Color Guard - Music for All

2018 Music for All Summer Symposium

Color Guard

Name___________________________________________________________________________________________

School/City/State _________________________________________________________________________________

Year in School for the 2018-2019 Year ___________________________

2018 Music For All Summer Symposium Color Guard Student Information

Equipment Choice (circle one):

Flag Rifle Sabre Rifle/Sabre

If you are auditioning for Master Class, please circle the equipment you would like to spin in the event that you are not placed in Master Class.

Please briefly describe your experience in each of the following:

Marching Band Guard:

Winter Guard:

Dance:

Why are you here at camp?

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Faculty Notes:

Music for All Summer Symposium presented by Yamaha – COLOR GUARD www.musicforall.org

COLOR GUARD TRACK

PLEASE BRING (ALL STUDENTS are encouraged to bring ALL THREE PIECES OF EQUIPMENT.) • Flagpole, rifle, and/or sabre. Multiple equipment students should bring their equipment in a simple equipment or flag bag. If possible, borrow your guard’s equipment bag for the week. All items should be marked with your name, address and school on each piece of equipment. Permanent markers, labels and clear tape should do the trick. • Most weapons are acceptable. Rifles must range from 36 inch to 39 inch and should be taped. White is the preferred color, and straps are optional. Sabres vary based on experience, but most band supply company sabres are in the 36 inch to 39 inch range. Either metal or plastic hilt will be accepted for use. All weapon students may want to bring an additional weapon to symposium in case of any breakage. • It is REQUIRED that ALL students (including weapons) have a flag pole height of 6 feet.• A solid colored silk (flag) for the 6 ft pole, with the following size: 35’’ x 50’’ – minimum or 35’’ x 60’’ – maximum. If you do not havethese dimensions, please bring a flag closest to: 35’’ x 50’’. NOTE: It is preferred that this flag isn’t a show or performance flag. It is suggested to bring an additional practice flag due to inclement weather. Bring this practice flag for use all week. Bring this practice flag for auditions & to use early in the week. • It is recommended that all students bring white and black electrical tape in case of any needed repairs.• TWO 1” carriage bolts (length from 1-2” from a local hardware store). These bolts will be used to weight your flag pole. If your polesare properly weighted, still bring these extras if possible! • Recommended and appropriate clothing includes: Athletic shorts and t-shirts or tops. Warm up suits, athletic wear & outside dancewear are also suggested. Layers are especially recommended because of the extreme weather at times during this summerevent. (Sports bras, swimwear may be worn under shirts ONLY.) • Not allowed: Boxer shorts, spandex shorts, short shorts, halter or tube tops. (Sports bras, swimwear may be worn under shirtsONLY). Flip-flops/sandals are never allowed during Color Guard sessions!• Please note: We WILL be outside for the majority of your day. PLEASE bring head covers like hats, headbands and scarves and sunglasses. Bring plenty of sunscreen, water bottles, a small towel and more sunscreen! • Bring two (2) pairs of lace-up athletic shoes with proper arch support for ALL sessions for good and inclement weather. Dance sneakers are great; dance shoes are not as we are outside most of the week. Sandals/Flip Flops are NEVER acceptable for any colorguard session! Bring shorts, white top or T-shirt and tennis shoes for your final performance.

COLOR GUARD AUDITION INFORMATION Auditions/Placement will occur Monday morning for ALL Color Guard students. The Color Guard Track is designed to help color guard members develop a wide variety of skills for students active in today’s color guard arena. However, we realize that guard members are trained differently around the country. Thus, a short audition will be a sample viewing of individual guard skills and performance abilities in a small group setting. Through the audition process, we must determine the range of these abilities on the various equipment options and movement skills for each student. The audition simply allows the instructors to adequately place each student into the appropriate level for the week. Auditions will be held Monday morning from approx. 9:30am-11:30am immediately after registration. The location will be given to you at registration. * A specific Master Class audition will be held Monday at 10am during the main auditions. Please be on time! Individual warm up will be available at 9:30am with the audition beginning at 10am. This will be a World-Class audition with skills and abilities expected to be at the highest level. Mandatory attendance is required for any student who wants to be considered for the Master Class for 2012. The 4 Equipment classes for 2018 are as follows: 1. Master Class- Advanced Sabre, Rifle and Flag. Please be prepared for World-Class material. This class will be selected by auditiononly with approximately 12-20 students maximum. The Master Class will be taught by Nathan Jennings, Vincent Thomas and selectfaculty during the week. 2. Flag Classes- All levels (beginner to advanced) of flag training, exercises and repertoire from the faculty. The largest class size with 15-20 students.3. Rifle Classes- Three levels (begin/intermediate/advanced) of training, tossing and technique in 15-25 member groups.4. Sabre Class- This class is for beginning to intermediate level students to learn technique and tossing on this interestingequipment. Advanced sabre students are urged to audition for the Master Class. * All color guard students will need to prepare the following on the appropriate equipment for their course of study. All students will have dance training daily to start the day with movement and dance. 1) Movement/Dance- Understanding of basic body principals including body warm-ups, basic traveling or across the floors and asimple 16 -24 count dance combination w/out music for a sampling of experience. A favorite phrase is perfect! 2) Flag, Rifle, Sabre- Prepare a variety of spins, variety of tosses and a simple 16-24 count equipment segment w/out musicshowcasing your experience in guard. Again, a favorite phrase from fall or winter


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Small is Great: Striving for Excellence!

By Robbie Arnold, MFA SSY CG Faculty 2011

Having the opportunity to work with smaller bands in my area has been a great

experience. Adair County High School and Beechwood High School have both been named

the Bands of America Class A National Champions, in 2006 and 2007 respectfully, and I have

been the color guard designer and instructor for both groups. There are many things that make

this experience worthwhile. Not just the success but the hard work it takes from the staff and

the dedication from the students is what makes these programs successful. Many people think

that small bands are going to be less exciting and what most people in the guard world would

consider “wrong” however, these fine programs are definitely neither of the two.

When beginning a season with any program, no matter the size, it is important that all

staff be involved in the planning process. Having a program coordinator helps this happen.

This person’s role is to design the concept of the show and give the rest of the staff a forward

way of thinking. We plan to meet two to three times during the spring to get everyone on the

same page and begin our journey through the season. Everyone has responsibilities and is

asked to focus on them.

With these responsibilities comes respect. If the people on the staff complete these

tasks then the show will be constructed with few hick-ups or flaws. Sure there may be


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sections to re-write or ideas that don’t work the first try but this all part of the journey. It is also

important to stay in the caption you are responsible for. I would never look at the percussion

staff or the visual staff and try to do their job because I know those people are on top of their

game. Also doing this would cause me to shift my focus and lose sight of the goal of the color

guard.

The small bands mentioned previously are both ran like larger bands of the same

caliber. The simple fact that there are fewer members is the only difference. The students in

these groups understand what it takes to be successful and work diligently to accomplish the

goal.

Most people would think the goal of these successful programs is to always win. That

couldn’t be further from reality. The students understand that their hard work will shine through

and if someone is better than them, then accolades to that program. Our winning is being

better than the previous year or performance and to enjoy the experience of performing. I

always tell my groups that there are hundreds of thousands of students who would love to be

in their shoes and to never take one second of the journey for granted, because the moment

you do you have let yourself down and will miss out on the best moments of your career. We

strive for excellence in everything we do and if that is the focus, then the end result will be

what we set out for in the beginning of the season.


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The Life Lessons: The Life ChangingLessons I’ve Learned through Color Guard

By Shannon Clark, MFA SSY CG Faculty 2012

I joined color guard when I was a junior in high school. I remember my freshman and sophomore years of high school; I was a performer in the front ensemble of my school marching band. I used to watch the rifle line with intense passion as they performed what seemed to be amazing tricks during rehearsals. With envy, I observed their close knit relationships and deeply wanted to be able to perform the tosses and tricks they so effortlessly performed each rehearsal. So, I borrowed a rifle and I set out to learn by going home and doing what I watched the rifles do each day.

That was the beginning of my very passionate life in the activity of color guard. I worked every day after school to master the skills I observed on the asphalt rehearsal field. Six months later, and much to everyone’s surprise, I auditioned and made the rifle line at my high school. To this day, I could not be more thankful. The sport of color guard has greatly influenced my life and taught me many lessons which I would like to share.

Dare to Dream As I stated above, when I was a 15 years old sophomore in high school I watched the rifle line of my high school band from the front side line. Standing there gazing out onto the marching field, I dreamed that one day, that would be me. I only had one problem; there was a rule of one year minimum experience in color guard to join the rifle line. That just was not enough time for me. I yearned to be on that rifle line as soon as possible and I had no marching experience. Yet, instead of hanging on to the “I wish,” I decided that I would. My dream would come true even if I had do defy the odds. Instead of abiding by the limitations set before me, I dared to dream.

Set a Goal and Make a Plan I made my dream of performing with my high school rifle line come true because I set a goal, then I made a plan. My plan was to watch those rifles practice every day then go home and practice harder than each and every one else; even those I learned from. I put my plan into action immediately. Every day after school I would race home, grab a snack, and head out to the front yard. I taped two rifles together with intentions of building strength at a faster rate, and I spun and spun in front my house, using my windows as mirrors so I could see my improvements and correct my mistakes.


