raf band drill - 200 squadron air training corps · 1. this manual should be read in conjunction...

AP 3227

RAF BAND DRILL

200 (Torquay) Sqn ATC Edition

1-1

CHAPTER 1

FOREWORD

1. This manual should be read in conjunction with the Royal Air Force Manual of Drill and

Ceremonial (AP818), to which it is complementary. It contains those instructions concerning drill

and ceremonial which are unique to RAF bands and musicians.

THE BAND FORMATION

2. Bands are normally to be formed as follows:

24 or less … … … … … … … … Four in each rank

25 to 45 … … … … … … … … Five in each rank

45 and over … … … … … … … Six in each rank

3. Bands are to be formed at two paces between files from left to right and similarly from front

to rear. This formation is to be maintained wherever local conditions permit. The Drum Major will

be responsible for checking the alignment of the band.

4. The Drum Major is to be positioned five paces front and centre of the band. If a Director of

Music (or Bandmaster) is present the Drum Major is to be positioned seven paces front and centre of

the band. The Director of Music (or Bandmaster) is to be positioned two paces behind the Drum

Major. If both a Director of Music and a Bandmaster are present, the Director of Music is to be

positioned as stated, with the Bandmaster located two paces to the rear and centre of the band. If the

Drum Major is not present the Director of Music (or Bandmaster) is to be positioned as for the Drum

Major and is to give all signals with the baton held in the right hand.

5. The Drum Major will be responsible for maintaining the direction of the band when on the

march. Dressing for all ranks will be by the centre except when executing a right or left wheel. In

these cases dressing will be by the right until the completion of the right wheel and by the left until

completion of the left wheel, when the dressing will revert to the centre.

6. Should the Director of Music (or Bandmaster) require to conduct the band, the Drum Major

is to position himself two paces on the left or right of the leading rank, wherever local conditions

permit.

INSTRUMENTAL FORMATION

7. The charts below show the instrumental line-up of an Established RAF Band. It should be

noted that, as a general rule, the taller players are placed in the outside files, and heights graded to the

centre accordingly. For this reason, some slight modification to the line-up may be necessary, but it

is customary to place trombones in the front rank, as they require more space for playing.

1-2

8. Where bands differ in size the following chart is to be used as a guide, bearing in mind that

instruments of the same kind with similar parts should be grouped together wherever possible. If

only three Trombones are available they should be flanked either side by Bass instruments on the

front rank. Although double reed instruments are not normally used on parade they may be utilised if

required. It has however become the practice to encourage double reed instrumentalists to play

cymbals or bass drum or a single reed or brass instrument in order to fill the positions annotated as

spare on the chart

DRUM MAJOR

DIRECTOR

OF

MUSIC

TENOR

TROMBONE

BASS

TROMBONE

EUPHONIUM

TENOR

TROMBONE

TENOR

TROMBONE

BASS

BASS

EUPHONIUM

TENOR

SAX

BASS

FRENCH

HORN

FRENCH

HORN

FRENCH

HORN

FRENCH

HORN

ALTO

SAX

CYMBALS

SPARE

BASS

DRUM

SIDE

DRUM

SIDE

DRUM

CORNET

CORNET

CORNET

CORNET

CORNET

PICCOLO

SPARE

CORNET

SPARE

PICCOLO

CLARINET

CLARINET

ALTO

SAX

CLARINET

CLARINET

CLARINET

CLARINET

CLARINET

CLARINET

CLARINET

BANDMASTER

1-3

9. When required to perform inside for a Pass Out or Graduation Parade the following chart

is to be used as a guide, bearing in mind that instruments of the same kind with similar parts should

be grouped together wherever possible.

DRUM MAJOR

DIRECTOR

OF MUSIC

or BANDMASTER

BASS

TENOR

TROMBONE

TENOR

TROMBONE

BASS

FRENCH

HORN

FRENCH

HORN

TENOR

SAX

EUPHONIUM

CYMBALS

ALTO

SAX

BASS

DRUM

SIDE

DRUM

CORNET

CORNET

CORNET

PICCOLO

CLARINET

CLARINET

CLARINET

CLARINET

METHOD OF CARRYING INSTRUMENTS

10. The method of carrying each type of instrument is laid down in the following illustrated

pages. There are four positions as follows:

a. CARRY - For the positions of STANDING EASY, STAND AT EASE and while

marching but not playing.

b. ATTENTION - For the position of ATTENTION.

c. READY - For the position of READY to commence playing.

d. REST - For the position of sectional resting while the band is playing.

