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Scottish Drum Major Competition

 

TYPICAL REGIMEN

 

The first portion of the competition is the dress inspection. This will occur before the main competition. Typically all competitors line up in a row and assume the position of At Ease. Upon the approach of the judge, the competitor will snap to Attention. After the judge has concluded his/her inspection, the competitor may salute and break off depending on the judge’s instructions. Judges may also require that the competitor display a series of oral commands and execute those commands. Moreover, some judges may ask for a display of basic marching technique that may include transitions between the quick march, slow march, mark time, and halt. Depending on the number of competitors there may be a preliminary competition where a select portion of competitors would advance to the final competition.

 

The main portion of the competition generally takes this form of an "I" shape.

  • The host band will set up near the starting line.

  • The judge will divide the competitors into heats (this may be done at the time of inspection). Heats may be comprised of two to six (or more) competitors.

  • The judge will define the course

  • The first heat will fall in (set your image early by marching in smartly)

  • The judge will call the competitors to attention and call off the tune (usually a 6/8 march).

  • The competitors will execute the following during the course.

    1.  Step Off

    2.  Counter March

    3.  Counter March

    4.  Mark Time

    5.  Halt

    6.  Cut Off the Band

  • The judge will dismiss the heat

  • Competitors will salute the judge and break off.

Where the competition is particularly challenging is that counter marches will be in the middle of the piano or forte section of the music. Skilled competitors will flourish in every beat of the forte sections. Judges will notice how well you make use of truncated forte sections.

 

 


 

A Judge's Tips for Success while Competing at Scottish Games

by Rick Wilson; Guest Author from www.onlinedrummajor.com

 

 

The difference between 1st and 2nd place, or even placing and not-placing, is often a fraction of a point.  Little things can make a significant difference.  As a judge and former competitor, I'm often asked what a drum major can do to improve their placements. Here's what I tell them:

 

1. Be smart in your uniform choices.

 

One thing to remember is that your uniform can either set yourself-up for success or blow your chances well before you ever step-off in competition.  The uniform inspection produces 20% of your score.  Every missed detail can cost you a half point.  These can add-up quickly.  It is demoralizing to leave inspection knowing that you have already dropped five points before you even get in front of an audience.

 

While Full (No. 1) Dress looks great (and you will have people asking to have their picture taken with you all day), it is not the mark of a smart competitor.  You get very few plus points for the more elaborate dress.  What you do get is approximately twice as many opportunities for errors.

 

One thing to keep in mind is that the scoring system is based on penalties for errors rather than adding points for things done well.  For example, you do not get added points for having a Sgian Dubh.  You can, however lose points for improper placement or anything less than perfect appearance.

 

It gains you nothing and potentially loses points.  It is not worth it.

 

Smart competitors soon have a sleek, stripped-down look.  They have nothing that is not necessary.  What they have is presented flawlessly.  That is why most compete in Day Wear Dress.

 

I know one competitor who after having problems with his kilt pin placement, removed the kilt pin and moved his competitor number over where the kilt pin would have gone.  His problem was solved.

 

2. Project being a winner.

 

When you meet someone for the first time, you size them up in the first ten seconds.  Judges do the same thing.  They are evaluating whether you are a real contender or just another competitor in the middle of the pack.  Project confidence.  Be certain in what you say and do.

 

Try this at your next competition.  As a heat of competitors lines up, look them over and place them top to bottom.  Now, watch them compete and compare your first impression with the last one.  You will see that your first impressions are usually pretty accurate.

 

If your first impression isn't great, it is difficult to change someone's mind.  It is far easier for someone to think: "Yes. I thought they were really good and they are."  It is more difficult for someone to think: "Well, I thought they would be painfully average, but they are amazingly good!"

 

So, make it easier on yourself and be sure you give a good first impression.  It will help you get overall higher scores.

 

3. Lead with your best material.

 

Put your strongest spinning routine first.  As a judge, it is exceptionally difficult to look at five competitors at the same time.  So, the first routine is where you quickly assess who are the strongest competitors.  They naturally get a bit more of your attention throughout the heat.

 

Now I know that this may not be "Fair" but it is reality.  You attempt to scan the group and give an even evaluation, but your eye tends to return to the strongest competitors since you need to be more discerning as to who is 1st or 2nd.

 

As a competitor, your strategy should be to quickly establish yourself as a top contender as quickly as possible.

 

4. End Strongly.

 

After the first impression, the last one is the most vital.  If you've used your best routine at the start, use your next best routine to end.  This is where you finish off and when the judge is usually making their final decisions.  The stronger your finish, the better your score.

 

5. Perform what you know you can do well.

 

A key factor in the scoring sheets is not just what you do, but how well you do it.  I have seen competitors who, in an attempt to make a desperate grab for first place, try moves and throws that they haven't mastered.  Usually, this simply creates errors in Marching and Deportment or dropped equipment.

 

Spend the practice time needed to perfect your routines and then stick with what you know you can execute well.  The penalties for errors are high and are the usual causes for someone to drop from contention.

