TicTickyTic

Well yeah, but I'd enter a brass ensemble, and go solo, as well as a few of the boys, so we'd get a few more minutes in than that. Also, where else can you go to see the best Drum Corps action in THE WORLD!!!

Well yeah, we are discussing it. We had preliminary plans to go in '07 but it just did not pan out. I have not been to DCA in a decade, and am really hoping we make the trip in '08. How will they ever find room for more participants in the Minicorps category?

Thanks for the post Richard, and thanks for dropping in on rehearsal during your trip to Seattle from Colorado Springs. That "Classical Gas" arrangement is the first one officially made for Brass Attack. The other tune you heard at rehearsal was "City of Brass" which was originally arranged by Mike Duffy for the 1980 Seattle Imperials. The version we are using was actually supposed to be for the 1984 Imperial Corps that never made it to the field. I've made a few alterations as well. We really need to get some new vids posted on the website, as I am not too happy with the ones we have there now. Of course, EVERYONE is always invited to come to a Brass Attack rehearsal! Come on by. Let me know and I'll have a horn ready for you. Steve

I'm not advocating the use of electronics, or 150 members, but this assesment is incorrect. You can easily equip a corps with a nice PA system, and even a synth or two for the cost of a single contrabass. Props are cheap (at least until you load them on your extra truck), and 150 members effeciently fill 3 tour busses to capacity, so it is actually a more economical choice. The problem with 150 members is the possible trickle down effect - pulling quality members from the less famous corps and concentrating them even more with the finalist. We should be focusing on ways to promote the numbers of corps, not the numbers in corps. I don't have as much of a problem with the amp issue as some, although I have not seen a lot of clever uses yet. I have a few, but I'm saving them. I'm a little concerned that synth sounds could significantly change the texture of performances. It may diminish the comparative impact of horn lines.

It seems there could be many theories as to the best use of this unique feature. How do YOU go about using it to your advantage? Do you only use it just all in or all out, or do you have a more refined method? Do you use to lower sharp notes only, or do you make corrections on notes that play flat as well? Any advice?

Yeah, I'm there. We work on air extensively, and attacks too. It's gotten us to the place we are at, which is decent. Just because I'm acknowledging that perfection has not been met, and I want to discuss possible improvement strategies with you guys, does not mean we don't play well together. Sorry - I find myself wanting to defend the quality of our intonation now. I think this is an interesting topic. The reason I bring this up at all, is that I encountered this tuning problem last fall, when we started the season up after 5 months hiatus. The tuning was spread across the line where the flattest, and sharpest person were spread beyond the scope of the tuning slides (btw the flattest guy was on his own Dynasty horn, and we ended up shaving an inch or two off his contra). As the season progressed, we worked out of this situation, and eventually we stopped spending any time with the tuner at rehearsal. I'm going to credit increased embochure strength, our breathing and warmup program, and the time everyone took to work with a tuner at home. Now that the Summer season is over for us, we will relax the show preperation push, and settle into a phase of "getting back to basics" This year there will be no 5 month hiatus. I'm not letting anyone go soft this time. I remembered this problem, and wanted to know what you guys did about it when it happened to you. Our mantra this year is "take it to the next level". Tolerences must be narrowed. Expectations will be raised.

About that "tune any note" feature... It's a great tool, but it can be part of the problem too, as it could just as well be called the "untune any note" feature if you carelessly forget it's there. I only play a couple minutes during our performances - I'm usually out front (not a great situation to do your best playing, I never feel settled). It was not until I listened to the recording of our performance last Saturday that I realized I must have accidently had the darn thing pulled out while playing the melody of Amazing Grace (the arrangement is mostly above the staff for lead bari, and I was behind everyone, and could not really hear the ensemble). I could not figure out why I was cracking my A's. I hate when that happens. btw, I think I just came up with my next posting .......

We have good equipment, if you consider a matched set of Kanstuls good equipment. I'm not saying we have bad intonation, it just is not perfect (like I want), and I've noticed inconsistencies, especially after reviewing recordings. In the grand scheme, I bet were right in there with the best of you, as it is the rare and distinguished hornline that rises to the level even close to harmonic perfection. I'm potentially fingering the G-ness as a contributing factor to some inconsistency among some players, and this is my preliminary theory: There are some good reasons to switch to Bb, and there are some good reasons to stay with G. Bb: Somewhat shorter learning curve Easier for recruiting newer, and uninitiated membership Arguably more refined sound for indoor events with a smaller ensemble G: Tradition No investment, as we already have the G horns Maybe the solution is get ahold of some Bb horns and have a few rehearsals. Anyone out there have a set of both, and have switched back and forth? Bottom line is that if I want what I want, we should rehearse many hours every single day. Alas, life gets in the way.......

This is the BEST venue for watching drum corps in the United States, bar none!!! Qwest Field It was a perfect day today. 73 degrees with a few big puffy white clouds floating by. They can even move the field 10 yards closer to the stands. The parking situation is great. Seattle is the very best place on earth to be in August. Seattle IS the BEST place to hold DCI.

I have always considered it exposure. It's hard to do on cue. Any brass arranger with some lead sop horses available should try and squeeze some points out of them. I'd prefer a few dubba C's over "artsy fluff" every single time from a GE standpoint. All else being equal, I'll take the corps with the screamers. That's the stuff goose bumps are made of...............

