &hile &heeling.

,!" Doul" ,as

When the Massed @and has come to the +ar% $ime and ha#e 7alted $ the 9enior Drum Major 2&ithe"ecution from the Drum Majors3 &ill gi#e the mace signal for Sdouble tapsS$ the t&o successi#e bassdrum beats signaling the end of the music. This occurs t&o measures before the end of the tune. The9enior Drum Major ma% dictate that s6he be the onl% one e"ecuting the mace signal for double taps ors6he ma% ha#e all Drum Majors e"ecute the signal. The 9enior Drum Major ma% use the ?uards Di#isionor the 9cottish Di#ision mace manual$ depending upon his taste and e"perience. (n an% e#ent$ do notanticipate the signal for double tapsP All Drum Majors should e"ecute a fluid and sharp mace mo#ement.Do not loo7 up &hen bringing the mace do&n.

,!" Salu$" $o $!" -!i"5$ain

During the 9alute to the 'hieftain$ all bandsmen and Drum Majors should be at the position of 'ttention.There should be no tal7ing$ no unnecessar% mo#ement$ and nothing that &ould be distracting to theofficials on the dais. The 9enior Drum Major ma% salute for the Massed @and or re!uire all Drum Majorsrender a hand salute at the appropriate time per briefing instructions. >isten for the 9enior Drum Major-s

#oice command and do not anticipate.

,!" Ma&c! O55

>isten for the 9enior Drum Major-s #oice command to bring the Massed @ands to the ;uic% +arch. Watch for the 9enior Drum Major-s signal for the countermarch.

,!" )al$ an/ Dis(iss

Watch for the 9enior Drum Major-s signal to +ar% $ime. Watch for the 9enior Drum Major-s signal forthe Dou!le $aps. When the music has ended$ do not mo#e. Wait for the 9enior Drum Major to gi#e the

Dismiss 'ommand:

Command"(ntroductor%: Massed @and'autionar%: DisE"ecuti#e: Miss

On the E"ecuti#e 'ommand$ all @andsmen should e"ecute a right turn and then !uic7l% depart theMassed @and staging area.


0





Misc"llan"ous

There are man% problems that a Massed @ands ma% encounter. ere are a fe&:

• Drum +a,or Pro!lem. The greatest problem affecting Massed @ands is the SDrum Major

roblem.S 9ome bands$ including some competition bands$ place untrained or no#ice

Drum Majors &ho ha#e ne#er participated in Massed @and e#ent in the front of their band. A Drum Majors ine"perience ma% cause confusion and disarra% among allparticipants surrounding him6her$ particularl% in a massed band setting.

• neffecti(e Pre2:(ent Briefing.

• Poor Communication !etween Senior Drum +a,or and the participating Drum +a,ors.

• Wheeling pro!lems. Most no#ice Drum Majors ma% not be able to effecti#el% maintain theirdistance and alignment correctl% as the Massed @and begins the slo& process of marchingthe arc.

• >lourishing. There should be no flourishing in Massed @ands. The 9enior Drum Major ma% flourish$ but that is the opinion of the author.

• +ace?7and Signals. 9ignals should be consistent and understood b% all.

• 'lcohol. A#oid during the games.


04





-. ,)E ,A,,OO b% Drum Major (ain D. Mc?ibbon$ The >orne 9cots

A Tattoo is a displa% of music$ marching$ deportment$ dancing$ pageantr%$ and appropriate entertainmentassembled to entertain and thrill an audience$ be it militar% or ci#ilian. (t is a theatrical performance of the highest !ualit%.

Tattoo is deri#ed from a Dutch &ord meaning to Lclose the tap. This referred to the beer 7egs in thesaloons of the +apoleonic eras. A drummer &as sent to beat the Lclose tap so that inn7eepers 7ne& it

&as time to shut for the night and send the soldiers bac7 to camp. E#entuall%$ bands &ere pressed intoser#ice and the% &ould perform in to&n s!uares &hile &aiting for troops to muster behind them for themarch bac7 to camp. And so the earl% Ltattoo &as created.

Toda%$ Tattoos are run b% the Militar%$ b% 'i#ilian roduction 'ommittees$ and b% other groups thatdecide to put on a spectacle for people to enjo%.

