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ahhhh logic

Surely not using electronic effects would bother the other kind of purist, who insist that a drum corps can't properly play the Kenton "Concerto" without trombone glissandi.

Heh... I wonder what the Glassmen kids thought of Pepe's knock-the-walls-down sound at the end of that tune!!! LOL

Yes, it is. This is an outside fundraising/business opportunity that those corps have created. Other corps are free to do the same (or already are, as you yourself have pointed out). Should Blue Devils be required to give anyone else a cut of their Bingo proceeds? How about Troopers, since Bingo is a huge part of their financial picture too? The answer is no in both cases. Being in a cooperative to split up revenues from shared events like shows is not and should not be a life-sentence to split every penny you make on every aspect of your operations. If DCI wanted to produce a bunch of band shows as a way of helping to fund their operations, they've had 40 years to do it. When the non-G7 corps had carte blanche in the Boardroom, there was nothing stopping them from initiating the process. They didn't. So there's no reason to feel that those who are motivated to look for ways to expand their financial base and provide new avenues toward selling brand awareness for their brands shouldn't exercise those options.

Nanci once asked if there was anybody I didn't know. I told her there's plenty and this is one of them. However, I believe I can throw out the initials J.L. and be a wee bit confident. Thanks to the clues...

I'm just wondering if your belief that there is "universal truth" is simply your "perception of reality".

Jimmy was indeed a virtuoso ... Sky played Concerto in 69, 70 and 73 ... Jimmy solo'd all three years ... in 69 he also played the solo in Bumblebee when Pee Wee took some time off ... Pee Wee then resumed that mastery in 70 ... Pepe once said that Ednie played like a squad of three (he was that powerful) ... but, then could finesse a solo the next moment ... Thanks for the brief trip down memory lane ... :-)

Yes, indeed! And the solo by Jimmy Ednie was just about the most soulful thing I ever heard. Many years later, I was consulting with the Glassmen at the behest of the impresario Cesario when they covered this piece. I believe it was arranged by that other avatar, Robert Smith. I brought a dub of the Skyliners version to a rehearsal and just said, "Try to capture some of this. If Gershwin were writing for drum corps he would approve of this treatment." The general reaction was, "Holy s..t! Those guys did that with one valve?" We must value what we did in those days. If we don't, who will? The current subject seems to be known to some here. Let's name him and give him his props. He played with one valve, too.

depends on whether there are streamers on each end of the weapons!

From my experience with listening to DCI GE tapes the judges already considers the audience. There will be comments like "wow, the crowd is really getting into it" or "you didn't quite excite the crowd in the way you were anticipating". A lot of their analysis is technical yes but if a corps is really kicking ### they can't help but have their inner "fan" reaction to a show. Plus, I'm not really sure how a judge in "judge-mode" will have a different opinion than the same judge in "audience member-mode". Cesario says that without this change we were putting judges in a box... but realistically these judges aren't segregating their thoughts like this. Maybe its easier to tell the public that the judges will consider "this" or "that" than it is to say that maybe the GE judge actually really enjoyed the Blue Devils rendition of DADA or Through a Glass Darkly. It's clearly a superficial change.

Well, it's just for this season, Ray. I pick them every season! Also, sometimes there's the "obvious choice" from a top corps, which I avoid like John Madden did- it's too easy, and I want to let some of the people out there killing themselves know someone realizes they're pretty darned good and have real inner character! But I try and give as many corps as possible some representation on the list. Hmm, Sky related to the best upper brass of all time, though. My guess would be you're talking the height of the Hy Dreitzer era, where in a lot of ways, they *were* that horn line. They also were loaded with some talented feature guys beyond "Johnny Grass", too. More recent upper brass sections with that kind of insane and explosive impact? I think Empire would have to be in that discussion, though they had a more refined and richer quality to the sound, maybe the Brigs on their 4-year streak? I also think of the '78 and '79 Matadors as well, but a lot of that was Richie and Jim Centorino. We gotta get back to this, Ray. It's fun to discuss, and DCA is supposed to be about fun!