I didn't say that this was a problem I regularly encounter. I just wanted to know what experiences, and solutions people had. You say you want me to have them sign through their horns? I'm giving you a sign right now. They should make a smiley for it. ^OO^ This one uses the wrong digits. I kid......I'm a kidder

I know in my heart that both of these answers are the absolute truth. This is good advice given by wise men. There is no quick solution to getting a group of brass players to play in tune. Ultimately the membership must have a strong concept of what it takes to play in tune, and a committment to make it happen. I think I have instituted a strong program given the circumstances I work under. At six hours a month, it's going to be a long haul to the promised land. But, I will rephrase the question: Well..... first I will make an analogy: I play valve bone, and euphonium in my non corps life. I've done a fair amount of work on my improvisation skills. I've studied harmonic theory, and learned all my scales in every key. I can play a blues progression in all 12 keys, BUT I can WAIL when playing in the keys of Bb and E. Those keys feel like home base. I can make all 12 notes work, and could play chorus after chorus without repeating myself. Now it could be argued that if I were a better musician, I would be able to play exactly what I'm thinking in every key, but I must admit that that is not the case. Having said that, If I'm on the bandstand and I want to impress someone with my soulful blues playing, what key blues tune should I call up? It matters. Now I'm thinking it might save us some time if we create a situation that is going to allow my guys to play to their strengths. We live in a primarily Bb world. Most brass players find that Bb horns feel like "home". I'm wondering if brass instructors found an immediate positive result when switching from G to Bb. Does anyone have an experience to share? I don't know the answer. If it's insignificant, then I'd like to stick with tradition, but I'm not interested in tradition getting in the way of progress. If people found it cleared up some issues when they switched, I would find that very intriguing. I've only got 6 hours a month.

Do you ever find yourself trying to tune the line and you come upon guys that are still flat with tuning slide pushed all the way in, and others are sharp when they are pulled out rediculously far?

Big Difference: The Bb's make a more satisfying crunch WHEN YOU STOMP THEM!

Well it is a potential option. A very expensive one. I'm wondering if it is worth the effort.

Yer preaching to the choir Dennis. I was fortunate to have met Arnold Jacobs, and participated in an incredible 3 day workshop with him. I took lessons from his close friend and student Richard Frazier for a year. We talk a lot about air (I should say wind) at rehearsal, and we consistently do breathing exercises, despite our limited rehearsal schedule. I try and convey a need to create the image of a beautiful sound in your mind. You can't play nice if you do not first concieve nice. But not everyone walked out of an Arnold Jacobs workshop a newly created world class musician. It certainly changed my playing. I do use his concepts as they have become my concepts. You have inspired me to go back thru the literature soon. I have not read the gospel in many years. However, your advice is a bit simplistic (I did not say wrong). Equipment is a factor (one that can be overcome, but I'll go back to my 6 hour a month amatuer musician excuse). You advice taken to the extreme has us playing flight of the bumblebee on garden hoses for the mini corps title. I think you are sort of saying "If you guys were better musicians, this would not be a factor". I think you might have something there. I kid. I'm a kidder. I'm wondering if there are lines out there that had marked changes/improvements in the quality of the ensemble when they switched from G to Bb. I don't think the biggest factors are the horns themselves, but the ability of the players to competently operate the horns under the circumstances we find ourselves in here and now. We have much less face time on the horns, and generally smaller ensembles playing in smaller venues. Back in our jr. corps days we likely were not switching back and forth as much either. Given my reality, I'd like to know if switching to Bb is going to get me a better hornline.

Brass Attack has a nice set of Kanstul G bugles. I've been a G guy sice I got my first P/R bari back in the day. I own my own Kanstul G bari. I think they are superior when you are playing them 12 hours a day all summer long. You get acclimated to the horns, and your Bb habits are left at home. Believe me, I like G horns. As far as I'm concerned the best bugles had 2 valves. But I'm running a mini corps that rehearses like every other week. 6 hours a month. There are not 60 of us playing power chords in a stadium. Honestly, our intonation is not what I'd like it to be. Especially the sops. I do work on it, but again, we rehearse 6 hours a month. These are guys that play Bb trumpets fairly often for the most part. I'm wondering how much I should be blaming the guys (in the end a musician should be able to play any horn in tune), and how much I should be blaming the horns (more like I'm blaming the horn in that it creates a new set of parameters that my guys are not managing perfectly). An expert musician might not have a problem with the transition. I know there are guys that switch from Bb to C to D to Eb trumpets constantly. I'd love to have 36 of those guys in my hornline. The questions: Is staying with the G horns just creating an additional hurdle that my membership has to overcome? For those hornlines who have made the change, did it have positive effect on the ensemble sound? I'm just asking for peoples experiences. Please don't turn this into that same old tired debate.

I'm for anything reasonably clever Nothing has passed test yet "Up with people" facimile lame There's an awsome corps underneath gimmick just gets in way might win anyways despite miscalculation kids are trained that well still waiting for clever words If narration is featured effect maroon gets second behind bluue Full honk to Hoppy's corps

Best amplification - bebop horn solo very technical solo impossible loud one could use mute effectively why most obvious application illegal?

Not Particularly against amplified voice Still Waiting for Clever Application Slightly amused with Miranda Rights Cadets Self deprication best instance "This part without narration" HOORAY! Don't label me old school

Every time you hear "Dut Dut Dut Dut Dut Dut Dut" from the field....... D R I N K ! !

Every time a drumstick is raised above the head...... DRINK! Every time the color guard members crowd together and lift a member into the air...... DRINK!