MGCpimpOtimp Posted January 11, 2007 Share Posted January 11, 2007 As a sidenote, I'm on the phone with my mom right now, and Bluecoats '06 was playing in my itunes (I had been listening to it before to find the specific times in the recording). At some point during the impact in the ballad (the arc being brought together), my mom asked me if me and my roommates were watching the Little Mermaid. ....Apparently My Heart and I bears some resemblance to Under the Sea? I must have missed it. I thought the same thing when I first heard it! Quote Link to comment Share on other sites More sharing options...
BaritoneBamBam Posted January 11, 2007 Share Posted January 11, 2007 (edited) I don't know what APD you're talking about. I have semis on video, the finals CD recording, and don't have the finals DVD yet but I've seen it. On the CD recording, the sixteenths at 10:38 sound fine, and even better than a few of the moving lines around it. The two biggest mello ticks on the CD recording come at 11:04 (timing didn't line up with the ensemble...sounded alright from the field, but didn't line up in the box) and 1:41 (a lead fracks). The mello line was a lot better than in 2005, and had a great finals run this past year (and in '05, too) but don't come off nearly as well on the CD as the year before. Strange. Listening on the DVD rather than the CD definitely helps though. Execution-wise, I think the best brass moment of the show comes at 4:22; the matching of the accents couldn't have possibly been better, the volume was what it should have been, and timing was locked in. Sure, either way, but it's just what I hear. Volume wise I though there were some flares as though some mellophone's were bringing out their parts out as if they were carried away. Your comment about being "voiced as the moving middle line" doesn't really make any sense. Neither does your explanation of the spatial orchestrations; as I tend to find in many of your posts, you just make up "factual" explanations for your opinions and back them up by saying that you're saying the exact same things that judges are saying. I've heard plenty of judges tapes in my years in the activity, and I have the brass judges tape of the show we're currently discussing, and none of what you're saying comes up at any point. Obviously the Bluecoats didn't go into the crowd during the performance (although they did during encores/it would have given them a lot of help with GE, haha), so true "spatial orchestration" as the term could be applied in a symphonic setting isn't plausible at all. I very rarely see a drum corps show where corps actually make effects from strains of the brassline coming from all different parts of the field. Strange how you reference the music GE judge, when they're in the box and the entire drum corps is "in front of them." I doubt they need to turn their heads out of surprise because of music coming from places they wouldn't expect it to. I'd also like to hear your reasoning as to why the Bluecoats didn't "explore the new stadium as well as the corps around them." I'd think that the intro in itself pretty much discredits your point. Sure. Again I don't have any validity to my statements so I can't really say much to that. I'm not a judge but don't get me wrong I've heard spatial orchestration and regional musical focal points many many many times, so I'm not really copying any terms here. They're just commonly used when people talk about design. All it means is "where you're playing from". I'd appreciate you not trying to make this a personal discussion. I don't know very much about that hornline, I thought the Baritone line was great, again I didn't march the corps, I only saw them 3-4 times live, so again whatever I say really doesn't really have that much validity. I'm just saying things here. You know things about this topic way better than I do, so I'd probably take your word over mine at any second. :P But I can say that the Bluecoats didn't explore as much as the other corps of Madison's newly enclosed stadium. Crown with their back field little feature pointed at corner of the stadium to resonate their sound diagonally. Phantom Regiment with their Ave Maria and Mahler Material stretched their entire sound from end zone to zone. The Cadets started their opener from left and right responses way back in the field after turning around from playing backfield. There wasn't as much of this with the Bluecoats. Oh and, The Music GE judge doesn't have to really "turn his head" but his focus can move from points to points. 2003 Cadets' Malaguena with the Trumpet and Tenor Feature is a great example. I just stated that the Bluecoats often were straightforward and direct, right in front of the box. Edited January 11, 2007 by BaritoneBamBam Quote Link to comment Share on other sites More sharing options...
BaritoneBamBam Posted January 11, 2007 Share Posted January 11, 2007 would spatial orchestrations be referring to moments like: cavies ending set in '01, blue devils playing to the back left corner before the cross to dagger in '06, ...bluecoats intro in '06 with the tuba melody front field and the mello entrance facing back that reverses the cardiogram direction on their first note?i too am trying to better understand the design element you referenced, and these are examples that came to mind based on what i took from your post. i could be totally off :P Haha I don't even know what I'm talking about. I just came off doing a crazy 25 page report, my brain is fried. Ignore me :P Quote Link to comment Share on other sites More sharing options...
Slow Adam Posted January 11, 2007 Share Posted January 11, 2007 Haha I don't even know what I'm talking about. I just came off doing a crazy 25 page report, my brain is fried. Ignore me :P Oh boy, her we go again. Remember all those nonsense posts last year, in the middle of the night, when you were too tired to think? Don't make me dig up the tommysopranocontra threads. Step away from the keyboard! :P Quote Link to comment Share on other sites More sharing options...
