Visual Audition and Membership Packet

2019
Visual Audition and Membership

Packet
Music City Drum Corps

1727 Elm Hill Pike
Nashville, TN 37210
Phone: 703-655-2327
Email: office@MusicCityDrumCorps.org
Posture
At Music City, we strive for a tall, lean, and powerful presence in our posture. The
spine should feel lengthened, the chest should be wide, and shoulders should be as broad as
possible with a natural slope. While holding your instrument, your shoulder blades should be
engaged, and they should be pulling together. The pectoral muscles (or, your pecs) should
NOT be engaged to hold the instrument. The weight of your body should be primarily on the
balls/platforms of your feet with the heels still making contact, but not as the primary source for
weight distribution (60% platform, 40% heel).
First Position
At Music City, we stand in what is commonly called, “First Position” with our feet. This is
similar to ballet terminology, as much of our technique derives from the dance world. To find
this position: put your feet in parallel position (toes together). The, turn each foot out 22.5
degrees in either direction, creating a 45 degree angle between both feet. The weight should be
on the platforms of the feet, or the ball of each foot. This position should be simple to stand in
when standing with 60% platform, and 40% heel).
Forward Marching
Our forward technique will be a “straight leg” technique. Meaning that the legs will be straight
on the downbeats. The length of your leg should extend through each step, and movement should
be activated from the hips.
The articulation for time of the forward marching happens on the EDGE of the heel, with
toes flexed and high.
The forward marching will be broken down into several parts. The push, the first step, the
weight transfer, the crossing count, and the second step.
Push:
The push from the right leg comes from the leg being completely engaged. The motion and
energy comes from the right platform being pushed off into the first step. The left heel should
stay low, and the toes should immediately start flexing. The right heel MUST remain low to the
ground (the stationary heel should not come more than half an inch off of the ground) or the bend
in the leg happens before the first step. The motivation of forward motion comes from your core,
and the motion of straight leg should come from the hip joint (hip flexor), like a pendulum.
First Step:
Time comes from the articulation of the edge of the heel. It is crucial for timing and visual clarity
that the EDGE of the heel articulates on the downbeat. Both quads should be engaged at the
downbeats and both legs should be straight. The weight of your body should be balanced on your
front heel, and your back platform. Again, it is crucial to make sure that your back heel does not
come too high off of the ground. LOW heels, HIGH toes.
Weight Transfer:
As the weight transfer begins to happen (immediately after the downbeat of count 1), the front
foot starts to roll through, and the back leg immediately starts to flex as the leg pulls through to
the next step. This will allow the knee to remain unbent, and for the shape of the leg to be
straight as well. The traveling leg should be pushing down through the heel, and should remain a
long straight line, coming out from the hip like a pendulum.
Crossing Count:
The crossing count, or when the feet are right next to each other, happens exactly on the “and”
count. The traveling foot should now be traveling through the “and” count FLEXED, creating the
correct leg shape, and preparing the foot for solid shape on the next downbeat. The weight of
your body on the crossing count should be completely on your forward foot, but should still be
straight up and down. Additionally, the traveling leg will not be completely straight. There will
be a SLIGHT knee bend to allow the foot to clear the ground. Continue to think about the length
of the leg being very long as you travel forward.
Second step (through the crossing count):

