4.

DRILL STANDARDS
Unless otherwise specified the following positions will be natural to all drills:

The position of Attention or relative thereof.

Only one knee bent at any one time.

Feet will be in line of march.

The width of the supporting platform (ie. the distance apart of the lines of march) will be relative to the lines of force.

When not swinging arms, hands will be held steady at the side.

Thumbs at all times with hands correctly positioned will be directed to the front. NB Due to the naturally slight turn of the elbow on the back swing the thumb may appear to turn very slightly inwards.

When the arms are swung, the hands will follow a path directly to the front and rear in alignment with the correct hand placement of the Stationary Position. These invisible parallel lines are referred to as the line of swing.

Shoulders will be square to the front.

Where it is required that more than one member of a Team execute identical drill, then such drill will be performed in a uniform manner.

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STANDARD DRILLS
POSITION OF ATTENTION: Feet: Heels together and in line. (ie. It is not required that the heel platform be touching, only that some portion of the heel structure of the boot.) Feet turned out at an angle of at least five degrees each from the lines of march. Knees naturally straight. In fully erect posture, a line dropped from the ear would go through: 1. The tip of the shoulder. 2. Middle of the hip. 3. Back of the knee cap. 4. Front of the ankle bone. Body carried evenly over both thighs, with the hips directed over the front of the heels. The chest should sit squarely over the pelvis, not be pushed forward or sunken. The head should be balanced directly over the trunk. Shoulders, which will be level and square to the front, down and moderately back, to form a fairly flat area across the shoulder blades and back of the shoulders. Arms hanging from the shoulders as straight as the natural bend of the arm will permit. Hands closed, but not clenched. Thumb lying naturally straight over the crook of the index finger. Back of the index finger lightly brushing the skirt/garment. Thumb level with the outside centre of the thigh, and pointing at the ground directly below. When the fingers are in position, the fingers will rest lightly on the palm of the hand with the fingers flat, so that if the arm was moved from the position, the fingernails would be visible. Wrists straight. An imaginary line should pass through the centre of the forearm and through the centres of both wrist and hand. Head balanced evenly on the neck. Neck in as straight a line as possible with the spine. Chin held in without strain at about 90 degrees to the neck, bringing the bottom of the chin about parallel with the ground. Eyes focused directly ahead and shall not give the appearance of looking down. The weight of the body will be balanced over the feet and evenly distributed between the fore part of the feet and the heels. Breathing will not in any way be restricted. Proper breathing whilst marching is essential. It prevents the marcher tiring and helps the flow of movement.

Legs: Body:

Arms: Hands:

Head/Eyes:

General:

POSITION OF STANDING AT EASE: Feet: Heels at least 25cm apart. Feet turned out at an angle of at least five degrees each. Heels in line Knees naturally straight. Body erect. An imaginary line through the centre of the body, will pass through the centre of the neck, hips and midway between the ankles and be straight and vertical. Body carried evenly over both feet.

Legs: Body:

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Arms: Hands:

Head/Eyes: General:

Shoulders, which will be level and square to the front, will be down and moderately back to form a fairly flat area across the shoulder blades and back of the shoulders. Arms stretched from the shoulders as straight as the natural bend of the arm will permit. Hands behind the rear of the marcher with the right hand being placed in the palm of the left hand, with the fingers of the right hand touching the fingers of the left hand (ie. as a guide only: the nail of the right hand little finger will be approximately under the nail of the left hand forefinger) all fingers being straight, thumbs crossed with the right thumb uppermost.. Neck erect. Head balanced evenly on the neck and not poked forward. Eyes looking their own height and straight to the front. Breathing will not in any way be restricted.

