mpsanchez

Honolulu would be the only city on the islands which can handle the the event from a logistical point of view. The only real consideration is the cost. There is very little that is inexpensive in the middle of the ocean.

I've done my fair share of dorm-living so I understand that imaginary line that runs down the center of that room. Git on your 'mates tail about the assorted and fermenting goods on the floor. Thank you for the video. What I had assumed, and what I had been told by Trish, was a Peggy spin turned out to actually be a Peggy spin.

CLEAN YOUR ROOM!

Would someone be so kind as to post a video demonstrating "official" Peggy Spins and a few variations.

There was a point a few years back when there were 20 active winterguards in the Panhandle/West Texas (not counting El Paso who do their own thing...). Then poof! Some say it was the 9/11 money crunch, others say it was the "Sosa" Effect. I blame the band directors. They didn't know how to develop those programs once the trend setting instructors either graduated from college, moved to the Metroplex, or retired. The last time I judged WTAC there were twelve finished indoor shows in prelims... And, this was in SEPTEMBER 1999! The entire spectacle started at seven in the morning and I sat in on the last critique around midnight. No more. Shame. <**> EDIT - If a school down there were serious about developing a competitive program I'd move back in a heart beat. I love NE Oklahoma, but I'm a Texas boy. *spit* *pa-ching*

Nooooooo! Make it stop!

I fill the bolts with hot glue. Once it sets you end up with a bit more weight, and not as much work as your suggestion.

*stabbing ears with fingers* Ain't! *humming smurfs theme song*

Hey, you're better at this guard stuff than I am.

I had always assumed a Peggy spin was a double-spin but grabbing over instead of under during the odd counts from 3 on? How I was originally taught to move into position for a 1-1/2 toss with wind-up... Or, did I miss the memo? Hamburger?

Okay.... I won't nit-pick. :(

Balanchine's theory was based on one very revolutionary idea - "What you do in class is what you do on stage." I think a fair number of would-be color guard choreographers should meditate on that one.

Battement Tendu et Grand Battement OY!

With this piece of music you can count it straight as 1-2-3-4-5 but it's easier to count it according to the dominant beats: 1-2-1-2-3. No fancy 1-ta-ta-2-tah is necessary.

The piece is in 5/8 so counting would be 1-2-3-1-2. It was recommended to me that I spend a few minutes each day running a clapping/marching exercise to build what an old band director called "rhythmic chops." I hear you on 7/8 being a nightmare. Senior-year percussion ensemble was in that time signature. It took the band director a few weeks to figure we couldn't count it. We all managed after rehearsing it for a few months. I wouldn't put our line, most of whom do not play an instrument, through something like that.

Relevance is a good point. I like reading the stuff that was published in the 70's and 80's to give me a little historical perspective. Though the aesthetic of color guard has changed, we still use the same technical language people like David Baker created.

Do you use a bonding agent or a primer or does the latex paint bond with the floor? I've always used that same paint, just with an agent and 60% water. Seems to hold up for more than a year, but it's so fracking heavy! If the latex paint holds without a bonding agent then I've been doing this ALL wrong for ages!

Would explain a few things...

Lubbock is a great place during the summer, if you don't mind dry heat. The wind will be rough in the afternoon, and will calm down around six at night. Jones stadium is a great place to perform and to watch a show. Downside is there is a mean echo that comes off the the concrete retaining wall that runs from end zone to end zone. The sound will bounce three or four times depending on the volume. Watch the major and don't listen to the percussion! I've performed in that stadium a dozen times. That place was a relic, until the recent renovation which turned out really awesome! (I miss Lubbock...)

I've run a few events, so I've seen and heard it all from vendors. The one class of folks that really drive me up the wall with no-shows, and assorted bad moves, are photographers. All it takes for them is a few rolls of film (or a bag of memory sticks), and a frickin' camera. *SIGH* I'll go into a tirade unless I think about something else. Thank god for Tetris on my mobile phone. It calms me...

I've experimented with a few bits of equipment work and movement. It will boil down to me teaching by rote and then applying checkpoints once the students have memorized the music. Headache! But, I love the song...

The water in Andrews is contaminated. That's why... :P

Corps Style Marching, by Dale F. Hopper © 1977 C.L. Barnhouse Company Music Publishers, Oskaloosa, IA pg. 77-92, "Color Guard" by Joseph Roman Championship Auxiliary Units, by Rober E. Foster, et al. © 1979 Alfred Publishing, Sherman Oaks, CA pg. 85-210, "Pt. 3: The Flag Corps" by Bob Duffer, pg. 211-256, "Pt. 4: The Rifle Line" by Kriag A. Cowles Marching Band Director: A Master Planning Guide, by Bill Raxsdale © 1985 Jenson Publications, New Berlin, WI pg. 48-52, "Color Guard Audition" I have these sitting on my bookshelf. I also had another published by Jenson (now Hal Leonard) called "Color Guard Manual of Arms." Lost it when I moved to Tulsa. Call the Texas Tech University Library at (806) 742-2261, or visit the website. They have a few dozen books on their shelves that deal with drum corps, marching and color guard. I remember a few that were really awesome. (Used to live in Lubbock. Go TECH!)