Stop, Start, Change

[karuna]

On 8/13/2019 at 2:46 PM, Spatzzz said:

All elements are considered as they comprise the whole. Complex drill is but one tool that can be used in a show and if that is ALL that is used it isn't going to score well. What new and innovative drill move have you seen in the last 10 years that was really new and innovative? I bet you can count them on one hand maybe.

Blob-fluttering to a prop and standing/barking is nothing new either.  Been done far in to the past (as has choreography in the horn line).   The only thing "new" is that mic'ing everybody and their brother let's you IGNORE whether a section or player has been staged properly to be heard.  To me that's a WEAKNESS not a strength.

My "issue" with blob-flutter if you will is:

Both blob-fluttering and drill serve to transition musicians from one  "hold/impact" to another.  But the drill is far more demanding in between those moments.  There's ART in the creation of form to form to effect a restaging.  Furthermore it requires far more simultaneous responsibilities from the performer.  Lastly you can PLAY while you restage.  There's no art in running.  I don't care if the flutter technique is uniform or not (in fact it's actually NOT uniform but the fact that there's no "timing" involved makes it extremely difficult to evaluate.)    And no one can play and run.

At it's heart drum corps is dong difficult things well.  When you dilute the hard stuff,  the product is weaker.  

Edited August 18, 2019 by karuna

[BranchHill]

I will suggest a different order for the suggestions here:
START. STOP. CHANGE.

START dreaming of your version of a championship, a finalist, a semi-finalist, or a break-out show today! (You already are, I know.) Dream it. Discuss it. Storyboard it. Then set it aside and go on vacation. Upon your return, and after you revisit the storyboards ...

STOP. Hard stop. Consider and reconsider every single second of that storyboard. Can we accomplish this; actually? (Think Jersey Surf's pitch-perfect show for judges, fans, and its performers.) What makes this production our corps' version of its best self? (Keep all of that.The Cavaliers.) What will become over the course of the season groaningly weary for judges, fans, and your performers? (Readers: find your best/worst example of this.)

CHANGE it. Now! Don't think that the very first judge in the very first competition won't suss it out, causing you to have to change it on the fly.

CHANGE, part 2. Have changes built into the fabric of the production. If it doesn't work changes, but more importantly, changes (layers) to add that will plus the show for all three audiences over time. (The Blue Devils have mastered this. COPY IT! Hell's bells: you copy everything else, often.)

Be 2020's Pacific Crest!

__________
Since I wrote this, I have read an interesting -- and pertinent -- idea on creativity from choreographer Twyla Tharp. In her book, "The Creative Habit," she emphasized how important it is to have a "spine" for any piece.

“The spine is the statement you make to yourself outlining your intention for the work. You intend to tell this story. You intend to explore this theme. You intend to employ this structure…

Once you accept the power of spine in the creative act, you will become much more efficient in your creativity. You will still get lost on occasion, but having a spine will anchor you. When you lose your way, it will show you the way home. It will remind you that this is what you have set out to do, this is the story you’re trying to tell, this is the effect you’re trying to achieve. Having a spine will snap you back to attention quickly and, as a result, will inject speed and economy into your work habits.

“Having a spine lets me know where I am starting from and where I want to go…It lets me know when I am dawdling or digressing or wasting time. It reminds me that everything I add is either on message or off. Most of all, it lets me know when I’m done.”

Edited August 18, 2019 by BranchHill

[Weaklefthand4ever]

On 8/14/2019 at 12:42 AM, Jeff Ream said:

bass drops at every major phrase ending

And there it is LOLOLOL.

[TRacer]

Stop 🛑: utterly inappropriate DUT-ing during soft or transitional music moments. You’ve got 3-5 DMs all over the place...perhaps multiple Sanfords back at the corps hall...when did subdividing QUARTER notes (!) in your head become a lost art? 

Change:  Use cowbells attached to the battery in lieu of DUT-ing. If the snares & tenors “have” to DUT, let’s commit to it and get it out there. Imagine a corps playing the “Generic Love Theme” from Star Trek: The Original Series (you know, the 8-note phrase played by a lyrical flute whenever a love interest is in a filtered shot) when tinktinktink!!! kicks in. That’s some solid GE right there.

Start: ...having all corps wear their corps’ heritage uniform at retreat like Cavies did. 

Edited August 18, 2019 by TRacer

[xandandl]

We stop this most excellent thread for a Public Service Announcement: 

Congratulations to the OP for a succinct, timely, and relatable thread to which all can contribute in a positive way. Hopefully the designers are listening and not staring at their own navels.

Now back to "Stop, "Start, "Change."

Edited August 19, 2019 by xandandl

[EricS]

On 8/17/2019 at 8:55 PM, karuna said:

Blob-fluttering to a prop and standing/barking is nothing new either.  Been done far in to the past (as has choreography in the horn line).   The only thing "new" is that mic'ing everybody and their brother let's you IGNORE whether a section or player has been staged properly to be heard.  To me that's a WEAKNESS not a strength.

My "issue" with blob-flutter if you will is:

Both blob-fluttering and drill serve to transition musicians from one  "hold/impact" to another.  But the drill is far more demanding in between those moments.  There's ART in the creation of form to form to effect a restaging.  Furthermore it requires far more simultaneous responsibilities from the performer.  Lastly you can PLAY while you restage.  There's no art in running.  I don't care if the flutter technique is uniform or not (in fact it's actually NOT uniform but the fact that there's no "timing" involved makes it extremely difficult to evaluate.)    And no one can play and run.

