The new rule change and the thoughts of a horn player

[thewsquared]

There has been a lot of uproar recently, some positive but mostly negative, about the decision to allow Drum and Bugle corps to allow the use of ALL brass instruments, meaning that horns, trombones, and sousaphones are now allowed. However, the big question on everyone's mind, including those that are in favor of this rule change, is how exactly it will be implemented in to shows. Let me start of by saying that as a primary horn player and FMM hopeful, I still am not happy with this change. So why is that? Shouldn't I be enthusiastic about the most beautiful instrument in the world (imo) being allowed in to the loudest activity in the world? The obvious answer is yes, but I say no. So why is that? Let me first lay out the general consensus as to how this change benefits drum corps.

1. It attracts kids to the activity that otherwise would have been turned away

in my opinion, this is a yes and no answer. Yes, if a corps chooses to implement a FULL trombone line or a full horn line it will attract more people to the activity that otherwise may have turned away at the fear of learning a new instrument. This especially applies to horn players in my opinion, where many teachers will dissuade their students from taking part in drum corps in fears that the mellophone will ruin their beautiful horn embochoure. But I don't see corps fielding full lines of these instruments or marching them at all if they do. They're cumbersome, difficult to write drill for, and just overall FAR more expensive than their counterparts.

2. It adds color to the ensemble

Did we really need more color in the first place? This is a niche activity for niche people. You never hear people argue about adding more voices to a choir, where there are really only 4 voices, so why is there a need to add more voices to a drum corps where there are already 5 voices (mellophone, baritone, euphonium, tuba, and trumpet) PLUS snare, quads, basses, and a whole myriad of pit sounds. And if that's not enough for you, you can always add vocal performers a la Crown to add even more color to your show. Sounds like plenty of texture to me.

3. Use as Solo and Ensemble Instruments

In my opinion, this is THE BIG one and the BIGGEST disappointment I took from this rule change. The argument here is that these new voices will only be used as solo or ensemble instruments for a show. Why do we need this? All that THIS does in my opinion is discredit the performers and their ability to adapt rangr and playing styles to sound like any number of different instruments. For example, take Stravinsky's firebird suite. When performed in a drum corps, the Berceuse and finale solos are almost always performed by a baritone player. For a baritone, the finale solo is generally pretty high up in their range, yet I have really not heard a bad interpretation of this solo which never fails to amaze me. It's always performed beautifully, as though it actually were a horn player playing. Now however, they can just pull any average horn player and have him play the solo in a much more comfortable range like every other horn. You might be wondering why playing something EASIER is a problem. Why not master it fast and sound amazing with less work? What if someone told the Canadian Brass not to perform Vivaldi's Four seasons because it was easier for a violin to play it? Then no one would have the opportunity to be awestruck at how amazingly they can play that ridiculous music that wasn't even written for their ensemble. The same thing mentioned with baritone can apply to mellophone as well. In the Bluecoats 2010 show they micd a soloist to sound more like a horn. But he still had to play with an absolutely beautiful tone quality to achieve the effect they wanted. Or even the SCV soloist from last year. He demonstrated not just the way that a mellophone can cut through an ensemble, but also how beautiful and rich its tone COULD be when mastered. If replaced with a horn, it would have limited the different styles of mellophone playing heard in that show. In short, the inclusion of these instruments takes away from the extreme level of talent that these petformers possess and instead allows it to be handed off to instruments "better suited" for that playstyle. If making things easy was the goal, the marching arts wouldn't exist in the first place

Well those are my thoughts on this issue. Feel free to comment and contribute more to this discussion as you see fit

Edited February 14, 2014 by thewsquared

[N.E. Brigand]

What if someone told the Canadian Brass not to perform the Vivaldi Four Seasons because it was easier for a violin to play it? Then no one would have the opportunity to be awestruck at how amazingly they can play that ridiculous music that wasn't even written for their ensemble.

A lovely post, particularly that statement.

[thewsquared]

Oops, I did not realize I forgot the Four in Four Seasons. Thanks for catching it

[ScoutMello]

For example, take Stravinsky's firebird suite. When performed in a drum corps, the Berceuse and finale solos are almost always performed by a baritone player. For a baritone, the finale solo is generally pretty high up in their range, yet I have really not heard a bad interpretation of this solo which never fails to amaze me. It's always performed beautifully, as though it actually were a horn player playing. Now however, they can just pull any average horn player and have him play the solo in a much more comfortable range like every other horn.

This is incredibly dismissive. An average horn player will do an average job on that solo. A horn player playing that solo beautifully deserves the same respect as a baritone player playing it beautifully.

