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Drew Wilkie

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Everything posted by Drew Wilkie

  1. I would also like my account to be deleted as soon as possible.
  2. 1) Yes 2) The Reading Buccaneers aren't ruining DCA. Other factors are ruining DCA.
  3. If drum corps were supposed to have a "dark" sound, they'd be using cornets and tenor horns...and they'd be called "brass bands".
  4. Not for nothing, but who says the kid can't learn to blend with the section on his personal mouthpiece? When this issue was brought to my attention in a certain drum corps, I was using my Monette BL4S6 Prana. When prompted to change to a 3C equivalent, I rather tersely replied with "No." And that was the end of it. I continued to use my Monette, and never had issues blending or playing in tune. If the player has half an ear for pitch and timbre, he can blend just fine on his own gear. That's part of being a real musician.
  5. Any drum corps is better than no drum corps. In this day and age of DCI/DCA corps folding, we should be grateful that there is still an activity to be had. Granted, one could blame it on poor management, poor creative choices, lack of audience appeal, etc. However, the real issue is trying to preserve the activity by restructuring the model to make it more affordable for 18 year-old Johnny Doe. By making drum corps financially impossible for 75% of kids, we exclude 75% of the talent pool. That, combined with the slow death of instrumental music in public schools (and on the radio), is why there are no more soloists. Less talent means designers must water down the program, opting instead to "write to the sheets". This is why the activity has become "boring".
  6. As a multi-year soloist in The Cadets and The Caballeros, I can attest to Gordito's power and consistency. He doesn't lay out, and he doesn't buckle under pressure. We like to break his balls about his pitch and whatnot, but the bottom line is that when you absolutely, positively need someone to crush the daylights out of a double G, he's your guy.
  7. Hey everyone! I figured I'd post this on DCP, because I know that other drum corps cats would appreciate it! This is me soloing with Towson University at this year's Macy's Parade...hope you enjoy! Towson University, Macy's Parade 2009 Happy Holidays
  8. I march(ed) Hawthorne and have also been sitting in with BS Golden Knights for the past few years. I also marched 2003, 2007, and 2008 at The Cadets. When I told other members in 2007 that I had marched several years of senior corps, they looked at me like I was a space alien. Furthermore, they didn't even believe that I owned a soprano bugle (until I brought it to a camp one time). There are a lot of stereotypes about DCA that run rampant throughout the junior corps world. It's true that there is some truth in every stereotype, however a stereotype should not stigmatize. DCA offers a kind of fun that DCI just cannot offer, and vice versa. One circuit is not better than the other...apples and oranges. My time at Hawthorne only honed by skills as a musician, which helped to prepare me for my last two seasons on tour as a soloist. I would not be the trumpet player I am today, had I never marched with Hawthorne. DCI teaches discipline...DCA teaches balls. You need both to move people as a musician.
  9. -Choreography. -Stop dancing, start marching. They're ninjas, we get it. -Too much volume in the pit. -On the DVD's, you can't even hear the hornlines anymore because the pits are so loud and right under the mics. -Too much visual, not enough music. -It's ok to play once in a while...really! -"Safe" shows designed for cleanliness, not entertainment. -Win win win! ...right? -Stories that are too complex for the idiom and audience. -People just want to see a drum corps show, that's all. -I'm all for quality, but I'll take a hornline that's loud and a little out of tune over one that's in-tune but won't play over mezzo forte, any day. -I guess that makes me a traditionalist. -Corps who have yet to grasp the concepts of sportsmanship and professionalism. -Why is it ok to behave like children in uniform? Why is it ok to get DRUNK before/during retreat? -Visual staff members who are so out of shape, they look like they belong in the "Before" picture of someone plugging the Nutrisystem on TV. -Yes, this does harm your credibility with the marching members. No, it doesn't matter if you can still somewhat march. -Wannabe's. -Bandos. -How Div 1 drum corps have become more like the DMV than families. -Bring em' in, take their money, clean em', get em' out. Next! (Not meant to offend anyone. I'd like to point out that with the exception of my comment on professionalism and sportsmanship, none of this is a statement on the members themselves. This is more of a commentary on the recent trends in programming and operations. Being a recent age-out, I know the trials and tribulations of being in a touring corps, so I have all the respect and admiration in the world for the kids. In that same vein, I'd also like to remind everyone who seems to forget, that the kids do not pick the show...they don't do the programming. They go out there and work hard and play their hearts out. Regardless of the opinions you may hold of the people doing the programming, please just remember the kids before you publicly bash a corps or choose to "boo" before/during/after a performance. None of my commentary reflects the opinions of The Cadets or The Caballeros, in any way. I'm just a disgruntled age-out, trying to go to law school!)
  10. I've played several Cannonball Bb trumpets, and they've all been duds. Not really any better than a normal Bach Strad, but then again...I hate Strads. A better value would be Yamaha. You can mail-order a Yamaha Bb, and it will play just fine (for a better price, too). My Yamaha 8340EM Eric Miyashiro Bb outplays all the Schilkes and Strads I've ever played.
