tubajoe

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.

Geoff Miller Chip Crotts Jason Cawelti Roel Flores (on the "triple E")

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.

...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...

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?? )

the sheets did not have tenths... :) You both played well! I can probably get you another one, BUT...

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!!

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

I think Chris Nalls is probably THE authority on lip trills. Period.

I know!!!

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!

Eric, THANKS!

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

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....

I'll be there, in galoshes if needed, with new music in hand, ready to rock. You all be there too.

A big affirmative on that one

"Yes, I think Maynard Ferguson is the greatest brass player in this part of the century." -Adolph "Bud" Herseth This quote was mentioned in Maynard's obituary in the Washington Post. Maynard Obituary

BD won brass OUTRIGHT in 91. There was no tie. The caption was decided by a subcaption (performance on the ensemble sheets?... I forget which one) but there was NO tie. Star was not announced as brass co-champions. B) Congrats to BD 07!! XII!!

Much of the information was usually passed from teacher to student through private study -- which is how Mr. Jacobs (and his protoges) preferred it, to MAKE SURE that it would be interpreted from an ARTISTIC point of view... rather than purely scientific. But in the last 10 years, quite a bit of that information has begun to be archived. It's important to understand that he was a science freak... to the point of working with physicians at the Mayo Clinic - doing autopsies to study the respiratory system and how it works with wind playing / singing. He left significantly more scientific data on windplaying than anyone else. He was considered the world leader on the subject. On top of that, what was really remarkable is that he was not just about the data, he processed it all from an artistic point of view, after looking at it from a scientific point of view. Pretty incredible. Before delving into this, it's important to understand that sheer data alone wont make you a better musician. It's important to take the entire picture into view, rather than just snippets. ...and, yes, these things translate to drum corps remarkably well. Song and Wind Legacy of a Master Also Sprach Arnold Jacobs The same goes with the Caruso method, I believe that much of the information is still passed from teacher to student, from teachers who have dedicated themselves to continuing the teachings. You can add Bill Adam to that list too.

I knew it... You'd think I'd learn by now to stay out of these things...! (Now you are getting me into "comic book guy" mode.) Let's take a step back... and realize that we are on the same page here, however the equation is much larger and there are some major factors that you are overlooking -- regarding physiology and the type of environment that this all exists. No, I mean the physical quantity of wind, moving or not. (call it volume?) NOW, before you tell me the obvious that you need pressure to move that quantity (which would be flow) read this about inherent pressure: Add the variable of environment. - the human body's respiratory equilibrium is at about 20%-25% of vital capacity. Therefore, when utilizing the respiratory system for brass playing, we are almost always dealing with POSITIVE pressure INHERENT. This is a crucially important factor. The simple fact that there is air IN the body means that there is already inherent positive pressure. On top of that, the inherent positive pressure, combined with the basic elasticity of the abdominal muscles (etc) creates MORE than enough pressure to power the art of playing brass instrument without artificially adding to it. This is my main point. The quantity needed is MUCH less than traditionally taught (especially in drum corps). At the same time, the amount of quantity needed (for the very best brass playing) is much much more than typically used by most students and amateurs. Flow results from quantity moving from a positive pressure situation to a negative pressure situation. Resistance is a completely different (and often misunderstood) factor. It's no issue at all. I'm not inventing any pseudo-science here. Where the misunderstanding is occurring is in, yes, the human (call it psychological) application of pressure, and it is and should be secondary, because the inherent pressure is already enough (as I said before). Almost no additional artificial pressure is needed. (nor do you have to lean back, ha ha) I am not suggesting you misunderstand the role of pressure, I am suggesting you misunderstand the application of pressure. In the process of brass teaching, time is MUCH better spent on mastering quantity, and lowering what the *perceived* or felt role of pressure is. Debating the situation and absolutes eventually becomes pointless because it is impossible to feel or adequately micromanage these factors you are debating. You can only control them to a certain extent. This is like an artist debating the measured pressure needed to get the paint out of the brush onto the canvas... It's also a matter of perspective. The thing is that it is *never* a context of absolute. It cant be because YOU (and me) do NOT posess the capacity control it as such!!!!! That's the beauty of it!! ...and until you understand that, the science will impede your progression as a brass player instead of help it. I detect a lot of frustration... Learning to instinctively manage these factors (whatever the absolutes) will help you to progress much quicker. (it took me a long time to learn that!) Wayne's methods are based loosely on the Caruso method of brass playing, mine is loosely based on Jacobs' methods. Both approaches a fair amount in common and have helped produced some of the best brass players in the world, (and in this God-forsaken activity, kickin' hornlines :P) I'd be nothing at all if it were not for what Wayne developed. see ya in the lot, beer in hand. joe ps -- read my sig.

