1.Introduction

As the title suggests this is indeed intended as a guide and should be treated as such, which is based on my experience as a trained Scottish Division Drum Major and includes advice and information on the following subjects:

a) Personal/Band Drill.

b) Words of Command

c) Mace Drill (for single & massed bands).

d) Dress Code (useful for all band members).

e) Tips on band formations (single & massed bands).

Although this may seem a little harsh it is never the less a fact of life that, in the majority of civilian pipe bands the Drum Major is someone who is pushed into becoming or, becomes the Drum Major because he/she does not play an instrument. (It should go without saying that the majority of Drum Majors will be full of enthusiasm for the job).

So throughout this document, please do not forget that it is only a guide and meant to give friendly advice.

In my opinion, even if the above is the case the Pipe Band Drum Major should take time to ensure that he /she shows the following basic qualities:

1.1 A working knowledge of the music being played, including the drum beatings, giving particular attention to breaks from one tempo to another ie., slow to quick; march to strathspey to reel etc. Recording sets etc during band practices is a good way of getting the music in your head prior to the next practice/engagement.

1.2 The ability to control bands under his/her jurisdiction, with all on parade believing in that ability. Above all it is paramount that the Drum Major has the confidence of the Pipe Major

1.3 The Pipe Band Drum Major must always be well turned out, regardless whether in full highland dress or, day dress. Attention to detail regarding appearance and personal drill must be a primary part of the Pipe Band Drum Majors character.

1.4 The newly appointed Drum Major should seek proper training, preferably using a recognized, experienced source of instruction.

NB: Even if the band is practicing a competition set the Drum Major should acquaint him/herself with the tunes being played as in the future they may be included for playing at other times, and it would look just that little bit more professional if the correct signals were given at the appropriate juncture.

2.PERSONAL DRILL

You should remember, that as Drum Major you are normally the first person the audience see when the Pipes & Drums march on to parade. It is also worth bearing in mind that, in the main the audience has paid to be there, (carnivals etc. apart). Therefore the posture and perceived attitude of the Drum Major is one of prime importance, regardless of shape; size or, age.

Personal drill should be performed with authority showing that you are confident in what you are doing and in control of the situation.

2.1 Attention

Stand straight with the heels together and the toes at an angle of approximately 30 degrees, the left arm kept into the side, keeping

the head up and looking slightly above eye level. The ferrule of the

mace should be by the toe cap of the right shoe, and the right hand gripping the mace between the top of the chain and the head of the mace. The right elbow kept into the side and the mace vertical and not at an angle.

2.2 Stand at Ease

The only movement required here is to carry the LEFT foot away from the RIGHT foot to a distance of approximately 12 inches. Try not to slide the foot away, but lift it at least three/four inches, and place it down firmly on the ground/floor. The left arm remaining by the side.

2.3 Stand Easy

Move the mace into the centre of the body with the tip between the feet. At the same time move the left hand to cover the right hand and relax. To come to attention, simply reverse movements 2) & 1).

2.4 Stepping Off

Before stepping off, pick a point to march onto, this will prevent you from straying off line. Always lead with the left foot, at the same time bringing the mace across the body to the left hand, meeting in the centre of the body, at about stomach height, keeping the mace at an angle of approximately 40 degrees, on the next left foot bring the right hand smartly back to the side and continue marching in the normal manner (This is the “carry”).

The free arm should not be swung too high as it will appear that you are trying to take off, just above waist belt height is sufficient.

3.WORDS OF COMMAND

Words of command must be delivered with authority and

conviction, and above all must be UNDERSTOOD! If time permits try and talk the band through what they are about to do, even if they have rehearsed the sequence/programme at the last practice.

The executive word of command should always be preceded by a

cautionary command, ie.,

3.1 Quick/Forward March is preceded by; “By the Right./Left/Centre”. This tells the band which is the guiding flank.

The guiding flank is normally the flank on which the (Sen.) Pipe Major is marching. If the band frontage is five or more then it is more prudent to keep dressing by the centre file.

3.2 Where possible try and deliver the “executive” words of command; Slow/Quick March, at the same tempo the tune(s) are to be played, the Pipe Major will have given an indication of this at band practices.

3.3 Attention or “shun” should always be preceded by “Pipes & Drums”

3.4 When playing static pieces ie., on stage etc. the following examples are acceptable words of command.

“At the halt; Rolls Slow/Quick march” or; “Rolls 1,2”

Variations of these are also acceptable, as long as the band know what each command is for.

