reprinted with copyright holder’s permission

    Before Sammy Nestico it wasn’t important to try and teach young people jazz. He really created this whole idea of teaching jazz to our middle schoolers and high schoolers. To do that, he had to write music that was playable by students at that level. Among his many recognitions, two that he received from band directors were among his most favored: the Midwest Clinic Medal of Honor in 2001 and the International Association of Jazz Educators Hall of Fame Award in 2004. If not for Kendor Music and Hal Leonard Music publishing companies then Sammy’s music would not have been available worldwide when jazz education was just getting started.
    Musicians who knew him well now share their views about his immeasurable impact on jazz education as an arranger and composer.

“Sammy is what my grandsons want to be when they grow up, and what every man wishes he were when he is old” – Shirley Nestico

Mike Sweeney, Director of Band Publications at Hal Leonard Music, which published over 100 of his pieces, also had a long relationship with Nestico:
    “Sammy’s pencil manuscripts were very neat, easy to read, and required very little editing. He knew exactly what he wanted, and he knew how to notate it clearly. There were hardly any actual wrong notes, but we often discussed articulations that he rarely included. When I’d bring this up he’d just say that ‘people know my style and how I want it to sound.’ I would explain that young players in particular and often ‘non-jazzer teachers’ really needed clearly marked articulations to help with the correct interpretation. He’d reluctantly let me add in articulations, but always with his approval, of course. In more recent years, following an eye stroke that left him blind in one eye, it became more difficult for him to write, and we found more errors than normal. But he never lost his enthusiasm, excitement, and joy for creating music. Sammy was one of a kind!”

Gordon Goodwin, his close friend and fellow composer said upon hearing of his death:
    “The impact of Sammy Nestico’s music on me was profound. Upon hearing The Queen Bee, which was his audition piece for the Basie band, I knew as a middle school kid what I was to do with my life. I am not alone in having a visceral connection with his music. Musicians from all over the world hold his music in high regard. I believe that our attachment to his music goes beyond the notes and harmonies and compositional aptitude. I hear such positivity in every Sammy chart, an undeniable sense of optimism and joy and gratitude. For those of us who were lucky enough to know him personally, these qualities were clear and present in the man himself. In a cynical world, the music of Sammy Nestico was therapeutic and needed more than ever.”

Composer Gordon Goodwin with Sammy Nestico, Photo courtesy of Milla Cochran

The most famous performers of his music, the legendary Count Basie Orchestra, is directed by Scotty Barnhart, who said:
    “Sammy was one of the orchestra’s most important arrangers whom Basie loved. That’s why Basie let him write about ten albums for the orchestra starting in the late 1960s. Sammy’s tunes, never too hip for the room, were perfect for CBO to bring them to life and beyond what Sammy probably expected. Same thing with Neal Hefti. No other orchestras on the planet can play Nestico’s or Hefti’s arrangements the way we can. They just knew how to keep it simple, but yet very interesting and danceable, and Basie always made sure that audiences could dance to whatever charts were played. I make sure of it when we perform now. So Sammy’s music gets played on 99% of the concerts we do. If we miss a night then it’s back the next night. I also told his wife a couple of months ago when I called after hearing he was sick, that on our new recording being released in April, Live at Birdland, we recorded one of Sammy’s best tunes, The Wind Machine.”

Music is only paper until performers use their talent and bare their soul to bring it to life. Representing the numerous performers that were on Sammy’s albums is Dan Higgins, an alto saxophonist who recorded on six of Sammy’s albums including the famous album Sammy collaborated with Quincy Jones. Dan has recorded more than 800 motion picture soundtracks and 280 television productions.
    “As an instrumentalist, I can’t think of a setting more fun than playing and recording a Sammy Nestico chart. Before meeting Sammy, I, like many others, had played hundreds of his charts. Upon our first encounter, I felt like he had been a friend for years, and we had already shared years together. In some way he spoke to all of us through his arrangements and compositions telling a unique joyful story in each. What a blessing it was to be with Sammy and enjoy the transfer of his creativity and love of music to my fingers on the saxophone. This is why all the players got into music – for that ‘feeling.’ With Sammy this sensation was always guaranteed. He was truly a giant influence for all of us who fell under his captivating spell.”

