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tubajoe

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  1. Don Sebesky’s Three Works for Jazz Soloists and Symphony Orchestra has been a jumping off point for Wayne Downey for a long time. Rumor has it that Sebesky’s jazz-ish version of the Rite of Spring was originally an idea for the show in 1991, which instead ended up using Bird and Bela in Bb from the same record. B&B in Bb is a work that’s showed up quite a few times since 1991, everywhere from small quotes to large segments as in 2007 and 2012. It’s a record that’s been highly influential to the corps over the years. My guess is that this show idea has been on the table for a LONG time just waiting for the right moment. ...and the 100th year anniversary of the original Rite is as good of a time as any for it. It’ll be fantastic. The Rite of Spring is one of the most important and influential music works, of any kind, ever written. The Blue Devils will write drum corps history, again... as usual.
  2. Geoff Miller Chip Crotts Jason Cawelti Roel Flores (on the "triple E")
  3. Wow. Great thread. I’ll join the “me too” club on lamenting jazz. Heck, at this point, I’m practically lamenting melody. It seems that as of recent we are always locked into short phrases - we have this “short attention span theater” thing going as to where there must be a “hit” every 45 seconds or so. Jazz and groove related music tends to take longer phrases to build and peak. It just does not fit into the modern drum corps model, unfortunately. There is also the tempo thing. As drum corps are now constantly trying to push the limits of human physical ability, and some of the best jazz shows of years passed included moments of medium-tempo (the horror! ...those wusses) There is this opinion that if your show is not fast then it is not as difficult. There is the competition thing -- and the style thing. It takes TIME to teach jazz (or any type of different) style. It’s a process that goes way BEYOND mere replication of notes, and there is time needed for that style to ferment. Most corps will not risk the time needed for this understanding to happen, as it can be a tough road. It’s EASIER to do something in a more straight style. A buzzword of the judging community is “transparency”. For something to be evaluated well and to communicate, it must be transparent and clear. Jazz is often foggy (that’s the beauty of it) but fogginess does not always translate to what is now considered readability. "Vibe" is not on the sheets. Then there is the STRANGE evolution of marching percussion / battery writing. It's almost as ANYTHING groove-based is now considered gimmicky or pase. I’m not sure why that is, but when you figure it out, let me know. Drums for me, are to provide a heartbeat, much less, a soul. Groove on this 27-let, baby. And, at the end of it all, there is the old artistic notion that, if you want to say something, you have to say it without actually saying it, as actually saying outright is the obvious, and the obvious is not artistic or creative as it possibly could be. (zzzz...) There is SO much music out there. And so little of it ever makes it to the field. Corps are too influenced by each other. Sad. Frankly, I'm for anything, as long as it is musical.
  4. ...and a considerably larger bow and bell, and unfortunately many had a trigger slide built into a small loop right after the leadpipe, before the valve section, which is one of the things that made it quite stuffy -- this was prototype #9 and beyond... delivered mid-1992, which ended up as the final production model, I think. Above all, the Grande never played nor sounded the like the K-90 did. The Grande had better intonation -- it lacked the ruthlessly flat G that plagued the K-90, but never the soul nor core. You are truly lucky to have a K-90. It's a horn that revolutionized the sound of drum corps hornlines! BTW, there were some Kanstul 2-v horns that were around before the Grandes (late 80's, VK had some) that played very well, they had a nice open window inside as well as to not occlude the left-side vision of the player... I think they were in essence modified K-90s. I wonder what ever happened to those...
  5. The K-90 is the best marching bass horn to ever be on the field. No horn ever as sweet, and none needed to be larger. Conversely, the Grande was probably one of the worst (I was never a fan), nice big bell and all but was just tooooo stuffy. They just didn't sing like a K-90 did. (PS - arent the K-90's also "Zig" horns?? )
  6. the sheets did not have tenths... :) You both played well! I can probably get you another one, BUT...
