ce.brass
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Posts posted by ce.brass
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There is plenty of talent that because of age, time or money can't do the junior thing. There's no reason Ontario can't sustain 2 DCA corps as well as more DCI corps than the current 3. I don't think Grennies should be impacted. In fact, the nearby competition will probably be good for them - get some interest going in the province.
While it has been a slow and somewhat bumpy ride, Capital Ensemble will be growing the activity here in Ottawa, first with an Alumni corps, and second with a mini-corps (for DCA I&E and MCA) in 2009, with the eventual addition of an all age DCA corps likely for 2010. Emphasis on local recruiting and activities is the priority at the moment.
Gas and other travel expenses is a primary factor in my decision to stay local for 2009. I do plan to see 2008 through to finals though.
Ontario (and Quebec) definitely needs several drum corps options that won't require members to travel long distances just to practice and perform. Ontario should have no problems sustaining multiple drum corps, even if they are in relatively close proximity, presuming the corps in question have a plan in place. I know Capital Ensemble does have such a plan in place.
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How could you test such a thing. I was thinking - hand me a horn blindfolded, but no, I'd know as soon as I blew into the horn by pitch if nothing else.
And even a "unbiased" player is likely to approach the two insturments a little differently.
Earlier this year I played on two relatively identical Die-nasty Baritones. One in G, the other B-flat. One of the horns had slightly larger tubing (obviously), but otherwise I played on the same mouthpiece.
Overall, I found I could play louder (or atleast it sounded louder) on the G Baritone than the B-Flat. I don't have the B-flat Die-nasty now. I have a Yamaha B-flat instead
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Budget would be around $400 or less.
Intentions would be just to have a horn to play on. Nothing extravagant, and I probably won't use it for anything performance-wise. If that ends up being the case, I would probably just buy a new one.
I have a King Tempo 600 (can be found on ebay for around $300), although I haven't played it for years as after playing the baritone for so long I'm incapable of buzzing on a small mouthpiece. After playing on the Alto in my Junior days I tossed my trumpet mouthpiece and played on a Benge Mello 6 mouthpiece, and I liked the sound better, but I've not really been one for the trumpet
My particular model dates back to around 85/86, and I got it sometime in '94.
If you're looking for a model to start off, I'd recommend King.
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Junior Corps
1991 - Lampliters, Smiths Falls ON - Soprano
1992-95 - CYE, Ottawa ON - Soprano
1996 - CYE - Alto
Senior Corps
2001* - Capital Ensemble, Ottawa ON - Alto
2001 - Kingston Grenadiers, Kingston ON - Soprano
2002-03 Kingston Grenadiers - Mellophone
2005 - Kingston Grenadiers - Baritone/Euphonium
2008 - Kingston Grenadiers - Baritone
2008 - Spirit of 69, Almonte ON - Baritone (B-flat)
2008* - Capital Ensemble, Ottawa ON - Baritone and Brass Caption Head/Music Arranger
2008 - "The Mini-corps yet to be officially named", Ottawa ON - Baritone, Band Director and Music Arranger ;)
* Corps went inactive
** due to personal reasons I didn't finish '02 and '05 seasons
Yes, 2008 has been somewhat of a busy year for me.
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I wouldn't have any problem going G again. But I wouldn't want to spend thousands of my cash doing it. The horns just don't have the resale value. And market for used G's has been diminishing significantly in recent years. At least with Bb's, I can get most of my money back. Or at it's worst, donate it to a local school and actually have it get used.
I play a G Baritone for Grenadiers, and a B-flat Baritone for another group up here. I've gotten used to switching from one to the other, although for sound quality I prefer the B-flat, more because it's a nice new Yamaha baritone compared to the crappy Die-nasty baritone the corps has probably had around for years. It'd be a harder decision between G and B-flat horns I'm playing, if it was a newer Kanstul G I was playing, like some others in my section.
I was faced with the decision of deciding whether to go G or B-flat/F for one corps I was acting as brass caption head and music arranger for. The resale value of B-flat horns at least make them a better investment, although that corps at the moment can't purchase new (or even used) instruments. We were loaned 30 2 valve G bugles, so that's what I'm stuck with...
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Thanks Marty,
This is one case in which I hope you are correct. It's been a while since I instructed brass, and if I ever do again, it would be nice to have players that have achieved a reasonable level of skill.