These are just some examples but the general principle is the same for all words of command, remember the voice must come from the; diaphragm and not the throat.

Try and develop your voice gradually, otherwise you may end up “speechless”, which will not do you or, the band any good at all.

5. MACE SIGNALS

Again all mace signals should be given in a manner which shows confidence and authority. This gives the audience the impression that you are in control of the situation, even if this is not actually the case!

All movements should be sharp, and to the point, do not drag them out.

While executing signals, it is important that the Drum Majors deportment is always kept to a high standard.

4.1 Cutting Off (At the Halt).

Firstly make sure you know where you have to cut the band off, particularly if the band has rehearsed a special routine or, there is a time factor involved.

In good time, ie., just before the beginning of the part where you want to cut off; move the mace to the centre of the body, keeping the mace vertical, at the same time move the left hand, with the palm facing outwards to grasp the mace half way down the cane.

Spin the mace (to your right) through 360 degrees, with the ferrule finishing in the right hand.

Next, on the first beat of the part, with the right hand, move the mace up and out to the right, just above the right shoulder with the head of the mace at an angle towards you.

On the last beat of the part draw the mace into the centre of the body, hand just in front of the chin, steady yourself and let the mace drop through your hand, and return to the position of attention.

You will have a tendency to look up, try not to make it too

obvious.

4.2 Cutting Off ( On the March).

Again make sure that you know when and where you want the band to stop playing. The mace should be at the “carry” before starting this movement.

On the left foot bring the right hand across the body to grasp the mace just between the head and the top of the chain, (just above the left hand).

On the next left foot , bring the mace to the centre of the body, at the same time, move the left hand down to the full extent of the arm and turn the palm outwards and grasp the mace.

Continue the movement as for; 1).

Either return to the “carry” or to the “trail”, ie. keep the mace horizontal with the head forward and continue marching in the normal manner.

4.3 Restarting (On the march).

Firstly it is essential that there is some control over the tempo/pace while the band is not playing, a tap on a side drum usually suffices.

To restart the pipes & drums, simply give the command” Rolls Quick March” in the following manner; “Rolls over two paces (left & right), miss two paces, then “Quick” on the left foot and “March” on the right foot, with the drum section coming in with the rolls on the next left foot.

4.4 Changing Tunes/Tempo.

Used when playing sets/ensembles ie. March; Strathspey; Reel; Slow Air etc.

The movements for this are the same as for 1) above, except that

on the third movement, the mace is brought up in front of the face, the right hand in line with the chin, and the mace is dropped on the first beat of the new tune.

The change from; slow to quick time is the same as the normal cut off, dropping the mace on the first beat of the quick march.

(This is where the Drum Majors knowledge of the tunes played comes into being).

Changing from quick to slow; I feel it is best to go for the same signal as for slow to quick, thus giving the band something solid to work for the first beat.

4.5 The Mark Time.

The mace should be at the “carry”.

All these movements are on the left foot, except the last which is on the right.

Bring the right hand over to grasp the mace between the head and the chain. Move the head of the mace to right and downwards to the full extent of both arms (the head of the mace should be to the right).

Raise the mace as high as is comfortable, keeping it horizontal.

On the last beat, bring the mace down and halt.

Return to the position of attention and stand still.

4.6 Stepping Off While Playing.

Time this movement so that you step off on the first beat of the part.

.From the position of attention, drop the mace to the horizontal, the head forward. Miss a beat and raise the mace so that the ferrule is pointing up and the head (of the mace), is near the shoulder.

Miss another beat and spin the mace in a forwards motion.

Stop spinning on the last beat and step off, with the left foot, on the first beat of the next part.

4.7 Forming Circle.

Before entering the arena/playing area, decide where you want to form the circle having discussed it with the PM and warning the band, if time permits.

At a suitable distance from the spot where you intend the circle to be formed, move the right hand across and grasp the mace as previously shown, move the to the right, so that it is horizontal and level with

the chest.

Spin the mace across the body for six to eight paces, move the mace back to “carry” and mark time until the circle is complete.

When the circle is formed, give the mark time signal, halt and complete the set/ensemble.

(The system for forming circles etc and reforming band is a matter for individual bands).

4.8 Counter-march.

This movement is started from the “carry”. The right hand comes across the body to grasp the mace, turn the head of the mace to the right so that the mace is horizontal, on the next left foot swing the mace so that the mace is vertical, with the head of the mace level with the right shoulder, ( the second movement may be changed as follows; from the 1st movement drop the mace to a horizontal position at the side with the head of the mace facing forward).

