Scouts Brass Staff

[phan77]

I started this topic a few hours ago and was interupted several times. Low and behold, the Scouts directorship announcement came before I finished.

Though I have opinions regarding this decision for a new director for Scouts, I will stick to my original post subject.

As stated on earlier posts, I enjoy all aspects of drum corp and have experience in all areas, specifically horn lines. Though not always the biggest fan of everthing they have done, I have paid a lot of attention to the Scouts horn lines the past four or so years.

Some of my favorite horn performances prior to 2000 include several years of Madison Scouts horn lines.

When the corps went to 14th and had to regroup, I was curious to see what would happen to what I felt was typically the strongest aspect of the corps for many years.

In 2003, the corps was reportedly very young and many members did not return because of Scott Stewart's absence. Knowing that they would be on G bugles, competing with all other top 12 corps in Bb, I was eager to see what a new brass staff (some returning guys as well), would do with the horn line. A deserved 6th place in horns with a huge improvement between San Antonio and finals. Hard book, hard drill, some tough staging.

In 2004, first year on Bb, they were better than 03 and had a more mature sound and a better variety of sonority than years past. I always felt the corps to be too top heavy all of the time. Hard book, lots of exposure, harder drill than 2003, some almost imposible staging. Less appealing show musicaclly than 2003 in my opinion. Another deserved 6th place.

In 2005, second year on Bbs and a big jump in quality. Of last year's CDs, this one gets played as much as Regiment, Cadets and Blue Coats for me. The horn demand up even further. Multiple tonguing was great and existed throughout the book, not just the high brass feature in the opener. More low brass presence with plenty of highs when appropriate to the style and genre of music. Some great staging, some poor staging, drill as hard as anyone's, lots of mouthpiece on face time. Some crazy balance and blend demands: though the visual design was solid visually, Pete Weber had the instruments mixed up a lot...many times no where close to each other. That opening hit? Spread across the field after running for a minute, then turn blindly and play a first huge impact??? cudos!!!! 6th place again was a place or two lower than I would have had them.

In 2006, first year on Yamahas, and I thought another jump in quality, with near impossible drill, tempo, step-size, physical endurance, rough staging at many points, multiple tonguing all over (*double and triple) and huge exposure to error. As stated in another of my posts, 9th place seemed severe and not accurate by any stretch. Quality of tone and tuning, impact, variety, balance and blend (sometimes where it should have been impossible). Some mistakes too, but no more than those placing well above them.

It seems to me that this brass staff has managed to use Scott Boerma's arranging (arranger for a long time) and change their loud, aggressive ( over-blown in my opinion) sound of many years and up date it for modern day drum corps. The horn line had not been able to sale a ballad for ten to twelve years due to the edgy/lack of needed finese approach. It took a few years to get the volume up to that of current day competitors, but they seem to have done so with a quality sound and a mature approach. I know some think it does not sound exactly like the Madison Sound, but when fans say that, I assume they are refering to 1999, 1996, 1995, 1994, 1988, etc. That sound was on G bugles in a day where a certain level of over blowing was OK. Their horn lines were always known for having a high average/maturity level. Their visual demands were not usually tough. When risk and demand were in fashion, Madison was not doing so, at least visually. This ( and having years of screamers) all aided that Madison Sound. Anyone wanting that exact sound again from a COMPETITIVE Scouts horn line will simply never get it. Different time with different expectations musically and visually.

The 2006 show was near impossible for the horn line in many ways becasue of all the visual issues I mentioned earlier. Instead of the shows getting any easier or more condusive to the horn line's needs, they seem to have only gotten harder (this year to the point of crazy).

What would this brass staff do with the book, staging, tempos, pacing of most of their competitors?

I see many of their Bios on the Scout's web site, but it isn't clear who is around the most or who has been making this positive change come about.

I may not have picked the 2006 show for the Scouts horn line, but in four years, someone has really improved the quality and maturity, and in four short years gotten the energy, impact, and attitude back into the line.

Great job.

[wesleyrp]

I think if you look closely you'll see Mark Waymire's name. Mark is a musical genius that flat out knows how to teach and motivate students to play correctly. He was a big part of the Regiment hornlines in the early 90's and was a fantastic band director in the State of Texas before heading up to Eastern Michigan to teach. I have never see a man show more character in his teaching style as he does. He hired me for my first teaching gig and always took the time to mentor me along and help my students even though it meant taking time out of his day that he probably needed for himself. Another former collegue of mine is Steve McKeithen who is also on the Scouts staff and is a fantastic musician himself. I know that these two gentleman as well as many others are responsible for so much of the Scouts look and especially the great sounds. I loved the darkened sounds i have heard over the past few years and these guys need to be commended!!!!

Wes Perkins

BK '97 '98

[tubaman1321]

Their work is great. I personally liked there show this year. They have put together a great staff. The members performed it well, it took them a while to get it but finals week was impressive. Lets hope good things keep coming.

[Hrothgar15]

The Madison "sound" of years like 1988, 1995, 1999 etc. had as much to do with the musical arrangement as it did with the key of the horns, if not more so. They can achieve that same "sound" very easily in 2007 if they play exciting, in-your-face, melodic music like they used to.