Schnitzel

I'm not really qualified to have an informed opinion, since this was my first mini-corps experience (as a judge, no less), but I hope whatever obstacles are in the way are solved, because this is an excellent medium for the performers AND audience! There are so many possibilities unique to this format, where individuals can "fill up the room," while the full ensemble can dominate. The possibilities are endless!

Wow! That's awfully kind . . .

This is absolutely, categorically not the case. Fully one-half of the GE Caption scores come from the repertory that the corps present. Additionally, the performance subcaption is directly influenced by the composition/design and the skills it allows the performers to demonstrate. You cannot separate the emotional, intellectual, and aesthetic appeal of a show from it's component material.

Might I suggest a Dale Carnegie course?

That your bias?

Boy, this post went over well, huh?

Some very interesting interpretations and insights . . . thanks for taking the time to share!

Until the corps appear together, in the same venue at the same time with the same judges, the relative scores are not directly comparable. In other words, wait for Minneapolis!

My guess is that the terms changed exactly when the instruments did - Bb trumpets rather than G soprano bugles, and BBb tubas instead of G contrabass bugles. Both greatly improved the quality of sound and completed a full-chromatic range. Also, both are "real-world" instruments, as opposed to bugles. You can use them in orchestras, wind ensembles, etc.. As to the band vs. corps thing: they're ALL bands of instruments, whether you like it or not!

http://www.marchingroundtable.com/

"Succeeding" for who . . . the spectators who invest $50-100-200 and a couple of hours, or the performers who invest $1-2K and a few months? Obviously, both are important.

Is it just me, or is this "discussion" comparing 96 or so 18-21 year-old brass players with 6 sets of tympanists spread across 80-or-so yards of football fields in sub-standard acoustical environments in non-climate controlled conditions compared to 12 professional brass players and one professional tympanist in a regulated acoustical and temperature/humidity controlled venue nothing but A GIGANTIC WASTE OF OXYGEN? Ever hear the Chicago Symphony from the 20-yard line? Didn't think so.

You certainly have a command of numbers! :^ )

I can assure you that judges fees have not been raised in several years. For a "normal" 8 corps show, a judge makes a whopping $250. $50 more for World Championships. A minimum of 24 hours investment for two-fiddy. Still want the gig?

You might also consider that as DCI is a "loose confederation" of non-profit educational organizations, the recorded communications between adjudicators and teaching/design staff are protected by by both copyright and educational disclosure statutes. The evaluation and subsequent dialogue is legally confidential. In short, the performers are amateurs (mostly minors) that pay for the privilege of the instruction and assessments, and the adjudicators are sub-contracted hobbyists. Not very glamorous by NFL/NBA/MLB/MLS standards, but more related to posting your kid's school evaluations on the local TV news, than instant replay.

Too crowded up there . . . the differences in World Class percussion sections are so minute and nuanced that the results can change pretty drastically for any given performance. Perhaps more than any other caption. Factor in the ridiculous sampling logistics of one person scrambling around 130-or-so young adults flying around with instruments and weapons . . . I'm surprised the scores are as "consistent" as they are. Stable scores = slotting. Volitile scores = inconsistency. Or so conventional wisdom has it. At least the performers feel they have a chance to excel?

If you're not actually "out there" with the percussion judge, how can you know what they see and hear? If anyone could do that, why would we even need a percussion judge on the field? What exactly is it that you "suspect?"

Huh?

IMHO, you've hit upon an important consideration. I've been to contests where there seemed to be as many staffers as performers. Maybe they are some/most/all volunteers (which I think is great!), but it begs the question, nonetheless.

Agreed - the membership itself is the financial core of the corps.

Just like the individual drum corps shows take time to develop, so will the new judging system. One thing is for sure: the three judges on the field, and at least two in the box aren't judging entertainment, crowd-appeal, congeniality, or anything else related to fandom. You just can't look at total scores on this (or any other system thus far) and say with any credibility that the "system" did or didn't reward "fan-friendly" shows. Anyone who says they can sit in the stands (or in front of a computer screen) and tell if "DCI got it right" is delusional.

http://www.marchingroundtable.com/2011/04/28/episode-7-michael-cesario-interview-part-1/