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As auditions for the upcoming year’s rifle line approached, I increased the numbers of hours spent in the yard always keeping my goal, my dream, in mind.

Take Risks With hours and hours of dedicated practice as my “insurance policy,” the rules and the odds against me, I headed off to audition for my high school rifle line. I was nervous, anxious, and fearful of the spiteful comments the other girls auditioning would make under their breath. I had to be better than everybody else that day; in reality, I had to be so good that the judging committee would accept me regardless of the rules. My hard work had to show; I had to portray ultimate confidence in myself and my abilities. This was a task in which I had to put my best foot forward! I was taking a great risk that could result in failure! From every outside angle, I was set up to fail and the only thing I had on my side was the hours of dedicated hard work I had put to fulfilling my dream. The selection committee could tell me no; they could sweep my dream right out from under my feet, but I thought to myself, “I will never know if I don’t try.”

Make no Excuse My dream of making the rifle line came true that night after auditions. My confidence and performance at the audition were so strong that the judging committee accepted me despite the rules. My hard work, goal setting, planning, and risk taking paid off!! The responsibilities of next few months would be another intense challenge. Now, I had to be as good as the other girls who had formal training. Each rehearsal presented new obstacles and I made numerous mistakes. Instructors would yell my name from the top of the press box, “Shannon, you’re late!” “Shannon, quit watching the girl next to you!” As much as I despised hearing my name followed by a thunderous announcement of my mistake, I learned to never make an excuse. Excuses seemed to get me another bellowing verbal assault. Instead, I learned to make a correction. Benjamin Franklin once said, “He that is good for making excuses is seldom good for anything else.” I continue to make mistakes in all aspects of my life and I find that making excuses never fairs well; thus, the generalizing the lesson “make no excuse” to all aspects of my life and my career keeps me ahead of the game.

Conclusion These are only a few of the many lessons learned from my experiences in color guard. In fact, after 12 years of color guard to date, the numbers of life lessons I have learned are too great to count. Further, every one of the lessons is invaluable. I live by these lessons each day with every challenge that comes my way. I never stop dreaming, I never stop setting goals and making plans of action, and I almost never make an excuse. With these lessons under my belt, I have accomplished great things such as making the Pride of Cincinnati, and acquiring a job at the school of my choice. As you venture on through your color guard career, I encourage you to search out the valuable lessons that inevitably weave the fabric of which great activity consists.


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How did you do that? Well, kind of like this…

By Shannon Clark, MFA SSY CG Faculty 2012 Have you ever asked someone for directions and tried to follow them? “Turn left on Mississippi, then a right at the second…. no third traffic light, then the road will kind of split and you will take the right fork. It looks sort of like it goes straight but, it really is the right fork. Then you will go to the fourth stop sign, and make a left. The opera house is the blue house next to the two yellow houses, near the second intersection past the curve at the top of the hill. You can’t miss it.” Next thing you know you’re lost and you have to stop and get directions again. More than likely, the person who gave you these directions felt like they really helped you out while you feel the person who gave you directions was a total nitwit.

This misunderstanding in communication could happen for several reasons. First, the person who gave you directions already had a visual image of the places of which he was speaking while these places are yet to be discovered by yourself. The direction giver has much more experience with the “territory” then yourself. Second, as you listen and process the directions, you are creating your own ideas of what this landscape you are attempting to navigate will look like. You more than likely are creating images in your head based on things you have experienced before. In short, communicating what we mean to another person is an extremely difficult task, even though we do it every day.

Think for a second about brushing your teeth in the morning. Imagine that you are already in the bathroom standing in front of the sink. List the steps you must follow to accomplish the task of brushing your teeth and leaving the bathroom. One’s list may look like this:

How to Brush Your Teeth

1. Get toothbrush and toothpaste2. Put toothpaste on toothbrush.3. Run toothbrush under stream of water.4. Put toothbrush in your mouth and move back and forth and in tiny circles.5. Spit out toothpaste6. Rinse mouth and toothbrush.7. Put toothbrush and toothpaste away.8. Leave the bathroom.

Now let’s say I try to follow your directions. Keep in mind I have never brushed my teeth before. I look for the toothbrush and toothpaste under the sink, in the shower, in the medicine cabinet. I finally find the toothbrush and toothpaste in


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the top right drawer. I put the toothpaste on the toothbrush handle. After all, I had no idea that the bristles were there for a reason; I have never done this before. I run the toothbrush, the whole toothbrush, under a stream of very hot water. Next, I hold the toothbrush with one hand on each end; I place the middle of the brush in my mouth and move the brush in somewhat of a side-to-side motion and around in small circles on my tongue. Then, I spit on the floor, I rinse my mouth and the toothbrush, and I put away the toothbrush and toothpaste and leave the bathroom with the water still on. In this case, I did follow your list of steps; however, I have a sneaking suspicion that the way I brushed my teeth using your list of steps was not at all what you intended.

How does this translate into color guard? Explaining techniques and the steps to choreography are very difficult. In the activity of color guard, we strive to have several people do many things the exact same way. For example, your color guard has a very specific way to do a drop spin while another guard may do them differently. Do you grab in the silk or on the pole, do you start from right shoulder or from another position, do you grab every count straight up and down or at an angle? And, would a person learning a drop spin for the first time, know what you are talking about if you use words like silk, pole, or right shoulder? There are so many variables to communicating when we are teaching another person.

Here are my suggestions for people who wish to teach another person or a group of people a color guard technique or choreography. Just as when giving travel directions or making a list of steps for an everyday activity, you must be very specific with your language, and provide visual images of exactly what you need (when possible). The more details you include, the better the chance that you will achieve the results you are looking for. One of the great things about teaching color guard is you are there to be the example.

To be as efficient as possible when explaining things, I follow a three-step process. Step one: LEAD the activity while explaining the details. Include all the information you

have to communicate to another person exactly what you are looking for. Step two: MODEL exactly what you want your student to do. Have them watch and

observe you doing the things you are explaining. Step three: TEST the student to see if you need to explain something in more detail or if

you need to clarify something that didn’t travel the line of communication very smoothly.

This three step process gives the explainer the opportunity to provide the learner both visual and verbal background. Thus, the learner has some knowledge of what they are being asked to do. Then, the learner is able to observe the explainer. This lets the learner absorb things that the explainer may not even think to explain. Finally, the explainer has an opportunity to observe the learner. Then the explainer can begin the three-step teaching process over to better the learner’s understanding of the material.


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Reflections: My First Years Out

By Michele Dershimer, MFA SSY CG Faculty 2008 I started performing in this activity in 1979; those first years lead me down a path that will never end. I marched with my high school band, and color guard, then in independent winter guards, and drum corps. I’ve taught numerous high school and independent color guards, from middle school aged through college-aged students. I’ve taught at various summer and band camps and for the last 15 years I was the director of a nationally competitive high school winter guard. It was my life 18+ hours a day, seven days a week! (And I am a full time high school English teacher as well!) My sons were involved (as floor crew and boyfriends) and now my daughter too loves the activity. I wouldn’t change a minute of it. My best friends are in the activity; my husband, jock-turned-winter guard drill-writer thinks it’s the most amazing SPORT he’s ever seen . . . AND it is. This hobby turned profession shaped my life and in turn, I’ve been able to shape others’ lives through it.

But there comes a time when one who has given every Friday night and every Saturday and Sunday for 25 years decides it’s time to be done . . . but I couldn’t walk away totally; I just knew I was ready to move unto the next phase of my life in this activity. It was time to begin judging. Many instructors say horrible comments about judges; many blame judges, disagree with judges, speak poorly about them to their students and their parents. But as a performer, I remember being inspired by some judges. I remember getting to a show, finding out who was judging, feeling safe and excited, and going onto the court or field ready to impress and entertain them. As an instructor, I educated my students on many levels, one of which was on the judges’ sheets and what the judges’ responsibilities were.

Since those days of performing, I knew that one day I wanted to be one of those judges that students felt safe performing for, that students were excited to perform for. I worked very hard this year while training and judging to give the instructors and performers as much as they were giving me. It’s a hard job. Judges have a huge responsibility and those that take it seriously prepare ahead of time, like the instructors and performers do.

Judges get nervous; judges want to “get it right”; they want to reward the performers and the designers for their efforts. They get nervous at the big shows, as well as the little shows. They try to make their numbers


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reflect what they see, and they hope to have honest dialogue with the instructors so there is learning on both sides. But judges don’t always get it right; they are like performers, they make mistakes, they drop, they “mess up” - unfortunately.

I never thought I knew all there was to know about the activity, but I did think that I had a pretty good grip on most of it - but I’ve learned that “you never stop learning.” I had as many emotional highs and lows this year as a judge as I’ve had in previous years as an instructor and as a performer. I was just as hard on myself as a judge as I was when I was instructing and when I was performing. But I LOVED it!

As the director of a high school color guard for 15 years, I felt a moral obligation to give my students more than just a place to spin. I was with them more hours in everyday, practically, than their own parents, so I became a moral compass for them as well. I wanted to create moments for them to remember, I wanted to help them learn what great benefits hard work could bring to their lives, and most of all I wanted to teach them to remember their roots, not just a member of their high school color guard, but as a member of their own family as well. It created a sense of pride in who they were and where they came from, so that years from now, they would remember all the important lessons learned during their teenage years. Much of what I told them had “tree” imagery attached and ironically enough, many of our winter guard shows paralleled those images. The following poem is a reflection of those metaphors and is a fabulous lesson for all as they move through this incredible world.

