wishbonecav
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Posts posted by wishbonecav
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Thanks for that nice compliment, Keith.
I always want to be careful and not push the envelope too far...where it becomes more of an ego trip than a conversation.
The thing about our community is, I think the members can spot insincerity a mile away. And they have corrected me when I may have gone a little too far.
But they are also quick to compliment when you get it right , like calling Bushwackers the top color guard at DCA Prelims. ("Overall: Guard just might take home some hardware if they can find the emotion to go with the technique") That was kinda cool. :)
As long as we can talk about ideas and share the experience, to me that's really positive.
See you in Tampa?
Amazing how this bug bites you and doesn't ever let go.
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A view from the stands at DCI and DCA.
In a non-scientific observation of a group of 8,000 drum corps fans in Pasadena (DCI Quarterfinals) and a group of 8,000 drum corps fans in Rochester (DCA Finals), I was able to draw the following conclusions when it comes to delivery of product and audience response...
AND given the assumption that someone standing while clapping, cheering, whistling or yelling is a person who has just seen something worth standing, clapping, cheering, whistling or yelling about;
Here's what I came up with:
The most dramatic, positive and prolonged reactions from the audience were granted to performances by:
1. Blue Devils (off the chart)
2. The Cadets (off the chart)
3. Madison Scouts (two standing o's during the performance, just about throwing babies at the end, bigger response than Cavies)
4. Cavaliers
5. Carolina Crown
6. Regiment
7. Troopers (yes, more than Vanguard, et al)
8. Academy (yes, more than the other 7-12 Finalists)
1. Empire Statesmen (off the chart, almost ridiculous)
2. Buccaneers (off the chart, appreciation of excellence)
3. Caballeros
4. Renegades
5. Crusaders (watch the dvd and listen for the response, standing o Saturday & Sunday)
6. Music City Legend (proving that when you perform effect, it gets the desired result)
Even if the corps was already "slotted", it appeared that the audience members wanted to root for the corps that were listed. In Madison's case, the underdog role played into the emotion. Same with Music City Legend.
For the Troopers and Caballeros, the flavors of tradition may have added to the connection.
For Academy, the throwback style of programming may have been the catalyst. Or, maybe, they were embraced because they were new (though newbies in DCI have often met with the opposite treatment).
For Renegades, it was that horn line!
For Empire , it was Empire.
Cavies, Crown, Regiment and Buccaneers, it was excellence.
For BD and Garfield it was excellence bordering on the absurd.
The corps that generated a response NOTEWORTHY in its indifference:
1. Crossmen (an extreme example)
2. Seattle Cascades
3. Brigadiers
4. Mandarins (big show, big corps, written beyond capability to generate response, imo)
5. Kilts
...the corps getting the least response played the shows that were least musically accessible.
Crossmen and Brigadiers had almost the SAME show CONCEPT...kind of a "greatest hits" deal.
Now, I like Crossmen. I have their 90's CD in my car. I can name the tunes without looking them up on corpsreps. And I heard them ALL in the medley that took up the first 4 1/2 minutes of the show. But it seemed the staff wrote the show for only CROSSMEN people at the exclusion of everyone else.
Well you just "DIDN'T GET IT." Didn't get what? This show was shocking to me, mostly for the amount of reaction it DIDN'T receive.
Same with Brigadiers. Shocking in the lack of response at the end. When the Brigs played to emotion, THEY GOT IT! The ballad worked! But the balance of the show...the bookends...the invitation (opener) and the culmination (uh...the closer)...left it so very flat, flat, flat. Not my OPINION, my OBSERVATION.
Cascades. What if I brought a rookie to a drum corps show and could ONLY show them ONE CORPS? Seeing Seattle, they might say "...that was 'nice'", or "...it was 'interesting'", but they'd probably take a pass if I ever invited them again. Would it hurt to play a melody?
So what conclusions can I draw? As a fan? As a critic? As a customer?
The fact that there were 14 standout, off the chain, get-up-and-dance corps in the top-tier 2007 offering means that alot of people are doing alot of things right.
I like that.
Out of 34 open-class corps, the audience went just about ballistic nearly half of the time. And there were only a few bombs. And, the neat part about DRUM CORPS is that the corps that kinda bombed are corps that have CHAMPIONSHIP RESUME'S...which means they'll be back.
I like that, too.
So, now that 2007 is over, I get to look forward to next season.
So do you!!!
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Actually no ... My first corps, St. Pat's, was a Fife, Drum & Bugle Corps ... Three sections. The Bugles played a straight 1890s model Army Bugle. Talk about "Old School." Heh. ^0^
I see your Fife, Drum & Bugle Corps and raise you a glockenspiel, two marching tympani and a canister of CO2.
b**bs
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Now tha I think about it, Bugles were a relatively late addition to drum corps (1800's I believe ...) Drum Corps started out with Fifes and Drums. Fifes are woodwinds, therefore woodwinds should be okay in drum corps.
Any questions? ^0^
Let's call that The "FIFE & DRUM" Division.
The other will be the "DRUM & BUGLE" division.
It, after all, isn't just "drum" corps...it's drum & bugle corps.
