ACP 633 - Air Cadet Band Drill PDF

BAND DRILL MANUAL
FOR THE ROYAL AIR FORCE AIR CADETS

(ACP 633)
HQ MUSIC SERVICES
SEPTEMBER 2017
Version 1.00
AMENDMENT LIST RECORD
Amended - Red Pending - Blue
AMENDMENT LIST DATE

AMENDED BY
NO DATE ISSUED AMENDED
Version 1.00 20 Sep 17 INITIAL ISSUE N/A
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INTRODUCTION ACP 633
1. Drill is a powerful aid to discipline. It develops a sense of corporate pride, alertness, precision and
readiness to obey orders instantly. Good drill in aircraft is directly fostered by the habit of drilling smartly on
parade. Personnel are better prepared for any work they have to do if fit and mentally alert, whether that is
on the ground, or in the air. Thus, smartness on parade is not only a sign of good discipline, but also a
basic factor in raising the standard of performance of all duties. Band drill is no exception to this.
2. Royal Air Force Music Services provides military musical support to the Royal Air Force. Its primary
role is to provide music for State and Service events. Royal Air Force Bands have always represented the
Royal Air Force at the highest level, being held in extremely high regard for their professionalism.
Members of RAF Air Cadets (RAFAC) Bands should endeavour to mirror RAF Music Services in all these
respects and reflect our parent service to the best of our abilities.
3. This manual has been written in co-operation between RAF Music Services and RAFAC Music
Services to aid in the standardisation of band drill across the RAFAC, and come into line with our parent
service.
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ACP 633
CHAPTER LIST
PART 1 - GENERAL INSTRUCTIONS
Chapter
Title Subject Matter
No.
Sequence of Instruction / Command / Timings / Aids to
1 Principles
Instruction / Generic Information
2 Words of Command Words of Command for Bands
PART 2 - DRUM MAJOR DRILL
Chapter
No.
1 Drum Major Drill Introduction
2 Drum Major Drill Lessons Lesson plans with photographs
PART 3 - MUSICIAN DRILL
Chapter
No.
1 Musician Drill Introduction
2 Musician Drill Lessons Lesson plans with photographs
PART 4 - BAND DRILL
Chapter
No.
1 Band Drill Description of band drill movements
2 Formations Band and instrumental formation details
ANNEX
No.
A Music Officer / Band WO Drill Notes for Music Officers and Band WOs
B Music Score Royal Air Force - General Salute
C Music Score Royal Air Force - Advance in Review Order
D Music Score Point of War
E Trumpet Calls Music for Trumpets
F Bugle Calls Music for Bugles (RAFAC Band competitions)
G Drum Beats Music for Drums (RAFAC Band competitions)
H Drum Emblazonment Bass Drum and Side Drum examples
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FOREWORD
BACKGROUND
1. This manual builds on the information contained in the RAF Band Drill Manual (AP 3227) which, for
RAFAC use, it replaces. Any questions or queries should be addressed to the Band Drill Warrant Officer
(RAFAC).
2. This edition has been compiled using the information contained in AP 3227 as well as insight from
RAF and RAFAC subject matter experts.
USAGE
3. ACP 633 is split into four parts. Part 1 contains general instructions. Parts 2 to 4 are for use by drill
instructors and contain lesson plans.
4. This manual should be read in conjunction with the Royal Air Force Manual of Drill and Ceremonial
(AP 818), to which it is complementary. This manual contains those instructions concerning drill and
ceremonial which are unique to RAFAC bands and musicians.
CONDUCT OF BAND DRILL
6. The instruction of drill movements is clearly defined and must be taught by a competent Cadet NCO
or WO/SNCO (RAFAC). Where issues of conflict arise in the manual, advice should be sought from an
RAFAC Drill Instructor or the Band Drill Warrant Officer (RAFAC).
7. It is important to note that bands participating in formal parades will work independently to the rest
of the parade. Further detail can be found in Part 1, Chapter 1 of this manual.
8. Performance of a band will depend on a number of variables; space available to rehearse, time and
opportunity to rehearse together, and the experience of the personnel involved. The ‘building blocks’ of a
professional visual performance is basic band drill.
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DEFINITIONS
AP 3227 The RAF Manual of Band Drill and Ceremonial.
AP 818 The RAF Manual of Drill and Ceremonial.
BAND WARRANT OFFICER The sole WO/SNCO appointment at Squadron, Wing or

Region level, shortened in literature to ‘Band WO’.
Responsible for band drill training and general standards of
uniform and band equipment. Reports to the Music Officer.
Can occupy the supernumerary position when in band
formation (or executive position when required if the Music
Officer is not available).
BAR (musical term) Any of the short sections or measures, typically of equal
time value, into which a piece of music is divided. Shown
on a score by vertical lines across the stave. One bar is
usually equal to either two or four paces in quick time,
depending on musical arrangement.
BEAT (musical term) Similar to ‘paces’. On the march there are usually either
two or four beats to one bar of music, depending on
musical arrangement.
BRASS (musical term) The brass section of a band comprises metal instruments
on which the sound is produced by forcing air through a
cup-shaped or conical mouthpiece. The brass section
usually consists of trumpets, trombones, French horns and
basses.
CARRIAGE DEVICE A sling, strap or harness worn around the body or neck to
secure a musical instrument, or spread the weight of the
item to ease carrying it.
CARRIAGE POSITION The position at which an instrument is to be held for

specified orders and movements.
CARRY The particular position a musician will hold an instrument

whilst at the position of STAND EASY, STAND AT EASE
and whilst marching AT EASE.
CEREMONIAL GRIP The term used to describe the placement of a hand on

equipment which has no strong grip on the item, but may
provide some support to prevent swaying. Typically the
fingers and thumb are extended so they all point in the
same direction.
CONTINUITY DRILL A display (usually set to music) combining a sequence of

drill movements without spoken words of command.
CORPS BANDMASTER The sole Bandmaster appointment within the RAFAC

structure. A WO/SNCO (RAFAC) position, shortened in
literature to ‘CBM’. Reports to the Principal Director of
Music (RAFAC).
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CORPS OF DRUMS The term used to describe all of the drums in a band,
typically when formed adjacent to each other.
COUNTER MARCH A formation movement used in similar context to ABOUT

TURN. Each musician in a file of a band, turning in
succession through 180 degrees in a limited arc to the
right, without changing sequential position in the file.
DIRECTOR OF MUSIC An Officer appointment held at HQ Music Services RAFAC,

usually a Squadron Leader in rank, shortened in literature
to ‘DoM’. Responsible for organising events/training and
being the point of contact for music matters within their
areas of responsibility. There are three DoM positions
(Concert Band, Marching Band and Training).
DISPLAY LINE The term used to describe an area at an event that has
been marked out or allocated for a band to perform within.
DOUBLE BEAT Two beats given in quick succession and ‘in tempo’ by the
bass drummer over a period of ONE pace in quick time.
The double beat speed is the same in quick and slow time.
DRAG ROPES Decorative ropes affixed in pairs to the underside of side

drums.
DRUM MAJOR An appointment given to an individual to enable control of

the band. The appointment is not a substantive rank.
EMBLAZONMENT Decorative artwork usually found on bass and side drums.
EXECUTIVE POSITION The position a Music Officer (or Band WO) may occupy
when in band formation, five paces in front of the front rank
of the band and two paces behind the Drum Major.
FERRULE The metal sleeved section at the bottom of the mace, on

which the mace rests upon the ground. The ferrule is
grasped during the execution of some movements.
INWARDS DRESS Similar in concept to ‘Right/Left Dress’ with which bands

take up correct dressing.
LYRE A small metal clip in the shape of a small harp that is

attached to an instrument (or on the wrist of certain
woodwind players) to hold march cards.
MACE A ceremonial staff of ornate design, typically surmounted

by a bulbous metal ‘head’. The mace is only carried by the
Drum Major.
MACE SWING The repetitive movement of the mace upwards and

downwards in front of the body, which can replace the left
arm swing of quick march.
A MARCH (musical term) A piece of music that can be marched to.
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MARCH CARD A card approximately A5 in size with musical notation for a
specific instrument part on one side. A number of march
cards making a set will be held together in a musician’s
lyre, each instrument type having its own march card set.
MARCHING AT EASE The manner in which a band may move from one point of
assembly to another when not playing and whilst affording
maximum comfort for the musicians.
MASSED BANDS Generic term given to a number of bands performing

together e.g. more than one Wing band forming a Region
or National band. Such bands can on occasion exceed the
maximum 6 file formation.
MUSIC OFFICER The sole Officer appointment at Squadron, Wing and

Region level, shortened in literature to ‘MusO’.
Responsible for organising events/training and being the
point of contact for music matters within their area of
responsibility. Can occupy the executive position when in
band formation. Can be present on parade to conduct or
guide a musical performance or display. It is permitted for a
WO/SNCO to hold this post if an Officer is not available.
MUSICAL CUE A specific point in music where a drill move or action is to

take place.
MUSICAL NOTATION Any system used to visually represent aurally perceived

music through the use of written symbols.
MUSICIAN The generic name given to individual band members.
PART (musical term) Piece of music from a score that shows the notation for one
instrument e.g. Piccolo part.
PIECE (musical term) Shorthand for ‘piece of music’.
PRELIMINARY ROLLS Drum rolls preceding a piece of music.
READY The position a musician will hold an instrument when about

to start playing and whilst playing.
REST The position a musician will hold an instrument when

sectional resting.
REST (musical term) An interval of silence in a piece of music, marked by a

symbol on the score or part, indicating the pause length.
SCORE (musical term) A score is written music that shows all parts. A conductor’s
score may have as many as 30 different simultaneous
instrumental parts on one page.
SECTION A group of similar instruments e.g. Woodwind section.
SECTIONAL RESTING Portions of a musical routine where specific instrument

sections rest whilst others continue to play.
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SET (musical term) A term to describe a number of sequentially played musical
pieces.
SLING A leather or synthetic strap worn around the body to secure

or carry a musical instrument.
STAVE (musical term) A set of five parallel lines on which musical notes are
displayed. A note can be written on any one of these lines
or between any adjacent two lines to indicate its pitch.
STATELY The term used to describe the movement of the mace in

some movements from one position to another. Akin to
sword drill, deliberate but smooth.
SUPERNUMERARY POSITION The position a Band WO may occupy when in band

formation when the Music Officer occupies the executive
position, two paces to the rear and central to the rear rank
of the band.
TEMPO (musical term) The speed at which a piece of music is or should be played
and is usually written as ‘beats per minute’. Equates to
‘rate of march’ in standard foot drill.
WOODWIND (musical term) The woodwind section of a band includes piccolos, flutes,
oboes, clarinets and bassoons and their related
instruments, although they are not necessarily made of
wood.
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PART 1
GENERAL INSTRUCTIONS
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PART 1 - CHAPTER 1
PRINCIPLES
OBJECTIVE OF THE MANUAL
1. The purpose of this manual is to set out the correct procedures for RAFAC bands. The only
movements to be taught are those laid down in this manual. Exceptions to this rule can be made when
operating as part of a dual or tri service band, when the traditions of the senior service take precedence.
Additionally, apart from the standard formations described in this manual, RAFAC bands will engage in
performances or competitions where a degree of ‘showmanship’ is expected. On these occasions, bands
are permitted to break standard formation to perform choreographed non-standard formations or routines.
Unless for specific artistic merit, all other drill movements by individuals are to be executed as described in
this manual.
MUSIC OFFICER (MusO)
2. The Music Officer is an Officer post and is responsible for the overall command, control and quality
of performance of a band whilst engaged on duty. They are also responsible for organising all training
activity and events for their assigned band.
BAND WARRANT OFFICER (Band WO)
3. The Band WO is a WO/SNCO post. Responsible to the Music Officer for organising logistical
support, upholding standards in drill, dress and deportment of band personnel and upholding standards in
the quality and state of repair of band equipment and accoutrements.
DRUM MAJOR
4. The Drum Major is an appointed cadet post rather than a substantive rank, despite the fact that
there is a ‘rank’ insignia. The appointment, and therefore the wearing of Drum Major distinguishing
insignia, is directly related to being actively engaged with a band at an event or practice. The Drum Major
outranks all other musicians in the band whilst engaged on duty regardless of their actual substantive rank.
A Drum Major is subordinate to the MusO and Band WO. Under normal circumstances, the Drum Major is
responsible for the control of a band’s movements, as well as when the band is to start and cease playing.
THE INSTRUCTOR
5. Despite first impressions, the process required to deliver a satisfactory band performance begins
with a firm grounding in standard foot drill as described in AP 818. Because of this, drill instructors should
instruct band drill with just as much impetus as they would for any other drill.
AIDS TO INSTRUCTION
6. In order to aid with instruction, the following may be employed:
a. The Metronome; this supplies an accurate rate of march.
b. A side or bass drummer; experienced enough to supply an accurate rate of march. Even when
practicing in band formation without instruments, a bass drummer may be employed.
c. ‘Counting in’; in Drum Major drill, some movements of the mace need to be completed as a foot
strikes the ground. To assist, the instructor can ‘count in’ students in the 4 paces preceding the
movement. Alternatively, a reminder of the movement 4 paces before execution is acceptable.
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SEQUENCE OF INSTRUCTION
7. Band personnel will typically have received enough training in foot drill to negate having to re-teach
movements from AP 818. Movements of the feet in most band drill movements are identical to AP 818.
Only the relevant modification required for band drill will be described in each lesson or chapter. The
sequence of instruction of drill movements contained in this manual still conforms to instructional technique
as laid down in AP 818.
Use Formation
Drum Major Drill 1 to 1, straight line or semicircle
Musician Drill Semicircle, straight line or hollow square
Counter march Single file, rank-by-rank or full band
8. When teaching formations or band movements (such as the counter march) to novice band
personnel, it is best to spend some time conducting basic and squad foot drill. This will allow a group of
musicians to form a team bond before moving on to the modifications required of this manual. Practicing in
band formation without instruments is also advised when conducting initial rehearsals.
SAFETY
9. Before each instructional session, the drill area is to be checked for trip hazards.
10. Instructors are to ensure personnel have no standing injury that will affect the lesson or be
adversely affected by the lesson.
11. Footwear is to be of correct pattern, serviceable and supportive. Court shoes are not to be worn.
12. All band personnel are to wear male pattern trousers / female slacks whilst practicing or performing
with instruments.
BEND THE KNEE POSITION
13. With the exception of the MusO, Band WO and Drum Major, all other musicians performing in a
band use a modified ‘bend the knee’ position. The thigh should be raised HALF WAY to the parallel
(approximately 45 degrees from horizontal), rather than the position described in AP 818.
RATES OF MARCHING
14. When playing for marching bodies of personnel on ceremonial duties, the tempo of music is not to
deviate from the rate of march as laid down in AP 818. Exceptions to this include playing for continuity drill
squads or playing incidental music when all parading personnel will remain at the halt.
15. Consideration should be taken with regard to the ability and age range of the participants on a
parade being led by a band e.g. Remembrance Parade. It is permitted for normal marching tempo to be
reduced for the increased comfort of those on parade.
16. Pipe bands traditionally march at a slower tempo than the standard rate of march. When pipe
bands are performing, or parading in conjunction with traditional marching bands, tempo must remain
consistent across all music played and not deviate from the rate of march as laid down in AP 818.
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LENGTH OF PACE
17. In quick time, the length of pace remains identical to AP 818. In slow time, because of the balance
required by those carrying instruments causing significant changes to the musician’s centre of gravity, slow
time is carried out at the ‘step short’ length of pace as described in AP 818.
WORDS OF COMMAND
18. When words of command are used, they will typically come from the Drum Major. MusOs or Band
WOs acting in place of a Drum Major are to conform to the same delivery of command.
19. Although band commands generally conform to those of AP 818, they differ when the Drum Major
uses a verbal command to march off (usually coinciding with commencement of playing).
20. The command to march off in quick or slow time is still made up of introductory, cautionary and
executive parts. In order to ‘build in’ a reliable tempo for the band personnel to begin playing together, all
parts of a command will be delivered so that they match the desired cadence as described below.
QUICK TIME
ORDER Band By the Centre Quick March
PACE LEFT RIGHT LEFT RIGHT LEFT RIGHT LEFT RIGHT LEFT RIGHT LEFT RIGHT
SLOW TIME
ORDER Band By the Centre Slow March
PACE LEFT RIGHT LEFT RIGHT LEFT RIGHT LEFT RIGHT
COMMAND OF BANDS ON PARADE
21. Nearly all words of command for a band on parade will be given by the Drum Major. If a Drum
Major is not present, words of command are to be given by the MusO. If the MusO is not present, words of
command are to be given by the Band WO. Exceptionally, where none of these personnel are present, a
competent SNCO within the leading rank of the band may give the orders.
22. Bands are typically under the direct command and control of the Drum Major whilst on duty and will
take no action to the majority of words of command given by a Parade Commander or other formations on
parade. They are not to ignore the direct instructions of the Parade Warrant Officer. Parade Commanders
must allow enough time between orders for the Drum Major to control the band separately. The only orders
not given by the Drum Major that the band will obey are as follows:
a. March off in quick or slow time to form a parade or to commence a march past.
b. Advance in Review Order.
c. General Salute.
d. General Salute, Present Arms (also; Royal Salute).
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23. All other orders such as SHUN, STAND AT EASE, BAND READY and DRESS will be given by the
Drum Major.
COMMENCE PLAYING
24. In order to commence playing, the band must be brought to the READY position by the Drum Major
using the command “BAND – READY”. The Drum Major will then use the command “BY THE CENTRE,
QUICK/SLOW – MARCH” to initiate preliminary rolls.
25. If a band is required to remain at the halt and commence playing, the command “ROLLS AT THE
HALT, BY THE CENTRE, QUICK/SLOW – MARCH” will be used.
26. If a band is required to step off without playing, all reference to rolls is omitted and the band is not
brought to the READY position prior to this order. The Drum Major issues the standard order “BY THE
CENTRE, QUICK/SLOW – MARCH”.
PRELIMINARY ROLLS
27. A musical repertoire should always commence with preliminary drum rolls. The duration of rolls are
as follows:
a. QUICK TIME - FIVE pace roll (resting on the sixth pace). Music commences on the SEVENTH
pace.
b. QUICK TIME TRANSITION - Between consecutive pieces, two THREE pace rolls (resting on the
fourth and eighth paces) followed by a FIVE pace roll (resting on the fourteenth pace). Music will
commence on the FIFTEENTH pace. This allows musicians enough time to change march cards.
c. SLOW TIME - FOUR pace roll (resting between the fourth and fifth pace). Music commences on
the FIFTH pace.
d. SLOW TIME TRANSITION - Between consecutive pieces, two THREE pace rolls (resting on the
fourth and eighth paces). Music will commence on the NINTH pace. This allows musicians enough
time to change march cards.
ADJUSTING & CHANGING MUSIC
28. Musicians may briefly adjust music at any carriage position if necessary, although this movement
should be kept to a minimum.
29. Between pieces, the whole band should change march cards together as the preliminary rolls begin
when playing a set.
30. If music is dropped to the ground on a parade or performance, no effort should be made to retrieve
it by personnel in band formation.
MUSIC FOR CEREMONIAL OCCASIONS
31. In selecting a march for parade purposes, its adaptability to the band that will play it should always
be kept in mind. A band should not play music that is likely to interrupt or upset the cadence of the
marching contingents of a parade. The melody and rhythm should lend itself to the usual rates of marching
in quick and slow time.
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32. Ceremonial music for the Royal Air Force can be obtained from the publishers, Messrs Boosey &
Hawkes Ltd, 295 Regent Street, London, W1. For quick reference, scores of the official Royal Air Force
“General Salute”, “Advance in Review Order” and “Point of War” are included in Annexes B to D. Tempo’s
for these pieces are to be as indicated on the scores.
33. The “Advance in Review Order” consists of eight bars, equalling sixteen paces. It has been
composed in such a manner as to allow for smaller Parade Squares that do not match the dimensions
described in AP 818. In such cases, only the LAST four bars (equalling eight paces) are played instead of
all eight bars.
34. The “Point of War” is to be played for the “Marching On and Off” of the Colour, Standard or Banner.
a. Playing is to commence immediately on the LAST movement of the present arms and precedes
the Bearer’s order to step off. If the parade is not armed, the piece should be played immediately
after the “March On or Off” command is completed, before the Bearer orders the Party to ‘Quick
March’.
b. RAFAC Banners are to be marched on or off parade to the “Air Cadets” march. Playing is to
commence immediately from bar 9 (with no preliminary rolls) on receipt of the command “Quick
March” from the Bearer, as the left heel strikes the ground.
c. RAF Colours or Standards will be marched on or off parade to the “RAF March Past”. Playing is
to commence immediately from bar 7 (with no preliminary rolls) on receipt of the command “Quick
March” from the Bearer, as the left heel strikes the ground.
INSTRUMENTS & DRUM EMBLAZONMENT
35. Instruments are to be presented in a serviceable, clean and tuned state. Drums are to be of similar
make and colour where possible. The preferred colours of RAFAC drums are either solid black or solid
white. Side drum sticks should be gloss white in colour. Items other than side drum drag ropes, such as
mascots, badges, or other accoutrements, are not permitted to be attached to instruments. Suggested
style and emblazonment formatting for bass and side drums can be found in Annex G. Squadrons, Wings
and Regions may choose whether to use their own crest or the ATC Crest (or CCF Roundel). The RAFAC
Music Services Badge is reserved for approved National Bands only.
36. All National, Regional, Wing or Squadron badge designs must be formally approved by and
registered with the College of Arms before they can be displayed. The ATC badge and the RAFAC Music
Services badge have been approved by the College of Arms. For advice and approval of badges, contact
the Support & Training Officer - Badges, Coats of Arms, Banners and Standards at Head Quarters Air
Cadets.
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PART 1 - CHAPTER 2
WORDS OF COMMAND FOR BANDS
AT THE HALT
INTRODUCTORY CAUTIONARY EXECUTIVE TIMING
Band Stand EASY
Band Stand at EASE
Band Band SHUN
Band Inwards DRESS

AS PER AP 818
Band Eyes FRONT
Band Fall OUT
Band Dis- MISS
Officer on
Dis- MISS
Parade
Band READY ONE
Move to the
Left/Right TURN
Left/Right
Move to the
Left/Right In- CLINE LEFT, RIGHT, LEFT, RIGHT
Left/Right
Band About TURN
ON THE MARCH (WHILST NOT PLAYING)
INTRODUCTORY CAUTIONARY EXECUTIVE FOOT TIMING
Band READY CHECK, ONE
Band Eyes LEFT/RIGHT/FRONT CHECK, TURN
Move to the
Left/Right TURN LEFT
Left/Right
Move to the CHECK, LEFT, RIGHT,
Left/Right In- CLINE
Left/Right LEFT, RIGHT, FORWARD
Band About TURN
ALL OTHER COMMANDS ARE TO BE GIVEN WITH THE MACE
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PART 2
DRUM MAJOR DRILL
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PART 2 - CHAPTER 1
DRUM MAJOR DRILL
INTRODUCTORY NOTES
1. The Drum Major role is identical in context to that of a squad or flight commander. For small bands
there will only be one Drum Major, typically operating at unit, sector or Wing level.
2. The Drum Major is responsible for maintaining the direction of the band when on the march. The
responsibility and visibility of the post demands that those appointed as a Drum Major are extremely
capable at foot drill, as well as commanding a ceremonial formation. The Drum Major should be able to
demonstrate an understanding of musical phrasing and rhythm in order to correctly execute movements,
signals and commands with the mace.
3. A Drum Major is usually the most visually striking and obvious member of the band by virtue of their
adornment and isolated position. As such, they are expected to execute drills in a flawless manner.
Because of their visibility, many will make a first impression of a band on the bearing and quality of drill of
the Drum Major rather than the music they play. A number of Drum Major drill movements will require the
smooth but firm movement akin to sword drill, whilst others will require the rapid smart movements
associated with rifle drill. Certain movements may be a mixture of both.
4. Drum Major drill is not to deviate from the movements described in the following chapter. The mace
must always remain in the grip or hold of at least one hand. Throwing or spinning a mace for visual effect
has no merit and can be dangerous; it is not permitted for any rehearsal or performance.
5. The majority of movements in this chapter can be executed in quick or slow time with the following
generic rules, which will also be stated in lessons where appropriate:
a. All the lessons are described in quick time. Unless stipulated in the lesson, all movements
should also be practiced in slow time.
b. Timings in seconds do not alter. Timings equivalent to paces in quick time are changed to slow
time when music tempo is in slow time.
c. In slow time, the free arm is not swung as for quick time.
d. The quick time ‘mace swing’ is not used in slow time.
e. Marching ‘at ease’ is only permitted when in quick time.
6. More than one Drum Major may be employed when forming ‘massed bands’. On these occasions,
MusOs or Band WOs will need to appoint a ‘lead’ Drum Major.
7. When more than one Drum Major is in formation, they will execute signals together. Delivery of
verbal commands will be by the lead Drum Major. When the band is playing it is necessary for the lead
Drum Major to ‘cue’ each movement to the other Drum Majors. This is achieved by use of the ‘EXECUTE’
signal.
8. It is important to note that Drum Majors and bass drummers must rehearse together. The bass
drum is key in attracting the attention of the band to the mace for certain movements by means of a ‘double
beat’. The Drum Major must ensure that bass drummers are fully conversant with the movements of the
mace and when the double beat cues are to be given. It is advisable that only one bass drummer gives the
double beat cues.
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9. When more than one Drum Major is in formation, the lead Drum Major should build in a suitable
pause between introductory and cautionary words of command to allow additional Drum Majors enough
time to execute movements when at the halt.
WHEELING
10. The Drum Major will signal the wheel by extending the indicating arm to the side on the LEFT foot.
It is important to remember the following points:
a. The distance in paces that the Drum Major will need to travel from the initial wheel signal, to the
point where they reach the inside file alignment, will vary depending on the number of files in
formation.
b. As described in the wheel lessons, after reaching this point a further FIVE paces are advanced
unless the executive position is occupied. On these occasions, SEVEN paces are advanced before
completing the rest of the movement.
MACE SWING & STATE WALK
11. A single Drum Major may elect to utilise mace swing when in quick march at their own discretion.
Mace swing is never to be used in slow time. When more than one Drum Major is in formation, rehearsal is
important in order to ensure movements are choreographed and uniform.
12. Before executing a command with the mace, the mace swing is to cease and the mace returned to
the carry. On these occasions, the ‘CHECK FROM MACE SWING’ movement replaces the first movement
of the mace command.
13. The ‘State Walk’ is only used at national level. It is only to be taught by instructors who have been
trained on the movement by the Band Drill Warrant Officer (RAFAC) or designate.
MACE DESIGN
14. The preferred style of mace for the RAFAC is the ‘ceremonial mace’. The mace shaft should be
black in colour with ‘cuban’ or curb pattern chromed-plated chains attached in an extended diamond pattern
as shown on the images in this chapter. The head of the mace should be a chrome-plated metal casting
(similar in shape to a light-bulb) and surmounted by a crown.
15. The RAFAC mace differs slightly in design to the ceremonial mace used at Region, Wing and
Squadron level. Whilst the mace shaft remains black, the chains, ferrule and head of the mace may be
gold in colour with the head surmounted by an eagle with outstretched wings.
16. As a general rule, maces should be approximately 60 inches in length and the Drum Major a
sufficient height and build to handle the mace correctly. In ideal circumstances, the height of the mace,
with the ferrule resting on the ground, should have the absolute top of the crown equal to a point
approximately 1.5 inches below the lowest point of the chin of the Drum Major.
17. If the mace is proportionally too large for the Drum Major, there is potential for the head or ferrule to
strike the ground in some movements. The Drum Major may also find it more difficult to control the mace
adequately in a smart and stately manner.
18. All new purchases should conform to the above design, although exemptions will be granted for
maces purchased prior to the initial release of this manual. A ‘gifted’ mace may only be used if it conforms
to the description in this chapter.
2-1-2 Version 1.00

