DVD and Bluray on sale

[perc2100]

It wasn't a misprint, as at the time, DCI was hoping some of the required releases from license holders would come through...and some did..,in the nick of time. All recordings (whether purchased in advance or purchased now) are the same. One needs not be concerned about having a product less complete than what anyone else has.

Do you know/can you let us know when that drop-dead last-second date was? How long is the lead time to master the Blu-rays/DVDs before shipping?

Edited March 7, 2016 by perc2100

[mfrontz]

Probably because DCI corps have a rich history of absolutely destroying the composer's original intent. Go back and listen to stuff from the 70's (and to a lesser extent the 80's and 90's as well).

Always thought BD did a pretty good job...

[perc2100]

Probably because DCI corps have a rich history of absolutely destroying the composer's original intent. Go back and listen to stuff from the 70's (and to a lesser extent the 80's and 90's as well).

Really, for all of time. Unless the corps has performed an original work written precisely for the drum corps' instrumentation and time needs, DCI arrangers have messed with composer's original attempt, often pretty egregiously. While even great drum corps productions could use what we think is brilliant arrangement of a piece, the composer could be livid at the cutting of themes, changing intent of a piece, etc. I've talked to composers who generally feel the music was written for an explicit reason in an exact way they want: they aren't happy (or receptive) to drum corps/marching bands/whomever cutting it down or tweaking things to fit a different venue.

Of course, there are also plenty of composers who either don't care, or at least are accommodating to arrangers.

[N.E. Brigand]

Really, for all of time. Unless the corps has performed an original work written precisely for the drum corps' instrumentation and time needs, DCI arrangers have messed with composer's original attempt, often pretty egregiously. While even great drum corps productions could use what we think is brilliant arrangement of a piece, the composer could be livid at the cutting of themes, changing intent of a piece, etc. I've talked to composers who generally feel the music was written for an explicit reason in an exact way they want: they aren't happy (or receptive) to drum corps/marching bands/whomever cutting it down or tweaking things to fit a different venue.

It would be nice to hear some specifics from composers about how they would have adapted their own works to this medium. What did a given arrangement do wrong, and how would they have done it right? I suspect that if those disappointed composers actually got their works adapted to drum corps in the way they'd like, that the end results would be found unsatisfactory by many drum corps aficionados. What works in one medium may need substantial alteration to work in another. (Of course, it is possible that some composers' notions that at first seem unworkable on the field would turn out to be insightful outside-the-box thinking.)

I am reminded of this imagined conversation between J.R.R. Tolkien and Philippa Boyens (the screenwriter of Peter Jackson's Lord of the Rings movies). "Professor, we had some tough choices. We made them."

As I've mentioned once or twice before, at a Lord of the Rings event (at which Michael Boo was also in attendance, by the way), I got to ask the composer Johan de Meij what he thought of the Cadets' 1999 use of his "Big Apple" symphony, which he had seen live at DCI Finals. He grimaced, and said that while he respected the hard work and talent of the performers, he felt that the music took a back seat to the visuals.

Edited March 7, 2016 by N.E. Brigand

[Michael Boo]

Do you know/can you let us know when that drop-dead last-second date was? How long is the lead time to master the Blu-rays/DVDs before shipping?

That I don't know. I believe they held off on the DVDs as long as they possibly could have done so, if not even longer than they originally were willing to do so.

[perc2100]

It would be nice to hear some specifics from composers about how they would have adapted their own works to this medium. What did a given arrangement do wrong, and how would they have done it right? I suspect that if those disappointed composers actually got their works adapted to drum corps in the way they'd like, that the end results would be found unsatisfactory by many drum corps aficionados. What works in one medium may need substantial alteration to work in another. (Of course, it is possible that some composers' notions that at first seem unworkable on the field would turn out to be insightful outside-the-box thinking.)

I am reminded of this imagined conversation between J.R.R. Tolkien and Philippa Boyens (the screenwriter of Peter Jackson's Lord of the Rings movies). "Professor, we had some tough choices. We made them."

As I've mentioned once or twice before, at a Lord of the Rings event (at which Michael Boo was also in attendance, by the way), I got to ask the composer Johan de Meij what he thought of the Cadets' 1999 use of his "Big Apple" symphony, which he had seen live at DCI Finals. He grimaced, and said that while he respected the hard work and talent of the performers, he felt that the music took a back seat to the visuals.

I spoke to a composer once (who shall remain nameless): a prominent wind composer. I mentioned drum corps/marching band, and how his music would work awesome in the marching band/DCI/WGI world; I even tried to stroke the ego a bit by saying his music would really bring out awesome colors, visual ideas, etc.

He reacted in a fairly annoyed, pretty blunt/honest way: he rolled his eyes, sighed, took a deep breath, and then unloaded. He talked about how he writes he beat, note, rest, instrument, dynamic, meter or tempo change, etc. a very specific way because those decisions are what works best for the piece. He talked briefly about how much he agonizes (his word) over every little detail to ensure the piece was "perfect" by the time it is published. He had no interest in letting other "hack" arrangers (his words) "chop up" his art and completely change the music's meaning by adding visual "junk" (his word) to his notes: let alone, "god forbid" (his words), someone else 'questions' his decisions as composer/artist, and changes phrases, keys, tempo, chord structure, etc. He was very clear he had no interest in an arranger reworking his music to make it fit some "half-###ed" (his words) visual idea.