And I'll give you this emoticon to parry your most-evil emoticon... :P
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Ladies and Gentlemen,
Today's DRUM & BUGLE CORPS contest is sponsored by D.C.A.
Please welcome the authentic, often traditional, all-age, mostly b-flat but sometimes G-bugled corps to the field.
Be advised: you may hear familiar songs like Magnificent 7, Espana Cani, Shangri-La, Elks Parade, Georgia, and Maria Fanfare at some point during the show. And you might hear 'em LOUD.
Take every necessary precaution.
You may also see an American Flag and witness a color presentation. Do NOT be alarmed as that is the delivery of tradition and entertainment you came to expect as the paying customer.
Though they will NOT use narration, you may actually hear a melody during some portion of the performance. This is normal.
Whistling or humming "Raphsody in Blue" , "Carmen" or "Birdland" on your way out of the stadium is acceptable behavior.
If you catch a Star United, Renegades Mini-Corps or Empire Statesmen performance, please note that if you smile long enough, your face may stick that way!! b**bs
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Thanks for the memories Joe!
Love ya, Donny.
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SHould a corps members take vacation time to go to San Francisco (or anywhere else) for an in-season show in addition to the commitment to DCA Weekend?
Probably ain't gonna happen, but what if it did?
What if the a corps scheduled that "far off" trip? It could work out two very different ways............
Here's my cautionary tale:
"When I was in Empire...."
We took an almost full corps to Brazil in 1993. Rio, Sao Paolo, Copacabana Beach, Ipanema Beach, the Jockey Club, Porcao Ristorante, Corcovado Mountain, the Jesus statue, and Zeppelin Bar. Great trip.
The fact that we took the entire drum line and "camped" it for 7 straight days was the single reason we beat a ####-good Bushwackers line by a tenth that year (we won ex by 0.2). We went to Brazil and did SO MANY REPS. We had a good drumline when we left the USA. It was GREAT by the time we got back. No apologies. GREAT.
The corps cameraderie was UNBELIEVABLE because almost EVERYBODY was there! We shared such a unique and valuable LIFETIME experience. And we returned so CONFIDENT and so JOYFUL that we threw the kitchen sink at the audience and they went nuts.
But the flipside is not as pleasant:
The year after in 1994, ES went to Bermuda and it cost the corps in so many ways. There was only about 50% participation and the fragmentation was so very noticeable. There was something missing (like 5 snares, and 30 horns, and 15 guard).
The 10-day break in schedule, the missed ensemble rehearsal, the missing drill rehearsal, the missing friendships, the missing dates on the calendar.
You know how you feel at work on a Thursday knowing that, if you can get through the week, you'll be with your corps again? And that feeling gets you through it? That's your heart at work. What if you didn't have corps to look forward to?
Even for a week...
It hurts.
Can you imagine doing that to yourself on purpose? :(
Putting the pieces back together after the Bermuda trip was really hard. We went to a show in Gloversville to try and rekindle the "magic", but the momentum of the season had vanished. The love that we had and projected to each other and to our audiences (like in July in Belleville, ONT which was sooo awesome) became more like a forced smile. It was really wierd. And it was because of the break. We broke up our team mid-stream.
The scary part was that we kept on winning shows. Our program was superior that year (Bush was just not as good, Cabs were adding members, Metro was still cleaning) so we continued relatively unchallenged and the lack of purpose allowed the corps members to just keep going through the motions.
The walk-over at Prelims (we won by 2.6) put us on the precipice of a World Championship and then, and only then, did it seem we appreciated each other and our staff. But it was still a feeling of uncertainty...not quite trusting each other...that "faith" element somehow beyond our grasp.
I'll tell you this, at the last moment, we got our wake up call at a practice field in Scranton.
Long story short: It was a two-corps runoff. Metropolitains vs. Empire. Mr Bruni saved us that day as only Mr B could. Mr B, the general, could sense all of this and knew he had to do something to light the flame.
After a long day of practice on adjacent fields he got with the director of Metro and coordinated a "contest" between the two groups.
Closed to the public. To this day, this "rumble" is probably a secret in the drum corps community. But it happened. USA v Canada. On a turf field in Pennsylvania. Legend.
Metro came over to the turf stadium where we were practicing, set up on the starting line and dared us to beat them.
You want intensity?
You want purpose?
Have a corps that is breathing down your neck in the standings take YOUR practice field and drop a freakin bomb on your head. Sitting in the stands, watching this corps from Canada give their best effort...as a performance, as a body, as a team...they had that "thing" that was missing in us. Horn pops TO THE BOX...snares and tenors, NOSE LEVEL...color guard..throwing FOURS and FIVES...NO DROPS. An absolute command performance. Wild, wild, wild. We looked at each other and could feel it slipping away.
And at the last minute, the fire was lit. DCA Weekend? Sunday afternoon? Right before Finals? What took you so long?
That afternoon, for the first time in 2 months, the Statesmen were a team again. And we let it all hang out. And the Metropolitains, our fierce competitors, but also our brothers and sisters, watched and appreciated and sensed the magic. Ol Man River...clean beats up and down the line , triplet rolls and diddles in the wheelhouse. Sinatra at the Sands? He came to Scranton for 11 minutes. Vegas came to life right then and right there. It was friggin' electric. BEST SHOW OF THE YEAR. Championship calibre. World Class. Worthy. Finally.