11. Basses and drums are not to be unhooked except for STAND EASY from STAND AT

EASE position. Trombones may be rested vertically with the bottom of the slides touching the

ground during extended periods of STAND AT EASE only. When the band is marching AT EASE

no specific method of carrying instruments is to be enforced.

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WORDS OF COMMAND

12. All words of command on parade are to be given by the Drum Major. If a Drum Major is

not present words of command are to be given by a Director of Music, Bandmaster or the Senior

SNCO as required.

2-1

CHAPTER 2

DRILL MOVEMENTS

Forming Lane and Re-Forming Band (for frontage of five)

1. This movement is used principally on funerals when the band is required to form two files

on either side of the road in order to allow the funeral cortege to pass through. The movement may

also be used on ceremonial occasions such as route lining.

2. The front rank is to be numbered from left to right the files in the rear taking their numbers

from the front rank. The centre file is to be numbered from front to rear. The signal to “FORM

LANE” will be given by the Drum Major. The outer files Nos. 1 and 5 are to step short, files 2 and

4 are to incline right and left and move into position behind the musicians on their immediate right

and left. At the same time the ODD numbers of the centre file are to incline right, and the EVEN

numbers left, moving into position behind files 2 and 4. The band will then be in two files. The

Drum Major will remain in position in the centre of the band. The Director of Music (or

Bandmaster) will take up position at the head of the right file. The signal to “HALT” will be given

by the Drum Major and the band will carry out a normal halt. The band will turn inwards on the

first beat of the next bar and bring the rear foot up to the position of ATTENTION on the next beat.

After the band has halted the Drum Major will turn left and take up position at the head of the left

file. The Director of Music (or Bandmaster) will give the signal to “CEASE PLAYING”.

3. To re-form ranks, the Drum Major is to give the order “RE-FORM BAND – QUICK

MARCH” or “SLOW MARCH” (whichever is applicable). Files are to wheel inwards, stepping

short as necessary until correct band formation has been regained.

The Advance in Review Order

4. The Parade Commander will give the word of command “ADVANCE IN REVIEW

ORDER – BY THE CENTRE – QUICK MARCH”, on this command the band is to step off and

commence playing without any preliminary drum roll. Prior to carrying out this movement the

Drum Major gives the word of command “BAND – READY”. At the end of the music, the band

will HALT. Alternatively, the Parade Commander may give the order to halt by word of command.

Instruments will remain in the READY position for playing the General Salute. This is to be

conducted by the Director of Music (or Bandmaster). Instruments will be brought to the

ATTENTION position on a signal from the Director of Music (or Bandmaster).

Right Wheel

5. The Drum Major will give the signal to wheel by extending the right arm level with the

shoulder, turn right and march forward a minimum of five paces past the right hand musician of the

front rank and proceed to mark time. Seven paces if a Director of Music (or Bandmaster) is present

or five paces if alone. Upon completion the Drum Major will march forward in the new direction,

the right arm resuming its normal function. On receiving the signal to wheel the right hand

musician will mark time (as this is the pivot or point of wheel) and gradually turn in the new

2-2

direction. The remainder of the front rank will dress by the right and wheel round to the right. The

outside musician will take a full pace but the length of pace will shorten towards the point of wheel.

The interval of two paces between musicians will be maintained. When the wheel has been

completed the front rank will carry on marching in the new direction. As each successive rank

reaches the point of wheel they will carry out the same movements as the front rank. During the

wheel, no attempt will be made to cover off. When the wheel has been completed, normal dressing

and covering will be resumed.

Left Wheel

6. The detail of movement is the same as for the right wheel except that left is substituted for

right.

The Halt

7. The following instructions will apply both to SLOW and QUICK TIME. The Drum Major

will raise the mace with the right hand to a perpendicular position when the left foot is forward and

on the ground. The Bass Drummer on seeing this signal will immediately give a double beat on the

Bass Drum. The band will commence to mark time on the next left foot. Correction of covering

and dressing will be carried out during the period the band is marking time. In quick time the Drum

Major will lower the mace as a left foot comes to the ground. The band will carry out two further

mark time movements and HALT. In slow time the Drum Major will lower the mace as a right foot

comes to the ground. The band will HALT in tempo. The band will carry on playing until

receiving the signal to CEASE PLAYING.

