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Found 276 results

  1. As we know the 5 caption trophies are averages of THUR, FRI, SAT. If there is a tie, the Finals number breaks it. GE: Bloo has a .45 lead, so if BD is announced the Angelica winner, it’s #19 in ‘19. Nobody else is close. Visual: the Brazale is just the 20 pt proficiency caption. I don’t know why they don’t add in analysis, but it is what it is. BD holds a .15 lead over Bloo. It’s conceivable that Bloo can pick that up but not too likely. Guard: BD has a .05 edge over BAC, so whoever gets the top score tonight wins the Zingali. Brass: wow, Crown only has a .15 lead over (edit) Bloo. Again, Bloo isn’t out of it but needs a tepid run by CC to gain at least that.15. Percussion: SCV is comfortable at .175 over BD. Bloo is .25 back. Again, BD could win Visual and Guard and get the Silver. Bloo MUST win GE to get the Gold — unless this week’s trends go wrong.
  2. My perspective is different than most on this board. I'm a trained musician, but not a professional. I have been a DCI fan since I marched in high school, but I no longer have a dog in this fight. I am writing because I want the corps that I've loved since 1987 to survive and thrive. I have no inside information. I can only applaud the strength of the community to keep the corps alive and thriving through the last five years of narcissism, neglect and predation from one person (and much of it continued for over thirty years, but the organization was so strong, people swallowed the pain and persisted). So I'm not pointing fingers at anyone, since we all must move on. So people understand a bit about where I'm coming from: I have degrees in four different fields, so I’m a generalist more than a specialist, and my areas of expertise are social entrepreneurship, writing, education and the arts. I've taught a few thousand students over the years at the university level, but I'm no longer an academic and exclusively am now an entrepreneur. I've worked as an open innovation consultant and management consultant for small businesses and non-profits, as well as for non-profits that have over one-thousand employees and for-profit companies valued in the ten figures. I've co-founded three successful companies and two successful non-profits, and three others that failed. I know what usually works, and even more, I know what almost never does. If I were brought in as a management and innovation consultant for YEA and The Cadets, I'd make the following general recommendations. Take them for what they are worth. Since they are freely given, maybe to some they are worth nothing. But if change is to occur, nothing is more important than diversity of ideas. 1. Someone commented recently, quite brilliantly, that a certain former director still seems to be "living rent free in everyone's heads" in the organization. Exactly. Two years of reacting, and as such, some steps forward, and perhaps an equal number back in other areas. Reminds me of 2011 Angels and Demons, great achievements despite the terrible drag on creativity and achievement from the one guy at the "top". The imagery in that show reminds me of a famous quote by Walter Benjamin: "A Klee painting named Angelus Novus shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress." If The Cadets continue to try to "heal" or represent "healing" or do anything more than just create art, if they try to reckon with the past, or remain too traditional, they will resemble this Klee angel, but I am not even sure they could aspire to Benjamin's hope that it will result in "progress". And on the other hand, if The Cadets continue to try to innovate by imitating - which I believe they are, unsuccessfully and demoralizingly at times - we will have nothing but watered down WGI or Crown/BD/BC wannabes, so they will never exorcise their demons through imitation. 2. The Cadets have the largest, most influential, and longest-tenured group of alumni in all of DCI. No one else is even close. It is unclear how many of them have been engaged beyond volunteering or donating money (and for many of them, not donating money. Yet.) Years of neglect of the alumni because of the way the previous exec director treated them have yet to be fully addressed or mended, it seems. 3. Creative people have big egos, staff included. Great staff have that Achilles heel, and so do mediocre staff. Usually the mediocre people in any organization are mediocre in large part because they are unaware of their own limitations, and overcompensate by being wary of involving others either in the creative process, or in management and execution, or all of the above. So mediocrity can easily breed mediocrity, and in such situations, few want to take a big step back, let ego go, and truly evaluate how and who and what to do differently. New staff are brought on board and they are handed the keys and told to drive. Ego and a desire to change cause a new approach to be followed. Design decisions are made by a very small group of people, and by the time there is a product to respond to, it's too late to change fundamentally, making innovation all but impossible. 