Advice from a TreeBy Ilan Shamir

Dear Friend,

Stand Tall and Proud Sink your roots deeply into the Earth Reflect the light of a greater source Think long term Go out on a limb Remember your place among all living beings Embrace with joy the changing seasons For each yields its own abundance The Energy and Birth of Spring The Growth and Contentment of Summer The Wisdom to let go of leaves in the Fall The Rest and Quiet Renewal of Winter

Feel the wind and the sun And delight in their presence Look up at the moon that shines down upon you And the mystery of the stars at night. Seek nourishment from the good things in life Simple pleasures Earth, fresh air, light

Be content with your natural beauty Drink plenty of water Let your limbs sway and dance in the breezes Be flexible Remember your roots

Enjoy the view!


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Well, I’m here…so, now what? By Stacey Flannery, MFA SSY CG Faculty Article 2007

There is no doubt that you had a list a mile long of ‘stuff’ you had to do just to get

to the BOA Summer Symposium. Fundraising…practicing… getting your equipment

ready…packing…traveling and surely so much more. You probably had all kinds of help

getting through these steps of the process. But, what do you do now that you’re here? I

am confident that you would gain a lot from this week just by coming here for the

experience. But, with a little planning and advice, I think you could get even more out of

this potentially life-changing experience.

First and foremost, please approach every facet of this experience with an open-

mind. You may hear things this week that you have never heard before and may never

hear again. Just know that all of the instructors, SWAGS, and Leadership presenters

are here for a reason--we all have a lot of information to offer anyone who is willing to

accept it. Coming into this week with an attitude that you already know everything will

only close you off to learning great new ideas. We’re not saying that we know

everything--that’s not the point at all! We are saying that we can offer you (hopefully)

new ideas-- some that you can take back home to your own color guards, and some

that you can leave. But it is up to you to absorb as much as you can.

Secondly, please allow yourself to get out of your ‘comfort zone.’ Just like you,

there are hundreds of other people from all over the world who, for just one week, get to

come together and be immersed in this camp.


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Don’t just sit with your friends from back home--get to know some of these incredible

people! You may find that someone who, at first glance may seem totally different, is so

much like you that it feels like you were separated at birth! Allow yourself to be brave

and start up a conversation with someone new. And please, don’t let that quiet soul

sitting all alone at lunch stay alone--invite them over to your table, or better yet, you and

your new friends could move together to join them!

Finally, try not to get homesick. We all miss our families, friends, boyfriends,

girlfriends, dog, and grandparents (you get the idea). But remember that you are only

here for a few short days. And I know from experience that the week will go by way too

quickly. Don’t miss out on learning something new, or getting to know someone

wonderful, because you are on your cell phone all the time. Of course you should call

home and let everyone hear about all the fun stuff you are doing. But please try to live in

the moment. Think about all you will have to say when you get home, and how much

more you will appreciate those folks back home after allowing yourself to just miss them

for a little while

This is a week that can be life changing for you. Learning is not an option. But

the amount you learn, and what you learn, is mainly up to you. You decide the quality of

‘stuff’ you take home with you based on your attitude coming into the week. So my final

piece of advice is this: your week is what you make of it!


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THE IMPORTANCE OF SETTING GOALS FOR YOU AND YOUR PROGRAM

by Jay Logan, MFA SSY CG Faculty 2012

Goal setting is important for individuals as well as for a group; the truth is the same for a color guard program. Did you know that studies have found that 95 percent of the population never writes goals within their lives? This means that only 5 percent of us will ever write down our goals. Setting goals is like having a destination before takeoff. If you know where you are going you can focus on the end result and get back on track if any obstacles get in your way. Without a clear destination and focus you will be knocked off track by the first obstacle in your way, and never reach your destination. Goals give us something to measure our progress against, to see if what we are doing is moving us closer or further from our ultimate target. If our actions are moving us closer to our target then we keep doing what we’re doing. If our actions are moving us further from our target, then we must change what we are doing so that we can move closer to our target. This same process is true for our progress both individually and as a team in the color guard activity. Goal setting however is not simply about wanting to do something, it is also about being able to articulate what the goal is about, realistic in whether you can accomplish it or not, and what yard stick you can measure your progress against. Before you read further, stop for a minute and think about a goal you have for your spinning ability. Now, measure your goal against these 6 basic guidelines (and adjust your goal as needed). Your goal should be:

1. Conceivable. That is, you must be able to articulate what your goal is about and be able describe it to your family and friends. The more vividly you can visualize your goal, the more committed you will be. Can you articulate your goal?

2. Achievable. Do not set yourself unrealistic goals. Not only is it a waste of time (because they are unattainable), it is also damaging to your confidence and well being. Is your goal realistic?

3. Measurable. You must be able to track your progress and definitively say if you have attained a goal or not. Generally, the more worthwhile the goal, the more


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difficult it is and the more time it will take. Especially for these goals, it is important to have a yard stick to measure progress against. How will you know when you have reached your goal?

4. Aligned. Every goal you set for yourself must be consistent with your overallobjectives, desires, expectations and beliefs. You cannot set yourself conflictingor contradictory goals. Do your goals fit well with your other personal goals?

5. Worthwhile. Although not completely mandatory, I believe a goal should bechallenging and worthwhile. Life is too short doing unimportant things. Is this goalworthwhile? Why?

6. Desirable. Not only is it important to have worthwhile goals, they must be goalsyou genuinely desire to attain. A desirable goal will command more commitment,dedication and perseverance from you. This desire will be your motivation. Whyis this goal important to you and your team?

Take a moment to think about what your goals for yourself and the team are for this season. Remember, goal setting is a map or process for attaining desired outcomes. It is about identifying where we are now, where we want to be and the steps that can take us there. Follow the simple guidelines I have highlighted above to begin your own journey.

This process and idea translates easily into the color guard activity, as well. But, I feel it is best to sit down and map out your goals individually first: think about what you want to achieve throughout the season personally. Is your goal to become a better dancer, to be a better leader, or perhaps to become more technically sound on equipment? Then take these goals and make them achievable. Maybe you want to attend a dance class outside of color guard, attend a leadership workshop, practice more or ask your instructor for some one-on-one assistance. These are all steps you can take towards achieving your personal goals. You also want to set goals for the group to achieve collectively. The color guard will want to meet and map out goals they have for the group and the program for the season. Is it to increase the number of people in the color guard, to become more proficient on equipment, or perhaps to make finals at state competition? In order to do these things, you could do more recruiting at the middle school level, set up fundamental exercises on equipment that are repeated each rehearsal, or maintain a higher level of focus during rehearsal. These are just a few examples of goal setting for your color guard, but, in the end, you will need to begin to envision your personal goals and collaborate with your team to ensure success for the program.


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Instant improvement: Be there now

by Jay Logan, MFA SSY CG Faculty 2012

Think about one of the greatest performances you have seen.

What made it one of the greatest?

Most people say it is the talent, the difficulty of the work, or the experience the ensemble

brings to the performance. But, think deeper…and simpler. One of the most crucial parts of

a great performance is the ability and commitment of the performers to just simply

commit…commit to giving a full-out performance, not almost, not pretty close, not good

enough. An “almost” performance is fooling no one. You know it, the audience feels it and

the judges see it. But, a great full-out performance inspires everyone. Everyone feels a

great performance. For those moments, the performer isn’t just dancing- the performer is

the dance.

Many people in the color guard activity view The Pride of Cincinnati’s 2001 show “Channel

One Suite” as one the most memorable shows in the activity. The reason that so many

people feel this way has so much to do with the performance of the ensemble. The entire

color guard that season made a commitment to always do everything full out, making every

performance truly unforgettable. You can have that same greatness by doing one thing

today: commit to go full out in your performance. Not almost, not pretty close, not good

enough…full out…and love it.

Have you ever felt strange or even very awkward when an instructor asks you to do a

certain movement or portray a feeling or become a character? “He wants me to do what

with my body?” Is it fear that you’ll


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look strange or silly that is holding you back? Performers end up looking awkward because

they don’t go full out. When you perform a movement, or express a feeling, or become a

character, leap into it and don’t hold back. Then, trust your instructor to direct you from there.

All instructors will respect your full-out effort.

There are a lot of qualities that take a great deal of effort and time to learn…hours of

practice to learn a new technique and days to learn drill. But, committing to go full out in all

that you do will instantly take you to the next level…in performance and in life

Scenario: An instructor shows you a move that you think will make you look silly

if you try. What should your first reaction be? Try it! All the way. If you’re awesome,

he’ll tell you. If you need improvement, he’ll tell you. Either way…it’s always all the way.

Today we will explore attitudes to develop this simple skill.

• What is holding you back?…Nothing.

• Going full out is the building block that makes or destroys a color guard.

• It’s called “vocabulary” because it’s a language…use it to convince people.

• You control the audience…and they want more.

• Need motivation? Think of your favorite performance. Would it have been the

same if the performer was “almost” there?

So many times while teaching a color guard, I feel as if I am leading them on a journey: a

journey to explore the freedom of expression. Sit with me on a journey to understand. Better

yet, take a short cut and be there now, today.