MOVING FROM ATTENTION TO STANDING AT EASE: Stand at - EASE (L - L) Command: Pause The Left foot will be raised to the Mark Time Position before being lowered to the Stationary Position. The Right foot will be raised to the Mark Time Position before being lowered Right Beat: to the Stationary Position. The Left foot will be carried directly to the Left (approximately 30cm uniform Left Beat: throughout the team). The body will be raised slightly by lifting the Right heel sufficiently to allow the Left foot (remaining flat) to just clear the ground. A swivel pivot will be executed on the centre of the ball of the Right foot to turn the foot at an angle (heel to left) of at least five degrees to the line of march to match the Left foot in conjunction with the pivot. The body and the Left foot will be smoothly carried across, with the Left foot developing a slight angle to the ground allowing the toe to reach the ground slightly ahead of the heel. Both heels will contact the ground at the same time on the beat of music at which time the body weight will be centred. The arms and hands will move to the Stand at Ease Position in conjunction Arms: with the movement of the Left foot. The body, head and eyes will remain in the Position of Attention, facing the Body/Head front. & Eyes: Pause Right Beat: MOVING FROM STANDING AT EASE TO ATTENTION: Atten - TION (L - L) Command: Right Beat: Left Beat: Right Beat: Left Beat: Pause The Left foot will be carried across to the Position of Attention. The knee will be bent sufficiently to allow the foot to just clear the ground. The body head and eyes will remain in the Position of Attention during the transfer. The arms and hands will move to the Position of Attention with the movement of the foot. The body, head and eyes will remain in the Position of Attention, facing the front. Pause.
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POSITION OF STANDING EASY: Feet: Legs: Body: Heels at least 25cm apart. degrees each. Heels in line. Knees naturally straight.

Feet turned out at an angle of a least five

Body erect. An imaginary line through the centre of the body will pass through the centre of the neck, hips and ankle joint and be straight and vertical when viewed from the side. Body carried evenly over both feet. Shoulders, which will be level and square to the front, will be down and moderately back to form a fairly flat area across the shoulder blades and back of the shoulders. Arms to hang from the shoulders at their full extent. Hands at the Position of Attention. Head and eyes directed to the front. Stand - EASY (L - L)

Arms: Hands: Head/Eyes:

MOVING FROM STANDING AT EASE TO STAND EASY: Command: Right Beat: Arms/hands will spring in a little less than one beat to a uniform position, at least 15cm out from the side of the body, in line with the Attention position, where there will be a hesitation. Arms and hands will move to the Stand Easy position.

Left Beat:

MOVING FROM STANDING EASY TO THE REST POSITION: On the executive word of command Rest, or after four beats of the music have elapsed after being stood easy, Leader and Team members will rest in the following manner. Right Beat: The hands (closed position) and arms (fully extended) will spring in a little less than one beat to a uniform position, at least 15cm out from the side of the body in line with the Attention position where there will be a hesitation. The common factor of uniformity will be the distance between the hands. From this movement the hands and arms may relax, making any positional or uniform correction necessary. Strict discipline will be maintained.

Left Beat:

On the executive Command Ready prefixed by the cautionary order Team Name, Team members, on the next right beat, return to the position of Standing Easy. MOVING FROM STANDING EASY TO STAND AT EASE: Command: TEAM (L) Right Beat: Arms/hands will spring in a little less than one beat to a uniform position, at least 15cm out from the side of the body, in line with the Attention position, where there will be a hesitation. Arms/hand will move to the Stand at Ease position.

Left Beat:

HEAD AND EYES IN MARCHING: Head balanced evenly on neck. Neck as straight a line as possible with the spine. Chin held in without strain at about 90 degrees to the neck, bringing the bottom of the chin about parallel with the ground. Eyes focused directly ahead and shall not give the appearance of looking down.
JUDGING FACTORS: Head balanced, Neck straight, Chin in / angle / neck, Eyes focused directly ahead

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POSTURE IN MARCHING: Irrespective of the style of movement or particular carriage of the body that is assumed in respect of drill requirements, the relative position of attention of the fully erect posture as described under the heading POSITION OF ATTENTION will be maintained.
JUDGING FACTORS: Relative position of Attention, 4WS

ARMSWING IN MARCHING: The arms opposing each other will swing (as straight as the natural bend will allow) alternately backwards and forwards unless otherwise specified, when the left foot swings forward the left arm swings backwards. Both back and front swinging actions originate from the fixed point of the shoulder. The points of the shoulders shall be level and square to the front. The backward and forward arm- swings are precisely controlled, complete, even movements. 1. Timing: Arms will swing in a smooth even speed in conjunction with the opposite feet. The two arms naturally straight reach the peak of the swing (extended position) on the emphasis of the beat of music. The arm timing will be uniform within the unit. Extended Position: In the fully opened out position attained (point of shoulders level and square to the front) by the arms and legs when completely extended to meet the specified pace length. This always occurs on the emphasis of the beat. The height of the arms is relative to the length of pace taken, unless specified otherwise. eg. fixed pivot wheel - no armswing Height: The height may vary within a group but for presentation sake the angle achieved by the arms to the body at the extended position (due to the smooth even speed of the swing) will be relatively the same. ( ie. The front and back swings on an individual marcher would be relatively equal / width of hand tolerance.) When viewed from the side, the arms at the extended position (maximum degree of height), will be seen to have a space between the body and the elbow. Direction: Arms will continually move in their own line of swing taken from the hand position at the stationary position. When wheeling, visualise the parallel lines curving an equal distance apart, around the arc of the wheel.
LOS, Timing, Height, Hands / Wrists, Smooth, Even