,!" )i"&a&c!y o5 a ,a$$oo

Director of +usic

The Director of Music is hired and appointed b% the Tattoo committee. This person is responsible for theselection of music$ possibl% in consultation &ith the 9enior ipe Major and others$ but not necessaril%. edecides settings$ arrangements$ and order of pla% for the entire sho&. )suall% this person is the 9enior'onductor$ but he ma% appoint such person in his stead if he chooses to sit out the performance. TheDirector of Music has final sa% on all things musical in the tattoo and usuall% is responsible for theappointments of the persons listed belo&. (n ci#ilian productions$ these duties ma% fall to the #ariousparticipants to sort such things out themsel#es.

$attoo Drum +a,or

The Tattoo Drum Major is hired6appointed or selected b% the producers of the sho&. This is usuall% done &hen the sho& re!uires a Lmaster manager to cobble the acts together or &hen there is anticipation of

problems &ith acts not co,operating &ith each other. Additionall%$ a Tattoo Drum Major ma% be selected &hen the producers or the Director of Music is not satisfied &ith the selection of Drum Majors a#ailable tohim from the participants of the sho&.

The Tattoo Drum Major onl% appears in front of the combined or massed acts of the sho& such asentrance$ set piece$ and finale. This person can be ser#ing$ retired$ brass$ pipe band$ militar%$ or a ci#ilian.During the massed bands or combined acts$ he is the lead Drum Major and &ill parade four paces in frontof all other Drum Majors or ma% chose to ta7e the bands on himself &ithout the other Drum Majors.

The Tattoo Drum Major should be completel% con#ersant in methods of drill8 7no& the #arious mace$hand$ and #erbal commands8 and loo7 the partP Other Drum Majors in the sho& should loo7 to thisperson &ith respect and &ith the understanding that the Tattoo Drum Major L7no&s his stuff.

Senior Drum +a,or" Brass?Reed

The Tattoo 'ommittee and6or Director of Music should appoint this person based on seniorit%$ both fromthe bands in the sho& and6or from the indi#iduals present.

?enerall%$ the 9enior Drum Major , @rass6Reed &ill be three paces in front of all other @rass6Reed DrumMajors. e is responsible for gi#ing all signals$ including cut offs for the massed brass6reed acts.


0=





(n combined @rass6Reed , ipes and Drums acts$ the 9enior Drum Major , @rass6Reed and the 9eniorDrum Major , ipes and Drums ma% be three paces behind the Tattoo Drum Major and ha#e all otherDrum Majors in line three paces behind them. Alternati#el%$ The 9enior Drum Major , @rass6Reed andthe 9enior Drum Major , ipes and Drums ma% fall into line &ith the other Drum Majors &hen the TattooDrum Major is on parade.

Senior Drum +a,or" Pipes @ Drums

The Tattoo 'ommittee and6or Director of Music should appoint this person based on seniorit%$ both fromthe bands in the sho& and6or from the indi#iduals present.

?enerall% the 9enior Drum Major, ipes and Drums &ill be three paces in front of the other ipes andDrums Drum Majors. e is responsible for gi#ing all signals$ including cut offs for the massed ipes andDrums acts.

(n combined @rass6Reed , ipes and Drums acts$ the 9enior Drum Major , @rass6Reed and the 9eniorDrum Major , ipes and Drums ma% be three paces behind the Tattoo Drum Major and ha#e all otherDrum Majors in line three paces behind them. Alternati#el%$ The 9enior Drum Major , @rass6Reed andthe 9enior Drum Major , ipes and Drums ma% fall into line &ith the other Drum Majors &hen the TattooDrum Major is on parade.

Senior Pipe +a,or

The Tattoo 'ommittee and Director of Music usuall% appoint the 9enior ipe Major based upon seniorit%$ran7$ time in ran7 or$ in cases of ci#ilian band onl% sho&s$ the most !ualified b% #irtue of musical abilit%.This person assists the Director of Music &ith musical issues pertaining to pipe music.

