DCA PERC RULES REVIEW

[TastyWaves]

1. BATTERY PERFORMANCE Judge Located ON THE FIELD- 40points

A) Battery Execution - 20 points - TIC system

Battery Demand - 15 points - build

C) Battery technique - 5 points - build

Mr Stork,

Again, my questions about that would be,

1) How many battery judges would be on the field? there is no way to be able to focus on all sections all of the time. especially in drumlines that play more on the move.

2) How do we facilitate the training of judges to understand demand? Becuase alot of them dont understand anything current. Further, many times a group is judged strictly on the performance of thier snare line. A big problem nowadays in DCA and marching band judges. The level of performance is getting based only on what a snare line does.

3) You make no mention of how the front ensemble would be evaluated.

Just questions.. not disagreement!

tony

[Storkysr]

Mr Stork,

Again, my questions about that would be,

1) How many battery judges would be on the field? there is no way to be able to focus on all sections all of the time. especially in drumlines that play more on the move.

2) How do we facilitate the training of judges to understand demand? Becuase alot of them dont understand anything current. Further, many times a group is judged strictly on the performance of thier snare line. A big problem nowadays in DCA and marching band judges. The level of performance is getting based only on what a snare line does.

3) You make no mention of how the front ensemble would be evaluated.

Just questions.. not disagreement!

tony

Here's a basic format proposal:

1. BATTERY PERFORMANCE Judge Located ON THE FIELD- 40points

A) Battery Execution - 20 points - TIC system

B) Battery Demand - 15 points - build

C) Battery technique - 5 points - build

Explanation of Sub-Captions:

A) Battery Execution: This sub-caption is based on intra and inter-section uniformity. A 0.1 point deduction (“tic”) will be noted for the following infractions:

• Non uniform execution within a section (intra-section) due to rhythmic or stylistic interpretation differences. These mistakes shall be identified on the sheets by section (snare, tenor, bass, cymbals, inter-section s-t, inter-section t-b, etc.) and on the tape under one of the following: taps, flams, diddles, double stroke rolls, drags, single stroke rolls, compound rolls, compound rudiments, hybrid rudiments, inter- section tempo distortion and inter-section clarity (uniformity when attempting the same musical responsibility in two or more sections simultaneously).

• When a “section” is comprised of only one individual the execution adjudication is accomplished as for an individual competition with the addition of consideration to inter-sectional responsibilities.

B) Battery Demand: This sub-caption is defined as all elements that contribute to the difficulty of a performance. The following elements are to be considered and credited a maximum of five points each:

• Musical Complexity (5.0-build): A measure of the degree of dexterity and intricacy. Consider flams, inverts, ruffs, control of crescendos and decrescendos (shaping) difficult visuals, 32nd note singlet or diddle passages, triple stroke rolls, single sticking, compound rudiments, drum to drum splits (tenors and bass), etc.

• Mental Demand (5.0- build): Includes credit given for timing (such as an “exposed” attack such as tutti or section attacks following unsupported section tacits), unusual time signatures, syncopation, accent patterns, tempo changes or phrasing that requires a high degree of mental focus.

• Physical demand (5.0-build): A measure of how physically taxing the musical repertoire is. Consider speed (tempo and # of beats per unit time) and endurance (including tacit abuse). The increased demand required to march while playing is considered here.

C) Battery Technique: This sub-caption is defined as the quality of sound produced as a function of appropriate and uniform implement grip and stroke control. Consider selection of appropriate playing zones on the instrument, uniformity of stick heights and angles and sound volumes produced by individuals within a section. Note that this is not an assessment of the suitability of any particular style but of the uniformity of the chosen technique as it applies to the considerations mentioned.

NOTE 2: The on-field adjudicator would assess the battery. He would wear a headset type mic. and note the section and rudiment/phrase of the discrepancy on the tape. He would keep track of tics either by marking on the sheet (hands are free and there is no need to actually search for columns for diddles ,drags, rolls, etc. It would be a good cross-check, however, if he were to mark the tic under the appropriate instrument-s, t, b, c) or by a mechanical clicker.

2. PERCUSSION EFFECT and FRONT ENSEMBLE PERFORMANCE (50 points) These captions are currently a work in progress. Note that the Front Ensemble would be judged exclusively from the box as previously explained. Weighting of these captions would be something like this:

A) Pit (execution, demand, technique) - 15 points -build

Coordination (pit to battery, perc to brass) - 10 points - build

C) Percussion Effectiveness (GE) - 25 points - build

The numbers would have to be normalized to total 30 by adding the two captions and dividing by 3. Of course all the sub captions would have to be clearly defined but this is a start. All opinions are still welcome. This is a rough draft. FLAMES?, Comments? WtS 9/22/06 NOTE: This post does not necessarily reflect the positions of any organization that I am affiliated with.

