bluestarsmello

SCV!!!!!!!!!!!!!!

I agree, they definitely both have their benefits. I think maybe the thing I liked most about the hip-ball changes though was the process of learning them. It's tough, and kind of forces you to get into that state of mind--intense focus and attention to detail--that translates to everything else you do in drum corps. Of course, there are plenty of other exercises to work that up (like Blue Star drill!!)

Because of the atmosphere and the fans. I only marched 3 years, but Madison was BY FAR the best finals. Incredible experience, and I fell in love with Madison while I was there . . . moved 2000 miles to be there soon after.

I find this little B* abbreviation very amusing. I've never seen that before. I'm trying to decide if I'm going to use it. But shouldn't it be B** since it is Blue Stars (multiple)? :P Of course I'm biased, but Blue Stars have been beating corps in divisions above them for years (on DCM sheets, of course). The past couple of years have been rough because of the rapid growth of the corps. Lots of rookies. But they are going to have a huge retention rate of those guys that have spent the last year or two learning the Blue Stars way (not to mention the kids I marched with that are going on 4, 5, 6 years), and I expect to see a corps full of bad #####.

I definitely have to agree with Frosty here. I learned hip-ball changes for the first time at Blue Stars, and it is really difficult to do at times (like when you are marching backwards and transitioning to either side) but after enough endurance basics, they become second nature at any direction or speed. If taught well and you commit to the technique, it's not going to affect either your sound or your joints. But I think it creates a really nice attention-grabber when the form is hit. This is tough because if the form isn't perfect, it's going to be a lot more noticeable than a transition step, where you just kind of glide through that "exact moment." With a hip-ball, it's a nice "slap in the face" when everyone is doing a direction change in unison (or a kick in the junk, as we at Blue Stars are fond of saying).

Like I said, it's a personal taste thing. No need to get all condescending about it. I understand the technique. But perfect technique is part of every step you take in drum corps. It's the intricate timing of things that make them impressive.

I guess it's just a personal taste thing. When I saw it at Finals, I didn't see perfect form, I saw a lot of people running out of step, so it totally nulled any coolness out of a high velocity form. Why didn't they just have eveyone moving in step? Everyone had to have been moving at the same "velocity" for the intervals to stay the same . . . was it just too hard to keep everyone in step at that point? I'll admit I haven't really liked a single BD show for many years now, but I've never said they suck. It's nothing against any corps. I just thought this particular move was really bad.

what was the point of that? basically just a bunch of people running around on the field . . . i don't really see why people seem to think it's so cool . . .

Not without plenty of foot phasing.

Yeah, about that post of the year thing . . . I have to disagree. Division 2 corps are just the same as division 1 corps, except with less people, and they don't have to drive as far. The Troopers were not being successful in Division 1, maybe a step down to Division 2 to regroup their finances and strategy and actually excel in their forum would do them some good. However, are Troopers actually going to Division 2? You can be a Division 1 corps, yet not a so-called "member corps." And if they are, it's not necessarily a bad thing. Maybe it's disappointing not to be able to say "We are a DCI Division 1 corps," but your son's experience will not be lessoned in any way. In fact, maybe getting to perform 3 times during Finals week instead of once and actually have a chance to win a DCI Championship will be better than anything he could have experienced otherwise. The history and traditions and family of the Troopers shouldn't be diminished in any way by this. Instead, maybe they can take this time to regroup and have a real chance at making a comeback in the top tiers of DCI, instead of just stagnating at the bottom. Your son can be a part of that dream. Your comments may be moving to others, but to me it seems that you don't really understand what drum corps is really about, and I hope that your son isn't making the same mistake. Sorry to be the voice of dissent on here, but that post just struck me as being severely pessimistic and the type of thinking that will bring the Troopers down.

IMO, it's ALWAYS too early to be making predictions (aside from maybe the last 2 weeks of the season). So no problem doing it now. It won't mean any less than the ones that start in December. My one and only prediction (and maybe just a little bit of a wish): Phantom wins.

Why does this ALWAYS come up in a discussion about Blue Stars?! :P Actually, if you remember in 2002 we had a guard member come out in the uniform at the very beginning of the show. The crowd just about lost it. I have to say as an alumni of this corps I am so appreciative of all your comments. This is a dream come true for all of us, and to have everyone's support and faith the way we do is incredible. Trust me, this corps will not disappoint, and with everyone's continued support through the next few years, we will be back on top. It's kind of funny because I'm not even in the corps anymore, but I still have to say "we." Cuz this corps gets in your blood . . . and you're a part of it forever. It's so great that I have been a part of getting to this place.

