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Found 50 results

  1. We have a handful of corps that have the talent to win gold, which is outstanding. The sheer number of great ideas this year is more than I've ever seen in DCI, and I've been watching (or marching) since the mid-80s. What pains me most is when show designs hobble great talent, that demoralize almost as much as inspire. What I love to see most is a show design that empowers MMs to achieve their highest potential as performers, as people, and as artists, making the show itself into a work of art that transcends the idiom of drum corps. Usually, it's the show concepts that either click, or fail. A great concept will most always lead to a string of inspired, aesthetically-unified, and effective (GE) decisions in all captions. A poor concept will fail to a greater or lesser degree in all regards, including demoralizing MMs who have to live with it, act like they love it, but hate it secretly until afterwards, when they just end up regretting the decision they made to trust the design team and join the corps. That's the worst of all possible outcomes. Solution to poor design = Open Innovation Here's how to do it (though versions of this have been tried in the past, I'm well aware): 1. The design team must let go a bit and open up, instead of being like Charleton Heston ("...FROM MY COLD DEAD HANDS!!!!"). Egos must be shelved. It's OK, we have to tell the corps directors and design teams. You'll still get your salaries because you're paid to CO-innovate and collaborate, to execute the designs, and hardest of all: to teach a group of young people how to create art. People out there, including potential members who will actually perform the show, have great ideas. Closed innovation doesn't work anymore in business, and it doesn't work well in DCI, at least for several corps, and even sometimes for the very best organizations. (Object lesson: 12.25, 10, Yowza, etc.) 2. They solicit show ideas from fans and alumni, but do so in an organized way, requesting concept, music, arrangement, visual, uniform, flag, prop, etc., ideas that communicate that theme. A standard format and strict requirements for submitting show design proposals must be communicated, just like any professional proposal. I'm talking actual RFPs (requests for proposals). And they could even require that the ideas if rejected cannot be used by other DCI organizations, which would keep the IP (intellectual property) within the community, as it were. Even better: they could request (or even require) individuals and/or teams of future MMs submit proposals. Could be a component of their auditions. 3. They allow the community to view the ideas, comment, and vote. 4. They give the community 50% of the votes, and their team 50%, and the best idea wins. Maybe the second or fourth best ideas will win the following year(s). How could you go wrong with the above? The days of the dictatorial corps director mucking things up are numbered. Just like the days of white guys in cigar-filled rooms deciding which candidate from which prominent political family will represent their party for governor or president. (Oh wait.....) Closed innovation, top-down, dictatorial decisions are so 20th century. So pre-social media. So Greatest Generation. Charleton Heston died angry, red-faced, half-crazy, but reports say that he was holding his wrinkled shrunken antique piece. Don't let this happen to you, top-5 corps. Let go. This is the Millennial Generation marching. They want co-ownership in their organizations. They want to lend a hand, to be empowered, to express their voice, and invest everything they have in its success, from concept to execution, from paper to the Gold medal around their neck at Finals. Trust the alumni, fans, and most of all: future MMs, not just yourselves. Open Innovation will avoid show designs that are inept from the get-go. Open Innovation will yield gold.
  2. What are some ideas you have of music that has not been used in a drum corps setting? Who could pull them off? I personally want to see somebody tackle modern post-rock music, such as Swans or Godspeed You Black Emperor. Not the most popular choice, but I do believe somebody like the Bluecoats could integrate it well.
  3. The purpose of this post is for us to discuss all the interesting and fun program points of last year's shows, 2014. I want to start a discussion where we can share what we thought was cool, congradulating the creative design and the performers. Comments should be focused on how a show's element (music, drill, guard movement, costumes, props, sound effects, music choice) helps tell the story of that corps' show. Please start your post or comment with what corps / show you'd like to discuss. And please keep it positive. I'll start the conversation with this: CAROLINA CROWN - OUT OF THIS WORLD I loved how the the "countdown" in the opener lined up with the rifle tosses. Perfectly matched with David Bowie's "Space Oddesy" get us ready to blast into outer space. And good use of amplified voices, singing the words, "Ground control to Major Tom" with mission control talk all around. And then, way later in the show, they break out into Peter Schilling's "Major Tom" as a fanfare after the drum break following the all trumpet / mello feature. Brilliant! https://www.youtube.com/watch?v=N1Hs2AQwDgA
  4. Generally speaking, what are the basic ins and outs of running an open class corps? I've heard that the biggest expenses are gasoline, housing, and food, but I have no clue what the rough dollar amounts for those tend to be among OC corps. And then buses and instruments are capital expenses (up front) that you can maintain for years - correct me if I'm wrong. I'd just like some clarification and discussion. EDIT: this is not me trying to start a corps. This is solely for the purpose of wanting to know for my own interest.