4. Potential MMs don't care much about tradition, unless that tradition is recent success. They care even less about having to bear the burden of organizational trauma. In fact, that's the very last thing anyone new would want to deal with. The MM's just want to learn, grow, be great, and will go to that organization which has the best ideas, the best organization, the best leadership, the best alumni support, the most involvement, the most dynamic and different and distinctive experience they can have. Most young people want to look forward, and want to connect with tradition that always has been looking forward. And will go where forward thinking and proven execution and culture empower just that. 5. This year's "closed door" design policy has so far mostly been a disappointment, based on consensus of show reviews as well as scores. Alumni and potential MMs had nothing to go on to get them excited other than join a mostly new staff and "trust them" to come up with something extraordinary. The earlier potential MMs in the Cadets find out about show design and music, the better. In this situation it’s the only real recruitment tool to continue to attract great talent. 6. Most organizations must hit bottom in order to fundamentally change. Cadets have hit bottom. Several bottoms in the last few years. Failure is instructive only if egos can be set aside enough to learn though. 7. Success depends very much on the following: engaging alumni not just for financial support and volunteering, but for creating an engaged environment that is unlike any other corps. Transparency and accountability are key. But that doesn't just mean financials, conduct and governance. It also pertains to creativity. 8. The Cadets should try Open Innovation. In business and the creative world, and across industries, competitions are launched, prizes offered, ideas gathered and evaluated, and in that way, many people are empowered to have a hand and contribute. The wisdom of the "crowd" is a powerful one, especially when the crowd is empowered. This is an oversimplified description of Open Innovation, for sure, but it's basically how it works. You break down organizational walls, invite many others to contribute - some a piece here and there, others much more - continually solicit feeback, iterate and improve, and successful execution is much more likely. And you've created new community along the way. 9 How to conduct show design with Open Innovation? Set up a prize for the winning idea or ideas. Solicit proposals - theme, music, narrative, even drill / staging concepts. Appoint a blue ribbon panel that includes staff - potential staff and actual staff - as well as alumni. Reach out to alumni who work with other corps. If they can't come "home" by joining the Cadets staff and leaving their own, at least they can participate. Simple NDAs/NCAs can be executed to disallow any other corps from "stealing" the ideas generated. Several finalists could be named and as many alumni / donors as possible given a vote, or they pay for their vote (I've seen fundraisers like this, including crowdfunding multi million-dollar movie productions). 10. The Cadets could also host a similar competition for identity and approach. How to move past the current dictatorship of WGI, the ubiquity of spandex, the supposed "simultaneous demand" of body movement, the cliches and overwrought "message", the tired preachiness, the preciousness. Let the alumni and the fans have a voice in deciding what Cadets they want. Maybe traditional uniforms for the hornline? Custom unis for everyone else? So many possibilities. In the organizational world, this would be called a "know your customer" survey, simple market research, but for the Cadets, it's much more than that. There is a disconnect between what management and staff are doing, and what alumni hope for and want, and clearly, what's happening isn't inspiring new members to join as they would five or ten years ago. None of the above has been tried in DCI before - to my knowledge. If the Cadets are to remain and become again the Cadets many of us have loved for decades - the thinking person's drum corps, the vanguard of the vanguard, balancing tradition with innovation, the corps to which all other corps look to imitate - they have to see how everyone else is zigging. Openly, innovatively, the entire Cadets community needs to be empowered to ZAG, just like the tee-shirt from the 80s and 90s. I hope this helps. I'm so proud of the current MMs, and last year too. Incredible work ethic, effort, faith. They've already won the championship in my mind. Now we need to keep learning the lessons from their efforts. They only deserve the best from all of us. Let's make this happen.
  3. I thought I start a thread of inks to live feeds of the hornline, drumline, front ensemble, and guard warm ups. To keep things kosher, let's stay away from posting live show feeds. Let's keep it to live video from the parking lot.
