SCVStu

One other note. I never watched the Snares feet, or anyones feet. I was in complete control of the tempo. Of course I would adjust to what was going on, but I was in control. I had the advantage of having AMAZING snare players at SCV, so I always was in constant communication with the center snare throughout the performance, so we were able to work together to make things happen. The only time that the Drum Line was in control of tempo was in the drum solo in the third movement of 2003. The Drum Line was in the front and the horns were behind and off center to them. So, I had to conduct about an 8th note ahead of the sound that I was hearing from the DL to line it all up. We were having all kinds of issues trying to make it work and then I said let me try something to the staff and it all lined up. I remember the staf saying, I don't even want to know what you did, just do it every time. Oh good times indeed. Check out the video, its crazy =) My personal opinion here, but if the conductor is just conducting to the snares feet, then whats the freaking pont of being up there. If you cant handle keeping the time and holding an ensemble together, then you shoudln't be up there. Thats just my two cents =)

This is a very interesting debate which I have had with many through my years with SCV and teaching at various high schools. I believe that the root of this "issue" is that everyone has a dfferent idea of how the Dr. should be used and interpreted by the performers on the field. Its just like different brass methods, match vs. traditional grip, and straight leg to bent. The way that we used it at SCV while I was there, it may have changed now that there is a new DM and a new percussion and brass staff, is that the Dr. was a way for the performers on the field to see and feel the difference in time between what they hear (Dr. beat) and what they see (conductor) from wherever they are on the field. So.... this means that I would conduct to the Dr. Beat. When I would do that, the performer will SEE me conducting BEHIND the beat which they are hearing. So when the Dr. Beat is on, they would play with the sound of the Dr. beat and memorize what it looked like to play ahead of my hands. So for them, they must play ahead of what they see from me when the Dr. is off. Its all about relationships. So it is a tool for the performers to learn this relationship so that the sounds will line up when it reaches the front of the field and you in the audience. This is only one way of thinking about it, but I think that it works great. I would also plug into a metranome (the big Vic Firth headphones work great with a Tama or a Yamaha Click Station, Dr. Beats are actually too soft to hear) which would keep me honest tempo wise. It also was a great tool for me because I could comment to the staff on speciically what sections of the corps were slow/fast and when it was happening. This was VERY usefull. Again, tons of different ways of doing it, this is just one way that works =) Stuart Shulman SCV 01 Contra, 02-05 DM VP Sales/Marketing www.ripstyles.com

You can also add past or present tour shirts on to the inside of the quillow to add a bit of memories for the current or past marching member. That is a little special treat. I purchased 1 of thses quillows for each of the 3 age outs in the SCV contra section last year. A little different from the one shown (there was a black background instead of the white) They all loved it and was something that they appreciated greatly! I sure do love mine!! This is a great gift idea and I hope that you and/or yours enjoy them as much as I do!