  5. I'm sure I'm not the only one who's noticed this trend, but I was watching the "Best DCI Moments of 2012" recently, and I was struck by the surprising lack of cohesion in many of the brass arrangements. It's almost as if a lot of the shows are just "hit - transition - hit - transition - hit - transition - hit" in structure. I'm not saying that they don't contain complete musical ideas, but the arrangers are being fairly unoriginal and cliche'd. I also think that they're not being patient with the music, allowing it room to breathe and stretch its limbs. I'm primarily a brass person, so I can't really comment on pit and battery arrangements, but I have a fair amount of experience with music arranging and transcription; what I've seen of good arrangements has taught me that there are many intermediate shades between loud/bombastic and quiet/subtle. Yet these arrangers just can't grasp that. And what's really puzzling is that many of these arrangers have proven themselves to be skilled in those respects - adding variety to music and using orchestrational techniques to bring interest and meaning to the music. For example, Michael Klesch, currently with Crown and a few others, arranged brilliantly for Garfield in 1985 and 1987 ('85 is my favourite arrangement for drum corps ever), preserving the source music's spirit and vitality while compressing them into 13 and 11 minutes respectively. Scott Boerma, still with Scouts after all these years, really brought out the aggression of Madison's hornline, while still making it musical and keeping the integrity of the sources. Is it that they and the many other arrangers working today just don't care? Or is it that they must bow to the will of the visual team and stretch and shape their music to rigidly fit the drill and guard? If any of you can shed some light on this phenomenon, I'd appreciate it.
  6. Shows available for all ability levels! Most of these shows are: *original compositions, not arrangements *available immediately *written with accessible parts for front ensemble and battery *site exclusive to guarantee that you're the only ensemble playing your show at your contests Visit http://www.gpgmusic.com/percussion.php to check out our complete list of shows today!
  7. Los Angeles area DCI corps is in search of qualified brass caption head/instructor. If interested contacted us at: CitySound@City-Sound.org (323)228-7231 www.City-Sound.org https://www.facebook.../CitySoundCorps
  8. Los Angeles area DCI corps is in search of qualified brass caption head/instructor. If interested contacted us at: CitySound@City-Sound.org (323)228-7231 www.City-Sound.org https://www.facebook.com/CitySoundCorps
  9. Los Angeles area DCI corps is in search of qualified brass caption head/instructor. If interested contacted us at: CitySound@City-Sound.org (323)228-7231 www.City-Sound.org https://www.facebook.../CitySoundCorps
  10. Lots of agreement early on that this range would be an exciting one to watch as we go into finals. These placement seem to have become consistent since just before San Antonio. So, current placement a lock? percent chance of moving up? percent chance of moving down? Of course if someone moves up, someone has to move down or tie (God forbid). My thoughts: Crossmen: 12th place A LOCK show and performance places them there solidly Troopers: 13th place A LOCK not enough in the show construction to get them higher, too good to move down Colts: 14th place A LOCK this could have been 12th with more talent and cleaner music book sooner voice over not quite right, don't think they are willing to budge much there Spirit: 15th place 40% LOCK 60% Chance to move down show is poorly designed, but they have more talent than some below them and have the finalist experience The Academy: 16th place 50% LOCK 50% Chance to move up better show than SOA all around, some sections as talented, really need to clean OC: 17th place 50% LOCK 50% Chance to move up better show than Academy or SOA, lots to clean yet Pacific Crest: 50% LOCK 50% Chance to move up tidiest show in 15-18 range, gotta turn up the communication and lower individual mistakes
  11. The Crusaders posted on Facebook some sneak peeks of their uniforms. The full color picture can been seen in an advertisement in the March Edition of Halftime Magazine but you need a subscription. http://halftimemag.com/articles/subscribe.html I don't know what do expect from them. It looks really similar to the regular red underneath last years gray uniforms.