But it didn't last, unfortunately.
The Championship performance that night wasn't all it could be. Solid? Ok. Tentative? Yeah. At the very least, it was conservative. It was as if we didn't trust one another and hoped that it would just hold together. And it did, well enough. 96.0 First Place.
We had our moments, too. Sing "My Way" and finish at 128 beats per with a flourish of purple silks, some CO2 smoke and a standing O and you get that buzz in your gut. You can't help it. Thanks to Mr. B, we didn't let that opportunity slip through our fingers. It was really close.
I still have my 94 ring. And I am so very proud of it. But I can't help but think that it might have been just a little different if we hadn't taken that trip.
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I have started and stopped this post no less than three times trying to find that "sweet spot" of informative prose that yields thoughtful and engaged replies.
In other words, "What can I say to get you guys talkin'?"
It is the MINI CORPS experience that I want to discuss because it is the single event from DCA weekend that captured my imagination.
First and foremost: there were 18 corps at the Riverside Convention Center on Friday Night.
Read that again. 18 corps. 18 cities. 18 corps jackets. 18 groups who traveled by bus, car or plane looking to compete, perform and entertain. Wow.
And OMG! b**bs Please take the time to YouTube the Renegades 2007 Mini Corps show.
Do it right now if you have to!
Even before they played note #1 in their supercharged show, the electricity in the room was off the chart. Lots of catcalls and pointing to the stage. Friends greeting friends. Connecting. One of the sop soloists looked out at the audience with a smirk that said "these people don't even know what's comin'."
I appreciate the fact that these are our West Coast DCA brothers coming all the way East to lay down some jack and they absolutely turned the place upside down.
"Ya Gotta Try" is so ridiculous with intensity, clarity, power, muscle, depth...and it was fun! And I am convinced they didn't play that chart for themselves. They played it for me and everyone else in that convention center. They reached out and grabbed us by the collar and said "Here! Have some of this! Ya' like that?" And the place went absolutely bananas! Evil and Cool. Way cool.
Renegades kicked some California tail and left the stage to the defending champs.
What came next can only be described as a clinic. Does everyone appreciate the tremendous gift that Star United brings to us every year at DCA? Thoroughly trained musicians in an exquisite ensemble preparing charts that are not only effective in their musical arrangement, but that lift you out of your chair in their unbelievable execution and precision?
Do we really appreciate the hours that go into that kind of performance? That kind of gift? We are, as a circuit, blessed to have 20 people of this caliber (not just talent caliber, PEOPLE caliber) pay their own freight to come to Rochester and give us the musical treat that is "Candide", that is "Skylines", that is "Horkstow Grange".
I am not sure that message gets across to all my DCA friends. I wish it did. I heard more than one criticism of Star's performance that they "didn't belong at DCA" and other such dismissals. Guess what, gang? Star U isn't a robot. It's made of people. All-age drum corps people. Every one of them. Becky Wood, the DM, is a mom and a wife with some kiddies and a job and she tries her best to fit this drum corps thing in because she can't help it. If she "doesn't belong" I don't know who does.
Most of us got it. Three songs...three standing ovations. People were screaming. It brought tears to my eyes to see that outpouring of appreciation and enthusiasm. Star only exists in ONE PLACE anymore, gang, and we got 'em. Score 98.5. Way cool. You Tube keywords Star United DCA 2007 and you get to enjoy what I enjoyed.
As far as the contest goes, it's obvious that DCA considers the competition part somewhere down the priority list. That's where I have to make a decision.
IS MINI-CORPS A CONTEST OR AN EXHIBITION? Well, it's a contest because there were scores and placements. I wasn't sure of the criteria. The scoring must have been mostly GE and ENSEMBLE PERFORMANCE. I would not argue about placements...the judges got it right and it was clear that 1-2-3 were placed properly. For the performers, the contest part is a driving force to rehearse and achieve. Our best performance...your best response. So it should be a contest. There's a benefit to everyone.
SO IT'S A CONTEST! Not so fast! It's also a place for some of the best horn players in the business to strut their stuff outside the confines of a field presentation or the execution sheet.
Can I stretch this note over the barline by a beat or two?
Can I bounce this solo off your forehead a couple of times?
Can I break some glass in the high register ?
So, in that way, it's kind of an exhibition of fun and ridiculousness within the contest. How cool is that?
For the audience at DCA on Friday Night, there's another flavor. Mini-Corps in the big Convention Center has a deeper meaning than the contest itsef. It is VERY much a social. And it's very intimate and personal. It is a place to see old friends, meet new ones, grab a drink, talk and do all that against a backdrop of a drum & bugle corps festival. Not sure it gets any better than that.
So what is Mini Corps? It is a celebration. It is a happening. Look at the clips!!!!!
Do we need to tweak it? How 'bout this...
Let's see the recap so we know how to compare. Post that sucker on www.dcacorps.org.
Give the winners a place in the program book. For all time. ...MiniCorps Champions
And how 'bout an annual trophy and put a special person's name on it?