 

If you can only land a high throw half the time, that means that five out of ten times you will drop and take penalties.  Of the remaining five times, probably three will be slightly flawed, still possibly creating penalties.  That means it might work only two out of ten times.  The question is, even if you beat the odds and avert disaster, will this add enough to your score to make a difference?  The usual answer is an emphatic, no!

 

Practice your routines so you can execute them with the precision of a Swiss watch.  Then stick to your plan and have a precise performance when it counts.   

 

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The Royal Scottish Pipe Band Association
Drum Major Contest Regulations

 

DRESS (20 points)

 

Items

  1. Shoes

  2. Preferably black brogues but ordinary plain black shoes acceptable.
    Brown brogues/shoes also acceptable if in keeping with remainder of uniform (i.e. brown belts are being worn).
    Must be clean and polished.
    Suede shoes are not acceptable.

     

  3. Spats

  4. Worn tight to the leg and rear point in line with center of hose seam.
    All parts of spat must be clean.

     

  5. Hose/Hose tops

  6. Worn three fingers distance from bone at outside of knee joint.
    Patterns/seams vertically straight.

     

  7. Flashes

  8. Both flashes to be worn of equal length on both legs.
    Leading edge of front flash to be vertically up front of leg.

     

  9. Kilt

  10. Clean, neatly pressed and free from creases.
    Inside and outside aprons securely fastened by buckle and resting just above the half way mark of the knee cap.
    Pattern to be centered at front of body.
    Hem to be even in height from front to rear and side-to-side.

     

  11. Sporran

  12. All parts clean, tidy and neatly brushed.
    Worn centrally over front apron of kilt so that cantle is one hand's breadth below waist belt buckle.

     

  13. Tunic or Doublet

  14. Clean and free from creases/crushing.
    All buttons present and firmly attached with design correctly oriented.
    Insignia, if worn, to be firmly attached with no loose threads evident.
    Front of military tunics to be level with lower edge of waist belt.
    Shoulder epaulettes on military tunics to be firmly attached with the small tapes pointing forwards.
    Collar badges, if worn, to be clean and located at equal distances from front of collar (Approximately 1")

     

  15. Waist Belt

  16. Clean with buckle polished and centered at front of body.
    Worn firm to body with sufficient tightness to permit insertion of one finger only between the belt and body.
    Runners on belt to be pushed up hard to belt buckle.
    Should not cover buttons on rear of tunic.
    Worn level from front to back of body.

     

  17. Cross Belt

  18. Clean with buckle polished.
    Worn over the right shoulder to the left side of waist and secured by waist belt being worn over the top at the rear, the cross belt to be worn outside the waist belt at the front.
    Worn underneath plaid with lower edge of buckle worn over plaid.
    Slider pushed up hard to lower edge of plaid.

     

  19. Dirk

  20. Clean with all items polished.
    Worn attached to waist belt on right front hip 2-3" and centered between waist belt retaining hook and buckle.

     

  21. Red Sash

  22. Clean and tidy.
    Worn on right shoulder to left side of waist and worn over the top of waist belt.
    Tassels to be to rear of left hand when at attention position.
    Worn under cross belt and plaid.

     

  23. Drum Major’s Sash (Baldric)

  24. Clean and tidy with no loose threads evident.
    Worn over left shoulder (under epaulette) to right waist, over cross belt and waist belt.

     

  25. Full Plaid

  26. Clean, neatly pressed and free from creases.
    Worn over left shoulder and under right arm, pulled firm to the body.
    Edge of plaid level with top of left spat point at rear of leg with fringe hanging down below this level.
    Lower edge of plaid horizontal and parallel with ground.
    Leading edge of plaid and front face of plaid secured by plaid brooch.

     

  27. Drummer’s Plaid

  28. Clean, neatly pressed and free from creases.
    Worn over left shoulder and secured with a plaid brooch at front.
    Secured around waist at rear and hanging so that pleats match with the set of the kilt.

     

  29. Plaid Brooch

  30. Clean and polished.
    Worn on front of left shoulder, tightly securing plaid, with design upright.
    Upper edge of brooch not to be above top of the shoulder level.

     

  31. Glengarry

  32. Clean and tidy with tails neatly pressed (not creased).
    Worn with point of glengarry in line with nose, 1" above left eyebrow and 1/2" above right eyebrow.

     

  33. Balmoral

  34. Clean and tidy with tails neatly pressed (not creased).
    Worn level on forehead 1/2" above eyebrows.
    Cloth top part pulled over right side of head, tails or bow centered on rear of head.

     

  35. Feather Bonnet

  36. Clean and tidy with tapes neatly pressed (not creased). All tails showing.
    Worn level on forehead 3/4" above eyebrows.
    Tapes centered on rear of head, chinstrap worn on point of chin with no loose straps evident.

     

  37. Hackles/Feathers

  38. Clean and tidy.
    Attached securely to headgear.

     

  39. Headgear Badges

  40. Clean and polished.
    Attached securely to headgear.

     

  41. Kilt Pin/Rosettes

  42. Clean and tidy.
    Worn approximately 4" up and 3" from right hand side of kilt front apron, in keeping with the set of the tartan.