3ead Bass Drum

The 9enior Drum Major , ipes and Drums selects the >ead @ass Drummer. This is the onl% bass thatshould be heard b% the bands. e &ill set tempo as directed b% 9enior ipe Major and is positioned deadcentre of the drum section regardless of &here his o&n drum corps ma% be located.

3ead Side Drummer

The 9enior Drum Major , ipes and Drums selects the >ead 9ide Drummer. e &ill set beatings inconsultation &ith 9enior ipe Major and is positioned dead centre of the drum section regardless of &herehis o&n drum corps ma% be located.

3ead Drum Section

The >ead Drum 9ection is often the section from &hich the lead side drummer is selected$ but notnecessaril%. The% should be positioned dead centre of the drum section for balance and the% are the lead.The% should pla% to the L&ea7est lin7 so that the drum section sounds together.

D&ill

A Tattoo$ band displa% or concert is generall% performed to audiences comprised of #eterans$ militar% orpara,militar% people$ as &ell as to ci#ilians$ and the% usuall% ha#e paid good mone% to &atch the sho&.Drill routines are created b% a producer or director of the sho& and ma% be e"plained$ demonstrated ortaught b% that person$ or his designate. Designates ma% include a Drum Major$ a Drill 9ergeant Major orsome other person. The amount of time a#ailable to teach and practice these things ma% #ar% butparticipants are e"pected to be co,operati#e and &illing to learn.


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(t is incumbent on the performers to put on a great sho& that e"emplifies drill$ dress$ deportment$ colour$and musical s7ills. A tattoo &ill re!uire militar% standard and precision of drill. The details of thestandard are defined b% the host organiGation. All performers should emulate militar% precision. (nmassed band situations$ guest bands should plan to conform to the host band methods of drill. This can

be co#ered in ad#ance or ironed out in rehearsal.

:pected Drill and +aneu(ers

ersonal prere!uisites include the abilit% to perform the militar% standards of drill 29ta%ing in step$mar7ing time$ and form alignment and spacing.3 Essential maneu#ers &ill include the counter march$ leftand right &heels.

These issues are &ell e"plained in the host countr%-s militar% drill manual. articipating bands areencouraged to learn and be familiar &ith this material.

+ormall%$ pipers &ill be re!uired to follo& marching routines that &ill create patterns on a parade floorsuch as$ but not limited to the 9t. Andre&-s 'ross$ a circle$ or other such patterns &hich &ill be #isible tothe audience. An%thing that is out of the ordinar% &ill be practiced and e"plained to participants.Drummers usuall% remain in static bloc7s but &ill also rehearse an% planned mo#ements.

Rehearsal Protocol

Each sho& &ill be uni!ue in its rehearsal times. 9ome rehearsals start &ee7s in ad#ance &hile some startthe morning of an e#ening sho&. (t is important for participants to note that the% must arri#e at therehearsal read% to be producti#e. ?enerall%$ rehearsal &ill start &ith the finale$ &ith all sho& participantson the floor. The rehearsal &ill then proceed in re#erse order do&n to the first act.

(t is standard for pipes and drums and other bands to brea7 off into their o&n segments to practice.Massed pipes and drums and massed brass bands &ill sort out their combined music and practice theiracts either on the actual sho& floor$ on an attached par7ing lot$ or at another space.

@e a&are that set up of lighting and sound e!uipment$ as &ell as scener%$ ma% be going on during thistime. The technicians performing these jobs are unioniGed and ha#e strict rules co#ering &or7 periods.

There &ill li7el% be ci#ilian participants such as dancers$ singers$ g%mnasts$ and e#en animal acts thatha#e ne#er been part of such a sho& before. The% are li7el% going to be amaGed$ confused$ a&ed$ orfrightened b% the #olume and intensit% of noise$ lighting$ and acti#it%. atience and professionalism &ill

be re!uired to assist these people.

?enerall% the Lfull dress rehearsal is a thing of the past$ it is #er% hard on uniforms and ma7es for anincredibl% long da% for the performer. >ighting cre&s are #er% professional toda% and do not re!uire theset up methods of the past. (t is strongl% recommended that all rehearsals be done in Zci##ies- or infatigues.

