Tommeee Posted June 4, 2017 Share Posted June 4, 2017 1 hour ago, xandandl said: cf. comment #6 above Richland H.S. field is a rather low rise set of bleachers not a college stadium or Texas/Indiana football mega-temple . Only on roof of press box can one truly read the field and visual show.. corps only marched some of first act and played in an arc the remainder of the show. I am guessing not all props were yet entered into show and field. Re-verify with those few DCP persons actually present. The colorguard work amongst the pews IS, in fact, a nice GE moment. Also, there is some good unison work that people have been asking for. It is important to note, I usually focus on other elements besides the guard, unless they FORCE me to look at them. In the moment I am talking about, the guard DOES force you to watch them. Unless, of course, you are watching from low in the stands on side 2. The pews are staged slightly diagonally, overlapping the front sideline, between the 10-yard line and the 40-yard line, on side 1. Yep, Richland is a nice high school stadium, but not particularly high. I was in the top row, and it was difficult to see a lot of the forms. Also, the corps seems to be making good use of the entire field, so it's difficult to see everything in a lower stadium. There is one section which reminds me of the grid they had last year, but this time it's way better and there's a lot more going on as far as movement. This will be a great overall GE effect. Actually, they did march some of the second act also. As Hop has suggested, the second act will be the favorite for many people. Confirmed - the only props on the field last night were the pews. They actually store guard equipment and trombones under those pews, so it is obvious that there will eventually be some sort of additional element to the pews to hide what is underneath. By the way, the pews look like they are designed pretty well. They are clearly pretty heavy, and more professional-looking than some of the other props Cadets have used. Another few side notes. Spring Training is only 2 weeks old. I applaud the Cadets for doing this community performance, so early in the game. 2 weeks is REALLY early! Also, Tom Aungst was heavily engaged in the rehearsal yesterday. The more he is involved, the better it will be. Drew Shanefield was a big part of the rehearsal yesterday as well. Drew might be unproven as the Cadets arranger, but I am convinced that he is pretty excited to be such a big part of this show, and I am guessing that he is highly motivated to add to the legacy. Quote Link to comment Share on other sites More sharing options...
Popular Post George Dixon Posted June 4, 2017 Popular Post Share Posted June 4, 2017 (edited) so - about last night's Johnstown, PA performance... A GREAT crowd in the stadium for Cadets first "public" performance High school stadium was pretty full, I was quite surprised It was a nice night with puffy white clouds, a setting sun and a 15-20 mph "breeze" that seems consistent in hilly Johnstown, PA Around 7pm they announced that the program would begin at 7:30pm and that folks were welcome to "come down on the field" to watch warm up if they wanted Battery entered in two ranks followed by the guard - guard headed to side 1 end of field to warm up Battery headed down to a field on the side 2 end of the stadium - both groups in view of the crowd. Battery comprised of 5 bass, 9 snare, 5 tenor. 13 in the pit including 20 keyboards played by 10 talented keyboardist across the front of the pit each with a marimba to their front and vibes dividing them into "pods" sideways. Brass was in a warm up arc back behind the visitors stands facing the adjacent apartment style dorms, they played typical warming/tuning sequences off in the distance. Brass numbers 70 for 2017 - with 12 on tuba, 8 euphoniums and 16 bari, rest trumpet/mello Guard wore black unitards, Percussion battery/pit in maroon "spring training" t-shirts and matching maroon/gold shorts. Guard did stretching / spinning / then. Guard marching 36 plus 6 alternates. Brass wore the same maroon t-shirt along with their maroon "practice skirt" used to mimic the long costumes used in a portion of the show. Pit was set up directly in front of us stretching from the 40 on side 1 down to the 30 of side 2 - so shifted 10 yards towards the right 24 dark stained, simple wooden benches were set up in six titled rows of 4 on side 1, each with a "book" on them The 8 Vocalists (and "choir loft") weren't present today. We were told they join the corps on Monday in Ada, Ohio (corps is heading there today after free time in Pittsburgh). Also, we were told the large backfield "setting" props (large panels of stained "glass" windows) were on the truck to Ada already. My guess is those travel on the 3rd tractor trailer the corps is using this year (along with the loft) Cadets using 3 DM this season - 2 front side, 1 rear At 7:30 the program was set to begin and the corps entered the field by sections and began setting up for the run. Guard members placed their equipment, and the bari who all double on 24 trombones at one point in the show placed the bones under the pews on side 1 Before the run the crowd was briefly introduced to the corps by Mike Pfeil who is the YEA Director of Performance Ensembles. Mike is one of many returning to the Cadets this year. He was the merchandise manager in 2003 and 2004 and then operations director of The Cadets and The Crossmen in 2005 and 2006. Quick description of the show without giving too much away: Chaos: Cadets start in a massive cross shape titled at a 45 - the entire corps kneeling with their right arm outward and hand bent upward so their palm faces forward, forms the shape in alternating colors of gold (guard in gold skirts) and maroon. This dissolves into a full field "scatter" that resolves itself into a sphere in the middle of the fifty as the brass spins and collects. The guard is on silk and wraps around the corps proper, percussion to the rear of this form. Music ends in a loud chord from the brass and a loud extended "chime" sound from the pit. Mostly here we have pit and battery playing (with voice?) with an "add on" snare feature. The piece is an abrupt beginning to the show, loud and confused sounding. In the middle portion of the scatter two "crosses" are briefly formed and then dissolve back into the chaos - comprised of about ten brass members each. One on side 1, one on side 2. Watch for those Simple Song: Following immediately after the "Chime" sound we have the intro to the shows only ballad "Simple Song" start from the pit, then a trumpet solo (staged near the pews - a bit lost right now, a probably move or in need of a highlight down there) and then a mello solo and then the quiet introduction of the brass ensemble. Guard begins the program with a feature on silk wrapped around the brass and then working their way down front. Drill is first a scatter in "pods" with the brass in clusters "posing" and then resolves itself (backing into the stay-set