  12. City Sound Drum & Bugle Corps would like to invite you to our 2014 Color Guard Workshop SUNDAY MARCH 23, 2014 9 AM to 5 PM Our rehearsals will be at: CSU DOMINGUEZ HILLS (meet for registration in Parking Lot 4A) 1000 E Victoria St Carson, CA 90747 City Sound will be competing in the DCI Open Class Division and will be appearing at the following shows: June 27 - Oceanside, CA June 28 - Glendora, CA June 29 - Riverside, CA July 5 - Sacramento, CA July 6 - Pleasant Hill, CA July 12 - Laguna Hills, CA July 13 - Bellflower, CA (More performances to be added) If you want to grow as a color guard performer and have fun join us for what looks to be a very fun summer! Invite your friends! For more information contact: Bobby Vega vegabobby@yahoo.com www.City-Sound.org
  13. City Sound Color Guard Workshop Sunday March 23, 2014 9 AM to 5 PM CSU DOMINGUEZ HILLS (meet for registration in Parking Lot 4A) 1000 E Victoria St Carson, CA 90747 For more information email CitySound@City-Sound.org Hope to see you there! www.City-Sound.org (Send this flyer to all your friends!)
  14. Looking for experienced Los Angeles area color guard instructor. If interested send email to CitySound@City-Sound.org for more information.
  15. Looking for experienced Los Angeles area color guard instructor. If interested send email to CitySound@City-Sound.org for more information. Position filled. Thanks everyone for checking out our ad
  16. Is Crown going to use the same uniforms from last year this season? Or are they going back to the regular white-ish ones that they'be used typically? I don't see how the uniforms from last year would look good with a show un-like e=mc2. But that's just my opinion.
  17. __________________________________________________________________________________________________________ City Sound Drum & Bugle Corps Los Angeles, CA. FOR IMMEDIATE RELEASE http://www.city-sound.org Contact: Nathaniel Lewis Tel: 323-228-7231 email: nlewis@city-sound.org “Andy Cross” ACCEPTS 2014 POSITION AS COLORGUARD INSTRUCTOR WITH CITY SOUND Andy attended Bernardo Yorba M.S. and Esperanza H.S. playing flute & bassoon and performing in orchestra, wind ensemble, marching band, & as drum major. After graduation, he studied Dance at Orange Coast College (Costa Mesa), Mt. San Antonio College (Pomona), Grossmont College (El Cajon, CA), with the Gloria Newman Dance Theater (Orange County), & with Shirley Jenkins at the University of Washington (Seattle). In 1989 Andy joined the Seattle Men’s Chorus (SMC) singing on their first CD, appearing on PBS specials, and performing at Boston Symphony Hall and Carnegie Hall in New York City. He shared the stage with SMC’s special guests Natalie Cole, Bobby McFerrin, Dianne Schurr, Harvey Fierstein, & Maya Angelou. Andy has performed with the Seattle “R.O.T.C.” Colorguard (1987-1997) in SMC Concerts, in New York City’s Central Park, and at the Stardust Casino in Las Vegas. He celebrates over 30 years of performing at “R.O.T.C.” events in New York, Los Angeles, San Diego, San Francisco, Long Beach, and Seattle. More recently, Andy has been in San Diego where he attended Dance classes at CoSA – Coronado School of the Arts (through Southwestern College), as well as performing a self-written Dance/CG solo with Rifles (at one point juggling 2) in the 2012 CoSA Spring Dance Concert. That Autumn he attended Grossmont College where he studied Dance and performed in both the Student-choreographed and the Faculty-choreographed Dance Concerts. In 2014 City Sound is ecstatic to have Andy as part of their staff all the while creating one of the most exciting color guards in Southern California. Andy’s massive professional dance experience and WGI teaching experience, will definitely give City Sound the visible projection need to be a sound contender this 2014 season. We are proud to let everyone know that Andy Cross is coming to City Sound as the new color guard instructor. Sincerely Nathaniel W. Lewis, Executive Director City Sound Drum and Bugle Corps http://www.City-Sound.org
  18. _______________________________________________________________________________ City Sound Drum & Bugle Corps Los Angeles, CA. FOR IMMEDIATE RELEASE http://www.city-sound.org Contact: Nathaniel Lewis Tel: 323-228-7231 email: nlewis@city-sound.org “Andy Cross” ACCEPTS 2014 POSITION AS COLORGUARD INSTRUCTOR WITH CITY SOUND Andy attended Bernardo Yorba M.S. and Esperanza H.S. playing flute & bassoon and performing in orchestra, wind ensemble, marching band, & as drum major. After graduation, he studied Dance at Orange Coast College (Costa Mesa), Mt. San Antonio College (Pomona), Grossmont College (El Cajon, CA), with the Gloria Newman Dance Theater (Orange County), & with Shirley Jenkins at the University of Washington (Seattle). In 1989 Andy joined the Seattle Men’s Chorus (SMC) singing on their first CD, appearing on PBS specials, and performing at Boston Symphony Hall and Carnegie Hall in New York City. He shared the stage with SMC’s special guests Natalie Cole, Bobby McFerrin, Dianne