trptjock

Sold! will send money today.

I purchased this DVD when it initially came out and thought the price was a bit high. But having said that, the DVD also comes with .pdf files of many of the BD warmup exercises that are demonstrated on the video portion of the DVD. Seeing the corps demonstrate the various exercies regarding breathing, pedals, lip flexibility, articulations and chorale/chord voicings really give the music educator some ideas on what is made available by the product and what you can have your ensemble do in future years. Keep in mind that the exercises may change (or be alterred) from year to year, but the concepts will still be solid in many ways. It is not very often that you get a chance to re-establish a sound concept in your head (much less through the eye) by the visual and aural aspects of this DVD. Plus, when you have materials that the BD staff have put together for your education, it will do nothing but help you and your program reach new levels. How many of you can say that Wayne Downey or John Meehan wrote your warm up routines, or chorales that you play for a season. The DVD portion may be pricy, but coupling that with the 50 page Brass Technique and Warm-up Program is well worth the money invested in this product. Plus, don't think of the product as being costly, think of it as an investment in your career or potential career as an educator. The normal drum corps nut (which I am one of them) may/may not buy the DVD, but an educator will make the investment because it is an investment worth making. Plus, you can easily print out copies of these exercises and hand them to your students and use these time and time again. Here is the other thing to consider. With any other DVD that is put out by other corps, there are no supplemental materials that you can walk away with and utilize with your band program or musical ensemble. The price of the Drum Corps DVD is high (in comparison to other DVDs on the market for mass consumption, i.e. movies, etc.) because the market is rather small. The target market for the 2006 Cavaliers Tour DVD is not as big as say the market for any movie that has come out in the recent past. Because the price is higher (between $20.00-$30.00) the corps has to reap some profits from their investment on the product. And, what do you really get from the DVD? 1. A few moments from rehearsals with the corps, 2. A few shots of the corps drumline, color guard, hornline in warmups at a show, 3. A run-through (via members perspective) 4. Three different camera angles of the DCI show from that season. 5. Post Finals Show commentary-possible stand still performance 6. A few interviews of the members on "A Day in the life of a member of (insert corps name here)" 7. An interview or two with some members of the instructional staff / design team. 8. Some "outtakes" 9. Possibly the Willie Nelson song "On the Road Again" video montage. (ahh those were the days...sniff) There are no examples of warm up exercises or explanation of techniques given in the DVD. Which would be one of the things that would interest me in purchasing the materials. I wish other corps would follow the trend of what the Blue Devils are doing and offer the general public a sample of their warmup and technique book. Cavaliers do (in a small way-via audition packet that is available at their souvie booth), Cadets have recently published a book on the warm up exercises via Gina Cipriani which is a very valuable source (but no audio-visual supportive materials to back the book). Outside of these three corps, I don't see much in terms of supplemental warm-up/technical materials for music educators. Perhaps the tide will change?

any still available?

I am an alumnus of UNT (1994-2000) and had marched in Phantom Regiment from 1991-1993 (lead soprano), then taught the soprano section at Regiment in 1995 (while still in school). While I was at UNT, played in the Wind Symphony, Symphony Orchestra (as pricipal trumpet), One O'clock and Two O'clock, Collegium Musicum (early music ensemble), NOVA (new music ensemble), the faculty brass quintet, one of the student brass quintets, the UNT Brass Choir and the Baroque Trumpet Ensemble. Good times. I now teach trumpet at Auburn University. Also, the current brass caption head for SCV is on faculty at UNT as well...Nick Williams

I am interested in this instrument. Please send pics as well as your asking price. Dr. Vasquez

What if all the corps that lost the title by a tenth had actually won. What if the corps that folded due to money issues had never folded. What if the DCI tour resembled the regional tours of the 70's, 80's and early 90's than today. (on a related topic) What if DCM, DCE and DCW were still around.

