on the carelessness of the development of drill design

[asifindnoarta]

How does one "study" drill.........

No one does that's just it. There is no existing theory or methodology right now. I have some ideas of my own that I would be delighted to contribute.

I think its possibly to postulate some general princibles simply by thinking about the properties of drill in the abstract. Here is an interesting characteristic that I think I've discovered.

Given the following conditionals:

The form of a line is such that the spacing between each marcher is even and the spacing is equal to that of the maximum distance each marcher can possibly displace in the time given for the next set.

The following is true:

A line of marchers can rotate 1/3 less degrees than its origional configuration for every additional marcher you add to a line.

I will explain if necessary.

This is the kind of abstract thinking that will improve drill design.

[xmenjeffb]

To the best of my knowledge, an individual rises to the position of drill designer through a very informal process involving not much more than marching and teachign in a particular drum corps. It appears that marching and teaching experience are the only qualifications required for the drill designer position. There is no degree, no formal education, no solid foundation of collective theory. It seems that drill designers take the position first and then later on perfect their craft through experience. Essentially, drill designers are learning on the job. They don't write a single set before actually coming into the position. It seems to me that there should be some system of practice, some theoretical analysis of drill to study before taking the position. The existing body of knowledge seems to reside in casual conversation between the specialized experts. Conventions that we take for granted never appear to be scrutinized or methodically studied. Where did the rotating block come from and why is it still here. When did the great minds convene to rationaly and objectively conclude that the rotating block is a worthwhile method? I fear that there is no great theoretical body, no real school of thought. I fear that the drill I watch and march is created by a few specialized individuals who are self-proclaimed masters. Let us painstakingly scrutinize the modern conventions and improve upon them through our intelect. Let us not be so trusting. Let us question the current custodians of the art.

YOU bring up some very interesting points .

However , some lack insight .

Many designers do work with other designers before taking on projects . I studied with My high school director first. Attended clinics by Bob Buckner, Steve Moore , Bobby Hoffman , Steve Brubaker and George Zingali. Following recommendations from these designers and others I studied art and different artist to better understand line ,shading and balance . I have studied most forms of design to better understand my craft . I know this to be true from all the designers I know. Every chance i get I engage in converstaions about design , art and our craft . In my early designs with Bands and Florida Wave i co wrote with others to share ideas and bounce design ideas off each other . Each designer using the same basic tools of arc and line work to develope a method , style and approach to design that is ours . Some are very mathimatical while others are more artistic and some blend the approaches.

We do have to understand musical orchestration , musicality and skill levels of the people we design a show for . Many great conductors , band directors were not great the first few years they taught and they have a degree in teaching music. But they develop and learn to apply knowledge over time.

I think you can draw a line in history as to how design has developed and changed that will answer many questions you ask .Blocks from military, as are wedges , fronts were used to show strength , power and made for a great way to advance your units . Blocks were and still are the most basic of parade forms . The Block has always been a part of design . Study how design has involved in the pagentry activity and you will see it is very logical . You will see where Broadway staging concepts found a place in the mix with military designs . This was not by accident but by great designers of the past reaching out to expand knowledge of design and concepts of staging . The great " Sunburst " of the Troopers was circle drill . Before we played to the audience we marched in blocks to the goal post !We did counter marches or step 2 drills , then the Casavant ( sic ?? ) at the University of Tenn did circles . I know i am leaving out steps to how we got to where we are but you get my point . IN 1978 you will see rotations introduced . In 1980 watch SCV , the great Pete Emmons showed that We can move off the 50 yard line and still have form and balance . Research in our art form Pete , Ralph Pace , John Brazaille , George Zingali and Steve Brubaker . Look at what Bobby Hoffman did with staging and Jay Murphy has always had his own style and approach to design . Then see what Sal Salas brought to the table with his unique blend of staging and theatrics . Mickey Kelly with the skylarks , Mike Raeford with Suncoast Sound . Karl Lowe , Scott Chandler , Mike Gaines , Mark Sylvestor , Jeff Sacktig , Vinnie Monicelli , Kevin Ford . The list goes on and on . All have shared thoughts , ideas and opinions on design and I feel blessed to have come on the scene at time that i could learn from them all .

The Book on visual design is being written every year and yes while we are not as formal in training as the music side we are trained and still learning. George Oliverio , Gary and Marie Czapinski , Clarke Williams , Barry Swain ,Phil Madden , Hank Grana, Shirley Whitcomb , and many others have worked for years to define and wordsmith the visual caption as it changes and grows .

