LisaLisaMoMeesa Posted June 20, 2006 Share Posted June 20, 2006 No. If the guard work was written as such, I would. Otherwise I wouldn't randomly throw a quad which could potentially throw off the other members of the guard, thus ruining their show. Which amazingly brings me back to the point of this thread... why would someone doing this "hangover thing" think that it was ok when it could ruin the show that they SHARE with the rest of the corps? I really really love this girl. Can we PLEASE legalize gay marriage sometime soon? Ooops, wrong thread. ^0^ Quote Link to comment Share on other sites More sharing options...
Mistress Kelli Posted June 20, 2006 Share Posted June 20, 2006 I really really love this girl. Can we PLEASE legalize gay marriage sometime soon?Ooops, wrong thread. ^0^ Yeah, I might actually have a chance at getting married! Love you too! Quote Link to comment Share on other sites More sharing options...
CozyChopsCom Posted June 20, 2006 Share Posted June 20, 2006 Some of my best musical experiences have been in drum corps with very tight releases. The result is much more effective, for both effect and musicality. I'm pretty sure that even the other leads can also agree with me here.Now I ask you Lisa & Kelli, haven't you ever been tempted to throw a quad as you crossed the front side of the 50 during a show? :P Dave: I totally agree with you. I'm deeply involved in another private members thread about playing what's written and that will sell the show. With a full jazz book, on one chart, it was a unanimous no-brainer: Play what's written and that will get the points. In a couple of other areas, with the arranger/brass cap head and other appropriate staff involved, some effects already written were pointed out and repeated o'er and o'er, like: glissandos, blous, etc. In a major impact moment, a hanging kiss-off was added with staff involved. It's one of only a few changes to the original chart. We may have more...just as everyone else will make changes during the summer. The point is to play what's written, including staff changes. If there's any dressing added, tweaks that give the desired EFFECT (Donny's emphasis in his superb post), no problem, as long as the staff is signing off on it. What I wouldn't give to have Pepe's comments here. There's been a lot of nasty comments here and some hilarious razzing. Each corps should be true, and true to their style. I could say far more... ...I like what Jeff said, paraphrasing, Give the fan$ what they want. Quote Link to comment Share on other sites More sharing options...
cire Posted June 20, 2006 Share Posted June 20, 2006 Each corps should be true, and true to their style. I could say far more... YES. enough said. Quote Link to comment Share on other sites More sharing options...
sop16 Posted June 21, 2006 Share Posted June 21, 2006 As far as I can tell, the only reason some lead players hang over is that they wouldn't be heard otherwise. The best players can nail a high note and have that note soar above the rest of the ensemble, no matter how loud the ensemble is playing. The best players also don't need to stroke their own egos and they know that drum corps isn't about how good individual players are, but how well the team works together, which also means releasing notes together. Quote Link to comment Share on other sites More sharing options...
cire Posted June 21, 2006 Share Posted June 21, 2006 As far as I can tell, the only reason some lead players hang over is that they wouldn't be heard otherwise. The best players can nail a high note and have that note soar above the rest of the ensemble, no matter how loud the ensemble is playing. The best players also don't need to stroke their own egos and they know that drum corps isn't about how good individual players are, but how well the team works together, which also means releasing notes together. its all about the corps style Quote Link to comment Share on other sites More sharing options...
bluestarsfco Posted June 21, 2006 Share Posted June 21, 2006 right, that's why the good hornlines are switching to trumpets. Sopranos can be bright and sizzle all they want. The trumpets in drum corps will have a darker rounder tone. Are you kidding? I think trumpet lines in general sound thinner and tinnier than just about any soprano line I've heard. ESPECIALLY in the upper range. Quote Link to comment Share on other sites More sharing options...
camel lips Posted June 21, 2006 Share Posted June 21, 2006 Are you kidding? I think trumpet lines in general sound thinner and tinnier than just about any soprano line I've heard. ESPECIALLY in the upper range. One of our brass caption heads that KNOWS what he is talking about said there is a reason for that. The bugle is designed in such a way that the sound comes out directional.They cut into the crowd like a lazer beam,,where as a trumpet is designed to fill up a room in a indoor venue.The trumpet spreads it sound over a larger area where the bugle tends to focus its sound. Up close during horn archs,,trumpets sound awesome,,but step away from them,,(like up in the stands) and they sound thin. Quote Link to comment Share on other sites More sharing options...
Brigscontrachik05 Posted June 21, 2006 Share Posted June 21, 2006 Are you kidding? I think trumpet lines in general sound thinner and tinnier than just about any soprano line I've heard. ESPECIALLY in the upper range. I don't think it has much to do with the horns, it's how you play it. Thin and tiny and bright sounds can come out of the sops as well as the trumpets, it just depends how the individual play it. Sops/trumpets sticking out of the ensemble sucks unless it's done well and with purpose. Screaming out of tune sops/trumpets is even worse. But what do I know, I am just a contra player... B) Quote Link to comment Share on other sites More sharing options...
Danielle Posted June 21, 2006 Share Posted June 21, 2006 I don't think it has much to do with the horns, it's how you play it. Thin and tiny and bright sounds can come out of the sops as well as the trumpets, it just depends how the individual play it.Sops/trumpets sticking out of the ensemble sucks unless it's done well and with purpose. Screaming out of tune sops/trumpets is even worse. But what do I know, I am just a contra player... B) Exactly... if you have a crappy sound, it is going to sound crappy if you are on a Bb trumpet, G soprano, C trumpet, picc horn, etc. If you have a good sound on one, and not so good on another, you probably just haven't put in the time to adjust to the different horn. If a particular key of instrument automatically made every player sound better, then wouldn't we all be playing on it? Quote Link to comment Share on other sites More sharing options...
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