Drew Wilkie

The thing that you (and everyone) needs to remember is that brass playing is 10% strength, and 90% coordination. Lip slurs will not give you high chops, they'll only help to teach you flexibility. Wayne Bergeron could play double C's in the seventh grade. Why? He's not a freak, he was just a kid. But when he first picked up the horn, the embouchure setup that was most natural to him was one that could produce a double C. This proves that the innate facial strength of a seventh grader is all one needs to play a double C with power. 99.9% of the time, kids with no range are playing with their chops too spread apart in the mouthpiece. When they take a breath, they love to spread their lips as wide as possible, and blow like the devil. Unfortunately, this doesn't afford any real range or endurance potential. So instead of doing that, work on practicing EVERYTHING at pianissimo, and with as little mouthpiece pressure as possible. The ONLY way to do that is to not spread your lips apart in the mouthpiece. Your chops must be touching each other when you start to play. The air will form the aperture, not the rim of the mouthpiece pinning the lips open. When you first do this, your mouthpiece will feel a LOT smaller...but this is the sensation you want. It's not WHAT you practice, but HOW you practice it. In this circumstance, you're trying to build a new habit with your embouchure. So whenever you practice, breath through your nose...and DO NOT stretch your mouth open to play. Play everything pianissimo, and with almost no mouthpiece pressure. This will force you to bring your lips closer to together inside the mouthpiece, which is the direction you want to go in as far as developing range and endurance.

Left to right: Randy Brecker Chuck Findley Arturo Sandoval Byron Stripling (99% sure it's Randy Brecker)

I'm not exactly sure where you're hearing sustained 9 chords. Definitely several b5 chords though...but what's a little music theory between friends? :P

Drum corps is not about fear...

Guys and gals, let's keep in mind that Hrothgar has no drum corps experience whatsoever. There's no point in bickering with this person, as he is the kind of person who will scream "Not drum corps!" onto the recording, thus ruining it...and yet he has no idea what he's talking about. Honestly, judging by his behavior and demeanor, I'd much rather him not say that he's a fan of the Cadets...he certainly doesn't support the corps the way he says he does. I apologize, but you do not understand this activity. If you truly did understand it, then you would not behave the way you do. Please grow up, and leave my corps alone.

We got the whole run-down on Saturday night after dinner and before ensemble rehearsal. I'm sure George is planning on announcing the show publicly this week. So with that in mind, I won't divulge anything specific until the official announcement comes out. BUT I will say this: The opener is incredibly difficult. We will have a REAL ballad. There will be a classic Cadet drum break. The closer will have you out of your seat. The whole approach, spirit, and "feel" of the show strongly reminds me of Cadets 2000 ^OO^

DCT has menthol and camphor, which are numbing agents...and they also dry out your lips (ever notice the flaking that occurs after wearing DCT for a few hours?). It also promotes cell growth...which, if unabated, results in CANCER! Go for Chopsaver or Chapstick All-Natural. I personally use the Chapstick, as it has shea butter, mango butter, vitamin E, and a host of other natural ingredients that repair nerve endings and moisturize the lips...plus, it doesn't leave your lips feeling greasy or waxy like DCT and Carmex.

We got the whole run-down on Saturday night after dinner and before ensemble rehearsal. I'm sure George is planning on announcing the show publicly this week. So with that in mind, I won't divulge anything specific until the official announcement comes out. BUT I will say this: The opener is incredibly difficult. We will have a REAL ballad. There will be a classic Cadet drum break. The closer will have you out of your seat. The whole approach, spirit, and "feel" of the show strongly reminds me of Cadets 2000 ^OO^

I believe I'll stay out of this one...

This video is GLORIOUS. Thank you!

Couldn't help but notice that "Impulse: Everything else is just drum corps" is actually a Garfield Cadets thing...