I can speak about this topic as I have seen it from a staff and member perspective. Many staff members in "Brass" highly encourage younger members to march in Div. 1 corps before they choose marching in Brass. With so many quality corps in the Midwest it can be quite a daunting task to narrow your choices. Many of the members from recent past in Brass come from Madison. With the Madison Scouts, Phantom Regiment, Cavaliers, Colts and Blue Stars in a somewhat close proximity to the Twin Cities area there are many options for younger members to pursue their corps of choice. One other factor to consider is that MBI also has a more flexible schedule (though a weekly schedule) that allows for members to maintain a day job and still participate in the activity on Wednesday evenings as well as some weekends. This option does interest a few younger members in the activity with parents that may not be able to afford to have their children pay excessive corps dues for marching a full summer. Now, there are some younger members that get their feet wet in marching MBI and eventually go off to march a Div 1 corps. Most of them choose Madison or Regiment, but a few have gone on to march the Blue Devils, Bluecoats and even Cadets. Getting some experience in the activity is always looked upon with favor for getting into "The big time". Potential members with no corps experience will have to make a favorable impression on the staff members at the corps they are auditioning for in order to get a spot. Most applications ask for "Prior Drum Corps Experience" and marching in MBI can sway a vote in their favor. Experience is experience. Marching in a Div III corps or a senior (all-age) corps gives each member marching experience. Some units are more competitive than others, but the experience is almost identical. With the Blue Stars having hosting their camps at Irondale High School, now provides a number of students with the option of marching a quality drum corps within driving distance in the state of Minnesota. Not to mention that it is serviced by an international airport, so getting to camps is not a problem. Having served as Brass Caption head from the Blue Stars in 2002-2003 I can see why the corps had some issues in obtaining members being based in LaCrosse. Location was a slight issue, but other than that, there was the growing issue of facilities to house the corps for camps and "Move-Ins". Rehearsing at the Octoberfest-Grounds in LaCrosse helped give us some valueable time on a parking lot for many weeks during the summer, but nothing beats rehearsing on Grass...especially those with ankle or knee injuries. With MBI and the Blue Stars sharing the Twin Cities area, I do not see any growing concern for the two organizations to assist each other on and off the field. MBI can be a feeder to the Blue Stars and vice versa. We are all in this together. FCO... For all we know... SUTA!

Please PM me about the remaining Contra that is available. I am looking for one and may be willing to purchase one if the price is right. I hope to hear from you soon. R.V.

The staff members that left a lasting impression on me during my marching career were as follows: Albert Lo: Marched Regiment back in the early 80's, taught in the late 80's and into the 90's. Such a wealth of knowledge and motivation from such an unassuming person at first glance. He was the reason for my return to the corps after my rookie season in 1991. He had a genuine concern for his section and the corps. I have nothing but the utmost admiration for what Albert taught me when I marched my three seasons. Now he is a DCI Judge and a band director in San Antonio Texas. His students are very lucky to have him as a teacher and mentor. Dan Farrell: LORD FARRELL. He was the sound of the hornline and will continue to be the main driving force of what the Phantom Regiment has been and will continue to be for many years to come. My fondest memories of Dan have been when he would pull the hornline together and motivate us to give that extra "umph" to get to the next level. A constant perfectionist and motivator of what he wants for the hornline, he is the true embodiment of what Phantom Regiment hornline is! Tony Hall: I have never met anyone on the visual side of the corps that could do what Tony did for the corps. Another person who knew how to motivate a group of people at the drop of a hat. So few people could apply everyday events into life lessons. Also was a visionary for the corps during his first year with us (1993-my ageout year) and took the visual program to a new level. He also had to fill some very big shoes left by John Brazalle. But his vision of the visual program led to the implementation of the Crab-walking Wedge with the 360 rotation, the "On filed" Pit and its use in the drill and the use of the Regiment Helmet as a framework for "The Fire of Eternal Glory". What else can be said.

My biggest thrill was my age out year, when the hornline did the crab-step and a 360 at the end of the opener on finals night and the crowd went crazy. I still listen to the CD's now and I still get goose-bumps. Good times

Top Five that I was involved in as a member (during my three years marching Regiment) 1. Regiment 1993-360 turn at end of the opener. 2. Regiment 1993, Fire of Eternal Glory push to The Wedge. 3. Star 1993, Medea's Dance of Vengance past the drum feature to the end. 4. Blue Devils 1992, When a man Loves a Woman. 5. SCV 1992, The Bottle Dance-seeing it live was awe inspiring. As a staff member. 1. Blue Devils 1995, opener and Caribe 2. Madison 1995, Ballad and Malaga 3. Regiment 2003, Canon reprise 4. SCV 2006, closer 5. Regiment 2006, closer All time spine tingler shows. Phantom 1989 (my reason for marching Regiment), 1993, 1995, 1996, 2002, 2003, 2006 Blue Devils 1988, 1990, 1995, 1996, 1999 Cavaliers 2003, 2004, 1988, 1989, Star of Indiana 1993, 1990 Spirit of Atlanta 1979, 1984, 2003, 2006 Cadets, 1989, 1990, 1987, 1993, 1995, Crossmen, 1991 Madison Scouts 1992, 1995, 1997 SCV 1987, 1988, 1990, 1995, 1999, 2001, 2002, 2004, 2006 But, really there are too many to list. So many wonderful moments in DCI History.

