The Marching Illini Drum Major System

Table
of
Contents
Foreword .......................................................................................................................................... 7
Purpose
of
the
System....................................................................................................................... 8
Philosophy ........................................................................................................................................ 8
Role
of
the
Drum
Major..................................................................................................................... 9
Role
of
the
Drum
Major:
In
Performance .......................................................................................................................................9
Traditional
Performances ...................................................................................................................................................................... 9
Informal
Performances......................................................................................................................................................................... 10
Role
of
the
Drum
Major:
In
Rehearsal .......................................................................................................................................... 10
Marching
Rehearsals ............................................................................................................................................................................. 10
Sectionals .................................................................................................................................................................................................... 10
Block
band/Fundamentals.................................................................................................................................................................. 11
Learning
Drill............................................................................................................................................................................................ 11
Cleaning
Drill............................................................................................................................................................................................. 11
Run­throughs ............................................................................................................................................................................................ 11
Music
Rehearsals ..................................................................................................................................................................................... 11
Role
of
the
Drum
Major:
At
Large................................................................................................................................................... 12
Leader........................................................................................................................................................................................................... 12
Performer.................................................................................................................................................................................................... 12
Band
Member ............................................................................................................................................................................................ 12
Liaison .......................................................................................................................................................................................................... 12
History ............................................................................................................................................ 13
Role
of
Past
Drum
Majors .................................................................................................................................................................. 13
Past
Marching
Illini
Drum
Majors .................................................................................................................................................. 14
Year
in
the
Life
of
a
Marching
Illini
Drum
Major .............................................................................. 20
Conducting
Notes
for
Traditional
Music........................................................................................... 24
Mace
Warm‐up ............................................................................................................................... 30
Marching
Illini
Mace
Routines ......................................................................................................... 36
End
of
Revised......................................................................................................................................................................................... 36
Beginning
of
Patriotic .......................................................................................................................................................................... 37
End
of
Patriotic ....................................................................................................................................................................................... 38
Illinois
Loyalty ........................................................................................................................................................................................ 39
Three‐In‐One ........................................................................................................................................................................................... 43
Workout
Regiment.......................................................................................................................... 44
Equipment ...................................................................................................................................... 46
Foreword
The University of Illinois Marching Illini Drum Major System is a tool for the
Marching Illini Drum Majors. Use it in a way that fits your personality and
leadership styles. Drum majors should not be direct replicas of each other and
their predecessors because of this book. Drum majors are selected based on
their skills and personality. They have something to bring to the table well
before interacting with this system. We hope that this will be a useful resource
for you.
The University of Illinois Marching Illini Drum Major System was a large
project to take on, and it could not have been completed without open,
creative interactions among the drum majors. This should be taken into
consideration in revision of the system. The group creative process can be a
very productive and rewarding experience. Ideas should not be prematurely
rejected because they do not fit into one individual's opinions or doctrines.
Any idea brought to the group should be thoroughly discussed and developed
before accepting or discarding it.
In recent years, the position of head drum major has been added. The head
drum major's only special duty is serving as historian of the Marching Illini
Drum Majors and to see that University of Illinois Marching Illini Drum Major
System and traditions are revised, preserved, and passed on each year.
The Marching Illini Drum Majors are a unit and should interact as equals. You
are always learning together, whether you are new or returning. Each of you
will have strengths and weaknesses, and those strengths and weaknesses will
differ from person to person. Use your unique talents to help one another. You
each have an important role to play, and by working together you can have a
large impact on the organization. Enjoy the season!
Purpose of the System
The purpose of the University of Illinois Marching Illini Drum Major System is
to ensure that succeeding drum majors each year can build upon the previous
work and development that exiting drum majors have accomplished in the
passing season, and to create a written record as a means of establishing a
common vision that is in alignment with the goals of the Marching Illini.
Philosophy
The drum majors of the Marching Illini are expected to uphold these values:
Pride:
The drum majors of the Marching Illini are ambassadors for the band and the
university. To this end, they should always be proud of the band’s
accomplishments and their own individual efforts. They should strive to be
well-informed about the band and the university to ensure smooth and
successful operations.
Tradition:
The drum majors of the Marching Illini should strive to maintain a tradition of
innovation. They should constantly cultivate a progressive view and a sense of
self-improvement. They should also push themselves and the band to the
peak of marching and musical excellence. The drum majors of the Marching
Illini should maintain a high sense of professionalism: being punctual, flexible,
and respectful in all aspects that may reflect upon their role, the band, or the
university.
Loyalty:
The drum majors of the Marching Illini should always make the band a
priority, speak well of the program, and believe in the Marching Illini. The
drum majors of the Marching Illini should demonstrate the school spirit that
the Marching Illini seeks to inspire. They should know the purpose of their role
within the organization. They should also know the importance of the
Marching Illini within the university.
Excellence:
The drum majors of the Marching Illini should always present themselves as
accepting, helpful, and respectful people. They should maintain a high sense
of integrity: being able to execute any task that they give, fulfilling all
responsibilities with competence, and truly believing in what they do.
Role of the Drum Major
The Marching Illini Drum Majors have a variety of duties and responsibilities
that call for different personas at different times. If these personas are
portrayed improperly, they can negatively affect another aspect of their
position.
Role of the Drum Major: In Performance
Traditional Performances
Traditional performances include any performance of pregame, any halftime
show, or formal parade.
Portrayal: Any traditional performance should be approached with a high
degree of focus, precision, dignity, intensity, pride, and dedication.
Focus
The drum major should be mentally attuned to his
surrounding environment as well as to the quality of his
personal performance.
Precision
The term precision can be applied in two aspects of the
drum major role: personal precision and ensemble
precision. Personal precision entails accurate execution of
movements and actions in any respect, whether it be
marching, mace work or conducting. Ensemble precision
refers to aligning these elements with other drum majors
and the band as a whole.
Dignity
The drum major should project an image that represents
the traditions of this band and carry himself with a level of
decorum. He should have an attitude of seriousness and
calm intensity.
Dedication
Dedication to a traditional performance refers to having a
personal commitment to quality and consistency.
Purpose: The drum major has the following practical roles in traditional
performance:
• Field Conductor
• Provide visual emphasis in pregame
• Set the step size pace in parade
Informal Performances
Informal performances include any other kind of performance that is not a
traditional performance including informal parades, in the stands at a game,
and post-game.
Portrayal:
Maintaining
school spirit
The drum major should support the university in its
endeavors, athletic and otherwise. He should also try to
maintain a high group morale.
Fun
The drum major should always find personal enjoyment in
his performance and activities, but he should also be
aware that certain times call for a sense of humor, even at
himself.
Being in the
moment
The drum major should understand that it is not enough to
be present at a band event. They must be engaged and
work to engage other band members.
Purpose: The drum major has the following practical roles in informal
performance:
• Stand Conductors
• Cheerleaders
• Setting the standard
Role of the Drum Major: In Rehearsal
Marching Rehearsals
During any marching rehearsal, the drum majors need to be participating
consistently. They should demonstrate a strong work ethic and help keep the
general focus of the band. The drum majors should have a wide range of
communication on the field. They should be able to talk to anyone on the field,
but still be aware of the chain of command. For example, their are times that
the drum major should have the graduate assistants relay information to the
director rather than approaching him on the podium or scaffolding. There are
also times when the drum majors should approach the section or squad leader
rather than interact with the individual. Going along the same lines, the drum
major should know the difference between a quick fix and a large problem. A
quick fix may be one instance poor posture of an individual, which a drum
major can correct; however, a larger problem the section non-unified horn
angles or an individual with a reoccurring marching problem should be
reported to a section leader that they can fix at a later, more convenient time.