A later and less-known aspect of Sammy’s creativity was when he began painting in mid-2017, and produced 21 paintings. Alexandria Coon, the Executive Director of the Massillon Museum in Ohio offers her thoughts about Sammy’s painting:
    “It is remarkable to think that, at age 93, someone could pick up a brush for the first time to give painting a try. That’s exactly what Sammy Nestico did, and the pride he felt in his finished paintings was warranted. The sweet, smooth energy sweeping through his musical compositions floats across the surface of his canvases with the same ease of movement. We can almost imagine his brushstrokes dancing, as one is inclined to do when hearing his arrangements. In his painting of a woman in a blue dress, clutching a wind-blown and weather-beaten umbrella that somehow still resembles a poppy in full bloom. The clicking of her heels across the bridge is nearly audible. In the midst of a gale the focus is a mysterious woman, the soloist in this composition. Though self-taught as a painter, it is clear Nestico’s understanding of how color relationships convey a mood stems from his understanding of how soulfully composed music does the same. As he said in a discussion about painting during our interview last year, “Giving your soul to the canvas” is akin to giving “your soul to the orchestra.”

The Lady in the Blue Dress by Sammy Nestico, Photo courtesy of Milla Cochran

diane estelle Vicari, is a movie producer who discovered Sammy in 1991 when she was invited by her husband, the recording engineer, to document one of Sammy’s recording sessions at Capitol Records in Los Angeles. What followed was 21 years of interviews and video recordings that she made to produce her still-in-production documentary entitled, Shadow Man: The Sammy Nestico Story:
    “42 years ago, I traveled to California, and 21 of those years were spent shadowing Sammy’s every move. He has trusted me with his most precious gift of music. For that, I am forever grateful. I promised my friend that his legacy will live on beyond his 96 years. I am left with the privilege to complete the film of his gigantic life and share it with the world.” 

diane Vicari with Sammy Nestico, Photo courtesy of Milla Cochran

Common Arrangement Errors
    Using the drumline too much as a moving drumset. Snares playing 2 and 4, tenors playing quarter notes down the drums, and basses playing a unison groove can be effective in small doses but too often becomes the main portion of what a percussion section is playing. If drumset is needed, use a drumset in the front ensemble and avoid having the battery doubling the set. That is a timing and musical nightmare. Look for creative ways to get the groove needed from the section if drumset cannot be employed. Use accent patterns within diddle rudiments etc. to create more sticking variety but still maintain the necessary feel.
    Arrangements often do not have enough content. Most groups would not ask the winds to play whole notes through the full show, but frequently the percussion do the equivalent of that. The marching season is a great time to develop the hand technique and coordination of the ensemble, but this requires challenging content. I am not saying that every line has to have rolls at 200 bpm and crazy flam passages. Using the various diddle rudiments, an appropriate speed of roll for the section’s ability can improve their skills and enhance the wind writing.
    Inadequate use of the front ensemble. The front can provide myriad sounds and colors to a show but often is underutilized. Too many shows feature a student playing tambourine, one playing suspended cymbal, and a third playing bells. To improve the full ensemble sound, make sure you have a good cymbal or two and a concert bass drum. These will fill out the wind sound at impact moments. In addition, a well-placed and tasty cymbal roll can be just the right sound for a phrase transition musically. Add timpani to the front, especially if you have limited low brass. Timpani can add a great deal of bottom sound to fill out the full ensemble texture. The role of timpani in pit features is also often overlooked as they are what will fulfill the bass sound and keep the sound of the front ensemble from becoming too high pitched when the winds are not playing.
    Employ a variety of mallet instruments. If your program is limited in keyboard instrumentation, think about mallet selections to help blend the sounds into the winds more. For example, yarn mallets on the low end of the xylophone can emulate a marimba sound. Also adding one synthesizer (or mallet controller like a MalletKat, Xylosynth, Zen Melodic, or Mallet-
station) can open up a much wider palette of sounds from the front that can help further fill out the band sound. (Do not overuse the thunderous goo bass effect!). An electronic mallet instrument can fill in for other mallet instruments you cannot afford yet.

