Why Blue Devils Win

[oldtimedrummer]

I agree. (With the caveat that this show is no Rite of Spring, of course.) Hey, experimental big band jazz modernism ain't gonna appeal to everybody. I, for one, am hearing some good things in their show this year -- 'Laura' being refracted through a full brass line, echoed in the pit, extended by the soloists... 'City of Glass' being made A LOT more accessible and coherent than the original chart

Thanks, and great post. You pointed out some of the sophisticated musical motifs BD is reflecting that I missed. I have a feeling there's so much in this program, that it's going to take us all a few viewings to really get it all, from both a musical and visual standpoint. It's deep.

[Bob984]

I agree. (With the caveat that this show is no Rite of Spring, of course.) Hey, experimental big band jazz modernism ain't gonna appeal to everybody. I, for one, am hearing some good things in their show this year -- 'Laura' being refracted through a full brass line, echoed in the pit, extended by the soloists... 'City of Glass' being made A LOT more accessible and coherent than the original chart.

That brings me to something. I wonder how many people have actually heard the original 'City of Glass'? Because, while people keep lamenting what's been done to 'Laura,' it's clearly 'City of Glass' that's the main event and mood, here. The BD design team even says in their show description: "Ultimately, it is the sensibility of the entire "City of Glass" album that informs the 2010 Blue Devils production of "Through A Glass, Darkly"." Which means Laura, et al are getting the 'City of Glass' (album, suite) makeover. I think the designers' intentions more or less say it all. At the very least, it would seem to explain some of the arrangement decisions, this year, maybe even make the show make sense for people who aren't sure they get it, yet.

Nothing is loved by everyone. But I do wish people would at least give the designers of shows like this the benefit of the doubt (and the benefit of their brainpower) before making claims that things "aren't music" or are "written to the sheets." In the first place, people would be hard-pressed to define, in clear, universally agreed-upon terms, what music is/n't. And the diversity of champion-caliber designs that we see over the course of the years -- as well as the deteriorating placement success of corps who keep offering a design format that judges once couldn't get enough of (ie, Cavs) -- would suggest that there is no specific, predictable, static way to "write to the sheets."

How we define excellence in this activity is constantly changing. Designing a championship-caliber show is, to some extent, a crapshoot.

I know a choppy musical book when I hear it......I have an MM in Music, and 35 years in the activity.....if I can't find the musical continuity, I would say there's a good chance that a few others can't either......perhaps I need the doctorate.....if that is true, I don't think you will have a big reaction to this product.......

I respect the demand......and the corps does it well......but I miss fully arranged productions, and the "snippet" approach, for me, and for most, is neither musical or effective to most listeners.

GB

[MikeD]

except others agree, but why let the facts get in the way or you disagreeing to disagree

You said this...

however the post i tagged does poke some holes in the demand portion as it relates to music.

That post is one person's opinion, nothing more or less. It's not a fact at all...it's an opinion.

[jwillis35]

True.

Maybe it was the move towards that TYPE of music which is more frenetic that I'm trying to illustrate.

Anyway, like I said the trend started long before that (about 10 years before, in fact). Most corps used to play entire tunes. Four or five of them. Then a few got into the whole "concept show" where the beginning and end of the tunes wasn't quite so defined, the shows became more seamless (Garfield 84 is a great example of that, I'd say, even moreso 85 and 87). Somewhere along the line that excellent innovation went too far, and we started getting these chop shop shows everyone is complaining about today.

So, in short, blame Garfield.

Well, I definitely get your point, and you state it very nicely. I don't think it's Garfield's fault (and I know you were joking). You can say a lot of things about the Cadets and their director, but over the years they have remained a very melodic corps with a great sense of musical development and build. This is not to say they are perfect, and they have had a few stinkers, no doubt, but by and large they bring melodic statements to the field in a way that develops enough to get the crowd going. You mentioned the Holsinger show in 1993, but their WSS show in 1994 was highly melodic. 1995 was a blast. 1996's American West show was amazing. 97, 98, 99, and especially 2000 were all very melodic in content and developed in a manner that got the crowd going. Think about Moondance or Farandole in 2001, or Boogie Woogie Bugle Boy in 2002, or all their charts in 2003. I think their dark years are 2004, 2005, 2006, 2007, and 2008, and even in that bunch they are probably more criticized for singing, narration and bad show design, but musically they were still playing a lot of melody.

And let's be honest, all drum corps must chop the music to some extent. We all know this. There is a time limit, and more and more the music is being arranged to match drill and thematic elements of the show. A marching band or drum corps arrangement is, to some extent, a butchered piece of music; but there are arrangers out there that know how to maximize this approach and produce a fairly melodic and well-developed piece of music in a short period of time. And if dissonance is what the arranger is after, he/she must know how to resolve those tensions and they must do so quicker that one would in a concert hall. Stravinsky could do what he did for the concert hall, he could NOT do that for a marching band/drum corps audience.

I believe this is what gets BD in trouble with many fans, but let's also be honest about something: the Blue Devils are not the only culprits here. There are plenty and I think it is sucking the wind out of DCI. The reason it seems the Blue Devils take more criticism is because they WIN a lot because they are an amazingly good drum corps. People will always look to the top for leadership, and I think many of us (such as myself) would like for the Blue Devils to lead us back to a musical movement that engages fans a bit more. They can do it, and Mr. Downey is one of the best...I know he can do it.

What I really get tired of are the copycats who wish to imitate BD, or any other corps that chooses this more contemporary style. These corps end up losing their own identity, they fall on their faces because they do not realize how hard it is to pull off this type of musical presentation, and they lack of musicianship. It becomes a lot of running around, whole notes, bops, drum break, another bop, another break, another bop, then a half note and two whole notes, and then a loud chord for 20 seconds until the fans clap because they are hoping something exciting is about to happen. I just get tired of that type of drum corps. It's not that exciting.