Cease Playing (mace signal)

8. The Drum Major will raise the mace to an angle of 45 degrees to the ground, right arm

extended level with the shoulder with the top of the mace above the head of the Drum Major. On

seeing the signal the Bass Drummer will give a double beat to attract the attention of the band to the

mace. At an appropriate point in the music, the Drum Major will bring the mace to a perpendicular

position to the ground, the right hand level with the face. On this signal the music will CEASE.

When the Drum Major lowers the mace, instruments will be brought to the ATTENTION position.

Advance Whilst Playing

9. This movement is carried out to enable the band to move forward from a static position

whilst playing. The Drum Major will raise the mace to a horizontal position above the head. On

seeing the signal the Bass Drummer will give a double beat to attract the attention of the band to the

mace. The mace will be lowered on the first beat of the bar, and on the first beat of the next bar the

band will step off commencing with the left foot.

The Counter –March

10. This movement is carried out to enable the band to move in the opposite direction without

changing the formation of the band. On reaching the point of counter-march, the Drum Major will

2-3

bring the mace in front of the body, perpendicular to the ground, the right hand grasping the mace

just underneath the head and the left hand as far down the mace as naturally allows. The Drum

Major will then turn about smartly and march through the ranks of the band to the right of the centre

file (if in fives). When the front rank reaches the point of counter-march, the senior trombone

player will raise and then lower his slide. This will be the signal for the front rank to counter-

march. Each musician will wheel round to the right and march along the right hand side of their

respective file. Each successive rank will carry out the same movements as the front rank. During

the movement the band will step short until completion when a normal pace will be resumed.

2-4

Changing from Quick Time to Slow Time Whilst Playing

11. The Drum Major will give the signal for CEASE PLAYING when the left foot is forward

and on the ground. A check pace will be taken with the right foot and the band will commence to

SLOW MARCH on the next left foot with the drums playing the preliminary rolls.

Changing from Slow Time to Quick Time Whilst Playing

12. The Drum Major will give the signal to CEASE PLAYING when the right foot is forward

and on the ground. The band will commence to QUICK MARCH on the next left foot with the

drums playing the preliminary rolls.

3-1

CHAPTER 3

MUSIC FOR CEREMONIAL OCCASIONS

1. In selecting a march for parade purposes, its adaptability to the band that will play it

should always be kept in mind. For the best results a parade should have no long and complicated

“break” strains and the melody and rhythm should lend itself to the usual parade tempo of 116

paces per minute. The same applies to the slow march, which should be played at 65 paces per

minute. Since it is usual to place the trombones in the front rank, marches with uninteresting parts

for trombones should, if possible, be avoided. The QUICK MARCH is to be preceded by five beat

drum rolls and the SLOW MARCH by three beat drum rolls.

2. Ceremonial music for the Royal Air Force can be obtained from the publishers, Messrs

Boosey & Hawkes Ltd, 295 Regent Street, London, W1. For quick reference, scores of the official

Royal Air Force “General Salute”, “Advance in Review Order”, and “ Point of War” are included as

Annexes A to C. Tempos are to be as indicated on the scores.

3. The “Advance in Review Order” consists of eight bars, equalling sixteen paces. It has

been composed in such a manner as to allow the last four bars, equalling eight paces, to be played

should the depth of the parade ground be smaller than the dimensions laid down in the RAF Manual

of Drill and Ceremonial (AP 818).

4. The “Point of War” is to be played for the “Marching On and Off” of the Colour or

Standard.

4-1

CHAPTER 4

SALUTING

1. When a band is parading, only the Director of Music (or Bandmaster) and Drum Major are

to salute, the right hand being used.

2. When a band is marching but not playing, on the command “EYES RIGHT” or “EYES

LEFT”, all ranks are to turn their heads in the direction ordered. Only the Director of Music (if

junior to the officer being saluted) (or Bandmaster) and Drum Major are to salute.

3. When a band is to be dismissed and an officer is present, the following procedure will be

adopted. All musicians will ensure that the instruments are held in the left hand, leaving the right

hand free to salute. The Drum Major (or Senior NCO) will give the word of command “OFFICER

ON PARADE – DISMISS”. On this word of Command, the band will right incline, observe a

pause equal to one pace in quick time, execute a SALUTE TO THE FRONT (as in foot drill),

observe another pause equal to one pace in quick time, then march smartly off the parade ground.

