percussion judges in drill

[auldschool]

One told me specifically they changed how they write. It's all about getting the highest score right? Why write stuff that'll never be seen from the box?

That presumes that you can't write demanding drum parts that can be heard and credited from the box when using proper staging.

[auldschool]

Hey look, dude, I've given you answers every time so don't get nasty OK? I've not dodged your points so don't pretend that I have or that I do.

Can you hear buzz legato rolls from the sidelines? If you can, does it matter that they are played cleanly? If you were a drummer it would.

You insist on comparing contributions among the sections as if they must be even. Why do you think there IS a field percussion judge?

Why are you so passionate about this? You're really adamant that there has to be a field percussion judge. So great...feel that way. Others disagree. You can make arguments on both sides with valid points for and against. But ultimately if what the drum line plays can't be credited by the GE judge, the MA judge and the Ensemble percussion judge then the part is gonna be changed more than likely. The points available to the field percussion judge are not valuable enough to leave in a part that isn't readable. You can still keep it demanding or change the staging. But no one writes just for the field guy anymore.

[corpsband]

A) I would hope not but you never know

well at least you're not claiming it's inevitable

B) A good number of us have constantly said that, as drummers (most of us anyways), we don't believe this idea (moving to just to the edge of the drill) would work because of the 25 pages now worth of arguments we have made. You keep trying to drill down this point that you aren't moving the judge off the field and we get that! We know that is what you mean already and our answer remains the same!

fine. then stop saying front sideline. the brass and visual judge get around the field quite nicely without inserting themselves in the middle of everything.

C) This is the most ridiculous stuff you have written yet! The fact that you try to throw the entire percussion community into these stereotypes is a low blow and you very well know it. I'm not saying there isn't a judge that does get a huge rush out of it or that there isn't a single drummer that enjoys having a judge in front of him or a drummer out there with an ego. But you trying to group every person in each of those categories to fit those stereotypes is no better than the people that say all muslims are bad because there are some muslim terrorists out there. That's an extreme but it falls under the same principle.

i said it's a factor. not the only one -- but it matters to a lot of people

D) Thank you for your opinion as a fan, but as someone that has done percussion for over 20 years now, I respectfully disagree with you.

of course you do :-) apparently i have bionic hearing and vision. never even worked for NASA and i don't run 60 mph but i'll take what i can get :-)

[corpsband]

Item by Item Response:

> You wrote A. Percussion writers are not gonna hose the books. They write books their kids will want to play.

- While the percussion designers do what they can for the performers, the battery books will always be written primarily to score as many points as possible from the judging system. So, the writers will write to the judge wherever that person is located and what that person is judging. If located on sidelines, goodbye subtle nuances and musically cool hybrids; if located in the stands or up in box goodby to complex interplay between battery sections; and if in the box and no longer a drum judge but an overall music judge... well... say hello to nothing more than accent tap patterns with dynamic changes Why? Because of the risk-reward factor. (see current battery writing in BOA as an example).

Run in circles scream and shout!. There's a lot variety in BOA writing. But it doesn't really compare to DCI in the quality of the lines.

> B. Judges don't have to leave the field. They just need to stay out of the middle of drill.

- You have just created a sort of paradox;the drill today is so fast and fluid that the middle flows quickly all over the field. So, to keep from getting caught in the middle, the judge would have to, um, leave the field.

Amazing that I see VP and BR judges all over the field without putting themselves in hazardous situations.

> C. Dirty little secrets.

Field percussion judges get a huge rush being in the middle of it.

Drummers get a rush being the only section of a corps to "need" someone right on top of them.

A lot of this is about egos and badassery.

I probably shouldn't say all that out loud. But it's true whether they will admit it or not.

- So what is your point?! That top dogs have egos?

Yes. Drummers are all special.

> D. I sit in the audience and I hear and see a heck of a lot of the battery performance. People say you can't hear and see from there. I disagree. A judge on the edge is gonna be 10 or 15 yds away. They're not gonna miss anything.

- Hmmmmmm.... At the next show you attend, sit anywhere out front, and just observe something easy for a drum judge to see and hear as a flaw on the field, nothing complex, say... count the number of times a roll dirts out in any given snare line. Then post the combined number of all dirted rolls you observed back to us in this thread.

The hyperbole being exercised by drummers in this thread is epic. I didn't say I could hear and see EVERYTHING. I simply countered the "You can't hear anything" nonsense being propagated here. Your challenge if you choose to accept "HEAR THINGS YOU CANT HEAR AND SEE THINGS YOU CANT SEE". lol

I agreed a long time ago you cannot hear and see everything from the box or stands or FSL. In fact the field perc judges misses a lot as he runs and doges and duck-and-rolls Does the brass judge hear everything? Does the VP judge see everything? But there's a big range between everything and nothing. But if there are things that cant be seen OR heard from the audience, how do they contribute to the show? And if they don't why are they getting credit in the score? Because the score is about the show -- not about silent notes and invisible sticking right? Brass gets no credit for all those notes they don't play and the guard gets not credit for work no on can possibly see.

The exceptionalism of percussionists is mind boggling.

Edited July 27, 2016 by corpsband

[mfrontz]

If a paradiddle is played in the forest, does it...

Never mind.

[DrumManTx]

If a paradiddle is played in the forest, does it...

Never mind.

Only if there is a wind player around to laugh at the word diddle.

[FlamMan]

Why are you so passionate about this? You're really adamant that there has to be a field percussion judge. So great...feel that way. Others disagree. You can make arguments on both sides with valid points for and against. But ultimately if what the drum line plays can't be credited by the GE judge, the MA judge and the Ensemble percussion judge then the part is gonna be changed more than likely. The points available to the field percussion judge are not valuable enough to leave in a part that isn't readable. You can still keep it demanding or change the staging. But no one writes just for the field guy anymore.

There absolutly should be a field drum judge. GE is way too heavily weighted.

[Ghost]

Have a field judge and let them go back to a tick system!!

[Kamarag]

Have a field judge and let them go back to a tick system!!

Yea, because that was such a bang-up success.

/sarcasm

[DrumManTx]

Yea, because that was such a bang-up success.

/sarcasm

Hehe. Bang. Drums.