2.

3.

4.

JUDGING FACTORS:

ARMDROP: When applicable, the arms will drop to the sides, to the stationary position, from the extended position in conjunction with the timing of the rear foot coming forward. This is known as the foot into movement. The arms may also drop to a relative position of attention such as a Left turn on the March where the right foot will be positioned in advance of the left foot, therefore placing thumbs slightly forward or back of the attention position relative to the position of the feet.
JUDGING FACTORS: LOS, Timing, Hands/Wrists, Relative Attention

SWINGING OF ARMS: Unless the detail specifies otherwise. arms will always be swung in normal marching paces, shortened paces and reduced paces, relative to the length of pace being taken. ARMSWING OUT: (This is known as Push Off) When applicable, the arms will commence to swing from the stationary position to the extended position in conjunction with the timing of the foot action to commence the pace out.
JUDGING FACTORS: LOS, Timing, Hands/Wrists, Extended Position

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MOTIVE FORCE: The arms are self starting, and induce ease of foot and body movement. The height of the arm lift governs the degree of momentum. The higher the armswing, the easier it becomes to carry the body over the ground in quick time. HANDGRIP IN MARCHING: Hands will be closed, but not clenched. The fingers will rest lightly but flat on the palm of the hand, sufficiently positioned for the fingernails to be visible. Thumb lying naturally straight over the crook of the index finger. Wrists straight, an imaginary line through the centre of the forearm will pass through the centres of both the wrist and the hand. Thumb always facing directly to the front during the forward swing of the arms. Due to the naturally slight turn of the elbow on the rear swing the thumb may appear to turn slightly inwards.
JUDGING FACTORS: Hands closed, Natural thumb to front, Wrists straight

LEG AND FOOT ACTION: Footwear: Should have cushioned heels and soles, for bounce on hard surfaces and traction on slippery ones. There should be about half a centimetre of room between the toes and the shoes. The toe-box should not rub against the foot. Timing: The speed of the step out pace should be even from start to finish; the rear half of the platform of the heel shall contact the ground surface lightly but firmly on the musical emphasis of the beat, and the pace will be the stipulated length. NB Arms will commence to swing simultaneously with the commencement of the heel lift of the propelling foot. They will swing alternately with the action of the legs. The swing of one arm shall mirror that of the other. Generalities: The leg is the part between the hip and the ankle, consequently any swing of the leg 1. stems from the hip with no imbalance in the gait. Each leg should swing straight below the hip and at heel strike should be 2. appropriately apart, so that the feet fall directly below the hips. The hip regions should rotate. The raising and lowering action combined during the 3. foot into with a reduction in the leg / foot angle and a relaxation of the knee, should allow the leg to swing smoothly through the mid-swing unimpeded (heel just clear of the ground surface). The action of one leg should mirror the action of the other. The foot is the part below the ankle joint and is considered a separate limb. There 4. should be flexibility so that the feet do not appear mere extensions of the legs. When marching the feet are moved forward successively without taking both feet off 5. the ground at any one time or bending both knees simultaneously. Each foot should rise the same distance off the ground, so that one foot is not dragging in comparison to the other. Toes will be pointing straight ahead, in line of march, and should be in alignment with the 6.
knee. The toe is the part of the boot which covers the toes, this commences at the base of the big toe to the end of the footwear. NB If the hand is cupped over the fore-part of the boot, placing the fore-finger on the base of the big toe, it will cover the toe of the boot. This can clearly be seen when boots have toe caps.

7.