PARTS OF THE MACE
19. For the purpose of instruction; the mace is made up of four main parts; the HEAD, NECK, SHAFT
and FERRULE, as shown in the following illustration:
HEAD
NECK
SHAFT
FERRULE
2-1-3 Version 1.00

PART 2 - CHAPTER 2
DRUM MAJOR DRILL LESSONS
LESSON
TITLE PAGE No.
NO.
DM 01 Stand Easy 2-2-2
DM 02 Stand At Ease From Stand Easy 2-2-7
DM 03 Attention 2-2-13
DM 04 Quick March at Carry 2-2-18
DM 05 Mace Swing 2-2-25
DM 06 Check from Mace Swing 2-2-31
DM 07 Quick March at Ease (Marching at Ease) 2-2-36
DM 08 Carry from Quick March at Ease 2-2-44
DM 09 Mark Time 2-2-55
DM 10 Halt 2-2-65
DM 11 Advance 2-2-72
DM 12 Counter March 2-2-85
DM 13 Change Files from Counter March 2-2-95
DM 14 Carry from Counter March 2-2-101
DM 15 Right Wheel 2-2-108
DM 16 Left Wheel 2-2-120
DM 17 Cease Playing on the March (Quick Time) 2-2-137
DM 18 Cease Playing on the March (Slow Time) 2-2-152
DM 19 Port Mace 2-2-165
DM 20 Invert Mace 2-2-176
DM 21 Execute 2-2-189
Note 1: Unless otherwise stated, lessons are presented in quick time format. When in slow time, the word
‘quick’ should be substituted for the word ‘slow’. Timings remain as per the lessons and are carried out at
the tempo and on the beat of the music being played.
Note 2: Lessons DM 17, 18, 19, 20 and 21 can also be used at the halt. Timings remain as per the
lessons and are carried out at the tempo and on the beat of the music being played.
2-2-1 Version 1.00

LESSON DM 01 – STAND EASY
INSTRUCTOR’S NOTES
Aim To teach the position of STAND EASY.
Timing One 10 minute period.
A basic outdoor or indoor instructional lesson. Explain the EXECUTION of the movements and emphasise the
Method
POINTS TO NOTE, as under column headings below.
Dress & Stores Clean Working Dress.
Preparation Select an area on the parade square, or any area of hard ground, or indoor equivalent.
CONDUCT OF LESSON
A. PRELIMINARIES
Squad Formation 1 to 1, straight line or semicircle.
Revision Nil
To introduce you to Drum Major drill, the first position we will cover is stand easy. The reason this
Spoken introduction movement is taught is to enable a Drum Major or group of Drum Majors to adopt the correct position
from which all other movements originate.
2-2-2 Version 1.00

B. COMPLETE DEMONSTRATION
INSTRUCTOR EXECUTION POINTS TO NOTE
The instructor is to give a complete 1. There is one part to this

demonstration of the movement. movement.
INSTRUCTOR MACE DRILL 2. There is no timing for this

STAND EASY movement.
FOR THE PURPOSE OF

INSTRUCTION, THE MOVEMENT
HAS ONE PART
2-2-3 Version 1.00

C. MOVEMENTS
1) STAND EASY – ONE (Fig 1-1)
The instructor is to demonstrate the 1. The feet are placed at the correct position of STAND AT 1. The feet are in the correct
first part of the movement giving the EASE. position of stand at ease.
words of command:
2. The tip of the ferrule is placed on the ground centrally to the 2. The left hand covers the right,
INSTRUCTOR MACE DRILL body and approximately 4 to 6 inches in front of the toecaps, both in a closed grip.
STAND EASY with the mace perpendicular to the ground.
3. The elbows remain tucked in to
3. The right hand holds the mace just below the head in a the body.
closed grip and the left hand covers the right in a closed grip.
4. The ferrule is on the ground,
4. The elbows are held in to the sides. central to the body.
5. The mace is perpendicular.
6. The body is erect and square to

the front.
ARE THERE ANY QUESTIONS? The squad practice Collectively-Individually-Collectively.
2-2-4 Version 1.00

D. FINAL DEMONSTRATION
The instructor is to give a final

demonstration:
INSTRUCTOR MACE DRILL

STAND EASY
E. END OF LESSON DRILLS
Form the class back into line, and Students to execute the movement. 1. Make any corrections where
confirm by collective practice: necessary.
SQUAD STAND EASY
2-2-5 Version 1.00

Fig 1-1
STAND EASY
2-2-6 Version 1.00

LESSON DM 02 – STAND AT EASE FROM STAND EASY
Aim To teach the position of STAND AT EASE from STAND EASY.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Stand Easy
The next stage in Drum Major drill is the stand at ease. The reason this movement is taught is to
Spoken introduction enable a Drum Major or group of Drum Majors to adopt the basic position from which all other
movements originate.
2-2-7 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There are two parts to this
ONE, (CHECK), ONE THOUSAND, TWO THOUSAND,
INSTRUCTOR MACE DRILL THREE THOUSAND, FOUR
JUDGING THE TIME
STAND AT EASE
FOR THE PURPOSE OF

HAS TWO PARTS.
2-2-8 Version 1.00

C. MOVEMENTS
1) STAND AT EASE FROM STAND EASY – ONE (Fig 2-1)
The instructor is to demonstrate the 1. Immediately on the command; the left hand quits its grip and 1. The feet are in the correct
first part of the movement giving the is forced to the side of the body at the correct position of position of stand at ease.
words of command: attention. The right hand reasserts a positive grip on the
neck, under the head of the mace, with the thumb placed 2. The left arm is at the side of the
INSTRUCTOR ONE vertically on the base of the head. body at the correct position of
attention.
ONE
3. The right elbow remains tucked in
to the body.

the front.
2-2-9 Version 1.00

2) STAND AT EASE FROM STAND EASY – TWO (Fig 2-2)
The instructor is to demonstrate the 1. After observing a pause equal to one pace in quick time, the 1. The feet are in the correct
first part of the movement giving the right hand then lifts the mace clear of the ground. In a position of stand at ease.
words of command: continued unbroken motion, the mace is brought briefly to
the left and swept in a wide arc with the hand just above 2. The left arm is at the side of the
INSTRUCTOR TWO shoulder height to the right for the count of 4 seconds to a body at the correct position of
position, approximately 4 to 6 inches in front of the right attention.
toecap.
3. The mace travels smoothly in one
2. Continuing the movement, the ferrule is placed back on the unbroken movement.
ground gently.
4. When mace comes to rest in its
3. On the execution of this movement the squad is to call out: new position this is known as
‘order mace’
(CHECK), ONE THOUSAND, TWO THOUSAND, THREE
THOUSAND, FOUR 5. The body is erect and square to
the front.
2-2-10 Version 1.00

The instructor is to give a final On the execution of the movement the instructor is to call out:
demonstration:
INSTRUCTOR MACE DRILL THREE THOUSAND, FOUR
STAND AT EASE
Form the class back into line, and Students to execute the movement calling out the timing: 1. Make any corrections where
SQUAD STAND AT EASE THREE THOUSAND, FOUR 2. When returning to Stand Easy,
the mace is returned to the Stand
Easy position using the same
timing and the same path in
reverse.
2-2-11 Version 1.00

Fig 2-1 Fig 2-2
First Movement Second Movement
STAND AT EASE FROM STAND EASY
2-2-12 Version 1.00

LESSON DM 03 – ATTENTION
Aim To teach the position of ATTENTION.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Stand At Ease
The next stage in Drum Major drill is the attention from stand at ease. The reason this movement is
Spoken introduction taught is to enable a Drum Major or group of Drum Majors to come to the position of attention in a
smart and uniform manner.
2-2-13 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There is one part to the
ONE
JUDGING THE TIME
SHUN
FOR THE PURPOSE OF

HAS ONE PART
2-2-14 Version 1.00

C. MOVEMENTS
1) ATTENTION – ONE (Fig 3-1)
The instructor is to demonstrate the 1. Immediately on the command; the left leg comes through the 1. The feet are in the correct
first part of the movement giving the full 90 degree bent knee position, and is placed back down position of attention.
words of command: next to the right heel at the correct position of attention.
2. The left arm is at the side of the
INSTRUCTOR ONE 2. The mace remains at the ‘order’ position. body at the correct position of
attention.
3. The mace and free arm do not move.
4. On the execution of this movement the squad is to call out: the front.
ONE
2-2-15 Version 1.00

demonstration:
ONE
SHUN
ONE
SQUAD SHUN
2-2-16 Version 1.00

Fig 3-1
ATTENTION
2-2-17 Version 1.00

LESSON DM 04 – QUICK MARCH AT CARRY
Aim To teach the mace position of CARRY whilst on the march.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Attention
The next stage in Drum Major drill is the Carry. The reason this movement is taught is to enable a
Spoken introduction
Drum Major or group of Drum Majors to march at the regulation pace in a smart and uniform manner.
2-2-18 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There are three parts to this
ONE, (CHECK), ONE, (CHECK), SWING
INSTRUCTOR
DRUM MAJOR DRILL
QUICK MARCH
FOR THE PURPOSE OF

HAS THREE PARTS
2-2-19 Version 1.00

C. MOVEMENTS
1) CARRY – ONE (Fig 4-1)
The instructor is to demonstrate the 1. On receipt of the command, the left foot is advanced in the 1. The left foot is advanced in the
first part of the movement giving the correct quick march. correct quick march.
words of command:
2. As the left heel strikes the ground, the right hand in control of 2. Both arms move simultaneously
INSTRUCTOR the mace is extended out to the right at approximately and as symmetrically as possible.
DRUM MAJOR DRILL shoulder height. The right hand is then immediately swept
ONE downwards then toward the left side of the chest allowing the 3. The ferrule does not strike the
ferrule to trail in its movement. ground.
3. At the same time, the left hand is extended to the left at 4. The mace is held at the correct
shoulder height. The fingers and thumb extended together carry.
and in line with the forearm. The hand is then immediately
swept slightly downward and inwards before seizing and 5. The body is erect and square to
grasping the mace shaft below the right hand. the front.
4. The Carry - The mace is held at the carry by the left hand,
using the first two fingers to grasp and trap the shaft against
the back of the remaining fingers which are in a closed grip.
The mace should sit diagonally across the body
approximately 30 to 40 degrees from the vertical to allow
free movement of the legs. The left hand should be
positioned just in front of the Sternum. The left forearm
should be horizontal to the ground with the elbow extended
out to the left.
5. On the execution of this movement the squad is to call out:
ONE
2-2-20 Version 1.00

2) CARRY – TWO (Fig 4-2)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The feet are advanced in the
second part of the movement giving correct quick march.
the words of command: 2. As the left foot strikes the ground, the right hand quits its grip
on the mace and is brought to the side of the body in a 2. The movement of the right arm is
INSTRUCTOR stately manner to the correct position of attention. in a stately manner.
DRUM MAJOR DRILL
(CHECK), ONE 3. On the execution of this movement the squad is to call out: 3. The mace is held at the correct
carry.
(CHECK), ONE
the front.
2-2-21 Version 1.00

3) CARRY – THREE (Fig 4-3)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The correct quick march is
third part of the movement giving the continued.
words of command: 2. As the left foot strikes the ground the right hand is brought
forward at the correct quick march arm swing. 2. The right arm swings at the
INSTRUCTOR correct quick march.
DRUM MAJOR DRILL 3. On the execution of this movement the squad is to call out:
(CHECK), SWING 3. The mace is held at the correct
(CHECK), SWING carry in the left hand.

the front.
2-2-22 Version 1.00

demonstration:
INSTRUCTOR
DRUM MAJOR DRILL
QUICK MARCH
DRUM MAJOR DRILL
QUICK MARCH
2-2-23 Version 1.00

Fig 4-1 Fig 4-2 Fig 4-3
First Movement Second Movement Third Movement
QUICK MARCH AT CARRY
2-2-24 Version 1.00

LESSON DM 05 – MACE SWING
Aim To teach the MACE SWING whilst on the march.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Quick March at Carry
The next stage in Drum Major drill is the quick march with mace swing. The reason this movement is
Spoken introduction taught is to enable a Drum Major or group of Drum Majors to swing the mace and march at the
regulation quick time pace in a smart and uniform manner.
2-2-25 Version 1.00

(CHECK), LEFT, RIGHT
INSTRUCTOR
DRUM MAJOR DRILL
SWING MACE
FOR THE PURPOSE OF

HAS TWO PARTS
2-2-26 Version 1.00

C. MOVEMENTS
1) MACE SWING – ONE (Fig 5-1)
The instructor is to demonstrate the 1. The command is given on the left foot. 1. A full pace is taken with the right
first part of the movement giving the foot
words of command: 2. The right foot is advanced in a check pace, the right arm
2. The left foot is advanced in the
reversing in its swing.
correct quick march.
INSTRUCTOR
DRUM MAJOR DRILL 3. Mace swing commences as the next left foot strikes the
3. The right arm swings at the
(CHECK), LEFT ground. The mace, without changing angle is brought down
correct quick march.
the front of the body until the arm is extended and slightly
forward at the left side of the body. The shaft does not move
4. The grip on the mace does not
more than approximately two inches from the body during its
alter and position of the wrist
movement.
accommodates the movement of
the mace.
(CHECK), LEFT 5. The left elbow is against the side

of the body.
6. The ferrule does not strike the

ground.

the front.
2-2-27 Version 1.00

2) MACE SWING – TWO (Fig 5-2)
The instructor is to demonstrate the 1. As the right foot is advanced without changing angle, the 1. The mace is brought to the carry
second part of the movement giving mace is brought up the body, with the left hand travelling position as the right foot is
the words of command: back toward the centre of the chest, the mace ceasing advanced, ensuring the elbow
movement at the correct position of carry. The shaft does not reaches the correct height for the
INSTRUCTOR move more than approximately two inches from the body carry, after which the mace swing
DRUM MAJOR DRILL during the movement is continued at quick march.
RIGHT
2. At the same time the right arm is forced to the rear at the 2. The right arm swings at the
correct quick march. correct quick march.
3. On the execution of this movement the squad is to call out: 3. The body is erect and square to
the front.
RIGHT
4. As the next left foot is advanced
the mace is swung down again
and the quick march with mace
swing is continued.
2-2-28 Version 1.00

demonstration:
INSTRUCTOR
DRUM MAJOR DRILL
QUICK MARCH
2. Mace swing may commence as a
DRUM MAJOR DRILL
drum major completes the quick
QUICK MARCH
march from the halt or when a
Mace swing also to be practiced as mace movement in quick time
an addition to quick march at the has completed.
carry to make one movement from
the halt to mace swing.
2-2-29 Version 1.00

Fig 5-1 Fig 5-2
MACE SWING
2-2-30 Version 1.00

LESSON DM 06 – CHECK FROM MACE SWING
Aim To teach the CHECK of the mace whilst on the march.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Quick March with Mace Swing
The next stage in Drum Major drill is the check from mace swing. The reason this movement is taught
is to enable a Drum Major or group of Drum Majors to cease swinging the mace as a prelude to the
Spoken introduction
execution of any other mace or hand signal whilst marching at the quick time pace in a smart and
uniform manner.
2-2-31 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There is one part to this
(CHECK), ONE
INSTRUCTOR
DRUM MAJOR DRILL
CHECK MACE
FOR THE PURPOSE OF

HAS ONE PART
2-2-32 Version 1.00

C. MOVEMENTS
1) CHECK FROM MACE SWING – ONE (Fig 6-1)
The instructor is to demonstrate the 1. The command is given on the left foot. 1. The feet are advanced in the
first part of the movement giving the correct quick march.
words of command: 2. The right foot is advanced in a check pace, the correct quick
march with mace swing is continued. 2. The mace has been ‘swung’
INSTRUCTOR upward to the correct carry.
DRUM MAJOR DRILL 3. As the left foot is advanced, the mace is returned to the
(CHECK), ONE correct carry. 3. The right arm has been forced to
the side in the correct position of
4. At the same time and speed the right arm is checked to the attention.
side at the correct position of attention.
4. The ferrule does not strike the
5. On the execution of this movement the squad is to call out: ground.
(CHECK), ONE 5. The body is erect and square to

the front.
2-2-33 Version 1.00

The instructor is to give a final On the execution of the movement the instructor is to call out: 1. The movement as taught is used
demonstration: as the prelude to other mace or
(CHECK), ONE hand signals and replaces the
INSTRUCTOR first movement in some lessons
DRUM MAJOR DRILL where stated. The mace may only
CHECK MACE be swung in quick time.
(CHECK), ONE
DRUM MAJOR DRILL
CHECK MACE
2-2-34 Version 1.00

Fig 6-1
CHECK FROM MACE SWING
2-2-35 Version 1.00

LESSON DM 07 – QUICK MARCH AT EASE
Aim To teach the mace position of CARRY whilst on the march.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Quick March at the Carry
The next stage in Drum Major drill is quick march at ease. The reason this movement is taught is to
Spoken introduction enable a Drum Major or group of Drum Majors to march a band in quick time without playing, from one
point of assembly to another in a relaxed posture, in a smart and uniform manner.
2-2-36 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There are four parts to this
ONE, (CHECK), ONE, (CHECK), ONE, (CHECK), SWING
INSTRUCTOR
DRUM MAJOR DRILL
QUICK MARCH
FOR THE PURPOSE OF

HAS FOUR PARTS
2-2-37 Version 1.00

C. MOVEMENTS
1) QUICK MARCH AT EASE – ONE (Fig 7-1)
The instructor is to demonstrate the 1. On receipt of the command, the left foot is advanced in the 1. The mace is brought to the
first part of the movement giving the correct quick march. correct carry, with the left elbow
words of command: . pointed out to the left.
2. At the same time the mace is brought to the carry as
INSTRUCTOR previously taught. 2. The ferrule does not strike the
DRUM MAJOR DRILL ground.
ONE 3. On the execution of this movement the squad is to call out:
ONE the front.
2-2-38 Version 1.00

2) QUICK MARCH AT EASE – TWO (Fig 7-2)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The mace angle of carriage is
second part of the movement giving reversed and the mace ‘cradled’.
the words of command: 2. As the left foot strikes the ground, the left hand moves the
mace head across the front of the body to right shoulder 2. The right elbow is raised to
INSTRUCTOR letting the ferrule trail in the movement. support the mace head on the
DRUM MAJOR DRILL upper arm.
(CHECK), ONE 3. At the same time, the right hand meets the mace below the
left hand and cradles the shaft. The thumb of the right hand 3. The body is erect and square to
traps the shaft against the palm and fingers. The palm facing the front.
toward the body.
(CHECK), ONE
2-2-39 Version 1.00

3) QUICK MARCH AT EASE – THREE (Fig 7-3)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The mace remains ‘cradled’ in the
third part of the movement giving the right hand.
words of command: 2. As the left foot strikes the ground, the left hand quits its grip
and is cut away to the side of the body at the correct position 2. The left arm is at the correct
INSTRUCTOR of attention. position of attention.
DRUM MAJOR DRILL
(CHECK), ONE 3. On the execution of this movement the squad is to call out: 3. The body is erect and square to
the front.
(CHECK), ONE
2-2-40 Version 1.00

4) QUICK MARCH AT EASE – FOUR
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The mace remains ‘cradled’ in the
fourth part of the movement giving right hand.
the words of command: 2. As the left foot strikes the ground, the left arm resumes the
correct quick march arm swing. Initially swinging the arm to 2. The left arm is swung to the rear
INSTRUCTOR the rear. initially.
DRUM MAJOR DRILL
(CHECK), SWING 3. On the execution of this movement the squad is to call out: 3. The correct quick march is
continued.
(CHECK), SWING
the front.
2-2-41 Version 1.00

The instructor is to give a final On the execution of the movement the instructor is to call out: 1. The movement is never executed
demonstration: in slow time.
INSTRUCTOR
DRUM MAJOR DRILL
QUICK MARCH
DRUM MAJOR DRILL
QUICK MARCH
2-2-42 Version 1.00

Fig 7-1 Fig 7-2 Fig 7-3
QUICK MARCH AT EASE
2-2-43 Version 1.00

LESSON DM 08 – CARRY FROM QUICK MARCH AT EASE
Aim To teach the mace position of CARRY from AT EASE whilst on the march.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Quick March at Ease
The next stage in Drum Major drill is carry from quick march at ease. The reason this movement is
Spoken introduction taught is to enable a Drum Major or group of Drum Majors to return the mace to the correct carry
before executing any mace signal, in a smart and uniform manner.
2-2-44 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There are six parts to this
(CHECK), ONE, (CHECK), ONE, (CHECK), ONE, (CHECK),
INSTRUCTOR ONE, (CHECK), ONE, (CHECK), SWING
DRUM MAJOR DRILL
CARRY MACE
FOR THE PURPOSE OF

HAS SIX PARTS
2-2-45 Version 1.00

C. MOVEMENTS
1) CARRY FROM QUICK MARCH AT EASE – ONE (Fig 8-1)
The instructor is to demonstrate the 1. The command is given on the left foot. 1. If swung, the mace is to be
first part of the movement giving the checked to the carry on this
words of command: 2. The right foot is advanced in a check pace. movement (Lesson DM 06).
INSTRUCTOR 3. As the next left foot strikes the ground, the left arm is cut to 2. The left arm is at the correct
DRUM MAJOR DRILL the side of the body at the correct position of attention. position of attention.
(CHECK), ONE
4. On the execution of this movement the squad is to call out: 3. The mace is ‘cradled’ in the right
hand.
(CHECK), ONE
the front.
2-2-46 Version 1.00

2) CARRY FROM QUICK MARCH AT EASE – TWO (Fig 8-2)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The left arm is at the correct
second part of the movement giving position of attention.
the words of command: 2. As the left foot next strikes the ground, the left arm is brought
out to the left before being brought down so that the arm is 2. The mace is ‘cradled’ in the right
INSTRUCTOR fully extended and the hand meets the shaft or ferrule in a hand.
DRUM MAJOR DRILL full grip.
(CHECK), ONE
2-2-47 Version 1.00

3) CARRY FROM QUICK MARCH AT EASE – THREE (Fig 8-3)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The mace finishes at a horizontal
third part of the movement giving the position with both arms extended.
words of command: 2. The left foot is advanced a further pace. At the same time
the right hand permits the mace head to drop to the 2. The correct quick march is
INSTRUCTOR horizontal, and the grip of the right hand is altered during the continued.
DRUM MAJOR DRILL movement to a full grip around the mace neck, with the palm
(CHECK), ONE facing forward. Both hands now grip the mace with a full grip 3. The body is erect and square to
and the arms are fully extended. the front.
(CHECK), ONE
2-2-48 Version 1.00

4) CARRY FROM QUICK MARCH AT EASE – FOUR (Fig 8-4)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The mace finishes at the correct
fourth part of the movement giving carry position, with the elbow
the words of command: 2. As the next left foot is advanced. The right arm forces the pointing out to the left.
mace anticlockwise and upward so that it rotates back to the
INSTRUCTOR position of carry, with the mace head in the left shoulder and 2. The correct quick march is
DRUM MAJOR DRILL the ferrule pointing down and to the right. continued with the feet.
(CHECK), ONE
3. At the same time the left hand quits it grip and is raised to 3. The movement finishes with both
meet the mace below the right hand at the correct position of hands in contact with the mace.
carry.
(CHECK), ONE
2-2-49 Version 1.00

5) CARRY FROM QUICK MARCH AT EASE – FIVE (Fig 8-5)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The mace is now at the correct
fifth part of the movement giving the carry.
words of command: 2. As the left foot strikes the ground, the right hand quits its grip
on the mace and is brought to the side of the body in a 2. The correct quick march is
INSTRUCTOR stately manner to the correct position of attention. continued with the feet.
DRUM MAJOR DRILL
the front.
(CHECK), ONE
2-2-50 Version 1.00

6) CARRY FROM QUICK MARCH AT EASE – SIX (Fig 8-6)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The mace is at the correct carry.
sixth part of the movement giving
the words of command: 2. As the next left foot is advanced, the right arm resumes the 2. The correct quick march is
correct quick march, swinging forward initially. continued with the feet.
INSTRUCTOR
DRUM MAJOR DRILL 3. On the execution of this movement the squad is to call out: 3. The right arm resumes the
(CHECK), SWING correct quick march arm swing.
(CHECK), SWING
the front.
2-2-51 Version 1.00

The instructor is to give a final On the execution of the movement the instructor is to call out: 1. The movement is never executed
demonstration: in slow time.
INSTRUCTOR ONE, (CHECK), ONE, (CHECK), SWING 2. The movement may be carried
DRUM MAJOR DRILL out whilst marching. With each
QUICK MARCH movement executed on
consecutive left feet.
DRUM MAJOR DRILL ONE, (CHECK), ONE, (CHECK), SWING
QUICK MARCH
2-2-52 Version 1.00

Fig 8-1 Fig 8-2 Fig 8-3
CARRY FROM QUICK MARCH AT EASE
2-2-53 Version 1.00

Fig 8-4 Fig 8-5 Fig 8-6
Fourth Movement Fifth Movement Sixth Movement
CARRY FROM QUICK MARCH AT EASE
2-2-54 Version 1.00

LESSON DM 09 – MARK TIME
Aim To teach the mace signal of MARK TIME whilst on the march.
Method
Select an area on the parade square, or any area of hard ground, or indoor equivalent with sufficient vertical
Preparation
space to raise the mace without striking fittings or the ceiling.
CONDUCT OF LESSON
A. PRELIMINARIES
Squad Formation 1 to 1, straight line or semicircle. Provide generous space between personnel.
Revision Quick March at the Carry
The next stage in Drum Major drill is mark time. The reason this movement is taught is to enable a
Spoken introduction
Drum Major or group of Drum Majors to signal a band to mark time, in a smart and uniform manner.
2-2-55 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There are five parts to this
INSTRUCTOR ONE, (CHECK), LEFT, RIGHT, LEFT
DRUM MAJOR DRILL
MARK TIME
FOR THE PURPOSE OF

HAS FIVE PARTS
2-2-56 Version 1.00

C. MOVEMENTS
1) MARK TIME – ONE (Fig 9-1)
INSTRUCTOR 3. As the next left foot strikes the ground, the right arm is cut to 2. The feet are advanced in the
DRUM MAJOR DRILL the side at the correct position of attention. correct quick march.
(CHECK), ONE
4. On the execution of this movement the squad is to call out: 3. The right arm is cut to the side.
(CHECK), ONE 4. The mace is held at the correct

carry.

the front.
2-2-57 Version 1.00

2) MARK TIME – TWO (Fig 9-2)
the words of command: 2. As the left foot strikes the ground, the right hand with the
fingers and thumb extended in line with the forearm is 2. The mace remains at the correct
INSTRUCTOR brought to the ferrule in stately manner by taking the arm out carry.
DRUM MAJOR DRILL to the right then forward in an arced fashion before seizing
(CHECK), ONE the ferrule in a ceremonial grip. The palm faces to the rear, 3. The right hand is brought to the
arm fully extended. ferrule in a stately manner.
3. The left hand continues to hold the mace at the carry. 4. The right hand grasps the ferrule
in a ceremonial grip.
(CHECK), ONE the front.
2-2-58 Version 1.00