Schurr, Harvey Fierstein, & Maya Angelou. Andy has performed with the Seattle “R.O.T.C.” Colorguard (1987-1997) in SMC Concerts, in New York City’s Central Park, and at the Stardust Casino in Las Vegas. He celebrates over 30 years of performing at “R.O.T.C.” events in New York, Los Angeles, San Diego, San Francisco, Long Beach, and Seattle. More recently, Andy has been in San Diego where he attended Dance classes at CoSA – Coronado School of the Arts (through Southwestern College), as well as performing a self-written Dance/CG solo with Rifles (at one point juggling 2) in the 2012 CoSA Spring Dance Concert. That Autumn he attended Grossmont College where he studied Dance and performed in both the Student-choreographed and the Faculty-choreographed Dance Concerts. In 2014 City Sound is ecstatic to have Andy as part of their staff all the while creating one of the most exciting color guards in Southern California. Andy’s massive professional dance experience and WGI teaching experience, will definitely give City Sound the visible projection need to be a sound contender this 2014 season. We are proud to let everyone know that Andy Cross is coming to City Sound as the new color guard instructor. Sincerely Nathaniel W. Lewis, Executive Director City Sound Drum and Bugle Corps http://www.City-Sound.org
  19. ________________________________________________________________________________ City Sound Drum & Bugle Corps Los Angeles, CA. FOR IMMEDIATE RELEASE http://www.city-sound.org Contact: Nathaniel Lewis Tel: 323-228-7231 email: nlewis@city-sound.org “Murray Gusseck” 2014 PERCUSSION ARRANGER FOR CITY SOUND DRUM AND BUGLE CORPS Murray Gusseck is considered an innovator and trend setter in the world of marching percussion. He has been a musician since the age of 7 when he studied piano and violin. At age 15 he took up playing the drums and has been performing in bands ever since. Murray made his mark as a teacher and composer with the Santa Clara Vanguard Drum & Bugle Corps, of which he has been both a performer and instructor for almost 20 years. He became nationally known for a unique compositional style, a signature sound, and a propensity for achieving a smooth drumset-oriented approach to this musical genre. Murray helped start Tapspace Publications in 1998 with friend and partner Jim Casella. He is the author of Parking Lot Etudes and co-author of Fresh Perspectives For The Modern Drumline, both of which have grown to be mainstream publications in the world of marching percussion. Murray attended San Jose State University in San Jose, CA as a music major specializing in world music. In 1998 he joined up with schoolmates Nima Rezai and Dan Heflin, and friend Chip Webster, to form "Merge" an eclectic world fusion quartet consisting of Chapman Stick, saxophone, keyboards, and drums. The group toured and performed in northern and southern California for several years, producing their self-titled CD "Merge" He has taught and/or arranged percussion music for many top high schools and winter percussion ensembles throughout the country. Currently Murray lives in the Portland, OR area where he helps manage Tapspace and plays drums locally. He is sponsored by Pearl Drums, Remo drumheads, Zildjian cymbals, and Vic Firth drumsticks. With the newly formed 2014 City Sound Drum line, we feel Murray’s percussion arrangements are not only vital for the new un-conventional 2014 show, but sonically on the cutting edge of percussion charts arranged just for city sound. We here at City Sound are all extremely excited that Murray is part of our staff. Sincerely Nathaniel W. Lewis, Executive Director City Sound Drum and Bugle Corps http://www.City-Sound.org
  20. uniqorn2009

    Music

    I have someone that creates music soundtracks. This is some epic music that will fit into any drum corps style of playing. They can create and score any type of music you want. Go to this site and listen to some of the clips that's available. You won't be disappointed. They're also on Facebook under Alnilam-Music. https://www.pond5.com/artist/alnilammusic#1
  21. Nicely done, DCI. But couldn't you find a Rich Man, Poor Man, Beggar Man, or Thief? At least you included a Sailor.
  22. http://www.arizonaacademy.org/index.php?option=com_content&view=article&id=452:announcing-the-2014-design-team&catid=37:news&Itemid=94 Anybody take a look at their staff this year? Their design team alone is already killer. Crown's main designer and their music arranger, and one of the Blue Devils drill writers. That alone is a great start. They have a great visual staff coming in, brass staff is almost identical to previous years so the technique should be the same. Most of the perc staff is coming back, which means Ike is returning for his 3rd year, should be AWESOME! And the new guard staff looks very promising. I really hope they can bounce back from this previous season, the main excuse for the scores last year was the design, looks like the problem should be solved now. How do you guys think they will do in 2014?