Edited September 26, 2006 by Storkysr

[drumnman2004]

so Rick, if line a is clean and plays jesus come to me in 16th note tap rolls, they should be do better than line b playing all kinds oif stuff with some dirt but not a lot?

sorry but you have to give some credit for book.

No...not really ! As storkie pointed out, there will be a DEMAND subcaption of some sort. Give line 'b' a few tenths for demand, but if there's fuzz... -.1 every time !

Obviously, 'performance errors' are aimed toward the performer, and demand is for the written book, drill complexity, or whatever factors the show designers wish to write in. We are all under the same time constraints to put out our shows by June with minimal rehearsals throughout the winter and summer months, and if the show designers put together a program that is too difficult for the performers to handle...they will suffer under the performance captions.

I believe that it is our responsibility as show designers to put out a package that is entertaining for the crowd. I don't think that someones grandmother cares how many inverts or cheeses we play out there, but if you decide to do so, the performers best know how to play them...TOGETHER !!! That's all I'm saying !

I believe that this will (at the very least) put the term "COMPETITION" back into the activity.

[Jeff Ream]

1. BATTERY PERFORMANCE Judge Located ON THE FIELD- 40points

A) Battery Execution - 20 points - TIC system

Battery Demand - 15 points - build

C) Battery technique - 5 points - build

ok...so who will define what is officially a tick and what isn't. it was never universally defined before.

for demand, who decides what is hard or not...do certain required elements have to be in place?

technique is self explanatory, except some people do hold it against you for using the techniques they may not like.

and this leaves the pit out to dry.

[Jeff Ream]

No...not really ! As storkie pointed out, there will be a DEMAND subcaption of some sort. Give line 'b' a few tenths for demand, but if there's fuzz... -.1 every time !

Obviously, 'performance errors' are aimed toward the performer, and demand is for the written book, drill complexity, or whatever factors the show designers wish to write in. We are all under the same time constraints to put out our shows by June with minimal rehearsals throughout the winter and summer months, and if the show designers put together a program that is too difficult for the performers to handle...they will suffer under the performance captions.

I believe that it is our responsibility as show designers to put out a package that is entertaining for the crowd. I don't think that someones grandmother cares how many inverts or cheeses we play out there, but if you decide to do so, the performers best know how to play them...TOGETHER !!! That's all I'm saying !

I believe that this will (at the very least) put the term "COMPETITION" back into the activity.

well the sheets now really do have what you want in place.

half of the box is about the book, half is about the performer.

[drumnman2004]

well the sheets now really do have what you want in place.

half of the box is about the book, half is about the performer.

I guess you'll have to point out to me which subcaption deals with 'playing together' and how the score is arrived at ! You might say that the criteria is so VAGUE now that a judge will rank before he rates with a preconceived order BEFORE he judges the show !

I had to ask in more than one show how a particular judge arrived at a given number based on his verbal commentary. It was quite obvious that he was simply pulling numbers 'out of the air' to rank the competitors while paying no attention what-so-ever to the vagueness of the criteria on the back of the sheet. Even if he had followed the simple guidelines scores would have been at least 2 points higher. More than ever it is obvious that our present system doesn't work.

There will be no ranking with a 'performance error' subcaption on the field sheet. IT IS WHAT IT IS !

[zarblap]

ok...so who will define what is officially a tick and what isn't. it was never universally defined before.

for demand, who decides what is hard or not...do certain required elements have to be in place?

technique is self explanatory, except some people do hold it against you for using the techniques they may not like.

and this leaves the pit out to dry.

ticks are easy,,,,,it' clean(in perfect unison) or dirty ,,,a tick

[drumnman2004]

ok...so who will define what is officially a tick and what isn't. it was never universally defined before.

for demand, who decides what is hard or not...do certain required elements have to be in place?

technique is self explanatory, except some people do hold it against you for using the techniques they may not like.

and this leaves the pit out to dry.

We may actually have to RE-EDUCATE the judges...GO FIGURE !

The Constitution has held up for 230 years because there were men that put it together that knew what was needed. At the risk of sounding 'old fashioned', we should dig back into the archives and pull out what worked. Our drumming forefathers were not stupid and one of the ONLY reasons I can think of as to why DCA's system is like it is is because we were 'preached to' about following in DCI's philosophy. We are a totally different animal ! Let's see the DCI lines do what we do with just weekends !

Jeff...most of your concerns have been covered at one time or another within the last 20 years or so, but I've been judging since 1976 and I've been watching our system dwindle at the hands of most of our 'degree smart' friends. We must bring back a certain level of integrity within the percussion caption before we become nothing more than a traveling circus...

like DCI ! (sorry if I hurt anyones feelings)

[TastyWaves]

No...not really ! As storkie pointed out, there will be a DEMAND subcaption of some sort. Give line 'b' a few tenths for demand, but if there's fuzz... -.1 every time !