Article photos by The Other Brother Photography

    Try not to have the front ensemble double a wind instrument if it can be avoided. The front can be great for ostinato patterns, arpeggiated patterns, and more. These will often project better and fill out the ensemble sound more than doubling the melody in the front. When it gets to the impact, unleash the cymbals, bass drum, and tam tam. I often hear percussion and GE judges talk about bands lacking impact, and that is often because they do not fully use the front ensembles at those points in the show.
    Space is good. The drums do not have to all play all the time. Save that for the most important impact moments or have a section maintaining a groove or ostinato effect while another section carries the content at different times.  Think of how winds are arranged: the full wind section does not play the whole time and neither should the battery.
    Use the idea of a rhythmic cadence. I am not talking about a street beat-style cadence but something similar to what composers like John Cage did in music that did not feature traditional melody and harmony. They would often speed up or slow down rhythmic structures at the ends of a musical phrase to give the effect of finality and to transition to a new idea. Too often, arrangers fall back on quarter-note triplets or even just quarter notes to note the end of a major musical event. After a while, the desired effect becomes predictable and less effective.
    Find ways to make the rhythmic structure lead naturally from one phrase to the next. An increase or decrease (either can work depending on the context) in rhythmic tension can be a much more effective (and creative) way to transition between sections. One of the easiest is borrowing rhythmic motives from other points in the show or even other music that might be related to the show such as other pieces by the same composer. You can think of it as creating musical Easter eggs.
    Seek out as much material on the music you are playing as possible. With orchestral music, get the full scores. Look for string lines that might not have been included in the arrangement to fill out the front ensemble parts. Find important percussion parts from the original score and include those when possible. This is also a great way to teach percussionists about these pieces and the role percussion plays in a larger concert ensemble. With pop music, look for as many versions of a tune as possible. You can usually find one with a slightly different yet very cool feel that can be used. This can also give you new scoring ideas for timbres. Look for specific effects in a piece that you can recreate in a cool way on a field. Try to do it acoustically first before settling on punching a button.
    If it is a choice between a very small battery and a very small pit or having a larger version of each section, consider putting the full percussion ensemble in the pit. The amount of color they can add will be much higher there than with just battery instruments. It is also a great way to get more of the kids interested in playing mallet instruments. I would not use battery instruments in the pit or ground the battery because this causes too many balance, blend, and timing issues. Use concert drums to blend the sound more effectively. They can always get their battery fix playing in the stands at football games.
    Try not to retrofit audio into the show. It is far more effective if the ideas you want from technology are part of the design process along the way. This means ideas such as leaving space when words need to be heard, knowing what sort of underlay you want throughout the show, and when to use synth doubling or effects.
    Use fewer rim shots. Shots should be an effect, not a main musical idea. This is even more important if your show is in a dome, as you will hear each shot long after it is played. In addition, from a technical standpoint, students often change their approach to rhythm and stroke leading into and performing the shots, so they can also cause clarity errors around the shot. It can be an effective tool, but as with everything else, it becomes less effective in excess.

Improving the Arrangements
    Better arrangements can make a significant improvement in the effectiveness of your percussion ensemble. Arrangements written for your group are always the best option, whether by an outside arranger or by your percussion instructor. The arranger needs to know a few things from the start.
    First, they should know the style of the show and the charts. They should be informed if it is a custom arrangement or a rearrangement of a stock chart.
    Provide a flow chart for your show. This keeps everyone on the same page, including designers and staff. It allows everyone to know phrases in the show, big picture listening and visual elements, and even tempos for the drum majors. This should be updated as the show progresses. It is also important to update the scores of the arrangements as changes are made so that staff that comes in has the latest information.
    Discuss specific points in the drill where the percussion might be in odd spacing or forms. There might be parts of the show where you do not want the battery to play. If you can give a clear idea about the likely staging before starting to arrange, it can prevent rewrites.
    Give specifics about the size of the group, the number of players for each battery instrument, the presence of a cymbal line, the availability of front ensemble, and the use of ethnic instruments. If there is amplification for the front ensemble, this can open up some more unusual instruments as possibilities. Identify any desired electronics and whether the necessary equipment can be obtained. Provide a video or audio record of last year’s group so they can gauge talent. Also, give the expected size of the front ensemble and let them know whether there will be percussion instructors (and if so how many) to work with students regularly.
    Give the ability level of the group including their skills at rolls, flams, flam accents, paradiddles and paradiddle-diddles, and grid patterns. Decide if students can handle some odd rhythmic figures or if the arranging should be rhythmically straightforward. Tell what crash techniques the cymbal lines know and how many front ensemble members can comfortably play four mallets. The arranger will also benefit from knowing if the timpanist has good tuning abilities or at the least tuning gauges.