  23. FOR IMMEDIATE RELEASE October 13, 2013. The Skyliners Drum & Bugle Corps is returning to the field of competition with a show entitled, “A New Dawn, a New Day.” Renowned for performing an exciting, entertaining, and crowd pleasing show, this year’s song selections will not disappoint our fans or members. The Skyliners have selected songs that contributed significantly to the history of jazz: “Feeling Good”, “Blue Skies”, “It Ain’t Necessarily So”, “Round Midnight”, and “Caravan”. “Feeling Good” is probably best known for Nina Simone’s 1965 rendition. Simone was widely associated with jazz, and she earned the title, ‘High Priestess of Soul’. This Anthony Newley and Leslie Bricusse song was written for the 1964 musical ‘The Roar of the Greasepaint – The Smell of the Crowd’ and has also been covered by great performers such as Michael Bublé. The Skyliners have chosen Bublé’s swing version of this song to open their 2014 show. Expect to hear strong percussion, featured brass players, the rush that one would expect from this song. Irving Berlin’s “Blue Skies” was written in 1926 as part of the Rodgers and Hart musical Betsy. “Blue Skies” was such an enormous success that history says that the opening night audience demanded 24 encores of this tune! It also it became one of the first songs to be featured in a talkie, when Al Jolson performed it in ‘The Jazz Singer’. Performers who recorded this Berlin song include a Who’s Who of the most famous singers in America. The Skyliners’ rendition will bring a contemporary feel to this jazz classic. “It Ain’t Necessarily So” was written by George Gershwin with lyrics by Ira Gershwin, and comes from their opera, “Porgy and Bess.” Notable performances of this song by the character Sportin' Life, include Cab Calloway on stage and Sammy Davis, Jr. in the 1959 film. While this is familiar ground – the Skyliners played Porgy and Bess before – the 2014 rendition will be bluesy and full of emotion and passion. “Round Midnight” is a 1944 jazz standard by pianist Thelonious Monk. Monk wrote this song when he was 18 years old, but did not record it until many years later. In 1946, Dizzy Gillespie added his famous introduction and cadenza for his big band arrangement, which proved so popular that Monk added it (albeit an altered version) to his own performance, making it a standard part of the song. One critic called “Round Midnight” a “darkly beautiful” ballad with an “after-hours” feel that manages to sound fresh and original decade after decade. JazzStandards.com noted that “Round Midnight" is the most-recorded jazz standard composed by a jazz musician. “Caravan” is a well known jazz standard made popular by Duke Ellington in 1936, and composed by Juan Tizo, a trombonist with Ellington’s band. Due to its ability to conjure up mental pictures of distant and exotic places, “Caravan” became one of the Ellington’s orchestra’s first efforts to incorporate influences from other cultures into its music. Dramatic percussion effects, a winding and meandering melody, and Latin American rhythms make “Caravan” memorable on many different levels. We invite you to be a part of something exciting that is new and old, and help bring this celebrated drum corps back into the field of competition. No stock charts, more affordable dues than other corps, and an after school/work and weekend experience you will not forget! Come to the Skyliners’ Open House: Date/Time: November 23rd, 2013 12:00 – 6:00 P.M. Location: Wyoming Valley West High School 150 Wadham Street, Plymouth, PA 18651 Directions: http://www.mapquest.com/places/wyoming-valley- west-hs-plymouth-pa-2216650/ Keep up-to-date with us via our website, http://www.Sky2014.org, or the new Skyliners Drum & Bugle Corps Facebook page at https://www.facebook.com/skylinersdbc. For more information, please contact Larry Carbonell at join@sky2014.org.
  24. Directors and staff - As the winter season is soon upon us, many of you may be looking for an effective and affordable visual package to compliment your music arrangements. I have had the pleasure of writing for ensembles of all sizes and abilities, and the design is always tailored to emphasize each group's needs and goals. With years of award-winning experience in the marching arts -- including performance, instruction, music arrangement and show design in WGI, BOA, DCI, DCA and a number of state circuits -- I hope you will consider me as you put the pieces of your show together. Some examples of my work can be found at http://ampelmann.yolasite.com Please feel free to contact me with any questions! Cheers, -Brad, Con Moto Design bradleyjharris1@gmail.com