  11. Without question, the nicest and funniest person I have ever had the privilege of calling a friend. I'll share a quote from Dave. He and I were shooting the stuff after the Clifton show in 2008. I was still in uniform. Dave was never afraid to be frank. This was the funniest thing anyone had said to me a LONG time. "Drew, I can't really tell if your high notes are good or bad...but, they are definitely outrageous to say the least." From hero, to legend. FHNSAB
  12. No other rivalry has matched the intensity of that which existed between Boston and 27th.
  13. Sam is right, we need everyone who can get there. I believe there are people who are flying in for this event. It will be an incredible experience for all of us, and a great moment for our corps. Kudos to Joey Glaeser for organizing this! FHNSAB
  14. Even at my loudest and highest, I've never felt any uncomfortable eye pressure, and that includes the soprano and the Bb.
  15. I'm not a baritone player, so I can't really comment on that voice. But I have played several Dynasty sopranos, and they were the worst instruments I have ever played. Terrible pitch center, terrible construction, etc...worse than a student horn. The Kanstul Powerbore is vastly superior in every way. But their baritone might be good!
  16. I seriously doubt any corps are going to use electronics in a way to purposefully tick anyone off. They'll be used in a tasteful and artistic manner, and they'll only add to the overall product. Drum corps is an idiom that is ripe with potential for artistic experimentation, and such experimentation needs to be encouraged. Who knows what kind of possibilities lie ahead? It's ok if people don't like it; they are wholly entitled to their opinions. Doesn't make them lesser people...it just makes them people.
  17. I forgot to talk about pitch! There are two different kinds of pitch center: subjective, and objective. Subjective pitch center is the place on any given note where you feel the most comfortable. Objective pitch center is the true pitch center of the mouthpiece and instrument...again, on any given note. If these two centers don't line up, then everything will suffer, especially the quality of sound. Most people have a subjective pitch center that is sharp, relative to the objective pitch center. This causes a "dark", diffuse, dull, tight sound with no projection or clarity. This disconnect between the player and his equipment is VERY commonplace. This is why people have endurance problems! There is a pretty simple way to relieve the tension associated with playing above the objective pitch center. Take a PITCH GENERATOR, not a tuner, and push your tuning slide in a quarter inch. Then practice holding long tones whilst matching the pitch generator. When that becomes natural, push the tuning slide in another quarter inch, and repeat the process. This will force your embouchure to relax down into the objective pitch center, ultimately causing the subjective and objective pitch centers to line up. All of the sudden, you'll have a crystal clear sound with minimal effort. Try it! Worked for me.
  18. It sounds like the CENTER of your lips are much too tight. You may be rolling in or clamping with the middle of your embouchure. Instead, keep the center TOTALLY relaxed. Everything inside the mouthpiece should be mush. We lose projection and volume when the buzzpoint can't vibrate freely...it becomes constricted via tension and mouthpiece pressure. The corners of your mouthpiece should flex forward and toward the mouthpiece rim, but the CENTER remains mushy, especially in the upper register. A good gauge of your level of relaxation is breath attacks: try setting the mouthpiece and horn on your face, and blow very very quiet notes, WITHOUT using the tongue to start them...think "whooo". The idea is to get the note started using the tiniest amount of air possible. This will force you to relax the center of your embouchure to the appropriate and most efficient level. Less tension = more vibration = bigger sound! What mouthpiece and horn are you using? How long have you been playing?
  19. Any news on the show yet? I'm looking forward to getting up to Hawthorne for the open house. I miss the post hangs!! I heard about DCA finals...ugh. Looks like Cabs are out for vengeance this summer.
  20. Any room in the 2009 competing corps for this aged-out Garfield hack? ;)
  21. I think people misdiagnose those who can play really well as having "natural talent". From a physical standpoint, there really is no such thing as natural talent when it comes to playing the trumpet. This is because it is not a very physical activity. If this was basketball or weight lifting or track, then yes...some people have more physical potential than others. I'll never be the quarterback for the NY Giants, because I'm 5'7"...that's out of my control. Playing the trumpet is 5% strength, and 95% embouchure technique. The people whom we like to claim as having "natural talent" simply found the embouchure formation that worked, early on in their careers. What holds players back for their entire lives is the lack of physical experimentation in regards to the embouchure. ANYONE can play great double high C's. Why? Because it takes very little raw strength to do so. It's all coordination of the embouchure, and a little bit of air. The tragedy in this system of trumpet education is the fact that when someone has no range, the teacher says "Well, you just have to practice more", rather than experimenting with the embouchure to find something that works better. Bergeron had a double C in the 7th grade, not because of "talent", but simply because he put the trumpet on his face in a way that enabled him to do so. There's no voodoo in trumpet playing, no such thing as physical talent. It's just a vibration! Experiment with your face, because the notes are there...you just have to find them. Learning to play high notes is like trying to guess the combination of a pad lock. You have to keep trying different combinations, but once you hit the right one...everything unlocks.
  22. The "trumpet from a string" technique is a great teaching tool. Though extremely difficult to master, the benefits of learning to play with very little mouthpiece pressure are massive. Learning to play with light pressure ensures several things: improved range, improved sound, and improved flexibility. Now, we will all use pressure in our playing careers...even the greats do (have). But, the idea is that the pressure used is minimal, and only constructive.
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