  7. Someone forgot to put the ""calendar"" on the back of the sheets... ALL soloists and ensembles did a GREAT job!! It was a nice night and KUDOS to the Bridgemen - you sounded GREAT!!
  8. Wow. Cool thread! A few years back I decided to take a season off from teaching DCI and a couple of friends asked me if I’d be interested in helping out in DCA. I knew almost nothing about DCA, nor did I ever intend of being active in it. I was pleasantly surprised. Drum corps wise, it is almost the same -- the corps rehearse the same, and the people are the same. The judges are the same, the instructors are the same, and the designers are the same. Many top DCI judges judge DCA, and MANY of the “movers and shakers” in the DCI design world have a foot in DCA. The main difference is TIME. A DCA time scale is abbreviated even beyond marching band - which poses some interesting challenges. The one big advantage for members and instructors alike is that they dont have to sacrifice the rest of their lives for being involved drum corps. To me personally, this is a biggie (just ask my wife) A lot of music happens in the DCA process, simply because corps have to work fast and the determination of the members is incredible. There is no time to spend half a day defining the angle of the 4th toe on the e of 3. Often (at least in the corps I currently work for) the difference in experience member-to-member is remarkable. For instance, in one section, playing the same part, I had a guy with a masters degree in music performance from a top conservatory standing next to a guy who marks his music with 1, 2, & B. I've got a handful of people who have over 20 years of marching experience. (You think you can read a drill chart well?) 
...We all work together and things tend to get done very quickly, in a very positive manner. Work ethic is the key, regardless of age, and the learning curve is ferocious. A large part of DCA is now comprised of DCI aged members (I would guess 40-50%, more in some corps) and therefore DCA is now a viable opportunity and alternative -- and has been a help for kids getting into college and other career choices. I also work to prepare and send kids to DCI corps, just as I help them prepare for college. DCA is not DCI, but is no less relevant. As many in this thread have stated, it is taking an important role. Here in the Northeast, DCA is very visible in the band world, simply because the 5 current top DCA corps are located within a half-day’s drive from each other. Now will I ever decide to go back to DCI at some point? Possibly, but in the meantime DCA is an amazing amount of fun. Corps rivalries are intense and the work ethic and camaraderie are amazing. And frankly, I don’t see current DCI as all that much more progressive than DCA. As someone who works professionally in many different types of music, I think that DCI is more homogenous sounding and looking than ever. (a topic for another thread..) The great instructor Jim McFarland told me that he enjoyed DCA because of the PASSION. I have to agree. Anyway... Who are we kidding?? no matter if it is DCI, DCA, WGI, BOA, USSBA, DCP etc etc... it’s the SAME bunch of geeks hanging around! You love it all, and you know it. Drum corps is about the people and the experience, regardless of the circuit. Now go debate something else... like who is the “wind ensemble composer du jour” this month. je
  9. I think Chris Nalls is probably THE authority on lip trills. Period.
  10. Al lives and breathes drum corps. In addition to being a great performer, educator and friend, he is also an untiring advocate. If there is ANY person in the entire activity as a whole who has 'drum corps in their blood' its AL! He gives to this activity unabashedly. He is amazingly impartial and is never in it for score or reputation, simply to share the experience with every member. He always reminds me that drum corps is about the members, and that this activity is not about the music, or the designers, or the score, or personal gain, it is about the PEOPLE. Bravo AL!
  11. YES! I'm more excited about this drum corps season than I have been about a season in a long time... Great things to come! New intensities in every caption! Show-wise, I think this season is going to be incredibly fun (in a work-your-butt-off type of way!) DCA is fun. Come compete with and amongst your friends. Make a musical statement! ----------- Joe Exley Bushwackers Music Director & Brass Caption Head
  12. Random FYI... occasionally on the Springer show they have a second line brass band... this is the BS Brass Band from Chicago -- which is founded and run by the tuba player Mike Hogg -- who is an alum of the Blue Devils and Blue Knights. ...so in a roundabout way....
  13. I'll be there, in galoshes if needed, with new music in hand, ready to rock. You all be there too.
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