gbass598
-
Posts
1,429 -
Joined
-
Days Won
1
Posts posted by gbass598
-
-
1 minute ago, IllianaLancerContra said:
Heck we have synthesizers, why have brass in Drum Corps? Just put 3 synths out there and play all the formerly brass parts on synth. Heck, arrange it in key of G. While you’re at it, put all percussion in pit as well. Amp the whole thing to the max. And then add about 80-100 more guard.
But you know nobody is doing that or is planning to do that with electronics. What they seem to be against is enhancing the existing sound.
There was a small band that won Class A BOA this year. Very small wind section, all amplified. They don't seem to have an issue with that. They just don't like it when big bands do it.
In consideration of the Bands of America philosophy, we recommend the following be implemented for the 2023 BOA season and beyond.
-
Amplifying individuals through a soundboard during tutti sections leads to an
intentional misrepresentation of what is being performed by the total ensemble. This
misrepresentation of acoustic quality by enhancing a few individuals is unacceptable. - Soloists and featured ensembles may use microphones during their feature section but must be muted from amplification when not being featured.
- Where a participating band has a limited number of performers (e.g., one player to a part), the use of individual microphones is acceptable.
-
Amplifying individuals through a soundboard during tutti sections leads to an
-
9 minutes ago, Mello Dude said:
Because in theory the KB with proper sound samples can mimic ANY instrument. Rather self defeating for the other 99% of the people on the field with a traditional instrument. Frankly this has taken a long time for people to wake up. Your mute justification doesn't really follow. A muted trumpet is still a trumpet and not a sample. Indoor activity with electronic instruments seems a more proper venue.
And an electronic keyboard is still a keyboard no matter what sound comes out of it.
I don't want to debate merits of electronics, I just don't see how you can possibly police what sounds are or are not coming out of any instrument. You want to put rules in place, fine. But how do you police it? Inspect everyone's MainStage/Logic setup before and after a performance? Have a T&P guy stand over the electronic performers shoulder with a tick sheet?
Every organization already states that sounds must be performed in real time anyway. The only difference I can see to that is a "pre-show" but that is pre-show and technically not judged while everyone is setting up. Removing that actually creates creative limitations on the entertainment factor to the audience while the group finishes the final preparations of their show.
-
3 minutes ago, Lance said:
Sure. And if you have a tool available to amplify a few trumpets to sound as loud as a whole section, why bother with having a whole section?
2 minutes ago, Old Corps Guy said:The limit is "instrumentation" and "Skills" of the students. If you don't have a trumpet student that can play a double "C", then don't write for it. A "keyboard" is a "keyboard" and a "tuba" is a "tuba" that last time I checked. This gets us into the whole "Thunderous Goo" conversation that doesn't need to be rehashed. You write to what you have. If you don't have it, you adapt accordingly.
I think this is getting into the weeds a bit here.
I don't see anyone limiting instrumentation, only enhancing what they have with available tools.
Is amplifying a few select members of the wind section to make you sound better shady? You bet.
Is it more or less shady than cutting the 15 clarinets out of your 45 member woodwind section or 6 mellophones from a 20 member mello section from a feature because they can't play it very well? I don't think so but nobody is policing that.
As far as "adapting" that is a broad term on how you adapt. The way some people adapt is different than how others adapt. Some people accept and are able to only do what you have available to you. Others find new and different ways to adapt. That is how the front ensemble and electronics all came into use. It was adapting and evolving with the times and available tools/technology.
-
11 minutes ago, Old Corps Guy said:
I had to "Adapt" how I was arranging with the smaller band I worked with based on the available instrumentation.
If you don't have the skills to adapt, why claim to be a teacher or arranger?
And if you have the tool available to you, why not be able to use it?
If you have an electronic keyboard, why only limit it to making piano, strings, and bass guitar sounds? How many groups use Mainstage or Logic with a full library of sounds at their fingertip but somebody is going to police what sounds are used and where?
This is not going to turn into another "back in my day" discussion but how do you allow progress and place limits on the tools at the same time?Limiting the functionality of a keyboard is kind of like having a clarinet but telling them they aren't allowed to play b flat or a trumpet but they aren't allowed to use a mute.
-
2
-
-
46 minutes ago, Lance said:
Specifically, here's what's proposed banned:
- All music from traditional wind and percussion instruments or electronic instruments must be performed by a student live and in real time.
- The use of sampled, prerecorded, or sequenced sounds of woodwind, brass, and/or percussion instruments is not permitted.
So if you want to use a small snippet that calls for a timpani sound but you don't want to haul timpani out on the field for only 2-3 notes you won't be able to do it? Transporting timpani isn't smart logistically for a lot of band programs.
Also, electronic drum sounds if you want an "80's" type sound or feel?
this proposal is very vague. I think I understand intent but wording is very grey.