In marching, the body weight meets the ground at the heel and is transmitted evenly along the outer border of the foot thence across the line of metatarsal heads. This

rolling forward onto the ball of the foot occurs during the foot into, simulating the action of a wheel. The rolling progressive action cannot occur in a foot that is rigid. A properly functioning foot alters its shape with every step, to accommodate the ground surfaces. 4WS, LOM, Platform, 1KNOB, Just Clear, Heel/Toe, Even Length, Even JUDGING FACTORS: Action, Smooth, Timing, Extended Position

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THE QUICK STEP: The smooth flowing, balanced Quick Step movement in marching combines the rhythmical regulated pace forward with the identical length foot into. It is so timed that each marcher advances the Left or Right leg at the same moment (ie moving as one). When the foot into or pace out is not carried out in a uniform manner it is said to be out of step. QUICK MARCH: On any command which will eventually call for a marcher to step out from the Attention Position, the following drill will apply: On the Right beat, prior to stepping out there will be a static pose in the Attention Position (pause). From the Attention Position, as the emphasis of the Right beat concludes, there will be a half beat hesitation before the step off with the Left foot. The Right arm will swing forward and the Left arm will swing to the rear and unless otherwise stipulated, the march will be straight to the front. The heel must strike the ground first, the weight rolling forward over the ball of the (a) foot as the moving (working) leg passes the stationary (supporting) leg. Every pace including the first, is to be the stipulated length. Each leg must swing forward naturally from the hip in a straight line. (b) The arms will swing freely and straight through from front to rear following the lines(c) of-swing without striking the leg/uniform. Arms will reach the extremity of their swing each time the heel comes to the ground. Arms and wrists are to be kept straight and swung from the shoulder points. Hands (d) will be closed but not clenched with the thumb lying naturally over the crook of the index finger. The fingers will be closed with the thumbs leading. (e) The shoulders are to be square to the front - vertical posture maintained - and the (f) heel of the foot of the moving leg will only be lifted sufficiently to clear the ground at mid-swing (as the moving leg passes the supporting leg).
JUDGING FACTORS: Relative Attention, 4WS, Arms/Hands, Leg/foot-Heel/toe, Timing

THE STEP OUT: (Pace Out) The step out is performed in the latter half of the beat. The half beat hesitation to make this possible will be spent in static pose at the Attention Position or relative thereof.
JUDGING FACTORS: 4WS, Hesn, LOM, 1KNOB, Timing, Extended Position

PROPULSION: (Push-off) The push-off action will occur as momentum is required to commence each pace. It is used as required in support of the motive force generated by the arms. Action: Arch the foot without exaggeration by raising the heel of the supporting leg creating a lever. The body is then pushed forward, firstly by the actions of the calf muscles on the ankle joint using the foot as a lever, and secondly by the toes being strongly flexed to provide the final thrust forward. As propulsion is forward it is unnecessary to flex the supporting leg. Propulsion may or may not be visible to the observer. MARKING TIME: Feet will be raised alternately, meaning one foot action will complete before the other one starts. The leg and foot will be lifted to the line of march. As the knee is raised, the toe will be left behind until the required foot angle of the Mark Time is achieved. This will be maintained until the toe returns to the ground. In the raised position the tip of the toe will be immediately below the tip of the knee. The foot shall be at an angle to the ground at a minimum height of at least 15cm. Such height need not be consistent from movement to movement.

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The up and down movement, executed at an even speed, will occupy one beat of quick time. The placement of the foot flat on the ground (after arriving with the mark time angle) will be on the emphasis of the beat of music. As the leg is straightened to resume the Stationary Position, the pelvis and trunk will shift laterally (towards the side) about 2.5cm to the weight bearing side, to centre the weight over the hip. Until this occurs the other foot remains stationary. The feet will be placed in the Stationary Position, unless stipulated otherwise (ie Position of Attention).
JUDGING FACTORS:
To (Angle/Direct), AT (Angle/Hgt/Posn), FROM (Direct To Stat.Posn Transfer Weight), 1KNOB, Timing (smooth/on beat), Relative Attention On/spot

STEP OUT FROM MARK TIME: Having made the last beat of Mark Time when intending to step out on the march, the foot will travel forward in the same manner and at about the same speed (that is to occupy a half-beat of quick time) as it does in a normal marching pace. The arrival of the foot on the ground at the end of this pace must coincide with the beat of music to which the Team is marching. The hesitation necessary to make this possible (that is a half-beat of quick time), will be spent in the Stationary Position before stepping out. The arms will commence to swing when the step out is commenced.
JUDGING FACTORS: 4WS, Hesn, LOM, 1KNOB, Timing, Extended Position

