Hrothgar15 Posted June 12, 2009 Share Posted June 12, 2009 I say we keep a list of things we've noticed about today's drum corps arranging as compared with that of the '80s and '90s that we take issue with. Full ensemble "impact" major chords are just octaves, with no fifths or thirds filled in. Mainly credited to the Cavaliers, but you can find examples at the end of SCV's opener in 2007, or (most flagrantly) the end of the Bluecoats 2006 show. Really? You want to end your show that way? A chord that's just there, rather than a chord that wraps you up and fills the stadium with sound. Seems to be a recent development, probably from this decade. Overuse of dynamic contrast. It's drum corps, hit me with some sound! Classic example is the push in Blue Shades in Cadets 2007. At the beginning of the season, when I saw them in June, it was 20 seconds of drum corps bliss, just a huge wall of non-stop sound triple-forte enveloping the listener. At finals, with the added dynamics, the energy that I felt earlier would just randomly cut out. It was just so chopped and forced, it totally lost the effect. Never really noticed this problem before. Add your own! Disclaimer: I can't arrange music. I've never tried, and I never want to try. Please don't make a comment asking me to "try to write something better." I'm only comparing the works of today's DCI to those in the past. Quote Link to comment Share on other sites More sharing options...
NR_Ohiobando Posted June 12, 2009 Share Posted June 12, 2009 (edited) Actually I have a pet peeve when people say "octaves" are "chords". I agree with the Blue Shades example of "overusing dynamic contrast". Probably not the best way to title it, but I get what you're saying. Depending on the corps, I don't really like what I call "delicate" percussion arranging. I don't know much about percussion writing, but the 2005/2006 Madison Scouts pit writing sounded really "delicate" to me. Am I alone on this? Edited June 12, 2009 by NR_Ohiobando Quote Link to comment Share on other sites More sharing options...
Lance Posted June 12, 2009 Share Posted June 12, 2009 Not enough dynamic contrast (pretty much every show ever). Quote Link to comment Share on other sites More sharing options...
Tristan Posted June 12, 2009 Share Posted June 12, 2009 One of the chord progressions I think is getting a bit overused is exemplified as follows: Bar 1: High brass F Major chord, A on top, low brass silent Bar 2: High brass continue from Bar 1, low brass Gb major chord, Bb on top Bar 3: High brass continue from Bar 2, low brass resolves down half step It has some interest, but everyfreakingbody does it, and many shows have it several times throughout. It's just getting old. Quote Link to comment Share on other sites More sharing options...
Hrothgar15 Posted June 12, 2009 Author Share Posted June 12, 2009 One of the chord progressions I think is getting a bit overused is exemplified as follows:Bar 1: High brass F Major chord, A on top, low brass silent Bar 2: High brass continue from Bar 1, low brass Gb major chord, Bb on top Bar 3: High brass continue from Bar 2, low brass resolves down half step It has some interest, but everyfreakingbody does it, and many shows have it several times throughout. It's just getting old. Have an example from a show? Quote Link to comment Share on other sites More sharing options...
Lance Posted June 12, 2009 Share Posted June 12, 2009 Too many blastissimo moments for the sake of having a blastissimo moment (pretty much every show ever, unfortunately) Quote Link to comment Share on other sites More sharing options...
Hrothgar15 Posted June 12, 2009 Author Share Posted June 12, 2009 Oh also, if you want, include an example show so everyone knows what you're talking about. Quote Link to comment Share on other sites More sharing options...
NR_Ohiobando Posted June 12, 2009 Share Posted June 12, 2009 Too many blastissimo moments for the sake of having a blastissimo moment (pretty much every show ever, unfortunately) I would say Blue Knights don't do this very often. To me, their music always seems better geared towards a contemporary concert winds audience than your average drum corps audience. That's not a bad thing, I love BK. Quote Link to comment Share on other sites More sharing options...
NR_Ohiobando Posted June 12, 2009 Share Posted June 12, 2009 One of the chord progressions I think is getting a bit overused is exemplified as follows:Bar 1: High brass F Major chord, A on top, low brass silent Bar 2: High brass continue from Bar 1, low brass Gb major chord, Bb on top Bar 3: High brass continue from Bar 2, low brass resolves down half step It has some interest, but everyfreakingbody does it, and many shows have it several times throughout. It's just getting old. Boston Crusaders comes to mind during their latin/spanish shows the past few years. Ending of the 03 show is similar sounding (only without the suspended upper voices). If my crappy theory knowledge is correct, the technical name would be a Neapolitan with the suspended upper voices and then back to the tonic. Quote Link to comment Share on other sites More sharing options...
Lance Posted June 12, 2009 Share Posted June 12, 2009 I would say Blue Knights don't do this very often. To me, their music always seems better geared towards a contemporary concert winds audience than your average drum corps audience. That's not a bad thing, I love BK. True. Quote Link to comment Share on other sites More sharing options...
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