I had gotten the impression this composer had been talked to before, probably many times, about someone doing his work. He said that he has seen people "ruin" (his word) work before in the marching world, and he had instructor his reps to not even entertain the notion of someone else arranging his stuff. He said that he would entertain the notion of adapting his work for a different performance environment, but only if he had complete control over the music AND visual aspects.

I thanked him for the input, told him that I completely understand his position, and that I look forward to hearing his work in a concert hall. He was a nice guy, not a standoffish type annoyed with fans. And I do get what his concerns are, and totally respect that opinion.

[perc2100]

That I don't know. I believe they held off on the DVDs as long as they possibly could have done so, if not even longer than they originally were willing to do so.

That's cool, and I agree with the sentiment of "hold off in hopes we can get necessary approval." It's awesome DCI was able to get clearances late, and are able to deliver to us fans!

[tesmusic]

I spoke to a composer once (who shall remain nameless): a prominent wind composer. I mentioned drum corps/marching band, and how his music would work awesome in the marching band/DCI/WGI world; I even tried to stroke the ego a bit by saying his music would really bring out awesome colors, visual ideas, etc.

He reacted in a fairly annoyed, pretty blunt/honest way: he rolled his eyes, sighed, took a deep breath, and then unloaded. He talked about how he writes he beat, note, rest, instrument, dynamic, meter or tempo change, etc. a very specific way because those decisions are what works best for the piece. He talked briefly about how much he agonizes (his word) over every little detail to ensure the piece was "perfect" by the time it is published. He had no interest in letting other "hack" arrangers (his words) "chop up" his art and completely change the music's meaning by adding visual "junk" (his word) to his notes: let alone, "god forbid" (his words), someone else 'questions' his decisions as composer/artist, and changes phrases, keys, tempo, chord structure, etc. He was very clear he had no interest in an arranger reworking his music to make it fit some "half-###ed" (his words) visual idea.

I had gotten the impression this composer had been talked to before, probably many times, about someone doing his work. He said that he has seen people "ruin" (his word) work before in the marching world, and he had instructor his reps to not even entertain the notion of someone else arranging his stuff. He said that he would entertain the notion of adapting his work for a different performance environment, but only if he had complete control over the music AND visual aspects.

I thanked him for the input, told him that I completely understand his position, and that I look forward to hearing his work in a concert hall. He was a nice guy, not a standoffish type annoyed with fans. And I do get what his concerns are, and totally respect that opinion.

In college we had Alfred Reed as a guest conductor. I had the chance to be his driver from the hotel to rehearsals, dinner, etc.

I brought up the drum corps/marching world and he seemed middle of the road on it. Some performances and arrangements he thought were great, and others he thought were pretty terrible. I do remember him being very fond of SCV's use of his music. This would have been around the fall of 2001, so he was probably referring to the 1987 arrangement of Russian Christmas Music.

[Clutchtow]

I spoke to a composer once (who shall remain nameless): a prominent wind composer. I mentioned drum corps/marching band, and how his music would work awesome in the marching band/DCI/WGI world; I even tried to stroke the ego a bit by saying his music would really bring out awesome colors, visual ideas, etc.

He reacted in a fairly annoyed, pretty blunt/honest way: he rolled his eyes, sighed, took a deep breath, and then unloaded. He talked about how he writes he beat, note, rest, instrument, dynamic, meter or tempo change, etc. a very specific way because those decisions are what works best for the piece. He talked briefly about how much he agonizes (his word) over every little detail to ensure the piece was "perfect" by the time it is published. He had no interest in letting other "hack" arrangers (his words) "chop up" his art and completely change the music's meaning by adding visual "junk" (his word) to his notes: let alone, "god forbid" (his words), someone else 'questions' his decisions as composer/artist, and changes phrases, keys, tempo, chord structure, etc. He was very clear he had no interest in an arranger reworking his music to make it fit some "half-###ed" (his words) visual idea.

I had gotten the impression this composer had been talked to before, probably many times, about someone doing his work. He said that he has seen people "ruin" (his word) work before in the marching world, and he had instructor his reps to not even entertain the notion of someone else arranging his stuff. He said that he would entertain the notion of adapting his work for a different performance environment, but only if he had complete control over the music AND visual aspects.

I thanked him for the input, told him that I completely understand his position, and that I look forward to hearing his work in a concert hall. He was a nice guy, not a standoffish type annoyed with fans. And I do get what his concerns are, and totally respect that opinion.

Maslanka?

[N.E. Brigand]

I had gotten the impression this composer had been talked to before, probably many times, about someone doing his work. He said that he has seen people "ruin" (his word) work before in the marching world, and he had instructed his reps to not even entertain the notion of someone else arranging his stuff. He said that he would entertain the notion of adapting his work for a different performance environment, but only if he had complete control over the music AND visual aspects.

Well, I hope someday he gets that chance.

Although if it happens, I almost hope that the judges then rip him to shreds for not knowing what he's doing in this different medium. (Almost.)

Anyone can benefit from a dose of humility. Like Michael Jordan's attempt at a professional baseball career.

But for all I know, this composer could prove to be a genius at drum corps.

Edited March 9, 2016 by N.E. Brigand