    Many programs cannot afford a custom arrangement and will need to use a stock chart, but these can be tailored for each group. Here are a few options.
    Look for places where the full battery has long periods in unison. See if one section could be removed to change the texture. Space in the arrangement is a good thing musically. Changing the mallets or sticks used can also create new textures. Try using a concert snare stick or some type of brush on the snares. Snares sticks can be an effective sound change on tenors.
    Look for repeated patterns where a new sticking could heighten the students’ ability levels. Stock charts often leave out stickings, or use more basic stickings, that can be enhanced for students.
    Many of these charts will be based more around orchestral rolls than open rolls. Change some to open if it makes sense musically.
    Many of these charts will have limited front ensemble parts. Use a flute part on the vibes, a trombone part on the marimba, and an edited tuba part on the timpani to fill out the sound. If you have a weaker section in the winds, add that part to the front ensemble to improve the ensemble sound. It is a good idea to adjust the octave or interval that these parts lie in so they are not be in exact unison with the particular wind instrument. Many times, moving some parts up an interval of a fifth can add color and projection to the front ensemble where they would normally get lost in the wind instruments. Add more auxiliary instruments where appropriate, especially cymbals and concert bass drum for impacts, and ethnic instruments throughout.
    Remove some of the unison bass drum parts – stock charts often have many. Save these for major impact points in the show. Also, adjust the parts for the number of bass drums you have. If the part is written for four and you have five, split the 4th part between your 4th and 5th drum, or save drum 5 mostly to double unisons and impacts. In a rock or jazz show use drum 5 to simulate a drum set bass drum while the other drums play the written part. This can be a cool effect. If you have fewer drums than written for, assign one player to cover two consecutive parts (i.e. player one plays 1 and 2, not 1 and 3. This would alter the pitch sequencing too much.)

    Special effects in the front ensemble can increase the overall General Effect (GE) of the show. Here are a few common examples:
    Suspended cymbal upside down on the timpani. Rolling on the cymbal can create an eerie, shimmering effect. Moving the pedal up and down can also glissando the pitch of the cymbal.
    Bowing any instrument can be effective but metallic instruments (especially crotales and vibes) would be most effective outdoors. Ampli-fication can also make this a more effective outdoor technique.
    The marching machine is a set of small wooden blocks suspended from a frame. When this is played against a piece of wood (a desk, table, or even concert bass drum shell) it can approximate the sound of marching troops.
    Metallic objects that work effectively outdoors include brake drums, and empty propane and tanks. Large, thin, metallic sheets can also produce the sound of thunder.
    Have as wide a variety of cymbals in the front ensemble as possible. Utilize not just suspended cymbals but splash cymbals, ice bells, sizzle cymbals (can be simulated with a chain laid across a larger cymbal), Chinese cymbals, and more. A collection of gongs and tam-tams in various sizes can add variety to the sound.
    Rope-tuned snare drums can be very effective as can drums ranging from African to Brazilian to Japanese Taiko drums. These can add a great authentic sound to the arrangements.
    Finally, the key to any marching percussion arrangement is the voicing. Think of the battery percussion as an STB choir. The snares are the soprano voice, the tenors are the tenor voice, and the basses are the bass voice. When writing, use this voicing as a guide to follow the wind parts. A basic set of doublings is snares with trumpets, tenors with mellophones, and bass drums with tubas. This can avoid an overly thick texture throughout the show. Remember that it can be even more musically interesting to mix and match different wind and battery timbres (basses supporting trumpets or snares as a higher timbre to tubas.)
    See if you can hear the wind music in the battery scoring – particularly when they play by themselves – either melodically or as a particular rhythmic support line. If neither seems to work, make adjustments.
    In addition, think of the front ensemble in the same way with the xylophone and bells as the soprano, vibraphone as the alto, marimba as the tenor, and timpani as the bass. The front ensemble should also be approached as a concert percussion ensemble in its scoring. This mindset can guide the custom arrangement or adjustments to a stock arrangement.   

