Lance

would love to hear mellos and low brass for crown or bk or anybody go after this:

my big problem is that A&E fundamentally changes the way we assess balance in an ensemble. when it was acoustic, you could say that certain sections or players within sections were out of balance with the ensemble as a whole. now, balance problems can be because disconnected or malfunctioning wires/mic placement/amp placement/soundboard incompetence, etc. where is the differentiated language in the rubric that addresses how these things impact scores? it shouldn't just be the same as it was back when it was acoustic only.

102 pages quite the long goodbye

i've loved the commentary tracks from the creative teams behind some of my favorite films, but maybe i'm weird.

love berlioz's mass, but also love the last few minutes of his harold in italy overture:

He's instantly indentifiable. I think he and Berlioz are 2 of the most underappreciated composers of this century. Nearly every piece they wrote makes me want to get up and do...something? They just happen to both be French.

The allegro giocoso section (4:14-6:21) of the above video is spectacular. Poulenc has some of my favorite literature for solo winds, too. I love how he bounces back and forth between frenetic and lyrical over a 4-bar phrase, like in this piece, which I think could pretty easily be adapted for brass:

Yeah, I'm not saying those aren't good points, and definitely a part of any discussion regarding a broad question like I asked. Like a lot of people on here, I've never designed or taught at this high of a level, and I'm betting people who have for 10-20+ years might have some thoughts on it, and that those thoughts aren't all the same. I have a preference for drill in shows, but I have no agenda when asking this question, nor am I trying to push any type of agenda. Not what I do. I've taught plenty of drill, but I would have little idea how to teach the kind of movement I'm seeing in shows nowadays. I could come up with good ideas probably, but teaching it would be harder for me. And I wonder how long it would take for me to get good at teaching it. Of course it depends on the skillset of the performers, but that's true with drill as well, right? Would it take more or less time than it took for me to get good at teaching drill? I'll probably never know, but I can ask others.

oh, glad to hear it's addressed somewhere.

I don't understand any of this, so it's an interesting read for me. How do these changes address the myriad problems we've seen over the past few years with member safety, staff safety, grievance procedures, etc?

i'll go ahead and ask whatever i want with or without your approval or evaluation, thanks. all of the stuff about talent level and choreo knowledge and music while moving is embedded in the question, not separate from it. but i like adding the creative part to it as well. is a drill-based visual program harder to create, teach, and learn than a choreography-based visual program?

is a drill-based visual program harder to teach and learn than a choreography-based visual program? or are they just different types of difficulty?

the really important question that i need answered is which corps will have copious trombone glisses in their shows?

i'm the same, but my waitress id'd me for beer and saw my veteran designation. she just removed it from my bill without me even asking. funny, because the only reason i got it on my id in the first place was so i could get free parking at vegas resorts.

I got a free pizza. Didn't even realize the place offered it until I was there. It was good.