Screeching sopranos that like to hang over and stick out of the ensemb

[THX 1138]

This is a rant. Just have to get it off my chest. I don't care what anyone else thinks, it's just my opinion. I know, this may belong in the Brass forum but I put it here because it's specifically regarding senior corps.

I think it's about time someone spoke up about this horrible practice that been going on for quite some time. I'm talking about the lead sopranos in hornlines (especially senior corps) who think it sounds good when they over play (not blending with the rest of the hornline) and try to reach high notes... badly. If it's a solo, fine. No problem. THAT'S when you should go for it and I love it!

When you're playing with the rest of the ensemble, however, you need to play the friggin notes that are written on the page and BLEND with the rest of the hornline. The mellophones and baritones and contra basses can do it, why can't you? I would really love to hear senior corps hornlines where every section from top to bottom actually blends and plays as an ensemble for a change.

Lead sops, you think you're doing the corps a favor when you screech and hang over 5 minutes after the rest of the hornline cut off? Do you think it helps when you play notes that the arranger / writer never intended? Nope. Wrong. Especially in smaller hornlines if you jump up and hit some ungodly note that was never written on your music you're hurting the integrity of the chord and it actually LOOSES IMPACT! OMG! Have you ever thought about it that way?

Stop trying to be a hero and perform as a memeber of the CORPS, not as an individual. Solos are exempt so blast away!

End of rant.

<Fire away!>

If you're thinking, "this jerk must be a brass instructor or a judge", you guessed right. I'm both.

Edited June 14, 2006 by THX 1138

[VKCanosUSMCContra]

Stylistically it's an imitation of big band jazz, and certain well known trumpet players. I.e. Maynard ferguson, bill chase. Just to name a few. It's not something that is particular to drum corps, but to certain styles of jazz that these trumpet players are imitating. The era I would say would be around the 60's and 70's wih loud in your face trumpet lines when the stratospheric playing came around. Think stan kenton music.

[Clavejo]

Zzzzzzzzzzzzzzz.

[camel lips]

Stylistically it's an imitation of big band jazz, and certain well known trumpet players. I.e. Maynard ferguson, bill chase. Just to name a few. It's not something that is particular to drum corps, but to certain styles of jazz that these trumpet players are imitating. The era I would say would be around the 60's and 70's wih loud in your face trumpet lines when the stratospheric playing came around. Think stan kenton music.

Apparently all of these great Legends were wrong according to THX.

There is a time and a place for hang over notes.Lead sops know when best to do this so shut your yap about it till you become a lead sop player. :P :P :P :P :P

[deejee]

I love Maynard, but even when he hangs over it sounds wrong.

Whenever our leads hang over, I try to match and exceed their hang over on my contra. Sometimes they get the idea and back off. If not, I encourage all of the contras to hang over at the end of each number.

Preach it, THX!

[MCL_Contra]

I agree with THX for the most part. I think its ok sometimes for a lead player to "take it up". However, IMHO, the ONLY reason to EVER hang over beyond the cut off is simply to show off. Unfortunately in most cases the player "showing off" is degrading what could otherwise have been a memorable performance for the other hornline members.

[Mistress Kelli]

Bring on the hater-ade because I agree with THX.

I used to just cringe and then later ask people if that was what was intended. Then I started thinking that the horn player just didn't realize that it sounded awful to the audience and that maybe the instructor should say something. However, that's when I realized that it didn't matter what anyone said, the horn player would still think they sounded awesome and that was what everyone wanted to hear and they would play it that way anyways.

In the same vein, I am not immune to the idea that some people don't like the instruments I play. I've been told numerous times by horn instructors that the Legos are horrible. I guess in my case though, I am playing the written notes. B)

Edited June 14, 2006 by Mistress Kelli

[MCL_Contra]

Bring on the hater-ade because I agree with THX.

I used to just cringe and then later ask people if that was what was intended. Then I started thinking that the horn player just didn't realize that it sounded awful to the audience and that maybe the instructor should say something. However, that's when I realized that it didn't matter what anyone said, the horn player would still think they sounded awesome and that was what everyone wanted to hear and they would play it that way anyways.

In the same vein, I am not immune to the idea that some people don't like the instruments I play. I've been told numerous times by horn instructors that the Legos are horrible. I guess in my case though, I am playing the written notes. B)

Good one Kelli!

[Danielle]

Agreed...

There is a huge difference in it as a stylistic approach and then what you hear sometimes in both corps and jazz. Some of these guys need to listen to a recording of themselves. As a trumpet/soprano player, it drives me insane.

[CozyChopsCom]

Stop trying to be a hero and perform as a memeber of the CORPS, not as an individual. Solos are exempt so blast away!

End of rant.

<Fire away!>

If you're thinking, "this jerk must be a brass instructor or a judge", you guessed right. I'm both.

Madness? What madness?

Thanks for clarifying whether it's solo or entire ensemble and I shall address ensemble playing; however, what genre are we discussing? If I'm stuck portraying the Dresden incendiary bombings (sorry, pet peeve non-corps show), I doubt I'd hear a hangover. Superb corps like classical Reading Buccaneers, Phantom Regiment, Carolina Crown, Capital Regiment, all of whom play excellently -- I doubt the music would call for jazzy riffs.

You specifically mentioned such hits that composers/writers never intended. Okay, but how about when specifically requested? Billy Strayhorn would roll over in his 1967 grave if his "Take the 'A' Train" and other compositions were sans blous, hangovers, kiss-offs, and other such riffs. Duke Ellington penciled in such deliveries for William Alonso "Cat" Anderson et al. Benny Goodman wrote such impact hits for his horns.

Harry James, especially as the leader of his own big band, had himself and his trumpets and other musicians adding hangovers, as did/do Maynard, Bud Brisbois, Bill Chase, Clark Terry, Doc Severinsen, etc. Doc is an excellent example. Turning 79 July 7, he still tours a little. When he plays classical, one won't hear hangovers. If he plays some "pops" jazz in September, I'm sure the orchestra trumpets will have some instructed hangovers, kiss-offs, etc.

The lead sops who support soloists and soloists within the ensembles like Roger Grupp, Frank Ponzo, Ritchee Price, Jim Centorino, Roland Garceau, Larrie Dastrup, Bill Roetzer, El Guapo, Brian Moriarty, Hunter Moss, Bill Wear, Jerald Sheets, Ace Peterson, Bill Blomquist, Donny Allen, Chris Castellon, etc., play those. I'll bet that even Riggie Laus, the 9-year? undefeated sop soloist who is known for superb playing and no hot-dogging, would play a hangover in a heartbeat if it fits the ensemble music.

Corps arrangers and horn instructors commonly request hangovers and other extras at impact moments -- Downey, Kelsey, Allen, Henry, etc. Boerma did in a jr. chart I helped to teach. Certain judges would wonder where such hits are if absent.

If you wish to discuss how such attempts sometimes result in intonation problems or extending chords too far in some smaller horn lines, you have valid points, just as these are problems in...any genre.

Recently and currently, I'd be doing more pushups if I ignored the genre I'm playing.

Edited June 15, 2006 by CozyChopsCom