TO MARK TIME FROM THE MARCH: The rear foot will travel forward quicker and in the same manner as it does in a marching pace (with arms dropping to the sides at the same time). When the toe of the traveling foot reaches any alignment of the supporting foot, the foot will be smoothly raised and lowered, to and from the Mark Time position to complete the Stationary Position.
JUDGING FACTORS: 4WS, 1KNOB, LOM, Armdrop, Foot Into/lift, Timing, Relative Attention

PIVOT MARK TIME: The pivot marcher will bend the knee relative to the angle required, and lift the Action: toe just clear of the ground, toes in line. The lifting and placement of the feet will allow the pivot to turn evenly through the required degree of the turn or drill. When turning to the Right, the Right foot will be placed on the same spot with the Left foot being placed around a very small arc (toes approximately in line). When turning to the Left, the Left foot will be placed on the same spot with the Right foot being placed around a very small arc (toes approximately in line). The pivot will synchronise the maximum lift of the heel with the action of the other Timing: marchers executing shortened paces. The greater the angle, the higher the heel, the faster it must drop without exaggeration, force or over-bracing the knee, on the emphasis of the beat. The movement of the lift and drop shall be relatively smooth. There will be a transference of weight but no heel hesitation. The Pivot Mark Time should also be distinguished from a Mark Time performed while pivoting through the required angle.
JUDGING FACTORS: 4WS, 1KNOB, LOM, Relative Attention, Angle Relative, Stationary Position, Just Clear, Toe/ball/heel, On Spot, Timing

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THE HALT:

Unless stipulated otherwise the Halt is completed with: Correct Position of Attention. Both feet will be on the ground. Knees will be naturally straight.

ON PARADE HALT No.1: The halt is executed in two beats, unless otherwise specified. The left foot will travel forward at the same speed and in the same manner as a marching pace (just clear of the ground), and will complete the pace with the angle of the Attention Position. The rear (right) foot will be carried forward in the same manner, at about half the speed of a marching pace, and will complete in the Attention Position. Arms will drop to the sides in conjunction with the timing of the rear foot travelling to the Attention Position.
JUDGING FACTORS: 4WS, Last pace, Armdrop, Foot Into, 1KNOB, Timing, Posn of Attention

ON PARADE HALT No.2: The rear foot will travel forward at the same speed and in the same manner as a normal marching pace (just clear of the ground) to rest flat in the Stationary Position (weight evenly distributed) where there will be a hesitation of about half a beat. The arms will drop to the sides in conjunction with the travelling foot reaching the Stationary Position. The other foot will then be raised to the Mark Time position. As the foot is lowered, the toes will move sideways to create the side angle of the Position of Attention without altering the angle (sole to ground) of the mark time. When the toe contacts the ground there will be a slight
swivel pivot on the centre of the heel of the supporting foot to adjust it to the Position of Attention.

The time taken by the travelling foot to the Stationary Position, the hesitation and the to and from the Mark Time position will occupy two beats of quick time.
JUDGING FACTORS: 4WS, 1KNOB, LOM, Armdrop, Foot Into/Stationary Position, Timing, MT/Swivel Pivot, Position of Attention

MARK TIME HALT No.3: The rear foot will travel forward quicker and in the same manner as it does in a marching pace (with arms dropping to the sides at the same time). When the toe of the travelling foot reaches any alignment of the stationary foot, the foot will be raised to the Mark Time position. As the foot is lowered, the toe will move sideways to create the side angle of the Position of Attention without altering the angle (sole to ground) of the mark time. When the toe contacts the ground there will be a slight swivel pivot on the centre of the heel of the supporting foot to adjust it to the Position of Attention. The time taken by the foot travelling forward, to and from the Mark Time position, will occupy one beat of quick time.
JUDGING FACTORS:
4WS, 1KNOB, LOM, Armdrop, Foot Into, To/At/From, Timing, Stationary Position