  4. Boys Play Trumpet and Girls Play Flute, but Why? At first glance, this might seem like the case considering when one views a major symphony orchestra or band, the ranks seem filled with women in the strings, woodwinds, and fute sections. I have noticed there seems to be a growing interest amongst girls and women especially in the Marching Arts to choose a brass instrument to play which prompted me to do some research on the subject and this is what I found. It's difficult to choose a starting point and If I leave someone out Sorry, there are so many. Let's start with the 1977 Garfield Cadets production which featured a number of color guard members playing soprano bugles. Spotlight: 1977 Garfield Cadets Drum Corps International Published on Aug 24, 2015 From rule-bending vocals to soprano bugle playing color guard members, the Garfield Cadets' 1977 production featured a number of trail blazing programming choices for the time period. Next is Barbara Maroney. 35 years after her age out, Barbara Maroney is still honored. She is probably best known for her mellophone solo work with the World Champion Garfield Cadets during 1984. Her solo during "Maria" and "A Boy Like That/I Have a Love" were wrenching. It's also notable to note that Barbara was born with no left arm from the elbow down (thus, she had to lip everything that would otherwise have been done by using the 1st valve trigger on her mellophone)...I believe she even had a concert French horn made for right handed use. In 83 the fingers of her glove were simply tied around the bottom of her mello...that's what you're seeing. In 84 she actually had a prosthetic device which her glove fit over and she was able to actually grip the valve casing. See Barbara and the 1984 Garfield Cadets here: Garfield 1984 - Program: Selections from West Side Story by Leonard Bernstein and Stephen Sondheim - Score: 98.00 1st Schadret Published on Apr 1, 2016 There is a text interview where Barbara was interviewed by telephone on March 24, 1992 at the following link: An Interview with Barbara Maroney - The Middle Horn Leader http://www.middlehornleader.com/Maroney Interview.htm Originally published March 31, 1992. Here's a portion of the Garfield Cadets 1983 program: Garfield Cadets (1983 Miami) - Program: Rocky Point Holiday - Score: 94.40 1st starofindy Published on Jan 22, 2007 Zingali's drill & great G Bugle sound 1984 Garfield Cadets — Barbara Maroney Interview (Video) 84Cadet Published on Jul 18, 2009 This is a video interview with Barbara Maroney, the mellophone soloist of the 1983 & 1984 Garfield Cadets. Following are Forum Threads In Drum Corps Planet Forms linked to Barbara Maroney Historical Junior Corps Discussions Mellophone Question By abelm98, June 14, 2007 in Brass Forum Barbara Maroney for Cadets HOF By 84BDsop, April 23, 2009 in Historical Junior Corps Discussions Drum Corps Membership Changes By xandandl, March 22 Next is Bonnie Thompson (Ott). Bonnie began her drum corps career in 1966 with the Stockton Commodores from Stockton, California. Her brother (Jim) was attending the University of the Pacific and he taught and arranged the music for the Commodores while Bonnie played. Her brother advanced to instructing Spirit of JSU where he was killed in a freak auto accident. Bonnie went on to play with the Blue Devils in 1974, serving as section leader for the alto bugle section until aging out as a national champion in 1976. There is a article about Bonnie Thompson (Ott) which was Originally published March 1993 at the following link: Bonnie Thompson (Ott) by Scooter Pirtle http://www.middlehornleader.com/Bonnie Thompson (Ott).htm Bonnie Ott has been a guest at DCI World Championships and seen sitting in the end zone section with the Marine Drum & Bugle Corps. The Following Clip is Bonnie at DCI in 2012 Bonnie Ott Thompson @ DCI 2012 Roy Perez And A Tribute To Her Brother (Jim Ott) announced by Wayne Downey of The Blue Devils Tribute to Jim Ott July 1980-200 Horn Players Roy Perez Published on Nov 5, 2009 200 combined horn line players from the Stockton Commodores,Blue Devils,SC Vanguard,and Freelancers drum and bugle corps play a memorial tribute of NAVAL HYMN for DCI hall of fame member Jim Ott at Concord California