Names for drill moves

[St. Cuthbert]

A bit more context on the planar analysis comment.

Rice's thesis, as I recall, was that drill/M&M is what makes the "marching arts" unique, and that it is undervalued. His contention that it was possible to judge the complexity and impact of drill in and of itself, instead of in the context of music/guard work. Planar analysis was the technique he proposed for judging drill.

His RAMD postings (mid 1990s) presaged a lot of questions that are relevant today:

1) Can/should drill demand be factored into visual judging? Should corps that spend substantial time not marching receive lower scores? He argued they should - using the Cadets 95 show ("Swing Swing Swing") as an example.

2) What is the relative contribution of drill to the repertoire subcaption of visual performance? He argued that it should be the dominant (perhaps only) factor - I imagine he would be distressed by today's judging, where guard design, staging, and other stuff (props, bodywork) appear to dominate.

3) What role does the new "vocabulary" subcaption have in visual performance? Is a corps that only marches and plays at a disadvantage? This is why we are seeing so much bodywork this year, I believe.

4) Is drill dead? Have we reached the limits of what visual impact can be achieved only through M&M? Several DCP posters have argued that BD's "innovative" visual approach represents a "post drill" visual era where bodywork, guard, props (and a little marching) are integrated with music to create a "Cirque du Soleil" like effect.

Stuart was not my favorite poster on RAMD, but he was a bit of a visionary. Drum corps is where he said it would be. Hope I have done justice to his thinking - it's been a long time.

St. Cuthbert

[Cavie74]

Was I used as the pic point? Did the horns just decide to focus on the single biggest thing on the front line?

We never paid attention to you, we marched to our dots. We never paid attention to you back in the '70s either!

[Cavie74]

How can I forget "Fight Club"! In the 2002 "Frameworks" show the corps snakes into a small box about the size of a boxing ring. The guard occupies the center framed (get it) by the horn line. The drums play a slick rhythm while the horns set down their instuments and shadow box. There's mayhem in the center of the frame where the guard appears to be in a gang fight climaxing in one of the guard members being tossed high in the air like a cheerleader in the movie "Bring it On".

The 2002 show was titled "Frameworks" for the three aspects of music - tone, harmony, and rhythm. Fight Club was part of rhythm. If you listen closely, the rhythm is variations on "Shave and a Haircut, Two Bits". Boo, didn't you play a part in the Frameworks name?

[Michael Boo]

...Boo, didn't you play a part in the Frameworks name?

Yes. I'll post an early "Fanfare" column below. I can't post a link, because the first few columns aren't archived on DCI.org.

The Origin of “Frameworks”

by Michael Boo

I was sent an e-mail a few weeks ago by The Cavaliers’ Program Coordinator Scott Koter. It was a response he had written to an e-mail from a fan asking some questions about the origin of the corps’ 2002 show, “Frameworks.”

Since the show caused quite a bit of discussion this year, and it scored a record high score in the final week of competition, I thought this insight from Scott would be of interest to “Fanfare” readers.

And yes, I’ll admit the mention of my own name doesn’t hurt, either.

The writer of the questions is Johnathon E. Powell from Cleveland TN, editor of Bandedge (www.bandedge.com). It’s another website, dedicated to everything from school music programs to drum corps, that is worth your time to check out. This column is presented with the permission of both Johnathon and Scott.

Johnathon: Your show this year was truly original. Did you ever feel that you might be taking too big of a risk by treading in unsafe waters?

Scott Koter: You always have that feeling in the back of your mind, but truthfully, the confidence of the design team in our abilities to work together as a team prevailed.

JP: How did you come about the overall concept of the show and how much did it evolve throughout the season?

SK: The concept was one of several that were exchanged among the design team prior to our October meeting. When we all sat down face to face, everyone thought that the concept (originally titled “The Elements of Music/Design”) had the most appeal and potential.