     

  43. Mace

  44. Clean and polished, with cords/chains clean, tidy and securely attached.

     

  45. Sgian Dubh

Worn inside hose of right leg in center of front-right portion of leg with handle only showing and scabbard concealed by hose.

Points Allocation

The comments entered on the Adjudication sheet shall clearly show the reason for the points deduction for all sections with the exception that, at major championships, comments will only be given in respect of the dress section.

The adjudicators shall allocate points as follows:

DRESS:  maximum available = 20 points

One point shall be deducted for each fault found in accordance with the preceding regulations for dress.

Competitors successfully reaching the final of the competition shall have the points allocated for the above section carried forward and added to those achieved in the final.

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MARCHING AND DEPORTMENT (40 points)

 

This section shall be sub-divided into the following four subjects:

MARCHING - DEPORTMENT - FOOT DRILL - MACE DRILL

Marching

 

The adjudicator shall allocate up to a maximum of 10 points for this subject for the following activities:

  • Movement and Control of the 'free' arm when marching

  • Movement and Control of the 'mace' arm when marching

  • Execution of the 'walk' when performed

Note: If the ferrule of the mace rises above the head of the head of the mace at any time during the 'walk' this shall be classed as a flourish and the competitor will be penalized accordingly.

 

Deportment

 

The adjudicator shall allocate up to a maximum of 10 points for this subject for the following activities:

  • Erectness of body

  • General bearing

  • Maintenance of 'eye-line'

Foot Drill

 

The adjudicator shall allocate up to a maximum of 10 points for the smartness of performance of the following activities:

  • Coming to attention

  • Stepping off marching

  • About turns

  • Marking time

  • Halting

  • Standing at ease at the end of the competition

Mace Drill/Signals

 

The adjudicator shall allocate up to a maximum of 10 points for the smartness of performance of the following activities:

  • About turn signal

  • Mark time signal

  • Halt signal

  • Stopping the band playing

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FLOURISH (40 points)

 

This section shall be sub-divided into the following 3 subjects:

VARIETY - QUALITY - DEGREE OF DIFFICULTY

Variety

 

The adjudicator shall allocate up to a maximum of 20 points for this aspect. Account shall be taken of the differing flourishes performed by the competitor - the greater variety of flourishes performed, the higher the points score.

 

Quality

 

The adjudicator shall allocate up to a maximum of 10 points for this aspect. Account shall be taken of the fluency with which the flourishes are performed, the confidence which the competitor displays whilst flourishing and the level of accuracy attained during the flourishes.

Degree of Difficulty

 

The adjudicator shall allocate up to a maximum of 10 points for this aspect. Account shall be taken of the general level of difficulty of the individual flourishes performed by the competitor. The harder the flourishes performed, the higher the score awarded.

 

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PENALTIES

 

Fixed penalties shall be applied to the following activities:

 

Dropping the Mace

 

2 points shall be deducted from the 'Quality' section of the Flourish mark and a minimum of 2 points up to a maximum of 5 points from the 'Deportment' section of the Marching and Deportment mark (dependant upon how much deportment is lost in retrieving the Mace).

 

Flourishing in a Piano Forte

 

4 points shall be deducted from the 'Quality' section of the Flourish mark per occurrence.

 

Stopping the band playing in a Piano Forte

 

4 points shall be deducted from the 'Mace Drill' section of the Marching and Deportment mark.

 

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ADMINISTRATIVE

 

Preference Order in the Event of a Tie

 

In the event of a tie occurring, the following priority order shall be employed for the separation of 'tied' competitors:

  • Marching and Deportment total

  • Flourishing total

  • Foot Drill subtotal

  • Flourish Variety subtotal

  • Mace Drill subtotal

Contest Duration

 

Adjudication shall commence with the command to the competitors, issued by the adjudicator, to come to attention.

 

Both heats and finals shall consist of a minimum length of competition equivalent to 2 1/2 lengths of the defined contest field. (If time/space permits, the duration may be increased at the adjudicator's discretion).

 

The adjudicator shall issue instructions to the competitors nominating the points at which turns shall be made and identifying the position at which the competitors shall halt.

 

On approaching the turn points, the competitors shall give the mace signal to signify the approaching turn and, at the point, execute an about turn movement.

 

On approaching the halt point, after completing the required number of lengths of the contest field, the competitors shall give a mace signal in preparation to halt, mark time in line with the set marker until the end of the part of the music currently being played and halt at the end of that part.

 

During the next succeeding double forte of the music, the competitors shall give a mace signal to stop the band playing.

 

On completion of the above, the adjudicator shall give the command for the competitor to stand at ease. This signifies the end of the contest.

 

Heats and Finals Sizes

 

Prior to the commencement of the contest, the competitors shall be divided into heats for the purpose of adjudication.

 

The maximum number of competitors permitted in any one heat shall be five.

 

At the end of the adjudication of all aspects of the heats, a suitable number of competitors scoring the highest points shall go forward to recompete in a final.

 

The rules governing the number of finalists shall be as follows:

 

Major Championships - 5 competitors

 

Other Contests - At the discretion of the discretion of the National Council Representative

 

 

Regimental Drum Major Association © 2003 - 2006