Sectionals
Band Camp: When the band splits off into sectionals during band camp, take
part of the time floating around to different sectionals as a group. Do not lead
any sectionals. You can share your opinion on any musical or marching
concerns, if asked by a section leader. The purpose of floating around the
sectionals is to reinforce the group image of the drum majors, but more
importantly just making sure that the sections are aware of your exist and
that you care about the work they are doing. Make sure that you visit all the
different sections over the course of band camp including flags, Illinettes, and
drumline. You do not need to visit everyone the first day. Take some time as
well for your own needs including mace work, conducting, score study,
personal drill concerns, etc.
During Regular Rehearsals: The drum majors should take this time to review
and clean any mace work or conducting. It is important that this time is spent
together as a unit, and all work should be done visible to other sectionals.
Block band/Fundamentals
Band Camp: During band camp, the drum majors should going around
correcting fundamentals in block band.
Gameday: The drum majors should be participating (with maces) in the block
band fundamentals warm-up that the rest of the band does.
Learning Drill
The drum majors should be correcting forms, spacing issues, and reinforcing
counts sequences. The drum majors should use their best judgment on when
to start reinforcing fundamentals, but never worrying about fundamentals on
the first day of new drill.
Cleaning Drill
Around the time the band starts cleaning drill, the drum majors are still
making corrections to other band members, but also learning their own drill.
At this time as well, the drum majors should stop counting, calling out holds
and mark times, or any other particular specification of the drill. It no longer
helps people, but enables them. It is fine to correct those kind of things with
individuals, but do not reinforce on a large scale while marching.
Run-throughs
When the band starts doing run-throughs towards the end of the week, the
drum majors should not be critique other band members. At that point, they
should be focusing on cleaning their own drill.
Music Rehearsals
The drum majors should attend music rehearsal as much as possible for three
reasons. It is good to for the public image of the drum majors for the band to
see them present and attentive at the rehearsals. The drum majors should
also be familiar with the band’s current repertoire as well as sharing the
experience of music rehearsals.
Role of the Drum Major: At Large
Exemplify to the best of our ability the values of our philosophy - constant
assessment and awareness of actions and duties.
Leader
The drum majors should always be aware that they are role models for other
band members. Our actions impact the band behavior and performance. If
band members see the drum majors goofing around, they will interpret that it
is alright for them to goof around, and the band will loose focus. At times it
will be alright to have fun, but the drum majors need to distinguish the time
to work and the time to play, and relay that to the band verbally and
physically.
Performer
The drum majors need to relay and image to the audience. They should try
and get the audience involved in the game and the band's performances. This
image is different than that relayed to the band as a performer.
Band Member
The drum majors are still part of the band, following the same rules as
everyone else. There are no exceptions or loopholes for us.
Liaison
Inside the band, we connect many sections and groups of people on a larger
scale, which helps in a variety of ways, but also means we do not have as
much knowledge on the micro level of sections. We need to stop, look, listen,
and then act when fixing problems. Just because we are drum majors does
not mean we always have or know the right answer. By following this idea, we
are also able to interpret the general band sentiment at times, in ways that
others may not be able to. In the band we are both listeners and
communicators throughout the organization. Outside the band, we are
ambassadors for the program. Because we are the drum majors of the band,
the public will often make assumptions about the band and the program based
on our actions and opinions. The drum majors should also make an effort
toward recruitment. *Possibly add in outreach to other big ten schools.
History
Role of Past Drum Majors
The drum major position was in existence during the early years of the
university, and the earliest name listed as drum major is Charles Milton, who
served as drum major for the regimental bands in 18931. Over the years the
drum major role has changed drastically. We can only assume that the drum
major in the earlier years functioned, as most drum majors did, in a similar
style to that of military bands. The drum major most likely used whistle and
baton signals to command the band, and mainly lead the band at the front of
a block. Possible other duties include being in charge of overall standards of
dress and deportment, administrative work, and drill and choreograph
marching movements.
1941 was the first year two drum majors were listed, Lloyd Taylor, a drum
major and Gordon Trumbaurer, assistant drum major. Gordon Trumbaurer
dressed in regular uniform, unlike the drum major. He was present at the
middle of the block band and would relay commands from Lloyd Taylor who
was usually found at the front of the band.
A band manual from the 1940s lists many aspects of the drum major. The
manual was located in the archives of Albert Austin Harding and was titled
“BAND AT-TEN-TION” 1940-1942. The manual lists commands for the band
with the corresponding whistle and baton signals for the drum major. These
maneuvers with the baton indicate that the baton was most likely a signal
baton or smaller, not an American mace, as is currently used by today's
Marching Illini Drum Majors. The following are direct quotes from Harding's
manual about the role of the drum major:
"At all appearance, the drum major acts as commanding
officer, leading the band according to general or specific
instructions previously given to him by the director. The
regular position of the drum major is the length of two
'distances'2 in front of center of the front of the band"
"Field sergeant...appointed by the director who does not
play in the marching formation, but who marches
immediately to the right of the number one of the front
rank, assisting the drum major whenever necessary."3
"The drum major always uses his baton and whistle for a
command unless there is no signal for that command, or
unless he wishes the drums to be silent during the
execution of the command."
A 1951 handbook lists more information on the drum major. The drum major
has authority delegated to them by the director, as in the past. The drum
major audition is listed as a competitive tryout; however, more requirements
are listed. The handbook advises the drum major to be part of a band. It
merely states "a" band, meaning that members did not have to have been
previously enrolled in the football band (Marching Illini was initially referred to
as the football band). This is unlike today's requirements, which state that
the drum major must be part of the Marching Illini for one year before
auditioning.
In later documents of 1971, the drum major audition was based on posture,
carriage, verbal commands, baton and whistle commands, attitude, and
marching fundamentals (facings, flanks, etc.). Here we start to see a shift
toward increased focus on the drum major's marching fundamentals in
addition to his previous duties calling commands and executing signals. The
drum major was not correcting fundamentals in the band yet, but was
expected to have competent skills in them. There was also a column on the
audition rubric for height, which could have been for uniform measurements,
but it is likely that a person could have been overlooked for the position on
the basis of height, as no other measurements were listed.
1
As of 2008, no addition research was uncovered.
A "distance" was two and a half yards long, or equivalent to a 4 step interval
of the system used by today's Marching Illini
3
While it was not documented specifically, this was most likely also known as
or later referred to as the assistant drum major.