of course!) as the music climaxes with the 70 brass forming a large shape of a Ichthys (but with a closed tail). Tune ends with brass moving into ranks behind the pews playing the final quiet notes while dancers and the battery move to the rear of the field on side 2 and end in the shape of a doubled cross. Yes - the drill is loaded with religious references during "Part One" Agnus Dei: Brass (still in practice skirts) move to mid field in a large block and do a feature "monk dance" (you'll have to see it) interacting in pairs and between the ranks and files while the music begins in the pit (with vocals soon I would imagine). The playful "dance" ends with a thud as we have the battery (re)enter from the back of side 2 (corner) with 12 guard on rifle (guard removed the gold robes). The guard do a large unison toss (six) that catches with the entrance of the battery and a large note from the pit. Agnus progresses into fast angular drill with portions "folding off", blind pass throughs, some mini features from the battery interplaying with the pit and the classic tune also featured in 1983 by the Cadets. Guard comes front and center interacting in a long rectangular "block" with 24 on silk wrapping the rectangle with the 12 rifles down the middle. Some very nice equipment work and interactions in this part and ends in another unison "6" catch by the rifles. "Part 2": Part two begins with the baris making their way to the pews on side 1 while a mich'd trumpet solo occurs and changing over to trombones. Music starts in pit, then an angry/defiant sounding entry from the 24 trombones (loud!) and the battery in a block (with the tubas) marching toward the middle of the field from the back of side 1. Rest of brass enters and adds in from the back of side 1. Guard with what looked like 16 on sabers, rest on silk. Some angular boxes in the drill pit as the battery moves forward and we are treated to a first a tenor feature, then the snares, then the bass - then the entire battery wrapped by the 16 sabers. A few angry stabbing sounds from the brass and this is where the "marching" portion of the show concluded Last set learned? 105a (about 7 minutes on the field) - corps then arced up and played their entire program to the crowd as a standstill. This time introductions from their principal arranger Dr. Drew Shanefield who explained a bit more of the musical "thought process" of the program and it's 3 acts The show will then progress with a jazz portion of "Part 2" featuring several solos on trumpet, mello, Bari as well as some wicked runs in the brass (Part 2 is 4 minutes long in total) and then a quiet interlude (original?) bridge featuring keyboard (and voice) named "Almighty Father" which last around 15 seconds (a costume change?). Part 3 concludes the music (lasting only about 1 and a half minutes right now) as a building "marching" regally and majestically building with an organ-like sound as well as chime sounds coming from the brass, pit and electronics. The tune ends with what one can imagine is a large company front similar to the Cadets 2011 "Angels and Demons" program. Word on the street is the corps have about a minute more to add musically (mid-season) with an expected fast/up-tempo tag to bring the program to an enthusiastic an exciting conclusion Thoughts: 1. Drill/visual much improved for 2017 over 2016. Great use of the full-field, staging of the instruments and solos, very good visual transitions (i.e.: brief), improved integration with the guard, as others mentioned already several memorable "sets" and other visual "moments 2. Program makes great use of the extremely strong percussion - both battery & pit. They are featured musically and visually throughout. Pit are great "performers" which isn't always the case with a lot of pits, emoting, hiding out of view when they focus should shift to the field and even a little dancing and vibing to the jazz section of the show. GREAT keyboardist! 3. Brass is strong. A different (more 90s) take to the arrangement. Perhaps not quite the # of notes as the past few years (or quite as aggressive dynamically) but the challenges are there to hit the top box. Runs, many styles of music, great solos, small ensembles, triple tonging, lots of interplay and even some of that "run and gun" the Cadets are famous for. The sound is a little darker and less "bright" than the past several seasons. More 2011 but frankly reminds me a bit of 1995/96 4. Guard is further along than last year and much more confident as performers. Less individual breaks that appear only "mental" (which plagued last year’s guard). Guard is better staged; the work has a more "whole body" and "modern" feel to it. The book is less busy and more effective. It will be great watching their program develop this summer 5. Show itself - an entertaining and fulfilling "arch" to the music. The opening sets an immediate "mysterious tone" to the show, the "Simple Song" segment as well as "Agnus Dei" should prove popular with the audience. Part 2 is the real "question mark" in the program - once fully developed its payoff with the audience is KEY to the success of the 2017 Cadets. Last year's 2016 program started strong and quickly "lost steam" in the stands as they moved into the "Mackey" portion of the program - not because of the performance so much as the disconnect musically and the staging visually. This year’s program is dependent on "Part 2" selling and further drawing in the crowd once the "Set Up" happens in Part 1. Part 3 can easily suffice as a "fulfilling conclusion" ending with a big standing ovation IF Part 2 sells. Competitive outlook: The program should score better from a visual standpoint. Musically the Cadets remain strong. Percussion is an obvious strength and they will vie (with SCV?) for the Sanford this summer Brass will be top six - the gap between 1 and them will be determined by their growth this summer GE - show could do well, time will tell. Sell PART 2 is my suggestion/key to success for the corps. Think 2000 Cadets in this regard, as great as the corps was the show wouldn't have been as effective without the wonderful "show and tell" section of the program. This show needs that as well. Finally - as others have mentioned the show is BIG. BIG props, BIG sounds and BIG thematically. The members own performances will need to stand up to the scale of those props, the vocal/electronic sounds and thematic material. Otherwise the performance will feel "small" in comparison. So, a very high level of performance will be required. And confidence. And a real connection to the theme. The members must "get" the religious theme of part one, the calmness and fulfillment. Part 2 we must feel "angst" and "anger" and a bit of unhappiness and rage through their performance. Part 3 must feel "at peace" and regal and "resolute" As a fan, I'm just hoping the members have a fun, safe and rewarding summer. I think they will! Edited June 4, 2017 by George Dixon typo 12 Quote Link to comment Share on other sites More sharing options...