I disagree with this, because there is no way to guarantee that the adjudicator will be in position everytime to make an appropriate assesment. I know that if your standing still looking and listening at a line, yes..its simple to tell where the "fuzz" is. Some of the judges nowadays are pretty smart. Ive actually heard thing before on the tape like "That didnt sound too clear, but im out of position". Thats a good sign because at least that judge understands this concept.

Also, I remember one show this summer where a judge spent most of a song trying to find his way back to our leg line. With the brass and guard moving the way they were, he was trying to listen to us through the horn line, and from way out of position. how would his click counter read? Not to mention his health if he was worried about looking down and trying to remember which "Section" clicker to click and get knocked down by another performer.

"Obviously, 'performance errors' are aimed toward the performer, and demand is for the written book, drill complexity, or whatever factors the show designers wish to write in. We are all under the same time constraints to put out our shows by June with minimal rehearsals throughout the winter and summer months, and if the show designers put together a program that is too difficult for the performers to handle...they will suffer under the performance captions. "

Again, who decides difficulty? Some of those guys dont understand anything but sixtuplets and flam ratamacues. What about the demand in subtle nuance and musicality? What if its another judge whos never done anything but snare drum? Before anyone freaks out, I myself am a snare drummer. But I have gone on to play quads, and front ensemble playing in order to broaden myself. I cant count how many judges tapes ive listened to that might as well be called "Snare line execution". Its irritating and also leads to inaccurate reads because the judge is centered on one voice. In fact this past summer it happened a few times where the field guy spent the WHOLE show in front of the snare drummers. (sorry aout the tangent!)

"I believe that it is our responsibility as show designers to put out a package that is entertaining for the crowd. I don't think that someones grandmother cares how many inverts or cheeses we play out there, but if you decide to do so, the performers best know how to play them...TOGETHER !!! That's all I'm saying ! "

TOTALLY IN AGREEENT! THANK YOU!

"I believe that this will (at the very least) put the term "COMPETITION" back into the activity."

I think the competition is alive and healthy for the most part. I agree there are some tweakings that can be made, but i dont see the need for an overhaul. I think they have been getting it right for the most part. While we will all have disagreements based on stylistic preference, i think they have been putting the right groups at or near the top.

[drumnman2004]

Mr Stork,

Again, my questions about that would be,

1) How many battery judges would be on the field? there is no way to be able to focus on all sections all of the time. especially in drumlines that play more on the move.

2) How do we facilitate the training of judges to understand demand? Becuase alot of them dont understand anything current. Further, many times a group is judged strictly on the performance of thier snare line. A big problem nowadays in DCA and marching band judges. The level of performance is getting based only on what a snare line does.

3) You make no mention of how the front ensemble would be evaluated.

Just questions.. not disagreement!

tony

Tony,

I'm not answering for Bill...but we DO have the same agenda ! Personally, I think he's asking for a bit much to even consider getting it passed by the voting members in DCA, but I'm excited that he's on a mission to encourage change !

My thoughts are that the field percussion would still utilize one judge on the field to eveluate both performance errors and musicality. I would think that 100 tenths (10 points) should be quite enough to subtract performance errors from. This single judge would use his 'counter clicker' every time a performance error occurs while commentating on the tape...in essence he never has to look down and actually write anything until he's writing down his score at the end of the corps performance. He would check the clicker...subtract the number of errors from 100 tenths (10 points) then add in the musicality/demand number (built up from 10 points) for your total field percussion score. I also believe that the pit should also be included within the same guidelines for batterie because they are in fact...PERCUSSION ! If they don't play counterpoint well...it's an error (-.1), and if they have a difficult book and are quite musical...they get a good musicality/demand number (unless it's masked by a multitude of errors).

As far as training the judges goes...I don't believe that there has been a clinic of ANY kind in years ! Let me tell you what we used to do :

This goes back a few years, but when Joe Wormworth and Bill McGrath were in charge of percussion for the NY Federation of Contest Judges a judge had to know not only how to play, but also how to write to even be considered as a judge ! We would have live demonstrations (duo's or small ensembles) to make sure we were all on the same page as far as 'performance errors' were concerned and we would watch and critique tapes of both drum corps and marching bands and arrive at a score for effect, then have productive discussion on how we arrived at our numbers.

As a matter of fact, you didn't judge if you weren't at the clinic (which was normally a 2 day event...and at your OWN expense) ! There are many new techniques and rudiments (per se) that some of these gentlemen are NOT up to date with. How many of these guys have opened the Bachman tenor book and actually tried to play some of this stuff ? It's one thing to recognize tenor technique...and a totally different thing to play it well ! Catching rims on every other crossover is NOT PLAYING IT WELL ! That's an ATTEMPT (at best) in my book !

How many of these judges have seen a cymbal tenique book and can recognize and comment on the MANY techniques that are presented before them ?

Simply put...how can these people make competent evaluation if they don't know of or can't recognize what's presented to them ?

I'll leave you with this..."did the BEST drumline win percussion at the DCA championships" ?

...ain't I a stinker !

Bugs Bunny

Rick Rogers