The Drum Major's Guide

THE

DRUM MAJOR’S

GUIDE

The

Drum Major’s Guide

Six Decades of Essential, Enduring and Evolving Guidance for Drum Majors, Instructors, and Judges

b y Pat D e av i l l e

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PAT D E AV I L L E

The Drum Major’s Guide Six Decades of Essential, Enduring and Evolving Guidance for Drum Majors, Instructors, and Judges

b y Pat D e av i l l e

ISBN # 978-1-952005-57-2 Copyright © 2021 All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review.

Additional copies of this book are available from the Author.

Pat Deaville, P.O. Box 6294, Lake Charles, LA 70606 pdeaville3@gmail.com

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Preface The outline for this guide was prepared in July of 1972. The first full edition was published in July of 1978. It grew out of my experiences as a Drum Major at Jennings High School and McNeese State University. While the initial edition of this guide was created decades ago, the core principles remain relevant today. Some important updates have been made for this 2021 edition.

In my work as a DM instructor/clinician/judge, I discovered there was a shortage of practical literature to assist in the development of Drum Majors (DMs). This guide was created for my DMs and the many DMs I taught at camps in Louisiana, Mississippi, and Arkansas.

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Introduction A Drum Major (DM) is a practical field conductor, who enhances the performance of the band with leadership and showmanship. During a performance, the Drum Major has a dual role: • The DM is responsible for leadership, signals, commands, and conducting.

• The DM should elevate the performance with tasteful, thoughtful, and timely showmanship.

A great DM performance is the result of extensive planning, work, experimentation, critical analysis, and steady improvement. Good DM performances are dependent on a mastery of fundamental and supplemental conducting skills. Great DM performances require imagination, judgement, and enthusiasm.

This guide is designed to provide an analysis of, and instructional method for, the basic elements of drum majoring. Once a master of fundamentals, the DM should explore new and varied ways of making their performance a blend of practical actions and unique ideas.

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Dedication To my beloved Drum Majors and Drum Major Students.

Celia Joe Black, Sally Wade, Cathy O’Blanc, Donna Comeaux, Jennifer Bertrand, Eva Giles, Ann Develin, Angela Doggett, Robyn Kershaw, Cheryl Trahan, Chondra Russ. and Mark Landry.

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Table of Contents Part I – Important Lists for Drum Majors My Top Twenty Tips for Success as a DM My Top Twenty-Four Tips for DMs in Rehearsal My Top Twenty-Two Tips for DMs in Performance Part II – Important Lists for Judging Drum Majors My Top Ten Considerations on Superior Ratings My Top Ten Considerations on Lower Ratings My Top Twenty Tips for Judging Drum Majors My Top Ten Considerations in Judging Drum Majors Part III – The Basics for Instruction and Development of Drum Majors Key Questions and Discussion for Developing DMs Physical Conditioning Important Guidelines for Field Conducting Important Guidelines for Showmanship Terminology Field Conducting Fundamentals and Applications Showmanship Fundamentals and Applications Drum Major Camp Agenda Part IV – Appendix Worksheet for Improvement in Rehearsal Worksheet for Improvement in Performance Memories, Previous Covers, and Gallery of Photos — vii —

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1 Important Lists for Drum Majors

My Top Twenty Tips for Success as a Drum Major 1. If you don’t know what a great Drum Major looks like, you will never be one.

2. Seek expert advice. Seek a variety of opinions. Apply judiciously. (A true expert has a potential solution for each concern identified.)

3. Don’t worry about how much natural ability you have or don’t have.

4. Develop the talent you do have, into as many useful skills as possible.

5. Work, grow, learn, adjust, and improve. Repeat. Repeat. Repeat.

6. Create good daily routines of practice and behavior. Monitor yourself and your progress.

7. You get maximum results through the application of maximum effort.

8. Seize opportunity every chance you get. Opportunity is the door to experience. Experience is the ladder to success.

9. You can only get lasting results by being consistent and loyal to your goals.

10. Accept constructive criticism. But don’t dwell on it. Dwell on improvement.

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11. Constantly move in a positive and productive direction.

12. Do not fear competition or failure. Both are building blocks.

13. See your competitor as a source of external motivation, not as an enemy.

14. Set high standards for the long haul. Set achievable goals in the short run.

15. The race to success is not a sprint. It is a marathon.

16. Become tougher in mind and body.

17. Be an inspiration to yourself.

18. Develop self-discipline. Reward yourself sparingly. But reward yourself.

19. If you are not self-motivated, everything takes much longer.

20. Embrace the journey. Smile more than you frown. Make the journey memorable.

Work, grow, learn, adjust, and improve.

Repeat. Repeat. Repeat.”

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Important Lists for Drum Majors

Twenty-Four Tips for Drum Majors in Rehearsal Superior Actions 1. Strive to attain and sustain good physical conditioning.