2
Past Marching Illini Drum Majors
Year
Name
Football Record
Emma Burrows
2008 Theresa Steiner
Michael J. West
5-7
Emma Burrows
2007 Jonathan Huffman
Steven Robert Riley
9-3
Jonathan Huffman
2006 Steven Robert Riley
Beth Vaughn
2-10
2005
Christine Nicole Werbiansky
Steven Robert Riley
2-9
Bowl Game1
Rose
Beth Vaughn
2004
Christine Nicole Werbiansky
Beth Vaughn
Candace Edstrand
2003 Edward Hill Hernandez
Kara Marie Huffman
Edward Hill Hernandez
2002 Kara Marie Huffman
Annabelle Jane Sarmiento
Marc Decker
2001 Amy Eijka
Polly Middleton
3-8
1-11
5-7
10-2
Roxanne Barnes
2000 Max E. Chernick
Natalie Ross
5-6
Roxanne Barnes
1999 Patricia MacHannaford
Natalie Ross
8-4
Stephanie Adams
Roxanne Barnes
1998
Amanda Christenson
Justin Sanchez
3-8
Stephanie Adams
Carrie Johnson
1997
Victoria Parks
Justin Sanchez
0-11
Stephanie Adams
Carrie Johnson
1996
Beth Dipple
Victoria Parks
2-9
Stephanie Adams
Carrie Johnson
1995
Jennifer Liang
Victoria Parks
5-5-1
1994
Melody Guadelupe
Brian Vogel
7-5
Sugar
MicronPC.com
Liberty
Darren Hicks
1993 Alison Logsden
Brendan West
5-6
Darren Hicks
Alison Logsden
1992
Karen Suarez
Brendan West
6-5-1
Holiday
6-6
John Hancock
1991
Darren Hicks
Karen Suarez
Brendan West
Darren Hicks
Karen Suarez
1990
Brendan West
Darren West
8-4
Hall of Fame
Lynn Gross
1989 Lisa Keeler
Darren West
10-2
Citrus
Lynn Gross
1988 Jenny Moran
Darren West
6-5-1
All-American
1987
3-7-1
1986
4-7
1985
7-4-1
1984
10-2
Peach
1983 Barry Taylor
7-5
Rose
1982
7-4
Liberty
1981
3-7
1980
2-8-1
1979
2-8-1
1978
1-8-2
1977 Debbie Soumar
3-8
1976
5-6
1975 Greg Fisher
5-6
1974
Greg Fisher
2
Dale Shipe
6-4-1
1973 Jerrold Slutzky
5-6
1972 Jerrold Slutzky
3-8
1971 Jerrold Slutzky
5-6
1970 David A. Marrone
3-7
1969 David A. Marrone
0-10
1968 David A. Marrone
1-9
1967 David A. Marrone
4-6
1966 James Hatch
4-6
1965 James Hatch
6-4
1964
James Hatch
3
Philip Merkel
6-3
1963 Alan Davis
8-1-1
1962 Alan Davis
2-7
1961 Alan Davis
0-9
Rose
1960 Richard J. Jarrad
5-4
1959 Richard J. Jarrad
5-3
1958 Edmund C. Williams
4-5
1957 Edmund C. Williams
4-5
1956 Edmund C. Williams
2-5-2
1955 Edmund C. Williams
5-3-1
1954 Paul J. Rossok
1-8
1953 Paul J. Rossok
7-1-1
1952 Richard K. Rodgers
4-5
1951 Richard K. Rodgers
9-0-1
1950 Richard K. Rodgers
7-2
1949 Richard K. Rodgers
3-4-2
1948 C. Anderson
1947
3-6
5-3-1
1946 Ernie Hauster
8-2
1945 Ernie Hauster
2-6-1
1944
5-4-1
1943
3-7
1942
6-4
1941
Lloyd Taylor
4
Gordon Trumbaurer
1940
2-6
1-7
1939 Donald F. Hackett
3-4-1
1938 Robert W. Koyl
3-5
1937 Arden D. Wilson
3-3-2
1936 Arden D. Wilson
4-3-1
1935 Arden D. Wilson
3-5
1934
7-1
Carl P. Burman
Carlton Parker Russell
5-3
1932 Carlton Parker Russell
5-4
1931 Carlton Parker Russell
2-6-1
1933
Rose
1930 A. W. Borchers
3-5
1929 Warren L. Wood
6-1-1
1928
1927 George L. Leupold
7-1
7-0-1
1926
6-2
1925
5-3
Rose
1924 William M. Liscom
6-1-1
1923 William M. Liscom
8-0
1922 Robert A. Ide
2-5
1921 Robert A. Ide
3-4
1920 Harold Fleming Cope
5-2
1919 Harold Fleming Cope
6-0
1918 Robert A. Ide
5-2
1917 Paul McCauley Boston
5-2-1
1916 Ross Seguine Mason
3-3-1
1915 Ross Seguine Mason
5-0-2
1914 L. R. Lumley
7-0
1913 R. A. Grizzell
4-2-1
1912
3-3-1
1911 M. S. Mason
4-2-1
1910
7-0
1909 A. B. Sawyer
5-2
1908 A. B. Sawyer
5-1-1
1907 B. P. Irwin
3-2
1906 B. P. Irwin
1-3-1
1905
1904 W. N. MacDonald
5-4
9-2-1
1903 D. A. Parish
8-6
1902 H. C. Morse
10-2-1
1901 H. C. Morse
8-2
1900
7-3-2
1899
3-5-1
1898
4-5
1897 M. W. Whitmeyer
6-2
1896
4-2-1
1895 S. E. Lantz
4-2-1
1894 Charles Milton
5-3
1893
3-2-3
1892
9-3-2
1891
6-0
1890
1-2
Any bowl game listed is considered part of that years season even if it took place in the
following year. For example, the Rose Bowl that occurred on January 1, 2008 is
considered part of the 2007 season.
1
The Bowl Game category is only applicable up to 1916 since it was in 1916 that the first
bowl game occured (Tournament of Roses football game).
2
3
Dale Shipe was the Assistant Drum Major.
In research, Philip Merkel was noted as the assistant drum major, information on
whether or not he served in the same respect as the drum major that or was an
understudy, if you will, was not found.
4
In research, Gordon Trumbaurer was noted as the assistant drum major. It was found
that he dressed in regular uniform unlike the drum major. He was present at the middle of
the block band and would relay commands from Lloyd Taylor who was usually found at
the front of the band.
Year in the Life of a Marching Illini
Drum Major
For the drum majors, particularly in bowl game years, Marching Illini has become
a year-round activity. This calendar is intended to give a framework for a
successful, prepared year in the drum major role.
November
• End of regular season football.
• Drum majors should begin to try to raise interest/awareness in auditioning
for the drum major position.
• At the last few rehearsals, drum majors should request that band members
interested in auditioning send an e-mail to [email protected].
Drum majors will then add interested band members to the audition
information mailing list.
• Drum majors who will not be graduating/leaving the band should begin to
plan audition workshops.
• Drum majors should create a rough audition workshop schedule on the drum
major Google calendar (see artifact), being sure to factor in: the availability
of the Armory, band concerts, basketball band schedule, and meeting times
for band rehearsals
• After Thanksgiving break: send an e-mail to those interested in auditioning,
including: date/time of first informational meeting, brief summary of audition
process, link to Google Calendar of potential workshop dates (have them
check personal availability for major conflicts), asking who has access to a
mace/if they have previous experience, etc. (see artifact)
• Make DM Christmas cards
December
• December 1: drum majors should contact scheduling personnel at the
Armory to reserve space on the main floor. Drum majors should also contact
Lucinda regarding band building availability.
• Send out DM Christmas cards
• Possibility of Bowl Game?
January
• Possibility of Bowl Game?
• Post-Mortem Meeting should take place before audition workshops begin.
Discuss successes of past season, places for improvement, possible revisions
of System, etc.
• Begin audition workshops
February
• Continue audition workshops
• Audition informational meeting with director 1-2 weeks prior to audition,
generally scheduled by director.
• Auditions
• When results are posted, the newly appointed drum majors should meet for
a congratulatory dinner (Flattop Grill is traditional)
March
• Late March: first MI audition will take place. Drum majors may need to hang
informational signs before the auditions take place. All drum majors should
be present, if possible. Drum majors will run the registration desk, introduce
themselves, and field any basic questions asked by parents and auditionees.
Dress in the past has been orange polos and khakis or nice jeans.
• New drum majors should order boots as early as possible to make sure that
reimbursement goes through swiftly (ideally before summer hits) Talk to
director/folks in charge of ordering about reimbursement procedure.
• Begin discussion of ordering other merchandise, such as maces and gloves,
to determine what will be covered by UI Bands versus personal expenses.
• Begin teaching mace routines to new drum majors.
April
•
•
•
•
•
Generally, section leader meetings with the director will take place in March
or April. It may be beneficial for the drum majors to chat briefly about points
to bring up in these meetings, including ideas, concerns, etc. for the
upcoming season.
If necessary, drum majors who need uniforms custom-ordered will be
measured at this time.
Marching Illini T-shirt designs are usually due at the end of April.
Orange and Blues Football game. Drum majors will conduct on the sides
during this scrimmage. This is the first gig of the season as a new drum
majoring team.