Cappybara Posted June 4, 2017 Share Posted June 4, 2017 From what I've heard, I like what Shanefield is cooking. It's very refreshing from the arrangements of the past few years! Quote Link to comment Share on other sites More sharing options...
xandandl Posted June 4, 2017 Share Posted June 4, 2017 1 hour ago, George Dixon said: so - about last night's Johnstown, PA performance... A GREAT crowd in the stadium for Cadets first "public" performance High school stadium was pretty full, I was quite surprised It was a nice night with puffy white clouds, a setting sun and a 15-20 mph "breeze" that seems consistent in hilly Johnstown, PA Around 7pm they announced that the program would begin at 7:30pm and that folks were welcome to "come down on the field" to watch warm up if they wanted Battery entered in two ranks followed by the guard - guard headed to side 1 end of field to warm up Battery headed down to a field on the side 2 end of the stadium - both groups in view of the crowd. Battery comprised of 5 bass, 9 snare, 5 tenor. 13 in the pit including 20 keyboards played by 10 talented keyboardist across the front of the pit each with a marimba to their front and vibes dividing them into "pods" sideways. Brass was in a warm up arc back behind the visitors stands facing the adjacent apartment style dorms, they played typical warming/tuning sequences off in the distance. Brass numbers 70 for 2017 - with 12 on tuba, 8 euphoniums and 16 bari, rest trumpet/mello Guard wore black unitards, Percussion battery/pit in maroon "spring training" t-shirts and matching maroon/gold shorts. Guard did stretching / spinning / then. Guard marching 36 plus 6 alternates. Brass wore the same maroon t-shirt along with their maroon "practice skirt" used to mimic the long costumes used in a portion of the show. Pit was set up directly in front of us stretching from the 40 on side 1 down to the 30 of side 2 - so shifted 10 yards towards the right 24 dark stained, simple wooden benches were set up in six titled rows of 4 on side 1, each with a "book" on them The 8 Vocalists (and "choir loft") weren't present today. We were told they join the corps on Monday in Ada, Ohio (corps is heading there today after free time in Pittsburgh). Also, we were told the large backfield "setting" props (large panels of stained "glass" windows) were on the truck to Ada already. My guess is those travel on the 3rd tractor trailer the corps is using this year (along with the loft) Cadets using 3 DM this season - 2 front side, 1 rear At 7:30 the program was set to begin and the corps entered the field by sections and began setting up for the run. Guard members placed their equipment, and the bari who all double on 24 trombones at one point in the show placed the bones under the pews on side 1 Before the run the crowd was briefly introduced to the corps by Mike Pfeil who is the YEA Director of Performance Ensembles. Mike is one of many returning to the Cadets this year. He was the merchandise manager in 2003 and 2004 and then operations director of The Cadets and The Crossmen in 2005 and 2006. Quick description of the show without giving too much away: Chaos: Cadets start in a massive cross shape titled at a 45 - the entire corps kneeling with their right arm outward and hand bent upward so their palm faces forward, forms the shape in alternating colors of gold (guard in gold skirts) and maroon. This dissolves into a full field "scatter" that resolves itself into a sphere in the middle of the fifty as the brass spins and collects. The guard is on silk and wraps around the corps proper, percussion to the rear of this form. Music ends in a loud chord from the brass and a loud extended "chime" sound from the pit. Mostly here we have pit and battery playing (with voice?) with an "add on" snare feature. The piece is an abrupt beginning to the show, loud and confused sounding. In the middle portion of the scatter two "crosses" are briefly formed and then dissolve back into the chaos - comprised of about ten brass members each. One on side 1, one on side 2. Watch for those Simple Song: Following immediately after the "Chime" sound we have the intro to the shows only ballad "Simple Song" start from the pit, then a trumpet solo (staged near the pews - a bit lost right now, a probably move or in need of a highlight down there) and then a mello solo and then the quiet introduction of the brass ensemble. Guard begins the program with a feature on silk wrapped around the brass and then working their way down front. Drill is first a scatter in "pods" with the brass in clusters "posing" and then resolves itself (backing into the stay-set of course!) as the music climaxes with the 70 brass forming a large shape of a Ichthys (but with a closed tail). Tune ends with brass moving into ranks behind the pews playing the final quiet notes while dancers and the battery move to the rear of the field on side 2 and end in the shape of a doubled cross. Yes - the drill is loaded with religious references during "Part One" Agnus Dei: Brass (still in practice skirts) move to mid field in a large block and do a feature "monk dance" (you'll have to see it) interacting in pairs and between the ranks and files while the music begins in the pit (with vocals soon I would imagine). The playful "dance" ends with a thud as we have the battery (re)enter from the back of side 2 (corner) with 12 guard on rifle (guard removed the gold robes). The guard do a large unison toss (six) that catches with the entrance of the battery and a large note from the pit. Agnus progresses into fast angular drill with portions "folding off", blind pass throughs, some mini features from the battery interplaying with the pit and the classic tune also featured in 1983 by the Cadets. Guard comes front and center interacting in a long rectangular "block" with 24 on silk wrapping