Is it Rich Henshaw you speak of? He is the drumline instructor at Gilbert High School in Gilbert, Arizona, and his winterline did a Tool show about 4 or 5 years ago I think. Somehow they got to play onstage with Tool when they came to town that year. Crazy. And in a tangential yet related occurrence, Momentum (Henshaw's WGI line) did a couple tunes off Hail to the Thief in their 04 show. And my pre-show ritual was listening to Radiohead. It got me so in the zone it was crazy. Nothing else worked like that. My personal favorite is Kid A, with Hail to the Thief in a close second (I love all the blues influence in that one).

Well, you gotta think about the huge pay increase you get for being a Div 1 corps. Div 2-3's get paid crap. With a full corps, you also have more dues getting paid, and therefore it is feasible to get another bus, more uniforms, more food, etc. The main cost is in the traveling, but with the bigger fuel stipend and show fees, a lot of that is offset. And with a fund-raising campaign that is gaining more and more momentum, yeah, budget is of couse a huge factor, but I don't think it will be as bad for the Blue Stars as a lot of people think. Not to mention the corporate sponsors and handouts once you break into the top of Div 1, which I have no doubt the Blue Stars will achieve. But to the real reason I'm posting on this thread goes to the core of the original comment. Blue Stars are in a kind of a unique situation. A lot of people poo-poo the idea of Division 2-3 as a mere stepping stone into the world of the big boys. I agree that 2-3 is an incredibly important part of the drum corps community. The activity would definitely decline sharply if it were ever to be obliterated. The Blue Stars have always been and always will be proud of its years in 2-3. We know how hard we all work and how much we all kick ###. But that's not where the Blue Stars' roots are. The Blue Stars are a DCI founding corps. We placed 2nd at the first ever DCI Open Class Finals in our homestate. The idea of returning to our roots in Division 1 isn't something that is obssessed over, but it is a dream that every Blue Star since the reorganization of the corps has cherished and worked for. It's part of our mythology-the corps song, and many other symbols we hold close to our hearts. When we take the field, it's not just for ourselves. Much of what makes the Blue Stars so consistently great on the field is the fact that every time, we are marching with the thousands of others that wore the Blues, Buckle, and Cross-straps. There was another post about the Blue Stars intense behavior just standing in line for retreat. They acted that way because it is the only way the Blue Stars have ever acted, and those long passed and those still here are watching. There is a legacy that drives us. It is the reason that so many people (such as this writer) that went to Blue Stars with dreams of moving on, found so much more than we could ever find at the Blue Devils or the Cadets or whoever, because we had a legacy to be a part of attaining, not just sustaining. So whoever posted that the actions of another corps shouldn't affect the actions of another, that is totally true and the other 2 corps in question know this better than anyone else. They have a home and fill an incredibly important position in Div 2, and well, in drum corps. I personally don't think the move to Div 1 will happen for them (at least for some time) because they love what they are and what they do. As do Blue Stars, but there is something else, very profound and unique that motivates this corps. Okay, sorry for the super long post but I tend to do that. Having marched the Blue Stars for 3 years I believe I can speak with an authority on this subject. I cannot however, confirm whether Blue Stars have even applied for Div 1 for 2006 because I don't know. But mark my words, it is part of the plan and by God it will happen eventually. Sooner than later.

Wow. I don't think anyone is saying that marching a Division 1 corps is easy!! But having said that--Now maybe you know how WE feel. I don't know how many times I've heard that 2/3 is EASIER than D1. That's not true. There are debates for both sides. One thing I loved about a smaller hornline is that I MATTERED. If I were to bag out for 10 seconds, everyone would know it!! In a 19 member hornline, you have to play every second of every minute of every show and rehearsal! I'm sure that in a D1 corps it's ideal, but really, who's gonna know? It was also pretty sweet to be able to beat hornlines 3 times your size (I won't name names :P ) In a 70 member hornline, you don't have that opportunity. This year is different because we are marching a 50 member hornline. We sound 10 times better now than we did at this time last year, in part because yes, size covers a lot of dirt. We are lucky to have had a lot of rookie and veteran talent show up, but quantity can create the impression of quality, at least at first. But I'll admit that it's cool playing on a big hornline. I would say the only reason I would want to march an elite D1 hornline would be to be able to play for 30,000+ people on Finals night. In Madison, it was exhilirating just to play for 10,000. Orlando was disappointing. I can only imagine the rush you get by marching out on the field with the stadium side just densely packed with screaming fans.

If you know any theory, something that works for me is to remember chord pregressions (in general--you don't have to sit down and analyze the whole piece). For some reason it's easier for me to remember it like that, and then all the rhythms and exact note just kinda fill themselves in. I'm kinda weird though, so I don' t know if that's a helpful suggestion or not.

Exactly my thoughts. Patriots definitely were my favorite show (other than the obvious) out of 2/3.

BUMP!