Aour Band0s >irst $attoo

(f this is %our band-s first tattoo$ %ou must arri#e 7no&ing the music$ read% to pla%$ and ha#e instruments

that are tuned$ pla%able and in good order. ou should be in the right frame of mind &ith team&or7 as %our number one goal of the da%. @e professional$ polite$ and open to instruction from those around %ou &ho ma% ha#e more e"perience than %ou at such things.

Remember that some of the participants are militar% personnel and that the% ha#e done this before$ don-t be afraid to as7 for ad#ice or guidance. The common goal is to produce a professional sho& that thepa%ing public &ill appreciate and that %ou &ill ha#e been proud to ha#e been a part.


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Mac" D&ill

The Tattoo Drum Major or$ if none is appointed$ the 9enior Drum Major &ill establish the st%le of macedrill to be used in the sho&. Most ipe @ands conform to some st%le of the @ritish Arm% methods of maceor hand signals$ t%picall% either ?uards Di#ision or 9cottish Di#ision mace drill. This &ill pro#idecommon ground for co,operation amongst participants.

o&e#er$ it is imperati#e that the Tattoo Drum Major$ the 9enior Drum Major$ or both hold instructionsessions prior to an% sho& to ensure s%nchroniGation of the Drum Majors. The Tattoo Drum Major shouldta7e the Drum Majors out on the floor and rehearse mace drill$ foot drill and salutes so that come sho& time it all &or7s together.

S"nio&i$y o5 Ban/s

+ilitar& Bands

Order of parade$ or seniorit% is determined b% the LOrder of @attle. 'ommon&ealth countries listmilitar% units in the order of &hen the% &ere raised. A unit formed in <10 ta7es seniorit% o#er a unitformed in =0 and so on. +a#al unit bands are senior to an% other ser#ice in 'ommon&ealth 9er#ice.

+a#al units are follo&ed b% Arm% units$ and then Air Force units. The unit &ith seniorit% ta7es the rightflan7 or place of honour &hether it be a brass$ reed$ or pipe band. o&e#er$ if a tattoo producer has a setprogram or static displa% set up &hich has brass bands en bloc and pipes en bloc$ then participating bandsshould accommodate such plans &hene#er possible.

(n a ci#ilian tattoo$ militar% bands hired to perform$ especiall% in massed bands$ should remember thatci#ilian bands ma% not 7no& of these traditions and honours. 9ome gentle education or deference to thehost band ma% be suggested.

The seniorit% of ser#ice is sorted out &ell in ad#ance b% the tattoo producers and is not generall% an issue.

Ci(ilian Bands

When there are no militar% bands on parade$ but are bands sponsored b% police$ fire$ ambulance or otherpara, militar% organiGation$ the order of parade is based on seniorit% of ser#ice. +ormall%$ olice Forcesare senior to Fire units and &ould ta7e the right flan7 position. Alternati#el%$ all bands ma% defer to the9enior ipe Major so that his band is on the right.

-olou& Pa&$i"s Gua&/s

Guard Commander

The guard is normall% a commissioned officer of the armed ser#ices and is generall% chosen or appointed b% the tattoo committee.

(n lieu of that$ militar% personnel on scene can establish this position. (t is imperati#e that &hen the

guard and or colours are in the sho& that the &ords of command to mo#e on or off the floor come fromthe guard commander. This &ill ensure that &hen the music begins$ all bands$ guards$ and6or parties &illstep off together.

9eniorit% of colours$ and units carr%ing is established b% armed ser#ice protocol in the countr% hosting thetattoo.


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D. -OMPE,I,ION -IR-LE@% Drum Major *ieran ?. @o%le

The Drum Major-s duties for a competition band are limited. (t is essential that the Drum Majorcommunicate &ith the ipe Major as to &hat areas s6he can pro#ide assistance. The ipe Major is$ and

&ill be$ the onl% person in charge of the competition band. 96he is solel% responsible for the sound$tuning$ music$ and positioning of pla%ers in the competition circle.

The Drum Major can be a huge asset to the ipe Major if he6she assumes the burden of handling tra#elorders$ meals$ transportation to and from the ighland ?ames$ and entr% fees. The pressure that theDrum Major can ta7e a&a% from the ipe Major &ill allo& the ipe Major to more completel% focus onhis6her tas7 of preparing the band for the competition circle. Drill that &ould assist the band incompetition is limited$ but e"tremel% important. Top grade pipe bands are e"ceptional$ smart$ crisp$ andprecise. The% ha#e a s&agger about them. Man% bands that are good$ or pla% &ell together are lac7ingthese critical components.