The “Frameworks” title evolved as we worked to provide more visual imagery for Michael Gaines and was provided by Cavalier alumnus Michael Boo when we asked for some help in writing our show description for the DCI yearbook.

JP: You are known for not only having a very strong musical tradition, but also dazzling movements and visuals. How much does one impact the other and how do you keep it so well balanced?

SK: Too often we have been criticized by Internet users that did not see the show based on their soundtrack/MP3 assessment. I personally find it amusing as it would be like movies being offered Oscars for best picture based solely on their soundtrack.

I recently purchased the soundtrack for “A Beautiful Mind” and was initially disappointed. When I saw the movie, I was mesmerized by the music and the haunting motives used throughout. When I listened to it separately, I realized that it was impossible to separate the music from all of the other elements of the movie. This is what we do at The Cavaliers. We want the audience to watch our movie and listen to the music...one cannot exist without the other.

Some accuse us of only providing visual effect. The music always provides the inspiration for the visual effect. For example, would the fugue in this year’s opener have had the same effect on people if it wasn't a fugue? I doubt it. Richard Saucedo’s original musical ideas are all based on their potential for overall effect.

Something that has been different the last few years for us is that we can now describe some overall effects and create musical ideas that correlate similar to Broadway and movie designers.

JP: Were you surprised by the extent of your success this season?

SK: The only thing you can control is your own product. The design team atmosphere created by the Board of Directors at The Cavaliers as well as the management team (Jeff, Bruno, Mark Acherson, et al.) is a utopian working environment. They believe that you hire the best people you can and then stay out of the way and let them do their jobs. In addition, they put the members themselves at the center of all of their decisions ensuring a centered approach to the activity.

The corps truly wants to get the grade of an “A” on their project. We cannot control who else gets an “A” and truthfully don't care. If someone deserves it, great. You can’t control the other teams.

Our success this year was a direct result of the above philosophies. We auditioned great performers, we chose a stimulating show for the staff and members, and we worked as a team the whole year to detail and perform our product. Although it is easier to say because we did win, if us or anyone else goes through this same process in any endeavor, aren’t they winners too? We are pleased and proud of our product, but of course, honored and surprised by our success.

JP: What will stand out in your mind as the best moment of the season?

SK: The team work of the entire organization and the unbelievable design meetings when the creative juices were flowing and we were all in “the zone!”

JP: What was the craziest moment?

SK: The anticipation and anxiety at the beginning of May when we realized how much there was to do to finish the show and put it all together for the members.

JP: What can you tell me about the kids who march in The Cavaliers?

SK: As Program Coordinator, especially this year, I was not around much and had little direct contact with the kids (the bad part of the job). What I observed and heard from the staff was that the members were extremely mature and focused from day one—camp one. None of what was created would have mattered without their ability and willingness to do what ever was requested, always.

JP: I know that as soon as one season ends, the planning for another one begins. Can you give us any sneak previews or hints for next year?

SK: Please give us another month or two. Most are so busy with everything else, we have not had time to breathe. We have made a conscious effort to not communicate for a few weeks to cool off.

Hope the above helps. I have sent a copy to the rest of the design team In case they want to dovetail or elaborate. The answers above are mine and don't necessarily reflect their opinions.

Thanks for your interest in the corps,

Scott Koter, Program Coordinator

[Michael Boo]

Another standard move that was hugely popular in the later 1970s and through the 1980s was rotations. This was referred to by Cavie74 earlier. A rotation typically was a static form that rotated around a pic point, so usually, one side of the form was moving quickly and the opposite side was moving quite slowly.

That all changed in 1983 when Gordon Henderson's UCLA marching band electrified drill designers with a massive rotation during halftime at the Rose Bowl Championship; the rotation not only rotated, but evolved and mutated along the way. I remember that being such a big deal that Gordon carried copies of the drill sheets with him because so many people asked him how it was done. I've got a copy somewhere in the recesses of my file cabinets.