4.9 Right & Left Wheels

There are two common methods used to indicate the wheel as follows; (Both movements executed from the “carry”).

a) Signaling with the hand ie., pushing the right hand to the side for a right wheel.

For the left wheel; transfer the mace to the right hand and push the left hand out to indicate a left wheel.

b) Using the mace; to signal a right wheel, move the right hand across to grasp the mace, turn the head of the mace to the right with the mace horizontal across the chest and the ferrule pointing out to the left.

For the left wheel, reach down and grasp the mace with the right hand, bring the mace up to the chest with the ferrule pointing to the right.

Once the wheel has been completed bring the mace back to the “carry” reversing the movements for each wheel signal.

4.10 The “Walk” This movement can be started from either the, “carry” or, the “trail”, and the mace is carried in the right hand.

The tip of the mace touches the ground/floor at the same time as the heel of the RIGHT foot, then, the head of the mace is taken out to the right, and back in across the body in a circular motion, then out to the right again (over three paces; R< L > R). Complete the movement by; bring the mace forward in time for the movement to start again.

4.11 Massed Band Signals: All the foregoing signals can be used for massed bands with ALL Drum Majors giving the signals, provided the Senior DM gives the others an idea what is required, and there is time to rehearse before the event. The SDM would normally start the signals off by; putting his/her hand out, so that all DMs can see it and dropping the hand on the left, the other DMs start the combined signals on the next left foot.

From a morale point of view, I think that all Drum Majors on parade should be given something to do, otherwise they just end up going “up & down” getting bored!

If you have practiced a series of signals with your band do not change them unless you really have to.

Remember that the Drum Major is not only there to “look good“, but also to provide a service to the band by giving clear, concise, timely, words of command and signals. Thus helping the Pipes & Drums add that little extra to their performance and of course increasing the level of professionalism within the band.

5.GENERAL BAND DRILL

When “drilling” the Pipes & Drums, the Drum Major should look out for the following points.

5.1) Stepping Off: On the, word of command “Slow/Quick March” all on parade should step off with the LEFT foot leading, this applies whether playing or just marching to a drum tap and, there should be no exception to this rule. Those in the front rank and the Drum Major should take care not to step out too fast or too long, this can create a gap, particularly if you have members on parade who are not quite as long in the leg as those in the front.

5.2) Marching: While marching without playing; it is sometimes advisable for the pipers to be in the; pipes down position, this gives them a break, if the side & tenor drummers are using the drum “sling” then the drums can be turned and sticks carried in the right hand. The new drum “carrier” does not allow for this but, the left hand can be rested on the drum and the right arm “swung” in the natural fashion. The bass drum can also be “taken down” to the side, he/she has the option of carrying the drum on the left or right side.

5.3) Preparing to Play: If the band is to play immediately from the assembly point then it would be unnecessary to create extra drill by starting from the pipes down position get them to fall in ready to play. If you have got it right, you will have time to quickly reiterate what, should, happen once “out there”.

If the requirement is to march to the start point in the “pipes down” position, then a drill should be worked out to get to the playing position. Suggested drill (normally on drum taps), as follows;

Tap 1; Pipers move pipes from under left arm forward of the body, at the same time bring the right hand across to take hold of the drones, the left hand keeping hold of the chanter. The side & tenor drummers turn their drums to the playing position, the bass drummer moves the drum to the lower chest.

Tap 2; Pipers take their pipes up to the shoulder, settling the pipes and finishing with both hands on the chanter. Side & tenor drum-mers sticks in both hands in front of the chest, bass drummer hooks up the drum and keeps both hands on the rim of the drum.

Tap 3; Pipers, side & tenor drummers bring their right hands to the side, drummers with a stick in each hand, bass drummer brings both hands down (if windy use hands to steady drum).

5.4 Halting Not Playing: This is normally done by word of command as follows; Give the cautionary word of command “pipes & Drums”, leave for 6/8 paces and give the order HALT, as the right foot passes the left, step “short” with the right and left then bring the right foot in beside the left.

5.5 Wheeling: A simple description of wheeling is; the band changes direction but, not formation. Dressing during a wheel is by the inner flank, the front rank wheeling on the spot indicated by the DM(s).

NB: Remember that exaggerated movements; legs & arms kept stiff while marching is not natural and, very noticeable. A relaxed but “upright” posture is much easier to maintain and of course is more pleasing to the eye.