Fred, I am interested in one of the King 2-valve Contras. How much are you selling them for. Please let me know. Dr. Ramon Vasquez

Agnelbugler, So, the instruction was not shoddy, as I had performed the solo the entire summer. The added "Special effects" were done so two weeks before finals, so I had rehearsed them but never performed them in a show until the week prior to Finals. Albert only recommended that I try something different. Working on that GE moment before finals went fine. Nobody can judge when saliva will enter the mouthpiece at any given moment, especially under the hot lights of Finals night. So there ya go. As far as my mouthpiece I used back then, I was playing on a Schilke 13A4. I have changed mouthpieces for specialty playing from then. I now use a Karl Hammond RV Model (Ray Vasquez) for lead work. It is similar to a Marcinkewicz "Roger Ingram" model mouthpiece. Very good for lead playing-not for all types of playing. Good times. Ray

Tsar NICK, Dude, things in Tiger land are going great. Trying to get more students in the trumpet studio at Auburn University, but that is a given. Right now, the trumpet section in the marching band is a good 60 members strong which is a 33% improvement from last year. The trumpet studio here is 15 members strong and looking to get bigger next year. Keep it real for Regiment in 91 BABY. SUTA

So here was the deal with my solo in the 1991 production. As I got into the beginning portion of the solo, everything was going great (some of this is a little bit foggy--remembering what happened 15 years ago-----man I'm old) but one of my valves was sticking-so that was fun to deal with. At the end of the first portion of the solo (during rehearsals) my soprano tech (Albert Lo-now a DCI Judge) told me to do something different rather than just walk up to the front of the field and play the second part of the solo. So I decided to spin my horn like I had seen with the trumpet player from Earth, Wind and Fire do during concerts and on TV. So I did that which was fun to do (and got a crowd reaction-which was very effective) but I had to rig my horn so that my thrid valve slide would not move as I spun the horn. Now, because I spun the horn around, some spit moved towards the mouthpiece end which made my normal seal on my lips more slippery than what I usually play on. I play on a dry embouchure rather than a wet one-for those of you who care about that stuff. So with saliva in my mouthpiece, it made the initial few notes of the second portion of the solo not respond like I would have liked. Which, in turn affected the outcome of a portion of the solo. But the final notes of the solo came out like they were supposed to...ending on a double B-natural (on a G bugle). So hopefully that answers some questions about why that solo was not at the "Level" as the rest of the show. Also, keep in mind that this was my rookie year and I caught grief the entire summer from "Power vets" about my being a rookie soloist which was unheard of for that corps at that time. But I would not have traded my experience with Regiment for the world. I was very lucky to have marched three fantastic years with the corps. 1991-Phantom Voices 1992-War and Peace 1993-the Modern Imagination Regardless of the turn out from the placement of how we did during those three years (3rd, 8th, 3rd), the various shows from those three summers of all the corps were quite memorable.Very Very cool stuff. "Practice Hard, don't Hardly Practice"

Yeah, I am at Auburn University.

Hello all, I have been curious to see who has won the High Brass Performance trophy from each year of DCI's existence and thought that this would be a way to get a definitive answer. Perhaps this topic has already been discussed on an earlier post, and if so, can someone direct me to that post. Information of this sort is hard to come by, but good drum corps trivia to the novice and expert alike. Thank you for all of your help in compiling this list. Cheers. Dr. V.

Scott Stewart (Madison Scouts) Gail Royer (Santa Clara Vanguard) George Hopkins (The Cadets) Come to mind.

Tim, I have to disagree with you on how Spirit has watered the horn book for the Warrenton show. As the Co-Brass Caption Head, we have not removed anything from our book since mid July. What you may confuse watering the book is actually cleaning the book. We have been a bit dirty over the past few shows and have had a few days to clean. I appreciate your comments and hope you will continue to enjoy our show for the remainder of the season. Dr. Ramon Vasquez Professor of Trumpet Auburn University Co Brass Caption Head with Spirit of JSU Drum and Bugle Corps.