These things will legitimize the already legitimate. It's already there, really. Now let's tell the world about it! :)
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This is an excellent review. However, if it was intended to include ALL the open class corps (and realizing you arrived late), you came up one short... I think it's fair to say that corps missed in this review was also was battling for that finals spot.
SA,
Who'd I miss?
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Cabs won guard with a 19.6
Not on my sheet. :)
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Ladies and Gentlemen...welcome to Rochester, New York. If you've never been to Paetec Park, look it up on the web. Real solid venue for drum corps. Lucky to have the Rochester people welcoming the corps. Nothing but positives for the Greater Rochester Visitors Association. The local papers and local TV have really hyped the event. Just great...
TONIGHT'S PRELIMINARY CONTEST...huge crowd, nice weather. Sun was up for most of the corps. Top 5 got to play under the lights. 75 degrees in the sun gave way to a crisp night...jackets only. The corps provided the rest of the heat.
Given my schedule today, which included taking in rehearsals in Batavia, Rochester and Medina so I could be prepared for tonight, I arrived at the stadium in time to see Sun from the back, Govenaires from the side and found my seat in time to see the battle for top 10.
Off we go!
11th Music City Legend. One of the night's best surprises. The corps looks great and has solid carriage and field coverage. Opening chart provided a welcoming groove with the ensemble offering a full sound. Soloists carry the freight without overplaying and the snares showed poise and solid training elements throughout. The guard feature was a nice punctuation to a well trained outfit.
Biggest Plus: The corps has plenty to be proud of in design (machine gun segment was awesome) but moreso in effort and enthusiasm. There was a finals spot at stake and they went out to grab it.
Biggest Question: Will the members show up again next year to build on this solid momentum?
Overall: The crowd gave them the best comment of all: a standing ovation on a job well done.
Kilties. The look and the program go beyond suggesting an identity. The elements of style and tradition make the Kilts a crowd favorite. When September rolls around, however, the substance has to match the style in order to get a score. If the Kilties are to re-enter the DCA elite, they will have to take a more firm approach to preparation. The opening segment ensemble tear was troubling, but certainly could have been attributed to Championship nerves. But, as the show went forward, it appeared the corps was in over its head. If it's a park and blow, the Kilts can hang with anyone. The swing section was solid. But, on the move, the training required for effective performance is lacking in all sections. Combine that with an elementary visual program and you have a corps that can only finish back in the pack.
Biggest Plus: Auld Lang Syne. Give the crowd what they want and they will respond in kind.
Biggest Question: Will the members accept the challenge of a DCA level program? They have the look and tradition. Now they need the vehicle and commitment.
Overall: Wanted more.
10th Crusaders. The corps are stunning in their field presence...new uni...new helmet...new plume. When Tom Peashey said "...you may take the field..." the Crusaders took him seriously. New for me were the murals and opening poses that set the scene. Opening crescendo and visual build-out from behind the murals was absolutely superior. HUGE guard....and WOW! Horn pop, big splash of color, BIG SOUND...BIG RESPONSE. The program is certainly Finals caliber and the visual package is one of the best. Depth of sound in horn line at times uneven and music effect at time suffers. Control in the ballad is exactly what we want and there are continuous elements of tension and delivery (drum solo, too...thank you Mr. Carver and Wilkerson).
Biggest Plus: The program absolutely shines. Guard is sensational. Hands down DCA Finalist caliber.
Biggest Question: Smoke? Come on. now.
Overall: Hometown corps beats back the others to grab the last Finalist spot. Way to go.
9th Atlanta. Georgia On My Mind doesn't even give me a chance! Can't ask for more than to get my money's worth in the first 64 counts. Clean look and awesome opening chart. Front ensemble noticeable in quality and contribution. The horn sound (blend and control) really held up as the show progressed, even through difficult phrases. Color guard was one of the night's biggest surprises with solid silk unisons and implement control. Couldn't find the drumline with a flashlight. The battery deserves to be a more integral part of the visual package and staging needs to improve for the sound to reach the box.
Biggest Plus: The continued momentum from last year means the organization is strong. They just keep getting better.
Biggest Question: Can we turn up the closer by 4 beats a minute? A little more velocity in music and visual would help to deliver the maximum effect.
Overall: They got me breathing hard a couple of times. Now I want the WOW.
8th Renegades. Swagger to spare. Walking corpses and coffins. And, oh my Lord, that hornline. Opener was HUGE with strong velocity and solid visual transitions. Lush voicing in the mini-ensemble with a nice contribution to depth of sound by contras was noticed, but the drum sound, even with the fat roll sequences, had trouble reaching the box. Not a lot of clean beats when it did. The blend of ensemble sound produced solid effect. I wanted a bit more in terms of exposure, but I think I need to give this show one more chance. Horn ending was an absolute clinic in attack, release, phrasing and VOLUME!
Biggest Plus: Horns were insane.
Biggest Question: Will it sell better at night? Can't wait to see it on Sunday!
Overall: From the freakin' ridiculous mini-corps (AWESOME...get me the CD, please), to the unique flavor they bring to the table, they deserve the standing-o they got tonight.