ACTION HALT No.4: The rear foot will travel forward at the same speed and in the same manner as a normal marching pace (just clear of the ground), to rest flat in the Stationary Position (weight evenly distributed). The arms will drop to the sides in conjunction with the travelling foot reaching the Stationary Position. The time taken by the foot travelling forward will be approximately one half beat. There will be a hesitation in the Stationary Position to complete the one beat of quick time for the Action Halt.
JUDGING FACTORS: 4WS, 1KNOB, LOM, Armdrop, Foot Into, Timing, Stationary Position

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HEAD TURNS: The head turn will complete, unless stipulated otherwise, in conjunction with the foot contacting the ground in tempo. Heads will turn to the position of one eye being in alignment with the front of the shoulder. ie Left eye when turned left, right eye when turned right. The timing of the head turn, unless specified otherwise will be: (a) AT THE HALT: One beat of quick time. (b) ON THE MARCH: One half-beat of quick time (1e. from mid-stance to end of pace)
JUDGING FACTORS: 4WS, Head position, Timing

SALUTE AT THE HALT: The right hand will be brought as close to the head as the headwear will allow, palm to the front, fingers extended together, point of the fore-finger about 3cm above the right eye or on to the leading edge of peaked headwear (ie the centre of the peak). The thumb will be alongside the fore-finger and the elbow will be in line and square with the shoulder alignment. Tips of the fingers, wrist and elbow as near as possible in a straight line. This will be achieved by raising the opening hand, knuckles facing upwards, with a straight arm in a circular motion, so that the elbow remains in line with the shoulder alignment and when the arm is about parallel to the ground, turn the palm to the front, flex the arm sufficiently to achieve the hand position. The folding down of the arm after a pause of two beats, will be made by the shortest route, at the same time closing the hand to arrive at the Position of Attention. The timing for the Salute at the Halt shall be: Beat 1: UP Beats 2 & 3: STATIC POSE Beat 4: DOWN
JUDGING FACTORS: 4WS, Action UP, Hand/Wrist Position, Pause 2, Action Down, Timing

SALUTE ON THE MARCH: When instructed to Salute on the March, the hand will be raised to the Salute at the Halt position as stipulated. When instructed to turn the head, the hand will still be positioned as though the head had remained to the front. When the head is turned to the right, both eyes will look past the back of the hand. The timing of this Salute will be in accordance with the requirements of the March.
JUDGING FACTORS:
4WS, Action UP, Hand/Wrist Position, Head Position, Action Down, Timing

RIGHT/LEFT/ABOUT TURN AT THE HALT No.1: For a Right turn, a pivot of ninety degrees or as otherwise specified to the Left Beat: Right is executed on the heel of the Right heel and the ball of the Left foot, raising the Right toe sufficiently to just clear the ground, and the Left heel to do so, and keeping the weight of the body on the Right foot. On the completion of this first movement, the Right foot will be flat on the ground with the weight of the body on it, Left heel raised. Both feet will be turned out at an angle of at least five degrees to a line drawn at Right angles to the original front. Having completed the first movement of the turn to the Right, there will be a Right Beat: Pause, before the second part of the turn is commenced. The rear foot will be brought forward naturally to the Position of Attention, Left Beat: and will be raised no higher than is necessary to clear the ground.

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Both knees will be straight while the pivot is being executed. The movement of the leg from the rear, will allow for the natural bend of the leg. The body will remain erect at all times. Body: Arms/Hands: The arms and hands will remain at the Position of Attention. The head and eyes will remain at the Position of Attention. Head/Eyes: The complete turn will be executed in the rhythm of a three beat count. Timing: For a Left Turn at the Halt, read Left foot for Right foot and vice versa. For an About Turn at the Halt, the body will turn through one hundred and eighty degrees. Legs:
JUDGING FACTORS: 4WS, Pivot, Knees straight, Angles, Relative Attention, Weight, Pause, Foot Into, Position of Attention, Timing

RIGHT/LEFT/ABOUT TURN AT THE HALT No.2: Left Beat: For a Right Turn, a pivot of ninety degrees or as otherwise specified to the right is executed on the right heel and the ball of the left foot, raising the right toe sufficiently to just clear the ground, and the e left heel to do so, and keeping the weight of the body on the right foot. On the completion of this first movement, the right foot will be flat on the ground with the weight of the body on it, and with the left heel raised. Both feet will be turned out at an angle of at least five degrees to a line drawn at right angles to the original front. Having completed the first movement of the turn to the right, there will be a Pause, before the second part of the turn is commenced. The rear foot will be lifted straight (not in a circular action) to the Mark Time position. There will be a Pause in the Mark Time position. The foot will be lowered to the ground to complete the Position of Attention.

