Stu Posted August 25, 2011 Share Posted August 25, 2011 (edited) This is more of what I am talking about... not talking about marching concert french horns, trombones and penny whistles.... not the meat.. just a bit of variety in the seasoning. My logical side believes this: The true definition of a percussion instrument is something that produces sound when "struck". However, logic has never seemed to apply within the musical arts. For example, auxiliary "wind" instruments such as slide whistles, bird calls, etc.. have become accepted in all genres of music as percussion instruments as long as they are used as color enhancements; and instruments such as guitars, electric keyboards, etc... have been called part of the "rhythm section" for many, many years. So, since those "wind, plucked, strummed, and electronically produced" instruments have secured a place in the wings of color enhancement, IMO it is not a huge leap within the illogical musical arts definitions to include any sound producing item as a "peripheral" instrument. Edited August 25, 2011 by Stu 1 Quote Link to comment Share on other sites More sharing options...
Stu Posted August 25, 2011 Share Posted August 25, 2011 (edited) Yet even then, there are incredible deviations in instrumentation with symphony orchestras. You have some with period instruments (which can be vastly different from modern ones), some with particular takes on the status quo (take Vienna's horns, for example), and of course groups who adjust orchestration to make performances more practical (how often do you hear ophicleide instead of tuba in Berlioz?). These groups all do these things with one ultimate goal in mind: to achieve the sound they want.... True to the extent that the construction of timpani, for example, have changed from the time of Mozart to the 21st century; or the Wagner tubas; or the addition of Vibes once they were created. Also some symphonies have backed up rock ensembles (the groups Yes and Rolling Stones come to mind). But if a symphony reduces their violins/violas/cellos/and double bass "prominence" and replaces that foundational sound over to electric guitars and electric keys, it no longer can be considered a symphony orchestra. And those in Drum Corps need to keep in mind that the "meat" as Danialray described must stay with Marching Brass and Marching Drums otherwise it will become something completely different; that is my point. Edited August 25, 2011 by Stu Quote Link to comment Share on other sites More sharing options...
MikeN Posted August 25, 2011 Share Posted August 25, 2011 I would also suggest that a major difference between symphonies and drum corps are that they're not being scored on a written criteria against each other. By necessity, the criteria would dictate some sort of common ground between competing units, yes? That said, I dig Teal's unique sound and get what you're saying. Honestly, I think I'd be fine with an "anything goes" pit as long as the marching musicians are unaffected. Mike Quote Link to comment Share on other sites More sharing options...
Stu Posted August 25, 2011 Share Posted August 25, 2011 I would also suggest that a major difference between symphonies and drum corps are that they're not being scored on a written criteria against each other. By necessity, the criteria would dictate some sort of common ground between competing units, yes? That said, I dig Teal's unique sound and get what you're saying. Honestly, I think I'd be fine with an "anything goes" pit as long as the marching musicians are unaffected. Mike Mike: Since there is an increasing push in the drum corps community toward advanced musical technology, as well as a desire for expansion in alternative musical horizons, some sort of compromise in modern drum corps is in order. So, If you limit the number of instrumental performers in the Pit to a "very small" ratio compared to the number of Marching Brass/Marching Drums (which keeps the "meat" of what defines a drum corps apart from a rock band) I would tend to agree with your assessment. Quote Link to comment Share on other sites More sharing options...
Liahona Posted August 25, 2011 Share Posted August 25, 2011 Now that brass soloists are amplified, it could be really interesting to see a bit of variety on the sounds out there. A concert french horn solo or a trombone solo could add some new colors. I know it is a pain in the ### to haul extra horns around, and messes the embouchure to jump back and forth... but still could be cool. On the topic, I actually really dug Teal Sounds exploration of various instruments. I actually really liked how they are sort of carving our their own identity. It would be interesting to see more risks like this and a stronger sense of identity from corps throughout the range of placement. Mouth harp? Pan-flute? Penny whistle? There is an endless list of things that can be used to add different textures, and more interesting to add some of these with actual instruments, rather than just a sample. Also, it could be interesting to see some more exploration of of eastern and african percussion... tabla could be pretty cool, for example. What other possibilities are out there? The best soloist IMO this year was from the baritone player for Boston playing Bring Him Home WITHOUT being plugged-in. You are not EVER going to convince me that being plugged-in is needed at all... 2 Quote Link to comment Share on other sites More sharing options...
garfield Posted August 25, 2011 Share Posted August 25, 2011 (edited) Great ideas for BOA. /close thread EDIT:I post this only in appreciation of the curt and pinpoint retort. Edited August 25, 2011 by garfield Quote Link to comment Share on other sites More sharing options...
glory Posted August 25, 2011 Share Posted August 25, 2011 The best soloist IMO this year was from the baritone player for Boston playing Bring Him Home WITHOUT being plugged-in. You are not EVER going to convince me that being plugged-in is needed at all... I agree that this year's best solo was from that Boston baritone. Of course, I and many others thought last year's best solo was the baritone from Bluecoats as electronically enhanced by mics and other stuff with plugs. The point of this thread, I think, is there are many textures to explore. Some will be great (Bluecoats 2010). Some won't. I say let's find out. HH 1 Quote Link to comment Share on other sites More sharing options...
cowtown Posted August 25, 2011 Share Posted August 25, 2011 turn tables Quote Link to comment Share on other sites More sharing options...
garfield Posted August 25, 2011 Share Posted August 25, 2011 (edited) Well, if the french horn player's back is to the audience, the bell is front. Cavies will have him hang back to back on the shoulders of a guard member. Then the world's right by the horns. Edited August 25, 2011 by garfield Quote Link to comment Share on other sites More sharing options...
garfield Posted August 25, 2011 Share Posted August 25, 2011 Isn't this the "slippery slope"? 1 Quote Link to comment Share on other sites More sharing options...
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