DrumScorps

Allentown, PA - Friday, August 2, 2019

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27 minutes ago, 2muchcoffeeman said:

Thank you, but I guess the real question is, absent improvements to the fundamental design elements, can this show even aspire to 7th place? Is there enough there there to clean it to a 94?

Sorry, I guess I'm mystified why a show that has largely been panned is even in this mix. Last year we all remember how Cadets brought an underperforming, but reasonably well-built show into Allentown and simply killed it. They found a way to unleash the horsepower that was available to them in the design of the production. My sense from this crowd all season long is that the 2019 Cadets program has less available horsepower . . . no matter how well the members perform it. The current standings, however, would appear to put the lie to that diagnosis. Have we all been wrong about the underlying quality of the show?

1. Percussion is top six 

 

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34 minutes ago, George Dixon said:

1. Percussion is top six 

 

True dat. If you gave Cadets the median WC percussion score as of this date, their overall score would be about 87.3 -- right between Mandarins and Blue Stars.

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5 hours ago, Cappybara said:

A judge that you're accusing of inherently scoring one corps higher than the others in a consistent manner certainly implies as such

Not necessarily. Judging art is inherently subjective. Maybe she just values the style and approach of this particular corps over others.

Frankly, judging musicality is a fundamentally suspect endeavor and shouldn’t be taken so seriously. If we really cared about fairness, corps would be getting ratings (I-V) like concert bands and orchestras. But that wouldn’t be as fun. People, naturally, put too much importance on placements and competitive scores.

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2 hours ago, George Dixon said:

1. Percussion is top six 

 

They are driving the bus this season, no question.

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On 8/2/2019 at 11:02 PM, FTNK said:

Can you elaborate

Sure. Sandi has this habit of taking what should be a normal 8th/16th passage and throwing octaves onto the outer mallets, and calling that "demand". There's also a lot of harsh slamming and almost violent technique being used, which I guess sort of fits with the show theme but is really bad for the instrument, as well as non-idiomatic to the natural sound of the keyboard. The kids are playing very well, but I hate what they're playing. It's also bad pedagogically, as these kids will inevitably have bad habits for when they go back to playing concert or soloist music.

Compare for Bluecoats' front ensemble writing, which is much more considerate of the sound that the instruments "want" to produce; the marimba licks are liquid and flow-y, the vibraphone notes use the metallic timbre to pierce through with the upper tessitura while staying resonant in the lower ranges. 

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Maybe it"s just me but the screaming soloist {SCV) who goes for the really high note doesn"t really add to the piece of music..plus when it doesn't work out so well it reminds me of "THE FAIL"...I don't think they need it..IMHO

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11 hours ago, pudding said:

Sure. Sandi has this habit of taking what should be a normal 8th/16th passage and throwing octaves onto the outer mallets, and calling that "demand". There's also a lot of harsh slamming and almost violent technique being used, which I guess sort of fits with the show theme but is really bad for the instrument, as well as non-idiomatic to the natural sound of the keyboard. The kids are playing very well, but I hate what they're playing. It's also bad pedagogically, as these kids will inevitably have bad habits for when they go back to playing concert or soloist music.

Compare for Bluecoats' front ensemble writing, which is much more considerate of the sound that the instruments "want" to produce; the marimba licks are liquid and flow-y, the vibraphone notes use the metallic timbre to pierce through with the upper tessitura while staying resonant in the lower ranges. 

Your powers of front ensemble analysis are impressive, I will try to listen for it

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9 hours ago, waliman4444 said:

Maybe it"s just me but the screaming soloist {SCV) who goes for the really high note doesn"t really add to the piece of music..plus when it doesn't work out so well it reminds me of "THE FAIL"...I don't think they need it..IMHO

Agree here...if he’s going to keep trying for it he might want to gliss up while playing backfield, then when he’s sure he’s okay turn back toward the mic. Of course, he could always go for a “VK ham moment” if it doesn’t work, like wag his finger in shame at the horn, pick up a replacement horn or switch with his buddy, or pretend to chuck his into the stands. 

OR, his buddy walks up and offers *his* horn (“here, use this one instead.”) before “THE TRY”. 

Edited by TRacer
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43 minutes ago, TRacer said:

Agree here...if he’s going to keep trying for it he might want to gliss up while playing backfield, then when he’s sure he’s okay turn back toward the mic. Of course, he could always go for a “VK ham moment” if it doesn’t work, like wag his finger in shame at the horn, pick up a replacement horn or switch with his buddy, or pretend to chuck his into the stands. 

OR, his buddy walks up and offers *his* horn (“here, use this one instead.”) before “THE TRY”. 

It fits...a rebellious stance, a deconstruction of the idiom. Could be the GE boost they've been looking for.

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10 hours ago, waliman4444 said:

Maybe it"s just me but the screaming soloist {SCV) who goes for the really high note doesn"t really add to the piece of music..plus when it doesn't work out so well it reminds me of "THE FAIL"...I don't think they need it..IMHO

Absolutely agreed, like Crowns 2014 brass book going for the hardest possible technical achievement doesn't enhance the musicality of a program or a moment.

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