July 19,1980. Next is Carolina Crown's Ballad in 2018 - Brass Caption Supervisor Matt Harloff Describes The Design using an all female brass ensemble DCI Carolina Crown All-Female Hornline Moment in Ballad Marching Roundtable / Marching Arts Education Published on Jul 20, 2018 Crown Brass Caption Supervisor Matt Harloff gives us the inside scoop on that awesome all-female hornline moment in the ballad this year. How did it come about, and how did they make it happen Here is the Carolina Crown 2018 Ballad during their tour in August of 2018 Carolina Crown 2018 Ballad BubbaDuh Fett Published on Aug 4, 2018 Next is Staff Sergeant Courtney Lawrence in “The Commandant's Own,” The United States Marine Drum & Bugle Corps, stationed in Washington, DC. Staff Sergeant Courtney Lawrence serves as a Brass Technician with SCV for the 2019 season https://www.scvanguard.org/vanguard-educational-staff/ Courtney Lawrence is a Staff Sergeant in “The Commandant’s Own,” The United States Marine Drum & Bugle Corps, stationed in Washington, DC. She plays the Euphonium Bugle and currently serves as the Hornline Instructor. A native Texan, Courtney studied Music Education at the University of Houston prior to enlisting in the Marine Corps. She completed her Bachelor of Arts in Music degree from George Mason University in Fairfax, VA. Courtney marched in the Phantom Regiment Drum and Bugle Corps in 2004-2008 and the Colts Drum and Bugle Corps in 2003. Currently in her third season with the Santa Clara Vanguard, she has also taught Phantom Regiment and is an active drill designer and clinician in the Washington, DC/Northern Virginia/Maryland area. Here Is A Behind the Scenes featuring Courtney of The United States Marine Drum & Bugle Corps Behind the Scenes with the Drum and Bugle Corps "The Commandant's Own," The United States Marine Drum & Bugle Corps Published on Feb 24, 2015 SSgt Courtney Lawrence talks about how the D&B is incorporating tablets with our drill writing and critiquing process. Next is Amy Frost who also serves as a Brass Technician with SCV for the 2019 season https://www.scvanguard.org/vanguard-educational-staff/ Amy Frost is in her second year as a member of the brass faculty for the Santa Clara Vanguard. She received her BM in Instrumental Music Education in May of 2008 from Arizona State University, where she was in several performing ensembles including the Wind Symphony, chamber ensembles, brass quintet, trumpet ensemble, and the Sun Devil Marching Band. While in college, she taught trumpet privately in the Phoenix area as well as supervised the visual programs at several high schools in the Valley. Amy has been involved with the DCI activity since 2001, beginning her drum corps career as a soprano soloist with Copper Star from Gilbert, Arizona. She then was a member of the Santa Clara Vanguard from 2003 to 2006, aging out of DCI as the 2006 I&E Trumpet Champion. During the Fall of 2008 Amy had the special opportunity of traveling to Japan as a professional musician, playing both trumpet and piccolo trumpet, for the “Odyssey” stage production. The show was an all-female cast of percussionists, dancers and brass musicians sponsored by the Min-On Concert Association, a Japanese organization that believes music is the universal language, promoting cultural exchange and peace by introducing music and performing arts from every country around the world. Following her time as a member, Amy began teaching drum corps in 2007 as an intern with the Vanguard A Corps, as well as devoting some time to the Velvet Knights Drum and Bugle Corps as a visual instructor. In 2008 and 2009 she joined the brass staff at the Blue Stars Drum and Bugle Corps from La Crosse, Wisconsin as the trumpet technician and Breathing Gym Specialist. Amy was a member of the brass staff of the Madison Scouts during the 2010, 2011, 2012, 2013, and 2014 seasons. Amy is currently in her first year as an assistant band director at Grisham Middle School in Round Rock ISD. Prior to her time at Grisham, Amy spent two years as an assistant director at Vista Ridge High School in Leander ISD, and five years in Georgetown ISD, two as an assistant band director at Georgetown High School from 2009 to 2011 and three as the Director