BaritoneBamBam Posted January 11, 2007 Share Posted January 11, 2007 (edited) Oh boy, her we go again. Remember all those nonsense posts last year, in the middle of the night, when you were too tired to think? Don't make me dig up the tommysopranocontra threads. Step away from the keyboard! :P HAHAHAHAHAHAHA I need to stop taking these ridiculous classes... Whew! I would just type and .... go back and question what I was on. Disregard me as much as you please, do yourself a favor. Some of you probably have for 100% of my posts haha. I probably I don't know what I'm talking about 90% of the time. Edited January 11, 2007 by BaritoneBamBam Quote Link to comment Share on other sites More sharing options...
Hrothgar15 Posted January 11, 2007 Author Share Posted January 11, 2007 (edited) It was intentional. He was playing a duet (trio, if you include the bells in the pit) with a contra player and was supposed to hang over on it. Same with the note in the opener after the cascading long tones (right afore the earlier of the aforementioned mello ticks) at 1:47....it was longer earlier in the week, but it was still supposed to hang over on finals night....unless you knew that but didn't like it anyway. Just letting you know that it was supposed to correspond with that brass moment. Bawker, I laughed, well done sir. Heh. I actually did think both were accidental, thanks for explaining. Gives me just another reason to love this show. Edited January 11, 2007 by Hrothgar15 Quote Link to comment Share on other sites More sharing options...
Jared_mello Posted January 11, 2007 Share Posted January 11, 2007 Heh. I actually did think both were accidental, thanks for explaining. Gives me just another reason to love this show. That's what DCP is for, I guess. Quote Link to comment Share on other sites More sharing options...
Jared_mello Posted January 11, 2007 Share Posted January 11, 2007 (edited) I'd appreciate you not trying to make this a personal discussion. I don't know very much about that hornline, I thought the Baritone line was great, again I didn't march the corps, I only saw them 3-4 times live, so again whatever I say really doesn't really have that much validity. I'm just saying things here. You know things about this topic way better than I do, so I'd probably take your word over mine at any second. :P But I can say that the Bluecoats didn't explore as much as the other corps of Madison's newly enclosed stadium. Crown with their back field little feature pointed at corner of the stadium to resonate their sound diagonally. Phantom Regiment with their Ave Maria and Mahler Material stretched their entire sound from end zone to zone. The Cadets started their opener from left and right responses way back in the field after turning around from playing backfield. There wasn't as much of this with the Bluecoats. I didn't meant do so in that context in a negative way, I was honestly just trying to inform you about the baris/mellos. Listening to the '05 baris is really something you'll enjoy, I think. To give an example of what I meant, though I pointed it out before....watch the intro of the show. Pretty similar to the examples you were using. The backfield section of the ballad was one of my favorite moments of the summer, too, especially those trumpet pick-up notes. Hope that gives you more of an idea of what I was referring to. Edited January 11, 2007 by Jared_mello Quote Link to comment Share on other sites More sharing options...
Hrothgar15 Posted January 11, 2007 Author Share Posted January 11, 2007 January 11, 2007 Cadets 1993- In the Spring, at the Time When Kings Go Off to War What can I say? This is one of the most beautiful, glorious, exciting, energetic shows of all time. 1993 marked the first year Jay Bocook joined the Cadets team, and what a way to start off. Masterful brass arrangements of some source material that worked so well for this show. No, David Holsinger isn't anywhere near the likes of Shostakovich, Bernstein, or Dvořák, but for this show, he more than served his purpose. The music is played b one of the greatest G hornlines ever fielded, combined with a sick, sick drumline. The story was portrayed effectively and subtly, and though there are no "main characters," it is understood by all, leaving no room for "What's going on?" to focus more on the "HOLY CRAP THAT WAS AMAZING." Aside from the ballad, which is just gorgeous, the tempo never drops below 192 beats per minute. And the four pieces flow so well, the pacing is so perfect, it's hard not to be amazed. I can't even continue describing this show in words, because no words can do it justice. But it's shows like these that make the Cadets my favorite corps. The third best drum and bugle corps show of all time. Quote Link to comment Share on other sites More sharing options...
MikeD Posted January 11, 2007 Share Posted January 11, 2007 January 11, 2007Cadets 1993- In the Spring, at the Time When Kings Go Off to War What can I say? This is one of the most beautiful, glorious, exciting, energetic shows of all time. 1993 marked the first year Jay Bocook joined the Cadets team, and what a way to start off. Masterful brass arrangements of some source material that worked so well for this show. No, David Holsinger isn't anywhere near the likes of Shostakovich, Bernstein, or Dvořák, but for this show, he more than served his purpose. The music is played b one of the greatest G hornlines ever fielded, combined with a sick, sick drumline. The story was portrayed effectively and subtly, and though there are no "main characters," it is understood by all, leaving no room for "What's going on?" to focus more on the "HOLY CRAP THAT WAS AMAZING." Aside from the ballad, which is just gorgeous, the tempo never drops below 192 beats per minute. And the four pieces flow so well, the pacing is so perfect, it's hard not to be amazed. I can't even continue describing this show in words, because no words can do it justice. But it's shows like these that make the Cadets my favorite corps. The third best drum and bugle corps show of all time. Right after 2006 and 2005. ^0^ Quote Link to comment Share on other sites More sharing options...
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