Continue to teach and review mace routines. As weather improves, move
outside to work on triples and big tosses.
May
•
•
Review and clean mace routines. Drum majors should know all the
sequences before leaving campus for summer so that they can clean while
they are at home.
Before leaving campus, the drum majors should meet to: answer any
general questions, discuss expectations and role of the drum majors, discuss
any forthcoming obstacles for the season, review the System and discuss
necessary revisions (paying close attention to the Role of the Drum Major
and Philosophy sections), and form and record personal and group goals.
June
•
•
•
•
July
•
•
•
•
Work on additions and revisions to the System.
Independently clean mace routines.
Contact Head of the Undergraduate staff, Drumline, Flag, and Illinette
captains to offer any assistance that can be provided.
Teach run-on if possible.
Continue any necessary work on the System.
Independently clean mace routines.
Smith Walbridge! A wonderful opportunity for those employed by the camp
as well as those attending as campers. Smith Walbridge has been deeply
connected with Illinois drum majors for decades. This is a connection we
intend to nurture and preserve.
At Smith Walbridge (assuming one or more drum majors are at camp),
purchase whistles, whistle guards, lanyards, white maces
Online: order mace bags, duffels, suspenders, gloves
• Work on and clean entrance routine.
August
• Final gearing up for the season!
• Order warm-ups and shorts as soon as everyone is on campus.
• Review and somewhat unify conducting, discuss key musical issues.
• Review run-on
• Review mace routines
• Meet with director to discuss goals for the season, expectations, etc.
• Meet with Head of the Undergraduate staff, Drumline, Flag, and Illinette
captains to discuss season.
• Learn traditional drill and work on run-on
• Prep on traditional drill charts, think about teaching Flag/Illinette drill
BAND CAMP
• New drum major(s) conduct(s) all section leader memorization tests, just for
practice and confidence
• Dress in nice clothes on first day, but BRING CHANGE OF CLOTHES
• Rotate conducting playing tests. Conductor for Revised gives nice intro of
drum majors.
• Greet band members at dinner with handshakes on first night.
• Head DM conducts alma mater at dinner
• Signs after dinner for clapping. Ideas: director/TA names. Jokes. ILL-INI. Go
Illini, Beat the (insert next opponent’s mascot). U of I oh yeahhh. Drum
majors enter band room with signs, have band yell.
• Remember glow sticks for newcomer ceremony (unless in stadium) with
Pete’s talk. Drum majors will conduct 3-in-1 in center of newcomers.
• Teaching drill to the Flags and Illinettes. This should begin with viewing the
pregame show indoors about 15 times. This should also include a brief
explanation of reading drill. (Barry has notes)
• Rotate pregame spots. Everybody learns all spots eventually in case of
absences.
• Conduct in mirror to nitpick conducting inconsistencies
• Quad day: performance maces, gloves, t-shirts (Loyalty is quick, no rifle
skips)
September
• Regular Season
• Game Day/performance traditions and procedures:
• Drum majors carry uniforms to game; wear warm-ups in morning to
cold games.
• Drum majors change at the end of “lunch” before section warm-ups
(about 20 minutes before sectionals). Girls’ hair should be braided by
this point.
• Drum majors walk out with drumline and sousaphones for pregame at
specified time.
• During game, two drum majors will be on the ladders on the sides.
Drum majors will rotate on each change in possession.
• The success/failure of the goalpost toss in 3-in-1 is said to predict the
fate of the team at the end of the game. (So do your best to aim
•
•
•
•
carefully)
Duffles and mace bags should be packed after halftime and placed
under the director’s podium. Keep your performance mace out for the
march back to the Education Building. The Undergraduate Staff will
take them at the end of the game to be loaded into the Ug Van and
returned to the Band Building.
In a formal march to the stadium (e.g., from the Armory), drum
majors will salute Harding and Hindsley. Their graves in the cemetery
on the east side of fourth street, just about 50 feet before the traffic
light. This salute does not take place in informal parade to the
Education Building.
At the Education Building, drum majors will stand by and will join the
drumline to sing Hail to the Orange.
October
• Regular season continues
• At this point in the season, the “Midterms Slump” tends to set in. Strive to
maintain a positive attitude and energetic demeanor.
• Homecoming parade: candy in the mace dome is a popular trick for the
kiddies
For more detailed information on audition workshops, see “Running Audition
Workshops”
Conducting Notes for Traditional
Music
All following score studies were compiled by the 2008 Marching Illini Drum Majors
for reference and educational uses for future drum majors. This document is open
to interpretation and can be revised by any Marching Illini Drum Major in future
years.
William Tell
Composer: Rossini, Arranged by ?????
Key: F Major
Style: Marcato
Time Signature: 2/4
Tempo: q = 140-150
Key Musical and Conducting points
 Subdivision
 Clean articulations in the trumpet/mello/flugel fanfare will
occur if and only if both the band and the director are
subdividing together. Give a strong, clear prep beat to get
these in time.
 Keep the tempo steady. The trumpets will rush the opening
fanfare and the mellos will drag. Listen for instruments with
sixteenth notes.
 Dynamics
 Dynamic contrast in this piece is created by layering and adding
different instruments. Cue instruments as they enter, such as the
mellos in bar five or everyone in bar fifteen.
 Crescendo through the syncopated patterns at “B.” The crescendo will
need to be shown more through the face than through the pattern
because of the quick tempo (please do not sacrifice the clean beat
pattern to show the two bar crescendo).
 Cutoffs!
 Most cutoffs occur in all instruments and occur on count one. Give a
clean stop to these notes.
 Look at the cutoff at the end of the piece and decide if it should be
conducted as a bar of two or just as one held note. Figure out what to
do before stepping onto the podium!
 Special conducting notes
 At “B”, make sure the emphasis of the pattern stays on the correct
beats. Keep the pattern clean!!!
 Use a very clean pattern, and keep the pattern and tempo as
consistent as possible and use discretion in gestures
Three in One
Composer: Curnow
(Alma Mater Below)
Key: Bb Major, Eb major (A), Db major (B)
Style: Accented
Time Signature: Cut, 2/2
Tempo: h = 130
Key Musical and Conducting points
• Rhythm
o Make sure the rhythm of the singing is correct (such as on “May the
spirit…”)
o During the Chief Dance, two after B the eighth note comes on the beat
and is not a grace note. This is typically played incorrectly by half the
band.
• Accenting the correct notes and sustaining notes
o Pay special attention to which notes are accented and which ones are
not!
o Make sure the band plays notes to the full length and conduct through
every note. Hint: Most cutoffs occur on beat one, especially at
rehearsal mark C.
• Style change
o At C, the style changes from accented to a more neutral style. Don’t
loose the intensity; just lose the emphasis on specific notes.
• Very Special Issues
o Watch the key changes!
o Keep up the tempo, especially during the singing. The band will want
to drag, so don’t let them. Subdividing the beats will help immensely.
o Slow down into the Alma Mater. You can switch to a 4/4 pattern
during the Ritardando to help prepare the band for the tempo change.
o Speed up slowly into the repeat after the Alma Mater. This is a
slow accelerando after the Alma Mater and the piece goes to the
original tempo
Alma Mater
Key: Ab major
Style: Slurred, Legato
Time Signature: C, 4/4
Tempo: q= around 100 (depending on who is directing the piece)
Special Conducting Issues
• Key change!
• Style change to legato and slurred.
• Watch the Fermatas
o The first one can be conducted as a continuous hold
o Most of the fermatas are more like rubato, held notes than actual
fermatas. Conduct though these with legato patterns like continuous
holds as opposed to complete cutoffs.
o Watch the caesura and give a clean break for it.
o Make sure the beat pattern for the accelerando into “A Tempo” is clear!