Right Beat: Left Beat: Right Beat: Left Beat:

NOTE: Both knees will be straight while the pivot is being executed. Legs: The body will remain erect at all times. Body: Arms/Hands: The arms and hands will remain at the Position of Attention. The head and eyes will remain in the Position of Attention. Head/Eyes: The complete turn will be executed to the rhythm of a five beat count. Timing: For a Left Turn at the Halt, read left foot for right foot and vice versa. For an About Turn at the Halt, the body will turn through one hundred and eighty degrees.
JUDGING FACTORS: 4WS, Pivot, Knees straight, Angles, Relative Posn of Attn, Weight, Pause, To Mark Time, MT Posn, Pause, Lower, Posn of Attn, Timing

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STANDARD TURNS
ACTION HALT RIGHT/LEFT TURNS: For a Right Turn the action will commence from the extended position on the emphasis of the right beat. The left foot will be brought forward as in a normal marching pace to the Left Beat: foot front position in which the foot is flat on the ground with the body weight evenly distributed over both feet. There will be a hesitation to complete the beat. Foot Front No.1 Position: Right Beat: The left foot shall rest (directed to the line of march) sufficiently to the front of the right foot so that if the feet were pressed together, the instep of the front foot (left) would fit into the width of the ball of the right foot. Hesitate for approximately half a beat prior to pivoting on the ball of the left foot to rotate the body through a turn of ninety degrees (or specified degree) and unless stipulated otherwise, simultaneously step out to arrive at the extended position in tempo. The arms shall drop to the sides in conjunction with the foot into. The armswing out shall be in conjunction with the step out pace arriving at the extended position on the emphasis of the beat. The length of hesitation is the Teams choice, but must be uniform throughout the Team within a movement. To execute a Left turn substitute left for right and right for left.
4WS, Foot Into, Armdrop, Timing, 1KNOB, Block Posn, Relative Attention, Hesitation, Pivot to LOM, 1KNOB, Timing, Extended Position

Arms:

Timing:

JUDGING FACTORS:

OFF-STEP RIGHT TURN: For a Right Off-Step Turn the action will commence from the extended position on the emphasis of the left beat. The right foot will be brought forward as in a normal marching pace to a Right Beat: position flat on the ground, sufficiently to the rear of the Stationary position (directed to the line of march) so that if both feet were pressed together, the ball of the rear foot would fit into the instep of the other foot. Weight will be evenly distributed over both feet. There will be a hesitation to complete the beat. Hesitate for approximately half a beat prior to pivoting on the ball of the Left Beat: right foot to rotate the body through a turn of ninety degrees (or specified degree) and unless stipulated otherwise, step out to arrive at the extended position in tempo. NB The pivot will complete prior to step out. The arms shall drop to the sides in conjunction with the foot into. Arms: The armswing out shall be in conjunction with the step out pace arriving at the extended position on the emphasis of the beat. The length of hesitation is the Teams choice, but must be uniform Timing: throughout the Team within a movement. To execute a Left turn substitute left for right and right for left.
JUDGING FACTORS: 4WS, Foot Into, Armdrop, Block Posn, Relative Attention, Hesn, Pivot (prior) to LOM, 1KNOB, Timing, Extended Position

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MARK TIME RIGHT/LEFT TURNS ON THE MARCH: For a Right Turn the action will commence from the extended position on the emphasis of the right beat. The left foot will be brought forward quicker and in the same manner as in a Left Beat: normal marching pace (with the arms dropping to the sides at the same time). When the toe of the travelling foot reaches any alignment of the stationary foot, the foot will be smoothly raised and lowered, to and from the Mark Time position to the Foot Front Position. Foot Front No.1 Position: Right Beat: The left foot shall rest (directed to the line of march) sufficiently to the front of the right foot so that if the feet were pressed together, the instep of the front foot (left) would fit into the width of the ball of the right foot. Hesitate for approximately half a beat prior to pivoting on the ball of the left foot to rotate the body through a turn of ninety degrees (or specified degree) and unless stipulated otherwise, simultaneously step out to arrive at the extended position in tempo. The arms shall drop to the sides in conjunction with the foot into. The armswing out shall be in conjunction with the step out pace arriving at the extended position on the emphasis of the beat. The time taken by the foot traveling forward, up and down, to and from the Mark Time position will occupy one beat of music to which the Team is marching unless otherwise specified. When the detail of the movement requires a Mark time to follow a turn and not a step out pace, there will be no hesitation in the Mark Time, and the pivot will occur as the foot leaves the ground to commence the next beat of Mark Time. To execute a Left Turn substitute left for right and right for left.
4WS, Foot Into, Armdrop, MT Posn, Block Posn, Relative Attention, Hesn, Pivot to LOM, 1KNOB, Timing, Extended Position