2. Do your job. If you don’t, no one will respect you or follow you.

3. Follow the rules. Every rule that applies to the band applies to you.

4. Don’t be late. Be early. Expect to be the last student to leave.

5. Make a list of your duties and responsibilities. Review and revise as needed.

6. Keep a journal. Analyze what you do. Find ways to improve.

7. Learn the fundamentals. Then continually expand your capabilities and creativity.

8. Work on your personal “DM show design” on your own time.

9. Video and critique yourself. Ask others to view/critique. Study effective drum majors.

10. Seek and accept constructive criticism. Act on constructive criticism.

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Outstanding Actions 1. Identify your Director’s expectations for rehearsals. Fulfill expectations.

2. Focus on helping your Director. No task is too small.

3. Observe your Director carefully. Be responsive to the Director’s needs.

4. Trust and support your Director.

5. You will not make everyone happy. Strive to make your Director happy.

6. Be a good conduit of communication between the Director and the band.

7. Carry good ideas/solutions from within the band to the Director. Give credit where credit is due for good ideas/solutions.

8. Give your Director a smile. Directors need encouragement too.

Championship Action 1. Be a spark plug of enthusiasm. Don’t just “go through the motions.”

2. If a group within the band is putting in extra time, put in the extra time with them.

3. Be a true leader. Inspire, remain positive, and facilitate improvement.

4. Encourage those needing encouragement. compliments are earned.

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5. Rise above doubts, jealousies, and conflicting emotions that may surface in the band.

6. Be a peacemaker in your band. Help resolve conflicts. Don’t create them.

Follow the rules.

Every rule that applies to the band applies to you.”

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Important Lists for Drum Majors

My Top Twenty-Two Tips for Drum Majors in Performances Essentials for Superior Performance 1. A well-designed/well-fitting uniform is always a plus.

2. Project dignity and energy. Maintain good posture. Demonstrate graceful and precise motion.

3. If you give commands (or use a whistle), do so with authority.

4. If you march during the performance, strive to be the best marcher on the field at that moment.

5. If you play a musical instrument during the performance, strive to be the best player on the field at that moment.

6. When conducting, set the correct tempo. Maintain the correct tempo.

7. Keep conducting patterns clear and well-defined (usually on a chest high plane).

8. Establish and sustain eye contact with the percussion and lead players.

9. Cue!! Cue soloists and sections when they take over the melody.

10. Show dynamic changes in conducting, that mirror the dynamics of the music.

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11. Make your cutoffs mirror the style of the music: big for strong endings and gentle for soft endings.

Enhancements for Outstanding Performance 1. If you salute, make it memorable. In performance, hold the salute a second longer than you do in rehearsal.

2. Keep conducting as priority one. Don’t ignore priority two: showmanship. Be more than a visual bass drum.

3. Design what you do (both in conducting and showmanship) within the context of your band’s sound, visual style, and capacity.

4. Less podium action, the more the band moves. More podium action, the less the band moves.

5. Put accents and driving rhythm patterns into your conducting.

6. Use body language in conducting and showmanship. experiment, and practice.

Visualize,

7. Turn on the podium. Face to the left and right side of formations.

Don’t do all conducting directly up the 50-yard line.

8. Use directional signals to match dramatic marching shifts and maneuvers.

Stretching to Championship Performance 1. Be a conduit of energy from the band to the audience.

2. Be a conduit of energy from the audience to the band.

3. Exude enthusiasm and confidence throughout the performance.

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2 Important Lists for Judging Drum Majors

Awarding a Superior Rating: My Top Ten Considerations 1. Superior DMs establish and maintain appropriate tempos.

2. Superior DMs use a wide range of conducting skills to provide supplemental visuals for cues, dynamic changes, accents, articulations, and mood changes.

3. Superior DMs give clear and concise commands, that elevate the band’s confidence.

4. Superior DMs promote visual effectiveness and visual entertainment by utilizing a variety of conducting patterns.

5. Superior DMs know how to get, and keep, the attention of the band.

6. Superior DMs know how to get, and keep, the attention of the audience.

7. Superior DMs are conduits of energy and enthusiasm. They pass these from the band to the audience, and from the audience to the band.

8. Superior DMs are fun and inspiring to watch. They are appreciated by the band and audience.

9. Superior DMs alter their line-of-sight, stance, position, pattern size, conducting plane, cutoffs, cues, posture, and placement throughout —8—

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the course of the show, to meet the unique demands of the music and show design.

10. Superior DMs enhance all aspects of the band’s performance.

Superior DMs alter their line-of-sight, stance, position, pattern size, conducting plane, cutoffs, cues, posture, and placement throughout the course of the performance, to meet the unique demands of the music and show design.”

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Important Lists for Judging Drum Majors

Awarding Lower Ratings: My Top Ten Considerations 1. These DMs may establish appropriate tempos. But they often have difficulty maintaining tempos. They tend to follow the band.

2. These DMs have a limited range of conducting skills. They tend to miss opportunities to provide visual cues, dynamic changes, accents, articulations, or mood changes.

3. These DMs usually give clear and concise commands. But they might not give the commands at full volume, or at the appropriate tempo.