4. If carrying anything when walking, that prevents a Musician from saluting, the head is to

be turned smartly towards the officer when passing. If standing still, the musician is to stand to

attention when an officer approaches.

5-1

CHAPTER 5

PROCEDURE ON MISCELLANEOUS CEREMONIAL OCCASIONS

1. The outline of procedure in respect of the ceremonial of Review and Inspections, Honours

and Saluting on Parade, the Queen’s Birthday Parade, Ensign Hoisting and Hauling Down Parade,

Lining the Streets on Ceremonial Occasions, Firing a Feu-de-Joie, Funerals, Guard of Honour,

Presentation and Trooping of Colours or Squadron Standards, is laid down in the RAF Manual of

Drill and Ceremonial (AP818).

6-1

CHAPTER 6

ILLUSTRATED PLATES

FLUTES, PICCOLOS, CLARINETS and OBOES

1. CARRY The

instrument is to be held

in the left hand at the

point of balance,

horizontal to the ground,

mouthpiece to the front.

The arms to be straight

down the sides.

2. ATTENTION The

left forearm to be raised

parallel to the ground, the

instrument in a

perpendicular position.

3. READY This

position will be adopted

on the word of command

“BAND READY” or by

signal from the Director

of Music. The

instrument will be raised

to the lips to the playing

position.

4. REST The

instrument will be

lowered to a position in

front of the body, the

fingers remaining on the

keys of the instrument.

6-2

SAXOPHONES & BASSOONS

5. CARRY/

ATTENTION The

instrument will be hooked

on the sling and held by the

left hand at the point of

balance, the right arm to be

straight down the side of the

body.

6. READY This position will

be adopted on the word of

command “BAND READY” or

by signal from the Director of

Music. The instrument will be

raised to the lips to the playing

position

7. REST The instrument

will be lowered from the

mouth so as to hang naturally

from the sling, the fingers

remaining on the keys of the

instrument.

6-3

FRENCH HORNS

8. CARRY/ ATTENTION The instrument will

be held in the crook of the right

arm, with bell to the rear. The left

arm to be straight down the side of

the body.

9. READY This position will be

adopted on the word of command

“BAND READY” or by signal

from the Director of Music. The

instrument will be raised to the lips

to the playing position.

10. REST The instrument will

be lowered in front of the body

with the fingers of the left hand on

the valves and the right hand in the

bell as in the playing position.

6-4

CORNETS

11. CARRY The

instrument will be held in

the left hand, fingers

round the valves,

mouthpiece to the front.

The arms to be straight

down the sides of the

body.

12. ATTENTION The



instrument in a

perpendicular position,

bell pointing to the

ground.

13. READY This





of Music. The instrument

will be raised to the lips

to the playing position.

14. REST The

instrument will be

lowered in front of the

body, the hands

remaining on the

instrument in the playing

position.

6-5

TROMBONES

15. CARRY The

instrument will be held in

left hand, the fingers

round the slide stay bell

pointing to the rear, the

arms to be straight down

the sides of the body.

16. ATTENTION The



instrument in a

perpendicular position,

bell and slide pointing to

the ground.

17. READY This





of Music. The instrument

will be raised to the lips

to the playing position

ensuring that the slide is

horizontal to the ground.

18. REST The

instrument will be

lowered in front of the

body, the hands

remaining on the

instrument in the playing

position. When marching

and not playing for

periods of more than 8

bars the position of

ATTENTION is to be

adopted simultaneously

swinging the right arm.

6-6

EUPHONIUMS

19. CARRY/ ATTENTION The instrument will be cradled

centrally against the body, both

arms supporting the instrument, the

bell of the instrument facing to the

right.



command “BAND READY” or by

signal from the Director of Music.

The instrument will be raised to the

lips to the playing position.

21. REST The instrument will

be lowered in front of the body so

that the mouthpiece is a few inches

away from the lips.

6-7

BASSES

22. CARRY/ATTENTION/ REST The instrument will be hooked up, the

left arm across the instrument and

fingers round the valve sleeve, the

fingers of the right hand resting on the

valves and the mouthpiece away from

the lips.

