karuna

Field judges restricted to front sideline in 2019

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3 minutes ago, Stu said:

Because there are two aspects in an adjudicated performance at this level; that which is for the audience and that which is to be judged in order to push you into exceeding your own playing expectations. BOA has totally obliterated the latter for battery members, and it is why the batteries in BOA ensembles now mainly play simple accent-tap passages. My fear is that DCI, via extreamly complex visual overriding musical decisions, is also moving in that same direction.

But it still gets scored, so to be competitive, they will have to find ways to be excellent that can be perceived from more than a few feet away.  

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2 hours ago, BRASSO said:

 I can appreciate those fans that still want their judges to be as close to the MM's they are judging as possible, especially in the execution oriented captions. That said, if we watch ( for example) the on field Percussion judges, most of the time, they are seen running, weaving,. dodging, with them looking left, right, behind, to make sure they are not about to be run over by MM's in visual moves all around them. How much REAL concentrated observance of the percussion playing is really be taking place, when that judge's concentration levels to that is certainly  being heavily distracted ? Just for the heck of it, watch ( for example ) Jeff Prosperie judging Percussion of any Corps on Youtube. Holy Mackeral. He's seen most of the time, running, weaving, dodging, full speed like a maniac out there. Is he going to be compromised in his observance skills of the Percussion sections if he's put on the sidelines where he can better concentrate on the task he has been assigned ? I don't think so. His observation abilities might actually be better enhanced if anything, imo..

in reality there are very few collisions, but in the last few years, one judge in particular pays no attention to his environmental surroundings, and as a result, it really amplified the call to move the percussion judge off of the field.

But at field level, you'll still hear better in a dome than you would upstairs. I guess we will have to see how it works, because they could always change their minds if it turns out to be a flop.

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9 hours ago, MikeD said:

I don't see that happening. The judge will have to make sure they are placed to hear every section appropriately...sampling everybody...during the show. They can and will move around as needed along the sideline to get a good vantage point.

 

Some of the band circuits have been judging this way for years without issue, and I believe DCA as well implemented this a few years ago. The fact that the instructors voted this unanimously points to it being a good idea....I have thought this should have happened years ago. 

DCA moved to the box, but they don't perform in domes, just small HS stadiums

Edited by Jeff Ream

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26 minutes ago, FTNK said:

I think this is stupid

The idea that the judges were right there was a motivation to max out technique

How are judges supposed to move when the sidelines are already piled with so much junk, wires, etc?

good point, especially when they put up the scrims and screens to help hide changes of uniforms and equipment

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2 minutes ago, Jeff Ream said:

in reality there are very few collisions, but in the last few years, one judge in particular pays no attention to his environmental surroundings, and as a result, it really amplified the call to move the percussion judge off of the field.

But at field level, you'll still hear better in a dome than you would upstairs. I guess we will have to see how it works, because they could always change their minds if it turns out to be a flop.

Have the directors passed the measure yet?

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Just now, Liahona said:

Have the directors passed the measure yet?

yup posted this evening

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36 minutes ago, skevinp said:

But it still gets scored, so to be competitive, they will have to find ways to be excellent that can be perceived from more than a few feet away.  

Excellence is not the issue which will drop, they will stay excellent. It will be the battery writing/playing complexity which pushes the performers to exceed beyond expectations that will suffer. Simple writing can be performed at a high rate of excellence, and there is no reason at all to write complex battery books when it will no longer have a way to be adjudicated nor appreciated. The complexity in the hands of the battery is not for the audience, it is for the performers; and without a way to really adjudicate it that complexity will likely go away. That is exactly what happened in BOA when the perc judge was removed from the field, and then the perc judge was eventually totally eliminated.

Edited by Stu
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3 hours ago, N.E. Brigand said:

You're probably right, BUT this is basically another way in which the visual aspect of drum corps has surplanted the musical aspect.

Perhaps. But given the velocities, field coverages.... at the WC level it's become too risky for both performer and adjudicator. Surprised we haven't had the equivalent of the Talladega "Big One" at a show yet. I know the kids do watch out, the judges watch out...but I have a hunch everyone's been too lucky for too long. Yeah, some of the Drill mavens are likely peeved someone on-field detracts from their fantastic design and wanted that dealt with, but I think it's just genuinely been too hot down there for too long at the WC level. 

 

I think one can get into a lot of the technical aspects as well. I know the percussion people feel that a lot is gotten away with without the field person. I know there's been complaints about weak movement issues without the on field visual person as well. I'd think they'd address that with the adjudicators, and just maybe, they'll tell them they need to address those tings as they relate to how they detract from the ensemble performance more. As for Brass.... thinking off the top of my head on this, at the WC level, the musicians are pretty daggone skilled in the kinds of things a field judge is looking at. They know how to hold the instrument, play in tune, have good approach and technique. The real issues at this level crop up in the box- timing front to back side to side, balance issues. The front ensemble and the size and scope of it also hem in the field music people. Where does one stand to hear X at point Y without it being masked? How much is the field percussion judge expected to listen to the front ensemble as well as the battery and get a fair read? I think everyone's realized things have cone to a head in so many different directions that it's the best solution. 

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2 hours ago, skevinp said:

But it still gets scored, so to be competitive, they will have to find ways to be excellent that can be perceived from more than a few feet away.  

Excellent point. There's a Boom Boom percussion video on YouTube where the young lady spends a day with 2008 Phantom and Rennick, and he touches on that. He explained how he compromised tuning so that they sounded better to the audience and perhaps not so much to the on-field judge, but he was pleased with the results and felt it was the way to go.

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5 hours ago, DeanInChicago said:

Will the sideline judges interfere with the Flo cameras?

IMHO, it's up to the Flo camera people to work around them. 

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