90'sMelloguy

There is a lot more to it than I should mention on this forum but the quick recap is this: BD made a staff change that caused some strife. The whole drum line quit right before tour and they had to find players at the last second to field a line. Most of the players were really young and they had literally no time to learn the show. Paul Rennick came in and did wonders with those kids (and from what I hear the kids worked their tales off too). However, they were just too far behind the 8-ball to catch up and they got dumped all year

Yeah....We were talkin about the drums though. The rest of the corps in 91 was great. There is a long story behind the 91 BD drumline and what lead to them being in 12th at finals.

They sounded better than they did in 91 though.....that was a rough summer for the drums

Fugues are in relation to form

I totally agree with you Einstein And I totally agree with you too Jake How is this possible?

I am glad you mentioned BD 93....they were smoking! They played so many notes my head hurt. The mello / flugel book was the hardest I have ever seen. But the great thing was it wasnt just hard for the sake of being hard but it was really fun and musical too. Since 2000 I would say the best hornlines have been BD 2004 and suprisingly cadets 2005. I am not usually a fan of Cadets hornlines but they were really good last year.....and loud.

MikeD, Why are you allways right?

Thst is what is supposed to happen, but that is not what really happens. The numbers are relative. The only corps that the judges really get to give a score totally reletive to the criterion referenced would be the first corps of the night. After that it is a comparison game. If the judge gives the first corps of the night a really high score and then realized that there are 17 corps that are better, than that judge is "boxed in." If you reallly want to stare at recaps the only thing that really matters are the ordinals and the spreads...not the scores themselves.

All it says is they got a 20 out of 20 from one judge one one night. If you look at his numbers he had no choice. He boxed himself in. Remember that judges numbers are all relative.

92

Ok I got to ask. 1. Can YOU play ALL of the Arbans book? 2. Did you ever march corps (or do you now)? 3. What is your musical experience (profrssional player, educator, or what)? 4. Did you get any formal musical training?(i.e university) or are you just some high school kid trolling

:feednotroll:

w/Stp: Ohh I understand now. You are not crazy... just clueless...

Than you need to get your head examined.

:spit: no kidding

no kidding

I am pretty sure. That is a bit shady if you ask me though

Ouch...that really sucks

Yeah that's right. Baritone and Euphonium had standardized MP's as well but I can remember what they were. I played mello and I thought it was great becuase it felt like a trumpet mouthpiece. But, those people that were converting over from french horn really hated it becuase it was nothing like a horn mouthpiece. As far as the sop mouthpiece goes (the Claude Girdon 3) it was terrible. I dont know how they sounded as good as they did on them.

Were buddies? Cool You did say on your previous post: Also. Some drum corps DO say the members must play on a specific type of mouthpiece and there are no exceptions. When BD played on G Blugles this was the case and I am pretty sure that it still is.

Why?

That is Ridiculous. You use a mouthpiece that helps you do the job that needs to get done. If a trumpet player is playing on a shilke 6 1/2 AL in a hornline like phantom's than he is not going to blend in, but that does not mean that you put the whole trumpet section on a a Bach 1.5C.

Yeah I agree....there were times when I thought it was not scored well....but the potential was definately there....

What do you mean by the statement "that type of timbre" IMO this year was kind of weak for ballads with Cadets having the best.

It is called "Sanvean" (I am your shadow). You can find it on one of Lisa Gerard's albums.