3) MARK TIME – THREE (Fig 9-3)
third part of the movement giving the correct quick march.
words of command: 2. As the left foot strikes the ground. The left hand pushes the
mace head in a stately manner, initially to the left and above 2. The right arm and hand is
INSTRUCTOR head height before continuing the movement in an arc to the extended downwards.
DRUM MAJOR DRILL right and then downwards, so that the mace is perpendicular
(CHECK), ONE to the ground in the right shoulder. The left hand now grips 3. The left forearm is horizontal and
the mace in a full grip on the shaft with the thumb pointing the left hand is in a full grip on the
towards the head of the mace. The mace head is mace shaft, thumb pointing
approximately level with the drum majors head. The left upwards to the head of the mace.
forearm horizontal to the ground.
4. The mace is perpendicular to the
3. At the same time, the right hand continues to hold the mace ground in the right shoulder.
in a ceremonial grip.
5. The mace head travels as high as
4. On the execution of this movement the squad is to call out: possible without discomfort.

the front.
2-2-59 Version 1.00

4) MARK TIME – FOUR (Fig 9-4)
fourth part of the movement giving correct quick march.
the words of command: 2. As the left foot strikes the ground, the left hand quits its grip
on the mace shaft and is brought to the side in the correct 2. The left arm is at the side of the
INSTRUCTOR position of attention. body at the correct position of
DRUM MAJOR DRILL attention.
(CHECK), ONE, (CHECK) 3. At the same time, the right hand changes to a full grip and
lifts the mace above the head to the full extent of the right 3. The right arm is extended fully
arm, with the arm naturally bending at the elbow as it is upwards with the right hand in a
extended upwards. The mace remains perpendicular to the full grip.
ground throughout the movement.
4. The right foot is brought alongside the left with the right leg ground.
straight, to the correct position of attention.
5. The right foot is ‘slid’ up to the left
5. On the execution of this movement the squad is to call out: foot.
(CHECK), ONE, (CHECK) 6. The body is erect and square to

the front.
2-2-60 Version 1.00

5) MARK TIME – FIVE (Fig 9-5)
The instructor is to demonstrate the 1. Mark time commences, starting with the left foot. 1. The mace is perpendicular to the
fifth part of the movement giving the ground.
words of command: 2. On the execution of this movement the squad is to call out:
2. Legs are moved in the correct
INSTRUCTOR LEFT, RIGHT, LEFT mark time movement.
DRUM MAJOR DRILL
LEFT, RIGHT, LEFT 3. The body is erect and square to
the front.
2-2-61 Version 1.00

demonstration:
INSTRUCTOR ONE, (CHECK), LEFT, RIGHT, LEFT
DRUM MAJOR DRILL
MARK TIME
DRUM MAJOR DRILL ONE, (CHECK), LEFT, RIGHT, LEFT
MARK TIME
2-2-62 Version 1.00

Fig 9-1 Fig 9-2 Fig 9-3
MARK TIME
2-2-63 Version 1.00

Fig 9-4 Fig 9-5
Fourth Movement Fifth Movement
MARK TIME
2-2-64 Version 1.00

LESSON DM 10 – HALT
Aim To teach the HALT from mark time.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Mark Time
The next stage in Drum Major drill is the halt. The reason this movement is taught is to enable a Drum
Spoken introduction
Major or group of Drum Majors to signal a band to halt from mark time in a smart and uniform manner.
2-2-65 Version 1.00

(CHECK), ONE, (CHECK), DROP, TWO, THREE, FOUR,
INSTRUCTOR ONE THOUSAND, TWO THOUSAND, THREE 2. The movement can only be
DRUM MAJOR DRILL THOUSAND, FOUR executed from mark time.
HALT
FOR THE PURPOSE OF

HAS THREE PARTS
2-2-66 Version 1.00

C. MOVEMENTS
1) HALT – ONE (Fig 10-1)
The instructor is to demonstrate the 1. The command is given on the left foot. 1. The correct mark time signal is
first part of the movement giving the held.
words of command: 2. A check pace is executed in mark time with the right foot.
2. The mace head can be seen by
INSTRUCTOR 3. As the left foot next strikes the ground, the drum major looks the Drum Major.
DRUM MAJOR DRILL up at the head of the mace.
(CHECK), ONE
2-2-67 Version 1.00

2) HALT – TWO (Fig 10-2)
The instructor is to demonstrate the 1. A further check pace is executed with the right foot in mark 1. The mace finishes at the correct
second part of the movement giving time. position of attention.
the words of command:
2. As the left foot strikes the ground, at a speed equal to one 2. Including the dropping of the
INSTRUCTOR pace in quick time, the right hand relaxes to permit the mace mace, four paces are executed.
DRUM MAJOR DRILL shaft to pass through it in a ‘dropping’ motion. The grip is re-
(CHECK), DROP, TWO, THREE, asserted with the hand just below the head of the mace, with 3. The ferrule does not to strike the
FOUR the thumb pointing upwards towards the head. The ‘drop’ is ground.
arrested so that the ferrule stops sharply before hitting the
ground. 4. The body is erect and square to
the front.
3. At the same time, the head of the Drum Major is brought
down to the correct position of attention.
4. Three further paces are executed in mark time with all

movement ceasing when the right foot strikes the ground.
(CHECK), DROP, TWO, THREE, FOUR
2-2-68 Version 1.00

3) HALT – THREE (Fig 10-3)
The instructor is to demonstrate the 1. The right hand then lifts the mace clear of the ground. In a 1. The feet are in the correct
third part of the movement giving the continued unbroken motion, the mace is brought briefly to position of attention.
words of command: the left and swept in a wide arc with the hand just above
shoulder height to the right for the count of 4 seconds to a 2. The left arm is at the side of the
INSTRUCTOR position, approximately 4 to 6 inches in front of the right body at the correct position of
DRUM MAJOR DRILL toecap. attention.
ONE THOUSAND, TWO
THOUSAND, THREE THOUSAND, 2. Continuing the movement, the ferrule is placed back on the 3. The mace travels smoothly in one
FOUR ground gently. unbroken movement.
the front.
ONE THOUSAND, TWO THOUSAND, THREE
THOUSAND, FOUR
2-2-69 Version 1.00

demonstration:
INSTRUCTOR ONE THOUSAND, TWO THOUSAND, THREE
DRUM MAJOR DRILL THOUSAND, FOUR
HALT
DRUM MAJOR DRILL ONE THOUSAND, TWO THOUSAND, THREE
HALT THOUSAND, FOUR
2-2-70 Version 1.00

Fig 10-1 Fig 10-2
First Movement Second and Third Movement
HALT
2-2-71 Version 1.00

LESSON DM 11 – ADVANCE
Aim To teach the mace signal of ADVANCE.
Method
Preparation
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Halt
The next stage in Drum Major drill is the advance. The reason this movement is taught is to enable a
Spoken introduction single Drum Major to signal a band to advance in quick time whilst playing, in a smart and uniform
manner.
2-2-72 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There are seven parts to this
ONE, (CHECK), ONE, (CHECK), UP, TWO, THREE, FOUR,
INSTRUCTOR DOWN, (CHECK), CARRY, (CHECK), ONE, (CHECK),
DRUM MAJOR DRILL SWING
ADVANCE
FOR THE PURPOSE OF

HAS SEVEN PARTS
2-2-73 Version 1.00

C. MOVEMENTS
1) ADVANCE – ONE (Fig 11-1)
The instructor is to demonstrate the 1. On receipt of command, at a speed equal to one pace in 1. The feet are in the position of
first part of the movement giving the quick time, the right hand twists the mace at the neck so that attention.
words of command: the ferrule is pushed out to the left.
2. The right forearm does not move
INSTRUCTOR 2. At the same time the left hand moves forward to grasp the as the right hand ‘twists’
DRUM MAJOR DRILL mace on or just above the top of the ferrule. The arm clockwise.
ONE remains straight with the thumb and fingers extended in a
ceremonial grip, with the palm facing to the rear. 3. The ferrule moves to the left
across the lower body.
4. The left hand meets the mace in
ONE a ceremonial grip, palm
rearwards.

the front.
2-2-74 Version 1.00

2) ADVANCE – TWO (Fig 11-2)
The instructor is to demonstrate the 1. After observing a pause equal to one pace in quick time. The 1. The feet are in the correct
second part of the movement giving left hand changes its grip on the ferrule to a full grip. position of attention.
2. At the same time the mace head is permitted to fall 2. The mace finishes at a horizontal
INSTRUCTOR downwards by releasing the grip with the right hand and position with the mace head to
DRUM MAJOR DRILL immediately reasserting the grip as the mace travels the right.
(CHECK), ONE downwards, the right hand rotating anticlockwise at the wrist
before meeting the mace again in full grip. 3. The mace does not strike the
ground.
4. The mace is under the control of
(CHECK), ONE at least one hand at all times.
5. Both hands grasp the mace in a

full grip, palms to the rear.

the front.
2-2-75 Version 1.00

3) ADVANCE – THREE (Fig 11-3)
The instructor is to demonstrate the 1. After observing a pause equal to one pace in quick time, the 1. The feet are at the correct
third part of the movement giving the mace is raised horizontally over the head. position of attention.
words of command:
2. As the mace reaches the top the movement the thumbs and 2. The mace is horizontal above the
INSTRUCTOR fingers of both hands are extended in line with forearms in a head.
DRUM MAJOR DRILL ceremonial grip.
(CHECK), UP 3. Both arms remain extended
3. Both arms remain extended throughout the movement. through the movement.
4. On the execution of this movement the squad is to call out: 4. Thumbs and fingers are extended
in a ceremonial grip at the top of
(CHECK), UP the movement.

the front.
2-2-76 Version 1.00

4) ADVANCE – FOUR (Fig 11-4)
The instructor is to demonstrate the 1. After a pause equal to three paces in quick time, the mace is 1. The feet are in the correct
fourth part of the movement giving brought down to the arms fullest extent at a speed equal to position of attention.
the words of command: one pace in quick time.
2. The mace remains horizontal
INSTRUCTOR 2. The hands remain in the ceremonial grip but the thumbs may during its movement.
DRUM MAJOR DRILL be ‘hooked in’ to prevent the mace slipping out of grip during
TWO, THREE, FOUR, DOWN its movement. 3. The arms remain straight.
3. On the execution of this movement the squad is to call out: 4. The fingers remain extended in a
ceremonial grip. Thumbs hooked
TWO, THREE, FOUR, DOWN in.

the front.
6. When executing the command

with a band, it is permitted to hold
the mace aloft for an extended
period until an appropriate point
in the music before completing
the movement as taught.
2-2-77 Version 1.00

5) ADVANCE – FIVE (Fig 11-5)
The instructor is to demonstrate the 1. After a pause equal to one pace in quick time, the left foot is 1. The left foot is advanced in a full
fifth part of the movement giving the advanced in the correct quick march. 30 inch pace.
words of command:
2. At the same time the right arm forces the mace anticlockwise 2. The mace is brought to the
INSTRUCTOR and upward so that it rotates back to the position of carry, correct carry position.
DRUM MAJOR DRILL with the mace head in the left shoulder and the ferrule
(CHECK), CARRY pointing down and to the right. 3. The left elbow is raised in the
correct carry position.
3. At the same time the left hand relaxes its grip and is raised
along the shaft to a point below the right hand at the correct 4. Right palm faces forward.
position of carry.
(CHECK), CARRY
2-2-78 Version 1.00

6) ADVANCE – SIX (Fig 11-6)
sixth part of the movement giving correct quick march.
on the mace and is brought to the side of the body in a 2. The mace is brought to the
INSTRUCTOR stately manner to the correct position of attention. correct carry position.
DRUM MAJOR DRILL
(CHECK), ONE 3. On the execution of this movement the squad is to call out: 3. The left elbow is raised in the
correct carry position.
(CHECK), ONE
the front.
2-2-79 Version 1.00

7) ADVANCE – SEVEN (Fig 11-7)
seventh part of the movement giving correct quick march.
the words of command: 2. As the next left foot is advanced, the right arm resumes the
correct quick march, swinging forward initially. 2. The mace is at the correct carry.
INSTRUCTOR
DRUM MAJOR DRILL 3. On the execution of this movement the squad is to call out: 3. The body is erect and square to
(CHECK), SWING the front.
(CHECK), SWING
2-2-80 Version 1.00

demonstration:
INSTRUCTOR DOWN, (CHECK), CARRY, (CHECK), ONE, (CHECK),
ADVANCE
DRUM MAJOR DRILL DOWN, (CHECK), CARRY, (CHECK), ONE, (CHECK),
ADVANCE SWING
2-2-81 Version 1.00

Fig 11-1 Fig 11-2
ADVANCE
2-2-82 Version 1.00

Fig 11-3 Fig 11-4
Third Movement Fourth Movement
ADVANCE
2-2-83 Version 1.00

Fig 11-5 Fig 11-6 Fig 11-7
Fifth Movement Sixth Movement Seventh Movement
ADVANCE
2-2-84 Version 1.00

LESSON DM 12 – COUNTER MARCH
Aim To teach the mace signal of COUNTER MARCH whilst on the march.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Advance
The next stage in Drum Major drill is the counter march. The reason this movement is taught is to
Spoken introduction enable a Drum Major or group of Drum Majors to signal a band to counter march in quick time, in a
smart and uniform manner.
2-2-85 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There are five parts to this
(CHECK), ONE, (CHECK), ONE, (CHECK), ONE, TWO,
INSTRUCTOR THREE, (CHECK), ONE, TWO, THREE, FOUR, FORWARD
DRUM MAJOR DRILL
COUNTER MARCH
FOR THE PURPOSE OF

HAS FIVE PARTS
2-2-86 Version 1.00

C. MOVEMENTS
1) COUNTER MARCH – ONE (Fig 12-1)
INSTRUCTOR 3. As the next left foot strikes the ground, the right arm is 2. The feet are advanced in the
DRUM MAJOR DRILL checked to the side in a scissor like motion at the correct correct quick march.
(CHECK), ONE position of attention.
3. The right hand is bought to the
4. On the execution of this movement the squad is to call out: correct position for attention.

carry.

the front.
2-2-87 Version 1.00

2) COUNTER MARCH – TWO (Fig 12-2)
the words of command: 2. As the left foot strikes the ground, the right arm is brought
across the body to grasp the neck of the mace, with the 2. The mace is held at the correct
INSTRUCTOR thumb pointing up, toward the mace head. carry.
DRUM MAJOR DRILL
the front.
(CHECK), ONE
2-2-88 Version 1.00

3) COUNTER MARCH – THREE (Fig 12-3)
words of command: 2. As the left foot strikes the ground the right hand takes the
weight of the mace and moves it in a circular motion up and 2. The mace is held perpendicular
INSTRUCTOR out to right. As this is done the mace is brought to the ground.
DRUM MAJOR DRILL perpendicular to the ground, before returning it in the
(CHECK), ONE continued circular motion to a position central to the body 3. Left arm is fully extended.
with the back of thumb level with the eyes.
4. The fingers of the left hand are
3. At the same time the left hand quits it grip on the mace and extended in a ceremonial grip.
is moved out to the left in a continued circular motion and
brought back in to meet the mace shaft with the arm fully 5. Right arm is bent at the elbow to
extended downwards. The hand is to be placed on the mace enable perpendicular mace
with the fingers and thumb extended downwards in a alignment.
ceremonial grip.
6. The thumb of the right hand is
4. On the execution of this movement the squad is to call out: extended upwards along the
mace shaft.
(CHECK), ONE
the front.
2-2-89 Version 1.00

4) COUNTER MARCH – FOUR (Fig 12-4)
the words of command: 2. As the left foot strikes the ground all forward motion ceases.
The right foot is brought alongside the left, with the right leg 2. The right foot is ‘slid’ up to the left
INSTRUCTOR straight, to the correct position of attention. foot.
DRUM MAJOR DRILL
TWO, THREE, (CHECK) 3. On the execution of this movement the squad is to call out: 3. The mace is held perpendicular
to the ground.
TWO, THREE, (CHECK)
4. Left arm is fully extended.
5. Right arm is bent at the elbow to

enable perpendicular mace
alignment.

the front.
2-2-90 Version 1.00

5) COUNTER MARCH – FIVE (Fig 12-5)
The instructor is to demonstrate the 1. Starting with the left foot, four paces are advanced, 1. When countermarching through a
fifth part of the movement giving the shortening the pace and wheeling though 180 degrees to the band with an even number of files
words of command: right at a 30 inch radius, stepping off in the new direction as the drum major counter marches
the next left foot advances. through 180 degrees on the spot.
INSTRUCTOR
DRUM MAJOR DRILL 2. The mace continues to be held at the counter march, until 2. The mace is held perpendicular
ONE, TWO, THREE, FOUR, the entire band has completed the counter march, at which to the ground.
FORWARD point it is return to the carry,
3. Both arms are fully extended.
ONE, TWO, THREE, FOUR, FORWARD the front.
5. The quick march is continued at

step short length of pace.
2-2-91 Version 1.00

demonstration:
INSTRUCTOR THREE, (CHECK), ONE, TWO, THREE, FOUR, FORWARD
DRUM MAJOR DRILL
COUNTER MARCH
DRUM MAJOR DRILL THREE, (CHECK), ONE, TWO, THREE, FOUR, FORWARD
COUNTER MARCH
2-2-92 Version 1.00

Fig 12-1 Fig 12-2 12-3
COUNTER MARCH
2-2-93 Version 1.00

12-4 12-5
Fourth Movement Fifth Movement
COUNTER MARCH
2-2-94 Version 1.00

LESSON DM 13 – CHANGE FILES FROM COUNTER MARCH
Aim To teach the movement of CHANGE FILES from COUNTER MARCH whilst on the march.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Counter March
The next stage in Drum Major drill is the change files from counter march. The reason this movement
Spoken introduction is taught is to enable a Drum Major or group of Drum Majors to take up correct dressing after exiting a
counter marching band of even files in quick time, in a smart and uniform manner.
2-2-95 Version 1.00

(CHECK), TURN, (CHECK), TURN
INSTRUCTOR
DRUM MAJOR DRILL
CHANGE FILES
FOR THE PURPOSE OF

HAS TWO PARTS
2-2-96 Version 1.00

C. MOVEMENTS
1) CHANGE FILES FROM COUNTER MARCH – ONE (Fig 13-1)
The instructor is to demonstrate the 1. The command is given on the left foot. 1. Left foot is advanced in the new
first part of the movement giving the direction at 45 degrees.
words of command: 2. The right foot is advanced in a check pace. As the right foot
strikes the ground the left foot is forced forward in a full pace, 2. The mace is held perpendicular
INSTRUCTOR 45 degrees to the left from the original path. at the correct counter march.
DRUM MAJOR DRILL
(CHECK), TURN 3. The body and mace are forced through 45 degrees to the 3. The body is erect and square to
left. the front.
(CHECK), TURN
2-2-97 Version 1.00

2) CHANGE FILES FROM COUNTER MARCH – TWO (Fig 13-2)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. As the right foot 1. The feet are advanced through
second part of the movement giving strikes the ground the left foot is forced forward in a full pace, the movement in the correct quick
the words of command: 45 degrees to the right from the new alignment. march.
INSTRUCTOR 2. The body and mace are forced through 45 degrees to the 2. The left foot strikes the ground on
DRUM MAJOR DRILL right. the original marching alignment.
(CHECK), TURN
3. On the execution of this movement the squad is to call out: 3. The mace is held perpendicular
to the ground at the correct
(CHECK), TURN counter march.

the front.
5. The correct quick march is

continued in the original marching
direction.
2-2-98 Version 1.00

demonstration:
INSTRUCTOR
DRUM MAJOR DRILL
CHANGE FILES
DRUM MAJOR DRILL
CHANGE FILES
2-2-99 Version 1.00

Fig 13-1 Fig 13-2
CHANGE FILES FROM COUNTER MARCH
2-2-100 Version 1.00

LESSON DM 14 – CARRY FROM COUNTER MARCH
Aim To teach the movement of CARRY from COUNTER MARCH whilst on the march.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Counter March
The next stage in Drum Major drill is the carry from counter march. The reason this movement is
Spoken introduction taught is to enable a Drum Major or group of Drum Majors to signal a band to return to normal length
of pace in quick time after completing a counter march, in a smart and uniform manner.
2-2-101 Version 1.00

(CHECK), ONE, (CHECK), ONE, (CHECK), SWING
INSTRUCTOR
DRUM MAJOR DRILL
CARRY
FOR THE PURPOSE OF

HAS THREE PARTS
2-2-102 Version 1.00

C. MOVEMENTS
1) CARRY FROM COUNTER MARCH – ONE (Fig 14-1)
first part of the movement giving the correct quick march.
words of command: 2. The right foot is advanced in a check pace.
2. Both arms move simultaneously
INSTRUCTOR 3. As the left foot strikes the ground, the right hand still in and as symmetrically as possible.
DRUM MAJOR DRILL control of the mace is extended out to the right at
(CHECK), ONE approximately shoulder height. The right hand is then swept 3. The ferrule does not strike the
downwards slightly then in toward the left side of the chest ground.
allowing the ferrule to trail in its movement.
4. The mace and left hand are at the
4. At the same time the left hand is extended to the left at correct position of carry.
shoulder height. The fingers and thumb extended together
and in line with the forearm. The left hand is then swept 5. The body is erect and square to
slightly downward before seizing and grasping the mace the front.
shaft below the right hand in the correct carry.
(CHECK), ONE
2-2-103 Version 1.00

2) CARRY FROM COUNTER MARCH – TWO (Fig 14-2)
on the mace and is brought to the side of the body in a 2. The mace is held at the correct
INSTRUCTOR stately manner to the correct position of attention. carry.
DRUM MAJOR DRILL
(CHECK), ONE 3. On the execution of this movement the squad is to call out: 3. The movement of the right arm is
in a stately manner.
(CHECK), ONE
the front.
2-2-104 Version 1.00

3) CARRY FROM COUNTER MARCH – THREE (Fig 14-3)
words of command: 2. As the left foot strikes the ground the right arm is swung in
the correct quick march. 2. The right arm is swung in the
(CHECK), SWING carry.

the front.
2-2-105 Version 1.00

demonstration:
INSTRUCTOR
DRUM MAJOR DRILL
CARRY
DRUM MAJOR DRILL
CARRY
2-2-106 Version 1.00

Fig 14-1 Fig 14-2 Fig 14-3
CARRY FROM COUNTER MARCH
2-2-107 Version 1.00

LESSON DM 15 – RIGHT WHEEL
Aim To teach the mace signal of RIGHT WHEEL whilst on the march.
Method
Select an area on the parade square, or any area of hard ground, or indoor equivalent. Sports cones or chalk
Preparation
marks may be used to represent the inside-files alignment.
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Carry from Counter March
The next stage in Drum Major drill is the right wheel. The reason this movement is taught is to enable
Spoken introduction a single Drum Major to signal a band to wheel to the right in quick time, in a smart and uniform
manner.
2-2-108 Version 1.00

(CHECK), ONE, (CHECK), ONE, (CHECK), WHEEL, TWO,
INSTRUCTOR THREE, FOUR, LEFT, RIGHT, LEFT, (CHECK), ONE,
DRUM MAJOR DRILL TWO, THREE, FOUR, FIVE, (CHECK), ONE, TWO, THREE,
RIGHT WHEEL FOUR, DOWN, (CHECK), FORWARD
FOR THE PURPOSE OF

HAS SIX PARTS
2-2-109 Version 1.00

C. MOVEMENTS
1) RIGHT WHEEL – ONE (Fig 15-1)
INSTRUCTOR 3. As the left foot strikes the ground, the right arm is checked to 2. The feet are advanced in the
DRUM MAJOR DRILL the side in a scissor like motion at the correct position of correct quick march.
(CHECK), ONE attention.
3. The right arm is checked to the
4. On the execution of this movement the squad is to call out: side in a scissor like motion.

carry.

the front.
2-2-110 Version 1.00

2) RIGHT WHEEL – TWO (Fig 15-2)
the words of command: 2. As the left foot strikes the ground, the first two fingers of the
right hand are extended with the remaining digits and thumb 2. The mace remains at the correct
INSTRUCTOR clenched. The right hand is then brought across the front of carry.
DRUM MAJOR DRILL the chest in a stately manner so it is level with the shoulder,
(CHECK), ONE with forearm approximately horizontal to the ground and the 3. The first two fingers of the right
extended fingers of the right hand pointing to the left. hand are extended straight and in
line with the forearm, which is
3. On the execution of this movement the squad is to call out: approximately horizontal.

the front.
2-2-111 Version 1.00

3) RIGHT WHEEL – THREE (Fig 15-3)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The right arm is extended to the
third part of the movement giving the right above shoulder height in the
words of command: 2. As the left foot strikes the ground, the right forearm is swept wheel signal.
down briefly, before extending it fully to the right, above
INSTRUCTOR shoulder height, in a stately manner. 2. The mace remains at the correct
DRUM MAJOR DRILL carry.
(CHECK), WHEEL 3. The palm of the right hand should face to the right with the
extended two fingers in line with the hand. 3. The head remains facing forward.
the front.
(CHECK), WHEEL
2-2-112 Version 1.00

4) RIGHT WHEEL – FOUR (Fig 15-4)
The instructor is to demonstrate the 1. Starting with the right foot, three paces are advanced in a 1. The feet are advanced in the
fourth part of the movement giving wheel to the right of not more than 30 inches in radius. correct quick march.
2. The Drum Major then advances until they become level with 2. The mace remains at the correct
INSTRUCTOR the musicians in the furthest file to the right. carry.
DRUM MAJOR DRILL
TWO, THREE, FOUR, LEFT, 3. On the execution of this movement the squad is to call out: 3. The right arm remains extended
RIGHT, LEFT to the right in the wheel signal.
TWO, THREE, FOUR, LEFT, RIGHT, LEFT
4. A wheel radius not exceeding 30
inches is executed.

the front.
6. The head remains facing forward.

with a band, the distance to the
alignment with the file furthest to
the right will vary depending on
the number of files in a band. For
the purpose of instruction only, it
is three paces.
2-2-113 Version 1.00

5) RIGHT WHEEL – FIVE (Fig 15-5)
The instructor is to demonstrate the 1. On becoming level with the musicians in the furthest file to 1. On reaching alignment of the
fifth part of the movement giving the the right, five further paces are taken starting with the next right file, counting starts on the
words of command: left foot. next left foot, regardless of how
many paces were used to reach
INSTRUCTOR 2. On the completion of 5 paces, the right foot is brought that point.
DRUM MAJOR DRILL alongside the left with the right leg straight, to the correct
(CHECK), ONE, TWO, THREE, position of attention. 2. The mace and left elbow remain
FOUR, FIVE, (CHECK) at the correct carry.
3. The right arm remains extended
(CHECK), ONE, TWO, THREE, FOUR, FIVE, (CHECK) to the right in the wheel signal.
5. The right foot is ‘slid’ up to the left

foot.

the front.
7. When executing the movement

with the MusO (or Band WO) in
the executive position, 7 paces
are advanced instead of 5.
2-2-114 Version 1.00