7th Hurricanes. Tom Peashey welcomed the corps and proclaimed that this was the only hurricane he wanted to see this weekend. Memories of last year die hard. The corps didn't take long, however, to turn up the heat. "On the Waterfront" began subtly enough with the toms and tympani introducing the 7/8 timing. The shocker was the intensity that followed. The marching technique and execution in the opening block combined with the splash of yellow silk from the well trained guard served notice that this program was one to be reckoned with. The ensemble demand is incredible when the staging of voices is 40 yards apart, but it held up beautifully time and time again. "Dance in the Gym" was just plain solid in all segments. The pit had several opportunities for exposed contribution and the drummers can march (really!). Candide? Guard at the end was simply spectacular.
Biggest Plus: Visual package pays extreme attention to ensemble blend and it shows. Drums gave 'em the nod over Cali & Atlanta.
Biggest Question: The closing chart left me wanting more after the accelerando. The show deserved better than the "formula" finish.
Overall: I had 'em over Minnesota, too.
6th Minnesota. Now hear this: Dynasty drums reach the box! Thank you, Brass Inc for turning up the sound in the battery. Off the line, the corps demonstrates sharp design and clean, exposed marching technique. There is high velocity with changes of pace and feel noted throughout the opener. Clean, clean, clean with superior dance technique from the guard (guys & girls). Drum line has NO FEAR. The sound gets up here and we can decide pretty quickly if the beats are clean. They were. Toms, especially. Hey, look! The guard can spin, too.
Biggest Plus: Ridiculously LOUD.
Biggest Question: Hey hornline...can a brother get some consistency? The control issues that bit the symphonic piece morphed into near-masterful technique into the drum break. So are you good or lucky? And the ensemble tear in the closer was nothing more than a loss of focus. Don't let it happen on Sunday. You are better than that.
Overall: Liked the show. Hated the coat hangers.
5th Syracuse. As a past champion with a rich history and strong esprit de corps, the Brigadiers know drum corps. And if shows were judged on opening fanfare, the Brigs would deserve the highest consideration. But if the corps is given a vehicle that is simply beyond its ability to perform, or the audiences ability to receive, the result is a disappointment. The bottom line with "Spanish Fantasy" and "My Spanish Heart" is that it is the most difficult score on the field this year. But the ensemble tears in the opener alienated the audience and the inability of the low brass to carry the charts from a performance standpoint killed the momentum and, by extension, the musical effect. Percussion was dramatically different. It appeared, their staging was much more integrated into the ensemble than it had been earlier in the season giving them a chance to make a better contribution. Snares have fewer "heroes" which is a testament to their ongoing training. The guard, however, needs to get the same message.
Biggest Plus: The ballad is easily the highlight of the show and might be the highlight of the season in DCA.
Biggest Question: The programming is just so odd. From Spanish to Marilyn Monroe and back again. How does it all fit?
Overall: Sorry guys, the performance just wasn't there. I had 'em below Hurricanes.
4th Bushwackers. Hmmmm. Biggest disappointment of the night. I am not sure I have ever watched a show that was performed at this level of precision & polish leave me so flat and disconnected. Was the hornline "on" tonight? It wasn't 2006, but it was certainly strong in ensemble and blend. Was the drumline "on"? Sure. The snares need to get a better handle on the exposed 16th note phrasing in the opener, but percussion worked in the ensemble. How about the guard? I had them tops in tonight's show. They are championship calibre to the point of exquisite in their execution. So what's the problem? When the staff cheers the loudest, I know the show wasn't written for me. The elements were all there, but it seemed like they were being performed for performance's sake and the disconnect killed the emotional effect. Bernstein...then the blues...it was hard to find the invitation "inside" the show. Last year, I screamed for Harrison. This year...
Biggest Plus: Feet.
Biggest Question: Did I just miss it? I want to see it again, Sunday.
Overall: Guard just might take home some hardware if they can find the emotion to go with the technique. I want to believe!
CLASH OF THE TITANS
Caballeros. I will take a little less control for a little more volume. Thank you, Caballeros. Visual design and transitions are VERY appreciated. Superior and aggressive design and approach. A pinch loose at times, but always intense and with that extra bit of panache that only comes from Hawthorne. If I had a shred of doubt about the hornline, the transition from the drum solo to the mellophone feature and symponic section won me over. EFFECT ALL OVER THE PLACE. A tease of volume and then pure repose...simply awesome. Guard is the most prolific, colorful and, from a vis ensemble standpoint, integrated of the night. Closer brings velocity, volume, tradition, Carmen...everything you asked for, delivered and then some.
Biggest plus: I gave 'em high drums. Snare, bass, tenor, front ensemble...look carefully. They executed better tonight than Empire or Bucs.
Biggest Question: Can the visual performance find another level to close that gap?
Overall: There's a chance.
Empire. Bring on the heavy artillery! "Maria" fanfare was simply ridiculous. The blend in the brass and the ensemble support front to back...outstanding. "Pagliacci" was an absolute WALL OF SOUND. "Birdland"...unreal...volume, VOLUME, VOLUME! Drums get way up to the box. Most unique style of the night...nose level...big & fat...no boundaries. Musical program is so solid. The "Taps" segment is hauntingly effective. Trouble with scoring has to be visual. Field coverage is very limited by comparison. Not necessarily front to back, but the lack of breadth is noticeable. The ensemble is Empire's priority, but the vis effect number is sacrificed for sound.