[MikeD]

A quick suggestion for all - how about let the performers and staff worry

about the competitive aspect of drum corps and just sit back, relax and

enjoy the shows. Personally, I think you are ruining the experience for

yourselves by getting all wrapped up in it.

Excellent advice!

[chaddyt]

I know a choppy musical book when I hear it......I have an MM in Music, and 35 years in the activity.....if I can't find the musical continuity, I would say there's a good chance that a few others can't either......perhaps I need the doctorate.....if that is true, I don't think you will have a big reaction to this product.......

I respect the demand......and the corps does it well......but I miss fully arranged productions, and the "snippet" approach, for me, and for most, is neither musical or effective to most listeners.

GB

I just listened to some snippets of City of Glass on iTunes, and I will say, from those clips, BD is certainly staying true to the source music. That said, the source music is not my cup of tea. Not remotely. ($1 Vizzini)

But while I'm here, can anyone explain their show to me? Is it just abstract jazz with mirrors or is there a story or message of some sort that they are trying to convey to me as an audience member? Maybe it's something obvious I'm missing, or maybe it's just so subtle and nuanced that I should've studied up on the mysterious subject matter before viewing. do.it.up wrote a pretty comprehensive post about their show last year. It didn't make me like it any more, but at least I could understand some of the stuff I was missing.

I can't say an explanation will make me love this show, but maybe I can at least start to appreciate what the BD fans are all fawning over as the greatest thing to ever grace the drum corps stage.

[jaylogan]

You don't think that their production of 'Laura' has musical continuity? I think it does.

I'm not the biggest fan of this show (although I think that no one else is going to beat it or other future productions anytime soon, and I think that it will break the high score record from the judges, probably along with future productions.) But I do like the music they are playing, and I find it quite effective.

[FHdork]

Well Bob984, perhaps you're too educated to enjoy the Devils. Someone posted that they took two newbies to DATR, and for those 2 not musically...not drum corps educated, their favorite corps was BD.

So - the arrangements might be choppy, but for two folks who (I'm guessing) strove to experience the 'drum corps' (as opposed to just the sound...), things were just fine -

[Bob984]

I didn't say that the kids just want to win but you can bet your life that take the judges' feedback

VERY seriously and it drives their motivations immensely.

And it is FAR from obvious that the DCI judges are "blowing calls". Just because you don't like something

doesn't mean it is not great. We all have our own personal taste and differ in what we call "entertaining".

Maybe a little respect for diversity of personal taste is what is lacking here.

And as far as popularity is concerned, I will say this YET AGAIN: the Blue Devils are NOT HURTING

for fans.

I think I can speak intellectually about the music, with an MM and BS degrees, I'm a published arranger,

a championship ring in my drawer, and 35 years in the activity. I like many types of music....yes, I have

preferences, but know enough to acknowledge ANYTHING well-written as compared to "patchwork construction".

I'll give you another example, so you know it's not just a "BD thing". Crown's music is well-arranged this year and they play with excellent sound quality. However, I think their problem is that the source music itself is not that exciting for most

fans, and thus the program is going to have trouble generating the excitement that drum corps audiences

crave.

DCI judges have blown calls IN ALL CAPTIONS at many shows, including costing corps titles. Yes, it's

subjective. But when I watch a field brass judge, who has judged a corps 8 times, who is 40 yards out of

position and makes zero comments on a section of music that was a mess at quarterfinals, semifinals,

and finals......I will be questioning his competency. There are also some excellent judges.

As I have stated, there is a huge problem with how music effect is judged, and it has little to do with

style or taste. Simply, if a performance does not connect with a majority of the audience, should it

receive stellar effect scores? It certainly happens today, but many are calling for change.

I am certain that BD has fans, like any other corps. I do not dislike the corps. I simply question the

continuity and effectiveness of their musical arrangements as compared to other programs. BD has had

some of the most memorable hornlines and musical productions in drum corps history.....it's just been awhile,

in the opinion of myself and many others. The corps performs well, but they would win back the audience

if they went back to performing arrangements with musical continuity.

GB

[jaylogan]

I just listened to some snippets of City of Glass on iTunes, and I will say, from those clips, BD is certainly staying true to the source music. That said, the source music is not my cup of tea. Not remotely. ($1 Vizzini)

But while I'm here, can anyone explain their show to me? Is it just abstract jazz with mirrors or is there a story or message of some sort that they are trying to convey to me as an audience member? Maybe it's something obvious I'm missing, or maybe it's just so subtle and nuanced that I should've studied up on the mysterious subject matter before viewing. do.it.up wrote a pretty comprehensive post about their show last year. It didn't make me like it any more, but at least I could understand some of the stuff I was missing.

I can't say an explanation will make me love this show, but maybe I can at least start to appreciate what the BD fans are all fawning over as the greatest thing to ever grace the drum corps stage.

I think it's an abstract show with no storyline. They are using mirrors to great effect, according to people who have seen the show and liked it. They use it for kaleidoscopic effect, which adds a new dimension to the field. At the beginning, when the guard is dancing across the mirrors and the horns come out of the side of the mirrors, mimicking the guards move, that sets the stage for the show.

The occasional well-formed fast pushes in marching is effective, and it contrasts with the portions of the show when the drill feels somewhat random and they're not playing, relying on the pit or solos to carry the musical ideas. There's a part after they finish hiding behind mirrors when they create a large circular formation seemingly out of nowhere (that's when they start the "random" musical selection that I think ticks off some of the people on the board.)

That's some of the things that are effective with the visual.