The traveling foot should now be flexed, and pushed forward. As it articulates, it hits with the
edge of the heel, again with a long straight leg. On the stationary foot, the weight should transfer
completely to the platform. Similar to the first step, the stationary heel should not come more
than half an inch off of the ground. The higher the heel comes up, the more the leg bends. We
want to regulate the technique as straight as possible without being 100% stiff.
Backward Marching
Our backward technique will also be a “straight leg” technique. The articulation of the beat
happens on the entire platform of the foot. The heel should remain at a comfortable relevè
(about an inch) to maintain control and stability in both the leg shape and the upper body
carriage. While marching you should be thinking about pointing the front foot as you pull from
the back leg. In addition, think about stretching the heel towards the ground.
Push:
The push comes from the same place as the forward march. The right quad should be
completely engaged, and the push comes from the right platform. As the left foot extends out,
the right heel comes slightly off the ground so only the platform of the foot remains down. The
left foot should slightly flex (toes should never be above parallel in the backwards march) to
clear the ground as it moves back.
First Step:
The platform of the foot articulates on the beat, and the weight transfers half to that foot. For
the downbeat, the weight of your body should be balanced between both feet on both platforms,
and the platforms of your feet should be an even height off the ground.
Weight Transfer/Crossing Count:
Your weight for the crossing count should be completely over the back (stationary) leg.
The weight transfer begins to happen immediately after the downbeat. When moving, every step
is initiated by a push from the front foot (energy should remain through the front platform.)
NEVER REACH BACK, PUSH OFF! As the front leg pulls through, the weight of the foot stays
on the platform. HEELS NEVER TOUCH THE GROUND DURING THE BACKWARDS
MARCH. The traveling foot should slightly flex as it travels through the crossing count so the
leg shape stays straight. Both legs should continue to be straight at this point.
Post Crossing Count:

The foot should remain to be slightly flexed as it begins to travel behind the body, with energy
pushing down towards the ground. This will ensure that the leg stays straight!
Second Step (Through the crossing count):
As the foot continues behind the body and through the crossing count, the foot stays flexed and
the heel stays low to the ground so the foot can articulate completely on the platform! At this
point, your body weight should be completely between both platforms, and heel height for both
feet should be even again!
Halting and Direction Changes

Halting: The halt always happens with the platform of the foot. The platform should be turned
out as it articulates, and the weight should be primarily on the balls of the feet to ensure that the
entire body stops in time. In general, the feet close into the first position mentioned earlier.
Direction Changes: Change of Directions: split the difference between the directions, always a
place of the foot on the platform, NEVER on the heel!! The platform, quad, and abs should all be
flexed in order to push the body into the new direction. The foot should be pointing 22.5 degrees
towards the direction the body is about to change towards.
The Audition
Music City’s Visual team is looking for 3 specific characteristics in potential marching members:
1. Performance: not just going through the motions.

2. A willingness to try something new even if it means failure the first time: successful
visual professionals are flexible and able to adapt to new things.
3. The ability to adjust technique and style to match our program: “what I did at my old
program” is not the same, members must be willing to break down and absorb a new
pedagogy.
Membership into the visual program will be decided on when analyzing two separate events:
1. A “box drill” exercise from each individual auditioning

2. An assessment of how that individual is handling the visual block in audition camp.
Other Important Info

Drum corps is a seriously physical activity. All a person has to do to find this out is to sit down
and watch a rehearsal, to see that the demands between drill and choreography are at the
professional level. Performers need to take care of their bodies by preparing in the off-season.
This includes exercising and eating healthy. The best organizations have members that do not
take an “off season” when it comes to physicality. The best suggestions are as follows for
members who want to be at the level the staff is demanding:
1. Eat clean: check your daily calorie amount, and make sure you are not going too far over
or under your healthy amount. Get the vitamins and minerals necessary as well.
2. Run: seriously. You need to be doing cardio, and running is the best way to prepare the
body for high tempos and fast drill. Be able to run 1 mile without stopping.
3. Find a fitness plan for you: bodyweight workouts are the best way to manage a general
strength and endurance routine. Weights can also be helpful in building strength, though
not if it takes the place of cardio.
4. Sleep: if you’re not getting rest, you’re wasting time doing everything listed above; none
of it will be beneficial.

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2019

Visual Audition and Membership

Music City Drum Corps

Second step (through the crossing count):

Post Crossing Count:

Halting and Direction Changes

1. Performance: not just going through the motions.

1. A “box drill” exercise from each individual auditioning

Other Important Info

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