Star Spangled Banner
Francis Scott Key, ed. Sykes
Key: Ab Major
Style: Marcato, Legato
Time Signature: 3/4
Tempo: q = 128
Key Musical and Conducting points
• Pickups
o The piece begins on count three, so the prep must be on count two.
o The holds in the legato section are both semi-pauses. Conduct through
these holds while giving a prep beat.
• Differences in Style
o The beginning of the piece is Marcato, so use a hard ictus with a fast
rebound.
o In the middle section, the piece switches to a legato style. Make this
shift in both playing and conducting.
• Special attention to dynamics
o The piece starts at f and ends at ff. Make the differences in the pattern
despite the fact
o The dynamics switch to mp in the legato section. Instruments must be
softer and patterns must be smaller.
o Watch the hairpin dynamics in the legato section. To show these, think
building more horizontally in the conducting pattern rather than
vertically.
• Special Cues
o Trumpets have a huge fanfare in the legato section of the piece. Make
sure to cue this and to cue it strongly.
o Show any pickups on count three.
o Watch for breaths in the instruments. They will tend to break up the
phrases too much, so help them out and breathe with them when they
are supposed to breathe. Cue their breaths!
• Holds
o Look over the fermatas and cutoffs ahead of time. The first cutoff on
the legato section occurs on count one and the second on count two.
The last hold is a complete cutoff.
Oskee Wow Wow
Composer: Hill-Curnow
Key: C Major
Style: Accented
Time Signature: 2/4
Tempo: q = 150-160 (this depends on if the band is marching or standing while
playing)
Key Musical and Conducting points
• Dynamics (because his is one of many stands tunes that can be very
impactful with huge dynamic contrasts).
o Beginning is ff, but gets slightly softer after the first statement of the
piece. This change must happen so the instruments can have a huge
crescendo at the fermata!
o After the fermata, the instruments must get softer before they
crescendo every time. Otherwise loud keeps getting louder and louder.
o Crescendo into “We’re the orange and the blue” with sforzando on the
“rah’s.” Don’t forget to get back down dynamically after that.
o Crescendo into the Ritardando at the end.
• Articulations and cutoffs
o Make sure the accents don’t slow down the tempo.
o Make the rests part of the phrases; they are short but they need to be
there. Be careful how to show this in conducting (through stops and
breaths).
o Sustain the long tones because most cutoffs are on count one.
• Tempo changes!
o A ritardando occurs before the fermata if the band plays the piece from
the top. They are back “A Tempo” after the fermata.
o Ritardando before “Back the team to gain a victory,” and “a tempo”
right after that into “Oskee Wow Wow, Illinois.”
• Special Conducting Notes
• Watch out for stingers and fermatas. Practice cuing these while signing to
make sure what you are doing makes sense.
• Be very aware of tempo changes because you are the one cuing the band!
Illinois March
Composer: Edwin Goldman, Arranged by Leidzen
Key: Ab Major
Style: Staccato, Accented
Time Signature: Cut, 2/2
Tempo: q = 125
Key Musical and Conducting points
• Dynamic Differences
o Watch for differences in forte and piano (the band switches between
them frequently), and match conducting to the music.
o Just a hint, the dynamic differences usually go with the repeats.
o The ending is much louder than the beginning.
• Style Differences
o The piece generally is staccato but watch for accents and the lyrical
vocal line in the trio.
o Conduct a staccato pattern but be prepared to switch to accented
where appropriate.
• Accents, Accents, Accents
o Show them in conducting and make sure they on the correct beats in
the conducting.
• Funny conducting Issues
o Don’t let the off-beats mess with subdivisions.
o Watch for the stinger on the end.
Illinois Loyalty
Composer: Guild-Hindsley-Curnow
Key: C Major
Style: Accented, somewhat Marcato
Time Signature: Cut, 2/2
Tempo: h = 120
Key Musical and Conducting points
• Maintaining accented style
o Most instruments will lose their intensity after playing a few measures
o Conductor should show the accented style with gestures in his
conducting
• Sustaining long tones and clarity on cutoffs
o For example, the long tone in the third measure after 1 must be
sustained until beat one in the next measure. It must then also cutoff
for the rest on count two.
• Special attention to dynamics
o Most of the piece is f or ff, but remember that dynamics are relative!
Phrases must still contrast with each other.
o Crescendo through “Fling out that dear old flag of orange and blue”
sections, and then show subito mp.
o Crescendo into the OSKEE WOW WOW.
• Differences in style
o Style changes to staccato at rehearsal mark 3 with the subtraction of
all brass instruments. It is back to accented in the brass’ response.
o Note differences between accented and “regular” notes in conducting.
Don’t get too caught up in accenting notes at the expense of clarity in
the pattern.
o Make sure the accents that are conducted are placed correctly.
• Funny conducting Issues
o Pay attention and think through conducting the “Oskee Wow Wow.”
Some instruments still play there!
o Watch for the stinger on the end.
Mace Warm-up
The following warm-up routine works both the mind and the body in a variety of
ways. It is written for anyone spinning mace, but also is structured specifically to
help train a person for certain aspects including the traditional Marching Illini
Drum Major mace routines.
When first using this warm-up sequence, some things may be unusual in terms of
movement or thought process, so just get used to the individual exercises first.
Around the second or third time using this, you should start to use the count
sequences included in each exercise to help establish a sense of time and precision
in all mace work, and to help create uniformity if you are working with other
people spinning mace.
Stretch
Ideally, one should stretch for 15 minutes or more before spinning. Hold each
stretch for a minimum of 10 seconds.
•
•
•
•
•
Forearms, Biceps, and Chest: Place arms behind your back and interlock
fingers. Lean forward while standing and raise arms forwards as you lean,
hands still interlock. Another option is to place hands on a stationary object
while they are interlock behind you and bend at the needs, so the stationary
object forces the stretch in arms a little further than what you can do
yourself.
Triceps: Lift arm over your head, placing it behind your head and bend at
the elbow. Place a slight amount of pressure with opposite hand just above
the elbow.
Neck: Roll neck in a circular motion several times around. Chin should touch
chest when your head is all the way forward, but when your head is all the
back do not tilt head backward. Rather think of lifting your head upward, so
as to pull on the top potion of your spine vertically.
Shoulders: Place arm across your chest and place pressure on your arm with
opposite hand just above the elbow. Follow this up with rolling your
shoulders in a circular motion, lifting your shoulders, dropping them forward,
and then pushing them back. Roll shoulders slowly a couple times clockwise
and counterclockwise.
Wrist and Hands: Push each finger back individual, just far enough to feel a
slight stretch and then push the hold hand back in the same manner.
Perpetual Motion - 5 cycles
One cycle: Start in the home position and flourish with the right hand. When you
turn your wrist on the flourish start to lead the mace behind you. The mace should
be dome up behind your back with your right hand still holding on at about the
middle of your back, depending on your height. Transfer the mace to the left hand
grabbing the mace just below your right hand. Once in the left hand, complete it
as a roundhouse, and as you turn your wrist this time bring the mace back in front
of you. As you lead the mace with the steeple back in front of you, use the
momentum to perform a hand roll in the left hand. Once the mace rolls over the
left hand, grab it with the left hand again and begin to turn it as if you were going
into a prop spin; however, once you have it in your left hand and the mace has
turned to the point where the dome is facing downward, perpendicular to the
ground, grab the mace with your right hand below your left.
To Repeat: This exercise is meant to be repeated several times, but to look like
one entire maneuver.
At the end of one cycle when both hands are on the mace as the dome faces
down, you can drop your left hand, and begin to flourish with the right hand and
repeat the maneuver. (Once the maneuver is done, from the repeating point it can
go into a prop spin if you wish.)
Key things:
• This exercise can be used in one two ways. This version above is meant to
limber up muscles by forcing your arms and wrist to turn in a variety of
extremes in repetition. The second way is that the left hand roll can be taken
out, meaning that the right hand flourish comes directly out of the left hand
roundhouse. This allows the exercise to focus on building speed since the left
hand roll limits speed.