6) RIGHT WHEEL – SIX (Fig 15-6)
The instructor is to demonstrate the 1. Starting with the left foot, five paces are executed in mark 1. The arm is cut to side from the
sixth part of the movement giving time. wheel signal on the left foot.
2. On completion of the movement
2. On the fifth pace, as the left foot strikes the ground, the right
correct quick march resumes.
INSTRUCTOR arm is brought down to the correct position of attention.
DRUM MAJOR DRILL (Fig 15-6a)
3. The mace and left elbow are at
ONE, TWO, THREE, FOUR,
the correct carry.
DOWN, (CHECK), FORWARD 3. A check pace is taken in mark time with the right foot.
4. The head remains facing to the
4. The next left foot is advanced and the correct quick march is
front.
resumed, with the right arm swung forward initially.
(Fig 15-6b)
the front.
ONE, TWO, THREE, FOUR, DOWN, (CHECK), FORWARD
2-2-115 Version 1.00

demonstration:
INSTRUCTOR THREE, FOUR, LEFT, RIGHT, LEFT, (CHECK), ONE,
DRUM MAJOR DRILL TWO, THREE, FOUR, FIVE, (CHECK), ONE, TWO, THREE,
RIGHT WHEEL FOUR, DOWN, (CHECK), FORWARD
DRUM MAJOR DRILL THREE, FOUR, LEFT, RIGHT, LEFT, (CHECK), ONE,
RIGHT WHEEL TWO, THREE, FOUR, FIVE, (CHECK), ONE, TWO, THREE,
FOUR, DOWN, (CHECK), FORWARD
2-2-116 Version 1.00

Fig 15-1 Fig 15-2 Fig 15-3
RIGHT WHEEL
2-2-117 Version 1.00

Fig 15-4 Fig 15-5 Fig 15-6a
RIGHT WHEEL
2-2-118 Version 1.00

Fig 15-6b
Sixth Movement
RIGHT WHEEL
2-2-119 Version 1.00

LESSON DM 16 – LEFT WHEEL
Aim To teach the mace signal of LEFT WHEEL whilst on the march.
Method
Select an area on the parade square, or any area of hard ground, or indoor equivalent. Sports cones or chalk
Preparation
marks may be used to represent the inside-files alignment.
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Right Wheel
The next stage in Drum Major drill is the left wheel. The reason this movement is taught is to enable a
Spoken introduction
single Drum Major to signal a band to wheel to the left in quick time, in a smart and uniform manner.
2-2-120 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There are ten parts to this
INSTRUCTOR WHEEL, TWO, THREE, FOUR, LEFT, RIGHT, LEFT,
DRUM MAJOR DRILL (CHECK), ONE, TWO, THREE, FOUR, FIVE, (CHECK),
LEFT WHEEL ONE, TWO, THREE, FOUR, DOWN, (CHECK), FORWARD,
FOR THE PURPOSE OF

HAS TEN PARTS
2-2-121 Version 1.00

C. MOVEMENTS
1) LEFT WHEEL – ONE (Fig 16-1)
DRUM MAJOR DRILL the side in a scissor like motion to the correct position of correct quick march.

carry.

the front.
2-2-122 Version 1.00

2) LEFT WHEEL – TWO (Fig 16-2)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The left foot is advanced in the
the words of command: 2. As the left foot strikes the ground, the left hand forces the
mace head across the front of the body to the right shoulder. 2. The mace angle of carriage is
INSTRUCTOR reversed and the mace ‘cradled’.
DRUM MAJOR DRILL 3. At the same time, the right hand meets the mace below the
(CHECK), ONE left hand and cradles the shaft. The thumb of the right hand 3. The right elbow is raised to
traps the shaft against the palm and fingers. The palm facing support the mace head on the
toward the body. upper arm.
4. Both hands are used to rotate the mace so that the mace 4. The body is erect and square to
angle of carriage is reversed via the shortest route. the front.
(CHECK), ONE
2-2-123 Version 1.00

3) LEFT WHEEL – THREE (Fig 16-3)
words of command: 2. As the left foot strikes the ground, the left hand quits its grip
on the shaft, the first two fingers of the left hand are 2. The mace remains cradled in the
INSTRUCTOR extended with the remaining digits and thumb clenched. The right arm, with the upper arm
DRUM MAJOR DRILL weight of the mace is now cradled by the right hand with the supporting the head or neck of
(CHECK), ONE head or neck supported by the right upper arm. the mace.
3. At the same time, the left hand is brought directly from its 3. The first two fingers are extended
grip on the mace, upward to shoulder height, so that the straight and to the right.
forearm is approximately horizontal to the ground and the
fingers pointing to the right. 4. The body is erect and square to
the front.
(CHECK), ONE
2-2-124 Version 1.00

4) LEFT WHEEL – FOUR (Fig 16-4)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The left arm is extended to the
fourth part of the movement giving left above shoulder height in the
the words of command: 2. As the left foot strikes the ground, the left forearm is swept wheel signal.
down briefly, before extending it fully to the left, above
INSTRUCTOR shoulder height, in a stately manner. 2. The mace remains cradled in the
DRUM MAJOR DRILL right arm.
(CHECK), WHEEL 3. The palm of the left hand should face to the left with the
extended two fingers in line with the hand. 3. The head remains facing forward.
the front.
(CHECK), WHEEL
2-2-125 Version 1.00

5) LEFT WHEEL – FIVE (Fig 16-5)
The instructor is to demonstrate the 1. Starting with the right foot, three paces are advanced in a 1. The feet are advanced in the
fifth part of the movement giving the wheel to the left of not more than 30 inches in radius. correct quick march.
words of command:
2. The Drum Major then advances until they become level with 2. The mace remains cradled in the
INSTRUCTOR the musicians in the furthest file to the left. right arm.
DRUM MAJOR DRILL
TWO, THREE, FOUR, LEFT, 3. On the execution of this movement the squad is to call out: 3. The left arm remains extended to
RIGHT, LEFT the left in the wheel signal.
TWO, THREE, FOUR, LEFT, RIGHT, LEFT
4. The wheel radius does not
exceed 30 inches.

the front.

with a band, the distance to the
alignment with the file furthest to
the left will vary depending on the
number of files in a band. For the
purpose of instruction only, it is
three paces.
2-2-126 Version 1.00

6) LEFT WHEEL – SIX (Fig 16-6)
The instructor is to demonstrate the 1. On becoming level with the musicians in the furthest file to 1. The feet are advanced in the
sixth part of the movement giving the left, five further paces are taken starting on the next left correct quick march.
the words of command: foot.
2. The mace remains cradled in the
INSTRUCTOR 2. On the completion of 5 paces, the right foot is brought right arm.
DRUM MAJOR DRILL alongside the left with the right leg straight, to the correct
(CHECK), ONE, TWO, THREE, position of attention. 3. The left arm remains extended to
FOUR, FIVE, (CHECK) the left in the wheel signal.
(CHECK), ONE, TWO, THREE, FOUR, FIVE, (CHECK) the front.
6. When executing the movement

with the MusO (or Band WO) in
the executive position, 7 paces
are advanced instead of 5.
2-2-127 Version 1.00

7) LEFT WHEEL – SEVEN (Fig 16-7)
The instructor is to demonstrate the 1. Starting with the left foot, five paces are executed in mark 1. The mace finishes at a horizontal
seventh part of the movement giving time. position below hip height with
the words of command: both arms extended.
2. On the fifth pace, as the left foot strikes the ground, the left
INSTRUCTOR arm is brought down so that the hand meets the shaft or 2. The correct quick march is
DRUM MAJOR DRILL ferrule in a ceremonial grip. resumed with the left foot.
ONE, TWO, THREE, FOUR, (Fig 16-7a)
DOWN, (CHECK), FORWARD 3. The head remains facing forward.
3. A check pace is taken in mark time with the right foot.
4. The next left foot is advanced in the correct quick march. At the front.
the same time the right hand permits the mace head to drop
to the horizontal, and the grip of the right hand is altered
during the movement to a full grip around the mace neck,
with the palm facing forward. Both hands now grip the mace
with a full grip and the arms are fully extended.
(Fig 16-7b)
ONE, TWO, THREE, FOUR, DOWN, (CHECK), FORWARD
2-2-128 Version 1.00

8) LEFT WHEEL – EIGHT (Fig 16-8)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The mace finishes at the correct
eighth part of the movement giving carry position, with the elbow
the words of command: 2. As the next left foot is advanced. The right arm forces the pointing out to the left.
mace anticlockwise and upward so that it rotates back to the
INSTRUCTOR position of carry, with the mace head in the left shoulder and 2. The correct quick march is
DRUM MAJOR DRILL the ferrule pointing down and to the right. continued with the feet.
(CHECK), ONE
3. At the same time the left hand relaxes it grip and is raised to 3. The movement finishes with both
meet the mace along the shaft, to a point below the right hands in contact with the mace.
hand at the correct position of carry.
2-2-129 Version 1.00

9) LEFT WHEEL – NINE (Fig 16-9)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The mace is now at the correct
ninth part of the movement giving carry.
on the mace and is brought to the side of the body in a 2. The correct quick march is
INSTRUCTOR stately manner to the correct position of attention. continued with the feet.
DRUM MAJOR DRILL
(CHECK), ONE 3. On the execution of this movement the squad is to call out: 3. The head remains facing forward.

the front.
2-2-130 Version 1.00

10) LEFT WHEEL – TEN (Fig 16-10)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The mace is at the correct carry.
tenth part of the movement giving
the words of command: 2. As the next left foot is advanced, the right arm resumes the 2. The correct quick march is
correct quick march, swinging forward initially. continued with the feet.
INSTRUCTOR
DRUM MAJOR DRILL 3. On the execution of this movement the squad is to call out: 3. The right arm resumes the
(CHECK), SWING correct quick march arm swing.
(CHECK), SWING
the front.
2-2-131 Version 1.00

demonstration:
INSTRUCTOR WHEEL, TWO, THREE, FOUR, LEFT, RIGHT, LEFT,
DRUM MAJOR DRILL (CHECK), ONE, TWO, THREE, FOUR, FIVE, (CHECK),
LEFT WHEEL ONE, TWO, THREE, FOUR, DOWN, (CHECK), FORWARD,
DRUM MAJOR DRILL WHEEL, TWO, THREE, FOUR, LEFT, RIGHT, LEFT,
LEFT WHEEL (CHECK), ONE, TWO, THREE, FOUR, FIVE, (CHECK),
ONE, TWO, THREE, FOUR, DOWN, (CHECK), FORWARD,
2-2-132 Version 1.00

Fig 16-1 Fig 16-2 Fig 16-3
LEFT WHEEL
2-2-133 Version 1.00

Fig 16-4 Fig 16-5 Fig 16-6
LEFT WHEEL
2-2-134 Version 1.00

Fig 16-7a Fig 16-7b Fig 16-8
Seventh Movement Seventh Movement Eighth Movement
LEFT WHEEL
2-2-135 Version 1.00

Fig 16-9 Fig 16-10
Ninth Movement Tenth Movement
LEFT WHEEL
2-2-136 Version 1.00

LESSON DM 17 – CEASE PLAYING ON THE MARCH (QUICK TIME)
Aim To teach the mace signal of CEASE PLAYING on the march in quick time.
Method
Preparation
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Quick March at Carry
The next stage in Drum Major drill is the cease playing on the march in quick time. The reason this
Spoken introduction movement is taught is to enable a single Drum Major to signal a band cease playing music in quick
time, in a smart and uniform manner.
2-2-137 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There are nine parts to this
INSTRUCTOR ONE, (CHECK), ONE, (TWO), (THREE), (FOUR), ONE,
DRUM MAJOR DRILL TWO, THREE, (CHECK), DROP, (CHECK), ONE, (CHECK),
CEASE PLAYING ONE, (CHECK), SWING
FOR THE PURPOSE OF

HAS NINE PARTS
2-2-138 Version 1.00

C. MOVEMENTS
1) CEASE PLAYING ON THE MARCH (QUICK TIME) – ONE (Fig 17-1)
INSTRUCTOR 3. As the next left foot strikes the ground, the right arm is cut to 2. The feet are advanced in the
DRUM MAJOR DRILL the side at the correct position of attention. correct quick march.
(CHECK), ONE
4. On the execution of this movement the squad is to call out: 3. The right arm is cut to the side.

carry.

the front.
2-2-139 Version 1.00

2) CEASE PLAYING ON THE MARCH (QUICK TIME) – TWO (Fig 17-2)
the words of command: 2. As the left foot strikes the ground, the right hand is forced
across the body to seize the mace at the neck in a full grip. 2. The right grasps the mace neck
INSTRUCTOR with the thumb pointing toward
DRUM MAJOR DRILL 3. On the execution of this movement the squad is to call out: the mace head.
(CHECK), ONE
carry.

the front.
2-2-140 Version 1.00

3) CEASE PLAYING ON THE MARCH (QUICK TIME) – THREE (Fig 17-3)
third part of the movement giving the continued.
words of command: 2. As the left foot strikes the ground the right hand takes the
weight of the mace and moves it in a circular motion up and 2. Both arms move simultaneously.
INSTRUCTOR out to right. As this is done the mace is brought
DRUM MAJOR DRILL perpendicular to the ground, before returning it in the 3. The ferrule does not strike the
(CHECK), ONE continued circular motion to a position central to the body ground.
3. At the same time the left hand quits it grip on the mace and ground with the back of the
is moved out to the left in a continued circular motion and thumb at eye level.
brought back in to meet the mace shaft with the arm fully
extended downwards. The hand is rotated anti-clockwise at 5. The left hand is rotated anti-
the wrist and placed to meet the shaft with the thumb clockwise as it meets the shaft.
pointing to the left and the palm up. The fingers remain
straight. The thumb is straight, and traps the shaft against 6. The body is erect and square to
the palm. the front.
(CHECK), ONE
2-2-141 Version 1.00

4) CEASE PLAYING ON THE MARCH (QUICK TIME) – FOUR (Fig 17-4)
the words of command: 2. As the left foot strikes the ground, the right hand pushes the
mace head down and around to the right, initiating a rotation 2. The mace completes one rotation
INSTRUCTOR of the mace about the left hand, utilising the momentum of only, at a speed equal to one
DRUM MAJOR DRILL the mace head, quitting its grip as it does so. pace in quick time.
(CHECK), ONE
3. At the same time the left hand grasps the shaft as fully as 3. The mace does not strike the
possible and permits the mace to rotate about the wrist. ground.
4. As the mace head begins to move upwards through its 4. The mace is under the control of
rotation, the right hand seizes and grasps the mace on, or at least one hand at all times.
immediately above the ferrule. Using the momentum of the
mace head, the mace is held aloft and the rotation ceases. 5. The right arm and hand is moved
The right arm is extended out to the right, the hand above from one position to the next
head height. The thumb is placed on the shaft pointing without the need to check the arm
toward the mace head to provide support. The mace head to the side.
should be in line vertically with the head of the drum major.
6. The ferrule is not grasped at its
5. The left hand quits its grip on the shaft as soon as a positive lowest point.
grip is achieved with the right hand after initial rotation of the
mace. As soon as the grip is quit the left arm is brought to 7. The body is erect and square to
the correct position of attention. the front.
6. On the execution of this movement the squad is to call out: 8. When executing the command, it
is permitted to hold the mace aloft
(CHECK), ONE for an extended period until an
appropriate point in the music to
signal the bass drummer as
described in the next movement.
2-2-142 Version 1.00

5) CEASE PLAYING ON THE MARCH (QUICK TIME) – FIVE (Fig 17-5)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace 1. The correct quick march is
fifth part of the movement giving the continued.
words of command: 2. As the left foot strikes the ground, the bass drummer is
signalled to double beat by ‘pulling’ the ferrule towards the 2. The mace remains under control
INSTRUCTOR body with the right hand by approximately 6 inches, bending whilst held above the head.
DRUM MAJOR DRILL the right elbow slightly, and returning it to the original
(CHECK), ONE, (TWO), (THREE), position over one pace in quick time. 3. Right elbow is tucked into the
(FOUR), ONE, TWO, THREE side of the body when the mace
3. Three paces are advanced starting with the right foot in the is brought centrally in front of the
correct quick march, with the mace held aloft and the left arm face.
checked to the side. The bass drummer will double beat
again as the left foot strikes the ground. 4. The body is erect and square to
the front.
4. The bass drummer will beat three further beats in quick time.
As the left foot strikes the ground (first beat), the right hand
is brought up sharply by approximately 6 inches. The right
arm remains extended straight.
5. As the right foot strikes the ground (second beat), the right
hand is brought down sharply to its original position.
6. As the next left foot strikes the ground (third beat) the right
hand is brought to a position centrally in front of the face,
bending the elbow to permit the hand to be held from the
face by approximately 6 inches. The back of the thumb is at
eye level, the elbow is held in to the body. The mace is
perpendicular to the ground.
(CHECK), ONE, (TWO), (THREE), (FOUR), ONE, TWO,

THREE
2-2-143 Version 1.00

6) CEASE PLAYING ON THE MARCH (QUICK TIME) – SIX (Fig 17-6)
sixth part of the movement giving continued
the words of command: 2. As the left foot strikes the ground, the mace is dropped so
that it is caught at a speed equal to one pace in quick time. 2. The head looks up to the mace
INSTRUCTOR Immediately before dropping the mace, the head is to look and follows its movement when
DRUM MAJOR DRILL up at the mace head and follow its movement to the point it dropped.
(CHECK), DROP is caught. The right hand should allow the mace to ‘drop’
through its grip whilst not permitting it to fall outside the 3. The mace remains under control
grasp of the hand. As the mace drops it is rotated through 45 whilst held above the head.
degrees to the right. The mace is caught below the neck so
that the ferrule does not strike the ground. 4. The mace does not strike the
ground.
(CHECK), DROP
2-2-144 Version 1.00

7) CEASE PLAYING ON THE MARCH (QUICK TIME) – SEVEN (Fig 17-7)
seventh part of the movement giving continued
the words of command: 2. As the left foot strikes the ground, the right hand forces the
mace head left across the body to resume to the carry 2. The left arm meets the mace at
INSTRUCTOR position. the correct carry.
DRUM MAJOR DRILL
(CHECK), ONE 3. At the same time the left hand and arm are bought to meet 3. The left elbow is raised at the
the mace at the correct carry. correct carry.
4. On the execution of this movement the squad is to call out: 4. The mace travels smoothly in one
unbroken movement.
(CHECK), ONE
the front.
2-2-145 Version 1.00

8) CEASE PLAYING ON THE MARCH (QUICK TIME) – EIGHT (Fig 17-8)
eighth part of the movement giving correct quick march.
DRUM MAJOR DRILL
(CHECK), ONE 3. On the execution of this movement the squad is to call out: 3. The mace is held at the correct
carry.
(CHECK), ONE
the front.
2-2-146 Version 1.00

9) CEASE PLAYING ON THE MARCH (QUICK TIME) – NINE (Fig 17-9)
ninth part of the movement giving continued.
the words of command: 2. As the left foot strikes the ground the right hand is brought
forward at the correct quick march arm swing. 2. The right arm swings at the
(CHECK), SWING carry in the left hand.

the front.
2-2-147 Version 1.00

The instructor is to give a final On the execution of the movement the instructor is to call out: 1. At the halt, the mace starts in the
demonstration: attention position. After the mace
(CHECK), ONE, (CHECK), ONE, (CHECK), ONE, (CHECK), is ‘dropped’, it is returned to the
INSTRUCTOR ONE, (CHECK), ONE, (TWO), (THREE), (FOUR), ONE, ‘order’ position as described in
DRUM MAJOR DRILL TWO, THREE, (CHECK), DROP, (CHECK), ONE, (CHECK), lesson DM 02 - movement TWO.
CEASE PLAYING ONE, (CHECK), SWING
DRUM MAJOR DRILL ONE, (CHECK), ONE, (TWO), (THREE), (FOUR), ONE,
CEASE PLAYING TWO, THREE, (CHECK), DROP, (CHECK), ONE, (CHECK),
ONE, (CHECK), SWING
2-2-148 Version 1.00

Fig 17-1 Fig 17-2 Fig 17-3
CEASE PLAYING ON THE MARCH (QUICK TIME)
2-2-149 Version 1.00

Fig 17-4 Fig 17-5 Fig 17-6
2-2-150 Version 1.00

Fig 17-7 Fig 17-8 Fig 17-9
Seventh Movement Eighth Movement Ninth Movement
2-2-151 Version 1.00

LESSON DM 18 – CEASE PLAYING ON THE MARCH (SLOW TIME)
Aim To teach the mace signal of CEASE PLAYING on the march in slow time.
Method
Preparation
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Cease Playing on the March (Quick Time)
The next stage in Drum Major drill is the cease playing on the march in slow time. The reason this
Spoken introduction movement is taught is to enable a single Drum Major to signal a band cease playing music in slow
time, in a smart and uniform manner.
2-2-152 Version 1.00

INSTRUCTOR ONE, (TWO), (THREE), ONE, DROP, (CHECK), ONE,
DRUM MAJOR DRILL (CHECK), ONE, RIGHT, LEFT
CEASE PLAYING
FOR THE PURPOSE OF

HAS SEVEN PARTS
2-2-153 Version 1.00

C. MOVEMENTS
1) CEASE PLAYING ON THE MARCH (SLOW TIME) – ONE (Fig 18-1)
first part of the movement giving the correct slow march.
words of command: 2. The right foot is advanced in a check pace.
2. The right grasps the mace neck
INSTRUCTOR 3. As the left foot strikes the ground, the right hand is forced with the thumb pointing toward
DRUM MAJOR DRILL across the body to seize the mace at the neck in a full grip. the mace head.
(CHECK), ONE
4. On the execution of this movement the squad is to call out: 3. The mace is held at the correct
carry.
(CHECK), ONE
the front.
2-2-154 Version 1.00

2) CEASE PLAYING ON THE MARCH (SLOW TIME) – TWO (Fig 18-2)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The correct slow march is
second part of the movement giving continued.
the words of command: 2. As the left foot strikes the ground the right hand takes the
weight of the mace and moves it in a circular motion up and 2. Both arms move simultaneously.
INSTRUCTOR out to right. As this is done the mace is brought
DRUM MAJOR DRILL perpendicular to the ground, before returning it in the 3. The ferrule does not strike the
(CHECK), ONE continued circular motion to a position central to the body ground.
3. At the same time the left hand quits it grip on the mace and ground with the back of the
is moved out to the left in a continued circular motion and thumb at eye level.
brought back in to meet the mace shaft with the arm fully
extended downwards. The hand is rotated anti-clockwise at 5. The left hand is rotated anti-
the wrist and placed to meet the shaft with the thumb clockwise as it meets the shaft.
pointing to the left and the palm up. The fingers remain
straight. The thumb is straight, and traps the shaft against 6. The body is erect and square to
the palm. the front.
(CHECK), ONE
2-2-155 Version 1.00

3) CEASE PLAYING ON THE MARCH (SLOW TIME) – THREE (Fig 18-3)
third part of the movement giving the correct slow march.
words of command: 2. As the left foot strikes the ground, the right hand pushes the
mace head down and around to the right, initiating a rotation 2. The mace completes one rotation
INSTRUCTOR of the mace about the left hand, utilising the momentum of only, at a speed equal to one
DRUM MAJOR DRILL the mace head, quitting its grip as it does so. pace in slow time.
(CHECK), ONE
3. At the same time the left hand grasps the shaft as fully as 3. The mace does not strike the
possible and permits the mace to rotate about the wrist. ground.
4. As the mace head begins to move upwards through its 4. The mace is under the control of
rotation, the right hand seizes and grasps the mace on, or at least one hand at all times.
immediately above the ferrule. Using the momentum of the
mace head, the mace is held aloft and the rotation ceases. 5. The right arm and hand is moved
The right arm is extended out to the right, the hand above from one position to the next
head height. The thumb is placed on the shaft pointing without the need to check the arm
toward the mace head to provide support. The mace head to the side.
should be in line vertically with the head of the drum major.
6. The ferrule is not grasped at its
5. The left hand quits its grip on the shaft as soon as a positive lowest point.
grip is achieved with the right hand after initial rotation of the
mace. As soon as the grip is quit the left arm is brought to 7. The body is erect and square to
the correct position of attention. the front.
6. On the execution of this movement the squad is to call out: 8. When executing the command, it
is permitted to hold the mace aloft
(CHECK), ONE for an extended period until an
appropriate point in the music to
signal the bass drummer as
described in the next movement.
2-2-156 Version 1.00

4) CEASE PLAYING ON THE MARCH (SLOW TIME) – FOUR (Fig 18-4)
fourth part of the movement giving continued.
the words of command: 2. As the left foot strikes the ground, the bass drummer is
signalled to double beat by ‘pulling’ the ferrule towards the 2. The mace remains under control
INSTRUCTOR body with the right hand by approximately 6 inches, bending whilst held above the head.
DRUM MAJOR DRILL the right elbow slightly, and returning it to the original
(CHECK), ONE, (TWO), (THREE), position over one pace in slow time. 3. Right elbow is tucked into the
ONE side of the body when the mace
3. The right foot is advanced in the correct slow march, with the is brought centrally in front of the
mace held aloft and the left arm checked to the side. face.
4. The left foot is advanced in the correct slow march, with the 4. The body is erect and square to
mace held aloft and the left arm checked to the side. As the the front.
left foot strikes the ground, the bass drummer will beat a
single beat.
5. As the next right foot strikes the ground, the right hand is
brought to a position centrally in front of the face, bending
the elbow to permit the hand to be held from the face by
approximately 6 inches. The back of the thumb is at eye
level, the elbow is held in to the body. The mace is
perpendicular to the ground. The bass drummer will beat a
single beat.
(CHECK), ONE, (TWO), (THREE), ONE
2-2-157 Version 1.00

5) CEASE PLAYING ON THE MARCH (SLOW TIME) – FIVE (Fig 18-5)
The instructor is to demonstrate the 1. As the left foot strikes the ground, the mace is dropped so 1. The correct slow march is
fifth part of the movement giving the that it is caught at a speed equal to one pace in slow time. continued.
words of command: Immediately before dropping the mace, the head is to look
up at the mace head and follow its movement to the point it 2. The head looks up to the mace
INSTRUCTOR is caught. The right hand should allow the mace to ‘drop’ and follows its movement when
DRUM MAJOR DRILL through its grip whilst not permitting it to fall outside the dropped.
DROP grasp of the hand. As the mace drops it is rotated through 45
degrees to the right. The mace is caught below the neck so 3. The mace remains under control
that the ferrule does not strike the ground. whilst held above the head.
2. On the execution of this movement the squad is to call out: 4. The mace does not strike the
ground.
DROP
2-2-158 Version 1.00

6) CEASE PLAYING ON THE MARCH (SLOW TIME) – SIX (Fig 18-6)
sixth part of the movement giving continued.
the words of command: 2. As the left foot strikes the ground, the right hand forces the
mace head left across the body to resume to the carry 2. The left arm meets the mace at
INSTRUCTOR position. the correct carry.
DRUM MAJOR DRILL
(CHECK), ONE 3. At the same time the left hand and arm are bought to meet 3. The left elbow is raised at the
the mace at the correct carry. correct carry.
4. On the execution of this movement the squad is to call out: 4. The mace travels smoothly in one
unbroken movement.
(CHECK), ONE
the front.
2-2-159 Version 1.00

7) CEASE PLAYING ON THE MARCH (SLOW TIME) – SEVEN (Fig 18-7)
seventh part of the movement giving correct slow march.
DRUM MAJOR DRILL
(CHECK), ONE, RIGHT, LEFT 3. The correct slow march is then continued. 3. The mace is held at the correct
carry.
(CHECK), ONE, RIGHT, LEFT the front.
2-2-160 Version 1.00

