Heath H

Oh I'm not new at all. Doesn't mean I'm used to it, haha. It continues to amaze me.

I'm amazed at how long and twisted this forum about a show that's already come and gone is. Everyone needs to calm down and stop having temper tantrums over the internet to someone you've never met before.

By "teenager on the microphone", you mean age-out horn sergeant, right? =p

After you click on the "live webcast" tab, under it there should be a "home" link. Click that link. THEN there should be the two videos.

Oh! I found it. Nevermind.

Wait so how exactly does this work. If you paid the $69 dollars for the live subscription, does that mean you can only watch it right then? But you can't go back and re-watch the videos without paying the $19 on-demand price? So even though we already paid $69, we have to pay additional money to go back and watch the shows again? I didn't get to see the shows last night and I'd like to, except without paying additional money.

This is going to be a really good show!

See, that's what I'm talking about when I say it's too early to say. Unless it's Finals, it's too early to call.

That's a shame. Music is a vehicle for sharing something beautiful and impacting the people around you.

To whoever might be arguing about the value of a corps if they aren't finding success in competition (and therefore making success in competition valuable): Matt Harloff once told us about when Crown was first starting to gain momentum. It was always pushing goals. When they made Finals, it was huge because they had worked so hard. Now years down the road, here's Crown with a third of DCP thinking it'll win the whole thing for the last four years. And it's funny because the best part of Crown isn't the winning or all that jazz. The best part is building bonds with people all across the country (and world) that you'd NEVER meet otherwise, and then coming together to fight for a product that might just change an audience member's life. So yeah, I guess the "working hard and being rewarded in competition" thing is cool. But ask me and I'd never be able to tell you a single score - I don't remember any of them. I could, however, tell you what it feels like to stand in 30 different stadiums and look around, finding myself surrounded by my best friends in the world and waiting together to make thousands of audience member's hearts jump.

I'd like to bring up a nice example from 2011: FIRST SHOW 1) Crown 74.65 2) Cavies 74.30 3) BD 74.05 4) Cadets 71.05 FINALS 1) Cadets 98.35 2) BD 97.80 3) Cavies 96.85 4) Crown 95.30 Between the first and the last show, the top four completely reversed. Just goes to show how much things can change over the course of a season. It truly is too soon to know what will happen.

Your mistake: the words in this case are meant to be a part of the music. It is not supposed to be separate here, meaning there's no "at the expense" because the goal is to be just as much a piece of the music as the mello section or the front ensemble. You would never say, "I heard that trumpet soloist at the expense of what the corps is playing." For this show, the vocal and the trumpet soloist stand on equal platforms. The end goal is for all sections (mello section, trumpet section, voice section) to be equally important to the effectiveness and impactfulness of the show. If it's not yet at its full effectiveness, that means it's not yet finals week.

I like this comment. I would like to add that because of this show, I've been listening to Einstein on the Beach in a more focused manner than I've ever done before. I love that Crown's show has done that to me, opened my eyes to new music that I've pushed aside in the past. It is an entertaining show, the execution will CERTAINLY be tip-top-shape by Finals (there's no way their design team and techs would let execution slip by), and it introduces music to people who wish to expand their musical understanding. Another comment about the voice-overs - they aren't really voice-overs. They're actually a part of the music. The numbers aren't voices put on top of music, they're a piece of the musical idea, just like the drumline is a piece of the musical idea. Even the voice-over in the ballad is meant to be a part of the music. Once, in a composition class my first year of college, I was required to write a piece of music that only used human voice, but NONE were EVER allowed to sing. My end product was music, though. It wasn't just a script with theater, voice-overs simply spoken to convey a message. The words I used, the inflection of my tone, what it meant, the way it made the listener feel, the way everything sounded: it was all music. The same with the "voice-overs" in Crown's show. They're a part of the music, just as much as the mello section is. They aren't just narration on top of music.

True, most people won't know the source material. But I was talking about the words spoken in the show, without any need for prior research. If you're able to hear (which I'm assuming most DCI audience members can do), you'll know what he's saying.

I also saw some people having opinions on him raising his voice over the horn line. Here's mine: My opinion of the voiceovers - I think works in the ballad. However, the speaker needs to convince the audience it works, so he himself needs to believe there is something VERY powerful about what he's saying. Meaning him raising his voice is good to me. Yes, it's to be heard, but it's also something called "feelings" and "emotions". I mean, here's the deal. This "John" is SO in love, there is no boundary to the love - there is true infinite, forever, no amount of numbers, no measurement of "1, 2, 3, 4" can amount to the quantity of love he holds, which is impossible. Or is it? In his own words, "Impossible, you say?" And next to all of this infinite amount of love, she sits, asking, "Do you love me, John?" What?? What do you mean, "Do you love me?" Without her, John is nothing! Without her, he becomes finite, he finds his end. He has no reason for being!! She questions his love, but it is so important for her to know how much (which she actually could never know, because it's supposedly infinite). His entire existence is at the mercy of her, and he MUST let her know. He alone cannot be infinite, but he can try his hardest to express it to her. His entire existence is about this moment with her, and all the infinite moments following. And that is why I like the voice-overs in the ballad, including when he almost shouts, "Without you, I have have no reason for being!" If anything, he could sound more frantic, more intense, more desperate to let her know how much he loves her. I mean, c'mon. He's shooting for infinite here.

Hi Mike! This is the source music. It has both the numbers and the ballad, narration and all.