the rectangle with the 12 rifles down the middle. Some very nice equipment work and interactions in this part and ends in another unison "6" catch by the rifles. "Part 2": Part two begins with the baris making their way to the pews on side 1 while a mich'd trumpet solo occurs and changing over to trombones. Music starts in pit, then an angry/defiant sounding entry from the 24 trombones (loud!) and the battery in a block (with the tubas) marching toward the middle of the field from the back of side 1. Rest of brass enters and adds in from the back of side 1. Guard with what looked like 16 on sabers, rest on silk. Some angular boxes in the drill pit as the battery moves forward and we are treated to a first a tenor feature, then the snares, then the bass - then the entire battery wrapped by the 16 sabers. A few angry stabbing sounds from the brass and this is where the "marching" portion of the show concluded Last set learned? 105a (about 7 minutes on the field) - corps then arced up and played their entire program to the crowd as a standstill. This time introductions from their principal arranger Dr. Drew Shanefield who explained a bit more of the musical "thought process" of the program and it's 3 acts The show will then progress with a jazz portion of "Part 2" featuring several solos on trumpet, mello, Bari as well as some wicked runs in the brass (Part 2 is 4 minutes long in total) and then a quiet interlude (original?) bridge featuring keyboard (and voice) named "Almighty Father" which last around 15 seconds (a costume change?). Part 3 concludes the music (lasting only about 1 and a half minutes right now) as a building "marching" regally and majestically building with an organ-like sound as well as chime sounds coming from the brass, pit and electronics. The tune ends with what one can imagine is a large company front similar to the Cadets 2011 "Angels and Demons" program. Word on the street is the corps have about a minute more to add musically (mid-season) with an expected fast/up-tempo tag to bring the program to an enthusiastic an exciting conclusion Thoughts: 1. Drill/visual much improved for 2017 over 2016. Great use of the full-field, staging of the instruments and solos, very good visual transitions (i.e.: brief), improved integration with the guard, as others mentioned already several memorable "sets" and other visual "moments 2. Program makes great use of the extremely strong percussion - both battery & pit. They are featured musically and visually throughout. Pit are great "performers" which isn't always the case with a lot of pits, emoting, hiding out of view when they focus should shift to the field and even a little dancing and vibing to the jazz section of the show. GREAT keyboardist! 3. Brass is strong. A different (more 90s) take to the arrangement. Perhaps not quite the # of notes as the past few years (or quite as aggressive dynamically) but the challenges are there to hit the top box. Runs, many styles of music, great solos, small ensembles, triple tonging, lots of interplay and even some of that "run and gun" the Cadets are famous for. The sound is a little darker and less "bright" than the past several seasons. More 2011 but frankly reminds me a bit of 1995/96 4. Guard is further along than last year and much more confident as performers. Less individual breaks that appear only "mental" (which plagued last year’s guard). Guard is better staged; the work has a more "whole body" and "modern" feel to it. The book is less busy and more effective. It will be great watching their program develop this summer 5. Show itself - an entertaining and fulfilling "arch" to the music. The opening sets an immediate "mysterious tone" to the show, the "Simple Song" segment as well as "Agnus Dei" should prove popular with the audience. Part 2 is the real "question mark" in the program - once fully developed its payoff with the audience is KEY to the success of the 2017 Cadets. Last year's 2016 program started strong and quickly "lost steam" in the stands as they moved into the "Mackey" portion of the program - not because of the performance so much as the disconnect musically and the staging visually. This year’s program is dependent on "Part 2" selling and further drawing in the crowd once the "Set Up" happens in Part 1. Part 3 can easily suffice as a "fulfilling conclusion" ending with a big standing ovation IF Part 2 sells. Competitive outlook: The program should score better from a visual standpoint. Musically the Cadets remain strong. Percussion is an obvious strength and they will vie (with SCV?) for the Sanford this summer Brass will be top six - the gap between 1 and them will be determined by their growth this summer GE - show could do well, time will tell. Sell PART 2 is my suggestion/key to success for the corps. Think 2000 Cadets in this regard, as great as the corps was the show wouldn't have been as effective without the wonderful "show and tell" section of the program. This show needs that as well. Finally - as others have mentioned the show is BIG. BIG props, BIG sounds and BIG thematically. The members own performances will need to stand up to the scale of those props, the vocal/electronic sounds and thematic material. Otherwise the performance will feel "small" in comparison. So, a very high level of performance will be required. And confidence. And a real connection to the theme. The members must "get" the religious theme of part one, the calmness and fulfillment. Part 2 we must feel "angst" and "anger" and a bit of unhappiness and rage through their performance. Part 3 must feel "at peace" and regal and "resolute" As a fan, I'm just hoping the members have a fun, safe and rewarding summer. I think they will! Wonderful report here, George for a potentially wonderful season. 2 Quote Link to comment Share on other sites More sharing options...