The instructor is to give a final On the execution of the movement the instructor is to call out: 1. At the halt, the mace starts in the
demonstration: attention position. After the mace
(CHECK), ONE, (CHECK), ONE, (CHECK), ONE, (CHECK), is ‘dropped’, it is returned to the
INSTRUCTOR ONE, (TWO), (THREE), ONE, DROP, (CHECK), ONE, ‘order’ position as described in
DRUM MAJOR DRILL (CHECK), ONE, RIGHT, LEFT lesson DM 02 - movement TWO.
CEASE PLAYING
DRUM MAJOR DRILL ONE, (TWO), (THREE), ONE, DROP, (CHECK), ONE,
CEASE PLAYING (CHECK), ONE, RIGHT, LEFT
2-2-161 Version 1.00

Fig 18-1 Fig 18-2
CEASE PLAYING ON THE MARCH (SLOW TIME)
2-2-162 Version 1.00

Fig 18-3 Fig 18-4 Fig 18-5
Third Movement Fourth Movement Fifth Movement
2-2-163 Version 1.00

Fig 18-6 Fig 18-7
Sixth Movement Seventh Movement
2-2-164 Version 1.00

LESSON DM 19 – PORT MACE
Aim To teach the mace signal of PORT MACE on the march.
Method
Preparation
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Cease Playing on the March
The next stage in Drum Major drill is the port mace. The reason this movement is taught is to enable a
Spoken introduction single or lead Drum Major to signal a band to perform a choreographed non-standard band movement,
in a smart and uniform manner.
2-2-165 Version 1.00

2. The purpose of instruction the
INSTRUCTOR ONE, (CHECK), ONE, (CHECK), SWING
movement is taught on the
DRUM MAJOR DRILL
march.
PORT MACE
FOR THE PURPOSE OF

HAS SIX PARTS
2-2-166 Version 1.00

C. MOVEMENTS
1) PORT MACE – ONE (Fig 19-1)
DRUM MAJOR DRILL the side in a scissor like motion at the correct position of correct quick march.

carry.

the front.
2-2-167 Version 1.00

2) PORT MACE – TWO (Fig 19-2)
the words of command: 2. As the left foot strikes the ground the right arm is brought out
briefly to the side to approximately 45 degrees before 2. The right hand grasps the ferrule
INSTRUCTOR moving forward and down in a circular motion to grasp the in a full grip.
DRUM MAJOR DRILL ferrule in a full grip.
(CHECK), ONE 3. The left hand remains at the
3. On the execution of this movement the squad is to call out: carry.

the front.
2-2-168 Version 1.00

3) PORT MACE – THREE (Fig 19-3)
words of command: 2. As the left foot strikes the ground the mace is thrust with
both hands up to the left along its axis until the left arm is 2. The left arm is fully extended with
INSTRUCTOR fully extended. the grip of the hand altered to
DRUM MAJOR DRILL accommodate the movement.
(CHECK), ONE 3. On the execution of this movement the squad is to call out:
3. The mace moves along its own
(CHECK), ONE axis and is approximately 45
degrees from vertical.

the front.
5. When signalling a choreographed

move, the signal may be held as
long as is required for the
purpose of performance, before
commencing the next movement.
2-2-169 Version 1.00

4) PORT MACE – FOUR (Fig 19-4)
the words of command: 2. As the left foot strikes the ground the mace is sharply
returned to the carry. 2. The mace returns to the carry
INSTRUCTOR along its own axis.
DRUM MAJOR DRILL 3. The right hand remains on the shaft.
(CHECK), ONE 3. The left elbow is pushed out to
4. On the execution of this movement the squad is to call out: the left at the correct carry.

the front.
2-2-170 Version 1.00

5) PORT MACE – FIVE (Fig 19-5)
fifth part of the movement giving the correct quick march.
words of command: 2. As the left foot strikes the ground, the right arm moves
directly from its position on the mace to the correct position 2. The right arm is at the correct
INSTRUCTOR of attention. position of attention.
DRUM MAJOR DRILL
the front.
(CHECK), ONE
2-2-171 Version 1.00

6) PORT MACE – SIX (Fig 19-6)
the words of command: 2. As the left foot strikes the ground, the right arm resumes the
correct quick march, swinging forward initially. 2. The right arm resumes the
2-2-172 Version 1.00

The instructor is to give a final On the execution of the movement the instructor is to call out: 1. The squad should now practice
demonstration: the movement to the same
(CHECK), ONE, (CHECK), ONE, (CHECK), ONE, (CHECK), timings at the halt, less the arm
INSTRUCTOR ONE, (CHECK), ONE, (CHECK), SWING swing.
DRUM MAJOR DRILL
PORT MACE 2. In practice the port position may
be held as long as is deemed
necessary by the performance.
DRUM MAJOR DRILL ONE, (CHECK), ONE, (CHECK), SWING
PORT MACE
2-2-173 Version 1.00

Fig 19-1 Fig 19-2 Fig 19-3
PORT MACE
2-2-174 Version 1.00

Fig 19-4 Fig 19-5 Fig 19-6
PORT MACE
2-2-175 Version 1.00

LESSON DM 20 – INVERT MACE
Aim To teach the mace signal of INVERT MACE on the march.
Method
Preparation
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Cease Playing on the March
The next stage in Drum Major drill is the invert mace. The reason this movement is taught is to enable
Spoken introduction a single or lead Drum Major to signal a band to perform a spin wheel or other choreographed non-
standard band movement, in a smart and uniform manner.
2-2-176 Version 1.00

INSTRUCTOR (CHECK), ONE, (CHECK), ONE, (CHECK), ONE, (CHECK),
INVERT MACE
FOR THE PURPOSE OF

HAS SEVEN PARTS
2-2-177 Version 1.00

C. MOVEMENTS
1) INVERT MACE – ONE (Fig 20-1)
INSTRUCTOR 3. As the next left foot strikes the ground, the right arm is 2. The feet are advanced in the
DRUM MAJOR DRILL checked to the side in a scissor like motion at the correct correct quick march.
(CHECK), ONE position of attention.

carry.

the front.
2-2-178 Version 1.00

2) INVERT MACE – TWO (Fig 20-2)
the words of command: 2. As the left foot strikes the ground the right hand is brought
across the body to grasp the mace immediately above the 2. The right hand grasps the mace
INSTRUCTOR left hand in a full grip, the palm facing forward and the thumb immediately above the left hand.
DRUM MAJOR DRILL joint downward. The palm facing forward and the
(CHECK), ONE thumb joint downward.
3. The left hand remains at the
(CHECK), ONE correct carry.

the front.
2-2-179 Version 1.00

3) INVERT MACE – THREE (Fig 20-3)
words of command: 2. As the left foot strikes the ground the mace is rotated with
both hands in a clockwise direction until the ferrule is 2. The right hand has a full grip of
INSTRUCTOR pointing up and to the left at approximately 45 degrees. the mace with the palm down to
DRUM MAJOR DRILL the left.
(CHECK), ONE 3. The left hand quits its grip during the rotation and
immediately returns to a full grip in approximately the same 3. The left hand has a full grip of the
position on the mace. mace palm upwards to the right.
4. On the execution of this movement the squad is to call out: 4. Both hands are approximately
level with and 6 to 8 inches from
(CHECK), ONE the top of the chest.
5. The mace is approximately 45

degrees from the vertical with the
ferrule uppermost and to the left.
6. Both elbows are held close the

body.

the front.
8. When signalling a choreographed

move, the mace may be held in
this position as long as is
required for the purpose of
performance, before commencing
the next movement.
2-2-180 Version 1.00

4) INVERT MACE – FOUR (Fig 20-4)
the words of command: 2. As the left foot strikes the ground the mace is moved
clockwise through 90 degrees with the hands as the point of 2. Both hands have a full grip of the
INSTRUCTOR rotation, until the ferrule is pointing up and to the right at mace, approximately level with
DRUM MAJOR DRILL approximately 45 degrees from the vertical. and 6 to 8 inches from the top of
(CHECK), ONE the chest.
3. The mace is approximately 45
(CHECK), ONE degrees from the vertical with the
ferrule uppermost and to the
right.
4. Both elbows are held close the

body.

the front.
2-2-181 Version 1.00

5) INVERT MACE – FIVE (Fig 20-5)
fifth part of the movement giving the correct quick march.
words of command: 2. As the left foot strikes the ground the mace is rotated
anticlockwise to the carry position. To do so, the left hand 2. The right hand has full grip of the
INSTRUCTOR quits its grip and immediately returns to the mace with the mace throughout the movement.
DRUM MAJOR DRILL palm forward and the thumb downwards, assisting and
(CHECK), ONE following the mace in its rotation until it returns to the carry 3. The mace and left hand finish at
position and which point the left hand holds the mace at the the correct carry, with the left
correct carry. elbow pushed up and out to the
left.
3. The right hand has a full grip of the mace through the
movement and finishes with the palm forward and thumb 4. The body is erect and square to
joint downwards. the front.
(CHECK), ONE
2-2-182 Version 1.00

6) INVERT MACE – SIX (Fig 20-6)
on the mace and is brought to the side of the body in a 2. The mace is held at the correct
INSTRUCTOR stately manner to the correct position of attention. carry.
DRUM MAJOR DRILL
TWO, THREE, FOUR, FIVE, 3. On the execution of this movement the squad is to call out: 3. The body is erect and square to
(CHECK), ONE
2-2-183 Version 1.00

7) INVERT MACE – SEVEN (Fig 20-7)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The feet are advance in the
seventh part of the movement giving correct quick march.
the words of command: 2. As the left foot strikes the ground the right arm is swung in
the correct quick march. 2. The right arm is swung in the
TWO, THREE, FOUR, FIVE, 3. The mace is held at the correct
(CHECK), ONE (CHECK), SWING carry.

the front.
2-2-184 Version 1.00

demonstration:
INSTRUCTOR (CHECK), ONE, (CHECK), ONE, (CHECK), ONE, (CHECK),
INVERT MACE
DRUM MAJOR DRILL (CHECK), ONE, (CHECK), ONE, (CHECK), ONE, (CHECK),
INVERT MACE SWING
2-2-185 Version 1.00

Fig 20-1 Fig 20-2
INVERT MACE
2-2-186 Version 1.00

Fig 20-3 Fig 20-4
Third Movement Fourth Movement
INVERT MACE
2-2-187 Version 1.00

Fig 20-5 Fig 20-6 Fig 20-7
Fifth Movement Sixth Movement Seventh Movement
INVERT MACE
2-2-188 Version 1.00

LESSON DM 21 – EXECUTE
Aim To teach the EXECUTE signal on the march.
Method
CONDUCT OF LESSON
A. PRELIMINARIES
Revision Saluting
The next stage in Drum Major drill is the execute. The reason this movement is taught is to enable a
Spoken introduction single or lead Drum Major to cue another drill movement in quick time to other Drum Majors or
executives so that the movement that follows is carried out in a smart and uniform manner.
2-2-189 Version 1.00

The instructor is to give a complete On the execution of the movement the instructor is to call out: 1. There are three parts to the
(CHECK), ONE, (CHECK), ONE, (CHECK), EXECUTE
INSTRUCTOR DRUM MAJOR
DRILL
JUDGING THE TIME
EXECUTE
FOR THE PURPOSE OF

HAS THREE PARTS
2-2-190 Version 1.00

C. MOVEMENTS
1) EXECUTE – ONE (Fig 21-1)
INSTRUCTOR 3. As the left foot strikes the ground the right arms is checked 2. The feet are advanced in the
DRUM MAJOR DRILL to the side of the body at the correct position of attention correct quick march.
ONE
4. The mace remains at the carry. 3. The right arm is checked to the
side of the body in a scissor like
5. On the execution of this movement the squad is to call out: motion.

the front.
2-2-191 Version 1.00

2) EXECUTE – TWO (Fig 21-2)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The palm of the right hand is
second part of the movement giving facing the left.
the words of command: 2. As the left foot strikes the ground the right arm is extended
via the shortest route, vertically above the shoulder joint with 2. The right arm is straight and
INSTRUCTOR the fingers and thumb extended in line with the forearm. The extended vertically.
DRUM MAJOR DRILL palm facing the left.
ONE 3. The body is erect and square to
3. The mace remains at the carry. the front.
(CHECK), ONE
2-2-192 Version 1.00

3) EXECUTE – THREE (Fig 21-3)
The instructor is to demonstrate the 1. The right foot is advanced in a check pace. 1. The right arm is at the correct
third part of the movement giving the position of attention.
words of command: 2. As the left foot strikes the ground; the right arm is brought
back to the correct position of attention, by swinging the arm 2. The correct quick march is
INSTRUCTOR down in front of the shoulder in a chopping motion. continued.
DRUM MAJOR DRILL
ONE 3. The mace remains at the carry. 3. The body is erect and square to
the front.
4. The movement to be executed
(CHECK), EXECUTE then commences on the next left
foot.
2-2-193 Version 1.00

demonstration:
(CHECK), ONE, (CHECK), ONE, (CHECK), EXECUTE
INSTRUCTOR
DRUM MAJOR DRILL
EXECUTE
confirm by collective practice, then necessary.
practice with one person as Lead (CHECK), ONE, (CHECK), ONE, (CHECK), EXECUTE
Drum Major:
DRUM MAJOR DRILL

EXECUTE
2-2-194 Version 1.00

Fig 21-1 Fig 21-2 Fig 21-3
EXECUTE
2-2-195 Version 1.00

PART 3
MUSICIAN DRILL
Version 1.00
PART 3 - CHAPTER 1
MUSICIAN DRILL
INTRODUCTORY NOTES
1. The lessons in this chapter will describe the carriage positions unique to each instrument. They will
not describe how to perform the movement of the feet or legs for any individual movement unless
modification to existing AP 818 form or timing is required. Also note that without exception all carriage
movements mirror the AP 818 timing from which they are modified.
For example: On the command ATTENTION, a musician performs the movement of ATTENTION
with the same foot movement and timing that AP 818 describes. Additionally, the instrument is
bought to carriage position of ATTENTION in the same timing.
INSTRUMENT CARRIAGE POSITIONS
2. When a band is formed, musicians will adopt one of four instrument carriage positions. They are:
a. CARRY Verbal command - STAND AT EASE & STAND EASY. To be adopted on

either command, or whilst the band is marching AT EASE. This position is
also adopted as the LEFT foot strikes the ground on the order “QUICK –
MARCH” when marching AT EASE. The CARRY position is never to be
adopted in slow time.
b. ATTENTION Verbal command - SHUN. To be adopted for the position of ATTENTION, or

whilst the band is marching at ATTENTION but not playing. This position is
also adopted after the CEASE PLAYING signal is given by the Drum Major.
Alternatively; given by baton gesture from the MusO (or Band WO) at the end
of a set when at the halt.
c. READY Verbal command given initially by the Drum Major before commencing
playing at the beginning of a set when static or on the march. Alternatively;
given by baton gesture from the MusO (or Band WO) when static. The
movement is never accompanied by drumbeats. The position is maintained
whilst playing. The band must be at ATTENTION to adopt this position when
static. When marching AT EASE; on receipt of the command on the LEFT
foot, the position is adopted as the next LEFT foot strikes the ground.
d. REST Has no verbal command. Independently adopted by musicians during

sectional resting whilst the band is playing. The position is only adopted if a
long period of musical resting is stated on a part (usually 8 or more bars).
During drum solos on the march, musicians not playing should move to the
ATTENTION position and resume arm swing until preliminary rolls for the
next piece commences. Musicians will move to the READY position on the
first LEFT pace of preliminary rolls.
SECTIONAL RESTING
3. A section will move to the REST position (as one) on the first beat of the bar of musical rests. The
section will move back to the READY position (as one) on the first beat of the bar, TWO bars before playing
is to commence. Instruments move at a speed equal to ONE pace in quick time or slow time for both
movements. It is recommended to instruct and practice where sectional resting will occur in a piece and
when instruments are to move to REST and READY during rehearsal and prior to a performance.
3-1-1 Version 1.00

PART 3 - CHAPTER 2
MUSICIAN DRILL LESSONS
LESSON
INSTRUMENT MOVEMENT PAGE No.
NUMBER
MD A1 Flute / Piccolo / Clarinet Stand at Ease / Stand Easy 3-2-3
MD A2 Attention 3-2-4
MD A3 Ready 3-2-5
MD A4 Rest 3-2-6
MD B1 Saxophone Stand at Ease / Stand Easy 3-2-7
MD B2 Attention 3-2-8
MD B3 Ready 3-2-9
MD B4 Rest 3-2-10
MD C1 French Horn Stand at Ease / Stand Easy 3-2-11
MD C2 Attention 3-2-12
MD C3 Ready 3-2-13
MD C4 Rest 3-2-14
MD D1 Cornet / Trumpet Stand at Ease / Stand Easy 3-2-15
MD D2 Attention 3-2-16
MD D3 Ready 3-2-17
MD D4 Rest 3-2-18
MD E1 Trombone Stand at Ease / Stand Easy 3-2-19
MD E2 Attention 3-2-20
MD E3 Ready 3-2-21
MD E4 Rest 3-2-22
MD F1 Euphonium Stand at Ease / Stand Easy 3-2-23
MD F2 Attention 3-2-24
MD F3 Ready 3-2-25
MD F4 Rest 3-2-26
MD G1 Bass Stand at Ease / Stand Easy 3-2-27
MD G2 Attention 3-2-28
MD G3 Ready 3-2-29
MD G4 Rest 3-2-30
MD H1 Bass Drum Stand at Ease / Stand Easy 3-2-31
MD H2 Attention 3-2-32
MD H3 Ready 3-2-33
MD H4 Rest 3-2-34
MD I1 Side Drum (Solo Drummer) Stand at Ease / Stand Easy 3-2-35
MD I2 Attention 3-2-36
MD I3 Ready 3-2-37
MD I4 Rest 3-2-38
MD J1 Side Drum (Corps of Drums) Stand at Ease / Stand Easy 3-2-39
MD J2 Attention 3-2-40
MD J3 Ready 3-2-41
MD J4 Rest 3-2-42
MD K1 Cymbals Stand at Ease / Stand Easy 3-2-44
MD K2 Attention 3-2-45
MD K3 Ready 3-2-46
MD K4 Rest 3-2-47
3-2-1 Version 1.00

LESSON
INSTRUMENT MOVEMENT PAGE No.
NUMBER
MD L1 Fanfare Trumpet Stand at Ease / Stand Easy 3-2-48
MD L2 Attention 3-2-49
MD L3 Ready 3-2-50
MD L4 Rest 3-2-51
MD M1 Bugle Stand at Ease / Stand Easy 3-2-52
MD M2 Attention 3-2-53
MD M3 Ready 3-2-54
MD M4 Rest 3-2-55
MD N1 Bell Lyre Stand at Ease / Stand Easy 3-2-56
MD N2 Attention 3-2-57
MD N3 Ready 3-2-58
MD N4 Rest 3-2-59
MD O1 Flatbed Percussion Stand at Ease / Stand Easy 3-2-60
MD O2 Attention 3-2-61
MD O3 Ready 3-2-62
MD O4 Rest 3-2-63
Note: Unless otherwise stated, lessons are presented in quick time format. When in slow time, the word
‘quick’ should be substituted for the word ‘slow’.
3-2-2 Version 1.00

LESSON MD A1 - FLUTE / PICCOLO / CLARINET MOVEMENT: STAND AT EASE / STAND EASY
PURPOSE: The position to be adopted at STAND AT

CARRIAGE: CARRY TIMING OF FULL MOVEMENT: ONE
EASE, STAND EASY and MARCHING AT EASE.
On the command STAND AT EASE: POINTS TO NOTE:
1. The left hand brings the instrument to the side of the 1. The instrument is held comfortably
body at a speed equal to one pace in quick time. in the left hand with the arm
The instrument is held horizontal to the ground with relaxed at full extent.
a comfortable relaxed closed grip.
2. Instrument is held horizontal to the
2. The right arm does not move. ground at its point of balance.
3. TIMING: ONE 3. The right arm is at the side in the

correct position of ATTENTION as
On the command STAND EASY: in foot drill.
1. The body may be relaxed - movement is permitted 4. Feet execute a correct STAND AT
to ease discomfort. EASE.
2. TIMING: NONE 5. Body is erect and square to the

front.
When instructed to MARCH AT EASE:
6. Stood easy and marching at ease:
1. The CARRY position is adopted as the first left foot the body is relaxed.
strikes the ground and the correct quick march
continued. 7. Arms are not swung when
marching AT EASE.
2. TIMING: ONE
8. The musician should ‘brace’ on the
introductory word of command
“BAND” when STANDING EASY
as per AP 818.
3-2-3 Version 1.00

LESSON MD A2 - FLUTE / PICCOLO / CLARINET MOVEMENT: ATTENTION
PURPOSE: The position to be adopted on the

CARRIAGE: ATTENTION TIMING OF FULL MOVEMENT: ONE
command ATTENTION and after CEASE PLAYING.
On the command SHUN: POINTS TO NOTE:
1. The left hand raises the instrument from the CARRY 1. The instrument is raised rapidly but
to a position immediately in front of and in line with smoothly without jerking.
the left shoulder at a speed equal to one pace in
quick time. The forearm horizontal to the ground. 2. Instrument to be held in the left
hand with its axis vertical to the
2. The right arm does not move. ground, left forearm horizontal to
the ground.
3. TIMING: ONE
3. Feet execute a correct
CEASE PLAYING AT THE HALT, after the mace ATTENTION.
signal and as the mace is dropped:
4. Body is erect and square to the
1. The left hand lowers the instrument from the front.
READY to the ATTENTION carriage position at a
speed equal to one pace in quick time. 5. The right arm is swung when
marching at ATTENTION.
2. At the same time, the right hand releases its grip
and is brought smartly to the right side of the body 6. On the mace signal CEASE
at the correct position of ATTENTION as in foot drill. PLAYING, musicians will only
come to the ATTENTION carriage
3. TIMING: ONE position if a musical set is
concluded and no preliminary rolls
CEASE PLAYING ON THE MARCH, after the mace are to follow, otherwise they
signal and as the mace is dropped: should remain at the READY
carriage position.
1. The above movement is executed as the next left
foot strikes the ground. Arm swing commences on
the next left foot.
2. TIMING: ONE, (CHECK), SWING
3-2-4 Version 1.00

LESSON MD A3 - FLUTE / PICCOLO / CLARINET MOVEMENT: READY
PURPOSE: The position to be adopted just before

CARRIAGE: READY TIMING OF FULL MOVEMENT: ONE
playing or whilst playing.
On the command BAND READY or on baton POINTS TO NOTE:

command:
1. Musician is at ATTENTION.
1. The left hand raises the instrument from the
ATTENTION carriage position to the playing 2. The instrument is not to be raised
position just in front of the lips, in one smooth sharply or directly to touch the lips
movement, at a speed equal to one pace in quick as this may cause injury.
time.
3. Flutes and piccolos should be held
2. At the same time the right hand is brought up to horizontally to the ground.
meet the instrument in the playing position.
4. Clarinets should be held at and
3. As soon as the position is adopted the musician angle of approximately 30˚ from
places the mouthpiece on or between the lips ready the body.
to commence playing.
4. TIMING: ONE front.
When ordered ON THE MARCH:
1. The command is given as the left foot strikes the

ground. A check pace is taken with the right foot,
the swinging arm checked into the side of the body
at the carriage position of ATTENTION. The
instrument and arms move to the READY carriage
position on the next left foot.
2. TIMING: (CHECK), ONE
3-2-5 Version 1.00

LESSON MD A4 - FLUTE / PICCOLO / CLARINET MOVEMENT: REST
PURPOSE: The position to be adopted during sectional

CARRIAGE: REST TIMING OF FULL MOVEMENT: ONE
resting.
1. As the left heel strikes the ground, the instrument is POINTS TO NOTE:
lowered centrally in front of the body with both
hands remaining in the playing position, with the 1. Band is playing at ATTENTION or
instrument mouthpiece clear of the mouth by marching whilst playing.
approximately 2 inches, at a speed equal to one
pace in quick time. 2. The instrument is central to the
body when lowered.
2. TIMING: ONE
3. Flutes and piccolos remain
horizontal to the ground.
4. An angle of approximately 30˚ from

vertical is adopted with clarinets.
5. Both hands remain in playing

position.

front.
3-2-6 Version 1.00

LESSON MD B1 - SAXOPHONE MOVEMENT: STAND AT EASE / STAND EASY

1. The left hand and instrument do not move. 1. The instrument is held comfortably
in the left hand with the arm
2. The right arm does not move. relaxed.
3. TIMING: ONE 2. Instrument is secured to the

musician with a sling around the
On the command STAND EASY: neck and held to the front of the
body at its point of balance.
1. The body may be relaxed - movement is permitted
to ease discomfort. 3. The right arm is at the side in the
2. TIMING: NONE in foot drill.
When instructed to MARCH AT EASE: 4. Feet execute a correct STAND AT

EASE.
1. The instrument remains at the ATTENTION carriage
position and the correct quick march continued. 5. Body is erect and square to the
front.
2. TIMING: NONE
the body is relaxed.
7. Arms are not swung when

marching AT EASE.

as per AP 818.
3-2-7 Version 1.00

LESSON MD B2 - SAXOPHONE MOVEMENT: ATTENTION

1. The left hand and instrument do not move. 1. The instrument does not move.
2. The right arm does not move. 2. Instrument is secured to the

musician with a sling around the
3. TIMING: ONE neck and held to the front the body
with the left hand at its point of
CEASE PLAYING AT THE HALT, after the mace balance.
1. The left hand lowers the instrument from the ATTENTION.
speed equal to one pace in quick time. 4. Body is erect and square to the
front.
and is brought smartly to the right side of the body 5. The right arm is swung when
at the correct position of ATTENTION as in foot drill. marching at ATTENTION.
3. TIMING: ONE 6. On the mace signal CEASE

PLAYING, musicians will only
CEASE PLAYING ON THE MARCH, after the mace come to the ATTENTION carriage
signal and as the mace is dropped: position if a musical set is
1. The above movement is executed as the left foot are to follow, otherwise they
strikes the ground. Arm swing commences on the should remain at the READY
next left foot. carriage position.
3-2-8 Version 1.00

LESSON MD B3 - SAXOPHONE MOVEMENT: READY


command:
time.
2. At the same time the right hand is brought up to front.
3. As soon as the position is adopted the musician

places the mouthpiece between the lips ready to
commence playing.
4. TIMING: ONE

3-2-9 Version 1.00

LESSON MD B4 - SAXOPHONE MOVEMENT: REST

resting.
pace in quick time. 2. Both hands remain in playing
position.
2. TIMING: ONE
front.
3-2-10 Version 1.00

LESSON MD C1 - FRENCH HORN MOVEMENT: STAND AT EASE / STAND EASY

1. The right hand and instrument do not move. 1. The instrument is held with the
right hand in the crook of the right
2. The left arm does not move. arm with the arm relaxed.
3. TIMING: ONE 2. Instrument bell points to the rear

with the mouthpiece facing
On the command STAND EASY: upwards.
1. The body may be relaxed - movement is permitted 3. The left arm is at the side in the
to ease discomfort. correct position as for ATTENTION
as in foot drill.
2. TIMING: NONE
4. Feet execute a correct STAND AT
When instructed to MARCH AT EASE: EASE.
1. The instrument remains at the ATTENTION carriage 5. Body is erect and square to the
position and the correct quick march continued. front.
2. TIMING: NONE 6. Stood easy and marching at ease:


marching AT EASE.

as per AP 818.
3-2-11 Version 1.00

LESSON MD C2 - FRENCH HORN MOVEMENT: ATTENTION

1. The hands, arms and instrument do not move. 1. The instrument does not move.
2. TIMING: ONE 2. The instrument is held with the

right hand in the crook of the right
CEASE PLAYING AT THE HALT, after the mace arm with the arm relaxed.
3. Instrument bell points to the rear
1. The left hand lowers the instrument from the with the mouthpiece facing
READY to the ATTENTION carriage position at a upwards.
speed equal to one pace in quick time.
2. At the same time, the right hand moves its position ATTENTION.
from inside the bell and cradles the instrument in
the correct carriage position of ATTENTION. 5. Body is erect and square to the
front.
3. The left hand releases its grip on the instrument and
is brought smartly to the left side of the body at the 6. The left arm is swung when
correct position of ATTENTION as in foot drill. marching at ATTENTION.