Arms:

Timing:

Note:

JUDGING FACTORS:

OFF-STEP RIGHT/LEFT MARK TIME TURNS ON THE MARCH: The same method will be adopted as for the Right/Left Mark Time Turn excepting when the foot is lowered from the Mark Time position it will rest (directed to the line of march) with the foot sufficiently to the rear, so that if both feet were pressed together, the ball of the lowered foot would fit into the instep of the other foot. Unless specified otherwise, the body will turn ninety degrees in the required direction. The pivot will be completed prior to stepping out.
JUDGING FACTORS: 4WS, Foot Into, Armdrop, MT Position, Block Position, Relative Attention, Hesn, Pivot (prior) to LOM, 1KNOB, Timing, Ext. Position

DOUBLE PIVOT RIGHT/LEFT TURNS ON THE MARCH: For a Right Turn the action will commence from the extended position on the emphasis of the right beat. The Left foot will be brought forward quicker and in the same manner as in Left Beat: a normal marching pace (with the arms dropping to the sides at the same time). When the toe of the travelling foot reaches any alignment of the stationary foot, the foot will be raised quickly to the mark time position, where there will be a hesitation, and as the foot descends the body will pivot forty five degrees to the Right on the ball of the stationary foot (Right). The descending foot will be lowered to the stationary position.

DrillDance Technical Handbook - 25 July 2012 Standard Drills & Turns

4. 14
Right Beat: Hesitate for approximately half a beat prior to pivoting on the ball of the left foot to rotate the body through a turn of forty five degrees and unless stipulated otherwise, simultaneously step out to arrive at the extended position in tempo. The arms shall drop to the sides in conjunction with the foot into. The armswing out shall be in conjunction with the step out pace arriving at the extended position on the emphasis of the beat. The time taken by the foot travelling forward, up and down, to and from the Mark Time position will occupy one beat of music to which the Team is marching unless otherwise specified. When the detail of the movement requires a Mark time to follow a turn and not a step out pace, there will be no hesitation in the Mark Time, and the pivot will occur as the foot leaves the ground to commence the next beat of Mark Time. To execute a Left Turn substitute left for right and right for left.
4WS, Foot Into, Armdrop, MT Posn, Stat.Posn, Relative Attention, Hesn, Pivot to LOM, 1KNOB, Timing, Extended Position

Arms:

Timing:

Note:

JUDGING FACTORS:

DOUBLE PIVOT OFF-STEP RIGHT/LEFT TURNS ON THE MARCH: The same method will be adopted as for the Right/Left Double Pivot Turn excepting the Right foot will be raised to the Mark Time of a Right Off-Step Turn and the Left foot will pivot the first forty five degrees as the Right foot descends to the stationary position with the second pivot being executed on the ball of the Right foot. The pivot will be completed prior to stepping out. For a Left Off-Step Turn substitute Left for Right and Right for Left.
JUDGING FACTORS: 4WS, Foot Into, Armdrop, MT Position, Stat.Position, Relative Attn, Hesn, Pivot (prior) to LOM, 1KNOB, Timing, Extended Position

DrillDance Technical Handbook - 25 July 2012 Standard Drills & Turns

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POSITIONING OF FEET FOR DRILL PURPOSES

POSITION OF ATTENTION

STATIONARY POSITION

RIGHT TURN BLOCK - POSITION NO.1

FOOT FRONT POSITION NO.2

FOOT FRONT POSITION NO.3

REVERSED LEG POSITION NO.4

DrillDance Technical Handbook - 25 July 2012 Standard Drills & Turns