Not exactly... What you are referring to is known as "flow rate". Flow rate is what is *actually* needed to produce a given note, on a particular horn, at a particular volume, for a particular duration (usually measured by the minute) HOWEVER, there is the psychological side of this -- as the "flow rate" that is actually needed is most often mis-gauged and misinterpreted because, as again, the human body CAN feel pressure and CANNOT feel quantity. Separating the factors of quantity and pressure are key, as is understanding the actual function and priority of each. SO MUCH of the time the factors of pressure and quantity are confused. Many traditional brass methods teach around what we can feel, this being human nature (and in drum corps we get can pretty carried away in that regard) When learning what actually happens, one will find out that they actually have to work a LOT less, especially when delving into "the coveted" high range. Now this is all not to say that certain things cannot be accomplished many different ways -- but it's a matter of doing the most with the least "work" and in the most efficient manner possible. (and therefore in drum corps, aiding to enable a hornline to get good very quickly) It's a matter of separating "what we think is" from "what really is". The two are most often different and as a result we concentrate too much on what we can feel, and not enough on leading the process with a musical ideal. The discussion of these factors (yes, "pedagogy" :) ) is great, but I feel that the title of this thread is pretty disrespectful... maybe someone can amend it?

Since Ironlips posted, I guess I can too. :P I agree, play nice. The point that has been overlooked in this whole thread is air QUANTITY. ...all the talk so far has been about air pressure. It is the air QUANTITY moving across the lips that makes them vibrate. Over-managing pressure tends to hinder more than it helps (and there is more than enough pressure inherent in the process without manufacturing any more of it artificially) You cannot have pressure without quantity, but you can have quantity while having very minimal pressure. Pressure is a secondary factor. We erroneously tend to over-focus on pressure (or "support") because when dealing with the aspects of pressure and quantity, pressure is only aspect you can actually feel. It is physiologically impossible to feel quantity (as the respiratory system is primarily an automatic / subconscious system) ABOVE ALL we as humans do not possess the nerves to precisely manage this process by feel, by isolated individual aspect, or by managing what we think is the process. Rather It is MUCH more accurate and efficient to control it from a RESULT based approach -- being the sound and music itself. Get good basic form in the process then dictate it all by an ideal or visualization (audialization?) of an ultimate goal. You will find that your ears are a MUCH more sensitive gauge than any nerves within the muscles of the tongue, lungs, or lips. Pressure is a much misunderstood thing in brass playing, and to be honest, time is better spent mastering the art of air quantity. Keep in mind if you take the air in, it's gotta come out... and the MORE air QUANTITY you use as a brass player, the better player you will be. Money back guarantee on that one. Same goes with buzzing your mouthpiece and same goes with singing. B) What Wayne did not include (yet) is that singing is a major part of his proven approach. I am guessing that it will be a subject of a later column!! peace

Mark is a great player. He and I recorded together just this week. He's a HUGE drum corps fan...!! Next time I see him I'll let him know you guys are checking out his stuff... he'll be thrilled!

Posting for the Bushwackers here... We want to congratulate some of our great members... High school seniors that will be attending wonderful universities this coming fall!! Tiffany Bayly - Northwestern University Laurika Harris-Kaye - Yale Devon Allison - Ursinus College Angelique Alexander - SUNY Purchase Jayson Hart-Smith - Indiana University of Pennsylvania Jacqueline Watson- West Chester University Congratulations to all of you from me personally, as well as the entire Bushwacker family!

All I can say is, come join the line. You wont be disappointed.