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Do you think it is harder to program a DCI show now?


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With most classics that lend themselves well to the field having already been performed (numerous) times. Appalachian Spring, WSS, the Planets, Maleguena(and all of its similar take offs), 1812, etc, etc......

Do you think that it is harder for program coordinators, arrangers, and even drill designers today?

It seems that they are expected to 'come up with something new' every year, or at least find some way to make the classics fresh. To me that is a very daunting task.

I also think this is what has led to the choppy 'ADD' arranging that I fell started in the late 90s with BD, and has trickled down to almost all corps.

DCI has tried to open more options with electronics and amplification, but no-one has used it effectively....

Thoughts?

P.S. - I realize that there is a lot of new music out there. Concert band literature etc.....(I am not part of that world, so am not as up-to-date), but it seems like recent attempts to use that have not been effective - like Cadets 2008.

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With most classics that lend themselves well to the field having already been performed (numerous) times. Appalachian Spring, WSS, the Planets, Maleguena(and all of its similar take offs), 1812, etc, etc......

Do you think that it is harder for program coordinators, arrangers, and even drill designers today?

It seems that they are expected to 'come up with something new' every year, or at least find some way to make the classics fresh. To me that is a very daunting task.

I also think this is what has led to the choppy 'ADD' arranging that I fell started in the late 90s with BD, and has trickled down to almost all corps.

DCI has tried to open more options with electronics and amplification, but no-one has used it effectively....

Thoughts?

P.S. - I realize that there is a lot of new music out there. Concert band literature etc.....(I am not part of that world, so am not as up-to-date), but it seems like recent attempts to use that have not been effective - like Cadets 2008.

Most of what Phantom Regiment played last year was not a "classic." They used some of Spartacus, true, but there was a lot that was new to drum corps. Same could be said about 2006 Phantom Regiment, 2005 Cadets, and much of what Crown played this year. I don't think we're in danger of running out of music...I think we're in danger of allowing visual concerns and needs dictate what music we can program and HOW it is to be arranged. Music isn't ADD (as you put it) because we didn't think audiences would "get it" if we used full phrases, but because the full phrases were not conducive to fast 8-count moves that would look cool.

I think it is harder to program a show these days because of THOSE concerns, not necessarily because they are trying to come up with something new each year.

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Haha - I was just listening to 1978 Madison...

Wonder if we'll ever see/hear Malaguena, God Bless the Child, and Star Wars in the same show again???? :rock::ph34r::rock::ph34r::rock: :rock: :worthy::tongue::worthy:

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No. Quite a number of shows from that era would do well now.

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To answer the original question: I think it's MUCH more difficult to program today. The whole thing about flow is so much more critical than it was in the 1970s. When I marched three years with The Cavaliers, the general attitude of programming was that you needed an "opener," a drum solo, and "into concert," a "concert," an "out of concert," perhaps another drum solo, and a "closer." What actuallly went into those slots was less important than the fact the those slots had something in them.

The theme was "The Tonality of Western Music."

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I think it's not about harder or easier, but different. If you're a designer who can dig different, they it's probably a lot of fun. Easier or harder? I really have no idea how to quantify that.

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To answer the original question: I think it's MUCH more difficult to program today. The whole thing about flow is so much more critical than it was in the 1970s. When I marched three years with The Cavaliers, the general attitude of programming was that you needed an "opener," a drum solo, and "into concert," a "concert," an "out of concert," perhaps another drum solo, and a "closer." What actuallly went into those slots was less important than the fact the those slots had something in them.

The theme was "The Tonality of Western Music."

What ? No color pre ?

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The whole thing about flow is so much more critical than it was in the 1970s. When I marched three years with The Cavaliers, the general attitude of programming was that you needed an "opener," a drum solo, and "into concert," a "concert," an "out of concert," perhaps another drum solo, and a "closer."

You mention how "flow" is much more important today, yet the structure from the 1970s that you described is pretty much the definition of "flow," whereas the show designs of today that are completely unstructured don't seem to flow very well at all.

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