1. The above movement is executed as the left foot are to follow, otherwise they
strikes the ground. Arm swing commences on the should remain at the READY
next left foot. carriage position.
3-2-12 Version 1.00

LESSON MD C3 - FRENCH HORN MOVEMENT: READY


command:
1. The right hand raises the instrument from the
time.
2. At the same time the left hand is brought up to meet front.
the instrument in the playing position.
3. The right hand is then inserted into the bell of the

instrument in the playing position.

places the mouthpiece against the lips ready to
commence playing.
5. TIMING: ONE

3-2-13 Version 1.00

LESSON MD C4 - FRENCH HORN MOVEMENT: REST

resting.
position.
2. TIMING: ONE
front.
3-2-14 Version 1.00

LESSON MD D1 - CORNET / TRUMPET MOVEMENT: STAND AT EASE / STAND EASY

body at a speed equal to one pace in quick time. in the left hand with the arm
The instrument is held with a comfortable relaxed relaxed at full extent.
grip allowing it to hang at a natural angle.
2. Instrument hangs at a natural point
2. The right arm does not move. of balance.

On the command STAND EASY: in foot drill.
2. TIMING: NONE 5. Body is erect and square to the

front.
1. The CARRY position is adopted as the first left foot the body is relaxed.
strikes the ground and the correct quick march
continued. 7. Arms are not swung when
marching AT EASE.
2. TIMING: ONE
as per AP 818.
3-2-15 Version 1.00

LESSON MD D2 - CORNET / TRUMPET MOVEMENT: ATTENTION

hand with its axis perpendicular to
2. The right arm does not move. the ground, left forearm horizontal
to the ground.
3. TIMING: ONE
carriage position.
1. The above movement is executed as the left foot
strikes the ground. Arm swing commences on the
next left foot.
3-2-16 Version 1.00

LESSON MD D3 - CORNET / TRUMPET MOVEMENT: READY


command:
time.
3. Instrument should be held
2. At the same time the right hand is brought up to horizontally to the ground.
3. As soon as the position is adopted the musician front.
commence playing.
4. TIMING: ONE

3-2-17 Version 1.00

LESSON MD D4 - CORNET / TRUMPET MOVEMENT: REST

resting.
hands remaining in the playing position, with the 1. Band is at ATTENTION or
instrument approximately 45 degrees from marching whilst playing.
horizontal, at a speed equal to one pace in quick
time. 2. The instrument is central to the
body when lowered.
2. TIMING: ONE
3. An angle of approximately 45
degrees from horizontal is adopted
with the instrument.

position.

front.
3-2-18 Version 1.00

LESSON MD E1 - TROMBONE MOVEMENT: STAND AT EASE / STAND EASY

body. The instrument is held by the ‘slide stay’ with in the left hand with the arm
a comfortable relaxed grip allowing it to hang at a relaxed at full extent.
natural angle, with the bell down and to the rear, at
a speed equal to one pace in quick time. 2. Instrument hangs at a natural point
of balance with the bell down to
2. The right arm does not move. the rear.

correct position as for ATTENTION
On the command STAND EASY: as in foot drill.
1. The body may be relaxed; the base of the slide may 4. Feet execute a correct STAND AT
be rested on the ground at the musician’s EASE.
discretion. Movement is permitted to ease
discomfort. 5. Body is erect and square to the
front.
2. TIMING: NONE
When instructed to MARCH AT EASE: the body is relaxed.
1. The CARRY position is adopted as the first left foot 7. Arms are not swung when
strikes the ground and the correct quick march marching AT EASE.
continued.
2. TIMING: ONE introductory word of command
as per AP 818.
3-2-19 Version 1.00

LESSON MD E2 - TROMBONE MOVEMENT: ATTENTION

hand with its axis perpendicular to
2. The right arm does not move. the ground, left forearm horizontal
to the ground.
3. TIMING: ONE
carriage position.
next left foot.
3-2-20 Version 1.00

LESSON MD E3 - TROMBONE MOVEMENT: READY


command:
time.
3. Instrument should be held
2. At the same time the right hand is brought up to ensuring the slide is horizontal to
meet the instrument in the playing position. the ground.
3. As soon as the position is adopted the musician 4. Body is erect and square to the
places the mouthpiece against the lips ready to front.
commence playing.
4. TIMING: ONE

3-2-21 Version 1.00

LESSON MD E4 - TROMBONE MOVEMENT: REST

resting.
lowered with the hands centrally in front of the body,
both hands remaining in the playing position, with 1. Band is at ATTENTION or
the bell and slide pointing to the ground, at a speed marching whilst playing.
equal to one pace in quick time.
2. The instrument is central to the
2. TIMING: ONE body when lowered.
3. Instrument axis should be vertical

to the ground.

position.

front.
3-2-22 Version 1.00

LESSON MD F1 - EUPHONIUM MOVEMENT: STAND AT EASE / STAND EASY

1. The arms, hands and instrument do not move. 1. The instrument will be cradled
centrally against the body, both
2. TIMING: ONE arms supporting the instrument,
the bell of the instrument facing to
On the command STAND EASY: the right.
1. The body may be relaxed - movement is permitted 2. The right hand is placed over the
to ease discomfort. left hand.
2. TIMING: NONE 3. Feet execute a correct STAND AT

EASE.
1. The instrument remains at the ATTENTION carriage front.
position and the correct quick march continued.
2. TIMING: NONE the body is relaxed.

marching AT EASE.

as per AP 818.
3-2-23 Version 1.00

LESSON MD F2 - EUPHONIUM MOVEMENT: ATTENTION

1. The arms, hands and instrument do not move. 1. The instrument will be cradled
centrally against the body, both
2. TIMING: ONE arms supporting the instrument,
the bell of the instrument facing to
CEASE PLAYING AT THE HALT, after the mace the right.
1. The left hand lowers the instrument from the ATTENTION.
front.
2. At the same time, the right hand moves from the
playing position to cradle the instrument in the 4. Arms are not swung when
correct position of ATTENTION as in foot drill. marching at ATTENTION.

1. The above movement is executed as the next left are to follow, otherwise they
foot strikes the ground. should remain at the READY
carriage position.
2. TIMING: ONE
3-2-24 Version 1.00

LESSON MD F3 - EUPHONIUM MOVEMENT: READY


command:
time.
2. At the same time the right hand is brought up to front.

commence playing.
4. TIMING: ONE

ground. A check pace is then taken with the right
foot. Instrument and arms move to the READY
carriage position on the next left foot.
3-2-25 Version 1.00

LESSON MD F4 - EUPHONIUM MOVEMENT: REST

resting.
position.
2. TIMING: ONE
front.
3-2-26 Version 1.00

LESSON MD G1 - BASS MOVEMENT: STAND AT EASE / STAND EASY

1. The arms, hands and instrument do not move. 1. The instrument will be hooked up
on a sling, the left arm across the
2. TIMING: ONE instrument and fingers round the
valve sleeve, the fingers of the
On the command STAND EASY: right hand resting on the valves
and the mouthpiece away from the
1. The body may be relaxed - movement is permitted lips.
to ease discomfort.
2. The instrument may be unhooked and rested on the EASE.
ground for prolonged periods of STAND EASY.
3. TIMING: NONE front.
When instructed to MARCH AT EASE: 4. Stood easy and marching at ease:

1. The instrument remains at the ATTENTION carriage
position and the correct quick march continued. 5. Arms are not swung when
marching AT EASE.
2. TIMING: NONE
as per AP 818.
3-2-27 Version 1.00

LESSON MD G2 - BASS MOVEMENT: ATTENTION

1. The arms, hands and instrument do not move. 1. The instrument will be hooked up
on a sling, the left arm across the
2. TIMING: ONE instrument and fingers around the
valve sleeve, the fingers of the
CEASE PLAYING AT THE HALT, after the mace right hand resting on the valves
signal and as the mace is dropped: and the mouthpiece away from the
lips.
1. The left hand lowers the instrument from the
READY to the ATTENTION carriage position at a 2. Feet execute a correct
speed equal to one pace in quick time. ATTENTION.
2. TIMING: ONE 3. Body is erect and square to the

front.
CEASE PLAYING ON THE MARCH, after the mace
signal and as the mace is dropped: 4. Arms are not swung when
strikes the ground. 5. On the mace signal CEASE
2. TIMING: ONE come to the ATTENTION carriage
position if a musical set is
are to follow, otherwise they
should remain at the READY
carriage position.
3-2-28 Version 1.00

LESSON MD G3 - BASS MOVEMENT: READY


command:
time.
commence playing.
3. TIMING: ONE

foot. Instrument and arms move to the READY
carriage position on the next left foot.
3-2-29 Version 1.00

LESSON MD G4 - BASS MOVEMENT: REST

resting.
position.
2. TIMING: ONE
front.
3-2-30 Version 1.00

LESSON MD H1 - BASS DRUM MOVEMENT: STAND AT EASE / STAND EASY

1. The arms and hands do not move. 1. The drum will be hooked up on a
sling, one beater in each hand.
2. TIMING: ONE
2. Arms should remain in the correct
On the command STAND EASY: position of ATTENTION as in foot
drill with beaters pointing to the
1. The body may be relaxed - movement is permitted ground.
to ease discomfort.
2. The drum may be unhooked and rested on the EASE.
ground for prolonged periods of STAND EASY.
When instructed to MARCH AT EASE: 5. Stood easy and marching at ease:

1. The arms remain at the position of ATTENTION, as
in foot drill, and the correct quick march continued. 6. Arms are not swung when
marching AT EASE.
2. TIMING: NONE
7. Both hands may be used to brace
the drum when marching AT
EASE.

as per AP 818.
3-2-31 Version 1.00

LESSON MD H2 - BASS DRUM MOVEMENT: ATTENTION

sling, one beater in each hand.
2. TIMING: ONE
CEASE PLAYING AT THE HALT, after the mace position of ATTENTION as in foot
signal and as the mace is dropped: drill with beaters pointing to the
ground.
1. The hands and arms are lowered to the carriage
position of ATTENTION, at a speed equal to one 3. Feet execute a correct
pace in quick time. ATTENTION.
2. TIMING: ONE 4. Body is erect and square to the

front.
signal and as the mace is dropped: 5. Arms are not swung when
strikes the ground. 6. On the mace signal CEASE
2. TIMING: ONE come to the ATTENTION carriage
carriage position.
3-2-32 Version 1.00

LESSON MD H3 - BASS DRUM MOVEMENT: READY


command:
1. Both hands are raised to the playing position, with
the forearms approximately parallel to the ground, 2. Body is erect and square to the
at a speed equal to one pace in quick time. front.
2. TIMING: ONE 3. No drum beating is to take place

on the command READY.

foot. The arms move to the READY carriage
3-2-33 Version 1.00

LESSON MD H4 - BASS DRUM MOVEMENT: REST

resting.
1. As the left heel strikes the ground, the hands and POINTS TO NOTE:
arms are lowered to the carriage position of
ATTENTION, at a speed equal to one pace in quick 1. Band is playing at ATTENTION or
time. marching whilst playing.
2. TIMING: ONE 2. Arms are in the correct position of

ATTENTION as in foot drill.

front.
3-2-34 Version 1.00

LESSON MD I1 - SIDE DRUM (SOLO DRUMMER) MOVEMENT: STAND AT EASE / STAND EASY

sling over the right shoulder, one
2. TIMING: ONE stick in each hand.
On the command STAND EASY: 2. Right arm should remain in the

1. The body may be relaxed - movement is permitted in foot drill with the stick pointing
to ease discomfort. down the leg and at the ground.
2. The drum may be unhooked and rested on the 3. Left hand rests on the drum hoop,
ground for prolonged periods of STAND EASY. the stick resting on the drum head.

EASE.
1. The arms remain at the position of ATTENTION, as front.
in foot drill, and the correct quick march continued.

marching AT EASE.

as per AP 818.
3-2-35 Version 1.00

LESSON MD I2 - SIDE DRUM (SOLO DRUMMER) MOVEMENT: ATTENTION

sling over the right shoulder, one
2. TIMING: ONE stick in each hand.
CEASE PLAYING AT THE HALT, after the mace 2. Right arm should remain in the
signal and as the mace is dropped: correct position of ATTENTION as
in foot drill with the stick pointing
1. The hands and arms are moved to the carriage down the leg and at the ground.
position of ATTENTION, at a speed equal to one
pace in quick time. 3. Left hand rests on the drum hoop
with the beating end of the stick
2. TIMING: ONE resting on the drum head.
CEASE PLAYING ON THE MARCH, after the mace 4. Feet execute a correct
signal and as the mace is dropped: ATTENTION.
1. The above movement is executed as the left foot 5. Body is erect and square to the
strikes the ground. Arm swing commences on the front.
next left foot.
6. The right arm is swung when
2. TIMING: ONE, (CHECK), SWING marching at ATTENTION.
7. On the mace signal CEASE

position.
3-2-36 Version 1.00

LESSON MD I3 - SIDE DRUM (SOLO DRUMMER) MOVEMENT: READY


command:
1. The right hand is raised to the playing position, at a
front.
2. At the same time, the left hand moves to the playing
position. 3. Sticks should be raised
approximately 2 inches above the
3. TIMING: ONE drum head in readiness for the
beating.
4. No drum beating is to take place
1. The command is given as the left foot strikes the on the command READY.
3-2-37 Version 1.00

LESSON MD I4 - SIDE DRUM (SOLO DRUMMER) MOVEMENT: REST

resting.
1. As the left heel strikes the ground, both sticks are POINTS TO NOTE:
moved to be held together in the hands across the
drum head, at a speed equal to one pace in quick 1. Band is playing at ATTENTION or
2. TIMING: ONE 2. Both hands should be resting on

the drum hoop, grasping both
sticks together.

front.
3-2-38 Version 1.00

LESSON MD J1 - SIDE DRUM (CORPS OF DRUMS) MOVEMENT: STAND AT EASE / STAND EASY

1. The right hand grasps both sticks and the right arm 1. The drum will be hooked up on a
is brought to the right side of the body at the correct sling over the right shoulder, both
position of ATTENTION as in foot drill, at a speed sticks in the right hand.
2. Right arm should remain in the
2. The left hand does not move. correct position of ATTENTION as
in foot drill with the sticks pointing
3. TIMING: ONE down the leg and at the ground.
On the command STAND EASY: 3. Left hand rests on the drum hoop.
2. The drum may be unhooked and rested on the 5. Body is erect and square to the
ground for prolonged periods of STAND EASY. front.
3. TIMING: NONE 6. Stood easy and marching at ease:

1. The right arm remains at the position of marching AT EASE.
ATTENTION as in foot drill and the correct quick
march continued. 8. The musician should ‘brace’ on the
2. TIMING: NONE “BAND” when STANDING EASY
as per AP 818.
3-2-39 Version 1.00

LESSON MD J2 - SIDE DRUM (CORPS OF DRUMS) MOVEMENT: ATTENTION

1. The right hand is raised to the drum hoop with the 1. The drum will be hooked up on a
right arm straight, at a speed equal to one pace in sling over the right shoulder
quick time.
2. Both hands rest on the drum hoop,
2. At the same time, the sticks are angled towards the the right arm straight.
left hand and grasped by both hands at either end
of the sticks. 3. Sticks are together and grasped at
both ends by both hands.
3. TIMING: ONE
1. The hands and arms are moved to the carriage front.
pace in quick time. 6. The right arm is swung when
2. TIMING: ONE
CEASE PLAYING ON THE MARCH, after the mace PLAYING, musicians will only
signal and as the mace is dropped: come to the ATTENTION carriage
1. The above movement is executed as the left foot concluded and no preliminary rolls
strikes the ground. On the next left foot, the right are to follow, otherwise they
hand grasps both sticks and the right arm is brought should remain at the READY
to the right side of the body at the position of carriage position.
ATTENTION as in foot drill. Arm swing commences
on the next left foot.
2. TIMING: ONE, (CHECK), ONE, (CHECK), SWING
3-2-40 Version 1.00

LESSON MD J3 - SIDE DRUM (CORPS OF DRUMS) MOVEMENT: READY


command:
1. The right hand grasps the right stick, the left hand
grasps the left stick. 2. Body is erect and square to the
front.
2. At the same time, the sticks are moved to the
playing position at a speed equal to one pace in 3. Sticks should be raised
quick time. approximately 2 inches above the
drum head in readiness for the
3. TIMING: ONE beating.
When ordered ON THE MARCH: 4. Care should be taken to avoid

noise from the sticks accidentally
1. The command is given as the left foot strikes the touching the drum skin.
ground. A check pace is taken with the right foot.
The arms move to the ATTENTION carriage 5. No drum beating is to take place
position on the next left foot. on the command READY.
2. A check pace is taken with the right foot. The arms

are brought to the READY carriage position on the
next left foot.
3. TIMING: (CHECK), ONE, (CHECK), ONE
3-2-41 Version 1.00

LESSON MD J4 - SIDE DRUM (CORPS OF DRUMS) MOVEMENT: REST
PURPOSE: The position to be adopted during sectional TIMING OF FULL MOVEMENT:

CARRIAGE: REST
resting. NONE
For rests of short duration (usually no more than one POINTS TO NOTE:
bar of music):
1. Band is playing at ATTENTION or
1. The sticks are moved quickly and sharply, so that marching whilst playing.
the tips are placed on the upper lip under the nose,
sticks parallel to the ground and overlapping at the 2. Sticks should be parallel to the
tips by approximately 2 inches, at a speed equal to ground when at rest.
a quarter of a pace in quick time.
3. A quarter pace in quick time is
2. When playing recommences, sticks should be equal in length to a semiquaver in
brought down to the drumhead quickly and sharply, musical notation.
at a speed equal to a quarter pace in quick time.
4. When ghosting, individual stick
3. TIMING: NONE position on the upper lip should be
the same as when at rest. Sticks
For rests of long duration, drummers will ‘ghost’ their should reach their final positions
sticks in the following manner: as the foot strikes the ground, or
on the beat when playing at the
1. The sticks are moved quickly, sharply and halt.
alternately, so that the left tip is placed on the upper
lip as the left heel strikes the ground, at a speed 5. Sticks should not hit the drum skin
equal to a quarter pace in quick time (semiquaver). when ghosting.
2. At the same time, the right stick is brought down to 6. Body is erect and square to the
the playing position. front.
(Fig J4-1)
3. When the right heel strikes the ground the action is

reversed, with the right tip resting on the upper lip,
the left stick in the playing position.
(Fig J4-2)
4. TIMING: NONE
3-2-42 Version 1.00

Fig J4-1 Fig J4-2
Ghosting (Beat 1 / Left Foot) Ghosting (Beat 2 / Right Foot)
3-2-43 Version 1.00

LESSON MD K1 - CYMBALS MOVEMENT: STAND AT EASE / STAND EASY

1. The arms and hands do not move. 1. The cymbals will be held one in
each hand.
2. TIMING: ONE
On the command STAND EASY: position of ATTENTION as in foot
drill with the inner part of the
1. The body may be relaxed - movement is permitted cymbals touching each leg.
to ease discomfort.
2. TIMING: NONE EASE.
When instructed to MARCH AT EASE: 4. Body is erect and square to the

front.
1. The arms remain at the position of ATTENTION, as
in foot drill, and the correct quick march continued. 5. Stood easy and marching at ease:
2. TIMING: NONE
marching AT EASE.

as per AP 818.
3-2-44 Version 1.00

LESSON MD K2 - CYMBALS MOVEMENT: ATTENTION

1. The arms and hands do not move. 1. Arms should remain in the correct
position of ATTENTION as in foot
2. TIMING: ONE drill with the inner part of the
cymbals touching each leg.
CEASE PLAYING AT THE HALT, after the mace
signal and as the mace is dropped: 2. Feet execute a correct
ATTENTION.
1. The hands and arms are lowered to the carriage
position of ATTENTION, at a speed equal to one 3. Body is erect and square to the
pace in quick time. front.
2. TIMING: ONE 4. Arms are not swung when

signal and as the mace is dropped: 5. On the mace signal CEASE
1. The above movement is executed as the left foot come to the ATTENTION carriage
strikes the ground. position if a musical set is
2. TIMING: ONE are to follow, otherwise they
carriage position.
3-2-45 Version 1.00

LESSON MD K3 - CYMBALS MOVEMENT: READY


command:
1. Both hands are raised to the playing position, with
the forearms approximately parallel to the ground, 2. Elbows are tucked into the sides of
elbows tucked into the sides of the body, at a speed the body.

3-2-46 Version 1.00

LESSON MD K4 - CYMBALS MOVEMENT: REST

resting.
1. As the left heel strikes the ground, the arms are POINTS TO NOTE:
lowered to the carriage position of ATTENTION, at
a speed equal to one pace in quick time. 1. Band is playing at ATTENTION or
marching whilst playing.
2. TIMING: ONE
position of ATTENTION as in foot
drill with the inner part of the
cymbals touching each leg.

front.
3-2-47 Version 1.00

LESSON MD L1 - FANFARE TRUMPET MOVEMENT: STAND AT EASE / STAND EASY

1. The hands, arms and instrument do not move. 1. The left hand holds the instrument
in a diagonal position of
2. TIMING: ONE approximately 45 degrees just in
front of the body.
On the command STAND EASY:
2. Instrument bell points to the
1. The body may be relaxed - movement is permitted ground and to the right.
to ease discomfort.
3. Fingers of the left hand placed
2. TIMING: NONE around the valve casing, fingers of
the right hand on the valves.
CADET IMAGE PENDING 4. Feet execute a correct STAND AT
SEE AP3227 FOR PHOTOGRAPH 1. The instrument remains in the ATTENTION carriage EASE.


marching AT EASE.

as per AP 818.
3-2-48 Version 1.00

LESSON MD L2 - FANFARE TRUMPET MOVEMENT: ATTENTION

1. The hands, arms and instrument do not move. 1. The left hand holds the instrument
in a diagonal position of
2. TIMING: ONE approximately 45 degrees just in
front of the body.
CEASE PLAYING AT THE HALT, after the mace
signal and as the mace is dropped: 2. Instrument bell points to the
ground and to the right.
1. The left hand lowers the instrument from the
READY to the ATTENTION carriage position at a 3. Fingers of the left hand placed
speed equal to one pace in quick time. around the valve casing, fingers of
the right hand on the valves.
2. TIMING: ONE
CADET IMAGE PENDING
CEASE PLAYING ON THE MARCH, after the mace ATTENTION.
SEE AP3227 FOR PHOTOGRAPH
1. The above movement is executed as the left foot front.
next left foot. 6. The right arm is swung when
carriage position.
3-2-49 Version 1.00

LESSON MD L3 - FANFARE TRUMPET MOVEMENT: READY


command:
position just in front of the lips, in one smooth and sharply or directly to touch the lips
dignified movement, at a speed equal to three as this may cause injury.
seconds.
CADET IMAGE PENDING 3. Instrument should be held
SEE AP3227 FOR PHOTOGRAPH 2. At the same time the fingers of the right hand horizontally to the ground.
remain on the valves.
commence playing. 5. The ready position should only be
adopted at the halt. Fanfare
4. TIMING: ONE THOUSAND, TWO THOUSAND, trumpets are not to be played on
THREE the march.
3-2-50 Version 1.00

LESSON MD L4 - FANFARE TRUMPET MOVEMENT: REST

resting.
1. The instrument remains in the playing position. POINTS TO NOTE:
2. TIMING: NONE 1. Musician is at ATTENTION.
CADET IMAGE PENDING 2. Both hands remain in playing

SEE AP3227 FOR PHOTOGRAPH position.

front.
3-2-51 Version 1.00

LESSON MD M1 - BUGLE MOVEMENT: STAND AT EASE / STAND EASY

1. The hands, arms and instrument do not move. 1. The instrument is held comfortably
in the right hand with the arm
2. TIMING: ONE relaxed at full extent.
On the command STAND EASY: 2. Instrument is gripped around the

main tubing with the mouthpiece to
1. The body may be relaxed - movement is permitted the front.
to ease discomfort.
3. The left arm is at the side in the
2. TIMING: NONE correct position of ATTENTION as
in foot drill.
1. The instrument remains in the ATTENTION carriage EASE.


marching AT EASE.

as per AP 818.
3-2-52 Version 1.00

LESSON MD M2 - BUGLE MOVEMENT: ATTENTION

1. The hands, arms and instrument do not move. 1. The instrument is held comfortably
in the right hand with the arm
2. TIMING: ONE braced at full extent.
CEASE PLAYING AT THE HALT, after the mace 2. Instrument is gripped around the
signal and as the mace is dropped: main tubing with the mouthpiece to
the front.
1. The right hand lowers the instrument from the
READY to the ATTENTION carriage position at a 3. The left arm is at the side in the
speed equal to one pace in quick time. correct position of ATTENTION as
in foot drill.
2. The left arm does not move.
3. TIMING: ONE ATTENTION.
CEASE PLAYING ON THE MARCH, after the mace 5. Body is erect and square to the
signal and as the mace is dropped: front.
1. The above movement is executed as the left foot 6. The left arm is swung when
strikes the ground. Arm swing commences on the marching at ATTENTION.
next left foot.
2. TIMING: ONE, (CHECK), SWING PLAYING, musicians will only
carriage position.
3-2-53 Version 1.00

LESSON MD M3 - BUGLE MOVEMENT: READY


command:
1. The right hand raises the instrument from the
ATTENTION carriage position to a position directly 2. The instrument is not to be raised
in front of the body, in line with the shoulder, sharply or directly to touch the lips
instrument bell pointing to the ground, arm fully as this may cause injury.
extended and horizontal to the ground, in a speed
equal to one pace in quick time. 3. Instrument should be held
perpendicular to the ground on the
2. After a pause equal to one pace in quick time, the first movement.
instrument is brought to the playing position just in
front of the lips, at a speed equal to one pace in 4. Instrument should be held
quick time. horizontally to the ground on the
second movement.
First Movement
places the mouthpiece against the lips ready to 5. Body is erect and square to the
commence playing. front.
5. TIMING: ONE, (CHECK), ONE

the swinging arm checked to the side of the body on
at the carriage position of ATTENTION. Instrument
moves to the READY carriage position on the next
left foot as described above.
2. TIMING: (CHECK), ONE, (CHECK), ONE

Second Movement
3-2-54 Version 1.00

LESSON MD M4 - BUGLE MOVEMENT: REST

resting.
lowered down to the ATTENTION carriage position
at a speed equal to one pace in quick time. 1. Band is at ATTENTION or
2. The instrument is lowered in one
3. TIMING: ONE unbroken movement.
3. The left arm is at the side in the

in foot drill.

front.
3-2-55 Version 1.00

LESSON MD N1 - BELL LYRE MOVEMENT: STAND AT EASE / STAND EASY

1. The arms and hands do not move. 1. The instrument will be inserted into
a sling over the right shoulder,
2. TIMING: ONE beater in in right hand.
On the command STAND EASY: 2. Right arm should remain in the

1. The body may be relaxed - movement is permitted in foot drill with the beater pointing
to ease discomfort. down the leg and at the ground.
2. The instrument may be unhooked and rested on the 3. Left hand supports the rear of the
ground for prolonged periods of STAND EASY. instrument at the point of balance.