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Color Guard will Change Your Life by Rosie Queen, MFA SSY CG Faculty 2009 Color guard will change your life. Color guard is love, passion, dedication, determination, and discipline. Color guard is art, athleticism, language, math, physics, and psychology all wrapped into one. Working through your greatest fear- the fear of throwing that piece of equipment up in the air in front of thousands of people and catching it. It is putting yourself out there as a performer. Bringing yourself to a place you would never be had you never joined guard. You have to learn to trust yourself. Trust your talents. Trust your abilities. Trust that all the hard work you have put in will come out in the performance. I like to tell my students about a tool that helped me as a performer, many years ago…

the “insurance policy”.

Just as in any sort of insurance it is important you have a lot of it for that moment of truth when you may need it someday. That day is performance day. With every repetition you do of your choreography and drill. You are piling these things into your insurance policy. Picture it as a huge backpack on your back that you carry with you out onto the field or floor. Every toss thrown, every set of drill, every clean flag move, every drop spin, every time


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you perform during rehearsal. All the times you sit in your back yard and practice your flag work, even though your neighbors think you are crazy. Each repetition is preparing you for that performance and building up your insurance policy. There is that moment of truth when you are standing on the starting line and your mind starts to race…Did you do everything you could do to prepare? Did you work hard enough? Did you do your show more times right than wrong? When you go out for that big performance, there is nothing more comforting than knowing you have the biggest insurance policy you can for that day in time. Even though you have butterflies in your stomach your insurance policy will help you fly them in formation.

Practice hard, Prepare hard, and be passionate.

Amateurs practice until they get it right.

Professionals practice until they cannot do it wrong.

Which one are you?


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Maxing out EVERY Performance!

By Ricardo R. Robinson, MFA SSY CG Faculty 2012

How many times have you come off the field or floor with your head hung low

and a sad look on your face? Now think about how many times have you come out of a

performance about to scream because it was the best time of your life? Which is

greater? If you are like most young performers the first scenario happens more. Here

are a few tips that can help you every performance with your head held high.

Visualize. While you are doing your show think about some other performer

you have watched and admired. Either another member of your group or even a

professional, use that person as a guide to what you want to look like as you perform.

People who perform in the top levels of drum corps, marching band, and winter guards

are great role models because their performance levels are always maxed out. Pull out

some old videos and DVD’s and pick out shows and performers that you enjoy and copy

them. Someone once said that imitation is the best form of flattery. Who knows? One

day someone may be watching you as their model.

Don’t be scared! The more “over the top” you are, the better it translates

to others. Chances are that if you feel cheesy, you really look great.


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People enjoy watching performers that look like they are having the time of their lives.

The more you enjoy what you do, the more your audience will appreciate you.

Find your moment. Find the one phrase in your show that you feel like a

superstar when you do it, then make the entire show about that moment. After you find

that one moment, find another, then another, then another. Soon you will find that the

entire show is your moment.

Help your friends. Whenever you get the chance, have a moment with a

buddy. It may be a short pass when your drill spots are close, or it may even be when

you know that they can see you from the corner of their eye, but say something or have

some signal to let them know that you are there for them. Sometimes the support of

your friends helps you get through things even when you think you can’t.

Practice is still a performance. There may not be a large crown

present, and you may not be in uniform, but there is always someone watching you. It

may be your instructor, or some other member, but there is someone watching you.

Who knows? It may even be a future performer that is watching you hoping that they will

someday be in your shoes. Don’t turn it on just in a performance; make every time your

personal performance.


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How Do You Write for Your Guard? Some simple tips…

by Derek Smith, MFA SSY CG Faculty 2012

Many of you are charged with writing the routine for your high school color guard…this is a big responsibility!!! No doubt, you are excited and up to the

challenge. The following few tips will hopefully help to guide you in your writing experiences…

1) Listen To the Music!

Have you ever watched a marching band show and thought to yourself, “What are they doing?” Not that the group was bad, but what they were doing didn’t seem to make sense with what the band was playing. When you are writing, you need to remember that the music should be your inspiration and your guide! The best color guard work is that which is the most musical. Listen carefully to the melody of each tune. If there is a 4 count long extended note, maybe you do a big, slow movement, rather than twirling your flag up and down ten times…in many cases, less is more!

2) Don’t Over Do It! Here’s the “less is more” idea again. Don’t think that your guard has to do every cool thing that you’ve ever seen done or tried on your equipment. Be aware of the skill level that your team possesses, and write your choreography accordingly. It should not be the most difficult thing you can come up with, unless everyone in your guard can achieve it. Something that is a little bit “easier” when performed very well is MUCH MORE EFFECTIVE than something that is very difficult, but performed poorly! You definitely want to challenge your group, so they can improve their skills. But be smart and select a few moments that might be a little more difficult than the majority of the show. Focus on being clean and allowing your group to relax and perform their show!

3) Be Aware of the Whole

It is important to understand how your color guard fits into the whole picture of the marching band as a whole. The most successful and entertaining shows are those which combine all the


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elements of the group together. Not every count of your show is there to feature the color guard. Remember that we are there to enhance the band’s music and formations…Certainly, there are times when you will be featured, but be aware of when those are…they should be your most interesting and musical moments! Don’t be afraid to ask your band director what your focus should be at any point in your show. Be aware of the band’s music and drill and how they relate to you. Be aware of your own staging. If the guard is running at a 4 to5 step size, don’t plan your coolest toss at this moment…it won’t end up looking cool at all! Knowing these things can make your writing process a lot easier.

4) Other tips…

+++ Use the musical score. When I write work, I have the score of the music with me, so I can see what is being played, as well as hearing it from the tape or CD. This also helps to count the music by being able to look at time signatures, measure numbers, etc. Ask your band director to make notes on the score telling you where big impacts or moments are and where the color guard might be featured.

+++ Video tape yourself when writing. This may seem like a pain, but how often do we come up with something cool that worked really well with the music or felt really good and then we forgot it? The video can be your saving grace.

+++ Take time off. Don’t try to write the whole show in one day. The process should be fun. If you ever start getting frustrated, take a break and come back later. You will not come up with your best if your not enjoying yourself! HAVE FUN!!!


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UN-INVISIBLE…So you think you can hide?

By Jonathan Smith, MFA SSY CG Faculty 2007

I know how it can be. I remember being at a winter guard show as a competitor

and feeling tired because I didn’t get much sleep the night before. The rest of the rifles and I were getting in trouble and having fun. On top of that, when I would be at practice, I never really imagined that I was rehearsing to be in front of an audience, so I never took practicing my performance seriously. Therefore, I would go to perform at a show and look like I was only giving half of an effort. My problem was that I felt like I wasn’t always being seen. I pretended that if I didn’t see a particular person or persons looking at me, I wouldn’t think that it mattered what I did because no one would know anyway. I had to learn a lesson for myself, and now I can share it with you. I know it may seem hard to believe, but YOU CAN BE SEEN! Just because you don’t see one person looking at you, doesn’t mean that there aren’t plenty of other people who can see you. People tend to believe that they can hide from other people in plain sight. A person at a party may think something like, “If I stand over here in the corner, no one will notice me…”

I made an amazing discovery. I have found that it is impossible to disappear! Again, I know you may be thinking “duh”, but even grown adults play this little game with themselves! I will let you in on a big secret: adults sometimes feel embarrassed and self-conscious and depressed, too. I teach at a community college, and every month I see people who think that they can sit in the back of the room and not be noticed by me. It’s not just the youngsters right out of high school, either. People of all ages think they are invisible, too. Well, it doesn’t work that way in my class. I get to know everyone – their names, a little bit about them, and I usually accomplish this with everyone that attends. What I have found is that those people that try to be hidden usually garner the most

attention from me. This is sometimes the case when I judge, too. I judged a lot this winter, and I was overwhelmed by just how many kids THOUGHT they were working hard at looking good but actually weren’t. You could see this in their lack of energy and movement technique (i.e. pointing their toes, really stretching with extensions). I just want to remind everyone that you always have to be aware of your own performance – you always have to think about your bodies and the EFFORT it takes to maintain a great performance with them all the way through your show. You can never let down. Someone in a flag line might think, “Cool, the rifles now have the focus in the show. Since I’m just going behind


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2012 MUSICFORALL Summer Symposium Color Guard_______________________________________ a prop, I can give in to wanting to look ‘cool’ and look tired, like I’ve just worked really hard…” …Or something like that…

It doesn’t have to be that deep, or calculated, either. Sometimes we just forget! What might be commonly thought of as easy equipment work, becomes much more difficult when you think of what it takes to perform it perfectly all the way from beginning to end. Our minds just become tired and it becomes easy to be distracted. Sometimes at practice, we are distracted by not feeling well, having a lot of drama going on at home, being mad at someone else in the guard, lots of homework, etc. In a performance, however, we are much more aware of ourselves in the moment. Our nervousness, the audience, odd things like lighting, weird-sounding music, being tired, and so on can distract us as well. As you all know (I hope!), they way you practice is the way you perform. I don’t care how “talented” a person is. If that person does not rehearse EXACTLY the way he/she wants to perform, it simply will not happen in front of an audience. You have to put those distractions away during practice in order to give your best effort for the entire time. The same thing applies to performance. You can acknowledge the things that distract you, but then right afterward, PUT THEM AWAY! Concentrate on what you are doing and how your body feels, and you will be in a position to apply your movement techniques throughout your show.