4. These DMs provide little variety in conducting patterns, tending to become excessively repetitive.

5. These DMs have some difficulty getting, and keeping, the attention of the band.

6. These DMs rarely get the attention of the audience, except when isolated with a salute.

7. These DMs display only a moderate amount of energy and enthusiasm.

8. These DMs are somewhat functional. But they are not fun, or inspiring, to watch. Neither the band, nor the audience, pays that much attention to them.

9. These DMs tend to stay in one location, in one position, and with one generic stance. They rarely use any body language at any point during the show.

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10. These DMs may serve in a generally competent manner during the performance. But they have a very limited role (or excessively structured role) within the band’s performance. They display little flexibility. They tend to get flustered by unexpected factors, such as wind, rain, musical errors, and marching mistakes.

DMs receiving ‘less than superior ratings’ often have a limited range of conducting skills. They tend to miss opportunities to provide visual cues, dynamic changes, accents, articulations, or mood changes.”

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Important Lists for Judging Drum Majors

My Top Twenty Tips for Judging Drum Majors 1. Be polite and professional in what you say, and how you say it.

2. Don’t be sarcastic or rude with comments.

3. Follow up a critical comment with a solution, a suggestion, or an idea.

4. Find something positive to say about every DM. 5. Don’t blame the DM for problems observed in the band’s performance.

Do point out ways the DM can help the band, by improving his/her own performance.

6. Don’t blame the Band Director or band for the problems of the DM. 7. Look for potential. Encourage development in constructive ways.

8. Don’t judge the band or other units on the field. But when possible or appropriate, give positive and supportive comments concerning them.

9. Don’t praise a DM with a flood of positive comments throughout the performance, then assign a low score/rating.

10. Give critical and constructive comments as each concern surfaces during the performance.

11. Don’t wait until the end of the performance to announce all your concerns.

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12. The style of the DM may not suit your favored approach…but be objective.

13. Does the DM’s style suit the size, quality, musical selections, and show design of the band? If so, put personal preferences aside. If not, point out the problems with the style and suggest appropriate changes.

14. Encourage superior DMs to improve. Suggest ways they can grow.

15. Don’t crush a DM, just to make a point. Be professional. Be human.

While the rating should be an objective judgement, remember the drum major is a young person.

16. You can be subjective, humanistic, and supportive in your delivery of comments, without excusing problems. Don’t mislead anyone into thinking they are better than they really are. There is always room for improvement.

17. You have been asked to provide a professional opinion. Make it an informed, experienced, objective, and appropriate opinion. But remember, it is JUST YOUR OPINION. 18. Don’t get hung up on your decisions. Judges “get it right” the clear majority of the time. But even if others disagree with your view, your decision is valid, so long as you arrived at it objectively and honestly.

19. Be very consistent. Establish the borderlines between ratings and stick to your guns. There is nothing wrong with giving many superior ratings. There is nothing wrong with giving very few superior ratings.

Just treat all DMs equally and fairly, regardless of band classification or reputation.

20. Justify, justify, and justify. Explain “why” you gave the rating/score.

If you cannot explain “why” one performance was awarded a superior rating, while a virtually identical performance was awarded a lessthan-superior rating, then something is wrong.

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Important Lists for Judging Drum Majors

Judging Drum Majors General Philosophy: My Top Ten Considerations

“There are superior marching bands with Drum Majors who are not of superior quality. Likewise, there are numerous excellent bands, fronted by clearly superior Drum Majors. Don’t be fooled by the size or performance of the band. Observe the DM objectively. There are some fine Drum Majors standing in front of bands that are not as fine.”

1. In most festival/contest/assessment situations, the Drum Major is evaluated as a separate component. The rating should have its foundation in what the “Drum Major” does…or fails to do…not in what the band or other components do…or fail to do. Ratings/scoring for the DM may mirror the band’s rating. But a higher or lower rating/ score is very possible, and often reflects a more accurate evaluation of the Drum Major’s overall contribution.

2. The DM is a part of a larger picture. The style of the DM should fit in the picture…military-style DM for military-style band, corps-style DM for corps-style band, show-style DM for show-style band, etc.

3. The primary role of the DM is to be the field commander. This command includes conducting. But it also involves leadership. The DM should demonstrate excellent marching skills, vocal (whistle) command skills, and a positive/self-confident demeanor.

4. Field conducting is the single most important element in evaluating a DM. Keep in mind that conducting is more than maintaining a metronomic beat. Conducting involves more than tempo and pulse.

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5. The primary function of the Drum Major Judge is to assist the DM in development. The Judge should not be thinking in terms of reward or punishment, when providing critical comments and ratings. The Judge should be thinking of providing useful and insightful suggestions, to improve the DM’s effectiveness and competence.

6. Certainly, a Judge should use positive/supportive statements to reinforce the good things the DM does. This is important in the developmental process. But the Judge must also identify weaknesses and flaws. Make clear the specific concerns. Follow up with specific suggestions or ideas that could correct, enhance, or promote the level of competence.

7. An abundance of secondary factors should be considered. These would include showmanship, salutes, uniform design, supplemental roles (such as joining in the marching or musical performance), and proper use of equipment (podium, baton, mace, sabre, etc.).