Bruce
I've been playing for around 17 years (off and on), and I have no problems with however many flats or sharps there might be in the key signature. Of course, most pieces I've come across rarely have more than 2 flats or sharps anyway... With that said, our 2008 opener is written with 3 flats and I play most of them, although with all the d-flats I'm playing in that piece it could be written with 4 flats
My G Dynasty Baritone sounds really Die-nasty at double and triple-forte on those all-valve low D-flats. What makes it worse is that at one part of the show, I'm marching across the 50 yard line 4 steps from the front side line unleashing hell.
When I arrange music, I don't really look at what key the music is in, I just write based on what will least clutter up the measures.
I did an arrangement of the "A-Team" theme for G instruments, and I ended up writing 4 flats in the key signature. It meant that doing that for a parade piece on 2 valve instruments was a no-go...
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I never made any specific resolutions for brass playing, and although I didn't know it last year, I'm playing far more this year than any time in the past. I play every Sunday, as well as every second or third Saturday, the occasional Wednesday and most Thursdays.
Currently involved in 3 groups (Grenadiers, Spirit of 69, Capital Ensemble), although CE decided to go inactive for the remainder of the 2008 "season". I was already planning to do a mini-corps spin-off of CE, and so it's taken the place of Capital Ensemble at the moment.
My current resolution is to get B-flat and G instruments to play in tune together
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To the original question - not sure if I think making participation mandatory is helpful to the corps themselves.
Some memberships of some corps come from all parts of the world and then to add more music to learn on top of what they already committed to could be a breaking point for participation in said corps.
Also, corps that are struggling for membership to make the minimal count needed, make also be a deciding factor on a corps not making it if that additional burden is placed.
The only reason my corps is on the field this year is because we're doing a reduced schedule. 2 camps a month during May/June. 4 competition weekends plus finals this year.
We wouldn't be active if there was a requirement for a corps to do more than what we're doing.
Could a corps not just play a reduced version of their field show in the mini-corps competition anyway
I was surprised to hear that some corps don't allow their members to attend I&E.
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However...if you didn't limit it to marching members, it would be a great way to keep your alumni actively involved in your organization and allow people who's health or schedules conflict with full participation in a competitive corps to participate.
The question would then be, why hasn't any of a corps alumni organized anything like that? Mandatory participation would only elevate the visibility of the mini-corps competition, not get alumni back into things with a horn or drum in front of them.
It seems though that mini-corps at least, don't need mandatory participation as there is already a wide variety of mini-corps competing, and I'll be adding another one for the 2009 season. My decision to organize mini-corps for one corps I'm involved with would be directly a result of involving individuals who may not be able to commit to a full corps field show (for health or personal reasons), but would like to play for an audience.
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It is great that Ottawa might again be on the drum corps map. Kudos to those who are willing to give it a try.
IMO, you are definitely on the right track in not trying to get big before you perform. Remember, Renegades started with 7 members (and a ham sandwich) and they were not all horn players. The first charts were easy - lots of power chords. (Actually, the VERY first charts were a couple of Christmas tunes!) Look at 'em now. Loud is Good.
I know what small can do. CYE '92, 19 members, ODCA B-Class champions, first year of competition.
Waiting for sufficient membership numbers (6-8 brass to cover enough parts) has been an exercise in patience. In the past 2 and a half months, I have 15 pieces arranged, another 4 work in progresses, and a to-do list of probably a dozen others. At rehearsals we've been working 4 of those pieces, with the plan to get out to at least one local parade.
Can't wait for DCA I&E Minicorps 2009 though. I'll probably spend this years I&E at the Mini-corps competition scouting out what other groups are doing.
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It is great that Ottawa might again be on the drum corps map. Kudos to those who are willing to give it a try.
IMO, you are definitely on the right track in not trying to get big before you perform. Remember, Renegades started with 7 members (and a ham sandwich) and they were not all horn players. The first charts were easy - lots of power chords. (Actually, the VERY first charts were a couple of Christmas tunes!) Look at 'em now. Loud is Good.
I know what small can do. CYE '92, 19 members, ODCA B-Class champions, first year of competition.
Waiting for sufficient membership numbers (6-8 brass to cover enough parts) has been an exercise in patience. In the past 2 and a half months, I have 15 pieces arranged, another 4 work in progresses, and a to-do list of probably a dozen others. At rehearsals we've been working 4 of those pieces, with the plan to get out to at least one local parade.