• When one hand is holding the mace at any point, be aware where the other
one is. Try to keep your non-occupied hand at your side in a fist or a blade
or on your abdomen in a fist.
• Whether or not you are using the left hand roll in the exercise, it is also
about control. Think about the movement of the mace and not just trying to
make it move around your body.
Count
Actions
5,6,7,8
Home, Verbal Prep in time
1
Right Hand Flourish,
2
Right Hand Flourish, turn of wrist
3
Mace behind the back, dome up, both hands on mace
4
Left Hand Roundhouse
5
Left Hand Roundhouse, turn of wrist
6
Mace in front of body
7
Left Hand Roll
8
Mace Perpendicular to ground, dome down, both hands on mace
Rifle Switch - 3 cycles
One cycle: Starting at the home position and push mace with the left hand to start
4 rifle tosses in the right hand. Each rifle toss is one count. Catch on the 5th count
with the right hand at the bolts closet to the dome palm down and left hand
almost exactly half way down the mace palm up. The mace should be horizontal at
this point. From here you will push down on the mace with your right hand and
proceed to do 4 rifle tosses in your left hand, catching and tossing with your left
hand still positioned half way down the mace. Catch on the 5th count with the
right hand at the bolts closet to the dome palm up and the left hand halfway down
the mace palm down. The mace should be horizontal again at this point.
To Repeat: When the mace is horizontal after one cycle, push with the mace with
the left hand to start rifle tosses in the right hand again. Home position is excluded
in repetitions.
Counts
Actions
1,2,3
Home, prep beats
4 (or verbal "Push")
Push mace with left hand
1,2,3,4
Rifle toss, right hand (x4)
1
Catch horizontal
2,3
Hold
4 (or verbal "Push)
Push mace with right hand
1,2,3,4
Rifle toss, left hand (x4)
1
Catch horizontal
2,3
Hold
4
Stop if done with cycles or repeat "Push" to continue
to the next cycle.
Key things:
• Most people aren't used to left handed rifles. This forces the mind to think
about specific actions.
• When starting left hand rifle tosses, they will most likely feel awkward and it
will be difficult to keep them smooth and maintain the same hand position
on the mace. Eventually, they should look as easy as right hand rifle tosses.
• Work towards getting both horizontal stops at the same height, parallel to
the ground, and crisp.
• When this exercise becomes easy, try to make one cycle flow into the next
so that the whole thing appears a smooth process, increase to a reasonably
fast speed, and increase to five cycles.
Prop Tosses - 3 cycles
One cycle: Start at the home position, choke down on the mace with the right
hand, and begin to prop spin. Continue to prop spin and at your leisure, toss and
catch the mace in the following order: left hand to left hand, left hand to right
hand, right hand to right hand, right hand to left hand. For example, the first one,
you would prop spin and when comfortable, you would toss the mace with the left
hand, catch with the left, and continue the prop spin. Then when comfortable
again, you would toss the mace with the left hand, catch with the right, and
continue to prop spin out of that, and so on. Each toss is going to spin just less
than one time around with the exception of right hand to right hand, which is
basically just a rifle skip.
To Repeat: Just keep prop spinning and after tossing right hand to right hand go
back to left hand to left hand since you are already prop spinning.
Key things:
• Work towards getting your tosses and catches as close together as possible,
so you are not reaching in uncomfortable directions to just make a catch.
Depending on your height, in most cases, I would recommend making that
toss and catch point be right in front of the middle of your sternum that way
it is easy and looks cleaner when entering back into the prop spin.
• Left hand catches are going to feel awkward at first because you do have to
twist your arm a little further than normal.
• Work towards making the prop spins and the tosses the same speed.
• When this exercise becomes easy, add counts to prop spins, catches, and
tosses, try to make one cycle flow into the next so that the whole thing
appears a smooth process, increase to a reasonable fast speed, and increase
to five cycles.
Count
Actions
1,2,3
Home, Prep
4
Choke
1,2,3,4
Prop Spin (Left, Right, Left, Right)
1
Prop Spin (Left Hand)
2
Toss from Left Hand
3
Left Hand Catch/Into Prop Spin
4
Prop Spin (Right Hand)
1
Prop Spin (Left Hand)
2
Toss from Left
3
Right Hand Catch/Into Prop Spin
4
Prop Spin (Left Hand)
1
Prop Spin (Right Hand)
2
Toss from Right
3
Right Hand Catch/Into Prop Spin
4
Prop Spin (Right Hand)
1
Prop Spin (Left Hand)
2
Toss from Right Hand
3
Left Hand Catch/Into Prop Spin
4
Prop Spin (Right Hand)
These counts lay out one cycle. The key thing to understand is that odd and even
counts are usually associated with the left hand and right hand respectively and
when you toss to the opposite hand the odd and even counts switch hands. So
tossing from the left hand to right hand switches the odd and even counts, and
then when you toss from the right hand to the left hand it switches the counts
back.
Pyramid Tosses - 1 cycle
One cycle: Start at the home position, you will prep a toss by placing your left
hand palm with the mace in the crook of your hand that is the space between your
thumb and index finger. Turn the mace vertical, toss, and catch at the home
position. Do this six times, but toss in this order: single toss, double toss, triple
toss, triple toss, double toss, single toss.
Key things:
• This exercise gets you to adjust to different rotations of tosses quickly.
• This exercise is one that can be learned fairly quickly and is meant to help
solidify uniformity between several people.
Counts
Actions
5,6
Home, Verbal Prep Halftime
5,6
Home, Verbal Prep Regular Time
7
Left Hand further up on mace, palm up with the mace in between left
hand thumb and index finger
8
Turn mace vertical
1
Single Toss
2
Catch
For Doubles, toss on 1 and catch on 3.
For Triples, toss on 1, catch on 4
Flourish Tosses - 2 cycles
One cycle: Starting at the home position, you will prep a toss by placing your left
hand palm with the mace in the crook of your hand that is the space between your
thumb and index finger. Turn the mace vertical and toss. Catch the mace
a little below the bolts closet to the dome
with the right hand, and upon catching it use the momentum to carry it into a
right handed flourish. As the mace comes out of the flourish, toss the mace again
with just the right hand and catch with both hands at home. In one cycle, you will
do this four times varying in rotations: single toss into flourish single toss, single
toss into flourish double toss, double toss into single flourish toss, and double toss
into double flourish toss.
Key things:
• This exercise gets your mind to adjust to different types of tosses, rotations
and styles, quickly.
• This exercise partially deals with control, not meaning that you force the
mace to do what you want, but using the mace's already existing
momentum to you advantage.
• When tossing a double, bring hands down to your sides for cleanliness.
• When you feel comfortable with this exercise, you can expand it by varying
loft and speed of tosses that are one after another.
Counts
Actions
5,6
Home, Verbal Prep Halftime
5,6
Home, Verbal Prep Regular Time
7
Left Hand further up on mace, palm up with the mace in between left
hand thumb and index finger
8
Turn mace vertical
1
Single Toss
2
Catch
3
Right Hand Flourish
4
Single Toss out of flourish
5
Catch
When changing a single toss to a double toss, add one count for the extra rotation
that it adds.
Marching Illini Mace Routines
Color-coded and divided into basic musical chunks
End of Revised
Home, Choke
And its (Pick up)
Prop 4, Prop skip (LRLR
LSKIP)
Me-llow tones are (Bell tones)
The-ese
Catch right hand, cheat,
shoulder roll (turn to left),
Ill- i-
slow move to steeple touch
nois 2 HIT Comes an (pick up)
Left hace/mace vertical,
steeple up
e-
Close, mace vertical, dome up
cho
Single, grab right/place toe,
on the (1)
flourish/toe-turn, Handroll to
horizontal (arms straight)
breeze (1)
Handroll to home
Rustling through
Home to “Chief”
the lea
Chief (mace unwraps in
embellished flourish, toss
double)
(2) fy TREES (cymbal crash)
(2)
Catch at home.
