Dot books or Charts?

[Hrothgar15]

One the left were two Cadets, a boy and girl who were obviously lovers, saying good-bye as the guy went off to war.

One the right hand photo the girl looked sadly down at a casket that had a Cadet shako and gloves sitting on top.

:(

[MikeD]

:(

Pretty sad, I agree..but effective!

Here is the text of our libretto from 1971...it was printed pretty much verbatim on the back cover of the 1971 Shriners Int'l record album...which I happen to own!

The Cadets of Garfield

present

America the Brave – 1776

The Cadets of Garfield are attempting to add an extra dimension to their routine this season through introduction of a story line based on America’s struggle for Independence – 1776. This is not an easy task, since the Cadets must work without the benefit of spoken dialogue, scenery, costumes or the special theatrical effects of the stage. Instead, the story line must be developed exclusively through choice of musical selections, sequence of presentation and coordination of drill and visual effects. In addition, they must somehow capture the imagination of their audience, and transport several thousand people back in time to another era. The period is 1776…thirteen proud, rebellious colonies, thirsting for collective identity and poised on the precipice of revolution.

As the Cadets assume their positions on the starting line they are divided into two separate segments. To the right the British Forces of King George (heavy horns), to the left the American Colonists (sopranos). Times are troubled, and Garfield’s story opens with the sound of drums and a burst of flags heralding the end of an era. Listen carefully for the prophetic tympani sounds of “LONDON BRIDGE’S FALLING DOWN” meshed into the percussion introduction. The British enter, then the Americans, and both sides combine to introduce the stirring theme of “YANKEE DOODLE”. This unity of purpose and presentation is not destined to endure though, and as the final notes of “Yankee Doodle” echo into the bleachers the two segments split, and with heavy hearts and questioning minds drift apart to the sad lament of “CHACONNE IN Eb.” For a second time drums command attention, as the simulated sight and sound of cannons with coordinated rifle drill transport us to Bunker Hill, and we witness the “Shots heard ‘round the world.” At this point even a deceptively light hearted social function becomes tinged with tension and challenge as the British “MINUET,” the Americans “HOEDOWN,” and “THE WORLD TURNS UPSIDE DOWN.” The die is cast…..Revolution!!!…..and events begin to move ever more compellingly towards their chilling climax. To the tune of “THIS CRUEL WAR” both sides move to opposing sides of the field. The Americans, executing “CHESTER,” drill and prepare for attack in the far right corner. The British meanwhile move to midfield to establish a sideline “CHRISTMAS EVE” encampment to a symbolic “SILENT NIGHT” carol medley in preparation for reenactment of the historical “Battle of Trenton.” “Chester” builds into a direct challenge, answered by the awesome power and majesty of “RULE BRITANNIA.” Both formations now break and expand as the two armies move towards each other, “AMERICA” and “RULE BRITANNIA“ ringing in our ears. Simulated infantry lines drop to their knees…fire…withdraw…reload…advance…fire again, until the battle banners clash head on, while the sound of drums crescendo into the dizzying, frightening, overwhelming sounds of battle. Once again the formation shifts, as the horns make their tumultuous contribution to the conflict. One by one brave men fall – a final cavalry charge – then silence…..

Faintly, a soft chorale of horns cries up from the battlefield, and the graves of heroes give birth to a new Nation. Free men stand for the first time as Americans, while a funeral dirge of drums echoes a final farewell to the past. A new nation celebrates the joy of self-discovery in concert with Ives’ “VARIATIONS ON AMERICA.” Subtly the concert formation shifts. “America” soars into the familiar and spine tingling “BATTLE HYMN OF THE REPUBLIC,” and the flags of two great Nations are presented in their most familiar context…emblems of peace. This completes our story, and as Garfield prepares to exit, the dreams of mankind for dignity, freedom and self-determination are given expression in John F. Kennedy’s moving musical memorial, “PROFILES IN COURAGE.” One final statement of theme and reminder of origin in “YANKEE DOODLE,” and the Cadets, preceded by the flags of Great Britain and America fluttering side by side in the breeze, cross the finish line.

I am thinking that DCP's own Ironlips, a history major who was our brass arranger/instructor in 71, may have had something to do with this...are you reading this, Frank???

:)

[Imperial]

Dots teach only one facet of visual presentation....hard to argue that point. Form maintenance, however, is the other facet that is optional and subjective.

It is the responsibility of the instructors to educate either approach properly for maximum retention, regardless of situation.....

