stylites

I think that DCUK will likely go full amplification to emphasize the quality of players that they have. They may be small, but there are some good groups (and individuals) over there that highlighting them might now be a bad idea.

What is the senior circuit like? Are there any that march, or is it all "stage bands" now?

It is important to expand range in both directions. BUT, in developing range there are 3 things that I think are absolutely needed: 1) Implementation of a good breathing program. Daily warm-ups without taking the time to remind your body how to breath correctly can be detrimental to developing range. You need to repeatedly train your body how to use and focus air to continue to be a good player, but especially a range player. 2) Mouthpiece only. If you do not take time to do mouthpiece only and "siren" buzzes, especially continually strengthening the range around your break point, then range will not come either. You have to work on what you have before you work up or down. Work on no pressure by laying the mouthpiece on your knuckles so that you get the feeling of playing without forcing the lips into an unnatural, compromised position caused by using pressure. Not only will you get a better sound on the high range, but you will also find that you will be able to play longer and higher. 3) RELAX. If you are getting frustrated that your range is not going well, you need to take a break. Relaxation is the key to proper airflow and support. Spend some time streching at the beginning, middle and end of your workout as well as times when you are getting frustrated. You need to relax when playing and not force the high notes out.

Yes. A basics package designed with the show in mind is cruicial to getting what you need and want out of a line. Especially in sr. corps, why waste the time. Basics are crucial, but they need to be applied. I try to remind my hornline at every warm up that from the breathing exercizes on up to playing bits of the book that one should build on the other--the warm up is supposed to focus us in on certain aspects of playing that we need to carry to the next bit. Breathing exercizes move into mouthpieces concerning regulation of air. Both apply when we begin long tones on horns, etc. This ends up applying to each section of the book that we are working on. I have a set group of exercizes that I like to use because I feel that they are universal. But there are some things that are coming out of our show.

A warm-up routine should most definitely include breathing exercises. In fact I just bought a great DVD of some excellent breathing exercises. Check it out at www.breathinggym.com. The video itself is pretty cheesy and won't win an academy award or anything, but the content will take your breath away, so to speak. Back in 96, I had the pleasure of having Sam teach our studio class in which we did many of these great exercises. This improved my playing tremendously. I have met both Sam and Patrick many times and both are great guys who have a lot of info to share about brass playing. I would agree that my chops are better after several minutes of playing, but it's not because of warming them up. It's more likely because our 7th cranial nerve is functioning more efficiently so our brain and our lips are more in sync. An air routine is ABSOLUTELY necessary. As everything in your playing ultimately breaks down to air, this is an absolutely vital part of the warm-up. As as aside, when I went to a master class by Joe Alessi, Jr. (principal trombone for NY Philharmonic), he talked about the necessity for any pro-level player getting in the pool and swimming for about a half an hour every day because proper utilization of air was so important to quality playing. You can always use more breathing exercizes. b**bs

Yeah.....we will eventually get to that point this year. Right now, as you know, we are focusing on a lot of basics, so essentially the "warm-up" is really a basics primer. This will change within the next couple of months as we get the line more comfortable playing together. Last camp was the first time it sounded like everyone was beginning to relax into their playing and start getting the ensemble sound to come out. This, of course, is more of the focus on a line warm-up than simply warming up the chops (which is the reason that I like to give "one on your own" for people to focus on what THEY need to do to be warm). As far as the kissing up, you got the solo! ;-)

Interested in marching in a corps, but you don't want to lose that french horn lip? RCR is recruiting members now for our french horn line. We are seeking to field between 6-8 french horns in order to enrichen the hornline sound. We already have some, but we need more (can you ever have TOO many french horns?) If you are interested, please drop me an e-mail at matsenmonk@yahoo.com, call me at 916-952-8579, or visit our website at www.rivercityregiment.org and drop an e-mail to any of the staff. Camp February 15th--"Fuego!" weekend..... See you soon!

I normally can warm up in about 15 minutes effectively, but some players need more time, some less. How about all of you?

I'm looking for some suggestions for mello mouthpieces that give a darker, richer sound, but does not take away from the volume and doesn't dramatically affect the player's endurance. Basically, something that takes the edge off of the typical mello sound but can still deliver the parts. Any thoughts?

LOL Of course...time wears down brass instruments in general. Particularly after the first couple of years, horns lose their ability to produce the great volume required for drum corps. Fortunately, RCR can take care of those horns. Renegades can get the mouthpieces, but we can recycle your horns. What would DC be without a friendly Nor Cal rivalry! B)

RCR 2003--"Vanished Gardens of Cordoba" Preview coming on our site soon.... www.rivercityregiment.org

I would, but you would never wear it! :P

The River City Regiment online store is up and running. For all your RCR gear from t-shirts and sweatshirts, to coffee cups and backpacks, to stringy, sexy-type shirts and baby bibs, the RCR store is packed! Swing on by and help RCR! Visit the RCR online store at: http://www.cafeshops.com/RCRstore Clint

River City Regiment in Sacramento, CA is looking for some brass players to fill out the 2003 horn line, particularly sopranos and french horn/mellos. Our next camp is Saturday, February 15th, but you can get a head start by coming Thursday nights at 7:00 PM to the CSUS music building signs (and sounds) will tell you where we are at. If you are interested in marching brass, call Clint Matsen at 916-952-8579 or e-mail at matsenmonk@yahoo.com www.rivercityregiment.org

1980 Spirit of Atlanta 1987 SCV 1988 BD 1991 Star of Indiana 1992 Star of Indiana 1993 Star of Indiana Not necessarily in that order!