(1)
Turn left hand to prep (still
quasi home)
And its mel-low (pause)
Tones
Vertical prep/step out with left
foot to shoulder width
are
Toss triple
Cymbal crash
Notes on ending:
Shoot in pause before final fermata
Final fermata:
Step back on left/turn left, front flourish with lean back 4 (LRLR) slight pop-up
Right hand, through the legs, left hand, turn over left shoulder (weight on left
foot)
Right hand grab when dome is up, right palm facing left
Arms swing down (lean forward), around, up to beginning of Patriotic (steeple will
circle behind back)
Beginning of Patriotic
Arms up in Chief-like position
Swing arms in front, flourish
Tweeeet Tweet Tweet Djot
chot jigga digga
Land
Grab left (dome up) behind
back
where
Pivot to back LH skip, grab
our GRAB
right roundhouse turn front,
flourish single
Fathers died
catch at home
2
Roundhouse, grab with left
over head
Land of
Right fist hits thigh, prop
behind back (RL)
the pil(R) 2(L) grims’
Wick (L) and (R) drop
(horizontal)
Pride 2 1
Dome right, mace behind
back.
From
Dome to face/pop/behind back
move to home
Every moun-
Turn left hand to prep (still
quasi home)
tain
Vertical prep, toss double
si-ide
Catch/toe back, flourish/toeturn, hand roll to
212
horizontal dome left
1 Let
Mace to home, step off
Free-
End of Patriotic
Home, Turn left hand to prep
(still quasi home)
Dum da dum
Vertical prep, Triple and catch
America,
shoot two-handed pop-up
(slight flip to horizontal)
America
Handroll to home, wrap, turn,
flourish double, catch
God shed his grace on thee
(2) (1).
Vertical prep (1 move), triple,
Simpson (1/2 flourish, pop up,
step forward w/ left, between
legs, grab left, turn left 180) 1
prop, stop horizontal
And crown thy good with
brotherhood
Handroll to horizontal
from sea
Vertical
to
Wrap
shi
Around head to prep
ning
Triple
sea.
Toe-turn
Turn left hand to prep (still
quasi home)
Vertical prep, triple
Catch, shoot, two-handed
pop-up, slight flip to
horizontal, slight flip to
vertical (right hand on top),
down (steeple to ground, left
hand moves on top).
Illinois Loyalty
Home Position, prep, spank
Intro
Rifle
We’re
4 prop spins
Loyal to You, Illi
Roundhouse
Nois (2)
Stop horizontal
(1)
Flip to vertical
We’re
Wrap around right arm and
grab with left arm underneath
right arm
Orange
Home position
and Blue
Shoot down so left hand
crosses over right and is
above left hand
Illi
Double handed pop-up
Nois (2)
Stop horizontal
(1)
Hand roll to Home
We’ll back you
Rifle
to stand
Pop Up
gainst
Rifle Rifle
the best in the land,
Pop Up
for
Roundhouse
we know you have sand,
Pop Up
Illi
Stop vertical in prep for toss
nois,
Single Toss
Wick (Ra!)
Catch in home
BOOM! (Ra!)
Choke
So
4 prop spins
crack out that ball, Illi
Roundhouse
Nois (2)
Stop horizontal
(1)
Flip to vertical
We’re
Wrap around right arm and
grab with left arm underneath
right arm
backing
Home position
you all,
Shoot down so left hand
crosses over right and is
above left hand
Illi
Double handed pop-up
Nois (2)
Stop horizontal
(1)
Hand roll to Home
Our team
Mace dome pointing up to the
right
is our
Mace held horizontal above
head,
fame protector,
Catch mace in crossed arm,
on boys,
Catch mace horizontal with
right hand/dome facing right
for we expect a
Flip to Home
Victory
Roundhouse
from you, Illinois!
Pop Up
Stop Home with left hand
palm up in prep for toss
Vertical Prep
Che He Che Ha Che Ha Ha Ha
Toss Double
Go Illini
Catch in Home position
Go!
Prep (flip left hand) Vertical
Prep
Che He Che Ha Che Ha Ha Ha
Toss Double
Go Illini
Catch in Home position
Go!
Spank into rifles
out that
Rifle toss X4
dear old flag of
Skip ct5
orange
Rifle X2
and blue Cheer on your
(Total of 8cts)
The Italics are the lyrics on each of the hits of the following sequence:
Catch 45 (sons)
Catch Home (and)
Mace dome down in right shoulder (daughters)
Rotate around to back of right shoulder (fighting)
Fling mace to the front but catch in home on right side of body (for you)
Keep head facing forward
Bring mace back to front (like men of)
Tic Toc Tic Toc
Old on giants,
Chief
placing
Wrap around and stop with
left hand
reliance,
Switch, Switch, (on the
syllables)
shouting
Half toss
defiance Oskee Wow Wow!
Catch with right hand on top
Flourish
Pop Up
Stop in Home
Spank into rifles
mid the
Rifle toss X4
broad green plains that
Skip ct5
nourish
Rifle X2
our land for honest
(Total of 8cts)
Catch 45 (la)
Catch Home (bor)
Mace dome down in right shoulder (and for)
Rotate around to back of right shoulder (learning)
Fling mace to the front but catch in home on right side of body (we stand)
Keep head facing forward
Bring mace back to front and push down into a rifle (and unto)
Rifle (thee)
Prop (we)
Stop (pledge)
Choke (our)
Hand roll (heart)
Flick (and)
Catch in home (hand)
Wrist pump
Dear,
Rifle
alma
Roundhouse
Pop up
stop on the low left side of
body with steeple pointing
toward ground
mater Illinois!
toss up to home position
(stinger)
Three-In-One
Choke, 4 props, skip on 5
(LRLRLskip), stop vertical
dome down, left hand on top
We are marching for dear old
Illini, (2 CATCH)
Rotate mace counterclockwise to prep, single
flourish single catch
For the men who are fighting
for you (2 CATCH).
Shepherd’s Walk
Here’s a cheer for our dear
alma mater,
May our love for her ever be
true!
Last count of Shepherd’s walk,
home, choke, mace horizontal
dome left (left hand palm up),
dome right (mace behind
back), Dome to
face/pop/behind back move to
home
While we’re marching along
life’s pathway
May the spirit
Turn left hand to prep (still
quasi home), vertical prep,
toss double, catch, push
of old Illinois keep (2)
8 rifles, skip on 9, catch in
right, pass to left, prop skip
from left, catch vertical with
dome down, left hand on top
(RLskip catch)
Us marching and singing, with
true Illini spirit for our dear old
Illinois.
2 DMs will do a four count turn
fast chair and throw a triple,
after which they will march to
their places for conducting.
The center DM will continue
marching through the band,
and “goal post” the mace
through the uprights on the
North Side of the stadium.
Workout Regimen
While there is no specific workout regimen for the Marching Illini Drum Major, it is
strongly encouraged that any and all drum major exercise on a regular basis prior
to the start of the season. At the very least, it is recommend that a regular
workout routine be started at the beginning of the summer.
For most people, there are three areas that they should focus on conditioning:
core muscles, arm muscles, and basic endurance. Core muscles are your
abdomen, obliques and back. You core muscles play a key part in your ability to do
the drum major run-on and the lean back in the Revised mace routine, as well as
regular marching fundamentals. Your arm muscles include your forearm, bicep,
and tricep. The more you condition these muscles, the easier mace spinning will
be. Endurance may be the most important aspect of the three. The drum major
run-on can take a lot out of you, and if you haven’t been exercising, it will be near
impossible to perform the rest of pregame.