Typically, in the real world of gigging and freelancing, there is NO warmup at the job. It's always your responsibility to warm yourself up at home or at the gig prior. If you find that you've got a minute or two at the gig to get your chops moving again, then do exactly that. Articulate a bit, play some scales, and play in the register in which you're going to spending most of your time! I can't begin to tell you how many jobs I've been on where the cats playing the third and fourth books in the trumpet section have tried to warm up by playing all of sorts notes they don't own. Consequently, they usually end up not being able to blow on their own parts (this is all part of general gig etiquette). Preparation for the gig happens in the practice room. Five minutes, ready to go...anything more than that is unnecessary. In case you're curious, I've been able to reduce my warm up time to about 3 minutes. Takes me about that long to be ready to play anything, in any register of the horn. If I'm REALLY pressed for time, I can warm up without touching the mouthpiece, simply by stretching and flubbing my chops, and free-buzzing a few pitches...this stuff can be done in the car on the way to the job. Bottom line is that you need to KNOW your chops. You have to know exactly how they work for you, and what it takes to get them to function at their highest level. If you can get to a point in your playing where you really don't depend on a warm up, then you're doing something right. In no way am I saying that a warm up is pointless...it is important, but certainly not vital or necessary for a solid performance.

Brass playing is 95% coordination, and 5% strength...never forget that.

Is it me, or is Hrothgar a glutton for punishment? Because someone with a mouth like his usually ends up in a wheelchair. Why so insulting? Why open your mouth? Do you know just how many people you #### off? Marc Sylvester is a legend, and someone with whom you should feel honored to be in the same thread post. You claim to be a huge Cadets fan, but then you repeatedly insult one of the few people that have actually dared to dream in this activity, and one of the men that MADE the Cadets who we are. It's one thing to disagree with a show concept or idea...that's completely acceptable and necessary. But how constructive is insult? I'm stunned that you have the stones to insult this man. Then again...it's what I'd expect from someone that has no drum corps experience.

Great "ear chops" are what separate the boys from the men. Because ANYBODY can learn to play a wind instrument, but only very very few learn to be truly great players. This is because they learned to actively use their ears all the time, in order to play perfectly in tune and in time. If your ears are working correctly, equipment really doesn't play a huge role in performance quality. For commercial work, I use a Bob Reeves Dynamic Mass 40ES, which is significantly narrower and shallower than a Schilke 6A4A. Yet because I've learned to use my ears correctly, I've used it for lyrical playing in drum corps and in other commercial settings and gigs, and even on recording sessions. Conversely, I also use the mouthpiece on lead jobs and sessions, where I need to have everything from low G to triple G. My point is that sound quality is ultimately up to the player's discretion...equipment will just have tendencies at best. Your ears are your best friend...in fact, they're your ONLY friend in music!

I certainly was referring to the alumni circuit. If you look at my signature, I've participated in the DCA world a little bit... DCA in the competitive circuit is definitely becoming more progressive.

"And in first place, receiving the gold medal, with a score of 99.95 and winning high brass, high percussion, and high visual...ladies and gentlemen, the 2007 Drum Corps International world champions....PIONEER!"

Consider the following- A soprano bugle is played with a trumpet mouthpiece. Therefore, we can conclude that a soprano bugle is fundamentally a trumpet in the key of G, specifically designed to be used outdoors...no? This is logic, of course. Build a trumpet around a .470 bore (which Kanstul has done..."Coliseum"), and the only quantifiable difference between a soprano and a trumpet is the pitch. It is true that a soprano bugle is inherently less forgiving than a trumpet, from an intonation standpoint. This is because the instrument is too large (in regards to the bore size), and the mouthpiece is too small and thus, a bad match for the key of the instrument. But as a result of such loose slots and small targets, most soprano bugles are relatively simple to operate and get around on, and pitch is more easily correctable (in the hands of a competent operator, that is). A soprano bugle can be ultimately be described as a student model trumpet, in the key of G. Regardless of what one person (or the manufacturer) chooses to call the instrument, a soprano bugle is fundamentally a trumpet. This transcends the "good old days" argument and the rant regarding "drum corps isn't what it used to be". I guarantee that the cats who marched with valveless bugles #####ed and moaned, saying "Well things are definitely not what they used to be, and it sucks" when the first rotor made its way onto the football field. YES, things change...and we need it! The introduction of the currently keyed horns has allowed the horn lines to become more refined and less raucous...is this a negative? Nostalgia has its place (DCA), as we mustn't forget where we've come from. But the activity is destined to continue to evolve, and regardless of what you think of that evolution, it's still drum corps. It's still great for kids, it's still about achievement...it's just harder today than it was before. This is a progressive activity, as is the world. (As an aside: Nemesiscorps, you are nasty sir. The callous and demeaning manner in which you present your opinions is disheartening. Doesn't this activity exist for fun? Is this a form of jealousy? A thought...)

