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blakman7

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Posts posted by blakman7

  1. I

    Why are Cadets arrangements so frantic? I can already tell I will walk away thinking they are the most talented players but it's just too much all the time.

    Sounds like the Cavaliers golden years. Their shows were so intricate and awesome across every caption, especially visual. Even after you've seen the show 20 times, you still saw things that you had never seen before. I think that that clip would have a different effect if the unis were on. Just my .02

  2. sorry for my imprecise post - yes, they are larger than six feet wide. They are six feet high. Looking a the field layout the one on side A fits between the 30-35 yard lines, so smaller than 15' at the base. They aren't "huge" - drill I've seen seems to incorporate them easily. The field is not "cluttered" by any means in comparison to a show like Cadets 1995 or Crown 2014 variety with lots of items scattered all over. There are two of these props.

    Understood, thanks for the clarification.

  3. They are six feet wide. Not big on a 100 yard field.

    Not trying to challenge you George (as a certain individual on this forum would be the first to think) but those definitely look more than 6 feet wide. I guess the picture makes it look bigger than what it is. If it's 6 feet wide, how wide is the top tier?

  4. They play well, but it's boring IMO.

    That's funny because I somewhat felt the same way when I first heard it. I felt that there were a lot of dull spots in the music and I heard nothing but met. Then I got to thinking about it and realized that I was watching a standstill performance which takes away a ton of the GE and Vis from the show so I'm positive that there will be some awesome Vis/CG stuff going on in those dull spots. I have no doubt that they'll change our minds about it as it's put on the field, the season progresses and the corps masters the show allowing the Awakening to happen.

    • Like 1
  5. I think at the time I first heard it, I was having problems hearing all the different notes because they were inside the gym. It sounds much better outside.

    My thoughts exactly. Now that I hear the different parts and it's not one big jumble of loud notes, the piece tells a story.

    • Like 3
  6. Yeah but get to rehearsal. I've had enough interviews.

    He said that this is probably the last interview so hopefully after this. Maybe we'll get lucky enough to see a good chunk outside of what they've been playing in the background for the last 20 minutes. If they look anything close to how they sound right now....I'm sold.

  7. Sam,

    The Debbie-downer stance may work well as a lawyer nitpicking over real estate contracts, but you, particularly as a Cadet podium alum, have to offer more.

    From the gaps on the field in the PoR first drill reveal posted and from the animation drill GH posted from the webinar, I am surmising that those gaps are where some of the props are resident.

    That being said, some of the flow around them will need to be re-written as my eye was drawn to the syncopatic movement counter the flow of the rest of the ensemble, particularly where the mellos and high brass move as squads of two to join the baris/euphs/trombones already upfront. Movement on the whole is less flowing than Zingali or Sacktig''s approaches or decades of experience. This dotbook reveals a different emphasis which is more brass triumphalism/impact, engaging the bass part of the audience's auditory senses, and puling everyone in the same way the Fanfares of the 1060's used to announce the corps and engage the viewer. It's an old style which today is new as this generation hasn't experienced it previously. Think herald trumpets except with much bigger bores and power.

    Whether the CG members on the front runway will be poised statues, fantasic flags, or sizzling sabres/sabers will also take a variety of approaches over the full season. As the British detective series routinely say, "Early days..."

    Wow.....I never imagined my saying this but I actually agree with xandandl 200%. Good post buddy and spot on! Disclamer: It is just my opinion and my word isn't law.

  8. Great candidates for HoF '16 most whom I have known as volunteers, alums, and of course Colin still teaches.

    [My personal quirk: I wouldn't vote for paid employees doing the jobs for which they were hired and being paid. The others did it out of altruism and being a Cadet. Instead of being paid, they paid with their sweat, time, and own monies.]

    Ken Conklin

    Marie DiDomenico

    Wesley Johnson

    Michael Jones

    Jim Messina

    Colin McNutt

    Bob Peterson

    Anne Wildt

    Pat Zampetti

    Was reading Colin's bio and it's mighty impressive as expected. The only thing that I saw that was wrong with it is that he was the percussion caption head at Magic of Orlando in 2003 and then went to Madison Scouts in 2004.

  9. Bluecoats ... pretty much every year since Thrower started writing.

    Also: all three groups in the OP's first post use Yamaha ... jus sayin.

    Oh crap! Now I really feel like a jerk. Bluecoats definitely should've been included in my list of best contra/tuba lines. Pretty much any Bluecoats show since around 2006 or so.

  10. It's a long stretch and possibly my imagination running wild but it sure would be nice if for ONE season we could not have so many people be so butt hurt and sensitive about every little comment made. It's the internet ladies and gentlemen. I'd say that most of us are adults here so why can't we somewhat act like it? Why can't we just stick to the topics at hand and share the excitement of the what is going to be the biggest season thus far together? Is that too much to ask?

  11. Gino has certainly produced some great and emotional lines, Ott winners, and with major corps on both Coasts.

    For those who don't know him or would wish to enjoy his style, click this link, click the right hand arrow in quick successions and the rapid still pictures will give you a mid-winter sense of his teaching style.

    https://www.facebook.com/cadets.org/photos/ms.c.eJxlk0uKRDEMA280~_BfHvv~;FOvRm6NLqQSHJsh9x81N2bP22edb~_~_T852yQXZDqFtJBB8oxo9ggpkLVGzsZQE~_y8GSS1zDkhhHvtZcO9LuQyZ6ThW4PEf11htiReQtAnLCWnkpoS1zl0jcwa1UjDxabhRpdbU~_NFkqaEOdkkssX7ChGX7OUjsyZB3umbRDW8cyQvFnlJirsH39cj~;MvRQc2Ia1TDhul4BY9wVvq34QcZ09ex.bps.a.10154050917526349.1073741923.31303916348/10154050922856349/?type=3&theater

    I had the honor of being under Gino's direction for 2 years. He is definitely one of the most intense people that I've every been in front of and yet one of the funniest. Like Tekk said, when I see him at rehearsal sites and/or shows every summer....I am still a little intimidated by him but quickly put at ease. His pure passion and methodology is something that honestly can't be described. I think that I can speak for anyone by saying that once you have been taught by him, you never forget him while he brings out the musicianship in you that you never knew was there. Those kids at Cadets are blessed to have him at the forefront of the brass ensemble. Yes yes yes I know, I might be a tad bit biased :smile:

    • Like 3
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