It can be difficult for audiences and judges to watch color guards perform when

some of their members look like they have given up on looking good. Among other things, I feel bad for them. Not just for the people who are giving up, but more for the ones in the same groups who aren’t. It just doesn’t seem fair to those people who are really trying to look good. Whether you are front and center and performing all of the feature parts, or whether you are only in a few parts – you might dance a little and do a couple of flag parts – you are in the group and it is impossible to not look at you. You are a performer! PERFORM! As a judge, we simply cannot ignore you, so you have to perform as if you are every bit as good as everyone else in the entire guard. To do that, you should be thinking about how you look during every minute of practice. That way, when you go to a show, you will automatically be thinking about how you look. It won’t be different, as long as you did that faithfully in practice. I was really amazed this past winter when I really discovered just how easy it is as a judge to tell the difference. It is obvious who rehearses with the audience in mind all the time and who doesn’t. Judges are fans, too! We judge guard because we love it and we really do want to see everyone else love it, too. Work hard, stand in the front row in dance class, know your choreography, and make yourself un-invisible!


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The Greatest Ride By Vincent E. Thomas, MFA SSY CG FACULTY 2012

There I stood wearing black sweat pants, my favorite high school chorus t-shirt, and white over-the-calf athletic socks that were pushed down to the

ankles. Sweat was peeping through my pores leaving a misty shell over my excited but scared facial expression. A four feet- seven inches strawberry

redhead shouted, “Ok, let’s start with head rolls, 5-6-7-8….” As soon as my head dropped and circled to the right I knew I was in heaven! The pulse of the driving rhythms was my roller coaster and with a deep inhalation and exhalation, I freely soared on its tracks. This was the beginning…my very

first dance class. The journey continued with more classes…ballet, ballroom, African, and modern. It was a natural fit with my music training and teaching; it became inseparable. When I think of “why I do what I do?” the answer is always “why not?” Why not do what makes you happy and fulfilled as a human being. It is not that I can’t think of anything else I’d rather or can do, but instead, this is what I

want to do. I understand we only have one life, if this is true; I want to make the most of each moment.

Arpad Darazs*, my mentor, teacher, and source of inspiration once said to me, “… my sweet friend, when you sing, sing with no regret…” What a lesson for life that was, and is still. Life is not a dress rehearsal-it is the real thing- every moment. Investing in each incremental second that exist in your minute, hour, day, week-life is exhilarating. Here I stand with black sweat pants cut off above the ankle, my favorite leotard and t-shirt, and bare feet. Sweat still pours from my pores, as my excitement for that driving pulse takes me on the greatest ride…dance. *Arpad Darazs (d.1986), musician, conductor, composer, and teacher escaped from Hungary as a young child and fled to the United States.


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How Can I Be A Great Leader? By Amanda Van Dreumel, MFA SSY CG Faculty 2010

Everyone knows that the captain or drum major is the designated leader of your group. Did you know that you can be a great leader without a designated title? It’s true! You don’t even have to be an upperclassman to be a leader and a positive role model in your group! I’m sure some of you think, “I’m just a first year member”, or “I’m not a senior, what place do I have as a leader in my group?” I’m here to tell you that every member in a group plays an active role in the team.

First of all, a designated leader needs people to count on to make the season go smoothly. They cannot one handedly take care of all of the responsibilities. All leaders need a support system, a network of sorts, to bounce ideas off of and ask for help.

There are many things that an untitled leader can do to help his or her organization.

Setting a good example for all members of the group is an invaluable service that anyone can easily provide.

By staying quiet and paying attention at rehearsal you are not only setting a good example, but you are also helping your group be productive.

By practicing on your own time, you are preparing yourself to help others who need it.

By helping even one struggling member, you are helping the entire group achieve their goals.

By actively supporting your assigned leader, you are sending your group on their way to success.

Remember; it takes a good leader

to be a great follower!


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Body Technique: Fundamentals are Essential

By Vincent E. Thomas, MFA SSY CG Faculty/Dance 2012

The following represent ballet’s most fundamental movements of the legs. Each is defined and its purpose given.

1) Plie- bending of the knees.Purpose- the plie increases the circulation of the blood in the legs, thusfacilitating warm-up (increasing elasticity). The body must be centered overthe feet, the spine erect, and the pelvis in a neutral position.

2) Releve- a rising to the balls of the feet (and lowering the heels).Purpose- to develop strength, suppleness, and control of the feet. As thethighs are lengthened upward during the rise, the knees and muscles of thelegs are strengthened. Combined with a plie, the releve serves as a preparatoryexercise for jumps.

3) Tendu- stretching the foot along the floor to a pointed position beforereturning it to a closed position.Purpose- strengthens the foot by alternating the tension of arching andpointing the foot with the relaxation of the toes and then the foot as it returns; italso centers the body on one supporting leg.

4) Degage- a tendu that is disengaged from the floor.Purpose- the degage develops speed in pointing (articulating) the feet.

5) Passé- withdrawing of the gesture foot from the floor until it touches thefront, side, or back of the supporting knee.Purpose- warms up the thighs and strengthens the muscles in the waist andback.

*Source- Hammond, Sandra Noll. Ballet Basics, 3rd Edition. California: MayfieldPublishing, 1993.


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Music For All 2017 SSY Color Guard A Basic Technical Warm-up Sequence By Vincent E. Thomas, MFA SSY CG Faculty/Dance 2017 Thefollowing sequences present a basic foundation for dancers and non-dancers and can be developed into intermediate & advance sequences. Port de bras are used with each sequence.

Plie Sequence (Counts and Action)1-2 Plie, 3-4 Stretch (slowly), 5-6 Plie, 7-8 Stretch 1-2 plie, 3-4 maintain plie and force arches 5-6 Stretch to releve, 7-8 lower heels 1-4 releve, 5-8 lower heelsRepeat Plie and releve sequence in 2nd, and 3rd. End in parallel and roll down sequentially (8 cts), Deep breath -inhale and exhale (8 cts), Plie and roll up sequentially (8 cts)*For each sequence, have a strong, clear beginning and finish.

Tendu Sequence (Counts and Action)(Right Leg) 1- Tendu, 2- Flex foot, 3- Pointe tendu, 4- Close first position, 5- Tendu, 6- Close, 7- Passe, 8- Lower (Left Leg) 1- Tendu, 2- Flex foot, 3- Pointe tendu, 4- Close first position, 5- Tendu, 6- Close, 7- Passe, 8- Lower Repeat the sequence devant (front), a la seconde (second), and derriere (back). Tendu devant (front), a la seconde (second) and derriere (back).

Degage with Passé Balance (Counts and Action) Degage (a la seconde): Right leg- 8, Left leg-8, Right leg- 4, Left leg- 4, Right leg- 2, Left leg- 2, Repeat R & L leg for 2 counts; Plie- 1-2 and stretch legs as you Passé right leg- 3-4, Balance 5-6, Lower Passé- 7-8; Plie- 1-2 and stretch legs as you Passé left leg- 3-4, Balance 5-6, Lower Passé- 7-8; Plie and Releve (strong legs, weight on the balls of the feet- mainly the first and second toes), Lower heels; In turn out first position, roll down sequentially (8 cts), Deep breath -inhale and exhale (8 cts), Plie and roll up sequentially (8 cts)

Qualities and Dynamics of Movement All movement is affected by varying the quality or the dynamic intention. Quality concerns the motion of the body and the motivating forces behind it. Dynamics is related to the amount of energy the body uses while moving in time and space. A visual artist uses a variety of colors (and shapes) to enhance his/her art on canvas, so as a mover can use a variety of qualities to enhance movement in space.


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Technique and its Applications: or “Why do we have to do all of these drop spins OVER AND OVER?”

By Mary McWilliams, BOA SSY CG FACULTY 2002-2005

I have been a guest clinician to many color guard units for many years. When I go in, the first thing I do is be sure there is a set technique for the many ways and spaces equipment can move. Some groups say to me, “Why do we have to do all of these drop spins, we don’t ever do this many on the field?”

If the unit wants to achieve their goals, drop spins and other exercises are and will be necessary. Sure, no one does the hundreds of drop spins (or weapon spins) that are done in rehearsal in the performance arena, but they are necessary:

They teach proper hand placement, how to squeeze the equipment, and what each part of the hand can do- something crucial for catching tosses and performing other choreography.

They assure the teacher that every individual knows how to stand in the correct position. The shoulders, the rib cage, the spine, and arm and hand shape can be examined for correctness as well as similarity. Placement of the upper body and separation from the lower body is crucial for performing all equipment choreography.

They teach timing. If a unit can drop spin together, they can learn to do ANYTHING together!

They teach a set standard for articulation and excellence. They teach the muscles it is OK to push and keep going, even though they may be

tired. Increasing stamina is a skill that can be taught. They teach the unit that the one of the most fundamental things that must be

accomplished is to STAY TOGETHER! When fundamentals are done in both the left & right hands, it engages the brain and

the body! They teach students to have patience with themselves and the unit. When it comes

to cleaning minute details of a show, they will be happy they spent hours on spins because they are prepared for very detailed cleaning sessions.