I've been requested to share the news of the passing of John Knebl, Sr., who lost his battle with MS. John marched with and instructed DesPlaines Vanguard, finalists at the first DCI World Championship. He also judged for DCI in the 1980s. http://www.legacy.com/obituaries/dailyherald/obituary.aspx?n=john-j-knebl&pid=169653882&fhid=4725&eid=sp_shareobit

OK, I worked for this GW for one season (or part of one - I can't remember) with Yankee Rebels' Alumni Corps, where he succeeded the inimitable Phil Gentile as Director. I kept stifling the impulse to salute. Good guy. If you think he's just an average Joe, you'd be a L etter short.

The "All-Big-W corps is supposed to be picked a lot like the "All-Madden" team. Most folks know who's the "best", but- just maybe there are some unnoticed sections and people out there doing a fantastic job that don't get noticed. The sections are people I'd like on board a corps if I had one. People I'd like to perform with. Whether they'd like to be around ME is another issue. I'll start out with the Tubas. I'm kind of breaking my own rules on this pick, but.... the fact is the Cabs Tubas from 2013 were very arguably the finest Contra/Tuba section to ever compete in DCA. How could I not want the "best ever" when they're THAT drop-dead good? I've known and performed with many fine Contra/Tubists over the years, and these guys are just top-notch. The only Tuba section that comes to mind as close to this section is a recent, you guessed it- Cabs tuba section from about 5ish years back. Baritones, during my lunch break tonight. being a bari player myself, this section is gonna be one goofy mix of great people, I promise!

March 22!!! Our current photo subject is one of four people being inducted.

Confirms that smug has no age limit.

They are being used officially in the show. Words from members themselves.

While I don't particularly object to Madison using trombones, by your argument,* drum corps should never have played 99% of the music that's been put on the field, since almost none of it was written originally for their instrumentation. (Barber's "Adagio for Strings" just doesn't sound correct without, well, strings, which is why the piece was such a disaster for SCV 2000, Buccaneers 2005, and Cadets 2013.) But 2muchcoffeeman has already said this much better than I could. *Allowing that your use of scare quotes perhaps suggests you don't really believe the argument yourself.

I'd wager that the rule change was proposed to allow Madison to exercise an artistic concept that they had already baked into the show.

EARLY MARCH CAMP REPORT This is the March 2014 Report for The Skyliners! Things are going well despite this brutal winter we are having here in Northeast PA. Attendance remains good. We are very pleased with the corps' progress so far. The horn line has finished the third number and getting ready to learn the ballad. Percussion has the opener learned and completed the second number. Just as a reminder - Our show "A New Dawn, A New Day" consists of "Feelin' Good", "Blue SKies", "It Ain't Necessarily So", "'Round Midnight", and we close with "Caravan". Hard to believe we are into March. If the weather breaks, the brass section will start drill on the 29th of March. Musically, we will continue to push forward to get the show completed before the end of April. We have been preparing for our first public appearance. We will be marching in the Scranton St. Patrick's Day Parade on March 15th. The corps is very excited about this. We've fit everyone for uniforms and practicing parade music. We have a tremendous support staff that helped get us ready. My thanks to all that helped. We could not do this without your love and support. As far as our current numbers: Brass line is still in the mid 20's. Since we've had another contra player joined, we've moved 3 contras over to baritone to give us a better balance. Of course, we can always use more lead sopranos. And we still have 6 contras who get stronger every rehearsal. Battery Percussion - Battery is now at 5 snares, 2 tenors, 5 bass, 3 cymbals. Pit Percussion is doing very well. We are at 10 players there. Color Guard is growing and now at 19. We've also announced our remaining drum majors. Adam Burdett, Steph Carbonell, Elena Dominick, and Rebecca Colwell will lead us onto the field. Next big day for us? We have our DCA Evaluation coming up at the end of March. We are very excited and look forward to passing this with flying colors. Our next rehearsals are: March 16th, 11-7, March 29th, 2-8 and March 30th, 11-7 for the entire corps. My next report will be in early April. Thanks and as always, you can contact me a Larry@skylinersdbc.org. Donations are always welcome. Go to www.sky2014.org and click on the DONATE tab. Thanks! Larry

Nice to see the old team coming up to speed.

Maybe not "official," but it is from a Scouts camp. Posted to the brass caption head's personal facebook page. :)

Guardling knows what's up. The books that were done in the 70s and 80s would be considered child's play by modern guards. Trust me--I teach groups like that. It's nothing to them to pull that stuff off. They'd rather go outside their comfort zone in terms of movement, dancing, spinning, tossing and catching instead of doing what is safe and easily achievable. It's all about taking things to another level.