You also come across as ignorant of the details of Horn. It's widely regarded as the most difficult brass instrument to master for a reason. Here's one tip: The fundamental of a F Horn is actually lower than that of a baritone/trombone. So when your baritone is playing 'pretty high up' to cover that solo, it's also 'pretty high up' for the horn player. The difference is, that's the range horn players are usually playing in: Three to four octaves above the fundamental. Think about playing your instrument that far up in the partial series. Think about the difficulty in slotting notes, of intonation, of tone quality. That is what horn players deal with from day one of playing the thing.

[MGCpimpOtimp]

2. It adds color to the ensemble

Did we really need more color in the first place? This is a niche activity for niche people. You never hear people argue about adding more voices to a choir

You must not listen to much Eric Whitacre

[JimF-LowBari]

This is coming from a trombone player who learned Bb Bari:

The OP is well thought out and written and respect the opinion of the writer. And yeah I'd have a soda with him/her to talk things out.

But why change the rules to suit the players? IMO, it's kind of like saying, OK you have a problem swinging a baseball bat so you get to use something else.

As for the teachers worrying about embrochoure that has been a complaint from BITD going from Bb to G for all horns. If a teacher doesn't want a player doing corps they will come up with another excuse. "They'll teach you to play loud for the outside and that will screw you up. MB won't do that but all summer blasting will kill you."

[thewsquared]

This is incredibly dismissive. An average horn player will do an average job on that solo. A horn player playing that solo beautifully deserves the same respect as a baritone player playing it beautifully.You also come across as ignorant of the details of Horn. It's widely regarded as the most difficult brass instrument to master for a reason. Here's one tip: The fundamental of a F Horn is actually lower than that of a baritone/trombone. So when your baritone is playing 'pretty high up' to cover that solo, it's also 'pretty high up' for the horn player. The difference is, that's the range horn players are usually playing in: Three to four octaves above the fundamental. Think about playing your instrument that far up in the partial series. Think about the difficulty in slotting notes, of intonation, of tone quality. That is what horn players deal with from day one of playing the thing.

I apologize if you think my comments are ignorant. However, I am very well aware of the difficulties of playing horn. I've played it for almost 8 years now. If anything I may be ignorant of the baritone and underestimate it's potential

[thewsquared]

This is coming from a trombone player who learned Bb Bari:

The OP is well thought out and written and respect the opinion of the writer. And yeah I'd have a soda with him/her to talk things out.

But why change the rules to suit the players? IMO, it's kind of like saying, OK you have a problem swinging a baseball bat so you get to use something else.

As for the teachers worrying about embrochoure that has been a complaint from BITD going from Bb to G for all horns. If a teacher doesn't want a player doing corps they will come up with another excuse. "They'll teach you to play loud for the outside and that will screw you up. MB won't do that but all summer blasting will kill you."

Love this quote. I completely agree with the idea of not molding the activity to suit others if it means destroying our tradition

[GUARDLING]

Love this quote. I completely agree with the idea of not molding the activity to suit others if it means destroying our tradition

you can honor tradition and and still move forward

[CrownLeadSop]

A couple things:

1. The notion that "the horns are expensive and therefore shouldn't be implemented" is a flawed one, considering the horns likely get sold at-cost or for profit after the season is over. Even in the case of uncommon solo instruments (piccolo trumpet comes to mind), I've seen situations where Yamaha has lent horns to different corps across different years. In 2008, we considered putting a piccolo duet in the show. What horns did we play? The same horns used in Cavaliers' 2006 "Machine" production. Expense is not really a problem.

2. The most talented kids on any instrument are being lured away from the activity by other performance opportunities - many that their teachers fully endorse over drum corps because of the lack of need to swap to another horn. Will this get 100 new horn players into the activity? No, but it sure does make recruiting Jeff Nelsen's student for a solo much easier. To me, this is the #1 reason Jim proposed the rule (he recruits for the Blast! cast out of the recent classes of ageouts).

3. "I completely agree with the idea of not molding the activity to suit others if it means destroying our tradition" - unfortunately for you, the "others" portion of your statement refers to all but three drum corps directors. Plain and simple, DCI cannot keep that kind of overwhelming majority from getting what it wants. DCI is a facilitator for the needs and interests of its member corps. If you don't like this change, you'll have to take it up with the corps' directors and staff members.

We have a decade and half of recordings of shows free from the burdens and tyranny of horns and trombones. We have even more recordings of drum corps using the mighty and good G bugle. That was drum corps then. This is drum corps now. It has - and always will - change. To what degree is determined by the organizations themselves. Luckily, if you don't like it, you have the ability to vote with your dollar. But if I ever teach again or even have kids (yeah right), I'll encourage them to get into music and will introduce them to drum corps, past and present, and let them decide for themselves.