EASE.
1. The arms remain at the position of ATTENTION, as front.
in foot drill, and the correct quick march continued.

marching AT EASE.

as per AP 818.
3-2-56 Version 1.00

LESSON MD N2 - BELL LYRE MOVEMENT: ATTENTION

1. The arms and hands do not move. 1. The instrument will be inserted into
a sling over the right shoulder,
2. TIMING: ONE beater in in right hand.
CEASE PLAYING AT THE HALT, after the mace 2. Right arm should remain in the
in foot drill with the beater pointing
1. The right hand and arm are moved to the carriage down the leg and at the ground.
pace in quick time. 3. Left hand supports the rear of the
instrument at the point of balance.
2. TIMING: ONE
CEASE PLAYING ON THE MARCH, after the mace ATTENTION.
1. The above movement is executed as the left foot front.
next left foot. 6. The right arm is swung when
marching at ATTENTION with the
2. TIMING: ONE, (CHECK), SWING beater held as a natural extension
of the arm.

position.
3-2-57 Version 1.00

LESSON MD N3 - BELL LYRE MOVEMENT: READY


command:
1. The right hand is raised to the playing position, at a
front.
2. TIMING: ONE
3. Beater should be positioned
When ordered ON THE MARCH: approximately 2 inches away from
the bars in readiness for playing.
at the carriage position of ATTENTION. The right
arm moves to the READY carriage position on the
next left foot.
3-2-58 Version 1.00

LESSON MD N4 - BELL LYRE MOVEMENT: REST

resting.
1. As the left heel strikes the ground, the right hand POINTS TO NOTE:
and arm are moved to the carriage position of
ATTENTION, at a speed equal to one pace in quick 1. Band is playing at ATTENTION or
2. A check pace is taken with the right foot. 2. The right arm is at the side in the
3. Arm swing commences on the next left foot. in foot drill with the beater pointing
down the leg and at the ground.
3. The right arm is swung when
marching at ATTENTION with the
beater held as a natural extension
of the arm.

front.
3-2-59 Version 1.00

LESSON MD O1 - FLATBED PERCUSSION MOVEMENT: STAND AT EASE / STAND EASY

1. The arms and hands do not move. 1. The instrument is attached to the
body by a harness, one beater in
2. TIMING: ONE in each hand.
On the command STAND EASY: 2. Both arms should remain in the

1. The body may be relaxed - movement is permitted in foot drill with the beaters
to ease discomfort. pointing down the legs and at the
ground.
2. The instrument may be unhooked and rested on the
ground for prolonged periods of STAND EASY. 3. Feet execute a correct STAND AT
EASE.
3. TIMING: NONE
When instructed to MARCH AT EASE: front.
1. The arms remain at the position of ATTENTION, as 5. Stood easy and marching at ease:
in foot drill, and the correct quick march continued. the body is relaxed.
2. TIMING: NONE 6. Arms are not swung when

marching AT EASE.

as per AP 818.
3-2-60 Version 1.00

LESSON MD O2 - FLATBED PERCUSSION MOVEMENT: ATTENTION

1. The arms and hands do not move. 1. The instrument is attached to the
body by a harness, one beater in
2. TIMING: ONE in each hand.
CEASE PLAYING AT THE HALT, after the mace 2. Both arms should remain in the
in foot drill with the beaters
1. Both hands and arms are moved to the carriage pointing down the legs and at the
position of ATTENTION, at a speed equal to one ground.
pace in quick time.
2. TIMING: ONE ATTENTION.
CEASE PLAYING ON THE MARCH, after the mace 4. Body is erect and square to the
signal and as the mace is dropped: front.
1. The above movement is executed as the left foot 5. The arms are not swung when
strikes the ground. marching at ATTENTION.

position.
3-2-61 Version 1.00

LESSON MD O3 - FLATBED PERCUSSION MOVEMENT: READY


command:
1. Both hands are raised to the playing position, at a
front.
2. TIMING: ONE
3. Beaters should be positioned
When ordered ON THE MARCH: approximately 2 inches away from
the bars in readiness for playing.
ground. A check pace is taken with the right foot.
Both arms move to the READY carriage position on
the next left foot.
3-2-62 Version 1.00

LESSON MD O4 - FLATBED PERCUSSION MOVEMENT: REST

resting.
1. As the left heel strikes the ground, both arms are POINTS TO NOTE:
moved to the carriage position of ATTENTION, at a
speed equal to one pace in quick time. 1. Band is playing at ATTENTION or
2. TIMING: ONE
2. Both arms are at the side in the
in foot drill with the beaters
pointing down the legs and at the
ground.

front.
3-2-63 Version 1.00

PART 4
BAND DRILL
Version 1.00
PART 4 - CHAPTER 1
BAND DRILL
GENERAL
1. Comparing the difference between drill required by formed bodies of personnel and bands:
a. In foot drill, all personnel in a formed body will execute a single movement as a whole.
b. In a band, by necessity, musicians differ. Whilst the individuals in a band execute movements
together, so that the band moves in a smart and uniform manner (such as ATTENTION and STAND
AT EASE), the carriage and position of each instrument type obviously differs.
DRESSING
2. With the band at ATTENTION, the Drum Major will give the command “BAND, INWARDS –
DRESS”. On the executive word of command all band members will smartly turn their head and eyes
toward the centre directing file, observe a pause equal to TWO paces in quick time, and take up dressing to
the correct spacing as described in Part 4, Chapter 2 of this manual. The centre file remains facing front.
Drumsticks extended to the sides are not to be used, as it is an unreliable gauge of distance based on the
differing stature of individuals.
TIMING: UP, (LEFT), (RIGHT), DRESSING
3. Once all movement has ceased, the command “EYES – FRONT” is given. On the executive word
of command, all band members will smartly turn their head and eyes to the front and resume the position of
ATTENTION.
TIMING: ONE
4. If the executive position is occupied; on the executive word of command, the MusO (or Band WO)
will execute an ABOUT TURN, observe a pause equal to TWO paces in quick time, then take up dressing.
Timing: ONE, (LEFT), (RIGHT), ONE, (LEFT), (RIGHT), DRESSING
On the command “EYES – FRONT”, they will execute an ABOUT TURN.
TIMING: ONE, (LEFT), (RIGHT), ONE
5. If a Band WO occupies the supernumerary post, they are to dress in-line with the centre file. Where
there are two centre files, dressing is taken from the MusO and Drum Major alignment.
SALUTING
6. When a band is formed, only the MusO (or Band WO) and Drum Majors are to salute. A Band WO
does not salute when occupying the supernumerary position. If the MusO is in formation; the Drum Major
will only order salutes if the Officer being recognised is senior in rank to the MusO. The mace is to be held
in the CARRY for the duration of a salute.
7. When a band is marching but not playing, the command “EYES – RIGHT/LEFT” will be given by the
Drum Major as described in AP 818:
4-1-1 Version 1.00

a. MUSICIANS - On receipt of the command, all musicians will turn their heads in the direction
ordered as described in AP 818.
b. MusO (or BAND WO) and DRUM MAJOR - On receipt of the command, a full check pace is
taken with the RIGHT foot with the arms checked to the side. The correct salute to the flank is
executed on the next LEFT foot. Drum Majors are to bring the mace to the CARRY position prior to
giving the order.
TIMING: (CHECK), UP
8. On the command “EYES – FRONT” by the Drum Major:
a. MUSICIANS - On receipt of the command, all musicians will turn their heads to the front as
described in AP 818.
b. MusO (or BAND WO) and DRUM MAJOR - A full check pace is taken with the RIGHT foot.
The salute is discontinued and heads turned to the front on the next LEFT foot. Arm swing resumes
as the next LEFT foot strikes the ground.
TIMING: (CHECK), DOWN, (CHECK), SWING
9. When a band is marching and playing, the Drum Major will need to initiate a salute visually by
bringing the mace to the CARRY position and checking the right arm to side on the LEFT foot. This is a
signal to the MusO (or Band WO). A full check pace is taken with the RIGHT foot. The salute will
commence on the next LEFT foot. Musicians will continue to play as normal, facing forward. Once the
Officer or saluting base has been passed, the Drum Major will ‘gesture’ the saluting hand as a signal to the
MusO (or Band WO), completing it on the LEFT foot. A full check pace is taken with the RIGHT foot. The
salute is discontinued and heads turn to the front on the next LEFT foot. Arm swing resumes on the next
LEFT foot.
Note: The ‘gesture’ is a sharp raising and lowering of the saluting hand by approximately 2 inches
equal to a half pace in quick time, concluding as the LEFT foot strikes the ground.
10. When more than one Drum Major is in formation, the ‘execute’ signal is used to initiate the salute.
The eyes front is initiated by the Drum Major on the saluting flank ordered using the ‘gesture’ as described
above.
11. When a band is dismissed and an Officer is present, the order “OFFICER ON PARADE, DIS –
MISS” is given by the Drum Major. This movement is carried out as described in AP 818, with the following
additions:
a. Musicians will ensure that their instruments or sticks are held in the LEFT hand, leaving the
RIGHT hand free to salute.
b. Musicians playing French horns and fanfare trumpets should move instruments to the left hand
during the incline. Cymbalists are exempt from saluting due to both hands holding the instrument.
c. Drums are braced with the left hand to prevent undue movement in the incline movement. Bass
drums are braced with both hands during the first part of the movement due to their considerable
centre of gravity being in front of the musician.
TURNS AND INCLINES
12. All personnel within a formed band will execute turns and inclines in a different manner to that
described in AP 818:
4-1-2 Version 1.00

a. WHILST NOT PLAYING - Turns and inclines at the halt can be given as a verbal command by
the Drum Major.
b. WHILST PLAYING - Turns and inclines can be initiated by the PORT MACE signal from the
Drum Major, or at a pre-arranged musical cue when used as part of a choreographed display.
13. All turns and inclines are executed in the following manner:
a. AT THE HALT - On receipt of the command “ABOUT/LEFT/RIGHT – TURN” or “IN – CLINE”, all
personnel will mark time for FOUR paces, starting with the LEFT foot and rotate through 45, 90 or
180 degrees in the direction ordered. On the FOURTH pace, all movement of the feet is to cease at
the correct position of ATTENTION in the new direction.
TIMING: LEFT, RIGHT, LEFT, RIGHT
b. ON THE MARCH - The command or mace signal will be given as the LEFT foot strikes the
ground. The RIGHT foot is brought into the position of ATTENTION as close to the floor as possible
in a stiff-legged ‘sliding’ motion. The turn or incline is then carried out in FOUR paces as described
‘at the halt’. Marching resumes with the next LEFT foot.
TIMING: (CHECK), LEFT, RIGHT, LEFT, RIGHT, FORWARD
14. There is no variation to the movement between quick and slow time, apart from the speed of
execution, which must match the played tempo. Turns in slow time at the halt should only be used as part
of a choreographed display.
15. The ABOUT TURN is executed by rotating clockwise, but for the purpose of a choreographed
sequence a turn may be executed in either direction up to 180 degrees if required for aesthetic purposes.
16. During the execution of turns the musician’s upper body and instrument remain in the position of
ATTENTION. Care should be taken to keep balance and maintain the correct instrument carriage position.
17. When a MusO, Band WO or Drum Major turn or incline independently, they do so using the method
described in AP 818. For the purpose of choreography, the MusO, Band WO and Drum Major may turn in
the same manner as musicians if it will visually benefit the performance.
MARCHING AT EASE
18. Marching at ease will typically be carried out away from public view or the ‘display line’. As such,
the comfort of musicians can be exploited for their benefit until they return to public view.
19. The Drum Major will inform the band if they are to march AT EASE prior to bringing the band to
ATTENTION. Marching will begin from the ATTENTION carriage position with instruments moved to the
CARRY position as the LEFT foot strikes the ground. Usual marching discipline with regard to dressing
and talking should be observed. A tap from one side drum striking on each LEFT foot is permitted to keep
step. Excluding the MusO, Band WO or Drum Major, arms are not swung when marching AT EASE.
20. If the band is required to commence playing whilst marching AT EASE the command “BAND –
READY” will be given by the Drum Major, with the executive word of command ordered as the LEFT foot
strikes the ground. A full check pace is taken with the RIGHT foot. On the next LEFT foot, musicians will
move to the READY position. Musicians should always be prepared to come to the READY position, even
when marching AT EASE. The CEASE PLAYING signal can then be given by the Drum Major to initiate
preliminary rolls into playing, which will commence when the mace is dropped.
TIMING: (CHECK), ONE
4-1-3 Version 1.00

MARCHING AT ATTENTION
21. Marching at attention will typically be carried out when in public view or on parade. Instruments
should remain in the ATTENTION carriage position with free arms swung in the correct quick march. Side
drum taps are only to be used for moving from one point of assembly to another that is greater than
approximately 100 paces.
CHANGING FROM QUICK TIME TO SLOW TIME WHILST PLAYING
22. The Drum Major will give the signal for CEASE PLAYING and ‘cut’ the mace when the LEFT foot
strikes the ground. A full 30 inch check pace is taken with the RIGHT foot. The band will commence
SLOW MARCH on the next LEFT foot with the drums playing preliminary rolls.
TIMING: (CHECK), LEFT, AND, RIGHT, AND, LEFT
CHANGING FROM SLOW TIME TO QUICK TIME WHILST PLAYING
23. The Drum Major will give the signal to CEASE PLAYING and ‘cut’ the mace when the RIGHT foot
strikes the ground. The band will take a full pace with the LEFT foot, still in slow time, and commence
QUICK MARCH when the LEFT foot strikes the ground.
TIMING: AND, LEFT, RIGHT, LEFT
MARKING TIME
24. The following instructions apply in quick and slow time. The Drum Major will give the signal for
MARK TIME as the LEFT foot strikes the ground. As the Drum Major begins to signal MARK TIME, the
mace will move across the body as the LEFT foot strikes the ground (prior to being raised to the MARK
TIME position). On seeing this initial movement, the bass drummer will give a ‘double beat’ to attract the
attention of the band to the mace.
25. The RIGHT foot is brought through a check pace into the position of ATTENTION with the foot as
close to the floor as possible, giving the impression of a stiff or straight-legged ‘sliding’ motion. The band
will commence marking time on the next LEFT foot. Correction of covering and dressing will be carried out
immediately when marking time commences. Dressing should be continually checked.
TIMING: (CHECK), LEFT, RIGHT, LEFT
THE HALT
26. The halt from marching is never given as a verbal command, instead it is signalled by the mace.
The halt is only to be executed from MARK TIME and uses the same timing when in quick or slow time.
27. The Drum Major will lower the mace to the ORDER position from the MARK TIME position as the
LEFT foot strikes the ground. The band will mark time for THREE further paces and all movement will
cease as the RIGHT foot is lowered in the correct position of ATTENTION on the third pace.
TIMING: ONE, ONE, TWO
28. When the band has halted whilst playing, it will continue to play until receiving the mace signal to
CEASE PLAYING from the Drum Major.
4-1-4 Version 1.00

THE ADVANCE
29. The following instructions apply in quick and slow time whilst playing. This movement is executed
to enable the band to move forward from a static position.
30. The Drum Major will signal ADVANCE with the mace. As the mace is raised, the bass drummer will
give a double beat to attract the attention of the band. The mace will then be lowered on the FIRST beat of
the bar. On the FIRST beat of the NEXT bar the band will step off commencing with the LEFT foot.
THE COUNTER MARCH
31. The following instructions apply in quick and slow time. This movement is executed to enable the
band to change direction through 180 degrees without musicians changing sequential position in their file.
The Drum Major will signal the movement with the mace. On receipt of the mace signal, all personnel step
short as described in AP 818. The movement should be rehearsed initially without instruments to
familiarise all musicians with the timings.
32. If the band has an odd number of files, the Drum Major will wheel clockwise through 180 degrees in
FOUR paces and march through the ranks of the band with the centre file to their RIGHT. If the band has
an even number of files, the Drum Major will about turn clockwise through 180 degrees in FOUR paces on
the spot, raising the feet just clear of the ground, then march though the band between the centre two files.
33. When the front rank reaches the point of counter march, the musicians in the advancing rank will,
together, execute a tight wheel clockwise through 180 degrees in FOUR paces and march through the
advancing files with their own file to their RIGHT.
34. Each successive rank will execute the same movement. If the front rank contains trombones, the
senior trombone player will raise and then lower the trombone slide at the counter march point, which will
signal the front rank to counter march.
TIMING: ONE, TWO, THREE, FOUR, repeat per rank
35. With the exception of the front rank, all ranks are to execute the counter march on the next LEFT
foot as they come level with the preceding ranks shoulder (now travelling in the opposite direction).
Dressing through the counter march is most easily achieved by personnel in the counter marching rank
taking their dressing by the right, then reverting to the centre file on completing the four paces.
36. It is vital that dressing is constantly checked and maintained throughout the counter march, both by
musicians returning through the ranks and musicians approaching the point of counter march. The Drum
Major must be aware of the number of personnel in the files so that normal length of pace can be resumed
after the correct amount of paces have been advanced.
37. If the band has an even number of files, the Drum Major and MusO (or Band WO) will need to
correct their alignment to the band when emerging from the counter march. This is executed by means of
the ‘Change Files’ movement as described in Part 3 of this manual.
WHEELING
38. The following instructions apply in quick and slow time. Wheels signalled by the Drum Major are
executed through 90 degrees. Typically, bands at local parades or as part of a marching column will travel
in column of route, and as such, the Drum Major will not always need to use a wheel command. Bands that
are formed of more than 6 files should adapt the instruction below to achieve the smartest result. ‘Spin
wheels’ are not to be attempted unless under the direction of an instructor who has been briefed and
practiced in its execution at an RAFAC National Music Camp. The ‘Invert Mace’ signal is given to initiate a
spin wheel. No band personnel should exceed a 30 inch pace when executing a wheel.
4-1-5 Version 1.00

39. The diagram below illustrates the arcs of a wheel for bands of various file numbers up to a
maximum of 6 files. All remaining musicians in a single rank must take the same amount of paces to cover
the wheel as the ‘outside file’:
Outside file
6 file band
Outside file
5 file band
17
pa
ce
s
Outside file
4 file band
14
pa
ce
s
11
Outside file
pa
3 file band
ce
s
8
pa
ce
s
Not calculated
Inside file
5 paces
7 paces
9 paces
11 paces
POINT OF WHEEL
Approximate number of
Number of Radius to ‘outside file’ from Approximate number of ranks
paces required for ‘outside
files ‘point of wheel’ wheeling at one time
file’ to complete the wheel
6 11 paces (330 inches) 17 9
5 9 paces (270 inches) 14 7
4-1-6 Version 1.00

40. The distance across the frontage of a band with 6 files is 10 paces; therefore, by necessity, a wheel
is completed in a modified manner to that described by AP 818. Dressing of each rank during a wheel will
automatically be by the opposite flank, or ‘outside file’, to the direction ordered. Similarly, the file on flank of
the direction ordered is referred to as the ‘inside file’. Dressing will revert to the CENTRE on completion of
the wheel.
41. The speed of rotation of the front rank through the wheel is dictated by the musician in the ‘outside
file’, which will vary depending on the number of files fielded. Drum Majors are to be mindful of the space
ahead of the band so that a wheel may be executed with ample room to exit. If space is limited due to
preceding formations, the band should be signalled to halt until there is sufficient space to proceed.
42. On receiving the signal to WHEEL from the Drum Major, the leading musician of the ‘inside file’ will
immediately begin wheeling in a tight radius of no more than 30 inches (1 pace), lifting the feet just clear of
the ground. Simultaneously, the leading musician in the ‘outside file’ ensures they maintain a full 30 inch
pace whilst passing through the wheel. All remaining musicians in the rank are to maintain correct dressing
and alignment between these two musicians.
43. Subsequent musicians in the ‘outside file’ will enter the wheel and continue to march in an arc whilst
maintaining the 30 inch pace. As with the front rank, musicians in the files towards and including the
‘inside’ file will reduce dressing distance with the musician to their front. All musicians between the ‘outside
file’ and ‘inside file’ are to maintain correct dressing and alignment in their respective ranks.
44. Wheeling in this manner requires rehearsal for it to look acceptable. ‘Slanting’ or ‘sloping’ of the
rear of the band is not desirable but may be unavoidable with larger bands. Musicians will maintain the
band’s alignment as they approach and enter the wheel; they are not to march sideways, as this will cause
the rear of the formation to ‘skid’ through the wheel.
45. As the front rank exits the wheel, it should regain the correct 5 pace dressing to the Drum Major or 7
paces if the executive position is occupied. As all subsequent ranks exit the wheel on the new alignment,
correct 2 pace dressing resumes.
CEASE PLAYING
46. In order for the entire band stop playing on command at any point in the repertoire whilst marching
or at the halt, the CEASE PLAYING signal is given by the Drum Major. It is not a method by which a band
is to be halted (unless forming part of a choreographed performance). It is achieved by means of the band
playing the last note to coincide with the final beat of sequence of a bass drum phrase.
47. The signal is given by the Drum Major on the march or when static. It can also be given by baton
signal by the MusO (or Band WO) when static:
a. QUICK TIME - when marching; the Drum Major will move the mace to the CEASE PLAYING
position. At an appropriate point in the music, 8 paces or beats before the end of a musical phrase
or bar, the Drum Major will ‘gesture’ with the mace as the LEFT foot strikes the ground. On seeing
the gesture, the bass drummer will beat out the phrase tabled below. When static, paces are
replaced with the beat of the music.
DRUM
MAJOR
GESTURE CUT
BASS DRUM
BEAT
DOUBLE REST DOUBLE REST SINGLE SINGLE SINGLE REST
PACE LEFT RIGHT LEFT RIGHT LEFT RIGHT LEFT RIGHT
4-1-7 Version 1.00

b. SLOW TIME - when marching; the Drum Major will move the mace to the CEASE PLAYING
position. At an appropriate point in the music, 4 paces or beats before the end of a musical phrase
or bar, the Drum Major will ‘gesture’ with the mace as the LEFT foot is placed on the ground. On
seeing the gesture, the bass drummer will beat out the phrase tabled below. When static, paces
are replaced by beats.
DRUM
MAJOR
GESTURE CUT
BASS DRUM
BEAT
DOUBLE REST SINGLE SINGLE
PACE LEFT RIGHT LEFT RIGHT
48. When the mace is ‘cut’, all playing will immediately cease, even if this feels unnatural musically.
49. The Drum Major will drop the mace on the next LEFT foot (or equivalent timing when at the halt). At
the same time either:
a. Preliminary rolls for the next piece will commence.
b. The ATTENTION carriage position is adopted by musicians (if the musical repertoire is complete
on the march). The RIGHT foot takes a further pace. On the next LEFT foot, all musicians will
commence marching at ATTENTION.
TIMING: ONE, (CHECK), SWING
c. The ATTENTION carriage position is adopted by musicians (if the musical repertoire is complete
when static).
TIMING: ONE
GROUNDING INSTRUMENTS
50. When a band is formed for ceremonial purposes, in support of the main parade, there may be a
long period when the band is static and no playing is required, such as during awards and addresses. On
these occasions, to provide relief from the weight of instruments in carriage, the Drum Major may order
“GROUND – INSTRUMENTS”. This command is given when the band is at either the STAND AT EASE or
STAND EASY positions. Basses and drums may then be smartly removed from slings and placed gently
on the floor avoiding as much noise as is practicable, before returning to the position of STAND AT
EASE/STAND EASY. The Drum Major will carefully ground the mace when instruments are grounded.
51. When the band is to play again, the Drum Major in good time will order “CARRY – INSTRUMENTS”.
All grounded instruments will be smartly re-attached to their carriage devices, before returning to STAND
AT EASE/STAND EASY. Undue noise is to be avoided.
THE ADVANCE IN REVIEW ORDER
52. The Parade Commander will give the word of command “ADVANCE IN REVIEW ORDER, BY THE
CENTRE, QUICK – MARCH”. On this command the band is to step off and commence playing without any
preliminary drum roll. Prior to the execution of this movement, the Drum Major gives the word of command
“BAND – READY”. At the end of the music, the band will HALT on the last note. Instruments will remain in
the READY position for playing the General Salute. This is to be conducted by the MusO (or Band WO).
4-1-8 Version 1.00

THE GENERAL SALUTE
53. The general salute can be given in two ways, depending on whether the parade is armed or
unarmed as described below:
a. ARMED PARADE: The Parade Commander will give the words of command “GENERAL
SALUTE, PRESENT – ARMS”. Music will commence as the last movement of the present arms is
completed. Instruments will remain in the READY position until the Parade Commander orders
“SLOPE – ARMS”. Instruments are to move to the position of ATTENTION in time with the last
movement of the slope arms.
b. UNARMED PARADE: The Parade Commander will give the words of command “PARADE,
GENERAL – SALUTE”. The MusO (or Band WO) will begin conducting after a pause equal to one
pace in quick time. Once music has ceased, the MusO (or Band WO) will bring the musicians to the
ATTENTION position with a baton command.
CONDUCTING PROCEDURE
54. When a band is conducted by the MusO (or Band WO), the band must be static. As the final
movement of the halt is executed, the Drum Major will step off on the next beat with the LEFT foot. At the
same time, the MusO (or Band WO) executes an ABOUT TURN and commences conducting. When the
Drum Major steps off, the mace is to be brought to the CARRY position and the Drum Major marches to
take up a post two paces to the RIGHT of the front rank and facing the same direction as the band. The
Drum Major is to execute FOUR wheels during the move into position. The mace is not ‘swung’ whilst
marching. Once the Drum Major has halted in position, the mace is moved to the ORDER position. The
Drum Major remains at the position of ATTENTION whilst the band continues to play.
55. If the MusO (or Band WO) is conducting and the band is required to then step off, the Drum Major
will resume their position in front of the band. This must be accomplished in enough time to signal the band
with the mace to ADVANCE. Alternatively, for choreographed sequences, the Drum Major will resume
position and the band will step off in correct formation at a prearranged point in the music or musical
programme without a mace signal. In either scenario, the Drum Major will step off, moving the mace to the
CARRY position and march back into post, TWO paces in front of the MusO (or Band WO). The Drum
Major will wheel into position and halt facing the same direction as the band. The mace is not ‘swung’
whilst marching. Once the Drum Major has taken post, the mace is moved to the ORDER position. The
Drum Major remains at the position of ATTENTION whilst the band continues to play. The MusO (or Band
WO) executes an ABOUT TURN to face the direction of movement before the signal to ADVANCE is given
by the Drum Major.
4-1-9 Version 1.00

PART 4 - CHAPTER 2
FORMATIONS
BAND FORMATIONS
1. Bands are normally to be formed as follows:
15 or less - 3 files
16 to 24 - 4 files
25 to 45 - 5 files
46 and over - 6 files
These numbers represent the musicians in the band. They do not include the MusO, Band WO or
Drum Majors.
2. The numbers above are to be used as a general guide as there may be occasions where
choreography is a factor in the formation of a band. If it is required for the band to have a more ‘square’
appearance as a whole (e.g. a band formed with 64 musicians in 8 ranks and 8 files), this is permitted
provided it is for artistic merit.
3. Bands are to be formed with two 30 inch paces between files as well as ranks. This formation is to
be maintained wherever local conditions permit. The Drum Major will be responsible for checking the
correct formation and dressing of the band. Dressing for all ranks will be by the CENTRE except when
executing a right or left wheel.
4. Consideration should be taken regarding the placement of trombones in RAFAC bands.