If the main discussion is on sound quality, you should note that the bore size of the instrument and the key in which it is built in do play a role in what is percieved to the audience. The "G" horn was built for outdoor playing ONLY. I have never seen anyone (in my 20 years of professional performing) take a G bugle into an orchestra, concert band, jazz band or funk band and use it because it DOES NOT blend with anything else in the section or in the ensemble itself. The "B-flat" is made to be a multi-faceted instrument that can perform in both venues...well. The "G" horn in comparison to the "B-flat" horn has many modified components that give it the sound that you consider "a true trumpet sound" when the G bugle is not a trumpet at all-it is a bugle. 1. The bell flare on the old "G" horns was considerably more conical much like the flare of a flugelhorn (to a point). The flare on the "B-flat" horn is more tapered to get a very focused sound at one specific spot in the audience or on the performance venue. 2. Outside of the flare is the bore size (how big the horn is internally). The "G" horn was standard at a .468 bore (at least my Kanstul was). Standard B-flat bore size is between .459-.464. The difference between the .459 and .464 is the difference between a "Medium Large" Bore and a "Large Bore" horn. The other instrument that comes with a .468 bore is considered an "Extra Large Bore" horn. Both Schilke, Besson, Kanstul, Holton and Bach (on special order) have instruments that use this "Extra Large Bore" size. 3. The other thing to consider also is that the instrument (the bugle) is more of a conical bore (gradually gets larger throughout the instrument) horn while the trumpet is a cylindrical bore (internal size remains the same througout). Now, if you were to take a Holton MF Horn with a .468 bore onto the field for a competition, it would still get this "thin non-trumpet" sound (even though it is a trumpet to begin with). The reason why is that the bell flare is still tapered like that for a trumpet. The Kanstul "Collesium" Trumpet does feature a .470 bore (larger than the G bugles) and has a large flare to the bell-similar to that of the G bugles. The drawback is that this horn is very hard to play due to the fact that it is TOO BIG. Spirit from JSU had used these "Collesium" Trumpets for some time before switching to the Yamaha Xeno RGS. The Kanstuls were harder to play in tune with each other due to the bore size and the resultant tone was not like that of the "Normal" B-flat sound. The Xeno RGS that we use now is a very versatile horn with its reversed leadpipe construction (which makes the horn blow freer) and its "Medium Large Bore" configuration. It still blows open, but has a trumpet sound to it. 4. Another thing to ponder is this, orchestration and arranging. The "OLD SCHOOL" days of drum corps when the soprano soloists were in the stratosphere may have sounded like gods with a thick, full, rich, (insert catch phrase here) sound. But in reality, they were still playing a Minor 3rd lower than that of the B-flat. So if the soloist was playing "Double C's" during their solos (on a G bugle) it was an "A" above the C above the staff. This is still impressive, but not nearly as high as many would percieve because the entire hornline was playing on G bugles. With the soloists of today, the writing hasn't removed the instruments from the extreme upper register. There are still soloists that play well into this register with ease, but it (their sound) does not carry as well, because the upper register no longer has the same effect as it did 10-15 years ago. Blue Devil Soloists play a "Double C" and it doesn't have the same tone because, the overall sound quality changes from one pitch to the next, especially within a certain register. That can be due to fatigue (body and lip), mouthpiece selection, airflow, and where it is in the music. Yes, there may be people that can play up to "Double C's" in thier warmup or in the show, but you can never really hear them unless the corps does not play in order to hear this "EFFECT" by the trumpet soloist. Listen to the recent soloists and see where in the music their "Double C" comes in. More often than not, it will be when no one else is playing or when the soloist (s) are on the front sideline because this instrument (or their sound quality) won't carry past a certain physical place on the field. This obviously takes into account the fact that the instrument is highly directional and facing away from the crowd (as opposed to facing the crowd) will make the sound softer. Also, if the soloist is still on the front sideline and faces backfield, you can still hear them play due to acoustics. If you had that same person play that high note facing backfield on the center of the field, you may not hear them as well, unless you have back stands to bounce the sound off of. The writing of todays drum corps have not changed, they still write in the same registers as they did 15 years ago. The talent pool has improved, but most of the corps members are still developing as trumpet players physically. The fact that you may have one person play a "Double C" at the end of a warm up or chorale or some piece of music is impressive, but it does not really come OUT of the ensemble texture due to the fact that all hornlines are looking for a BLENDED SOUND. In fact, the sound is often thin and unsupported because that particular person may not know how to play the instrument well. The corps just may be using this person because he has freak high chops and so they use him for effect. Many judges are now looking for "Individuals Sticking out of the ensemble" and they will deduct points from the score because of that. Even if the effect is desired in the horn book. The tone quality must match player to player, and the desired effect must be EXACTLY that a "Desired EFFECT". It should sound like an extension of the chord with a resultant high overtone above the ensemble. If you listen to the Cavaliers over the past 5 years, they do not have people "Stick out" of the ensemble, their overall balance and blend is quite good if not great. Most concert bands don't sound as good as they do...and they are MARCHING! The arguement that the G Bugle gets a better "Trumpet" Sound is a farce, because the G Bugle is exactly that...a bugle. Not a trumpet. If you want to hear good trumpet sounds, listen to these performers: Niklas Eklund (Baroque trumpet-with no valves) Crispian Steele Perkins (Baroque trumpet-with no valves) Maurice Andre (piccolo trumpet) Haakan Hardenberger (soloist) Jens Lindemann (soloist) Eric Aubier (soloist) Pierre Thibault (soloist) Guy Touvron (soloist) Phil Smith (orchestra) Adolf Herseth (orchestra) William Vacchiano (orchestra) Frank Kaderabeck (orchestra) Micheal Sachs (orchestra) David Bilger (orchestra) Thomas Stevens (orchestra) Anthony Plog (soloist) Jeff Curnow (orchestra) Chris Martin (orchestra) James Watson (orchestra and soloist) Howard Snell (orchestra and soloist) Maynard Ferguson (early 1950's-70's) Doc Severinsen (anything) Tony Kadelek Roger Ingram Wayne Bergeron Bobby Shew Rick Baptist Charlie Davis Walt Johnson Lynn Biviano Wynton Marsalis Clifford Brown Woody Shaw Tom Harrell Ingrid Jensen (jazz soloist) Bibi Black (soloist) Susan Slaughter (orchestra) Charles Schluter (orchestra) Ray Mase (soloist) David Hickman (soloist) Sergie Nakaraikov (soloist) Allison Balsom (soloist) Rex Richardson (soloist) Armando Ghitalla (orchestra and soloist) Allen Vizzutti (soloist) Rafeal Mendez (soloist) Arturo Sandoval (jazz soloist) The real question now becomes, who has a true trumpet sound. They all play trumpet. They all are great players. They all have recordings available. They all have studied trumpet at some point in their careers. The answer is: THEY ALL DO. The only one with drum corps experience is Chris Martin-Spirit 1993, now pricipal trumpet of the Chicago Symphony Orchestra.