-
He's been designing for Troopers for several years and I believe that is all. I think he can have a well deserved summer off since I would not expect him to go on tour with Troopers.
-
I just can't fathom calling the fall "major" because it really didn't impact the performance quality. So a couple of notes weren't played while someone stood back up. It was a hiccup, no impact to anything else going on musically and visually and covered the ensemble cohesiveness aspect of recovery on the score sheet.
If someone marched a hole in a show due to injury or dropped a stick, does that immediately DQ them from ever getting a perfect score? Its all semantics and clearly wasn't worth remembering when the number gets typed into Competition Suite because of everything else they did so well.
-
28 minutes ago, ContraFart said:
Am I the only person that thinks a perfect score means something more than a spread?
How do you define perfection in an artistic activity where judging is relatively subjective?
Here is the WGI visual sheets in question:
Note this under the Performance subcaption.
Ensemble Cohesiveness: The ability of the ensemble to establish and maintain control and stability, including adaptation
and recovery if necessary.
https://wgi.org/wp-content/uploads/2019/10/2020_WGI_Percussion_Visual-MPE_Scoresheetpdf.pdf
https://wgi.org/wp-content/uploads/2019/10/2020_WGI_Percussion_Effect-Visual-MPE-Scoresheet.pdf
-
2
-
-
14 minutes ago, karuna said:
BTW I'm in no way minimizing how it feels to have a great season, see wonderful growth in the performers, have judges recognize the product all season, only to have a single judge call the show at the end. It sucks. Terribly. You feel betrayed by the system and worse you feel like you let your performers get betrayed as well. It's no fun at all. But if you've taught them to view things with the right perspective, you do get to see them handle it like pro's
I only saw one group with a poopy face look on their faces after their finals placements were announced and it wasn't RCC. I think most people do and should feel content with entertaining people and being their best while not letting someone else's opinion destroy your personal feelings.
For that group that looked upset with their placement, I hope they could reflect and still know they were a great group who entertained thousands of people that night and all season long.
-
9 hours ago, Tenoris4Jazz said:
Okay, I just had a "someone gave me unsweetened tea" reaction to this. In the 20 plus year run that my high school had a championship marching band, the only people who ever arranged for the band were either an existing director, a current student in advanced music study, or a former student working on his college music degree trying out a new arrangement. Buying music from a catalog was either "cheating" or "wimping out." Plus, back in those days, you couldn't get anything above grade 5 or 6 from the catalogs. We were playing charts straight from DCI or hand-written that were harder than that.
I supposed you can't be a top band anymore without paying a few hundred dollars or more for someone to write music for you and then have to spend $1000 or more on to license. That money sure could go a long way to pay for other things a band would need. Did they stop teaching band directors how to arrange their own music in college?
Not to be that guy but most band directors now for large programs are more managers than teachers. staff does the teaching, directors oversee the teaching. Directors coordinate with show designers, plan schedules, obtain buses and truck drivers, make sure equipment is ordered and bills get paid. They generally don't have time or energy to also write the music.
-
1
-
-
10 minutes ago, ContraFart said:
So if the judges only work with so many numbers, could it be possible the judge had that 20 on the sheet before RCC took the floor?
No. Look at the numbers given. they were not trapped into a number.
Additionally, Competition Suite allows judges to adjust numbers before a show is finalized. They are able to change numbers if necessary as the intent is to get placements and score gaps correct.
Perfect isn't perfect. Its just a number as long as all groups are judged in the same context. You could drop every groups score by 2 points or 5 points and the result is still the result as long as the gaps and placements are accurate.
-
2
-
-
It's life. Opinions are like A-holes. Everyone has one. Some stink more than others. Everyone was fantastic and everyone who performed should be proud of how they ended the season.
With that being said, I think the order of the top 4 was correct. I am a bit shocked Infinity jumped over MCM but things happen.
-
2 hours ago, CadetDood said:
Has anyone been able to purchase any of the audio files for marchingmusic? I tried to get the Cadets show but the page just kept refreshing when I hit purchase.
I just buy the entire bundle. No issues. Try a different web browser incase that is it.
-
Downloads are up.
-
1
-
1
-
-
Glassmen 94-96
-
13 hours ago, musicteacher said:
I'm not saying I disagree, but it's a little sad when the efforts of one of the best music writing teams of the past 20-plus years can be dismissed as not giving the corps the opportunity to be competitive. Thom has said it for years: his primary responsibility as a writer is to support the wind score. Klesch and Hannum worked hand in glove in various venues to create an artistic vision. They succeeded.
If this isn't au Courant, so be it, but...the activity is just a little poorer for that. The bright, shiny object in the activity has often been what's new. I am fully confident that Michael and Thom's oeuvre will stand the test of time.
There is nothing taking away from their accomplishments. I don't think anything is being "dismissed" but times change and its always a struggle to be on the top of the mountain. Thom is a hall of famer for a reason and absolutely deserves it but I don't think his name is the talent draw of some other teachers today. Mike, Kevin, and the staff they hired are the top of the WGI game right now and had solid success with BK. They might just be the missing piece of the puzzle.
