Hrothgar15

Please, do elaborate on how Cadets 2000 is more like a marching band show than every other drum corps show out there. Is it because there's a breathtaking, majestic push in the opener, or that the music actually means something, or that there's an amazing percussion break, or that there's the most beautiful final chorale you've ever heard, or that there's the greatest ending to ever hit the field? Believe me, I'm very accustom to the marching band world and this is not even CLOSE to what goes on there.

And therefore make it the best possible program to ever be put on TV?

Cadets 2000 (WAY too many to choose) Cavaliers1992 (ONLY year I ever enjoyed musically from them) Phantom Regiment 1989 Blue Devils 1994 Bluecoats 2005 Madison 1995 Crown 2005 SCV 1989 Boston Crusaders 2005 (Not familiar with past productions from the rest)

Nope. I'm talking about the 1989 Santa Clara Vanguard.

Is it just me, or does the whole thing with the pit lining up facing the field to watch the end of the show bring a tear to your eye?

But the ending of SCV's '87 show, when they're trading off the half notes, has to go down in DCI history as the most out of tune chords ever. Seriously, listen to it right now. Usually I only care about this stuff when it detracts from my overall enjoyment, and in this case it does. Amazing show otherwise, though.

The title of the program, according to my DVR, is "Band competition." <**>

Yeah, I think the Garfield's baritone section was a little too excited finals night in 1987. But oh man, those sopranos... .

Oh, whoops, I thought the poster meant that Garfield 1984 was the worst champion of all time. Of course I love that show. When people from the audience start throwing things onto the field (what are those, anyway?), it has to be good.

Umm...explain. You realize you can't pass judgement on a show to which your not completely accustomed, as in having listened to and watched it multiple times, right?

Hmmm...maybe you and I differ on our interpretation of "good." Here's what I posted a few months ago about the show, recounting the first time I had ever heard a drum corps show in my life: "I had walked into the band room and heard on the stereo system what I thought to be a marching band show. I heard an eighth-note line with brass instruments playing a moving melody above it, which proceeded to a melody in the trumpets and a four-count pause. During this pause, I heard this huge gasp from the audience, and a moment later, my ears were flooded with the loudest, most breathtaking chord I had ever heard. It continued, with an ascending melody accompanied with these majestic, changing chords. When I thought this had stopped, after a crescendo that seemed to be ending the section, I heard still more: yet another chord, and a powerful statement from the low brass that ultimately concluded with a 16-count crescendo, followed by the roar of a crowd. I was listening, to, of course, to the Cadets’ 2000 field show, “We Are the Future.” Amazed, I waited to hear more: terse hits from the trumpets followed by ascending eighth-note lines, and then a whimsical melody, consisting of groups of three eighth-notes, played by the trumpets and echoed by the mellophones. Then came a sixteenth-note passage leading up to a pounding eigth-note measure, followed by an intense, flowing section adorned with various fast passages and ultimately concluded in another crescendo and proceeded on to the rest of the production. Unfortunately, that was all that I would hear that day. I was completely mesmerized that entire day by what I had heard, those melodies, those chords, a completely mystifying piece of music. I learned it was a drum corps show by the Cadets, and with a little research, I found a link to an audio file of the show and proceeded to put it on my MP3 player. Over the next few days, I listened to the show constantly, drawn in by the emulation of the ticking of clocks and that wonderful melody in the first part of the opener. Gradually, I became familiarized with the rest of the music: even more forceful, mysterious melodies from the brass, the great transition melody in the mellophones, the fluid five-four section and ultimately the final chords of “Chaos.” Next was the ballad, started by a low melody in the horns and proceeding to a baritone solo and a slow, peaceful melody by the rest of the corps. The beautiful mellophone solo at the end leads to a faster, section of triplet figures with constantly increasing motion and volume, progressing finally to a long, wondorous chord. What came next affirmed to me that this was one of the best musical productions ever created: a catchy, climbing 6/8 rhythm that seemed to just represent joy and energy. This section was then interrupted by a slower soft melody from which, out of nowhere, came a wall of power from the brass complete with a fanfare line in the trumpets, and just when I thought the section had finished, a section triplet figures led finally to one of the most sublime harmonies ever played on the football field. After a brief percussion interlude following this section, the brass was at it again with a moving line of notes grouped in six that kept climing and climbing to reach an awesome chorale backed by moving lines in the mellophones, truly beautiful music. Next of course, came an exhibit of excellence of the percussive arts, started by a snare solo. The other percussionists, reacting almost as if they feel they “can do better,” responded: the snare line entered with a passage, interluded by a melody in the brass, and this trade off of the different percussion instruments continued until it reached, although I could not see it at the time, a tenor feature requiring perfect precision and choreography. The final feature of this exhbition, of course, was a sixteenth-note run by the entire hornline, which, besides being musically exciting, happened to be played with the brass players fingering the instruments of the players beside them, quickly switching hands intermittingly. Finally I became acquainted with the last section of the show, started by a moving reprise of the 6/8 melody that was introduced earlier. The tension builds and builds until the corps reaches a final chord, a pause is heard, and then engages in a beatiful, emotional chorale entitled “We Go On,” one that exemplifies the whole theme that the people on the field performing this masterpiece were, indeed, the future. The show closes with an ever-building, ridiculously fast seven-four section that leads to the final three chords of the show, the third of which is an eight-count crescendo, barely able to be heard over the cheer of the crowd, signifying the end of the production."