A soprano bugle is a trumpet in the key of G...therefore, it could be called either a trumpet or a soprano. A trumpet is a soprano bugle in the key of Bb...therefore, it could be called either a trumpet or a soprano. A tuba is a contrabass bugle in the key of BBb...therefore, it could be called either a tuba or a contrabass bugle. A contrabass bugle is a tuba in the key of G...therefore, it could be called either a tuba or a contrabass bugle. Both are bugles...in fact, every brass instrument is a bugle. The term "bugle" is not key-specific. The terms "soprano", "alto", "tenor", "baritone", and "contrabass" are NOT the names of the instruments...they are the names of the musical VOICINGS of the instruments. Rather, the names of the actual instruments themselves are trumpet, mellophone, baritone, euphonium, and tuba...regardless of what key each horn is pitched in. As a side note, I don't quite understand the semantics surrounding the "which sounds cooler...tuba or contra, soprano or trumpet" debate. JUST PLAY THE HORN! NOBODY CARES WHAT THE NAME SOUNDS LIKE!

The instruments are called trumpets, mellophones, baritones, euphoniums, and tubas. The musical voices are called sopranos, altos, tenors, baritones, contrabasses. All of the instruments are still bugles, just pitched in higher keys. Trumpets are still the soprano voices, mellophones are still the alto voices, baritones are still the tenor voices, euphoniums are still the baritone voices, and tubas are still contrabass voices. The terms are interchangeable.

No offense, but y'all sound like a bunch of kids on the playground, debating on which is better: chocolate or vanilla. Just what I see...but who am I, besides a stupid 20 y/o kid?

Typically, the biggest problem people have with articulation is that they're trying to DO something, as opposed to allowing the action to occur naturally. When you articulate, the tip of your tongue will strike the interface between the roof of your mouth, and the back of your top teeth. The secret to clean, fast articulation is using as little movement as possible. Don't try to force the attack, don't stab it, and don't move your tongue wildly around your mouth. Rather, use the least amount of movement possible to produce a solid attack on every note....no "fwaaaah" attacks! Lots of "front" on each note...each note must have a very defined and clear beginning.

It seems as though people love to talk about the Cadets more than any other corps. And though much of that discussion exists as debate, I like it. So long as people are arguing over the Cadets, that means we're doing SOMEthing that demands attention. This is where all the buzz is, where all the action is. The Cadets make things happen...we go in different directions, we try new things, and we make sure that the activity continues to evolve. There's something to say for that, as we exist with a spirit for discovery. Part of discovering is risk, and part of risk is failure. The last few shows have been experimental, and many things have been learned. Just because something didn't quite succeed, doesn't mean it failed. This is how you learn which direction to head in. You pick a direction, and see how it ends up. If it works, then you've guessed correctly...if it doesn't, then you've learned something just as valuable. We do our best... So if there are people here that prefer to bash the corps, then that's fine. Bash the corps, bash the shows, even bash Hopkins. But please keep in mind that this is upsetting beyond comprehension for the many members and alumni that read these threads. It angers and saddens me a great deal to see how many nasty and unfounded comments are made about us, by people with little or no high-level drum corps experience. This is a fundamental problem with the internet...anyone can make their opinions known, no matter how ignorant and/or insulting those opinions may be. We really do our best to entertain you...please remember that.

Nervousness is the result of anticipation. Chances are, you've been thinking about this weekend for months, and it's been rolling around in your head all day, every day. But you must ask yourself...what is it that you're afraid of? As far as I know, Spirit doesn't draw and quarter the kids that audition but don't make the line. You're not risking life and limb here. Drum corps is FUN, not evil. There is nothing to fear about this weekend. You will come home, safe and sound. Therefore, there is no need for you to obsess, and you can then eliminate your nervousness. If you stop anticipating (thinking about) the thing that is making you nervous, then you'll never be nervous (obviously). Though this does take some mental fortitude, it really does work. To recap: -Man up, and do the thing that frightens you (life lesson in general) -Understand that there really is nothing to fear, except indecision and cowardice Hate to say it...but it's all in your head!

I believe he means that the trumpet part has a key signature of E. If this is the case, then the concert key will be D.