of Bands at East View High School from 2011 to 2014. Before moving to Texas to teach band, Amy was the Director of Bands at Stapley Junior High in Mesa, Arizona. Next is Jessie DeJesus who also serves as a Brass Technician with SCV for the 2019 season https://www.scvanguard.org/vanguard-educational-staff/ Jessie DeJesus is an active-duty service member of the United States Army Old Guard Fife and Drum Corps where she currently serves as a Bugle Musician, Drillwriter, Public Affairs NCO, Bugle Arranger, and 4/3 Battalion Equal Opportunity Representative. A native of Ponce, Puerto Rico, Jessie grew up in southeast Texas. She received her Bachelor of Music in Trumpet Performance at the University of Louisiana in Lafayette in 1999 and received her Master of Music at Louisiana State University in 2002. She is All But Dissertation at the Indiana University Jacobs School of Music Doctorate of Brass Pedagogy and Literature Program with minors in Music History and Music Theory. She is a proud alumnus of the 1996 Cadets of Bergen County. Afterwards, she worked with local high school marching band programs and taught private lessons in southern Louisiana. In 2016, she began teaching in DCI as a Mellophone Technician at the Bluecoats and worked with them for three seasons. She is excited to spend her first season with Santa Clara Vanguard in 2019! Jessie currently resides in Alexandria, VA, and is stationed at Ft. Myer, VA, adjacent to Arlington National Cemetery. She maintains a small trumpet studio in Washington DC and teaches marching band in Alexandria. She is also an avid flamenco dancer – albeit a pretty bad one – and is pursuing portrait photography as a very expensive hobby. Next are the section leaders for the 2019 SCV (All were part of SCV's 2018 Program: Babylon) Elise Denghausen 2019 Horn Sergeant for SCV Ashley Ballengee 2019 Trumpet Section Leader for SCV Katie Christensen 2019 Baritone Section Leader for SCV Ricky O’Bannon at the Baltimore Symphony Orchestra suggests the instrument choice my be gender based in this article Boys Play Trumpet and Girls Play Flute, but Why? https://www.bsomusic.org/stories/boys-play-trumpet-and-girls-play-flute-but-why.aspx In A Dec 2016 Post in the Trumpet Hearld Forum they discuss the performance of Tine Thing Helset, a Norwegian female trumpeter who has received numerous awards and will be touring the US in 2019 with her ten-piece, all-female brass ensemble "tenThing" Post Thread: Women Trumpet Players https://www.trumpetherald.com/forum/viewtopic.php?t=18422&postdays=0&postorder=asc&start=40 Here is a clip of Tine Thing Helset playing Libertango in March of 2013. Tine Thing Helseth - Libertango (March 8th, 2013) Kaare K. Johnsen 100th anniversary celebration concert for women's right to vote (in Norway), at Kilden Theatre and Concert Hall in Kristiansand, March 8th, 2013. Clearly all of these women are exceptional. So, the following questions are in order. Do you think there is an increased interest among women to play a brass instrument? If so, Why? Would love your point of view especially if you are a band instructor.
  5. Here is the 2019 edition of BCB. https://www.youtube.com/watch?v=pAjj7tP9L3s Details & explanation here: http://www.CantinaIndigo.com/
  6. I need to buy: 4 used MELLOPHONES (F) 4 used BARITONE (Bb) chrome/silver/nickel finish ASAP, for my youth outreach for at-risk teens in the Ferguson, Missouri area. The program is FREE FOR THE KIDS. I have funded this project "out of pocket" for 4 years now, so DONATIONS or KIND-HEARTED DEALS would be greatly appreciated. Guys, please HELP ME! Thanks! KEITH L. PORTER Lieutenant Colonel, US Army (Ret) Jefferson City Police Department (Ret) Volunteer, Dellwood Recreation Center Volunteer, Ferguson Youth Initiative Director, Dellwood Dragons Drill Team Youth Outreach (573) 301-0105 http://www.facebook.com/dragondrumcorps/ http://www.gofundme.com/dellwood-dragons-drill-team-youth-outreach http://stl.blueprint4summer.com/camp/session/33966
  7. I am looking for a used g Euphonium to use this summer. Willing to buy/lease/rent one. I prefer a 3 valve but will consider a 2v (must be a silver or nickel finish). Reply here or email me at jeremyof10ec@hotmail.com for faster responses.