-
1 hour ago, karuna said:
We’ll agree to disagree ( if we do disagree and I’m not sure we do) . Percussion by its very nature is supportive and subservient to the wind ensemble. Klesch is always respectful of the original composition. Hannum fit this writing like a glove but there’s no way his writing can be competitive in today’s DCI. Anyway I agree 1000% that Jackson’s approach is very musical. But it’s not me you need to convince!
As a long time crown honk, I’d gladly have traded a few Otts for a few rings. The rest of the corps deserved it multiple times but the musical design and its impact on the score made it seem like the percussion was letting the corps down. Frequently that was not the case at all. Off my my soap box. Let’s give this new team a chance!
If by stating that Klesch is respectful of the original composition means that he has the winds cover all the melodic parts and leaves the front ensemble and the rest of percussion in the background with little room to add anything I think I understand you. I've arranged percussion to many marching band books where the wind arranger virtually covers everything in the wind book and leaves me little room to do anything creative from a percussion standpoint. This is pretty common in marching band when the arranger chooses to transcribe versus create something new with the content. I'm not saying Klesch does this but if he stays true to the original composition he may be limiting his own creativity for the sake of making it sound like the source material. The band I currently work with has a new show designer this year and I'm excited to work with a new and more comprehensive design for our show next fall. People will notice the difference. I'm hoping the Jackson and Shah additions have a real positive impact on the show design.
-
1
-
-
3 hours ago, karuna said:
The challenge for ANY percussion writer at Crown is to be given enough leeway by the rest of the music staff to write stuff that is competitive. The focus at Crown is always about the musicality. While I love this approach (and I wish DCI judging rewarded it) , it has limited the competitiveness of the percussion writing. Not since Lee Beddis have they actually fielded a truly competitive percussion book. Klesch/Harloff & Co. need to let the percussion book have the freedom it needs to be competitive. And yes that means percussion for percussion sake at times, playing cool #### even if it's a stretch to call it "musically appropriate". It's how DCI judges want it so if you're gonna play the game, shut up and let them write what it takes.
I will say that (so far at least) things seem to be heading in that direction.
The other off-season concern (ie. bringing in enough talent) -- yeah that turned out not be a problem at all.
I don't think focus on musicality hinders competitive percussion writing. I think the overemphasis on the horn book has limited the percussion writing. I think percussion is easier in a lot of ways to emphasize musicality with the various colors available to them. They just need the space to do it. Maybe we are saying the same thing in different ways.
I saw an instagram video of the battery playing an exercise. I'm so excited for Mike Jackson's writing to be back in drum corps.
-
1
-
-
Hopefully things are getting close. Word on the street is Bluecoats Alumni performance is being included.
-
1
-
-
Anyone heard anything new on these? It's almost 2 months past when DCI teased they were almost ready.
-
2 hours ago, 2000Cadet said:
LIke when the Cadets were from Bergenfield and we practiced in Teterboro.
On a side note, I auditioned at Cadets for the '98 season but ended up not marching there for a couple of reasons. I was in NJ this past week and staying there while I was going to NYC to see some concerts. During some driving around locally my GPS took me past the school in Teterboro and gave me a ton of memories for the 2 camps I went to there.
-
1
-
-
5 hours ago, Jeff Ream said:
I imagine BD game planned properly
I learned a long time ago what it means to assume. Not accusing anyone of mismanagement or anything but they clearly scaled back this year as well. They just might be a bit more quiet about it and somewhat less impact because of their multiple revenue streams.
-
2 hours ago, IllianaLancerContra said:
Working of my aged brain here - I recall that the BC (before Covid) plan for SCVC & BDB was to go to finals every other year. This led to the famous question by Dan Potter to Spartans DM 'Does it count as an Open Class Championship if SCVC & BDB didn't come to finals'?
But, Covid changed everything.
I think they used to come every other year in the past and then it became every year. According to DCX, looks like they started coming every other year in '98, then it became every year in 2006 with the exception of 2010. Not sure why they didn't come that year. You could be right but I don't recall when the announcement said when they decided not to come in 2019.
-
8 hours ago, Jeff Ream said:
and pre-pandemic SCV and BD both said the plan was for BDB and SCVC to do not do national tours.
And I was frankly surprised when both came to finals last year knowing that essentially a joint announcement was made before 2019. I was under the impression that was going to be a long term choice for the foreseeable future rebrand both SCVC and BDB to local corps only. Then a pandemic that effects the global economy and both corps decide to do national tours the first chance they get. I have to wonder if BD also privately regrets bringing BDB to finals last year.
BOA Bans Ensemble Amplification. Is DCI next?
in DCI World Class Corps Discussions
Posted
Then let's run on rechargeable batteries. 😏