Lance

I made a mistake and will always admit when I do. Sorry for overreacting everybody, lets get back on topic.

100% my mistake then. I should've figured you weren't the type to be negative at all, much less about Mozart, so I apologize.

Must be nice to live in California. Lots of us don't live near drum corps Meccas, and literally the only access we have is through flo. If you're lucky enough to live near lots of live shows or a regional, I recommend dealing with the extra $$ y'all are griping about for tix. You're lucky, period. Add another $500+ in travel costs onto it for the rest of us who aren't so lucky.

One of the things that's been great about this thread is how supportive and positive everybody is. Let's keep it that way, please.

I don't think of Mozart as being that kind of throwaway garbage. A more or less straight arrangement is what I'm talking about. It's a fantastic piece of music, but dismiss it however you want if that's how you have fun. What you're talking about is some orchestrator/arranger playing with a motif and adding arpeggios and double/triple tonguing where it was never meant to be. That can literally be done with any piece of music, not just the one I put up. And no, I wouldn't want that done to anything Mozart wrote. His music doesn't need embellishment for the sake of embellishment.

Would love to hear a Crown baris and tubas play this part. The whole work has crazy counterpoint. I'll bet a lot of contemporary listeners found it a bit jolting lol. Especially the last few bars. That Mozart guy was pretty good.

That is fantastic. WOW!

93 Star, 93 Cadets

So problem solved. You're not going and will be watching it online. Now we know.

Across the Universe, sure. Other than some repertoire, there wasn't much from Love in the Bluecoats Beatles shows. I've seen Love 4 times now in Vegas. Fantastic show.

That piece is gorgeous. Going to check out some of his other work. Just read that he was a prolific opera writer. Wow.

Trevor Morris did tons of good work on The Tudors, but I love this section because it combines 2 of his best themes, imo. The ending is pretty hair raising.

Well put, and most "original" music in DCI falls here, let's be honest, even if the writer has a degree from a more prestigious institution. Sometimes these people are great at taking motifs from truly great pieces and fiddling with them to do something "original" sounding. That gets into your orchestration comment... Yep. And that skill that requires a great ear for it to end up sounding good on the field. It's what separates somebody like Klesch doing "Nimrod" from people who don't have a good ear. That piece is so weak both melodically and harmonically it's almost impossible to arrange for something like DCI, but Klesch did great with it and so many other ballad-type pieces over the years. I equate that with what you said about Adams....not a whole lot to work with from an orchestration standpoint outside of percussion most of the time, but that doesn't get in the way for the greats in our activity. Same with Downey and what he did with all those jazz charts by Sebesky and Ellis in 1991 and 1993. I can always tell when somebody has done their work using protools or whatever without giving much thought to how particular instruments actually sound together.

I don't remember the timing of the shutdown for SCV. Did the creative team already have a concept before the season got shut down for them?

I'm thinking there will be more of a focus on percussion than usual this year, and there's always a pretty heavy focus on percussion, lol. Really looking forward to it.

😲🤪

lol, that actually wouldn't sound half bad compared to some legit modern and postmodern pieces, imo.

How's Phantom's mix? I'm about to buy a few and much as I loved their show, if it's a super "synth forward" mix like some of the flo broadcasts, I dunno.

The point of a microphone is to not have to yell, actually. And of course you have to raise your voice when talking to a large group spread out over a large space without amplification. Good instructors have it built in to where you automatically stfu (with your voice or your instrument) when they start talking. Yelling/screaming to get attention of your students or to drive a point home means you're a bad instructor, period. The boot camp thing I brought up earlier is a different discussion. They're loud and scary to prepare you to immediately pay attention to your superiors and obey their instructions during the chaos of combat, or else you literally die.

I've found that with the best instructors I've ever had, it's when they start talking quietly that they're at their most intense. You REALLY listen to what they have to say then. That was true for me even at boot camp which is mostly just screaming all the time. When DI's got quiet...those were the most "oh s###" moments, lol.

The bottom line is that we'll never know why the change was made. That's between the corps and the people no longer with them. I just want the corps to do well. I think we can all agree on that.

Who defines that line? I'm all for exploring nuance, but given the way you've presented yourself, I think most of us would hope nobody like you would ever be the one to define it for any student anywhere.

I've noticed that whenever I feel inclined to raise my voice with my students, it's usually about something internal not external... almost always insecurity or unpreparedness on my part. The same is true of students acting up 99.99% of the time. Not necessarily insecurity on their part, but definitely something that has nothing to do with me or my instruction. Took me a bit to figure both of those things out, but it sure made me a better teacher. Also, being good at something doesn't make you good at teaching it, unfortunately.

Same. Have you seen them perform live bitd? The whole production they'd do felt almost operatic. There's so much rhythm built into their work and so much melodic ostinato, I think it would lend itself well to today's DCI.

Hurry June July.