As for individual color guard performers, how is their role like a stage performer?
    Both require proper control of the body for the complete enactment of a role. Proper alignment is the foundation for better balance, control, and execution, so it is important to begin by concentrating on simple body alignment. It is ultimately presence that is seen on the field, and proper body alignment facilitates this. It has to become second nature. Once the muscles have learned proper alignment, it will be seen in practice, performance, and their daily lives as well. Students will sit, walk, and move with better posture and carriage.

How do you teach proper body alignment?
    It is not enough to tell students to stand tall and put their shoulders back. In theater, we do exercises to create body awareness. The same should be done for the color guard.
    My favorite technique is having students stand with their feet together while thinking of themselves as a puppet with a string that runs through the entire body and comes out the top of their heads. Then they should use one of their hands to pull gently on the string and imagine the spine and bones lifting in a straight line, just like the limbs of a string puppet when you pick it up from a sitting position. They should lengthen their necks and lift up tall until they feel like raising up on the balls of the feet. Encourage them to feel very light on their feet and shift their weight slightly forward to the balls of the feet. Hands should be dropped back to the side but with the body still lifted.
    The second is the shoulder press. Students should raise their shoulders up to their ears, roll them back, and then lower them. They should be aware of the sensation of pressing the shoulders down while at the same time lengthening the neck and being lifted like a string puppet. There should be no tension in the neck, shoulders, or arms.
    Third is what is called the birdcage. The shoulder press will automatically open up the ribcage. Using the analogy of a birdcage, students should think of the space between the ribs like the space between the bars of a birdcage, but not so wide that the bird will escape. I also tell students to “let the light shine.” They should imagine a light in the center of the chest, open the rib cage, and let the light shine.
    Finally, I tell them, “Don’t Spill the Soup.” This also involves getting as much space as possible between the rib cage and the hips. Concentrating on the hips and pelvis, they should imagine that resting between the two hipbones is a bowl of soup that has to be kept perfectly parallel to avoid spilling it. If they push their rears out, the soup spills. If they raise one hip, the soup spills. If they let the abdominal muscles hang out, soup spills. The hips should be targeted straight ahead and engaging the abdominal muscles while imagining the navel pressing back to the spine and the spine forward to the navel. Students should keep the soup bowl in mind while aligning the hips and pelvis. If aligned properly, the hips should be stacked over the knees and then ankles. Most importantly, I remind them to keep breathing and focus on taking air in and staying relaxed.

How do you communicate concepts and images on the field?
    Whether you are blocking on the field or on stage, it has to contribute in a positive manner. The guard has to be integrated with the band, and the movements must enhance the music. Also, you have to decide whether to use concrete images or just suggested images. These concepts can be approached based on whether you want to use lots of props and how you will integrate them into the drill. With creativity, you may find that a suggested image is just as effective as a concrete one. In a theater production of Oklahoma! I had the boys use pretend ropes in a dance sequence to lasso the girls. I think it worked better than using real ropes.
    Don’t be afraid of drama or comedy on the field if they are an integral part of the music. They should be emphasized in body language, facial presentation, prop usage, and all other aspects of general effect. This projection of emotions can help pull the audience into the story and performance.