One of the most basic things that a Drum Major can do is ensure that the pipers and drummers hands allreact in unison. These are small details that the ipe Major might o#erloo7 &hile s6he calls out the !uic7 march command. The drummer-s hands should react on the cautionar% &ord Sipes and Drums. (t isthe preference of the band as to &hen the drummer-s hands get into the Sread%S position to commence the

three beat roll intro. The Drum Major ma% determine that the drum corps hands mo#e on the &ordSDrumsS since LDrums pertains to the corps. The stri7ing of the bag$ tuc7ing into the under arm$ lo&erhand hitting the chanter are #isual cues that ma7e the band appear precise. All hand mo#ements must besharp$ clean and in unison. The pipers need to be concerned &ith and a#oid an% earl% chanter notes ordrones noise. E"traneous noise$ chirps$ roars ma% result in points lost e#en before the band starts itscompetition set.

Forming the circle can sometimes be a&7&ard depending on numerous conditions. (t is important thatthe band practice forming the circle on a regular basis. The Drum Major ma% add or subtract pla%ers sothat the band can get accustomed to the feeling of performing ne"t to different people. This &ill eliminatean% comfort Gones that ma% other&ise de#elop. Further$ this forces the band members to focus on theipe Major and thin7 of &hat tas7 is ne"t. The uniform &ill not usuall% ha#e an% conse!uence on thescoring of the ensemble. Moreo#er$ most judges do not ob#iousl% subtract points for poor deportment of

a band &hile in competition. That is not to sa% that dress and deportment are entirel% lost on the judges.These are areas &here the Drum Major can pro#ide some guidance to the band. (f uniforms are in order$pressed and clean$ and the band e"ecutes its drill smartl%$ then %our band &ill not onl% be remembered forits s7illed pla%ing abilities$ but as appearing professional as &ell.

On the competition circuit there ma% be three to fi#e judges at e#er% grade le#el. The ighland ?amecircuit normall% has the same stable of judges. (t is prudent to stud% the judges and read the reports thatare gi#en to each band. This is an e"cellent &a% to learn &hat each judge listens for &hile judging. The

judges &ill e#aluate the drum sections$ the ensemble$ the musical score$ and tuning. The Drum Major canpro#ide #aluable information to the ipe Major b% as7ing !uestions of the judges as to their indi#idual

judging criteria. Ob#iousl%$ this must be done &ell in ad#ance of the competition$ but this &ill assist %ouripe Major in ha#ing the band perform at its highest potential.

'andid ad#ice from a past competition band ipe Major is that the Drum Major is a support person that$

&ithout an% accolades$ assists in ma7ing the band perform as a cohesi#e unit. The competition band ise"actl% that: competing members that &ant to e"cel at and &ill be judged for their musical talents. TheDrum Major behind the scenes can ensure that the band &ill enter the competition circle confident intheir drill$ deportment$ and discipline.


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6II. SUMMAR8

( hope that %ou ha#e found this manual helpful. Man% people contributed man% hours to &rite$ compile$and edit this manual. @ut$ ( belie#e &e ha#e put together a !ualit% product. This manual &as designed to

be used in conjunction &ith the RDMA Mace Manual for ipes and Drums.

Drill and deportment is &hat the audience &ill see during %our performance. A band &ith strong drill anddeportment &ill lea#e a lasting impression and ma% mean the difference bet&een being sought after foradditional performances. We ha#e tried our best to e"plain some difficult topics such as deportment$internal band politics$ and drill instruction.

As %ou &ill ha#e noticed this manual does not co#er e#er% potential topic or situation8 ho&e#er$ there isenough information contained herein that %ou should be able to ade!uatel% train %our band and properl% present for parade.

As &ith all our publications$ if %ou see an area that %ou &ould li7e e"panded upon or an area that needsfurther clarification$ please let us 7no&. We &ill release updated editions as ne& information isincorporated into the manual.

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