BRASSO Posted May 10, 2014 Share Posted May 10, 2014 In the 70's, a lot of top corps had distinct sounding brass lines, if by distinct you mean bad. SCV won DCI in 1978 with a horn line that is a bit painful to listen to, due to the sopranos having a pinched, thin, overly-bright sound. ... I preferred the sound of the soprano voice played on the bugle in the key of G instead of the trumpets for the soprano voice in the B flat. With my listening the soprano even when not played in the best pitch with proper tone quality was superior to the trumpet sound ,,even when played with higher level of tonal quality by thePerformer . The soprano bugle in the G sounds deeper, richer, more rounder, than the thin sounding, tinny sound of the higher pitched trumpet. Today's DCI Brass Arrangers probably sense this too without telling you, as we hear much much fewer solos by soprano voices today than in. BITD in DCI Quote Link to comment Share on other sites More sharing options...
flammaster Posted May 11, 2014 Share Posted May 11, 2014 Yes that is true. I don't see as many soloists now. I sure do love all the high quality equipment in the pit now! Quote Link to comment Share on other sites More sharing options...
BRASSO Posted May 11, 2014 Share Posted May 11, 2014 (edited) Yes that is true. I don't see as many soloists now. I sure do love all the high quality equipment in the pit now!.,.... When we encounter the soprano voice in the music now, it just as apt to be the non Brass instrumentation soprano voice that we hear in the show.., literally. .... The soprano voice from the singer.:., there are few " screaming sopranos like the 70's but we do have the screaming narrators whose ' tone qualities , pitch , intonation etc are now open to debate as to which is more off key to one's inner ear all the way up the canal to the cerebellum, ie the G 'a played in the 70' s or the sometimes shrill voice assault on the senses when the amp is turned up to the max Edited May 11, 2014 by BRASSO Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted May 12, 2014 Share Posted May 12, 2014 hmmmm back seat maybe not..equal seat way before 2002 I remember even DCA MATADORS BITD had an a #1 guard and a corps not worthy of finals YET they did , because of? I remember all the controversy and talk about it. well hell they made finals due to backroom BS. go see the RAMD threads...and say hi to Sharon for me 1 Quote Link to comment Share on other sites More sharing options...
Jeff Ream Posted May 12, 2014 Share Posted May 12, 2014 That was me that named the 10 corps and their arrangers that I felt had unique sounds and then stated I thought I mentioned that the other corps kinda didn't; 10 out of 30 or 33 1/3% sounding different and 66 2/3 % sound similar enough that you can't tell them apart is variety? That's fairly Homogeneous percentage really, I was just trying to be positive in this OT side topic or I could have elaborate more. I was thinking about starting a whole thread on this topic and going back to 1985 and comparing the variety of musical selections and sound from each year for fun, maybe come up with an objective scoring system and look at the arrangers for each corps each year, but then real life got in the way and now other things seem more interesting. Also it wouldn't really accomplish anything productive for the DCP, and I do try to contribute things that are at least thought provoking. Actually, it might prove the opposite of what I'd hope to show. Unfortunately I don't get paid to post, so I'll probably pass. I think Ream makes some great points about the structure of shows making them sound more homogenized than before, and I also agree that 1 and 3 last year did borrow aspects from 2, which I guess would support BD being considered innovative when other corps copy their design choices. don't agree with me. he hates when that happens Quote Link to comment Share on other sites More sharing options...
jjeffeory Posted May 12, 2014 Share Posted May 12, 2014 don't agree with me. he hates when that happens Jeff, Most of the time I agree with you ( Strange me in thinking that Jeff's gotta stick together). I guess I can pick out the bits where I don't agree with you 'cause we can have that happen. Quote Link to comment Share on other sites More sharing options...
MikeD Posted May 12, 2014 Share Posted May 12, 2014 ... I preferred the sound of the soprano voice played on the bugle in the key of G instead of the trumpets for the soprano voice in the B flat. With my listening the soprano even when not played in the best pitch with proper tone quality was superior to the trumpet sound ,,even when played with higher level of tonal quality by the Performer . The soprano bugle in the G sounds deeper, richer, more rounder, than the thin sounding, tinny sound of the higher pitched trumpet. Today's DCI Brass Arrangers probably sense this too without telling you, as we hear much much fewer solos by soprano voices today than in. BITD in DCI Except the trend towards fewer solos has been around before the change to multi-key, IMO. I think it is just different eras creating different types of shows. 1 Quote Link to comment Share on other sites More sharing options...
MikeD Posted May 12, 2014 Share Posted May 12, 2014 .,.... When we encounter the soprano voice in the music now, it just as apt to be the non Brass instrumentation soprano voice that we hear in the show.., literally. .... The soprano voice from the singer.:., there are few " screaming sopranos like the 70's but we do have the screaming narrators whose ' tone qualities , pitch , intonation etc are now open to debate as to which is more off key to one's inner ear all the way up the canal to the cerebellum, ie the G 'a played in the 70' s or the sometimes shrill voice assault on the senses when the amp is turned up to the max I have yet to hear one "screaming narrator". Yes, they do not sound like James Earl Jones, but very few people do. 2 Quote Link to comment Share on other sites More sharing options...
BRASSO Posted May 12, 2014 Share Posted May 12, 2014 (edited) I have yet to hear one "screaming narrator". Yes, they do not sound like James Earl Jones, but very few people do. ... I like the Crossmen show last season but my guess you either did not see it or you believe a narrator with a bullhorn yelling out to the crowd did not rise to your personal level of a. ' scream ' out ofProtest. Edited May 12, 2014 by BRASSO Quote Link to comment Share on other sites More sharing options...
MikeD Posted May 12, 2014 Share Posted May 12, 2014 ... I like the Crossmen show last season but my guess you either did not see it or you believe a narrator with a bullhorn yelling out to the crowd did not rise to your personal level of a. ' scream ' out of Protest. I didn't consider it screaming when I saw it, nor do I consider the vocal protests a la the late 60's to be "narration". My definition of narration differs from yours, obviously. I also did not take your comment to mean something intentional due to the design of the show, given your past comments on narration in general. If that corresponds to screaming to you, fine. I have no problem with intentional tone and volume if it fits the show, be it screamed into a bullhorn or whispered into a micc. Quote Link to comment Share on other sites More sharing options...
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