My thoughts (regarding what other people have said): When I evaluate how good a show is, I could care less about playing techinique. Not even an issue for me. I care about how good the SHOW is. As long as the hornline plays with a sound that is pleasant to the ears at all time, I could really care less. 1984- Cadets hands down, what a show. It has it all: two beautiful ballads, exciting middle sections, and a company front and chorale at the end. That's a show. Don't ask me about the quality of the hornline, because I flat (hehe) out don't care. 1989- SCV by a mile. The much, much better of their two Phantom of the Opera shows. This is THE best sounding corps I have ever heard, practically perfect. I don't know what you mean by "balance issues," but this IS the best corps I have ever heard. Incredible, emotional music. Phantom had a solid show, but on a completely different level than Vanguard. 1992- I love the Cadets that year. I love the Cavies that year. (Note I cannot say loved, because I was three years old when these shows were performed.) Both had excellent shows, but I would have to give the edge to the Cadets. Great music from the one of the best composers of the '90s. 1993- Cadets and Star had two incredibly different shows, and I'm huge fans of both. It's impossible to compare the two shows, so I won't. Either of them could have won. The musical program in the Cadets show is simply incredible, and the way the show flows is something else. 1998- You may say Cadets had a boring musical program, but I happen to love it. Like most good drum corps shows, you have to know the music and have listened to it at least five or six times to even begin to enjoy it. Why can't every corps, every year, play a beautiful, three-minute ballad like that? Beats me. 2000- Cadets performed the best drum corps show of all time, and that's all there is to it. It's perfect. I absolutely loathe the Cavaliers' show. I've listened to it countless times, trying hard to at least find some parts I like, but to no avail. Incredibly primitive and immature musical design. And to claim the Cadets had a bad performance that night is bull. If THAT can be called a bad performance...well, I guess that shows how great this activity truly is :).

I also like the soloist from the year after that, in Make Our Garden Grow (aside from that one cracked note >_<)...does anyone know who she is?

I love both shows. I do prefer Santa Clara Vanguard's Phantom of the Opera, as it's the most emotional show in DCI to date, and the music is simply incredible. Just the sound of that hornline in the opener is something else. That said, I adore Regiment's show, but it seems severely lacking in show design. The opener is perfect, but the largo section could have been so much more (as in no ride cymbal...soloists are great, though). Somehow the emotion portrayed just pales in comparison to Angel of Music or Wishing You Were Somehow Here Again. The percussion feature is a severe drop in energy...couldn't they at least have had the hornline playing at least for a portion? But definitely if the '89 Regiment had been up against ANY other corps than the '89 Vanguard, they would have taken it home.

I've been wondering after watching those DVDs...it's almost as if her left glove is tied around the bottom of horn. Who is this soloist, and what's the deal here?

Yeah, and the accelerando doesn't help either. That's such a good closer though, that it makes up for that and...ending the show on a quarter note <**>.

The only differences I see in between modern drum corps and high school marching band are the following: 1. All brass 2. Higher quality of musical and visual performance 3. Increased difficulty of musical and visual repertoire 4. Better designed shows with better music (for the most part) 5. Longer shows (average in marching band these days is just under 10 minutes) 6. More drive to perform (plus better crowds) 7. The tour/rehearsal differences That is all I see different...am I missing anything?

De Meij's Lord of the Rings = instant win.

I totally agree. It's amazing this show isn't that well-liked on this board. Screw excellence of playing; the Cadets were the sole champions that night. Probably the most perfect show I can think of. And I'm still trying to find a major chord in "Niagara Falls." Kind of hard to display emotion in a show about a WATERFALL.

Liquid was completely original.

EXACTLY how I feel about Cavaliers 2002.

Ah, that clears things up. I've seen marching bells in Garfield 1984, too, was that just for effect. Also, were the horns different in the '70s? Because there's a huge difference to me between the '70s and '80s sounds (especially the sopranos), with the '70s sounds sounding really immature and almost "toy-like." Was it just a change in recording process, or change in instruments?

Only three? Hmm... Santa Clara Vanguard 1989- Phantom of the Opera Cadets 2000- We Are the Future Star 1993- The Music of Barber and Bartok

I'm pretty new to drum corps, and I don't quite know the history of the horns used. What I do know is that up until 1999 they used bugles pitched in G (mellos in F), but now they use B-flat trumpets. From watching older DVDs I can see that the bugles used to be two-valved (as recently as 1990, from what I can see)...when was the switch to three valves made? Also, the baritones that I see from the '80s were huge, almost twice as long as the ones used today. What's the deal here? Also, when did corps stop marching pit instruments? As recently as 1991 (Star) I've seen marching bells. Can anyone help me here?