Drop spins and other technical exercises should never be boring or mundane. Many times, instructors and students will become bored with technique exercises. When this happens, technique suffers and in turn performance and excellence suffers. If the expectations are set in the beginning, if students know why the exercises are done, if the instructor and the students place meaning on their technique package, students will come to appreciate the exercises and eventually rely on them.


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When it comes time to clean choreography, the process will be easier because the students will know the many ways and spaces equipment can move. When cleaning units, I have often said, “In this piece of choreography, count two is the same placement as the plane exercise,” and other remarks that always relates back to the technique block. It is why units do technique, not only for timing, articulation, and excellence, but also so there is an application for a later performance. This places meaning on the technique and students can see a bigger picture. Teams will become very strong very quickly when students are taught to relate what they do in technique block to what they do in the performance arena.

I recommend working on a few exercises and really mastering those before multiple or complex exercises are added to the technique repertoire. A good beginning for a repertoire of technique exercises might include:

Drop spins on both hands Some sort of speed or strength spin on both hands A carving exercise on both hands An angle exercise on both hands (an exercise to hit different angles

and planes around the body) A stopping exercise (one in which both hands have to strongly stop the

equipment at different angles).

I would do tosses in isolation, not part of the entire exercise. Students need more feedback when working on tosses. As students become more proficient, more exercises can be added, more difficult exercises that deal with planes around the body, one handed carving, and strength exercises.

When students have mastered the basics to a high degree of excellence, the bar can be raised. Fluid or isolated movement of the body can always be added to the technical block. One exercise may be done in second position, then second position plie, and then second position releve. Spins and tosses can always be done while traveling whatever the method of transportation.

Another thing I teach to students is to self-talk during the technique block. I teach the students that they should be talking to themselves some and asking very specific questions. I have them think and self-talk about what their body is doing, is everything being done the way it should be done, can it be done better, and finally, how can this be applied to something in their show or performance. I teach them that this unit is concerned with timing and a lapse in concentration could mean timing, excellence, or articulation errors. I also teach them to encourage one another in the block. It doesn’t bother me if a student verbally encourages the group or individual, but some teachers may not feel comfortable with this style.

I always say to students that technique is their friend. They laugh, but it is the truth. Friends rely on each other, they are dependable, and they stick with you no matter what. When you are performing in front of people, you want something you can rely on and that something is technique. When you do hundreds of triple tosses correctly, the one you throw in a performance will be exactly the same as the hundreds of others you threw in the techniques block. That is a comforting thought!


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Flag: Ø Right and Left hand consecutive spins (+peggy)

1. Discuss and detail a consistent body position and stance while completing exercise. 2. Discuss body relation to equipment while spinning; along with hand positions on and off

the equipment. 3. Discuss key fundamentals of exercise. Start and stop positions, sequence of exercise,

how many reps, etc. 4. Discuss benefits of mastering the exercise and performing the exercise.

Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Ø “Pull-Hit” Exercise

1. Discuss and detail a consistent body position and stance while completing exercise 2. Discuss body relation to equipment while spinning; along with hand positions on and off



Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Ø Cone/Carve/Figure8 Exercise




Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


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Ø Tossing(+45’s)1. Discuss and detail a consistent body position and stance while completing exercise2. Discuss body relation to equipment while spinning; along with hand positions on and off

the equipment.3. Discuss key fundamentals of exercise. Start and stop positions, sequence of exercise,

how many reps, etc.4. Discuss benefits of mastering the exercise and performing the exercise.

Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Rifle:

Ø Right and Left Consecutive Spins1. Discuss and detail a consistent body position and stance while completing exercise2. Discuss body relation to equipment while spinning; along with hand positions on and off



Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Ø Spins and Stops Exercise(+body)1. Discuss and detail a consistent body position and stance while completing exercise2. Discuss body relation to equipment while spinning; along with hand positions on and off



Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


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Ø Tossing1. Discuss and detail a consistent body position and stance while completing exercise2. Discuss body relation to equipment while spinning; along with hand positions on and off



Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

**Bonus Exercise** Ø Carve/Flourish Exercise

1. Discuss and detail a consistent body position and stance while completing exercise2. Discuss body relation to equipment while spinning; along with hand positions on and off



Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Sabre:

Ø Right and Left Consecutive Spins1. Discuss and detail a consistent body position and stance while completing exercise2. Discuss body relation to equipment while spinning; along with hand positions on and off



Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


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Ø Spins and Stops Exercise(+body)




Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Ø Tossing 1. Discuss and detail a consistent body position and stance while completing exercise 2. Discuss body relation to equipment while spinning; along with hand positions on and off



Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ . **Bonus Exercise**

Ø Finger Twirl Exercise 1. Discuss and detail a consistent body position and stance while completing exercise 2. Discuss body relation to equipment while spinning; along with hand positions on and off



Exercise notes: ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


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SABRE: The Equipment The Equipment:

Use the space below to make notes Handle/Hilt: Hilt Guard:

Balance Point: Blade:

Tape: Tip:

Handle/Hilt-‐-‐standard for left handed tossing.

Hilt Guard—used in

Balance Point—the point around which the saber will rotate (about 1/3 the distance from the hilt on the blade). Understanding the balance point and the physics of the balance point is the key to saber!

Blade-‐-‐common hand positions are: splitting hilt/balance point; balance point; middle of the blade, “Tape”; and tip

Tip—it is wise to tape your tip with strong tape or a plastic tip

Tape-‐-‐ about 1/3 the distance from the tip. Used as a reference point for catching the saber.


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SABRE: Basic Technique

Technique—Technique is the necessary skills to manipulate the sabre. Every color guard program will have its own variation of technique. As long as your program has a “way” to do things that everyone understands, that is technique. Yet, there are some standard skills that compose a strong technique program. Each technique exercise assists with building the skills necessary to do choreography, toss with consistency, catch with strength, and spin the equipment. Here are some technique exercises that you will commonly find in developed saber programs. Notes: Spins— Spins are consecutive repetitions of a release and catch skill involving a single rotation of the saber. How: Spins are typically performed on the bottom of the blade. The hand should release and catch between the balance point and the middle of the blade. The saber should be caught straight up and down on every count. Why: Spins are used to learn how to continuously manipulate the hilt around the balance point. Spins done in quantity (100, 200, or more) help with muscle development and mental concentration or engagement. Once a group masters basic spins, it is common to add a layer of lower body/feet to further challenge the performer’s skills and concentration abilities. Notes:

Spins and Stops—a set of spins (usually 4), followed by a catch position and then a release skill back into spins. Usually six sets of 8 count phrases with a different catch angle for each phrase. How: Begin with four spins followed by a release. Catch the saber at the tape and hilt as follows: Set 1: Cross port (hands cross center of body) Set 2: Port (straight up and down) Set 3: Open angle (hands stay on respective side of

body) Set 4: Inverted flat (equipment stops upside down) Set 5: Standard dip Set 6: Inverted flat with transition to other hand

spins. After each catch, hold two counts, and then use a release skill to return to spins. Why: Spins and Stops are used to define catch positions that are add variety to choreography. This exercise trains the hands to be placed accurately on the sabre. Notes:


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SABRE: Basic Technique Continued…Flourish—a wrist manipulation skill that moves the sabre rapidly through a given plane around the body.

How: Flourish exercises vary from greatly from program to program. Flourishes are most often performed while holding the hilt or the balance point. Checkpoints of flourishes also vary but are typically defined as straight up and down for every whole count check point.

Flourish train the wrist and forearm; therefore, they should be performed with a straight arm and no bend in the elbow.

Why: Flourishes train and strengthen the wrist. Additionally, they train performers to control the saber through time and space. Flourishes are common in choreography of all levels.

Notes:

Spin Medley—a variety of different types of spinning techniques performed in a series of 8 count or 12 count phrases.

How: Spin medleys involve a combination of two or more of the following spin types put together into 8 or 12 count phrases:

• Single time spins• Single time spins on the top of the

equipment• One handed double time spins (alternate

top and bottom of the equipment)• Two handed double time• Triple time (12 count phrases)• Consecutive singles

Why: Each type of spin changes the energy required to accurately execute the skill. Combining multiple types of spins challenges the performers’ control of the equipment and their mental focus! Note: This is not a technique exercise for beginners.

Notes:

Blade Tosses—a standard right handed release from the blade.

How: Hold the saber at an open angle with the left hand in the handle/hilt and the right hand on the blade and the right thumb pressed against the tape mark.

• Break down the counts prior to the release by swinging the hilt down on an “and” count and straightup on a whole count to the release point; both of these positions should be straight up and down.

• The right elbow need to point down to the ground at the release point.• The right hand should take a slightly “J” shaped path from the start point to the release point.• At the release point, the line created between the right elbow and the right finger tips will dictate the

trajectory of the equipment; therefore, it is imperative that the line created here be vertical.

Why: Tossing adds excitement to all weapon books when the skill is achieved well throughout. To get the most out of tossing in choreography, strong execution is key. Include breaking down the dip, the release point, and multiple repetitions of good, well executed tosses to each rehearsal for best results.