Biggest Plus: Performance, performance, performance.
Biggest Question: Guard gets lost in the visual congestion.
Overall: Judges got it right on the sheets. So what. Sit back and have fun. It's really good drum corps.
Bucs. Raphsody in Blue. In a word: spectacular. The blend in the hornline is just awesome. Control in volume, phrasing...wow. Coverage from goal line to goal line right from opening set. Visual demand is top in the group. Visual performance is the catalyst. Sincere appreciation for the isolated guard segments as well as their body control. THE BEST PROGRAM DESIGN ON THE FIELD. Unparalleled dynamic integrity and delivery of musical effect.
Biggest Plus: The Bucs are the most unselfish performers on the field. Their collective gift to the audience is magnified by their individual submission to the project.
Biggest Question: Do the snares want the drum trophy? If they do, they gotta play all the notes (especially some of the decrescendo diddles). Picky? Whatever. They don't just give the hardware away. You gotta go get it.
Overall: When you see 'em on Sunday, make sure to appreciate the closer. It is so gripping and, at the end, very satisfying.
"The Sheet"
GE Vis BUCS
GE Mus BUCS
Horns BUCS (ex and effect)
Drums (ex) CABS
Drums (effect) BUCS
Guard (ex) BUSH
Guard (effect) BUCS
Good Night from Rochester...see you tomorrow. If you know me, MAKE SURE YOU SAY HI!!!!!!!!!!!
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I'm typing as fast as I can.
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Joining late..saw QF live from row 49...thanks Eric!
Note: A DCI Quarterfinals ticket is always a great gift. :)
...no WEBCAST TONIGHT?...bummer. :(
Thursday
...Devils going away...the right result and the right spread...yes, 2+ looked about right. What penalty?
...yes, I booed Mr. H...but not until he berated the ExDir on the field; poor example for all.
Upside Surprises?...Cavaliers, Regiment, Scouts (WOW, Madison. You earned the love you got!), Academy (old school from the n.k.o.t.b.; ya gotta love it)
Downside Surprises?...'Coats (awfully flat performance), Crossmen (would it hurt to play a melody?)
Prediction: Gotta be(1 thru 4) Devs, Cavies, Regiment, Garfield
Play on!
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Thanks to those of you who provided a reasoned discourse. The talking points were appreciated.
Here's an idea:
How's about we widen the boxes in order to provide more room for "numbers management?"
I say there's 100 points to work with....the box really says that there isn't.
Would giving the judge more room within the upper boxes ALLOW them more flexibility to make a decision instead of managing numbers and ordinals?
If managing tenths is the unspoken norm, that gives ONE judge the right to decide a show...especially a GE judge who "on any given night" can pull a 5/10 spread out of his or her bum and offset the "tenth game" being played by 4 other judges (literally, HALF the panel!)
(Here's another point: if the 1/10 spreads are in captions that are divisible (both circuits have a GROSS score for certain captions melded into broader caption scores in MUSIC, VIS and PERFORMANCE) that means that 10ths arent really 10ths...but 1/2 tenths. So one GE judge can offset the WHOLE panel.
Literally, one judge making a decision BASED ON A DIFFERENT PERSONAL STYLE or PERSONAL numerical INDEX , mind you NOT an "incorrect" decision, just a "different" decision can deliver a result inconsistent with the others on the panel....and sway the outcome.
Think of how many championships have been decided by 0.1 (or tied). Did "they" get it right? Or, because of inflexibility, poor number's management or differing adjuducation style, was the outcome the result of a systemic shortcoming??
It's a question, not an inference. Please add your comments.
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Why do you assume that because spreads are small that judges lack courage? The point of scoring is not to create spreads, but to accurately reflect the relative quality of corps performances. Maybe they really are all achieving at a very similar level. I would bet that those judges are wishing there was more separation between them, because when they're that similar it's really hard to find distinctions.
...year after year after year after year...
...caption after caption after caption after caption...
Is it really possible for all the judges to decide their "winner" by a tenth? Why yes! It is! They just did it again!
It is a systemic lack of true comparative evaluation.
11 minutes of performance by 135 members in each corps.
Yeah...a tenth oughta do it.
Lame.
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I just peeked at the Murfreesboro recap and, as usual, I see the same thing.
Top corps gets an 18.3, next corps gets an 18.2, next corps gets an 18.1 and, look out for the BIG drop to fourth...a 17.9.
The same spreads are listed just about down the sheet. Only one of the Vis judges had the courage to widen it out a bit (three tenths! almost scandalous!)
What ticks me off is the lack of real courage in the judging community. No judge wants to "decide the show", but, at the end of the day, one rogue, who actually thinks outside the box (literelly, the "box" on the back of the sheet) and emphasizes true comparative achievement (the purpose of a CONTEST!) will decide the show.
WHO WAS BETTER? Corps A.
BY HOW MUCH? A tenth.
REALLY? Coulda gone either way.
AND WHO WAS THIRD? Corps C.
BY HOW MUCH? Another tenth.
That is just crap. Is it that hard to say Corps A was better than corps B?