Tobias Posted June 4, 2017 Share Posted June 4, 2017 1 hour ago, George Dixon said: so - about last night's Johnstown, PA performance... A GREAT crowd in the stadium for Cadets first "public" performance High school stadium was pretty full, I was quite surprised It was a nice night with puffy white clouds, a setting sun and a 15-20 mph "breeze" that seems consistent in hilly Johnstown, PA Around 7pm they announced that the program would begin at 7:30pm and that folks were welcome to "come down on the field" to watch warm up if they wanted Battery entered in two ranks followed by the guard - guard headed to side 1 end of field to warm up Battery headed down to a field on the side 2 end of the stadium - both groups in view of the crowd. Battery comprised of 5 bass, 9 snare, 5 tenor. 13 in the pit including 20 keyboards played by 10 talented keyboardist across the front of the pit each with a marimba to their front and vibes dividing them into "pods" sideways. Brass was in a warm up arc back behind the visitors stands facing the adjacent apartment style dorms, they played typical warming/tuning sequences off in the distance. Brass numbers 70 for 2017 - with 12 on tuba, 8 euphoniums and 16 bari, rest trumpet/mello Guard wore black unitards, Percussion battery/pit in maroon "spring training" t-shirts and matching maroon/gold shorts. Guard did stretching / spinning / then. Guard marching 36 plus 6 alternates. Brass wore the same maroon t-shirt along with their maroon "practice skirt" used to mimic the long costumes used in a portion of the show. Pit was set up directly in front of us stretching from the 40 on side 1 down to the 30 of side 2 - so shifted 10 yards towards the right 24 dark stained, simple wooden benches were set up in six titled rows of 4 on side 1, each with a "book" on them The 8 Vocalists (and "choir loft") weren't present today. We were told they join the corps on Monday in Ada, Ohio (corps is heading there today after free time in Pittsburgh). Also, we were told the large backfield "setting" props (large panels of stained "glass" windows) were on the truck to Ada already. My guess is those travel on the 3rd tractor trailer the corps is using this year (along with the loft) Cadets using 3 DM this season - 2 front side, 1 rear At 7:30 the program was set to begin and the corps entered the field by sections and began setting up for the run. Guard members placed their equipment, and the bari who all double on 24 trombones at one point in the show placed the bones under the pews on side 1 Before the run the crowd was briefly introduced to the corps by Mike Pfeil who is the YEA Director of Performance Ensembles. Mike is one of many returning to the Cadets this year. He was the merchandise manager in 2003 and 2004 and then operations director of The Cadets and The Crossmen in 2005 and 2006. Quick description of the show without giving too much away: Chaos: Cadets start in a massive cross shape titled at a 45 - the entire corps kneeling with their right arm outward and hand bent upward so their palm faces forward, forms the shape in alternating colors of gold (guard in gold skirts) and maroon. This dissolves into a full field "scatter" that resolves itself into a sphere in the middle of the fifty as the brass spins and collects. The guard is on silk and wraps around the corps proper, percussion to the rear of this form. Music ends in a loud chord from the brass and a loud extended "chime" sound from the pit. Mostly here we have pit and battery playing (with voice?) with an "add on" snare feature. The piece is an abrupt beginning to the show, loud and confused sounding. In the middle portion of the scatter two "crosses" are briefly formed and then dissolve back into the chaos - comprised of about ten brass members each. One on side 1, one on side 2. Watch for those Simple Song: Following immediately after the "Chime" sound we have the intro to the shows only ballad "Simple Song" start from the pit, then a trumpet solo (staged near the pews - a bit lost right now, a probably move or in need of a highlight down there) and then a mello solo and then the quiet introduction of the brass ensemble. Guard begins the program with a feature on silk wrapped around the brass and then working their way down front. Drill is first a scatter in "pods" with the brass in clusters "posing" and then resolves itself (backing into the stay-set of course!) as the music climaxes with the 70 brass forming a large shape of a Ichthys (but with a closed tail). Tune ends with brass moving into ranks behind the pews playing the final quiet notes while dancers and the battery move to the rear of the field on side 2 and end in the shape of a doubled cross. Yes - the drill is loaded with religious references during "Part One" Agnus Dei: Brass (still in practice skirts) move to mid field in a large block and do a feature "monk dance" (you'll have to see it) interacting in pairs and between the ranks and files while the music begins in the pit (with vocals soon I would imagine). The playful "dance" ends with a thud as we have the battery (re)enter from the back of side 2 (corner) with 12 guard on rifle (guard removed the gold robes). The guard do a large unison toss (six) that catches with the entrance of the battery and a large note from the pit. Agnus progresses into fast angular drill with portions "folding off", blind pass throughs, some mini features from the battery interplaying with the pit and the classic tune also featured in 1983 by the Cadets. Guard comes front and center interacting in a long rectangular "block" with 24 on silk wrapping the rectangle with the 12 rifles down the middle. Some very nice equipment work and interactions in this part and ends in another unison "6" catch by the rifles. "Part 2": Part two begins with the baris making their way to the pews on side 1 while a mich'd trumpet solo occurs and changing over to trombones. Music starts in pit, then an angry/defiant sounding entry from the 24 trombones (loud!) and the battery in a block (with the tubas) marching toward the middle of the field from the back of side 1. Rest of brass enters and adds in from the back of side 1. Guard with what looked like 16 on sabers, rest on silk. Some angular boxes in the drill pit as the battery moves forward and we are treated to a first a tenor feature, then the snares, then the bass - then the entire battery wrapped by the 16 sabers. A few angry stabbing sounds from the brass and this is where the "marching" portion of the show concluded Last set learned? 