What are some important considerations when it comes to putting the product on the field?
    Don’t fear simple ideas. One person in a hundred can pull the attention of an audience if blocked properly on the field. As in theater, always consider that the audience will look at what is different. For greater impact, group the visual ensemble close together. Separate the visual ensemble to draw the audience from one area to another.
    Make sure equipment changes are written into the drill; consult with your show designer to make sure this happens. Good drill designers will already be thinking about this. If they do not know that you want rifles or swing flags at a particular point, they can’t help you create a fully-coordinated show. If you design the show, and someone else handles the guard, collaborate on the routines and how they will impact the show and placement on the field.

How do you use color effectively on the field?
    Color selection is usually dictated by the music. A hot red flag for a slow ballad or a soft blue flag for a hot jazz number would be wrong choices, but there are many other factors to consider. Be wary of using flags with intricate designs; up close they look great, but sometimes the effect is lost because of the distance from the audience.
    Don’t be afraid of the solid color flag. They are a great buy for small schools with limited budgets. Many times, a solid color will give more impact no matter the size of the guard. You can use a solid color and vary the textures using different material choices or tie a show together with a single color that runs through all the flags. Also, the shape of the flag can be the distinguishing factor or use the same shape in different solid colors on the field.
    Digital flags have advanced in design to a point where if cost is not a detriment, the sky is the limit on what can be put on a flag. Again, make sure that the design on the flag is a visual that can be seen from a distance.  
In designing a flag, the placement of a single color on the tip or on the bottom of the flag can create a problem when the group is spinning. If a line is strong it can be a great effect, but for those with timing issues, it simply makes problems stand out. Be careful of colors that may get overshadowed by the band or guard uniform, or even the color of the field, and it is also important to consider how a flag will look at night or in daylight.

What are the key factors for transitions?
    Make transitions seamless. Incorporate counts of equipment exchange into the routines. Make the equipment change as precise as the routine and avoid flashing the flag before it is used. Don’t change flags just because the band is playing something different. All changes should have purpose. Diversion is a good way to draw the audience’s attention to a soloist or small group doing something different while an exchange is made.

Do you have any suggestions on using props?
    There are several considerations here. First, a prop should create surprise or an AHHH moment. To achieve this, it should be used for more than one measure and staged and incorporated into the drill in a prominent way that is easily visible to the audience. Avoid a prop that is so elaborate that it takes away from or overshadows the context of the show.
    Practically speaking, you have to consider who is going to make them or where you are going to purchase them. Then you have to decide if they add enough to the show to justify the cost.
    Backdrops should enhance the show, without telling the whole story. The guard and the band should do that. Like a good set design, it should not get in the way of the actors and storyline. Make sure that whatever you use can be transported on and off the field easily and is durable enough to survive a lot of transporting.

What basic equipment you would recommend?
    The whole line should use the same length pole; six-foot poles are the most common now. However, the size of the flag determines the size of the pole. Make sure the flag size is appropriate for the pole.
    Swing flags on swing poles can be used to great effect. These flags come in all shapes and sizes but are amazingly effective on shorter poles. Larger lines can handle choreography using part of the line on swing flags and others on the six-foot poles or rifles (36") or sabers (36-39") all at the same time. I call this the three-ring circus effect.

Do you have specific suggestions on routines?
    There does not have to be equipment movement on every count. Body moves are just as effective at communicating the effects of the music. Exaggerate everything – movements, make-up, body work, and color. The distance from the audiences makes this essential.
    Just as you would not put a soloist or main character in the back of the stage, don’t put the visual ensemble there unless their impact in the back will enhance the music and presentation of the band. Keep things on stage and clearly in view of the audience. Flag moves toward the end zone are only visible to the referees waiting to come on after halftime. Change equipment off-stage (marching perimeter) or behind a larger prop on the field.
    The audience is trained to look left to right. If you want them to focus on something, start on the left and move to the right. Having movement converge to center stage can be a powerful moment. Diagonal movement can also create the most tension and anticipation on stage and on the field.
    Hire a choreographer if at all possible. Local university bands often have current and former students who will work with your group. Worst case, an instructor can make a video of all the routines for your students to learn and use for practice.
    Remember that simple many times is better. The important thing is that the students can achieve the routine. Still, use as much variety in the routine as possible, avoiding repetitive moves.
    Watch step size requirements in the drill. Intricate flag work is not helpful when moving down half the field. Let the guard move when the band is stationary but make sure the flag work can be done with movement.
    Contests and performances are often windy. Plan ahead on whether to perform tosses or not. It is wise to prepare alternative moves. However, if the line has practiced on windy days and learned to control the flag in these conditions, you may not have to change anything.
    It is also important to have a consistent guard warm-up before practices and performances. It helps them begin to focus for the show.