Looking to buy a King 2 Valve Mellophone in G. If anyone has one for sale, please advise. Sincerely, Ray Vasquez

Is the King 2 Valve Mellophone still available? Please advise. Ray V.

There are no books that are specific to the G Bugle. If you are to practice anything, use the books that you are familiar with currently. They can be the Arban, Clarke, Irons books that address technique and flexibility. With the G-Bugle now becoming more obsolete, it would probably be a safe bet that you may want to reconsider the purchase of the G and purchase a horn that can be easier to adapt to in many of the most competitive units in the activity. If you play mellophone, see if you can find a mello in F. Just a suggestion.

In 1987 and 88, Regiment had a half white cape that was placed over the right shoulder. It masked intervals and hurt the clarity of the forms a bit. In 1989, the cape was replaced with a longer black baldric that draped over the right shoulder to about waist length if not a bit lower than 6 inches past the waist. In 1990, the corps essentially kept the same uniform but adjusted the baldric length. In 1991, the corps switched the baldric color to silver sequense with black trim, but we also had a half cape that draped over the right shoulder like 87 and 88. 1992, the cape was gone (with the exception of the drum major) and replaced with a drop from the baldric that was the same material (silver and blue lemay-sp.) over the right shoulder. The drum major uniform with its drop in the front, was to be seen by the whole corps over the first part of the season. We adjusted the uniform to be one that was of the familiar baldric pattern, but with silver and blue lemay on the underside of the silver baldrics that we had from 1991. In 1993, (my age out) we returned to the black baldric of 89 and 90 but the underside of the baldric that could be seen from audience had a specific color that matched that of the color guard. The underside color were very vibrant and stood out. I want to say the underside baldric color was removed in 1994. In 1995, the corps kept the same style of uniform but moved from a white uniform to a black one. The baldric that we used in 1991 were re-used in 1995. So the only thing that changed were the base uniforms. In 1996, the uniform remained the same but the baldric changed to a black velvet one. The corps chevron (modern design) was embroidered on the right side of the chest on the uniform giving the uniform just a subtle hint of color. This was also heightened by the color guards uniform of the red dresses and simple color scheme. After 1996, I am uncertain as to the changes of the uniform from those that were after this year. I hope this answers your question. Ray V.

Personally, when Regiment changed their uniform from Black to Khaki (sp). Best of all time for me would be Regiments first use of the black baldric in 1989 and reintroduced it in 1993 (my age-out). So many memories. Another uniform blunder Regiment made was the early season uniform we had in 1992. It looked like something out of Star Wars. Imagine the entire corps in the mear exact uniform as the Drum Major in 1992 with the pseudo baldric/sash/ thing we had. Thank God Mike Cesario adjusted the uniform to be more of what it was in the past.