105a (about 7 minutes on the field) - corps then arced up and played their entire program to the crowd as a standstill. This time introductions from their principal arranger Dr. Drew Shanefield who explained a bit more of the musical "thought process" of the program and it's 3 acts The show will then progress with a jazz portion of "Part 2" featuring several solos on trumpet, mello, Bari as well as some wicked runs in the brass (Part 2 is 4 minutes long in total) and then a quiet interlude (original?) bridge featuring keyboard (and voice) named "Almighty Father" which last around 15 seconds (a costume change?). Part 3 concludes the music (lasting only about 1 and a half minutes right now) as a building "marching" regally and majestically building with an organ-like sound as well as chime sounds coming from the brass, pit and electronics. The tune ends with what one can imagine is a large company front similar to the Cadets 2011 "Angels and Demons" program. Word on the street is the corps have about a minute more to add musically (mid-season) with an expected fast/up-tempo tag to bring the program to an enthusiastic an exciting conclusion Thoughts: 1. Drill/visual much improved for 2017 over 2016. Great use of the full-field, staging of the instruments and solos, very good visual transitions (i.e.: brief), improved integration with the guard, as others mentioned already several memorable "sets" and other visual "moments 2. Program makes great use of the extremely strong percussion - both battery & pit. They are featured musically and visually throughout. Pit are great "performers" which isn't always the case with a lot of pits, emoting, hiding out of view when they focus should shift to the field and even a little dancing and vibing to the jazz section of the show. GREAT keyboardist! 3. Brass is strong. A different (more 90s) take to the arrangement. Perhaps not quite the # of notes as the past few years (or quite as aggressive dynamically) but the challenges are there to hit the top box. Runs, many styles of music, great solos, small ensembles, triple tonging, lots of interplay and even some of that "run and gun" the Cadets are famous for. The sound is a little darker and less "bright" than the past several seasons. More 2011 but frankly reminds me a bit of 1995/96 4. Guard is further along than last year and much more confident as performers. Less individual breaks that appear only "mental" (which plagued last year’s guard). Guard is better staged; the work has a more "whole body" and "modern" feel to it. The book is less busy and more effective. It will be great watching their program develop this summer 5. Show itself - an entertaining and fulfilling "arch" to the music. The opening sets an immediate "mysterious tone" to the show, the "Simple Song" segment as well as "Agnus Dei" should prove popular with the audience. Part 2 is the real "question mark" in the program - once fully developed its payoff with the audience is KEY to the success of the 2017 Cadets. Last year's 2016 program started strong and quickly "lost steam" in the stands as they moved into the "Mackey" portion of the program - not because of the performance so much as the disconnect musically and the staging visually. This year’s program is dependent on "Part 2" selling and further drawing in the crowd once the "Set Up" happens in Part 1. Part 3 can easily suffice as a "fulfilling conclusion" ending with a big standing ovation IF Part 2 sells. Competitive outlook: The program should score better from a visual standpoint. Musically the Cadets remain strong. Percussion is an obvious strength and they will vie (with SCV?) for the Sanford this summer Brass will be top six - the gap between 1 and them will be determined by their growth this summer GE - show could do well, time will tell. Sell PART 2 is my suggestion/key to success for the corps. Think 2000 Cadets in this regard, as great as the corps was the show wouldn't have been as effective without the wonderful "show and tell" section of the program. This show needs that as well. Finally - as others have mentioned the show is BIG. BIG props, BIG sounds and BIG thematically. The members own performances will need to stand up to the scale of those props, the vocal/electronic sounds and thematic material. Otherwise the performance will feel "small" in comparison. So, a very high level of performance will be required. And confidence. And a real connection to the theme. The members must "get" the religious theme of part one, the calmness and fulfillment. Part 2 we must feel "angst" and "anger" and a bit of unhappiness and rage through their performance. Part 3 must feel "at peace" and regal and "resolute" As a fan, I'm just hoping the members have a fun, safe and rewarding summer. I think they will! Thanks George. What a descriptive critique. Appreciate the time you took to give us a glimpse. Also Kudos to Cadets for doing it only 2 weeks into ST. 1 Quote Link to comment Share on other sites More sharing options...
George Dixon Posted June 4, 2017 Share Posted June 4, 2017 7 minutes ago, Tobias said: Thanks George. What a descriptive critique. Appreciate the time you took to give us a glimpse. Also Kudos to Cadets for doing it only 2 weeks into ST. yeah - crazy what the can accomplish in 15 days I do feel sorry for the guard with the constant 20 mph winds in Johnstown - they may as well be trying to practice on the beach. You throw the flag for a toss and then run 10 yards to the right to try and catch it lol Quote Link to comment Share on other sites More sharing options...