  8. Due to the impending winter storm, The Skyliners have moved their Open House to Sunday, February 3rd.
  9. Who did the brass and percussion arrangements for the Cadets iconic 1984 "West Side Story" show? 35th Anniversary of that show - time flies.
  10. SOLD FOR SALE - my Kanstul Powerbore KSB-102/102G Sopraon (with a package) …. The package includes: Powerbore Soprano Protect case – perfect condition Mouthpiece ( if you want one) - your choice 3C or 7C Replacement water key rubber caps, 6-total..2 for each key. Kanstul P/N’s-- 21, B2, E2 Replacement water key corks. Kanstul P/N -- (b) Replacement slide Stop Knob. Kanstul P/N -- E4 (1) 8oz Blue Juice Valve Oil – a $30+ value (1) New tube Yamaha Slide Grease (1) NEW jar HERCO Spitballs Cleaning brushes – MP, Valves and Pipe Snake (1) Package 3M Tarni-Shield Protectors (2) NEW Sunshine Polishing Cloths (1) NEW Blitz Silver Care Cloth (1) Bell Hoodie (cover) (1) Horn Stand I realized one of the Stop Screws was missing, I placed an order with Kanstul for a replacement. Today, 2/14/19, they informed me they have shut down all operations and won't even ship replacement parts. This is from their website: Effective immediately, Kanstul Musical Instruments is putting a hold on new orders for instruments, parts and accessories. We are undergoing a transition that requires an indefinite halt in production. In the meantime, the Kanstul family and team want to express our deep appreciation to our customers, business partners and friends for the business and incredible support we’ve received over the 38 years since Zig Kanstul founded the company. We will update on any further developments. UPDATE: on 2/15 it will be listed on eBay and local sites. -------------------------------------------------------------------------------------------------------------------------
  11. Hello! I recently purchased a Getzen 1 Piston Valve Baritone Bugle and I was wondering what mouthpeice it used
  12. So I'm a woodwind that's really interested in auditioning for DCI in a few years. I'm planning on getting a Mellophone to learn but I don't exactly have a lot of money and I have no idea what brand or model to get. I've heard Yamaha is best. What mouthpiece and Mellophone should I look into buying?
  13. First, the good: It’s nice to hear brass lines punching up the volume again and most corps are accomplishing this without field microphones. Congratulations! Design staffs listen to the veterans and fans after all! We want a big sound and we want it to be produced by natural means. Now, with that being said, each corps used to have its own particular sound. Back in the day you could pick out a brass line blindfolded: Phantom had a particular sound, Madison had a distinctive sound, etc. No longer. Every brass arranger in DCI seems to use the same technique. The trumpet parts are arranged similarly, etc., and its hard to distinguish between some of the brass lines today. Sure, there are differences in quality and clarity but in general there is what I call sameness across DCI. To me things sound tuba- and mellophone-heavy across the board especially live. Even some of the best brass lines in the country sound like a radio with the bass turned up and the treble turned down. Other than from the Blue Devils I don’t hear the searing-hot trumpet sound cutting over the top of the brass section. To my mind the best brass sections shade a little toward the treble end of the balance scale; not a lot, just a little. Look, modern brass lines are amazing but it sounds like the parts were ripped from Arban’s technique book. Would it hurt to play more than four consecutive measures of an actual piece? Other than parts of “Bolero” by The Cavaliers, a couple bars of “God Bless the Child” by the Bluecoats, and a trumpet solo from Phantom Regiment in “New World Symphony,” I don’t hear much I recognize. It’s mostly a ten minute mashup.