8. These secondary factors can be of great value in awarding a rating, when the primary factors are “border-line” between ratings. But remember, these factors are secondary in nature. They should not be used to lower or raise a rating, when the primary factors clearly place the performance in a higher or lower rating zone.

9. Each festival/contest/assessment will vary in how the Judge is asked to produce a final rating. The scoring system on the adjudication form may be simple or complex. The system may be objective, subjective, or a mix of both. Regardless, the Judge must demonstrate professionalism in consistently determining the final/overall ratings.

It is equally important to establish an appropriate distribution of points, which supports and explains each rating.

10. As a rule, Drum Major Judges are asked to arrive at final ratings independent of other Judges on the panel. There is always a temptation to see how others are awarding ratings before you give yours. Don’t.

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3 The Basics for Instruction and Development of Drum Majors

Key Questions and Discussion for Developing Drum Majors Who will you be?

There are Drum Majors and there are DRUM MAJORS. The DM can be a very valuable human resource for the Band Director.

A strong Drum Major can amplify and enhance all that is good. A skilled DM can aid in the solution of all that is not.

A weak Drum Major can be a wounding spirit, who can limit the effectiveness of the band. A selfish DM can infect the band with poor attitudes.

Are you ready for this responsibility?

Band Directors give many hours of consideration in selecting (or creating the process of selecting) the right individual, for this most sensitive leadership position.

The Drum Major’s duties, influences, and responsibilities are numerous.

The reward is often small. The improper selection of a DM can virtually divide and destroy an otherwise capable marching band.

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to fight for the success of your band, prove it by having the courage to apply yourself 100% to the job at hand.

Who do you work for?

In fulfilling your role as Drum Major, your first responsibility is loyalty to your Band Director. You represent your school, band, parents, friends, and yourself. But your role is to be an extension of the Band Director’s philosophy and instructions. If you are not willing to set aside the opinions of others, then you will never be effective.

Your Director must carry the ultimate responsibility for what your band does, or does not do. The Director is in charge. The Director is answerable for the outcome. You are answerable to the Director.

You must be a leader. But you must not allow yourself to be so caught up in your leadership role, that you lose sight of who is in charge. Harry S. Truman once wrote: “If a man can accept power as a gift and use that power faithfully, then he is destined for greatness. But if for one second, he believes he created the power, then he is doomed as a tyrant and villain.”

What must you do?

The best advice I can give you is: Work, Work, and Work. Pour every ounce of energy into what you do. Your enthusiasm and positive attitude can create a tremendous impact every day. Certainly, you are subject to bad days and frustrating circumstances. All members of the band are. But not everyone in the band is the Drum Major.

If you are down, it will affect the band. If your circumstances control you, instead of you controlling the circumstances, then you are doomed to underachieve. Whatever happens, rise above it.

Carry your band through the good and bad days with your positive and competitive attitude. Move them with your concern and vitality. In — 17 —

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the psychology of team competitions, positive attitude, and aggressive thinking are of paramount importance.

Will you doubt yourself?

At times (if you are normal), you will doubt yourself. The person without doubt is either living in a fantasy world or needs counseling. Give your ego a reality check. Despite all the positive attributes you might possess, you are capable of failure. Despite all your real (or imagined) shortcomings, you are capable of success.

If all races were won by the fastest competitor, then races would be pointless to run. Everyone would know who would win the race before the first step is taken. Some races will be won by the person who is most determined to win…the person who has prepared themselves for maximum effort and performance.

Some races are sprints. Others are marathons. Marching season is a marathon. But you need to sprint at critical moments to be competitive.

To succeed, you must first believe you can succeed. Then you must go about the process of preparing diligently. If you truly believe, it will be contagious within the band.

Carry your band through the good and bad days with your positive and competitive attitude.

Move them with your concern and vitality.”

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The Basics for Instruction and Development of Drum Majors

Physical Conditioning Get in shape…

The importance of being physically fit, cannot be over emphasized.

Students, who attend my DM camps, walk away from the field very tired.

On the first day, we begin with an hour of running and exercise.

No, I don’t do this to be mean, or to see how far the group can be pushed.

Rather, it goes a long way in proving one point and making the case for another.

Why… The first point is that despite being young and full of energy, the DM may not possess the adequate physical conditioning needed for a full marching season.

The second point is that daily exercise elevates the capacity to be highly effective in the execution of conducting and showmanship.

Giving 100% during 100% of the performance…

During the course of a 7 to 12-minute performance, stamina is critical.

The DM has probably had a long day/week before the performance even begins. The adrenaline is pumping. The DM must be able to perform at an optimal level, without ever showing signs of fatigue during the performance.

How… The best way to get into shape is to start slowly…long before marching season begins. Add a little bit to the training day by day. Running (jogging)

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is a very productive exercise for DM conditioning. It develops overall endurance, tolerance to physical discomfort, and mental toughness.

Don’t go overboard on the first day. Gradually increase distance and pace as strength and stamina increase. Arm rolls are also very useful in developing the type of strength and stamina needed for 7 to 12 minutes of effective conducting.