Eleran Posted June 4, 2017 Share Posted June 4, 2017 2 hours ago, George Dixon said: Before the run the crowd was briefly introduced to the corps by Mike Pfeil who is the YEA Director of Performance Ensembles. Mike is one of many returning to the Cadets this year. He was the merchandise manager in 2003 and 2004 and then operations director of The Cadets and The Crossmen in 2005 and 2006. One slight correction: Mike actually came back to the Cadets last season, as Tour director. On another note, he is originally from Johnstown, PA, where his brother (a Cadet alumni) is band director of the Greater Johnstown High School. 2 Quote Link to comment Share on other sites More sharing options...
George Dixon Posted June 4, 2017 Share Posted June 4, 2017 Just now, Eleran said: One slight correction: Mike actually came back to the Cadets last season, as Tour director. On another note, he is originally from Johnstown, PA, where his brother (a Cadet alumni) is band director of the Greater Johnstown High School. Thanks I just grabbed that from the yea site and his bio. Glad he is back, seems like a great guy Quote Link to comment Share on other sites More sharing options...
Jurassic Lancer Posted June 4, 2017 Share Posted June 4, 2017 2 hours ago, George Dixon said: so - about last night's Johnstown, PA performance... A GREAT crowd in the stadium for Cadets first "public" performance High school stadium was pretty full, I was quite surprised It was a nice night with puffy white clouds, a setting sun and a 15-20 mph "breeze" that seems consistent in hilly Johnstown, PA Around 7pm they announced that the program would begin at 7:30pm and that folks were welcome to "come down on the field" to watch warm up if they wanted Battery entered in two ranks followed by the guard - guard headed to side 1 end of field to warm up Battery headed down to a field on the side 2 end of the stadium - both groups in view of the crowd. Battery comprised of 5 bass, 9 snare, 5 tenor. 13 in the pit including 20 keyboards played by 10 talented keyboardist across the front of the pit each with a marimba to their front and vibes dividing them into "pods" sideways. Brass was in a warm up arc back behind the visitors stands facing the adjacent apartment style dorms, they played typical warming/tuning sequences off in the distance. Brass numbers 70 for 2017 - with 12 on tuba, 8 euphoniums and 16 bari, rest trumpet/mello Guard wore black unitards, Percussion battery/pit in maroon "spring training" t-shirts and matching maroon/gold shorts. Guard did stretching / spinning / then. Guard marching 36 plus 6 alternates. Brass wore the same maroon t-shirt along with their maroon "practice skirt" used to mimic the long costumes used in a portion of the show. Pit was set up directly in front of us stretching from the 40 on side 1 down to the 30 of side 2 - so shifted 10 yards towards the right 24 dark stained, simple wooden benches were set up in six titled rows of 4 on side 1, each with a "book" on them The 8 Vocalists (and "choir loft") weren't present today. We were told they join the corps on Monday in Ada, Ohio (corps is heading there today after free time in Pittsburgh). Also, we were told the large backfield "setting" props (large panels of stained "glass" windows) were on the truck to Ada already. My guess is those travel on the 3rd tractor trailer the corps is using this year (along with the loft) Cadets using 3 DM this season - 2 front side, 1 rear At 7:30 the program was set to begin and the corps entered the field by sections and began setting up for the run. Guard members placed their equipment, and the bari who all double on 24 trombones at one point in the show placed the bones under the pews on side 1 Before the run the crowd was briefly introduced to the corps by Mike Pfeil who is the YEA Director of Performance Ensembles. Mike is one of many returning to the Cadets this year. He was the merchandise manager in 2003 and 2004 and then operations director of The Cadets and The Crossmen in 2005 and 2006. Quick description of the show without giving too much away: Chaos: Cadets start in a massive cross shape titled at a 45 - the entire corps kneeling with their right arm outward and hand bent upward so their palm faces forward, forms the shape in alternating colors of gold (guard in gold skirts) and maroon. This dissolves into a full field "scatter" that resolves itself into a sphere in the middle of the fifty as the brass spins and collects. The guard is on silk and wraps around the corps proper, percussion to the rear of this form. Music ends in a loud chord from the brass and a loud extended "chime" sound from the pit. Mostly here we have pit and battery playing (with voice?) with an "add on" snare feature. The piece is an abrupt beginning to the show, loud and confused sounding. In the middle portion of the scatter two "crosses" are briefly formed and then dissolve back into the chaos - comprised of about ten brass members each. One on side 1, one on side 2. Watch for those Simple Song: Following immediately after the "Chime" sound we have the intro to the shows only ballad "Simple Song" start from the pit, then a trumpet solo (staged near the pews - a bit lost right now, a probably move or in need of a highlight down there) and then a mello solo and then the quiet introduction of the brass ensemble. Guard begins the program with a feature on silk wrapped around the brass and then working their way down front. Drill is first a scatter in "pods" with the brass in clusters "posing" and then resolves itself (backing into the stay-set of course!) as the music climaxes with the 70 brass forming a large shape of a Ichthys (but with a closed tail). Tune ends with brass moving into ranks behind the pews playing the final quiet notes while dancers and the battery move to the rear of the field on side 2 and end in the shape of a doubled cross. Yes - the drill is loaded with religious references during "Part One" Agnus Dei: Brass (still in practice skirts) move to mid field in a large block and do a feature "monk dance" (you'll have to see it) interacting in pairs and between the ranks and files while the music begins in the pit (with vocals soon I would imagine). The playful "dance" ends with a thud as we have the battery (re)enter from the back of side 2 (corner) with 12 guard on rifle (guard removed the gold robes). The guard do a large unison toss (six) that catches with the entrance of the battery and a large