In general, when exercising or preparing on a gameday, it is always a good idea to
run a warm up lap and stretch. In the past the drum majors, would lead stretches
for the band on morning gamedays, run a lap around the field afterword, and
stretch again until they felt limber. A short run gets your body going and your
mind thinking. Usually around a half mile warm-up lap is good. Stretching is key to
everything. Good stretching prevents injuries and allows you to push yourself
harder in the long run. Stretch whatever portion of your body you are working on
that day. Stretching should also been done at a nice slow pace, and pending the
type of workout, take at least 15 minutes. On gamedays, it is encouraged that you
stretch the whole body. You will want to stretch more on areas you know will be
sore, and those areas are different for everyone. Although, the back was a
common areas for most drum majors. In addition, you should always stretch after
done working out. This will also prevents injuries and less soreness will occur.
Below are suggestions of exercises that will be beneficial to the Marching Illini
Drum Major based on their performance within in the game and split up into the
three areas mentioned above. While there are recommended sets of repetition, do
what you can first. Do not push yourself to hard. It is better to take it easy at first
than accidentally injury yourself and be out for part of the season. Also, on same
concept, with multiple drum majors, you will have varying levels of athleticism
prior to conditioning. Everyone should ease into a workout routine, if not already
in one; however, some may need to work out more often than others prior to the
season to get everyone to the same level.
Core Muscles
Core Twist (sets of 20) - Lie on your back with your hands at your side. Legs are
bent in a 90 degree angle. Twist at the waist and turn lower body to the left while
keeping your upper still, and then turn lower body to the opposite side. Each side
is one count.
Wall Sit (2 minutes) - Press back up against a wall. Bend at the knees, so your
body is in a chair like position. Hold at that position for the given amount of time.
Bicycles (set of 30)- Lay on your back as if you were going to do a sit up. Lift legs
off the ground. Turn your upper body up and to the left, as if you were doing a sit
up to one side. At the same time, extend your right leg. Turn to the opposite side
and bring in the right leg and extend the left leg. Each side is one count.
Back extension (set of 30) - Lay on your stomach and put your hands on your
waist or rest them on your back. With your whole body flat on the ground lift your
chest off the ground, not using your arms or legs at all. Your face should come
about 6 to 8 inches off the ground.
Arm Muscles
Pull ups (set of 10) – Pull ups are usually a hard exercise for people to get going
on, but are very beneficial. They usually have a larger return compared to other
exercises. If you cannot do one pull up, just start by pulling yourself up as much
as you can and repeat that three times. Do it again two days later1. Within a week
or two you should be able to do a full pull up or more.
Dips (set of 10) – These primarily work your triceps.
2 minute Push ups2 - Do as many push as you can in two minutes. When you can't
do any more hold your body in the push up position. When/If you can't hold that,
drop to your knees.
Wrist Rolls (set of 25)– Take a dumbbell in one hand, hold your arm out straight in
front of you, and lift just from the wrist up. This specifically targets your forearm.
Endurance
Running in general will help with endurance. Running of any kind is good,
everyone has there own preference. One kind of running that comes close to
replicating a similar feeling to the pregame setting is interval running. It is
supposed to replicate when you might have a complicated or tiring move in any
activity. An example of interval running is listed below.
Slower Pace 1 minute 30 seconds
Faster Pace 30 seconds
Slower Pace 1 minute 30 seconds
Faster Pace 30 seconds
Slower Pace 1 minute
Faster Pace 30 seconds
Slower Pace 1 minute
Faster Pace 30 seconds
Slower Pace 30 seconds
Faster Pace 30 seconds
Equipment
Gear list (Does not include any required merchandise specified by the Summer Mailer)
Item
Source
List Price
1
Paid by
Uniform and Hat (if
needed)
--
--
UI Bands
Devonaire Nouvelle
Field Boot
DevonAire.com
$155-65
Drum Majors,
reimbursed by UI Bands
Boot Pulls and Boot
Jack
Check uniform room
and Drum Major locker
--
--
Maces
Gary Smith
$135
Varies
Warm-ups
Te-shurt
$90-100
Drum Majors
Mace Bag
Gary Smith
$25
Drum Majors
Drum Major Shorts
Te-shurt
$20
Drum Majors
White Leather Gloves
Gary Smith
$16.95-17.95
Drum Majors
Whistle guard and
lanyards
Gary Smith
$5.99/$2.15
Drum Majors
Duffel
Drum Majors
Elastic Pant Suspenders
Blaze Orange
1
1starmy.com
$5.99/pair
Drum Majors
Price is prior to shipping
Notes about gear/apparel:
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Uniform: The uniforms will require dry cleaning periodically during the
season. Because they are white, they tend to get grungy-looking if they are
not dry-cleaned. Dry cleaning at Garber’s (on Wright) costs approximately
$10 for the jacket and pants.
Boots: The boots MUST be broken in before the start of the season. There
are many products designed to help soften leather to speed up the process,
but Vaseline is the cheapest. The boots should be worn and walked in as
frequently as possible to allow the tops of the boots to sag and to create
more flexibility in the ankle. Before games, clean the boots with leather
cleaner and rag, following package directions, then towel dry. When the
boots are dry, polish them with black shoe polish, allow it to dry, then buff to
a shine (again, follow directions). Be sure that when transporting the hat
and boots in the duffel, the hat is stored in a plastic bag to ensure that it
doesn’t get marked up with black shoe polish.
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Maces: Maces are a key part of our tradition as drum majors of the
Marching Illini. Over the course of the season, drum majors should make
sure to tighten the chains by rotating the “S” hooks at the steeple. This
helps prevent injuries caused by the fingers catching in the chains.
Additionally, the chrome parts of the mace can be polished using Silvo or
other polish appropriate to chrome (available at hardware stores).
Gloves: Gloves help protect the hands by absorbing shock on catches and
keeping the hands warmer in chilly November temperatures. Additionally,
the gloves enhance visibility of conducting patterns to the band. It is
advisable to have two pairs of gloves: one to use in rehearsals and a clean
pair for games. Be sure to break in the game day gloves somewhat before a
performance, however, as new leather can be slippery.
Whistles: Whistles are used for some signals in pregame. A white lanyard
and white whistle guard should be purchased as a part of the uniform.
Duffel: The duffel is used to carry extra uniform parts and accessories on
gamedays, such as the hat, boots, bootjacks and boot pulls, tape, etc. As
the drum majors do not come to gameday rehearsals in full uniform, it is
necessary to pack these items separately.
Suspenders: While they are particularly important during run-on,
suspenders are a necessary part of the uniform because the drum major
jacket sits higher than some other band jackets, so the pants cannot be
allowed to sag. There is an emerging tradition of purchasing heavy-duty,
Day-Glo orange suspenders from an army surplus store.
Road Trip shirts: As with any other section, road trip shirts must be
appropriate and not contain any drug references, innuendos, etc. Drum
majors should strive to provide a positive example.
Wear:
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Warm-ups (layered appropriately for weather)
Section shirt
Sneakers
Girls: shower in the morning so hair is more manageable for braiding
Guys: shower in the morning so you don’t smell
Apply sunscreen/makeup if desired/necessary
Sunglasses
Bring:
 Garment bag with jacket and pants
 Performance mace with eagle
 Duffel
Pack in the Duffel:
 Boots
 Bootjack
 Boot pulls
 Masking tape for taping pants
 Hat (in plastic bag)
 Whistle, Whistle guard, and lanyard
 For girls: Hairbrush, spray bottle to dampen hair, gel, hairspray, bobby
pins, hair elastics, hair ribbons. Should be contained in a plastic bag

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in case of spills
Water bottle/snacks
Hand warmers if cold
Winter gloves and hat if cold
Phone, keys, camera, personal effects, etc.