Stretching, bending knees, bending at the waist, sit-ups, and push-ups increase flexibility, coordination, and strength.

Daily exercise elevates the capacity to be highly effective in the execution of conducting and showmanship.”

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The Basics for Instruction and Development of Drum Majors

Important Guidelines for Field Conducting The way it is…

Conducting is the fundamental skill of Drum Majoring. Showmanship is fun. But conducting is essential.

Take Command…

A conductor is a leader, not a follower. As the field conductor, the DM must establish and maintain tempo. Cue. Demonstrate musical interpretation through conducting. Be strong. Be in charge.

Be a musician…

Know the music. Know the conductor’s score. Know what interpretation the director wants. Then get that interpretation out of the band. Inspire the band to a better performance through your conducting.

Master the basics first…

The root of your job is the science of conducting. At the beginning of your preparation, it is important to focus on the basics of conducting.

Clear patterns that are easy to follow come first. The cues and interpretive conducting follow.

Grow past the basics…

To be “great” at what you do, you must also reach into the art of conducting.

Not everything done by your local symphony conductor will fit into your field conducting. But you can learn much in how to bring about musical interpretation, by watching outstanding concert conductors.

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Adapting conducting to the marching band…

Generally, the DM will have larger conducting patterns, because the band will be far away from the DM podium. Give the band good healthy beats, cutoffs, and cues when they need it most. The audience is also further way. Cues, dynamic changes, and accents need to be sufficient in size to be seen by all. Eye contact, between the DM and the percussion/lead players, is critical.

Variety of conducting patterns…

Innovative conducting patterns can add life and excitement to the art of Drum Majoring. There are a thousand ways to conduct in 4/4. But be wise enough to know which ones can effectively “turn on” a band/audience/ judge, without violating the trust placed in you to lead the band clearly and effectively. Innovation is the salt and pepper of our trade. Sprinkle in a little, and it will usually taste better. Too much, and you can’t swallow.

Variety of cutoffs and special effects…

Every cutoff does not have to look the same. Every cue does not have to look the same. Everything you do does not have to be so repetitive or plain, that it is boring to the band and audience. Change things up without going overboard. Whatever you do is measured by its effectiveness and visual appeal. A great DM is effective without being boring. Marching bands, and the DMs that lead them, should be entertaining as well as precise.

Use both hands equally well…

It is a right-handed world. But don’t get caught using just one hand for all your conducting. Practice. Be capable of conducting patterns, giving cues, and guiding dynamic changes with both hands…independently and together.

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The Basics for Instruction and Development of Drum Majors

Important Guidelines for Showmanship Priority…

Never let showmanship interfere with doing what is best for your band. First and foremost, you are responsible for your band’s musical performance on the field. Doing so in an entertaining manner is an important, but secondary role.

Be wise…

You and your Director must agree on what you do, or don’t do, in the performance. There are some things that look great when a DM stands in front of a 200-member band. Those same things might not be appropriate, when standing in front of a 40-member band. Judgement. Regardless of the band’s size, using imagination and experimentation, in developing showmanship, can enhance the DM’s performance.

The bigger and better the band, the more room exists for DM experimentation…

The great DM adapts to the situation. Some general guidelines do apply. The band’s size, maturity, musical style, visual style, and speed of motion should greatly influence the level of showmanship and range of improvisation/experimentation on the part of the DM. The more the band moves, the less the DM moves. The more the band spreads out, the clearer the conducting must be. The greater the dynamic changes, the greater the visual action of the DM should be. The DM is a conduit between the band and the audience. The energy, pace, emotion, and mood of the band’s musical/visual performance should be clearly reflected in what the DM does on and off the podium.

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Body language…

You have more than two arms. Use what you have. When the band makes a dynamic change, the audience should not only hear it…they should see it in your conducting and body language. If the volume is lowered significantly, your body language should reflect the change. The reverse is true when the volume increases. Direct the audience to each soloist.

Draw applause.

Design your part of the show…

Just like the horn line/percussion/guard/auxiliary units, your every move should be carefully planned and executed. Everything you do should be designed to enhance and compliment. Knowing how to stay out of the way is valuable. Knowing when to be noticed is just as valuable. Don’t over salute. Make sure what you do, blends with the style of the band, while still adding entertainment value.

Regardless of the band’s size, using imagination and experimentation, in developing showmanship, can enhance the DM’s performance.”

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The Basics for Instruction and Development of Drum Majors

Terminology Drum Major instructors use different terminology.

What follows are my key terms. ..........................................................

Conducting Patterns Plane Conducting Pattern:

A pattern in which beats are spread on an imaginary surface in front of you.

Point Conducting Pattern:

A pattern in which all beats are located on a single imaginary point in front of you.

Slam Conducting Pattern:

A pattern in which beats are attacked by forceful movements of the arm and hand.

Double Pattern:

A conducting pattern utilizing both hands.

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Cutoffs Curl Cutoff:

A cutoff signal utilizing a bending and turning motion of the hand.

Center Plane Cutoff:

A cutoff signal originating with arms extended above the head and ending with the arms extended to the side.