How can I, the customer, the fan, the person in the stands make heads-or-tails out of a 0.3 spread from FIRST PLACE to FOURTH PLACE? What is this judge telling me other than he or she DIDNT MAKE A DECISION?
If ya got some insight...please share.
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This is a broader problem in society.
I have heard it stated that it is because people have lost trust in the idea that truth can be arrived at by a shared appeal to reason. Debate on the basis of reason used to be the way that politics, religion, etc. were discussed.
With the loss of trust in reason has come appeals to emotion and the manipulation of words to arrive at a pre-determined conclusion which is actually arrived at by non-rational means. This is often a disguised power-grab for whatever version of justice you happen to agree with.
Notice that the word "rhetoric" is now a perjorative. It's no longer something that can employed to appeal to or reveal the truth, it's a manipulation of your thoughts for some end, usually power. Rhetoric is also exclusively what the other side engages in, or "spin," while your side is always speaking what really is happening.
:)
I am making part of your post into a refrigerator magnet (for my own personal use!)
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Too funny.
The DCA Rochester review is the most read thread on the all-age board....as I hoped it would be. Were some of my comments, how shall I say it, "direct?" You bet! But it was all critical analysis based on impression (as a paying customer) and opinion (um....it was a REVIEW!).
You should see the replies I got (not only the live ones...the PM's!). I was made aware of several personal character flaws, called names, mocked directly, given a threat of physical harm and (my favorite) an invitation to perform an impossible physical act.
Shouting "YOU ARE WRONG!" and "YOU ARE A JERK!" at someone is not a discussion. Offering a substantive and logical opinion that might offer new insight might be a good place to start!!
Ya gotta luv it! :P
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Cold cuts and Sunny-D. :mmm:
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Big fan of polls, but always know what to expect in a "Timeline"...it's always skewed to the most recent as memories fade. Or, perhaps, the early shows aren't part of ones' experience.
For me, I'll go with Garfield 84. Stirring. Stunning. Z-pull goal line to goal line to end it. Couldn't believe what I was seeing.
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Thank you very much for the review it was clear and concise and very well written, if one can’t take criticism they need to find another activity to be involved in. All of the corps are working very hard to put out the best possible show for the fans and the judges. And as they say anything can happen on any given Saturday or Sunday.
To clear up one observation regarding “Carmen” We are playing music from Carmen. It’s not reasonable to think any corps with 10 minutes to perform could tell a story that needed 2 and half plus hours to develop on stage.
Thanks again I hope you get a chance to see the shows progress during the season.
Please keep witting your reviews you are very knowledgeable with great recall, I have problems remembering what I had for breakfast.
What's up, Alan Katz?
I appreciate your post and am a sincere fan of the Cabs (Jimmy R. was the reason I got into drum corps in 1978 b/c my mom thought he was "hot". How special it was in 94 when I got to attend his induction into WDHOF and have him sign a photo. Pretty cool.)
I feel compelled to dispute a point that you might want to reconsider. I think it is totally reasonable for a corps to tell a story in 10 minutes that took 2 1/2 hrs to develop on stage.
Any Broadway is storytelling...Phantom of the Opera (SCV / Empire)...here's the good guy...here's the bad guy...here's the pretty girl...everyone says "oh that's so sad"....company front....here's the trophy.
Empire 98...West Side Story. Here's Tony...here's Maria...Tony gets shot by Chino ...Maria is bummed...Company front....here's the trophy.
And if we are playing exerpts, here's the thing: the music tells a story. This happens whether or not Carmen is "running around the field".
If the music, the marching, the expressiveness, (really: the presentation) fails to capture the essence of the story, the emotion, the tragedy...it misses the mark. The story demands to be told. For the audience, it needs to be told.
The corps didn't pick Carmen for Carmen's sake. The Caballeros picked Carmen so they could make 'em stand and cheer. The M&M design is right there (includes guard). The drumming is right there (think I touched on that before). But there's a reason Empire won horns and GE. The Carmen show has to find it's way across the sideline. Saturday? When measured against 06? When measured against Cab expectations? It just didn't happen. Sorry bout that.
P.S. Too many posts make it look more like an ego trip than a conversation or discussion. SOOO: I am going to leave the Rochester show behind and, given the spirited repartee I have disgorged, look forward to my next review (which will be Pasadena QTRS, then DCA Prelims!) I bet none of you can wait!!
Simon says...horns up!
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When it comes to Brigadier nation, I have upset the apple cart. Since I appreciate esprit de corps, I will not memorialize in writing some of the private replies I have recieved Since the rhetoric has calmed down, I have been asked to clarify a comment or two (thanks for asking). I figure "why not" so here goes!!
After the ballad, the emphasis in the brass is on several attack-release segments. There is a high degree of difficulty here and through the close of the show(this is what I meant when I said the ensemble demand is extreme).
There are gaps in the horn chart that allow the percussion to make an exposed contribution. Unfortunately, this is where the perc chart gets awfully thin. This is a section that allows for snare-tenor-base vignettes, as opposed to snare feature / tom feature / bass feature. But the lack of impact (no read-able bass unisons for example) combined with front to back parts that didn't line up from a performance standpoint (phasing) and you have a section that simply falls flat. Like I said, the execution is paramount to generating the proper emotion. And the writing has to be more than heavy note playing and a bang at the end. It almost seemed as if they couldnt wait to get to the end of the phrase.