....but let's be rational for a moment.... Jdfuncorps said we should take a rational look at this and realize that we wouldn't be seeing trombones lines on the field... My head just exploded...

Nothing half-baked about your theories, friend. And, even if you're drinking too much coffee, I'd like some of that, too! I enjoy the continual analysis of this progression. One that has almost completely changed the way audiences respond. Changed, but NOT in a good way in my view. This change has made it far less likely other families in your typical neighborhood will go away as easily enthused about getting more of our product, as they once would have. All it would take is for someone to sit in the stands with a legal pad to record cause and effect relationships. To me, audiences are still relatively random assemblies. Certain design choices always generated, and continue to generate the same positive responses from the audience. Some are quite basic and apply no matter which corps. From a marketing standpoint, certain elements, like these, must be maintained, probably included a little more often. I agree, the football field, as stage, now inhibits where the creativity wants to go. Thus, my belief more of 'drum corps' will move inside. Inside where lighting effects, image projections, mics, dependable weather and comfort, etc. are consistently available. Blasphemy, I know.

Since we're all trying on theories, how's this one, still only half baked: Someone mentioned the early '80s, exemplified by '83 Garfield, as an era when innovation in the expression of drum and bugle corps was plain to see and hear, and was enthusiastically received by the mass audience. For purposes of this theory, I'll push back that era to the late '70s, when SCV introduced assymetrical design. Trophies were raining down on Vanguard in those days, and crowds leaned forward whenever they stepped on the field. They did the same with Garfield, whose brass technique, show design and approach to marching pointed the entire activity in a new direction. My hypothesis: The innovation of the late '70s and early '80s accelerated drum and bugle corps participants -- the kids on the field -- toward the limits of what a human body can do in the service of performing as a musical ensemble in motion on a football field. We have reached those limits, and further innovation in drum and bugle corps necessarily involves elements of art that are less tangible and much more open to interpretation, thus debate, thus ambivalence among the audience. That's the theory. The evidence: Tempos are up. Santa Clara stepped off the line at finals in 1981 at about 138 beats per minute. Later, in the same show, they cranked it up to 160 and briefly touched about 182 -- while parked in a concert set. In 1983, Garfield charged off the line and through the "Z-pull" at about 182, and DCI has had the foot on the accelerator ever since. Thirty years ago, the boundary used to be the far reaches of allegro. Today corps spend much of their time, on the move, at presto. From the start, you could see some of the effect on the drill. It became more follow-me, less dress-and-cover. More about individual responsibility, less about relationship to the form. And you could hear it in the music, especially in the battery. The Blue Devils in 1982 roared to the end of their opener at 132 bpm. The snare line was spitting fire, all 32nd-note rolls and what us dinos call "singles," or 24th-note sextuplets. The battery music was thick, thick, thick with notes -- and boy howdy it was c-l-e-a-n. Spirit's drum line of that era was the same; it seemed to be a contest which line could cram more notes into each measure. It was the stuff that made wannabe DCI drummers like me swoon. In 2014, you'll listen long and hard before you hear an honest-to-God single coming from a snare line. It was hard enough to get clean when you were marching 12 snares elbow-to-elbow in a straight line at 132. At today's tempos, with snare drums (usually only 8 or 9) scattered across the field, it's #### near impossible. Today's battery music is much more duple-based. Rolls, conversely, are much more likely to be 24th-note vs. the 32nd-note rolls of the older, slower, era. Today's battery music is less dense, but much faster, with much more