note from the pit. Agnus progresses into fast angular drill with portions "folding off", blind pass throughs, some mini features from the battery interplaying with the pit and the classic tune also featured in 1983 by the Cadets. Guard comes front and center interacting in a long rectangular "block" with 24 on silk wrapping the rectangle with the 12 rifles down the middle. Some very nice equipment work and interactions in this part and ends in another unison "6" catch by the rifles. "Part 2": Part two begins with the baris making their way to the pews on side 1 while a mich'd trumpet solo occurs and changing over to trombones. Music starts in pit, then an angry/defiant sounding entry from the 24 trombones (loud!) and the battery in a block (with the tubas) marching toward the middle of the field from the back of side 1. Rest of brass enters and adds in from the back of side 1. Guard with what looked like 16 on sabers, rest on silk. Some angular boxes in the drill pit as the battery moves forward and we are treated to a first a tenor feature, then the snares, then the bass - then the entire battery wrapped by the 16 sabers. A few angry stabbing sounds from the brass and this is where the "marching" portion of the show concluded Last set learned? 105a (about 7 minutes on the field) - corps then arced up and played their entire program to the crowd as a standstill. This time introductions from their principal arranger Dr. Drew Shanefield who explained a bit more of the musical "thought process" of the program and it's 3 acts The show will then progress with a jazz portion of "Part 2" featuring several solos on trumpet, mello, Bari as well as some wicked runs in the brass (Part 2 is 4 minutes long in total) and then a quiet interlude (original?) bridge featuring keyboard (and voice) named "Almighty Father" which last around 15 seconds (a costume change?). Part 3 concludes the music (lasting only about 1 and a half minutes right now) as a building "marching" regally and majestically building with an organ-like sound as well as chime sounds coming from the brass, pit and electronics. The tune ends with what one can imagine is a large company front similar to the Cadets 2011 "Angels and Demons" program. Word on the street is the corps have about a minute more to add musically (mid-season) with an expected fast/up-tempo tag to bring the program to an enthusiastic an exciting conclusion Thoughts: 1. Drill/visual much improved for 2017 over 2016. Great use of the full-field, staging of the instruments and solos, very good visual transitions (i.e.: brief), improved integration with the guard, as others mentioned already several memorable "sets" and other visual "moments 2. Program makes great use of the extremely strong percussion - both battery & pit. They are featured musically and visually throughout. Pit are great "performers" which isn't always the case with a lot of pits, emoting, hiding out of view when they focus should shift to the field and even a little dancing and vibing to the jazz section of the show. GREAT keyboardist! 3. Brass is strong. A different (more 90s) take to the arrangement. Perhaps not quite the # of notes as the past few years (or quite as aggressive dynamically) but the challenges are there to hit the top box. Runs, many styles of music, great solos, small ensembles, triple tonging, lots of interplay and even some of that "run and gun" the Cadets are famous for. The sound is a little darker and less "bright" than the past several seasons. More 2011 but frankly reminds me a bit of 1995/96 4. Guard is further along than last year and much more confident as performers. Less individual breaks that appear only "mental" (which plagued last year’s guard). Guard is better staged; the work has a more "whole body" and "modern" feel to it. The book is less busy and more effective. It will be great watching their program develop this summer 5. Show itself - an entertaining and fulfilling "arch" to the music. The opening sets an immediate "mysterious tone" to the show, the "Simple Song" segment as well as "Agnus Dei" should prove popular with the audience. Part 2 is the real "question mark" in the program - once fully developed its payoff with the audience is KEY to the success of the 2017 Cadets. Last year's 2016 program started strong and quickly "lost steam" in the stands as they moved into the "Mackey" portion of the program - not because of the performance so much as the disconnect musically and the staging visually. This year’s program is dependent on "Part 2" selling and further drawing in the crowd once the "Set Up" happens in Part 1. Part 3 can easily suffice as a "fulfilling conclusion" ending with a big standing ovation IF Part 2 sells. Competitive outlook: The program should score better from a visual standpoint. Musically the Cadets remain strong. Percussion is an obvious strength and they will vie (with SCV?) for the Sanford this summer Brass will be top six - the gap between 1 and them will be determined by their growth this summer GE - show could do well, time will tell. Sell PART 2 is my suggestion/key to success for the corps. Think 2000 Cadets in this regard, as great as the corps was the show wouldn't have been as effective without the wonderful "show and tell" section of the program. This show needs that as well. Finally - as others have mentioned the show is BIG. BIG props, BIG sounds and BIG thematically. The members own performances will need to stand up to the scale of those props, the vocal/electronic sounds and thematic material. Otherwise the performance will feel "small" in comparison. So, a very high level of performance will be required. And confidence. And a real connection to the theme. The members must "get" the religious theme of part one, the calmness and fulfillment. Part 2 we must feel "angst" and "anger" and a bit of unhappiness and rage through their performance. Part 3 must feel "at peace" and regal and "resolute" As a fan, I'm just hoping the members have a fun, safe and rewarding summer. I think they will! Excellent detailed critique and review! Thank you so much for your detailed analysis! Quote Link to comment Share on other sites More sharing options...
Terri Schehr Posted June 4, 2017 Share Posted June 4, 2017 (edited) Thanks for the reviews, George and Tommee! Edited June 4, 2017 by Terri Schehr 2 Quote Link to comment Share on other sites More sharing options...
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