FHdork

Rifuarian, I am in complete agreement. DCI is brilliant in their reading of our collective willingness to suck down whatever they offer. I decided years ago (after a 3rd try at enjoying the RCA dome) that I would never attend in a dome again. And I'll stick to my personal pledge. Would there were others...

<The problem doesn't start with how designers program, it starts with what the judges reward.> Ditto (I know...I'm hearing that hilarious scene from Blazing Saddles, too....all from the word...'ditto') But seriously - as Bruckner pointed out, the kings of design in drum corps (and they are all 'kings') like things the way they are. As an amazing horn instructor I know once said, 'everyone likes to play with their toy - and drum corps is the ultimate toy' (or something like that...). The influential get something out of drum corps being the way it is - they are rewarded psychically - psychologically - by seeing their creations performed as they conceived them. They have unconditional love for their offspring, and it doesn't matter if their baby is a monster or not - they love him. And that's not even mentioning the charge they must get out of every member working their tail off to bring the designer's vision to life. Imagine the ego stroke from seeing your artistic child given that kind of effort from so many different people? I cannot see the designers working today moving in more entertaining directions. They've sweat artistic blood in bringing the shows we see on the field to life, and no matter how many of us call their baby ugly and in desperate need of a post-birth abortion, they're going to continue to create similar babies. Lest you all think I hate all drum corps shows...I don't. I like much of what I see and hear. But Hop's friend is absolutely right: I'm almost never drawn out of my seat by the sheer power of the performance. I appreciate the shows we are all decrying - but on a more intellectual level than an emotional one. I miss that visceral, emotional reaction to shows - which is, I think, the point of Hop and his friend -

<Dorkissimo> That's Me! I knew you'd figure me out, Bruckner.

Bawker, maybe drum corps would be ready for Nielsen if they were treated to 39 seconds of Nielsen, followed by 1.5 minutes of Dream Theater, followed by 30 seconds of Stravinsky (but only the 'good' parts...), and finally 6 minutes of Malaguena, or 1812, or Festive Overture...

<Do I know you?> Could be...do you know any horn playing dorks?

Now here is a work a great horn (and drum) line could really sink their teeth into: As one posted put it: "now THAT'S the way to start a symphony!"

<Hype can commence from a title? lol, wow, we must be really bored around here...> My sentiments exactly...

<Thats really all drum corps shows are...a few moments strung together. Personally, thats why I think that soundtracks work so well in marching band/drum corps> This is, in one simple sentence, what separates a lot of the current crop of drum corps fans from some of the older ones. I could not disagree more with the position it represents. Yet for most of drum corps history that's been the pattern. My favorite shows are almost always ones that present some kind of unified musical message. To me, 10-12 minutes is ONE piece - one moment...not 3-12 moments. For that reason, I cared little for the Crown show that was nothing but endings that they did a couple of years ago. I also disliked the 60s and 70s shows that would play 1 minute of Mahler 7, then go right into some Maynard tune, only to shudder over into Calypso. Even though a film score is composed by one person, that does not mean the music will fit together. Many film composers are tasked with writing rather bland music that will prop up the scene without being too good. How fortunate we are that Williams and a few other composers have been able to rise above to muzak-like plateau of the usual Hollywood fare. But even then, a Williams show would suffer from the extreme familiarity of the music. The audience would be continually comparing the music in the drum corps setting to the many film viewings - a high hurdle for any corps. The best shows (imo...as always...) take music and create a new art - a music and visual treat that stands alone: drum corps. Godfather, Spin Cycle, the '01 Cadets show, SCV 04, Phantom 93, 96 and 08, 93 Star, and many more have accomplished this. But many more have not...

Every horn player knows the Damase Berceuse (if you don't, get it - it's tasty!) - he's also written a Sonata - quite well done, as are all his compositions -

I'm a BIG fan of the Rheinberger Sonata. If you've ever wished that Brahms had written a sonata, then the Rheinberger is for you - very Brahmsian and Romantic. It's also quite reasonable with plenty of rest and reasonable range (Bb is the top note, if memory serves...). Alec Wilder is also a favorite of mine - especially Sonatas 1 and 3, and the Suite for horn and piano -

<I've been pushing the Janacek for Phantom Regiment EVERY year. > Yes Mike - I saw your post earlier as I read every post in this thread before I suggested these two works (Janacek and Rachmaninoff...). Frankly I was surprised you were the ONLY person to suggest the Janacek. So...I added a voice to yours. I know Phantom 'did' the Rach Rhapsody in...what, '95? - but they only did the big tune. I'd love to hear someone dedicate their entire 10-11 minutes to this fabulous set of variations. Because each variation is short, there is ample material from which to craft one of the great symphonic based drum corps shows of all time. The role the piano plays is, of course, indespensible in the orchestral setting - but in drum corps, the flash of the keyboard can often be downplayed and the brilliance and sparkle of the accompanying orchestral writing can be brought to the fore with, imo, 'baby throwing' results. the French Horn Orch Dork...

Two orchestral works I've always wanted to see done - but only as COMPLETE shows (not as part of a pastiche...): Janacek Sinfonietta Rachmaninoff Rhapsody on a theme of Paganini Each would be amazing shows in the hands of the right arranger...and of course, the right corps.

Check out these podcasts - which for a number of years have covered 100 different topics, most all of which relate directly (or closely...) to the mellophone. See specifically episode 15: http://www.mellocast.com/1-20.html One of the posters to this particular thread is a regular on this show -