Can't wait for DCA I&E Minicorps 2009 though. I'll probably spend this years I&E at the Mini-corps competition scouting out what other groups are doing.
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Having only one player on a part will more than likely create issues. People get sick, move away, change job schedules, lose interest, etc. And if you use Murphy's Law, all the people that play "E" in the opening chord will be absent on the same day.
I'd go with fewer parts for a smallish line and be less stressed when something happens with the personnel. A good mix - which I've used - is 2 sop parts (no screaming lines), mello (or frenchie if you have 'em), two bari and a bass. With at least two people on each part you can do splits as needed. If you have the luxury of adding players so there are 3 on a part, that would be even better. I wouldn't add a 3rd sop, 3rd bari or 2nd mid part until you have at least 21 players.
BTW, where is the corps located?
The corps, called Capital Ensemble, is located in Ottawa, Canada. A desire by local drum corps people from previous area corps (members from CYE, Lasalle Cadets, Les Dynamiques (Buckingham), and Compagnons) to reignite the drum corps activity here in the area. There is a group of local people who decided to travel to Quebec City to march with Les Diplomates.
Of course, theoretically meant that under ideal circumstances, and we haven't had ideal circumstances. Our first rehearsal we attempted to do an F-Tuning exercise with 2 sopranos and a French Horn. We so needed the bottom end that night.
Until I see interest and membership increase, my plan is to currently focus things towards a mini-corps to do small parades/concerts. I'm throwing in a Piccolo trumpet into the mix. I have a tendency to write parts for a large ensemble, but fortunately several of the pieces I've been working on don't need a 3rd soprano or baritone. More often than not, I tend to write split parts.
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...and if you are able to have that mix in the mid-range, you will be one lucky person.
So true. At the moment, I'm thinking long term planning. I'm limited to using 2 valve instruments which I was unaware of when I first started writing music for this corps, but there is a plan to replace the line with 3 valve instruments. At the moment, I can theoretically muster up enough players to cover each section, but everyone is playing on their own. The main problem was the corps starting mid-season, but come September, we may have a lineup of local people who would rather not travel to do drum corps.
My main plan is to have mellophones as the main midrange section, with all the usual parts, with Altos supporting the Sopranos and the Mellos, while French Horns do supporting duty between Mellos and Baritones.
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OK, when you say primary midvoice, you're talking about like the mellos, right? cause I would never replace a mello section with flugels. Martybucs mentioned that the years that Buccs dropped their mello section you could tell, and he aslo said that the mello sound defines drum and bugle corps and i agree.
My wonder is how then can you work flugelhorns in... subsection to soprano/trumpets or mellophones...??
The real reason i asked for opinions of flugels, is because in the group i'm in has small brass numbers and was seeing if adding flugels would help us out with instumentation, I wanted to ask the best, thats why i came here to ask the great people in drums corps.
Thanks again for all you're ideas and show suggestions! Rock on!
It's interesting this topic came up as I'm in the process of deciding the brass composition of a new corps as brass caption head. I have a few other unrelated inquiries, so I'll probably create my own thread, rather than hijacking this one.
Probably due to my years on soprano in my junior days, I've always avoided sopranos in my decisions on arranging. With that I've also lately had an appreciation for what the soprano sound can do to a piece when it stays above the middle C. My junior corps went to Altos instead of Mellophones, though we did have some French Horns. I played the Alto in my last year of junior corps, as well as the mellophone later on in my senior corps days. The alto (or flugel) has the round qualities of the mellophone sound, while still maintaining some of the sound of the soprano. Seems like an ideal instrument when given "lower" soprano parts.
At the moment I've been looking to have a Mellophone/Alto(or Flugel)/French Horn mid section.
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Wish I had the money on hand to acquire a few of the Mellos and Euphs to give us some "3rd valve flexibility" in our mini-corps. At the moment I'm relying on several of our members marching in other corps who have more "modern" brass to play the parts that require the 3rd valve ;)
Although 2-valve, I have a King K-80 Euph, and a King K-90 Contra sitting in my living room. The Euph has a serial number of "39", while the Contra has a serial number of "36".
Do you happen to know what the shipping for each of these might be to Canada?