Does an artist need a degree in art ?? Not all professional musicians went to college but they can play . Designers that last in the business have to study , grow and stay up with new trends in all visual fields not just marching . You would be surprised how many understand dance , stage , art and apply that knowledge to the designs.

I hope this gives you some insight to the world of design , while it is short it gives you some things to research and seek answers for yourself . You may be a designer or wish to be one at some point , i dont know and I am not assuming one way or the other .Are there bad designers ? Yes . But is that not true in everything ??

Jeff

[asifindnoarta]

Heh, then tell us, what's your training? I being a judge, a fan, a member doesn't qualify us to recognize good drill, how do you figure that you are qualified to recognize bad drill? I've agreed with you that visual from all but a few corps could stand to improve, but you've lost me in this thread.

I'll remind you that I never claimed to be qualified to recognize good drill. I'd read my statements more carefully if you would like to gather an accurate representation of my opinions.

[JimF-LowBari]

Or to go back a generation or so check out A. R. Casavant who (literally) wrote the book on drill in the 1960s time frame. Had his son Charles at Indiana Univ of PA in the late 70s and Charlie could write some mean combos of symetrical/asymetrical even back then. Wish I knew more about A. R. but appears his book were one of the sources to go to when writing drill.

[xmenjeffb]

Or to go back a generation or so check out A. R. Casavant who (literally) wrote the book on drill in the 1960s time frame. Had his son Charles at Indiana Univ of PA in the late 70s and Charlie could write some mean combos of symetrical/asymetrical even back then. Wish I knew more about A. R. but appears his book were one of the sources to go to when writing drill.

You are correct . Relative to musicial stucture visually we are new borns . And it has grow creatively in leaps and bounds.IMHO

[CloudFuel]

To the best of my knowledge, an individual rises to the position of drill designer through a very informal process involving not much more than marching and teachign in a particular drum corps. It appears that marching and teaching experience are the only qualifications required for the drill designer position. There is no degree, no formal education, no solid foundation of collective theory. It seems that drill designers take the position first and then later on perfect their craft through experience. Essentially, drill designers are learning on the job. They don't write a single set before actually coming into the position. It seems to me that there should be some system of practice, some theoretical analysis of drill to study before taking the position. The existing body of knowledge seems to reside in casual conversation between the specialized experts. Conventions that we take for granted never appear to be scrutinized or methodically studied. Where did the rotating block come from and why is it still here. When did the great minds convene to rationaly and objectively conclude that the rotating block is a worthwhile method? I fear that there is no great theoretical body, no real school of thought. I fear that the drill I watch and march is created by a few specialized individuals who are self-proclaimed masters. Let us painstakingly scrutinize the modern conventions and improve upon them through our intelect. Let us not be so trusting. Let us question the current custodians of the art.

¶ <---

Edited July 20, 2006 by CloudFuel

[Stream of Consciousness]

Here, have some more rope.

:lolhit:

[JimF-LowBari]

You are correct . Relative to musicial stucture visually we are new borns . And it has grow creatively in leaps and bounds.IMHO

And I just noticed you referenced (A. R.) Casavant in your earlier post. Would have mentioned it if I had noticed. Even NanciDs blog of Drum Corps News articles from the early 1960s had a reference to Casavent that I caught.

[Liam]

I'll remind you that I never claimed to be qualified to recognize good drill. I'd read my statements more carefully if you would like to gather an accurate representation of my opinions.

Although you have been rather critical of current drill writing in other threads... If you want to keep this discussion only on what was stated in THIS thread, then fair enough.

The problem is, this is still somewhat of a niche activity. Even including high school marching bands, only a relative few compete competively vs all the high school music programs out there. There are lots of music majors out there, but are there enough drill design candidates to justify a program? Maybe a class within a broader music/teaching degree?

Basically, I think designers have learned their chops by working with, learning from, their elders (Zingali on down, for example). Not degreed -- but study nonetheless. A lot of guys on the music side got their skills and positions the same way -- not all are degreed musicians.

The bigger question is -- is current drill design lacking in a way that demands more education? I hazard to guess you would reply a resounding "Yes!!"; others might disagree.

[alextiger]

How does one "study" drill.........

Ball State University offers a Drill writing class as part of their music education program