Dynamically, the horns need to play much louder but would likely sacrifice even more control so,, from a performance standpoint, that is a death spiral. No one said it was EASY!! And the battery, purely from a quality of sound standpoint, sounds awfully muddled. You can crank on those things all day in the sun, but the depth of sound that reaches the box comes from a lower pitch.
Important point: Impression is part and parcel of the GE score and performance boxes, so we have to be cognizant of that. Intention (and I know there are capable writers and techs on staff and we all "do our best") is not something one can interpret in a musical performance. The audience, unlike the judges in July, give credit for delivery, not degree of difficulty or "intent". With the audience it's "what did you give me?" And if I liked it, I'll give you something back. They don't care about rewritten drill, holes in the voicing or esoteric musicality. If the audience member gets to see ONE show all summer, they demand delivery THAT NIGHT in order to be satisfied.
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I FOUND A PICTURE OF THE ORIGINAL CARMEN ON WIKIPEDIA!!!
But she most certainly was not "running around."
No help for the Cabs, there.
Maybe she can play a horn.
Or give her a mic and she can narrate. :P
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Edited to tone down the rhetoric...IT WAS JUST A REVIEW!!!!! They do those, ya know!!!
DCI & DCA the best and not so best from the stands
in DCI World Class Corps Discussions
Posted
A view from the stands at DCI and DCA.
In a non-scientific observation of a group of 8,000 drum corps fans in Pasadena (DCI Quarterfinals) and a group of 8,000 drum corps fans in Rochester (DCA Finals), I was able to draw the following conclusions when it comes to delivery of product and audience response...
AND given the assumption that someone standing while clapping, cheering, whistling or yelling is a person who has just seen something worth standing, clapping, cheering, whistling or yelling about;
Here's what I came up with:
The most dramatic, positive and prolonged reactions from the audience were granted to performances by:
1. Blue Devils (off the chart)
2. The Cadets (off the chart)
3. Madison Scouts (two standing o's during the performance, just about throwing babies at the end, bigger response than Cavies)
4. Cavaliers
5. Carolina Crown
6. Regiment
7. Troopers (yes, more than Vanguard, et al)
8. Academy (yes, more than the other 7-12 Finalists)
1. Empire Statesmen (off the chart, almost ridiculous)
2. Buccaneers (off the chart, appreciation of excellence)
3. Caballeros
4. Renegades
5. Crusaders (watch the dvd and listen for the response, standing o Saturday & Sunday)
6. Music City Legend (proving that when you perform effect, it gets the desired result)
Even if the corps was already "slotted", it appeared that the audience members wanted to root for the corps that were listed. In Madison's case, the underdog role played into the emotion. Same with Music City Legend.
For the Troopers and Caballeros, the flavors of tradition may have added to the connection.
For Academy, the throwback style of programming may have been the catalyst. Or, maybe, they were embraced because they were new (though newbies in DCI have often met with the opposite treatment).
For Renegades, it was that horn line!
For Empire , it was Empire.
Cavies, Crown, Regiment and Buccaneers, it was excellence.
For BD and Garfield it was excellence bordering on the absurd.
The corps that generated a response NOTEWORTHY in its indifference:
1. Crossmen (an extreme example)
2. Seattle Cascades
3. Brigadiers
4. Mandarins (big show, big corps, written beyond capability to generate response, imo)
5. Kilts
...the corps getting the least response played the shows that were least musically accessible.
Crossmen and Brigadiers had almost the SAME show CONCEPT...kind of a "greatest hits" deal.
Now, I like Crossmen. I have their 90's CD in my car. I can name the tunes without looking them up on corpsreps. And I heard them ALL in the medley that took up the first 4 1/2 minutes of the show. But it seemed the staff wrote the show for only CROSSMEN people at the exclusion of everyone else.
Well you just "DIDN'T GET IT." Didn't get what? This show was shocking to me, mostly for the amount of reaction it DIDN'T receive.
Same with Brigadiers. Shocking in the lack of response at the end. When the Brigs played to emotion, THEY GOT IT! The ballad worked! But the balance of the show...the bookends...the invitation (opener) and the culmination (uh...the closer)...left it so very flat, flat, flat. Not my OPINION, my OBSERVATION.
Cascades. What if I brought a rookie to a drum corps show and could ONLY show them ONE CORPS? Seeing Seattle, they might say "...that was 'nice'", or "...it was 'interesting'", but they'd probably take a pass if I ever invited them again. Would it hurt to play a melody?
So what conclusions can I draw? As a fan? As a critic? As a customer?
The fact that there were 14 standout, off the chain, get-up-and-dance corps in the top-tier 2007 offering means that alot of people are doing alot of things right.
I like that.
Out of 34 open-class corps, the audience went just about ballistic nearly half of the time. And there were only a few bombs. And, the neat part about DRUM CORPS is that the corps that kinda bombed are corps that have CHAMPIONSHIP RESUME'S...which means they'll be back.
I like that, too.
So, now that 2007 is over, I get to look forward to next season.
So do you!!!