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transcript
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.
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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
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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.
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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
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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
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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.
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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.
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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.
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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.
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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).
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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.
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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
left forearm to be raised
parallel to the ground, the
instrument in a
perpendicular position,
bell pointing to the
ground.
13. 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.
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
left forearm to be raised
parallel to the ground, the
instrument in a
perpendicular position,
bell and slide pointing to
the ground.
17. 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
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.
20. 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.
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
24. READY This position will
be adopted on the word of
command “BAND READY” or by
signal from the Director of Music.
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.
27. READY This position will
be adopted on the word of
command “BAND READY” or by
signal from the Director of Music.
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
THE DRUM MAJOR (Contd)
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
THE DRUM MAJOR (Contd)
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.