I am adding french horns to the alto line this year. When we are larger, I would like to go with a smaller sop line and have a mid line of flugals, mellos and frenches. I think that this gives a depth to the sound which is fantastic. With the low voices, I would eventually like to go with all Euphs instead of a bari line, but that is an entirely separate topic!

BD? You've got to be kidding me! SCV had WAY more demand in their book. Granted, though, I haven't seen them since CA....

Mouthpiece in the car! Definitely counts as playing. Keep the chops in shape. Even though there are some soloists who can not practice and get out there and scream doesn't mean that they are doing themselves any justice. A standard, daily routine is the best way to progress. Maybe if they are satisfied with just getting out and belting out some high ones then that is ok. But for someone really interested in being a great musician, daily is MUCHO important.

Ok. As a horn instructor I need to reinforce the need to practice every day. (So there?) But realistically, how many practice every day? Is it really THAT difficult to take even 15 mins and warm up?

I can't believe this! You are getting upset at her because she ticked and then got stage fright?!?!?!?! No WONDER she got stage fright if she is under that kind of pressure from the rest of the guard! Have some sympathy! I hope you NEVER drop!

Guard? That's what goes on in the winter, right? :D

We almost caused a riot? Cool. I wonder what it would have done to our GE score if a riot broke out? At least no one can say that there was no audience involvement in our show! :P

While I'd like to review everyone, I was either in warm-ups, on the field, or doing a corps wrap up with RCR during Division II/III, Senior, and Blue Devils C. So I'll just hit some of the impressions I had from the Div I's Pacific Crest--You know, this was the corps I was most impressed with during the evening. Unique show design, great visuals in the marching and guard, and a great sound to the hornline. Word has it that these guys only do this part-time and are not going on a full national tour. I cannot wait to see these guys once they go full-time and national. I'm not sure what their development plan is, but I see great things in this corps' future. Seattle Cascades--Very impressed with their technical package, although I must say that the choice of music leaves me a bit flat. Another corps doing music that Cadets have done. With that said, however, I did like the design of the show and was especially impressed with the control that the hornline exhibited over soft passages. As a horn guy, I was impressed with the sensitivity of playing with this line and the brass staff needs to be commended. They ARE definitely better than Madison and am surprised that there is not more of a spread between the corps. Madison Scouts--Before I talk about Madison, let's just say I think they did not have a good show. I was much more impressed with them on Saturday. I think that there was some problems with the heads being into the show for some reason on Sunday, which is why I think that there performance was down. Even coming on the field was a radically exposed tickfest--they come "off the line" and march in a company front to the 50. While on Saturday this was awesome, Sunday saw missed stops and starts, confusion, terrible phasing of the feet, and horrible dress. That set the stage. I like Madison's book, and it really hurts me to be so critical of them, but the corps is uncomfortable to watch. It is tough to see a corps of Madison's caliber and talent be so inferior visually to the other corps on the field. Hornwise, the book is pretty tight, although the line is dominated by a strong mello voice and a weakened soprano voice, which is not typical of Madison. My (and others') criticism of Madison would probably not be so harsh if it were not for the high standards that we have come to expect from Scouts over the years. However, Madison DOES look younger. The visual design looks more complex than this corps may be able to handle--an example of an ambitious design staff and the tech staff struggling to keep up. I have no doubt that the Scouts can come back and still be Finalists, but there is a lot of work ahead of them... SCV--In my opinion, the best horns of the evening. An outstanding horn book. Period. For me it was the most enjoyable design package of the evening. A lot of cleaning to do throughout the corps, but a lot of potential to this years' package. Not sure that this show is the most crowd-pleasing, but SCV does sell the show with style and with an immense sound. BD--Exactly the reverse of SCV. An enticing visual package (what a guard!) which makes you say "Wow!" at many moments through the show. I'm just not sold on the music book. Not my favorite BD book of recent years, but wonderfully played and executed. As far as cleanliness, the best corps of the evening and well-deserving of the win. However, I feel that the music package will hold the corps back this year from being a competitor for the ring. My two cents! Wonderful effort by everyone out there on the field. I hope you all have as much fun marching your show as I did watching it!

Yes, I should have mentioned the wonderful coaching that Larrie Dastrup had done with Brian. The amazing progress that Brian showed over the course of the season was outstanding. My understanding with Scott (as he and I were always pretty tight, although I haven't talked to him in about 7 years now) was that there were other issues that caused him to make that last minute switch, but I'll leave that to discussion off of the board.

Top 3 hornlines of all time: '93 Star of Indiana '91 Star of Indiana '92 Star of Indiana While I did not really like the design of Star's show in '92, the hornline is quite awesome. The '92 line gets neglected a lot in the discussion of Star, mostly because of the win in '91 (along with the fabulous Mello line of that year) and the novelty and new standard of '93. '92's design seems to get in the way of that particular line being noticed as one of the best hornlines of all time.