BillH

I find it interesting that there is a seeming belief that going to a higher corps = better instruction. In today's activity I find it more reasonable to say that higher placing corps = better design. You can easily be a tuba player in 11th place and get better instruction on your instrument than you might at the then 8th or 5th place team. Happens a lot. And consider, if you are planning on becoming a music educator, that generally the lower a corps' recent position is, the more likely "teachable moments" there will be for you to observe teaching more in line with what you will have to do in the real world. No one is walking into a HS band program and getting anywhere near the equivalent of BD's talent. So, although time at that level is helpful in learning high standards, the hands-on fixing of substandard talent will be far more beneficial further down the spectrum. I recommend a mix (can't believe I am even suggesting corps-hopping). If you want to develop as an educator, experience multiple approaches with multiple levels of talent.

And best use of that timing gun was 1981 Bridgemen who used it for the killing of "Tony" in West Side Story. True Bobby Hoffman greatness in that moment!

4 out of the last 6: 2012, 2014, 2015 and 2016. Not 2011 nor 2013. They have been steadily improving execution and ranking (in various captions) since 2014.

Jimmer arranged '82 for sure. I am pretty sure he also did '81 and possibly '80.

Only until around San Antonio. Then retreats end for the year. they continue throughout the season for Open Class, as their tour is later/shorter.

Maybe we should just arrange in D Minor, which I find to be the saddest of all keys, really...

1981 Phantom Regiment - Spartacus. I still remember the opening hit causing my friend to sit on the steps at McGill University Stadium in prelims, as he was totally unprepared!

Yeah but Charlie was a bassoonist, so that barely counts, lol.

I do not know of a corps which DOESN'T charge a registration fee. My daughter has been through 2 and I have worked at three in the past 5 years. All had a registration fee. There are so may prospective members who flll out an interest form that you need a way to discern those with a true committed interest. As shocking as it may be to you, I know what I have paid and the organizations I have been with have charged. The one I am most proud of is the corps which charged only $25 per camp after the auditions. Not making money off the already taxed membership, just covering costs. My point was that for many of the corps (WC especially), this model is part of their annual financial plan. Getting interest and high volumes of auditionees helps insure the bills are paid and that the corps travels and eats well.

I look at it like this. Let's say a WC corps has 1,000 auditionees. All pay a $150 registration fee. All attend an experience camp at $125. Lets say 700 attend a callback camp at $125. Then maybe final cuts aren't made until January or February, so figure 300 at each of those @ $125. After that with alternates maybe 180 per camp for March, April and May. 150,000 + (registration) 125,000 + (experience camps) 87,500 + (call back camp) 75,000 + (late cuts Jan/Feb) 67,500 (remaining camps till Spring Training) That's $505,000 of fairly predictable income for those corps generating large audition numbers. Not a momentary bump. Even if the numbers come down 20% across the board you are looking at $400,000. Assuming you are paying 20 staff an average of $150 per camp for the early camps, then 12 the same for the other camps and allotting a generous $5,000 per camp for airfare, your total in for staffing is $20K or less. Then it is just paying facility fees and food costs. Even if that is $4k per camp, you are looking at only another $30K or less. Conservative estimate is $300,000 - $350,000 in potential net revenue to apply toward design, the summer, equipment, whatever. Pretty good approach. I have watched it at work. It provides good cash flow and strengthens the financial foundation during the slow income months from other sources.

Not from a financial standpoint it doesn't.

Most notably, he loves the members and is focused on the quality of their experience. Just an all-around great leader for a youth activity.

Look at the corps in his signature. Pretty sure this was not a comment on his predictions.

And your ears are probably just now getting back to normal after 1000 auditions..

Full Brass Staff: http://troopersdrumcorps.org/news

I think I was given yours in 1983...

If the posted video is indicative of the performance quality of their DCE Finals performance, no one would have to worry about finals spots anyway. That intonation alone would keep them out of the top 25.

In my opinion, there really are NOT clear cut criteria to judge by. Up until the mid-late 2000's, the criteria were spelled out in each of the legendary 5 boxes, in each subcaption score range. To get to box 4 for example, one had to exhibit all of the criteria listed and, as the corps improved in consistency and showed more attributes from box 5, their score should have progressed within the range of box 4. Sure, there were differences of opinion between judges and between staff and judges, but there was a clear rubric related to the score given that could enable an informed discussion about scores and provided a tool for more objective evaluation by the judge in each subcaption. Some time in the last 10-15 years, those criteria and descriptions were removed from the boxes and replaced with descriptors ranging from never (box 1) to always (box 5). The criteria are in a list in the description of the subcaption. This means that the judge is basically given a 10 point range for the subcaption from which they select a number, with no direct correlation to the criteria. To get from box 4 ("Usually") to box 5 ("Always"), the judge has no specific criteria to measure by. Usually What? Always what? And in critique, the staff cannot ask what is not evident to the judge (criteria-wise) to reach a certain subcaption score, as the judge has no real rubric any longer. The result of this is that we have lost integrity in the captions relative to specific design and performance attributes and numbers assignment becomes far more subjective, in my opinion. So wild swings in scoring, placement and spreads between panels are easy to anticipate. Not trying to make this a lament for "back in the day". Just correcting the perception that the judges have clear-cut criteria for each number that should be relatively consistent from judge to judge.

Anyone who aged out playing La Fiesta did pretty well in my book!

They are in Navy-Marine Corps Memorial Stadium today, I believe. Housing is in Bowie

Yes. That was what I was poorly trying to say under talent level/retention comment. Best designer and staff in the world will not retain well if the members don't travel safely and eat and sleep sufficiently.

My understanding is that BD had a fairly "young" corps (for them) last year. I would not be surprised to find that others (Crown?, Cadets?) may have had higher average age. Would love for DCI to publish that info each year. Personally, I believe the primary drivers for "winning" (in order from my perspective) are: Quality of design (we constantly talk about BD's dominance here) - which also goes to stability/longevity of design team. Without that, as weighty as GE and visual are on scores, One would be hard-pressed to "win" despite my other three drivers. Quality of instruction/educational process - again look at stability and longevity. Cadets visual this year may be a case study of this. Not as a criticism, just that the change can take a while for the team to gel and build consistent, efficient educational practices. Talent level of members, especially in movement. My observation as a brass instructor over the last 4 years is that you can build better brass players more easily than better "movers". Your mileage may vary, as this is likely highly dependent on the instructional team and system for both. Retention also is a subset of this driver. If you make the experience positive and minimize bad logistical impact, you can hopefully improve both talent and age via retention. Age (only so far as availability for spring training).

Except now it is Marc Sylvester, so I would expect his usual Cadet level of cleaning efficiency.

Brass sound keeps getting bigger and more resonant. Really excellent. And guard is looking fantastic.

The new caption head is Stephen Mason, formerly of Crown and music director for RhythmX Winds.