It is my opinion that while learning dril, dots are PRIORITY is #1, thus dot books may be necessary, based on the marching levels of your organization...I know I used em.....thus my students are required in my rehearsals to have them.

Once the drill is taught, and or staged, the PRIORITY #1 shifts to form integrity, with dot reference (CHECK AND ADJUST!!!!!!)

Too each is own.........

MM

I heartily agree with this method. It's important early season for performers to understand where they belong on the field per the chart so they are not rehearsing something wrong all season, only to find as the show gets cleaner that that there is a larger adjustment needed. I would rather live with a tear in the form, early on, so that it points out a problem to be fixed. If the performers just "fill the form" whomever is setting that form better be right or they all are wrong. With this thought process the show will only get so clean.

There is no simple method. When you think of it... what's happening on the drill field is incredibly intricate, so a simple philosphy and a dogged belief in one may lead to trouble when trying to apply it in all cases.

There are many types of movements and contours. Straight line paths, curved paths, combinations of the two, individual step sizes required, changing step sizes midstream, etc. In many cases in mordern Drum Corps, all these concepts need to be understood and applied.

I taught the Boston Crusaders for many years in the 80's and 90's as a visual instructor, so I've always been fascinated by this subject. I started my own company http://www.pathwayproductions.org , because I could never find drill products to help in teaching and practicing drills.

John Stark

Edited December 19, 2006 by Imperial

[JayM]

I think that no matter what philosophy you go by, it's important that you stick with it very strictly. IMO, there is nothing more harmful to a marching organization than ambiguity in teaching philosophies.

I marched dot-only in my drum corps years, and there was never any question what my responsibilities were. I went my dots, I checked my dot book after basically ever rep just to make sure, I would step off from my current position to the closest reference point, I would see how far I was off, and then I would mark off my set from the reference point. That is the dot system at its most basic level. If you are going to "do dots", you pretty much have to be religious about it.

I think the problem with most form-based philosophies is that instructors are not necessarily sure how to teach it correctly. Obviously at the highest levels, form-based marching can work (BD and Cadets being obvious examples of this), but in my experience in non-dot organizations, there are too many different ways of going about teaching it that most common marching band teachers don't necessarily understand very well. People do stuff like "focalizing curves" or "setting the angle" and they, in my experience, just seem to be taught too inconsistently to be effective. What's the point of doing either of those things if every member isn't being instructed to pursue the exact same path/form every time?

In my experience with form, I was always just told to kind of guide the form as it goes...then when we would stop, some of us would realize that we were probably 2 steps away from our actual dot, some people would try to fix it, then arguments about who was actually correct would ensue. This is frustrating for members and staff. What's even more frustrating is when instructors insist that you have dot books on you at all times but then they never actually give you time to check your dots...

I realize I'm just venting now, but my experience with form-based systems has not been on the drum corps level and I would be interested in seeing how the groups that are actually successful with the system (and there are very few who are) achieve their success.

Like I said before, I believe any system can be successful if everyone is aware of their responsibilities at all times, but there lies the problem. Too many organizations have too many different instructors from too many different backgrounds who try to fix things their own way, and that just leads to confused members and sloppy drill.

I like the dot system because it's what I know when it comes to drum corps, I was able to be successful with it, and because there was never any confusion as to what my visual responsibilities were. At its highest levels, it can be insanely effective, but I honestly don't think enough groups understand the actual dot system for it to actually be useful outside of the group that pioneered its use.

[beavs]

To me there seems to always be an ablolute. Something that never changes. Thats the football field. Of course, there might be some variety in the hash marks, but other than that you can always count on the football field being the same.

Why not use it to its fullest extent? In my experience, the dot system has perfected marching drill. A member has a point on the x-axis and the y axis and where it meets, thats where you are in the given counts, straight line path, even step size. There is no "but i was on my dot" problem because there is only one dot. Where else would you be? Two steps from the yardline is 2 steps from the yardline. If you aren't there when you're supposed to be you're burning up in the lava... so i've been told...

and the dot isn't even the most important part. Everyone is forgetting about the even size step and straight line path part... sure you could hit the dot, but not too early, not too late, and not after a 5 yard detour around the ant hill on the practice field...

Thats what makes the drill...perfect. Or at least a perfect representation of what the writer wants. And its a good thing for The Cavaleirs that no one believes in this method... They'll just keep havin' the cleanest coolest drill i guess...imho...hands down...

roflcopter?

[JayM]

roflcopter?

lollerskates

[liebot]

I think that either method can be successful with a good staff and members that are willing to be taught. Neither technique is inherently superior.