23. READY This position will be

adopted on the word of command

“BAND READY” or by signal from

the Director of Music. The

instrument will be raised to bring the

mouthpiece to the lips.

6-8

BASS DRUM





The right hand to be raised to the

position for beating.

25. ATTENTION/ CARRY/ REST The bass drum will be

hooked up, one stick in each hand,

the arms straight down the sides

of the body.

When standing easy the drum

may be unhooked and rested on

the ground

6-9

SIDE DRUM

26. CARRY/ATTENTION The

drum will be hooked up, sticks held

in each hand. The left hand will

rest on the hoop, the right arm

straight down the side of the body,

stick pointing down the side of the

leg.





Sticks will be raised a few inches

above the drum head in readiness

for the beating.

28. REST Both sticks will be

grasped in the hands across the

drum head.

When standing easy the drum may

be unhooked and rested on the

ground if not required for some

time.

6-10

CYMBALS

29. ATTENTION CARRY/

REST Cymbals will be held in

each hand with the arms fully

extended by the sides.

30. READY This position

will be adopted on the word of

command “BAND READY” or

by signal form the Director of

Music. Cymbals will be raised

so that the forearms are

horizontal to the ground, elbows

into the side of the body.

6-11

HERALD TRUMPETS

31. ATTENTION/CARRY

Trumpets will be held in a diagonal

position, in front of the body, bell

towards the ground, fingers of the

left hand round the valve casing,

fingers of the right hand on the

valves. When marching the right

arm will be swung.

32. READY AND REST As

for Cornets.

When coming to the READY

position, the movement will be

carried out in a slow and dignified

manner.

6-12

CAVALRY (PARADE) TRUMPETS

33. CARRY AND

REST. While marching,

trumpet is held in the right

hand, with fingers round

main tubing, mouthpiece

to the front and arm

extended down the side of

the body with the centre

of the hand in line with

the seam of the trousers.

34. READY Two

movements are necessary

from the CARRY.

1. Hand gripping the

trumpet is to be stretched

out to full extent in front

of the body in line with

the shoulder and trumpet

perpendicular to the

ground.

2. Trumpet is to be

brought smartly to the

playing position.

35. ATTENTION AND

STAND AT EASE On

this word of command the

left foot will be carried 12

inches to the left; the

trumpet will remain in the

same position as for

CARRY AND REST.

6-13

THE DRUM MAJOR

36. STANDING AT EASE The

feet are to be 12 inches apart, the

body relaxed and the mace held

with both hands near the top part,

the point of the mace on the ground

mid-way between the feet and the

mace in a perpendicular position.

37. STAND AT EASE The

mace will be held in the right hand,

the fingers grasping the cane just

below the head and the thumb

upright on the head. The point of

the ferrule to be 12 inches away

and in front of the right foot, the

right arm slightly bent with the

elbow held into the body. The left

arm to be straight down the left

side of the body.

38. ATTENTION The left foot

will be brought smartly into the

right, heels together, feet at an

angle of 45 degrees, the mace

remaining as in the position of

“STAND AT EASE”.

6-14

THE DRUM MAJOR (Contd)

39. QUICK MARCH On the

word of command “QUICK

MARCH” the left foot will be

advanced a pace of 30 inches and

the mace brought diagonally across

the body, the left hand grasping it

at the point of balance. A further

pace will be taken with the right

foot. On the next left foot, the right

arm will be brought smartly to the

right side and the mace will then be

firmly held in the left hand.

Another pace will be taken with the

right foot. On the next left foot, the

right arm will commence to be

swung as in ordinary drill, the mace

will move across the body

controlled by the left hand.

40. HALT (by mace signal)

The mace will be grasped at the top

of the ferrule by the right hand on a

left foot. On the next left foot the

mace will be brought across the

body to a perpendicular position by

the right side. On the next left foot

the mace will be raised still in a

perpendicular position as high as

possible. Marking time will be

commenced on the next left foot.

At the appropriate time the mace

will be lowered down the right side

of the body, the right hand catching

the mace just below the head, this

movement will occur as the right

foot comes to the ground. Two

further mark time movements will

be carried out and HALT. The

mace will then be returned to the

position of ATTENTION.

41. CEASE PLAYING (by

mace signal) Detailed movements

as paragraph 20. The Drum Major

will raise the mace, right arm

extended level with the shoulder,

the mace at an angle of 45 degrees.