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Point Cutoff:

A cutoff originating with arms extended above the head and ending with arms crossed in front of the body.

Single Cutoff:

A cutoff executed with one hand.

Double Cutoff:

A cutoff executed with both hands.

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Special Movements Slam:

A forceful strike with the arm, used for accents.

Rises and Drops:

A graceful lifting or lowering of the arm(s), used for changes in dynamics.

Directional Signals:

Hand and body actions which appear to control the band’s direction of march.

Special Beats:

Any single beat within a conducting pattern upon which a cue or accent is given.

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Hand Positions Finger Position:

A hand position in which the index finer is extended from a fist.

Spread Position:

A hand position in which all fingers extend and are separated.

Palm Position:

A hand position in which all fingers extend and are connected.

Fist Position:

A hand position in which the hand is clenched in a fist.

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Body Language Enhancements Leg Pump:

An adjustment in the position of the foot accompanied by a definite bend of the knee.

Foot Slam:

A forceful stomp of the foot.

Dying Eagle:

A “stall” originating from the position of attention and ending in a compact image.

Dip:

A shrinking of body image used for a change of musical mood.

Don’t become fixated on the varied terminology used by instructors. Just apply what you learn from each mentor to improve yourself and your performances.”

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The Basics for Instruction and Development of Drum Majors

Field Conducting Fundamentals 1. Basic Conducting Patterns: a. Plane Patterns 2/4, 3/4, 4/4. b. Point Patterns 2/4. c. Slam Patterns 2/4, 3/4, 4/4.

2. Basic Field Adaptations: a. Enlarging and shrinking patterns. b. Isolation of beats. c. Maintenance and variation of tempo.

3. Basic Field Cutoffs: a. Curl Cutoff (single and double). b. Plane Cutoff (top and center). c. Point Cutoff (plain and jump).

4. Special Effects: a. Slams (left, right, up, and down). b. Rises (small, large, single hand, and both hands). c. Cues (left and right).

Coordination and Mixture of Fundamentals 1. Coordination of conducting patterns and cutoffs: a. Drill basic patterns with both the right and left hand. b. Drill all cutoffs at the end of a series of patterns. c. Drill all slams, cues, and rises with both hands.

2. Mix patterns, cut offs, and special effects: a. Use odd combinations of patterns while switching hands rapidly. b. Add cutoffs and special effects to these combinations. c. Execute combinations standing, walking, and sitting.

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Application to Music 1. Examine music for: a. Time signature. b. Tempo. c. Musical effects (changes in dynamics, tempo, instrumentation, solo).

2. Experiment: a. Determine which conducting patterns best fit the music. b. Determine which special effects are suitable (cues, accents, dynamics). c. Determine which cutoffs best fit the music and band.

3. Establish what you will do. Practice. Critique. Evolve.

Improve.

You are not a master of the fundamentals until you are comfortable applying those fundamentals to a wide variety of musical selections.”

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The Basics for Instruction and Development of Drum Majors

Showmanship Fundamentals 1. Hand Positions: a. Finger Position: downbeats. b. Spread Position: beats to the outside. c. Palm Position: special beats (slams). d. Fist Position: beats to the inside.

2. Moving: a. Walk or move towards: add motion to direct audience attention. b. Mark Time: to enhance beats and provide variety. c. Leg Pump: to accent. d. Sprint: to add energy and explosive element to drill.

3. Body Language: a. Big or open image: for grandiose or loud passages.

1. Stand tall.

2. Feet together or separated.

3. Larger conducting patterns. b. Small or shrinking image: for softer or fading passages… anticipation.

1. Lean the body.

2. Bend the knees.

3. Smaller conducting patterns.

Special Effects 1. Dying Eagle: to eliminate image from view.

2. Hat Toss: to emphasize a special marching or musical highlight.

3. Directional Signals: to emphasize a significant change in direction of march.

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Slow Kneel: to indicate decrescendo or change in mood.

Crossed Arms: to project image of authority or dignity.

Salute: to show respect or draw audience applause.

Jumps: to mark a significant highlight in the performance.

Stalls: to give the image of complete control.

Application of Showmanship to Music and Band’s Visual Performance 1. Know when to be noticed: a. The more motion in the band, the less motion by the drum major. b. The less motion in the band, the more motion by the drum major. c. Attempt to draw attention to special and significant moments.

2. Know how to be noticed: a. Experiment within the context of the music and the band’s visual performance. b. Make the DM performance mirror the band’s musical and visual performance.

3. Be noticed: a. Do what is necessary first. But don’t be afraid to stand out. b. When you want both the band and audience to see what you are doing, turn your body at an angle on the podium.

Showmanship is the spice of our craft.”

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The Basics for Instruction and Development of Drum Majors

Drum Major Camp Agenda Day One 1. Physical Warm-Up: a. Knee bends. b. Arm rolls. c. Waist bends. d. Distance running. e. Sprints.

2. Conducting Fundamentals.

3. Questions and Discussions – The Next Level.

Day Two 1. Physical Warm-Up and Review of Day One. 2. Showmanship Fundamentals.