Notes:


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Hilt Tosses—a standard left hand release from the hilt. This technique element also involves working on a strongly defined “dip” position. How: The “HOW” of tossing can be broken down into a series of steps: 1) dip, 2) release point, 3) under the toss, 4) the catch, 5) after the catch. 1) Begin by isolating the dip. The dip should be low on the body and elbows point towards the ground. This motion is sharp and fast. 2) Next, isolate the dip to the release point. It is important to define the ending placement of the equipment, or release point, as flat to the ground, the level of the left hand in relation to the body for each type of toss (double, triple, quad, five, etc.), and the left elbow need to point down to the ground. The left hand should take a straight line path from the dip to the release point. The line created between the left elbow and the left finger tips will dictate the trajectory of the equipment; therefore, it is imperative that the line created here be vertical. Finally, the right hand should be on the right thigh and the elbow straightened. 3) Under the toss, a performer must quickly analyze where the toss is placed and the rotational speed. This is the time to think quickly to determine how to achieve the best catch. Hold your body in the position where the equipment was released until the last possible second, then, execute your plan for the best catch. 4) The catch is best executed when there is ¾ of the saber between your hands. In other words, catch hilt and tape! Also, apply force downward with your left hand to stop the rotation. Likewise, squeezing the equipment and pulling outward slightly with your hands helps stop the equipment. 5) Once the equipment is in your hands, project your energy out to the audience. The follow through is what makes you look strong and professional. Why: Tossing adds excitement to all weapon books when the skill is achieved well throughout. To get the most out of tossing in choreography, strong execution is key. Include breaking down the dip, the release point, and multiple repetitions of good, well executed tosses to each rehearsal for best results. Notes: Additional Information: Technique is vital to having a strong saber line. Start with training the hands and arms. Add lower body (feet) for more advanced skills and to increase body coordination. Time spent on technique is never wasted! Here are a few more helpful hints:

1) There are many more technique exercises that are not discussed above. Some include: backhands, non-‐traditional releases from the hilt and blade; variations on standard tossing exercises and more!

2) Detail where non-‐working hands go. To look the best, always put free hands on the outer thigh with a straight elbow. Train this valuable aesthetic beginning with spins!

3) Take your time with technique; control is the key, not speed!


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Rifle: The Equipment The Equipment:

Use the space below to make notes Handle/Hilt:

Hilt Guard:

Balance Point:

Blade:

Tape:

Tip:

Small— the most common part of the rifle to spin from.

Butt-‐ heaviest part of the equipment used to add momentum.

Bolt—used as a reference point for balance, hand position, and spot.

Strap—used to add sound to the spin for timing. The strap is a part of the original military rifle from the beginning of the activity.

Tip/nose—it is wise to tape your tip with strong tape.

Swivel-‐-‐ about 1/3 the distance from the tip. Used as a reference point of releasing the rifle from the left hand.


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Rifle: Basic Technique

Technique—Technique is the necessary skills to manipulate the rifle. Every color guard program will have its own variation of technique. As long as your program has a “way” to do things that everyone understands, that is technique. Yet, there are some standard skills that compose a strong technique program. Each technique exercise assists with building the skills necessary to do choreography, toss with consistency, catch with strength, and spin the equipment. Here are some technique exercises that you will commonly find in developed rifle programs. Notes: Spins— Spins are consecutive repetitions of a release and catch skill involving a single rotation of the rifle. How: Spins are typically performed on the bottom of the rifle, in the small. The hand should release and catch under the small of the rifle with the strap between the rifle and the performers hand. The rifle should be caught straight up and down on every count. Why: Spins are used to learn how to continuously manipulate the tip and butt around the balance point. Spins done in quantity (100, 200, or more) help with muscle development and mental concentration or engagement. Once a group masters basic spins, it is common to add a layer of lower body/feet to further challenge the performer’s skills and concentration abilities. Notes:

Spins and Stops—a set of spins (usually 4), followed by a catch position and then a release skill back into spins. Usually six sets of 8 count phrases with a different catch angle for each phrase. How: Begin with four spins followed by a release. Catch the rifle at the end of the butt and at the swivel as follows: Set 1: Cross port (hands cross center of body) Set 2: Port (straight up and down) Set 3: Open angle (hands stay on respective side of

body) Set 4: Inverted flat (equipment stops upside down) Set 5: Standard dip Set 6: Inverted flat with transition to other hand

spins. After each catch, hold two counts, and then use a release skill to return to spins. Why: Spins and Stops are used to define catch positions that are add variety to choreography. This exercise trains the hands to be placed accurately on the rifle. Notes:


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Rifle: Basic Technique Continued…Flourish—a wrist manipulation skill that moves the rifle rapidly through a given plane around the body.

How: Flourish exercises vary from greatly from program to program. Flourishes are most often performed while holding the small. Checkpoints of flourishes also vary but are typically defined as straight up and down for every whole count check point.

Flourish train the wrist and forearm; therefore, they should be performed with a straight arm and no bend in the elbow.

Why: Flourishes train and strengthen the wrist. Additionally, they train performers to control the rifle through time and space. Flourishes are common in choreography of all levels.

Notes:

Spin Medley—a variety of different types of spinning techniques performed in a series of 8 count or 12 count phrases.

How: Spin medleys involve a combination of two or more of the following spin types put together into 8 or 12 count phrases:

• Single time spins• Single time spins on the top of the

equipment• One handed double time spins (alternate top

and bottom of the equipment)• Two handed double time• Triple time (12 count phrases)• Consecutive singles

Why: Each type of spin changes the energy required to accurately execute the skill. Combining multiple types of spins challenges the performers’ control of the equipment and their mental focus! Note: This is not a technique exercise for beginners.

Notes:

Right Hand Tosses—a standard right handed release from the small.

How: Hold the rifle at an open angle with the left hand on the tip/nose and the right hand in the small and the right thumb pressed against the butt.

• Break down the counts prior to the release by swinging the tip/nose down on an “and” count andstraight up on a whole count to the release point; both of these positions should be straight up anddown.

• The right elbow need to point down to the ground at the release point.• The right hand should take a slightly “J” shaped path from the start point to the release point.• At the release point, the line created between the right elbow and the right finger tips will dictate the

trajectory of the equipment; therefore, it is imperative that the line created here be vertical.


Notes:


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Left Tosses—a standard left hand release from the swivel. This technique element also involves working on a strongly defined “dip” position.

How: The “HOW” of tossing can be broken down into a series of steps: 1) dip, 2) release point, 3) under the toss, 4) the catch, 5) after the catch.

1) Begin by isolating the dip. The dip should be low on the body and elbows point towards the ground. Thismotion is sharp and fast.

2) Next, isolate the dip to the release point. It is important to define the ending placement of the equipment,or release point, as flat to the ground, the level of the left hand in relation to the body for each type of toss(double, triple, quad, five, etc.), and the left elbow need to point down to the ground. The left hand shouldtake a straight line path from the dip to the release point. The line created between the left elbow and the leftfinger tips will dictate the trajectory of the equipment; therefore, it is imperative that the line created here bevertical. Finally, the right hand should be on the right thigh and the elbow straightened.

3) Under the toss, a performer must quickly analyze where the toss is placed and the rotational speed. This isthe time to think quickly to determine how to achieve the best catch. Hold your body in the position wherethe equipment was released until the last possible second, then, execute your plan for the best catch.

4) The catch is best executed when there is ¾ of the rifle between your hands. In other words, catch tip/noseand in the small! Also, apply force downward with your left hand to stop the rotation. Likewise, squeezing theequipment and pulling outward slightly with your hands helps stop the equipment.

5) Once the equipment is in your hands, project your energy out to the audience. The follow through is whatmakes you look strong and professional.


Notes:

Additional Information: Technique is vital to having a strong rifle line. Start with training the hands and arms. Add lower body (feet) for more advanced skills and to increase body coordination. Time spent on technique is never wasted! Here are a few more helpful hints:

1) There are many more technique exercises that are not discussed above. Some include: backhands,non-‐traditional releases from the butt and tip/nose; variations on standard tossing exercises andmore!

2) Detail where non-‐working hands go. To look the best, always put free hands on the outer thigh with astraight elbow. Train this valuable aesthetic beginning with spins!

3) Take your time with technique; control is the key, not speed!


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FLAG: The Equipment The Equipment:

Use the space below to make notes Flag: Pole:

Cheaters: Tip:

Butt: Tab:

Flag: The fabric or color of the equipment

Pole: 6 ft. worth of spinning space!

Top/Bottom Cheaters: Tape marks on pole used for cleaning and for providing specific grab points

Tip: Where the flag is attached at the top of the pole

Butt: The bottom of the pole

Tab: Where the flag is attached at the center of the pole


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FLAG: Basic TechniqueTechnique—Technique is the necessary skills to manipulate the flag. Every color guard program will have its own variation of technique. As long as your program has a “way” to do things that everyone understands, that is technique. Yet, there are some standard skills that compose a strong technique program. Each technique exercise assists with building the skills necessary to do choreography, toss with consistency, catch with strength, and spin the equipment. Here are some technique exercises that you will commonly find in developed flag technique programs.

Notes:

Angle/Carving Exercise— Angle/carvingexercises involve hitting and passing through various angles in space around the body. They often involve differentiating count structures and speeds.

How: Hands are usually located in a right or left shoulder position. The flag is then pointed into angles around the body. They can be pointed in a hard/quick motion, or pass smoothly through the angles (carving).