drill demand. The change in the approach to brass has been even more dramatic. The early '80s introduced Donnie Van Doren's "breathe-dah" approach to playing on the field, and of course the instruments themselves have changed. It all improved tonality, balance and the overall quality of the brass sound in the activity, though perhaps at the expense of volume. According to my half-baked theory, for much of the past 30 years audience response to these changes has been generally enthusiastic. Why? Because fans saw the same activity -- bang drums, blow horns, spin flags -- but they saw it at faster tempos and with more complex, stimulating design. Company fronts formed out of nowhere (cool!) and then dissolved (even more cool!). The music was still largely familiar and accessible, but the activity was pushing the frontier of what a performer could achieve in terms of musicality, demand, expression. We could all relate to what the performers were doing -- pushing themselves to the upper reaches of their capability. We could cheer that, just as we cheer a sprinter who sets a world record in the most ancient and familiar of contests, the 100-meter dash. It's the same activity, performed to a superlative degree. One of the reaons why baseball was so cherished by so many for so long was that so many of its fans grew up playing the game. They could relate to the major-leaguers on some level because they were running the same bases and swinging the same bats. In a similar way (the theory goes), as long as innovation in drum corps resided in the realm of the physical, fans could relate to it. But there comes a limt to how fast you can move and play a horn with quality, to say nothing of having any air at all to supply to the instrument. There's a limit to lung capacity and aerobic demand, and the increased emphasis in modern drum corps on physical fitness is one piece of evidence that innovation during the past 30 years has come from maximizing the physical capability of the performers. Still, there's a limit to how fast the hands can throw down the sticks and maintain a cohesive ensemble sound that projects clarity and musicality across a large distance -- from the field to the press box. No other ensemble musical form demands so much projection of music across so great a distance. We've already passed the boundary where the body, if it is to cover as much ground as quickly as today's drill demands, must abandon military bearing and adopt dance technique. My theory says drum corps has moved closer to those limits during the past 30 years than it did during from its inception to 1980. Maybe I'm wrong about that, but really, how much faster than 184 or 200 bpm can a human march? How much faster than 184 or 208 does a listener want to hear? The upper limit of musicality, according to most metronomes, is 208. Today's drum corps spend much of their time on the field in close proximity to that limit. (Of course, today's corps play plenty of music at adante and adagio tempos, and indeed, some of the most beautiful and memorable brass moments come during ballads. But the theory, I think, still holds, if the activity has reached the physical limits of what can be achieved by 80 horns on a field. Perhaps there are advancements in technique or music education that will squeeze mo' betta' out of horn lines at these slower tempos, and possibly faster tempos, but as far as I'm aware, the "breathe-dah" approach to marching brass first mastered by Garfield in the early 80s remains the fundamental principle). So, where will innovation come from? As innovation leaves the realm of the physical, it enters the realm of the intellectual. It has left the realm of tempo, drill, and musical technique, and has entered the realm of design, theme, and meaning. There isn't much left to squeeze out of 80 horns spread across a football field already zooming around at 184, so innovation comes from new rules, new instruments, new themes and concepts. The programming moves from the familiar and accessible to the esoteric. From the fan's perspective, this is no longer innovation within a familiar form, but an entirely new form. It's no longer new kids doing the same thing only better; it's new kids doing different things. No wonder a lot of fans sit on their hands.

