open statement to drum corps brass arrangers

[PurpleKnights]

PARADIDDLEDIDDLE PARADIDDLEDIDDLE TRIPLET ROLLLLLLLLLL!!!!!

[Zaromas]

The tritone has been borderline overused in drum corps for ages. I think that it can still be used creatively, but it requires subtlety that is just not inherently characteristic of the tritone. It is almost as if its sole purpose is to raise the tension in the closing moments of a piece by means of #4 to Maj3 or open 5 resolution (90% of its use in drum corps). There are moments, though, where it is delicately used, though almost as generic - like at the end of ballads.

My favorite all-time use of the augmented 4 unresolved major chord is right before the drum solo in Concord's show in '85. Freakin brilliant and straight up spine-tingling. It never resolves, in fact the chord actually DEcrescendos into the drum solo. Give it a listen if you get a chance.

By the way there are many more drum corps-esque chord progressions that you will rarely, if ever, hear in modern composition the way it is written for drum corps. Prime example: high brass screamin major chord followed by the low brass' major chord one half step higher, resolving down a half step. Classic, powerful, common, and TOTALLY drum corps.

[Zaromas]

PARADIDDLEDIDDLE PARADIDDLEDIDDLE TRIPLET ROLLLLLLLLLL!!!!!

Isn't there a rimshot at the end of that??

[phantomfan88]

Ok, first of all the origional topic was not talking about a 4-3 suspension. In order for it to be a 4-3 suspension it would have to hav a natural 4, not a #4. And if it was talking about a suspension of any kind it would be #4-3 suspension wich is incredibly uncommon even in todays music because a non-chord tone rarely resolves in an augmented second (F# to E for example), it would resolve up the half step (#4-5 retardation).

As for the major triad with the #4 (tritone) that is nothing new, and drum corps most definatly did not invent this. Composers started using it in the late classical to romantic period (Beethoven, Tchikovsky, Schubert, ect). It adapts to drum corps quite well and I don't think it's overused at all, only because I can't think of a better way to create tension (especialy in a major key) the way that corps do...

For the "V7 - I" guy, I really do hope you're kidding... I'll agree that the deceptive cadence is not used enough, but I challenge you to write a legit piece of music without using at least one authentic cadence.... good luck, haha.

[Einstein On The Beach]

For the "V7 - I" guy, I really do hope you're kidding... I'll agree that the deceptive cadence is not used enough, but I challenge you to write a legit piece of music without using at least one authentic cadence.... good luck, haha.

You want to put money on that?

[phantomfan88]

You want to put money on that?

Nope, It'd be to hard justifying wether it's "legit" or not....

[arrangerx]

Save Us Arranger X!!!

Save Us Arranger X!!!

Save Us Arranger X!!!

Resolution is highly over-rated. . . thus, the attraction of news groups.

:lolhit:

I wouldn't be a very good objective opinion, since I based an entire opener in 1993 on the Lydian mode. . . borrowing liberally from "Carol of the Bells".

Quartal and quintal is where I've usually lived. . . and the unresolved suspension world, with nods to extended jazz-related harmonies. . . and the occasional transitional walk up the fully diminished 7th ladder. . . (there, got that out of my system).

If you can get an emotional reaction, that's mostly what I care about. Whether you use the "Will Short's" puzzle-maker method of getting tricky with harmonic progressions, or come up with some other interesting way of getting from "here" to "there" is of no importance unless it is accompanied by emotional impact. Otherwise, it's just an academic exercise (my opinion). Of course, for those folks who are still at the "I just can't get enough of this music theory class!" stage in their musical lives, this is exciting stuff. . . but hopefully they will continue to grow and learn and understand that "theory" is a tool. . . not an end in itself.

Just make me care -- and I say that knowing full well that I am rarely, if ever, the target audience.

The only point I'll make that occurs to me is that, just as the size of the field magnifies speed (compare football fields and our perspective of drill speed vs. indoor guard and percussion floor size with perceived speed), the length of a show magnifies arranging/composing choices. Unlike a symphonic or wind band composer, drum corps arrangers don't have unlimited time. They must balance creative choices against the words "variety" and "continuity" on the judging sheets. . . and since we are living in a practically parallel bizzarro universe musically, this often necessitates getting to the point sooner. . . which can mean taking shortcuts. . . which in the hands of the less-experienced arranger (vs. say a Jay Bocook or Jerry Kelsey) could become an overwhelming challenge when facing "validity" questions from the music theory world.

I think the most creative guys out there will continue to "wow" us all, while others will plod down the path of "it's what I know". That's okay -- there's room for all -- it's just drum corps.

[mistofflies]

Resolution is highly over-rated. . . thus, the attraction of news groups.

:lolhit:

I wouldn't be a very good objective opinion, since I based an entire opener in 1993 on the Lydian mode. . . borrowing liberally from "Carol of the Bells".

Quartal and quintal is where I've usually lived. . . and the unresolved suspension world, with nods to extended jazz-related harmonies. . . and the occasional transitional walk up the fully diminished 7th ladder. . . (there, got that out of my system).

If you can get an emotional reaction, that's mostly what I care about. Whether you use the "Will Short's" puzzle-maker method of getting tricky with harmonic progressions, or come up with some other interesting way of getting from "here" to "there" is of no importance unless it is accompanied by emotional impact. Otherwise, it's just an academic exercise (my opinion). Of course, for those folks who are still at the "I just can't get enough of this music theory class!" stage in their musical lives, this is exciting stuff. . . but hopefully they will continue to grow and learn and understand that "theory" is a tool. . . not an end in itself.

Just make me care -- and I say that knowing full well that I am rarely, if ever, the target audience.

The only point I'll make that occurs to me is that, just as the size of the field magnifies speed (compare football fields and our perspective of drill speed vs. indoor guard and percussion floor size with perceived speed), the length of a show magnifies arranging/composing choices. Unlike a symphonic or wind band composer, drum corps arrangers don't have unlimited time. They must balance creative choices against the words "variety" and "continuity" on the judging sheets. . . and since we are living in a practically parallel bizzarro universe musically, this often necessitates getting to the point sooner. . . which can mean taking shortcuts. . . which in the hands of the less-experienced arranger (vs. say a Jay Bocook or Jerry Kelsey) could become an overwhelming challenge when facing "validity" questions from the music theory world.

I think the most creative guys out there will continue to "wow" us all, while others will plod down the path of "it's what I know". That's okay -- there's room for all -- it's just drum corps.

Well said, sir. Well said.

[Iplaytimpani]

I agree. You could even say dissonance no longer really exists...there's an interesting Schoenberg quote dealing with that, but I can't think of it off hand.

For the "V7 - I" guy, I really do hope you're kidding... I'll agree that the deceptive cadence is not used enough, but I challenge you to write a legit piece of music without using at least one authentic cadence.... good luck, haha.

Yes, I was kidding. I usually am. :) And Einstein, your mention of Schoenberg brought me to a thought I once had while not paying a ton of attention through a music history class. Would Pierrot Lunaire translate well to the field? :P

[asifindnoarta]

Am I really the only one who wants more interesting drum corps music?

Certainly not! Drum corps needs radical change especially not in the sense that additional elements should be added. The content must change. I reccomend a move to the abstract much in the style of Star 93, Cadets 98, and I suppose Cavies 2002.