At it's heart drum corps is dong difficult things well.  When you dilute the hard stuff,  the product is weaker.  

Amen, Amen and Amen!!!

[mfrontz47]

Stop: Incorporating non-traditional instruments into DCI shows IF you cannot get the highest caliber member talent to play those instruments.

Start: Playing longer segments of works in your show IF you can't find ways of incorporating multiple works organically. 

Change: The way battery members play in the ballad- tired of seeing the drumline kneel out, hide, or become part of the color guard during ballads- find a way to write in a dramatically different style for that section of the show. Blue Devils did this excellently when they were doing jazz numbers, Blue Knights show everyone that you can write nuanced percussion parts that aren't always aggressive and showy. 

[LabMaster]

On 8/18/2019 at 12:01 PM, BranchHill said:

I will suggest a different order for the suggestions here:
START. STOP. CHANGE.

START dreaming of your version of a championship, a finalist, a semi-finalist, or a break-out show today! (You already are, I know.) Dream it. Discuss it. Storyboard it. Then set it aside and go on vacation. Upon your return, and after you revisit the storyboards ...

STOP. Hard stop. Consider and reconsider every single second of that storyboard. Can we accomplish this; actually? (Think Jersey Surf's pitch-perfect show for judges, fans, and its performers.) What makes this production our corps' version of its best self? (Keep all of that.The Cavaliers.) What will become over the course of the season groaningly weary for judges, fans, and your performers? (Readers: find your best/worst example of this.)

CHANGE it. Now! Don't think that the very first judge in the very first competition won't suss it out, causing you to have to change it on the fly.

CHANGE, part 2. Have changes built into the fabric of the production. If it doesn't work changes, but more importantly, changes (layers) to add that will plus the show for all three audiences over time. (The Blue Devils have mastered this. COPY IT! Hell's bells: you copy everything else, often.)

Be 2020's Pacific Crest!

__________
Since I wrote this, I have read an interesting -- and pertinent -- idea on creativity from choreographer Twyla Tharp. In her book, "The Creative Habit," she emphasized how important it is to have a "spine" for any piece.

“The spine is the statement you make to yourself outlining your intention for the work. You intend to tell this story. You intend to explore this theme. You intend to employ this structure…

Once you accept the power of spine in the creative act, you will become much more efficient in your creativity. You will still get lost on occasion, but having a spine will anchor you. When you lose your way, it will show you the way home. It will remind you that this is what you have set out to do, this is the story you’re trying to tell, this is the effect you’re trying to achieve. Having a spine will snap you back to attention quickly and, as a result, will inject speed and economy into your work habits.

“Having a spine lets me know where I am starting from and where I want to go…It lets me know when I am dawdling or digressing or wasting time. It reminds me that everything I add is either on message or off. Most of all, it lets me know when I’m done.”

Some would say some judges lack a spine.

[EricS]

STOP - ALL electronics, including miking individuals

STOP -  Running and scatter drill

STOP -   tarps and excessive props

Start doing more marching and lowering score for bad marching

Start figuring out a way to award MMs for good performance of bad show design (i.e. Phantom Regiment)

Start  banning WGI judges from juding DCI

Change show designs to involve more difficult drill and no more body movement

AND Form a separate division for Stage Performances

AND anonthher thing, no prerecorded anything..

Edited August 20, 2019 by EricS

[EricS]

On 8/18/2019 at 2:30 PM, TRacer said:

Stop 🛑: utterly inappropriate DUT-ing during soft or transitional music moments. You’ve got 3-5 DMs all over the place...perhaps multiple Sanfords back at the corps hall...when did subdividing QUARTER notes (!) in your head become a lost art? 

Change:  Use cowbells attached to the battery in lieu of DUT-ing. If the snares & tenors “have” to DUT, let’s commit to it and get it out there. Imagine a corps playing the “Generic Love Theme” from Star Trek: The Original Series (you know, the 8-note phrase played by a lyrical flute whenever a love interest is in a filtered shot) when tinktinktink!!! kicks in. That’s some solid GE right there.

Start: ...having all corps wear their corps’ heritage uniform at retreat like Cavies did. 

I could not agree more.  It is so unprofessional and unnecessary.  Especially percussion players should have the tempo drilled into their brains and if they can't keep a beat going for a few counts they need to quit.

 

On 8/18/2019 at 2:30 PM, TRacer said:

Stop 🛑: utterly inappropriate DUT-ing during soft or transitional music moments. You’ve got 3-5 DMs all over the place...perhaps multiple Sanfords back at the corps hall...when did subdividing QUARTER notes (!) in your head become a lost art? 

Change:  Use cowbells attached to the battery in lieu of DUT-ing. If the snares & tenors “have” to DUT, let’s commit to it and get it out there. Imagine a corps playing the “Generic Love Theme” from Star Trek: The Original Series (you know, the 8-note phrase played by a lyrical flute whenever a love interest is in a filtered shot) when tinktinktink!!! kicks in. That’s some solid GE right there.

Start: ...having all corps wear their corps’ heritage uniform at retreat like Cavies did.