10 Bucks gets you one raffle ticket to win: First Prize: 2003 Ford Focus! Second Prize: Brand New Harley Davidson Motorcycle! Third Prize: A Big Screen TV! Read the details here. All the proceeds go directly to the Blue Stars of LaCrosse, Wisconsin. This is our main fundraiser this year, and is a great one since you can potentially get a lot out of it! As a member, I am required to sell at least 60 tickets. I would like to sell 100. We have been a drum corps since 1964. We are a founding member of DCI, still march G horns, and we are not using amps. So no excuses people!!! PM me if you are interested in some tickets and we'll make an exchange!! Thanks guys!

I do believe that was Ray Vasquez on sop. His rookie year out there. He is now the Jazz Studies chair of the ITG and Caption Head at Blue Stars. Great guy, he also teaches at U of MN - Duluth. I think you may be confusing what came later in the show during Pagliacci. Also didn't that same Soprano player (Ray Vasquez ?) win Soprano Individuals that year ? Yes, Ray was Phantom 91 soprano soloist and the DCI I&E Soprano Champion. He aged out of Phantom in 93.

Also depends on what type of music you are going to be playing. I personally, don't have tons of money to spend on 3 different horns, so I really like my Bobby Shew Yamaha because it transcends styles really well, and is an all around good horn. I'm not an expert, but my experience is that Strads are good horns for your legit playing, but for jazz or even marching aren't the best. Plus I think they are way overpriced, but that could be just me.

I've never understood that argument. It's not like kids have to bring their own instruments to march with. That would be horrible, because then everybody would be on a different horn. Ugh. And as far as not having to "switch," come on. It's not like going from a Bb trumpet to a G Bugle requires a whole lot of change. Just a different ear. I know when I was in high school, I didn't even really have a good enough ear to get freaked out by the key change, and in fact I found it easier to get a good sound out of a soprano. I play mello (G) in drum corps now, and I find when I go back to my trumpet, my sound is 10x better. On a side note-your point about having the same level of high expectations was a good one, until you put "(take the Cavies for example)." That was kind of funky. Almost insinuating that only select corps have a high level of expectations, when I would think it's pretty much the standard. Maybe I'm reading too much into it, but it seemed like a kind of funny thing to say.

Well, what exactly is your problem with the slur? If it's that the E isn't responding as fast as you would like, I have a suggestion for you. Try holding out the C a little longer than you usually would and crescendo at the end of it. Once you've got a good crescendo pushing you up there, adjust you lips for the E and it should just happen. This is just a way of making sure that you are having the air support to get you to the E. Thinking about the "anatomy" of a trumpet, or any brass instrument, if you are playing an open note, all the fingerings below it until you get to the next open note are just partials, and should require no real lip movement unless you are adjusting to to tune. With a C UP to an E, however, this is a change of partials and requires that you use more air and tighten up thos corners. Eventually you should be able to do that excercise (with the crescendo) at a brisk tempo and the crescendo isn't very noticeable.

I've noticed on this thread that most people are only taking in consideration the whole Bb Trumpet/G "Bugle" thing. Couple comments. The original version of the trumpet was a bugle w/o valves, so performers would carry a bag of "crooks" that they would use to lengthen the tubing and put the trumpet in whatever key they needed. Supposed they were playing Beethoven's "Eroica" Symphony, which is in Eb Major. They would then put in the appropriate crook to make the trumpet in the key of Eb (also used for c minor). Beethoven had already taken care to only write notes for the trumpets (and horns, for that matter) that were part of the overtone series. No valves, so only partials were available for the performer's use. So, in essence, trumpets have been available in whatever key you would like them to be in for hundreds of years. It was only in later years when valves were added that composers began to write notes outside the overtone series, and typically for either Bb or C Trumpet (which is typically used in symphonies today). Interesting to note-there are also bass trumpets (pitched in Bb, I think) which play in the same register as baritones. They're pretty funny looking (kinda like a baritone but more stretched out like a trumpet) and they have a much brighter tone. I think today's valved Eb trumpets are called soprano trumpets, piccolo trumpets are in Bb (but sounding an octave high), and I have no idea what key tenor or alto trumpets are in. Could be wrong about some things stated in the last sentence. Trumpets are called trumpets, no matter what the key, because of the shape, timbre, etc. (qualities that ar unique to the family of trumpets). So I don't think that the G Soprano could be called a G Trumpet by any means. It's not even a bugle, really, because I'm pretty sure that in the academic music world (taking no note of whatever dictionaries may pretend to know of the subject), bugles are horns without valves, period. Also, what about mellophones being called bugles? Is a mellophone technically a marching french horn that is keyed in G? I think not, since there are worlds of difference between the mellos and marching french horns, aside from the key (they are only a major second apart). Honestly, I think sopranos, mellophones, baritones (maybe not, don't know enough about them), and contras are instruments that are in a family all their own, although readily compared with and similar to many instruments outside the family. They evolved to a different species because of the need to project while outside, spread all over a field (other reasons, too, having to do with arranging and playability I think). That's pretty unique circumstances. I don't know what to call them. Maybe somebody should come up with an official classification of drum corps horns! *whew* I'm done.