Crown? Avant Gardian? Ummmmm No! Sorry but no. They are only trying to ride the coat tails. All their productions for the last 5 years have been a Disney version of Avant Guard. They want to "kind of" seem artsy but still do the safe productions shooting for the lower common denominator. In essence they are still trying to "sell records" while playing the game.

1) My predictions mean nothing 2) this is just a rote exercize in pride and arrogance 3) that being said, here are mine (but not as a ranking) What each corps needs to do to achieve their highest... POTENTIAL WINNERS - Top Tier Blue Devils - for the love of pete - revisit the vibe you had in 2003 with "Phenomenon of Cool" - That was the last year the drum corps community begged for BD to win. Entertain the crowd - first - innovate like you have over the past decade - second - and the Devils will win, without a doubt. But I do not think they will do so......esotericism seems to suit their staff, so.... Bluecoats - Yeah, I SAID IT!! GREAT selections with Thrower's arrangements will have the 'Coats challenging Crown for high brass this year. If the visual/guard captions can break through and set a new standard - the Bluecoats will be in the running for a medal. Regardless of how they do, I will like this corps' show anyway go now and listen to the source material. Now. Cadets - This is a safe show for them, and for that reason, especially with rules changes, I don't feel they can win this year, but should stay solidly in the top 5. Carolina Crown - They will have to follow one of the best drum corps shows in 15 years this season, and I cannot comprehend how they - or any corps - could. That being said - a lock for top 3, but will be challenged by Bluecoats and Blue Devils. SCV - A dark horse - BIG time. If they do a rehash of their former Scheherazade show - forget it. If they can do a more aggressive - old-school treatment like they did with the AWESOME Les Mis' show last year, then watch your ### - Vanguard will be coming for you. Top 5 lock. RESPECTABLE SHOWING - Second Tier Phantom Regiment - I think 2014 will be an in-your-face year for drum corps, and Swan Lake's artistry and elegance I think will go somewhat unappreciated by judges. That being said, I think this corps may have "goose bump moment" potential. Regardless of how they place, they will not be forgotten. Madison Scouts - The Scouts have regained something in the past 5 years they lost for most of the new millenium - swagger. And Kenton/Ellis is 1000% BALLS. I think the boys will perform the dogcrap out of this show, and maybe snag 6th or even 5th from an unsuspecting corps this year. The climb continues. Cavaliers - Unfortuately, the Cavaliers have been making design moves away from "Cavalierishness". Last years show could have been done by the Blue Knights and you wouldn't have known the difference. They need to revisit some older material to re-establish their brand, something I know Mr. DeGrauwe would love to see. How about bringing back the incredible 1986 opener "Canzona"? Which I felt was THE part of their show that got them in 3rd place that year. Put a modern spin on that - resymmetricize the drill - and the Cavies will climb up. This will not happen, so Green Machine will drop down again - because Boston Crusaders - This corps deserved 7th or higher last year. I loved "Rise" and I think they can grow from this if their hornline can smooth out some rough edges. I'm confident they can, this corps gets better every season - and my gut tells me they will break through. HAPPY TO BE HERE - Bottom Tier Troopers - Last year's staff, it seems, kept the show difficulty down to develop consistency within all captions, and to present a show for the fans. They DID!! I loved 2013 - but now it's time to turn up the heat big time. The corps now has the talent. They need the difficulty, and the theme of the show this year is 100% Troop-friendly. I think by the time they hit "America The Beautiful", the crowd will be throwing babies with red-white-and-blue diapers. Not 12th - but 10th - you watch I'm right on this one. Blue Knights - They should be happy with being consistent, because this year will be insane for a finals spot. There will be 6-8 corps that could reasonably get in this year. They are: Spirit of Atlanta - Who were taking the year off, according to that part of my cortex that forgot they weren't Crossmen - fresh show ideas and an awesome hornline Colts - Pink Floyd - if they pull this off, the crowd will cry out for a Saturday Night appearance Blue Stars - Love the performers, but the Troopers beat them last year and everyone knows it. This year the judges will score them fairly. Need a fresh creative direction to keep from getting lost in the fray. Mandarins - YEAH I SAID IT. Wow - what improvement from these guys last year, and I strongly feel they can excel. If they still progress, Mandarins will challenge for a finals spot. Oregon Crusaders - HUGE improvement from 2012 to 2013. The creativity and cleanliness of their visual package last year got to me. They will definitely be in the hunt, but may likely see 14th or 15th due to the competitiveness of the season. This concludes my opinion and it is COMPLETELY worthless. But at least I feel better now that it's out of my system.

If it is indeed true that the crowds are less fervid these days, I can guess that one big reason is that the crowds are less local. Drum corps used to be an intensely local activity, drawing members and followers from the same city or parish or neighborhood. Drum corps shows would feature several corps from the same city or state, many being in intense rivalries with each other. Now, drum corps participation is much more diffuse. The big corps draw their members from all around the country, even the world. As well, the major rivalries in drum corps are no longer regional, but national. So the result is a crowd with less emotional investment than BITD. Sic transit, baby. Oh, and as for the Lucas Oil place, I find it an intimidating and unpleasant place to watch drum corps. So many distractions and comforts, such awful acoustics, such a boxed-in, dark feel. Hard to get excited in there. Give me Whitewater any friggin day.

hence the dilemma....a director acknowledges crowd reaction isn't what it used to be, yet that director is one of the people that can influence how judges judge the show. so since the corps tell the judges how to judge, and design the shows based on how they tell the judges to judge...then complain the reaction isn't what it used to be...well?? all fingers point back in one direction..........the corps! if they want the reaction, then design the show for reaction. if they want rewarded on the sheet for designing that way, get the sheets set up for it and tell the judges to judge it that way.

Trombone tubing is mostly cylindrical, whereas baritone tubing is @ 50/50 cylindrical/conical. Euphonium tubing is mostly conical. VERY unique tone qualities to the trained ear. Harvest concerto by Mackey performed by Bloo would have been truer to it's original, but I appreciate the activity for it's pre-2014 instrumentation and the ability of arrangers to create books that are unique. IOW, I can love both the original composition as much as the drum corps arrangement.