Trombonists have an extended reach with their instrument whilst playing, which prohibits the standard two-
pace dressing regulations, for health and safety reasons. Trombones are usually placed on the front rank
of military bands.
5. RAFAC bands generally favour a ‘corps of drums’ to the front of the band. If this is the case,
trombones should be placed in the first rank of musicians directly behind the corps of drums. For the safety
of the trombonists and those to their front, an entire rank that contains one trombone or more must be
dressed off THREE paces (rather than the normal two paces) to the rear of the preceding rank. Standard
two-pace dressing resumes in all subsequent ranks.
6. When forming; the band should naturally take up the correct positions and dressing. It may be
necessary for the Drum Major to physically check dressing by bringing the band to ATTENTION and pacing
out the front rank, ensuring that musicians in each file are correctly positioned. This is achieved by the
Drum Major smartly stepping two 30 inch paces between each file, turning to face the file and raising the
mace to the MARK TIME position in order for the file to dress to the mace. Once dressing left to right is
completed, the Drum Major may then smartly step through the band adjacent to the centre file, halting
every two paces, to ensure that musicians in each rank are correctly dressed before returning to the front
and centre of the band.
7. The Drum Major is to be positioned FIVE paces front and centre of the band. If a MusO (or Band
WO) is in formation, the Drum Major is to be positioned SEVEN paces front and centre of the band. The
MusO (or Band WO) is to be positioned FIVE paces front and centre of the band (TWO paces behind the
Drum Major). If both a MusO and a Band WO are in formation, the MusO is to be positioned as stated, with
the Band WO positioned two paces to the rear and centre of the band in the supernumerary position. If the
Drum Major is not present, the MusO (or Band WO) is to be positioned as for the Drum Major.
4-2-1 Version 1.00

8. For aesthetic purposes, it is advised to field either one or three Drum Majors. If three are fielded,
regardless of whether the executive position is occupied; the lead Drum Major is centrally positioned on the
frontage and SEVEN paces from the front rank, the two additional Drum Majors are positioned FIVE paces
from the front rank and between the lead Drum Major and outside flank of the band.
9. In the case of a frontage of even numbers, there will effectively be two centre files. The Drum Major
should inform the band before dressing, which of the two will be the directing file. The directing file should
have the most experienced musician leading it.
10. The musician in the centre file of the front rank will always dress to the Drum Major when on the
march. The directing file of a double centre file band will dress ONE pace to the right or left of the Drum
Major’s alignment.
11. Larger bands will typically be used at high profile events where the size of the band requires
choreography of the movements the band will use. This necessitates rehearsal of the movements and
paths the band will take prior to a performance.
INSTRUMENTAL FORMATIONS
12. The RAFAC has a wide range of bands, from the traditional drum and bell lyre formations to full
marching bands and pipe bands. The following illustrations are a guide, showing the ideal instrumental
positions of RAFAC Marching Bands. It should be noted that, as a general rule, the taller players are
placed in the outside files and heights graded to the centre accordingly. Instruments of the same kind (with
similar musical parts) should be grouped together wherever possible.
13. Double reed instruments (Oboes and Bassoons for example) are not permitted for use in RAFAC
Marching Bands for health and safety reasons. They may be used for concerts and static band
performances provided no marching whilst playing is required.
4-2-2 Version 1.00

TYPICAL RAF BAND FORMATION EXAMPLE
DRUM
MAJOR
DIRECTION
2 OF MARCH
EXECUTIVE
POSITION
TENOR BASS TENOR TENOR

EUPHONIUM
TROMBONE TROMBONE TROMBONE TROMBONE
2
TENOR
BASS BASS EUPHONIUM BASS
SAX
2
FRENCH FRENCH FRENCH FRENCH ALTO
HORN HORN HORN HORN SAX
2
BASS SIDE SIDE
CYMBALS SPARE
DRUM DRUM DRUM
2
CORNET CORNET CORNET CORNET CORNET
2
PICCOLO SPARE CORNET SPARE PICCOLO
2
ALTO
CLARINET CLARINET CLARINET CLARINET
SAX
2
CLARINET CLARINET CLARINET CLARINET CLARINET
2
SUPER-
NUMERARY
POSITION
2 2 2 2
4-2-3 Version 1.00

DRUM MAJOR LOCATION (MusO CONDUCTING)
DRUM
MAJOR
EXECUTIVE
POSITION
TENOR BASS TENOR TENOR DRUM

EUPHONIUM
TROMBONE TROMBONE TROMBONE TROMBONE MAJOR
TENOR
BASS BASS EUPHONIUM BASS
SAX
FRENCH FRENCH FRENCH FRENCH ALTO

HORN HORN HORN HORN SAX
BASS SIDE SIDE

CYMBALS SPARE
DRUM DRUM DRUM
CORNET CORNET CORNET CORNET CORNET
PICCOLO SPARE CORNET SPARE PICCOLO
ALTO
CLARINET CLARINET CLARINET CLARINET
SAX
CLARINET CLARINET CLARINET CLARINET CLARINET
SUPER-
NUMERARY
POSITION
4-2-4 Version 1.00

RAFAC SQUADRON BAND FORMATION EXAMPLE
4-2-5 Version 1.00

RAFAC PIPE BAND FORMATION EXAMPLE
4-2-6 Version 1.00

NATIONAL MARCHING BAND OF THE RAFAC FORMATION EXAMPLE
DRUM
MAJOR
2
DRUM EXECUTIVE DRUM
MAJOR POSITION MAJOR
SIDE SIDE SIDE SIDE SIDE SIDE

DRUM DRUM DRUM DRUM DRUM DRUM
2
SIDE SIDE SIDE SIDE SIDE SIDE
DRUM DRUM DRUM DRUM DRUM DRUM
2
SIDE BASS BASS SIDE
CYMBALS CYMBALS
DRUM DRUM DRUM DRUM
TENOR TENOR BASS BASS TENOR TENOR

TROMBONE TROMBONE TROMBONE TROMBONE TROMBONE TROMBONE
2
FRENCH FRENCH
BASS EUPHONIUM EUPHONIUM BASS
HORN HORN
2
CORNET CORNET CORNET CORNET CORNET CORNET
2
ALTO ALTO TENOR TENOR ALTO ALTO
SAX SAX SAX SAX SAX SAX
2
CLARINET CLARINET CLARINET CLARINET CLARINET CLARINET
2
FLUTE FLUTE FLUTE FLUTE FLUTE FLUTE
2
BELL BELL BELL BELL BELL BELL
LYRE LYRE LYRE LYRE LYRE LYRE
2
SUPER-
NUMERARY
POSITION
2 2 2 2 2
4-2-7 Version 1.00

ANNEXES
Version 1.00
ANNEX A to
ACP 633
MUSIC OFFICER AND BAND WARRANT OFFICER DRILL
1. The organisation of a RAFAC band should be headed up by a MusO, with a Band WO assisting.
During a static performance, especially if the performance is technically demanding, it may be beneficial to
have the MusO conduct the band. A Band WO may perform the same function if a MusO is not present.
2. The MusO (or Band WO) will carry a ‘baton’ in the RIGHT hand if engaged with conducting duties
during a performance only. The baton should be held on the same axis and as an extension of the arm.
The baton is to be white in colour. A Band WO in the supernumerary position is not to carry a baton.
3. Both arms are swung when marching in quick time, with both arms checked to the side when
marching in slow time.
4. Conducting procedure is described in Part 4, Chapter 1 of this manual.
5. Conducting is executed with the feet in the position of attention, upper body square and erect to the
front. The RIGHT arm should be used for conducting, with the LEFT arm to the side in the correct position
of ATTENTION. It is acceptable to use both arms when a degree of emphasis and sectional tasking is
required.
6. When conducting, it may be necessary for the MusO (or Band WO) to position themselves in a
more suitable position with a better line-of-sight for the entire band, contrary to the instructions of Part 4,
Chapter 1 of this manual. This may include elevated or isolated positions. Any transitional movement to
such a location are to be executed in accordance with foot drill as described in AP 818.
7. The MusO and Band WO should be fully conversant with Drum Major drill. When in formation; the
Drum Major and MusO (or Band WO) work together at the front of the band. Whenever possible,
movements should be rehearsed prior to a performance.
8. During a counter march, if the band has an even number of files and the Band WO is in
supernumerary position, the Band WO must position themselves behind the LEFT of the two centre files in
order to avoid colliding with the Drum Major returning through the ranks. When the counter march signal is
given by the Drum Major, the supernumerary Band WO will execute the following movement:
a. The RIGHT foot is advanced in a check pace. As the RIGHT foot strikes the ground, the body is
then forced through 45 degrees to the LEFT, with a full pace taken with the LEFT foot on the new
inclined alignment. The RIGHT foot is advanced in a check pace. The body is then forced through
45 degrees to the RIGHT with the LEFT foot advanced on the original alignment. The arms are not
checked to the sides during this movement.
TIMING: (CHECK), TURN, (CHECK), TURN
b. Once the Band WO has completed the counter march, central alignment is re-established by
carrying out same incline movement as above, but to the RIGHT.
A-1 Version 1.00

ROYAL AIR FORCE ANNEX B to
ACP 633
"GENERAL SALUTE"
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Copyright reserved
B-1 Version 1.00

ROYAL AIR FORCE ANNEX C to
ACP 633
"ADVANCE IN REVIEW ORDER"
* A E SIMMS
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. . œ. œ.
? b2 œ. œ œ. œ. œ. œ œ. œ. . . .
œ. œ œ œ œ nœ œ. bœ. œ. œ. . œ. œ. œ. .
œ. œ œ. œ. œ. œ. œ. œ. ‰
Bassoon ¢ b4 œ. œ. œ J
ff
° 2 >˙ >˙ >œ >œ œ. œ. œ. œ. œ. >˙ >˙ >œ >œ œ. œ. œ. œ. ‰

Horn 1 &b 4 J
ff
j
2
¢& b 4 >˙ >˙ œ. œ. œ. œ. œ. >˙ >˙
>œ >œ œ. œ. œ. œ. ‰
>œ >œ
Horn 2
ff
° 2 .
œ. œ œ. œ œ. œ. œ œ œ œ .
œ. œ œ. œ œ. œ. œ. œ. œ. œ. œ. ‰
Cornet 1 & 4 œœœ
. œ. œ. œ. œ. œ. œ. œ. . œ. œ. œ. œ. œ. J
ff
2
¢& 4 ‰ œj ‰ œj ‰ œj ‰ œj ‰ œj ‰ œJ œ œ œ œ œ. ‰ œj ‰ œj ‰ œj ‰ œj œ. œ. œ. œ. j ‰
Cornet 2 œ. œ. œ. œ.
ff
œ. œ. œ. œ.
°? b 2 œ. œ. œ. œ.
œ œ œ œ œ œ œ œ œ œ œ œ
Trombone 1 b4 ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰ ‰ J ‰ J ‰ J ‰ J ‰ J ‰ J J ‰
ff
œ œ œ œ œ. œ. œ. œ. œ œ œ œ œ. œ. œ. œ.
Trombone 2
? b2
b4 ‰ J ‰ J ‰ J ‰ J ‰ œJ ‰ œJ ‰ ‰ J ‰ J ‰ J ‰ J ‰ œJ ‰ œJ J ‰
ff
? b2 j j œ. ‰ œ œ œ œ j j j
Bass Trombone ¢ b4 œ ‰ œj ‰ œ ‰ œj ‰
œ
j ‰ œJ ‰ J œ ‰ œj ‰ œ ‰ œj ‰
œ
j ‰ j ‰
œ œ. œ. œ. œ. ‰
ff
°? b 2
.
œ. œ œ. œ. œ. œ. œ. . œ. œ. . . œ. œ. œ. œ. œ. œ. œ.
œœœ
. .
œ. œ. œ œ œ. œ. nœ. œ. bœ. œ. œ. œ. œ œ œ œ.
Euphonium b4 œ. œ. J ‰
ff
? b2 j j j j
Tuba ¢ b4 œœœ
œ ‰ œj ‰ œ ‰ œj ‰
œ
j ‰ œj ‰
œ. n œ. œ. b œ. œ œ j ‰ œj ‰ œ ‰ œj ‰
œ
j ‰ j ‰
œ œ œ œ œ ‰
ff
. . œ œ. œ. œ. œ.
°/ 2 j j j j j j j j j æ j
Snare Drum 4 œœœ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ˙ œ œ œ œ ‰
ff
j j j j j j j j j j j j j j j j
Bass Drum ¢ / 42 œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰
ff Copyright reserved
* THE LAST FOUR BARS SHOULD BE USED WHEN PARADE GROUND IS BELOW STANDARD DEPTH
C-1 Version 1.00

POINT OF WAR ANNEX D to
ACP 633
œ œ œ œ œ œ œ
° b2œ œ œ
œ œ œ œ œ œ œ
q = 160
œ œ œ œ œ œ œ œ œ œ œ œ
Piccolo & b b 4
ff
b2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Oboe 1 ¢& b b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ff
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Clarinet in Eb ¢& 4
ff
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
° 2œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Clarinet 1 & b 4
ff
2
&b 4 œ œ œ œ œ œ
Clarinet 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ff
2
Clarinet 3 ¢& b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ff
œ œ œ
°
œ œ œ œ œ œ œ œ œ
2œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Alto Saxophone & 4
ff
Tenor Saxophone
2
&b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ff
?b2œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bassoon ¢ b b4 Œ
ff
° bb 2 œ œ œ œ œ œ œ œ œ œ
Horn 1 & 4 œ œ œ œ œ œ œ œ œ œ œ
ff
b2
Horn 2 ¢& b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ff
° 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Cornet 1 &b 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ff
2
¢& b 4 œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Cornet 2 œ œ œ œ œ œ œ œ
ff
°? b 2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Trombone 1 b b4
ff
?b2œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Trombone 2 b b4
ff
?b2œ œ œ œ œ œ œ œ œ
¢ b b4
Bass Trombone
œ œ œ œ œ nœ œ œ œ
ff
°? b 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Euphonium b b4 Œ
ff
?b2
Tuba ¢ b b4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ
œ
ff
2 æ æ æ æ æ æ æ > > >j

° œ œ œ ‰
Snare Drum / 4˙ ˙ ˙ ˙ ˙ ˙ ˙
ff
j j j j j j > > >j

Bass Drum ¢/ 2
4œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ ‰
ff Copyright reserved
To be played on the order: "MARCH ON (OR OFF) THE COLOUR / STANDARD / BANNER"
D-1 Version 1.00
ANNEX E to
ACP 633
TRUMPET CALLS
(For valve instruments only)
No.1 RAF CALL
œ œU
q = 120
3 3œ U˙ œ™ œ ˙
&4 œ œ
No.2 ADVANCE
q = 144
2 U
&4 ‰ œœœ œœ ˙
No.3 ALERT - MARKERS
q = 120
2œ œœœ œ œœœ U
&4 œœ
No.6 GUARD SALUTE (or HOISTING COLOURS)
>œ™ œ œ >œ ™ œ œ >œ™ œ œ

q = 144
6 >œ™ œ œ œ œ œ U
˙™
& 8 œ™ œ œ >œ™ œ œ œœœ
>
No.7 GENERAL SALUTE
>œ™ œ œ >œ ™ œ œ
q = 144
6 >œ™ œ œ >
& 8 œ™ œ œ >œ™ œ œ œ œ œ œ™ œ œ œ œ œ ˙™
>
>œ™ œ œ >œ ™ œ œ >œ™ œ œ ˙™
>œ™ œ œ œ œ œ U
6
& œ™ œ œ >œ™ œ œ œœ œ
>
E-1 Version 1.00

ANNEX E to
ACP 633
No.8 ROYAL SALUTE
>œ™ œœ >œ ™ œœ >œ™ œœ

q = 144
6 >œ™ œœ œ œ œ U ˙™
& 8 œ™ œœ >œ™ œœ œœœ œ™ œ™ œœ
> > œœ >
>œ™œœ >œ ™ œœ >œ™œœ œœ> ™™ œ œ U
œ ™ œ œ œ >œ ™ œœ œ œœ
>œ™ œœ œ œ œ U
œœ™™ œ œ œ ˙˙ ™™
7
& œœ œ œ™ œ œJ ˙™
œœœ
No.9 OFFICERS’ MESS
œœ œ œ œ
q = 160
3 œ œ œ œ >˙™ œ U
&4 œ œ œ œ œ œ œ ˙ œ œ œœ ˙
U>˙™ œ >œ ™ U
>˙ >œ >œ ™ >œ >œ ™ œ U
œ œœœ ˙
8
& œ ˙™ œ œ œ œ œ œ œ
J > J J
No.9a OFFICERS’ MESS - (THREE TRUMPETS)
œœ œœ œœœ œœ œ
q = 160
3 œ œ œ œ >˙™ œ U
&4 œ œ œ œ œ œ ˙ œœœ œœœ œœ œœœ ˙˙˙ œ œ
œ œ œ œ
>˙ ™ œ >œ ™
U >œ ™ >œ >œ ™
™
U >œ œœ œœ U
œœ™™ J œœ œœ™™ J œœ œœ œ
>˙ ˙
8
˙
& ˙™ œ ˙™ œ œ œ œ œ œœ œ œ œ ˙
J > œ œ œ ˙
E-2 Version 1.00

ANNEX F to
ACP 633
BUGLE CALLS
(For valve and non-valve instruments)
No.4 SUNSET
4 œ™ œ œ œ™ œ œ œ™ œ œ ™ U ™ œ ™ œ œ œ™ œ œ œ œ œ U œ™ œ
q = 108
&4 œ œœ œ œ œ œ
œ œ™ œ œ U œ U
œ™ œ œ œ ™ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ ™ œ
5
œ
&
œ™ œ œ œ œ œ œ œ œ œ œ œ U œ™ œ
9
œ œ ˙
& œ œ œ œ Œ œ
œ œ™ œ œ U œ U
œ™ œ œ ‰ œ œ œ
13
œ™ œ œ œ œ œ œ™ œ ˙
& œ œœœ œ
No.5 REVEILLE
3 ‰™ r ™ œ ‰ ‰™ r œ ™ œ œ ™ œ ™
q = 144
U
™ ™ ™ ™
&4 œ œ œ œ œ œœ œ œ œ œœ œ œ ˙ J
> > œ œ > œ œ
œ ‰ Œ ‰ ™ œ 44 >œ œ œ œ œ ™ œ w
U > œ U
™ ™
6
& œ œ œ œ ˙ J R >
> œ œ 3
F-1 Version 1.00

ANNEX F to
ACP 633
No.10 LAST POST
U U U
q = 152
œ œ
œ œj œ œ ™ œ œ œ™œ œ
2 ‰ ‰ œ œ Œ œ œ
&4 œ ˙ œ œj ˙
œ œ œ œ U œ œ
œ œ™œ œ Œ
11
& œ œ œ œœ œ œœ œ œœ œœœœ œ œœ
œœœ U j œ œ œ œ
œ œ ™ œ œ ‰ œ œ œœœ œ œ œ œ œœœ
21
œ œ ‰ j œ œ
& œ
œœœ U j œ œ œ œ œ œœ œ œœ
œ œ™ œ œ Œ
30
œ
& œœ œ œ ‰ œ
U U U U U
& œ œ™ œ œ œ œ™ œ ˙
39
Œ ‰ j ˙ Œ ˙ œ Œ
˙
œ œ œ
F-2 Version 1.00

ANNEX G to
ACP 633
DRUM BEATS
Note: For all drum beats, notes marked above the stave line are to be played with the RIGHT stick. Notes
marked below the stave line are to be played with the LEFT stick.
No.1 RAF CALL
q = 120
U U
ææ ææ
3 œ œ œ ˙ œ™ œ œ œ ˙
/4 œœ œœ
3
No.2 OFFICERS
U
q. = 144
6
/ 8 œœ œ œ æœ™ œœ œ œ æœ™ œœ œ œ œ œ œ
ææ
˙™
J æ J æ J
No.3 NCO’s
q = 120
2
/ 4 œœ œ œœœ œ œ œ œ œœ œ œ œœœ œ œ œœ œ œœœ œ œ œ œ
U > > > > >œ >œ

/ œ œ œ™ œ æœ
(Flight - Sergeants)
Œ Œ
4 (Corporals) (Sergeants)
œ œœ œ œœ œ œœ œ œœ œ
æ
œœ œœ
No.4 GENERAL PARADE
q = 160
U œ™ œ œ™ œ U U
/ c œ œ œ™ œ œ™ œ æ˙ ææ
˙ œ œœœ œ œ œ œ œ
ææ
w
æ
œœ œœ
G-1 Version 1.00

ANNEX G to
ACP 633
No.7 DISMISS (OR NO PARADE)
h. = 72
3> >œ
/4œ >œ Œ œ™ œ æ˙ >œ Œ œ™ œ æ˙
æ æ
œœ œœ
No.12 ORDERS
q = 144
>œ >œ
/ c œ œ œ™ ææ ææ
œ ˙ œœ œ™ œ ˙
No.18 DINNER (OR MEALS)
q = 120
>œ œ >œ >œ >œ œ U
ææ ææ ææ
2
/ 4 >œJ æ œ œ œ æ œ œ œ ˙
No.21 TRUMPETERS (OR DRUMMERS)
q = 132
6
/ 8 œœ œ œ œ œ œ œ æU
œ™
æ
œ œ œ
No.23 ALARM (FOR TROOPS TO TURN OUT)
h. = 80
U œ™ œ œ™ œ œ™ œ U œ™ œ œ™ œ œ™ œ U
ææ ææ ææ
3
/ 4 œ œ œ™ œ œ™ œ œ™ œ ˙™ œœ ˙™ œœ ˙™
G-2 Version 1.00

ANNEX G to
ACP 633
No.27 CARRY ON
q = 120
ææ
2
/4œ œ œ œ œ œ œ œ œ™
No.29 DOUBLE
h = 120
> >œ U
/Cœ ææ
œ œ œ œ œ œ œ œ œ œ ˙
No.33 REVEILLE
q = 144
≈ œ œ™ œ œ™ ≈ œ œ™ œ œ U
ææ ææ ææ
3
/ 4 œ œ™ œR œ™
R R
˙
No.38 OFFICERS’ MESS
q = 160
3 œ œ œ œ œ ˙™ œ œ œ
/4 œœ œ æ œœ œ
U U
/ œ æ˙ ææ ææ ææ
5
œ œ™ œ œ™ œ œ œ ˙™
æ
œ œ œ
J J
G-3 Version 1.00

ANNEX G to
ACP 633
No.40 LAST POST
Slowly
U ‰ œ U œ œ™ œ U
/cœ ææ æ J ææ ææ ææ
˙™ ˙™ ‰ œ œ œ™ œ œ œ ˙
J æ
No.41 LIGHTS OUT
q = 120
U U
ææ ææ
/ c œJ ˙™ ‰ œ w
J
G-4 Version 1.00

ANNEX H to
ACP 633
EMBLAZONMENT EXAMPLE
BASS DRUM
Squadron / Wing / Region OPTION 01
H-1 Version 1.00

ANNEX H to
ACP 633
BASS DRUM
H-2 Version 1.00

ANNEX H to
ACP 633
BASS DRUM
National Marching Band of the RAF Air Cadets
H-3 Version 1.00

ANNEX H to
ACP 633
SIDE DRUM
H-4 Version 1.00

ANNEX H to
ACP 633
SIDE DRUM
H-5 Version 1.00

ANNEX H to
ACP 633
SIDE DRUM
National Marching Band of the RAF Air Cadets
H-6 Version 1.00

ACP 633 - Air Cadet Band Drill PDF

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ACP 633 - Air Cadet Band Drill PDF

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BAND DRILL MANUAL

FOR THE ROYAL AIR FORCE AIR CADETS

Amended - Red Pending - Blue

AMENDMENT LIST DATE

PART 1 - GENERAL INSTRUCTIONS

PART 2 - DRUM MAJOR DRILL

PART 3 - MUSICIAN DRILL

PART 4 - BAND DRILL

iii Version 1.00

CONDUCT OF BAND DRILL

AP 3227 The RAF Manual of Band Drill and Ceremonial.

AP 818 The RAF Manual of Drill and Ceremonial.

BAND WARRANT OFFICER The sole WO/SNCO appointment at Squadron, Wing or

CARRIAGE POSITION The position at which an instrument is to be held for

CARRY The particular position a musician will hold an instrument

CEREMONIAL GRIP The term used to describe the placement of a hand on

CONTINUITY DRILL A display (usually set to music) combining a sequence of

CORPS BANDMASTER The sole Bandmaster appointment within the RAFAC

COUNTER MARCH A formation movement used in similar context to ABOUT

DIRECTOR OF MUSIC An Officer appointment held at HQ Music Services RAFAC,

DRAG ROPES Decorative ropes affixed in pairs to the underside of side

DRUM MAJOR An appointment given to an individual to enable control of

EMBLAZONMENT Decorative artwork usually found on bass and side drums.

FERRULE The metal sleeved section at the bottom of the mace, on

INWARDS DRESS Similar in concept to ‘Right/Left Dress’ with which bands

LYRE A small metal clip in the shape of a small harp that is

MACE A ceremonial staff of ornate design, typically surmounted

MACE SWING The repetitive movement of the mace upwards and

A MARCH (musical term) A piece of music that can be marched to.

MASSED BANDS Generic term given to a number of bands performing

MUSIC OFFICER The sole Officer appointment at Squadron, Wing and

MUSICAL CUE A specific point in music where a drill move or action is to

MUSICAL NOTATION Any system used to visually represent aurally perceived

MUSICIAN The generic name given to individual band members.

PIECE (musical term) Shorthand for ‘piece of music’.

PRELIMINARY ROLLS Drum rolls preceding a piece of music.

READY The position a musician will hold an instrument when about

REST The position a musician will hold an instrument when

REST (musical term) An interval of silence in a piece of music, marked by a

SECTION A group of similar instruments e.g. Woodwind section.

SECTIONAL RESTING Portions of a musical routine where specific instrument

vii Version 1.00

SLING A leather or synthetic strap worn around the body to secure

STATELY The term used to describe the movement of the mace in

SUPERNUMERARY POSITION The position a Band WO may occupy when in band

viii Version 1.00

OBJECTIVE OF THE MANUAL

MUSIC OFFICER (MusO)

BAND WARRANT OFFICER (Band WO)

6. In order to aid with instruction, the following may be employed:

a. The Metronome; this supplies an accurate rate of march.

1-1-1 Version 1.00

Drum Major Drill 1 to 1, straight line or semicircle

Musician Drill Semicircle, straight line or hollow square

Counter march Single file, rank-by-rank or full band

BEND THE KNEE POSITION

1-1-2 Version 1.00

ORDER Band By the Centre Quick March

ORDER Band By the Centre Slow March

PACE LEFT RIGHT LEFT RIGHT LEFT RIGHT LEFT RIGHT

COMMAND OF BANDS ON PARADE

b. Advance in Review Order.

d. General Salute, Present Arms (also; Royal Salute).