3. Questions and Discussions – The Next Level.

Day Three 1. Physical Warm-Up and Review of Day One/Two. 2. Application of fundamentals to music: a. Opener. b. Feature Selection. c. Percussion Interlude. d. Closer.

3. Questions and Discussions – The Next Level.

Day Four 1. Physical Warm-Up and Review of Day One/Two/Three.

2. Application of fundamentals to a full halftime performance: a. Attention, Horns Up, Fanfare, Mark Time, and Directional Signals.

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b. Cutoff, Dying Eagle, Sideline Sprint, and Hat Toss. c. Different Cutoff, Feature Song, Salute, Exit, and Final Cutoff.

Day Five 1. Physical Warm-Up and Review of Day One/Two/Three/Four.

2. Competition for Outstanding Drum Major.

3. Exhibition: a. Up-tempo. b. Ballad.

Leadership principles are vital components within the “Questions and Discussion” sessions held each day at camp.”

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4 Appendix

Worksheet for Drum Majors in Rehearsal Circle the appropriate number from 1 (needs great improvement) to 5 (attained).

Superior Actions Strive to acquire and sustain good physical conditioning.

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Do your job. If you don’t, no one will respect you, or follow you.

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Follow the rules. Every rule that applies to the band applies to you.

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Do not be late. Always be early. Expect to be the last student to leave.

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Make a list of your duties and responsibilities. Review and revise as needed.

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Keep a journal. Analyze what you do. Find ways to improve.

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Learn the fundamentals. Then continually expand your capabilities and creativity.

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Work on your personal “DM show design” on your own time.

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Video and critique yourself. Ask others to view/critique. Study effective Drum Majors.

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Seek and accept constructive criticism. Act on constructive criticism.

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Outstanding Actions Identify your Director’s expectations for rehearsals. Fulfill expectations.

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Focus on helping your Director. No task is too small.

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Observe your Director carefully. Be responsive to the Director’s needs.

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Trust and support your Director.

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You will not make everyone happy. Strive to make your Director happy.

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Be a good conduit of communication between the Director and the band.

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Carry good ideas/solutions from within the band to the Director. Give credit where due.

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Give your Director a smile. Directors need encouragement too.

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Championship Actions Be a spark plug of enthusiasm. Don’t just “go through the motions.”

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If a group within the band is putting in extra time, put in the extra time with them.

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Be a true leader. Inspire, remain positive, and facilitate improvement.

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Encourage those needing encouragement. Compliment, when compliments are earned.

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Rise above doubts, jealousies, and conflicting emotions that may surface in the band.

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Be a peacemaker in your band. Help resolve conflicts. Don’t create them.

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Appendix

Worksheet for Drum Majors in Performance Circle the appropriate number from 1 (needs great improvement) to 5 (attained).

Essentials for Superior Performance A well designed/properly fitting uniform is always a plus.

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Project dignity and energy. Maintain good posture. Demonstrate graceful and precise motions.

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If you give commands (or use a whistle), do so with authority.

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If you march during the performance, be the best marcher on the field at that moment.

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If you play during the performance, be the best player on the field at that moment.

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When conducting, set the correct tempo. Maintain tempo. Convey tempo changes.

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Keep conducting patterns clear and well-defined (usually on a chest high plane).

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Establish and sustain eye contact with the percussion and lead players/ sections.

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Cue!! Cue soloists and sections when they take over the melody.

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Show dynamic changes in conducting, that mirror the dynamics of the music.

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Cutoffs should mirror the music. Big for strong endings and gentle for soft endings.

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Enhancements for Outstanding Performance Make salutes memorable. Hold salutes an extra second in performance.

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While keeping conducting as priority one, add suitable/tasteful showmanship.

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Design what you do (conducting/showmanship) to match band’s sound and visual style.

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Less podium action, the more the band moves. More podium action, when the band is limited in movement.

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Put accents and driving rhythm patterns into your conducting.

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Use body language in conducting/showmanship. Visualize, experiment, and practice.

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Turn on the podium. Don’t do all conducting directly up the 50-yard line.

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Use directional signals to match dramatic marching shifts and maneuvers.

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Stretching to Championship Performance Be a conduit of energy from the band to the audience.

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Be a conduit of energy from the audience to the band.

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Exude enthusiasm and confidence throughout the performance.

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Be fun to watch…from the perspective of both the band and audience.

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Appendix

Memories of a Drum Major

by Pat Deaville Strange, how things in life happen. That aren’t, part of your plan.

Was not at all, a goal of mine. To be drum major. Band.

I loved, playing my trumpet. All, I wanted to do.

But Director, asked more of me. Somehow of course, he knew.

Directors, have this special sense. Of what, each child can be.

Tried out. Selected. Still unsure. Of what, he saw in me.

My senior year, in high school. Was chosen, for this role.

My future changed course, at that point. Direction, that was bold.

A drum major, does conducting. But so much more, than that.

You are a leader, from within. While wearing, many hats.

My duty list, grew longer. Each day, given new task.