The top of the mace to be above the

head of the Drum Major. The

Drum Major will bring the mace to

a perpendicular position to the

ground, the right hand level with

the face. On this signal the music

will CEASE. When the Drum

Major lowers the mace, instruments

will be brought to the

ATTENTION position.

6-15


42. COUNTER - MARCH Detailed movements as

in paragraph 22. On reaching the point of counter-

march, the Drum Major will bring the mace in front of

the body, perpendicular to the ground, the right hand

grasping the mace just underneath the head and the left

hand as far down the mace as naturally allows. When

the Drum Major has cleared the rear rank, the mace

will be returned to the left hand and normal marching

will be resumed.

43. RIGHT WHEEL OR LEFT WHEEL Detailed movements as in paragraphs 17 and 18. The

Drum Major will give the signal to wheel by extending

the right or left arm level with the shoulder.

6-16


44. ADVANCE WHILST

PLAYING Drum Major will

raise the mace to a horizontal

position above his head. Details

as outlined in paragraph 21.

45a. MARCHING AT EASE From the carry position the mace

is to be cradled in the left arm as

illustrated and returned to the

“CARRY” position when

required.

45b. MARCHING AT EASE As an alternative from the carry

position the mace is to be trailed

by extending the left arm down

the side of the body with the

mace held horizontal to the

ground as illustrated and

returned to the “CARRY”

position when required.

ANNEX A TO

AP 3227

ANNEX B TO

AP 3227

ANNEX C TO

AP 3227

ANNEX D TO

AP 3227

OFFICIAL MARCHES OF THE ROYAL AIR FORCE

To be played in accordance with the relevant GAI / DCI

Serial Formation/Unit Title Composer and Date Publisher Notes

1 Royal Air Force The Royal Air Force March Past Davies & Dyson (1918) Boosey & Hawkes

2 Royal Air Force Regiment Holyrood Alford (1968) Boosey & Hawkes 1, 2

3 Strike Command Strike Command March Hutchinson (1968) Boosey & Hawkes 3

4 Royal Air Force Police Royal Air Force Police March Past Stephens (1968) Boosey & Hawkes 4

5 No 51 Squadron Swift and Sure Thomas (1969) (Not Published) 5, 6

6 Central Flying School Those Magnificent Men in Their

Flying Machines

Goodwin (arranged

Baldwin) (1969)

Francis, Day & Hunter 7

7 Air Training Corps Silver Linings (Slow March) Price (1979) (Not Published) 8

8 Royal Air Force Regiment Centurion (Slow March) Banks (1982) Studio Music 1, 9

9 PMRAFNS Skywards Barker (1989) Studio Music

10 Air Training Corps Venture Adventure Hingley (1996) (Not Published) 10

11 Royal Air Force Red Arrows Diamond Nine Stubbs (1996) (Not Published) 11

12 No 32 (The Royal) Squadron The Royal Squadron March McDonald (1997) (Not Published) 12

13 No 3 (Fighter) Squadron No 3 (Fighter) Squadron March Cunningham (Not Published) 12

14 No 47 Squadron No 47 Squadron March Wiffin (2001) (Not Published) 12

15 Search & Rescue Units Search & Rescue Force Wiffin (2001) (Not Published)

NOTES: 1. Approved by AO Regiment.

2. Always to be played when units of the RAF Regiment are on parade.

3. Always to be played when units of Strike Command are on parade.

4. Always to be played when units of the RAF Police are on parade.

5. May be played at the discretion of the Officer Commanding No 51 Squadron during events considered exclusive to No 51 Squadron occasions.

6. This march should not replace the Strike Command March, which will continue to be played where appropriate.

7. To be played at the discretion of the Officer Commanding when personnel of the CFS are on parade.

8. To be played when units of the Air Training Corps are on parade and when a slow march is appropriate.

9. To be played when units of the RAF Regiment are on parade and when a slow march is appropriate.

10. To be played when units of the Air Training Corps are on parade.

11. To be played at the discretion of the Officer Commanding when personnel of the RAF Red Arrows are on parade.

12. To be played at parades and other formal occasions when the Squadron Standard is paraded.

In all cases the “RAF March Past” will continue to be used when appropriate and will not be replaced by an Official March. Both marches may be

played in the same musical programme.

raf band drill - 200 squadron air training corps · 1. this manual should be read in conjunction...

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