What are some of your color guard pet peeves?
    One is to put the color guard in the back and not use them to their full potential. Much of the guard work looks better when they are moving. Integrate them into the design with movement, not just planting and spinning. You would not move instruments in a way that did not enhance the music so don’t do that to the guard.
    It also bothers me when the drill is not working with the guard and little or no time is taken to fix it. Part of this occurs because there are some directors who never truly look at the guard until a contest. Pay attention at rehearsal to the amazing or disastrous impact they can have. Another pet peeve I have is when there is equipment on the field that the band is marching over or stepping on, or the guard is crawling along the front sideline, visible to the audience, exchanging equipment.

What are some practical things band directors should watch for with the color guard during rehearsals?
    Check for good posture and proper shoulder angles. Make sure they are exaggerating their motions for better projection to the audience. Stress proper head, hand, shoulder, and foot placement. Most of all, make sure the flag movements are the same even if their bodies are at a different angle. Consistently check if the placement of the guard and their routines are working well with the position of the instrumentalists. Mark measures for discussion with the guard after rehearsal.
    In practice, have the weakest members behind a strong member to help with timing, and then put them in the front to help them learn the routine without watching others. Have members use checkpoints to make sure their spinning is together. A checkpoint can be any reference point – hands of the clock, degrees, or some other method.

What things should be considered when outfitting the group?
    The uniform is like another flag on the field. The colors can be in contrast to the band uniforms so they make an immediate impression, or they can be a complement to the band uniform to create a cohesive presence on the field. The uniform can tell the story of the music, for example, a gypsy or pirate show. A fringe or flowing skirt can provide a look of movement. Creative changes can be made with a versatile uniform with different parts. There might be a jacket, a top, and half of a full skirt that can be taken away or added during the show. Those on a budget may opt for black jazz pants with a new top each year.
    Body types on the line are another important consideration. Spandex is not the right fit for everyone, but undergarments can make a big difference. Fortunately, most uniform companies now provide a free service to help find a show and body type appropriate uniform. Stay away from costumes  that get in the way of the performance or equipment and hide body moves. Avoid hairstyles that cover the face or distract from the show, and make the hairstyle and make-up fit the theme of the show. Always consider how a uniform will look from a distance. Personal jewelry should not be worn, even though jewelry on the field will rarely be visible to the audience. For a mixed group of male and female performers, make sure the costume translates well for both. Fortunately, costume companies have embraced designs that make this easier.
    My first group loved the uniform they wore, and that created more interest for the next year’s recruitment. Be sure to purchase t-shirts that the line can wear to school on game days and matching sweatshirts/pants for cold games and parades. This also helps with recruiting

Do you have any suggestions for directors starting a flag line for the first time?
    Start by showing band videos with cool flag work or Winter Guard International videos to your band classes. If you want to reach out to non-band students, have band members put up posters and send invitations to an informational meeting where you provide snacks, show videos, and make clear what membership on the line means. Start teaching basics in January. Once or twice a month, find someone to teach if you cannot do it yourself. Learn with your students. You do not have to become proficient, just knowledgeable. Most directors have a decent understanding of all instruments in their band – add flag work to that. For tryouts, I always brought in a judging panel. It added legitimacy to what we were doing.

Do you allow students to participate in the guard who are not band members?
    Sometimes it is difficult to have those who are not in band participate in the guard. There is a family feeling about band that is hard for newcomers to understand. Band students also generally have a better ability to count and feel a pulse than non-musicians, although this skill can be learned if they work at it. However, some of my best guard members came from the general school population and were fully a part of the band family by the end of the year. It is a win-win for those students and the band. This can be a huge bonus for small schools.