The band, was at the core of me. Would do, all that was asked.

I know, I made an impact. On success, the band had.

Drum majoring, got in my blood. I really, had it bad.

But then, was off to college. That phase of life, in past.

Re-focused, on my trumpet. And that, was still a blast.

Strange how sometimes, things repeat. Yet still, not in your plan.

The college director, pushed me. Be my drum major. Band.

It was just, my sophomore year. Lots, of upperclassmen.

Would they accept me? Let me lead? They did. I did not bend.

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I owned the role. Gave my all. For three years, grew with band.

We evolved. Show band to Corps band. New style, caught many fans.

Progressed, from mace to free style. Set trends, and broke old rules.

Was more, than a field conductor. I was spark plug. And fuel.

Generated, excitement. Not sure, how it happened.

But, when in uniform, became…very different person.

Band grew large. The sound was BIG. So loud, my ears would ring.

The left ear, took it better. My right ear. It would sting.

Extreme effort, on the field. Physically exhausting.

The day after, performances. Whole body, was hurting.

Shoulder muscles, burned and bit. Could not, raise arms next day.

But through the week, I would improve. Fight through pain. Find a way.

Sometimes voice, became so hoarse. That I, could barely speak.

Rested. And tried not to talk much. Until, late in the week.

Was it worth it? Yes, it was. Looking back. Older man.

Endured. Excelled. Also became. The person, who I am.

The story, did not end there. Became, band director.

Along the way, taught drum majors. Helped many. Watched them soar.

Was instructor. DM camps. Across the south. For years.

Shared what I knew, and pushed them hard. So proud, I would shed tears.

Some of my best memories. Are DM’s, from the past.

These drum majors, live in my heart. Strong feelings, that do last.

No, the whole experience. Was not, part of my plan.

Two wise directors, did lead me. To unknown, promised land.

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Appendix

The Drum Major’s Guide

By Pat Deaville

1972 MSU Drum Major Camp Pat Deaville, McNeese State University, Instructor Celia Joe Black, Jennings High School, Featured Drum Major

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Appendix

The Drum Major’s Guide 1978 University of Southern Mississippi The Deep South Drum Major Tour

St. Patrick and the Angels Pat Deaville, Lead Instructor Director of Bands, Lake Arthur, Louisiana Cathy O’Blanc, Feature Drum Major and Instructor Donna Comeaux, Assistant Drum Major and Instructor Jennifer Bertrand, Guard Captain and Instructor

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Appendix

A Gallery of of My Majors A Gallery MyDrum Drum Majors A Gallery of My Drum Majors

Lake Arthur High: Sally Wade, Cathy O’Blanc,and andEva EvaGiles Giles Lake Arthur High: Sally Wade, Cathy O’Blanc, Lake Arthur High: Sally Wade, Cathy O’Blanc, and Eva Giles Lake Charles High: Ann Develin Lake Charles CharlesHigh: High:Ann Ann Develin Develin

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Appendix A Gallery A Gallery of My of My Drum Drum Majors Majors

A Gallery of My Drum Majors

Jennings Jennings High: High: Angela Angela Doggett, Doggett, Robyn Robyn Kershaw Kershaw and and Cheryl Cheryl Trahan Trahan LaGrange LaGrange High: High: Chondra Chondra RussRuss and and Mark Mark Landry Landry A Gallery A Gallery of My of My Drum Drum Majors Majors Jennings High: Angela Doggett, Robyn Kershaw and Cheryl Trahan LaGrange High: Chondra Russ and Mark Landry

Jennings Jennings High: High: Angela Angela Doggett, Doggett, Robyn Robyn Kershaw Kershaw and Cheryl and Cheryl Trahan Trahan LaGrange LaGrange High: High: Chondra Chondra RussRuss and Mark and Mark Landry Landry

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About the Author

Mr. Deaville was Drum Major of the Jennings High School Band in 1967-68. He later served as Drum Major of the McNeese State University Marching Band (Brother Love’s Traveling Salvation Show), under the direction of Kelly Love, from 1969 through 1972. He worked extensively as a Drum Major clinician, judge, and instructor in Louisiana, Mississippi, and Arkansas.

A member of the Louisiana Music Educator Association Hall of Fame, Pat Deaville is Past-President of the Louisiana Chapter of Phi Beta Mu. He served as Editor of the LOUISIANA MUSICIAN for twenty-eight years.

A noted writer, Mr. Deaville has had numerous editorials, poems, articles, and essays published in state, national, and international magazines. He is the author of multiple books.

During twenty years of service as a band director with schools in Jefferson Davis and Calcasieu Parishes, his marching bands and concert bands earned “Superior” ratings at district, state, regional, and national events. Mr. Deaville’s bands earned 23 “Sweepstakes” awards in district/ state concert/sight-reading festivals. His bands performed in six states across the South and Mid-West United States. Following his years as — 47 —

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a band director, Mr. Deaville served Calcasieu Parish for twenty years as an administrator. Deaville concluded his career as the Director of High School Curriculum and Instruction for the Calcasieu Parish School System.

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