Why: Angle exercises make us aware of the points around us in space. They also help us distinguish between hard and soft motions. Strength is improved through angle exercises as well. Additionally, these exercises develop a strong carriage of the equipment with the upper body.

Once a group masters basic angles, it is common to add a layer of lower body/feet or changes in facings to further challenge the performer’s skills and concentration abilities.

Notes:

Spins —Drop spins are the most basic of flagtechnique exercises. They are one of the first things taught and will be repeated throughout a color guard career.

How: Start at right shoulder. Lower the flag straight down through the body with your right hand. Grab at the tab with the left hand in a backhanded (thumbs down) grab. The flag is down. Now using the left hand, continue rotating the flag up and grab at the tab with the right hand (thumbs up). Repeat, passing the flag between the left and right hand. Flag is down on odd counts, and up on the even counts. This is also done out of a left shoulder.

Why: Drop spins strengthen wrists, fingers, and forearms. They also develop control. Finally, spinning as a group promotes timing and accuracy.

Once a group masters basic drop spins, it is common to add a layer of lower body/feet to further challenge the performer’s skills and concentration abilities.

Notes:


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FLAG: Basic Technique Continued…Speed Spins—a faster version of drop spins. These have many different combinations of hand exchanges and are sometimes referred to as ‘double time’, ‘Peggy spins’, or ‘double fast’.

How: Speed spins vary greatly from program to program. While drop spins move the pole a half spin each count, speed spins are designed to rotate the pole half, ¾, or even full spins in one count.

Why: Speed spins strengthen the wrist and forearm. They are critical in developing the muscle and rotation needed for tossing the flag. They also provide timing and accuracy for the group.

Notes:

Spins and Stops—a variety of different types of spinning methods with distinct stopping positions every 4-‐8 counts.

How: Drop spins or speed spins for 4 counts, stopping in a strong position for counts 5-‐8. Continue with this pattern stopping in different positions with both the pole and body. (Can also be configured with 8 counts of spin, stopping for counts 9-‐12.)

Why: Being able to stop equipment accurately develops strength throughout the upper body and makes the performer more aware of the space around them. Being able to start the equipment after a stop also requires strength, and develops timing throughout the group.

Notes:

Spin Tosses—a standard right handed release from the silk with a 4-‐count wind up

How: Do four counts of speed spins, ending with the right hand in the middle of the flag (silk) on count 4. Continue the rotation of the flag by pushing down on the pole with the left hand and releasing up with the right hand on count 5. When releasing up, make sure the right hand travels in a straight-‐line path, perpendicular to the ground, all the way to the release point. For a single toss, the release point should be about temple level. For a double toss, extend the release point to a full extension of the right arm. The flag is caught in a solid position (this can vary based on need). You should do tosses out of BOTH hands.

Why: Tossing adds excitement to all flag books when the skill is achieved well throughout. To get the most out of tossing in choreography, strong execution is key. Include breaking down the wind up, the prep count, the release point, and multiple repetitions of good, well executed tosses to each rehearsal for best results.

Notes:

Pop Tosses—a toss executed using equal forces of opposition on the flag pole, and not rotation (like a spin toss)

How: Pop tosses can come out of MANY positions. They happen when one hand presses down, while the other “pop”s up. These tosses are more about height than rotation, and can happen in a variety of ways.

Why: Pop tosses are an effective choreographic choice when the music calls for lift, but not much ‘power’. Pop tosses are also more easily achieved by beginners.


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Other ‘Tricky’ Tosses-‐ these may include parallel tosses, 45-‐degree tosses, and unconventional tosses of all kinds

How: This is such a general topic, it can include hundreds of different kinds of tosses. Please us the “notes” section below to help you remember any of these tosses from camp and HOW you were taught to do them!

Why: Tossing adds excitement to all flag books when the skill is achieved well throughout. These other kinds of tosses keep the choreography interesting as well as exciting. It provides a bit of the ‘unexpected’ and keeps the audience engaged. More difficult tosses also keep the more experienced color guard members excited about flag.

Notes:

Additional Information: Technique is vital to having a strong flag line. Start with training the hands and arms. Add lower body (feet) for more advanced skills and to increase body coordination. Time spent on technique is never wasted! Here are a few more helpful hints:

1) There are many more technique exercises that are not discussed above. Some include: flourishes, spinmedleys, 6-‐and 9s, thumb flips, extensions, variations on standard tossing exercises and more!

2) Make sure ALL technique is done on BOTH hands.3) Detail where non-‐working hands go. To look the best, always address what the free hands are doing.

(The hands that are not touching the flag at any given time)4) Take your time with technique; control is the key, not speed!


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Running an Effective Rehearsal:

Make the Most of Your Time

By Susie Harloff, MFA SSY CG FACULTY 2012

Rehearsal time is a precious thing, something too valuable to waste. Here are some suggestions to maximize the use of every

minute!

MEMBERS MUST STRETCH BEFORE REHEARSAL STARTS

You know the kids are at rehearsal early anyway… chatting in the band room or making up their own work on the field. Why not use those 10 minutes BEFORE rehearsal starts to get a jump on the game?

Teach the members a stretch that they can use each time. Designate a captain or upperclassman to get the group together to make sure everyone participates. Demand that stretches be taken seriously and are not a time for chitchat. Emphasize proper alignment and stretch technique. Silent stretches are the most productive as students can really focus on their bodies.

The extra 10 minutes you gain by having the members stretch before rehearsal can be used for dance TECHNIQUE. Repetitive stretches are important, but they eat up time. Dance technique can be varied each rehearsal and can address choreography you actually use in your show.

ADDRESS EQUIPMENT PROBLEMS BEFORE REHEARSAL STARTS

Make it a rule to be prepared for each rehearsal. It should be each member’s job to make sure his or her own equipment is ready to go. How many times have you seen someone waste 10 minutes on the sideline re-taping their flag onto their pole? Those are things that should be done outside of rehearsal. Insist that this is taken care of!


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MOVE QUICKLY FROM ONE THING TO THE NEXT

When you are in transition from one thing to the next (everyone is warming up on flag, then you break into sections), encourage a QUICK transition. These are the times members like to “milk”. They move slowly and chat to their friends. Get them moving!! They can talk all they want when practice is over! An energetic instructor or, even better, a captain who seems ready to go, can motivate their color guard to move quickly during transition times. If you allow yourself to start chatting or moving slowly, you are setting the example for the rest of the group.

LESS CORRECTION LECTURES, MORE REPETITION

Practice makes perfect… right? Actually, it has been changed to Practice makes PERMANENT! Repetition is the key to getting your members comfortable with their equipment work so they can start performing and you can start cleaning. Instructors and captains often spend WAY too much time talking after running a section of the show. You do not have to give extensive lectures. A few brief, yet SPECIFIC corrections go a long way. For example, “Don’t forget to point your toes!” has been heard too many times, your members won’t even hear it anymore! But, “Kelly, you need to point your toes on the arabesque on count 16,” is to the point, and you can bet Kelly will hear it!

Give your corrections and do the phrase again… many times… quickly. When you say, “reset, do it again”, don’t wait 5 minutes for everyone to meander back to their spot. Start clapping right away. Start saying, “5, 6, 5,6,7,8…” while girls are still moving. This gives the rehearsal a sense of urgency. This lets your members know you are NOT wasting time!

HAVE A PLAN

If possible, watch a video of a recent rehearsal. Map out what needs to be better and plan a schedule. Sometimes we get caught up on one thing and spend FAR too long on it. Move on! Don’t forget to consult the band director to make sure you are cooperating with his or her schedule as well.

Best of luck this upcoming season!


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Spring Training for your Color Guard:Getting a Great Start for Next Year! By Larry Rebillot, MFA SSY COLOR GUARD COORDINATOR 2012

Spring training is right around the corner and before you know it, marching bandseason will be here! Here are a few thoughts to help you and your color guard prepare for the upcoming season.

For those of you participating in a winter performance activity, keep up the great work! You’ve grown by experiencing the benefits of dedication, hard work and strong performance skills. If you can, give yourself a short break to allow your body and mind a chance to unwind and relax before spring training begins. If you haven’t had a chance to perform since marching band in the fall, you will soon be faced with auditions, selecting your new guard members and preparing for the next season. Taking this time to warm up your body to prevent injury and reinforcing proper technique will establish a great foundation for the upcoming year.

Start out slowly by taking walks, or extended stretches to your favorite music. This will let your body prepare itself for the road ahead. Use isolations and isometric exercises to increase your flexibility and strength in the specific body parts that we use in color guard. They can be both effective and FUN!

Involve equipment technique exercises regularly while you practice on your own; don’t just spend time on fun routines or interesting equipment tricks or tosses! Explore these areas after a good, solid warm-up. Repetition of the exercises early will allow for the mastery of your basic skills, giving you the chance to concentrate on the more interesting aspects of being a color guard performer later. Start with basic exercises, focusing on technique rather than on a number of repetitions. Think about posture, hand placements on equipment, release points, rotation, free hands, and timing. Gradually increase your endurance with larger amounts of repetitions such as 50x or 100x and reaching these goals without breaks or changes in technique. Expect only your best efforts every time you practice!

Spring training can make a new team good and a good team great! Good luck this year, have fun and enjoy!

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Color Guard - Music for All