DCI Magazine Fall, 2006

DrumCorps Fall 2006 | Vol. 1 No. 1

The Magazine of Marching Music’s Major League™

International 5 Fall Fitness

Workouts

“24”in the

A Day in the Life of a BLUECOAT

Corps The

Academy COMMITTED TO EXCELLENCE: THE CAVALIERS peter bond: from phantom to the opera DCI heads to Indy

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HOT CORPS FROM ARIZONA

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DCI

PERCUSSION CHAMPIONS P H A N T O M

R E G I M E N T

Winners of the 2006 Fred Sanford High Percussion Award

Congratulations to the entire Phantom Regiment percussion section on their hard work and first place victory.

The Phantom regiment use Pearl Carbonply drums and Adams Musical instruments exclusively.

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DrumCorps International

FALL 2006

4 From the Top A corps is calling... you!

7 Pit Break DCI chooses a new home… Pasadena preview…

2007 info… The Academy’s rapid rise to glory...

Blue Devils entertain in the off season... Online resources, and more!

12 Commitment to Excellence Jeff Fiedler preaches teamwork, and it’s taken The Cavaliers to another World Championship.

14 Free Day

FEATURES 16 24 in the Corps A typical day for a member of a drum corps is packed to the minute. Bluecoats color guard member Ashley Studer chronicles one day in the life.

23 Personal Practice: Fall into Fitness The preparation for next year starts now. Fitness expert Thomas E. Mallette’s program is used by the Cadets. Read how to build the five elements of true fitness.

29 Brass Lesson “Speak” your horn clearly with these articulation exercises from the Cavaliers’ Donald Hull.

Marco Buscaglia remembers his first audition.

30 Percussion Lesson 36 Gearing Up The latest gear for marching musicians.

38 Age-Out Former Phantom Regiment trumpeter Peter Bond now plays with the Metropolitan Opera.

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Make your cymbals ring loud with this soundproduction tutorial. The Colts’ Lauren Paul gives a crash course.

32 Movement Lesson You can find yourself with the “27 points” of the kinesphere. Blue Devils instructor T. J. Doucette points the way.

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DrumCorps International THE OFFICIAL MAGAZINE OF MARCHING MUSIC’S MAJOR LEAGUE Volume 1 Issue 1

Dan Acheson Executive Director Ed Dempsey Strategic Alliances Manager Chris Weber Communications Manager

Get On Board! his issue of Drum Corps International comes at a time when many students are thinking about pursuing the drum corps experience by joining a corps. There is a wealth of information available online through DCI.org, and while I’m sure you will find the information very helpful in the decision making process, there is nothing better than hearing directly from someone that participated during the 2006 season. Simply ask the corps you are contacting to connect you with a couple of veteran corps members. You will find that corps members are not only willing to talk with you, but that they also will be very forthcoming and helpful as you navigate your way to making the Drum Corps International experience a part of your life.

Often times the orientation or audition process for a corps can seem to be a little intimidating. Today’s DCI corps pursue high levels of excellence through their performances, and therefore have intensive programs in place to train their members in preparation for the season.

If you’re auditioning for a corps, you should keep in mind that the disciplined, well-trained veteran corps members you’ll meet started out just like you, and through their involvement with their corps, they have gained experience and increased their level of skill. In other words, don’t be intimidated by the process … give it a shot! Today’s corps members are indeed quite talented, but every corps director and staff member will tell you that the members of their corps who are successful, possess a great attitude and spirit for the achievement of excellence. That is generally more important than talent alone.

There is no doubt that participation in a drum corps will change your life—and your approach to how you live your life—in an incredibly positive manner. If being a part of a corps is a goal that you have set for yourself, now is the time to take action … Go for it!

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Dan Acheson Executive Director/CEO 4 www.dci.org

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Bob Jacobs Marketing Quarterback Custom Published By: In Tune Partners, LLC Irwin Kornfeld CEO Will Edwards President Angelo Biasi Publisher Emile Menasché Editor-in-Chief Sarah Walker Assistant Editor Don Helsel Operations Director Mike Amaditz Creative Director Aimee Zaleski Art & Production Director Trevor Johnston Illustrations Photography Johnny Gilbert, Sid and Linda Unser Contributors Marco Buscaglia, T.J. Doucette, Debbie Galante-Block, Donald Hull, Carl Lundstrom, Lauren Paul, Ashley Studer Drum Corps International is the world leader in producing and sanctioning competitive marching music and related stadium events for youth. Editorial and business offices are located at 470 South Irmen Drive, Addison, IL 60101, phone: 630-628-7888, fax: 630-628-7971. Drum Corps International is published in Fall, Winter and Summer each year. Nonprofit organization U.S. postage paid at Lebanon Junction, KY, permit #2223.

Copyright© 2006 Drum Corps International.

All rights reserved.

9/26/06 8:57:00 PM

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4/20/06 10:28:19 PM

Pit Break

News and Notes from Drum Corps International

Drum Corps International HQ and Championships find a new home in Indy Drum Corps International is moving its headquarters to the city of Indianapolis, and will bring its World Championships to Lucas Oil Stadium, beginning in 2008. In a ceremony held of the RCA Dome’s 50yard line, Drum Corps International Executive Director Dan Acheson teamed up with Indianapolis Mayor Bart Peterson and President and CEO of the Indiana Convention & Visitors Association, Bob Bedell, to announce the move. Carolina Crown performed selections from their 2006 competitive program. “We are not merely coming to Indianapolis to produce our World Championships,” Acheson said. “We look forward to

becoming a part of the community and doing our part as Indianapolis continues to evolve into an arts, education, and cultural hub. As Marching Music’s Major League, Drum Corps International has the opportunity with its world-class performers to make Indianapolis and Lucas Oil Stadium the world-capital of marching music.”

The new, state-of-the-art stadium will be the new home of the Colts (the Indy football team, not the drum corps) starting in ’08.

“Attracting Drum Corps International to Indianapolis is another shining example of strategically targeting music associations, and the events these associations can bring to the city,” said Bedell.

You can follow the construction of the facility by logging onto Lucasoilstadium.oxblue.com, and read the story of the move at DCI. org.

Tickets on sale for ’07 World Championships in Pasadena With Madison still reverberating from a stellar ’06 Championships, it’s time to ticketup for next year’s Finals at the Rose Bowl Stadium. For more info, log onto Pasadena07. dci.org.

It’s Audition Season!

Drum Corps is the pinnacle of marching music. Trying out for a corps not only gives you a chance to join the elite; its a learning experience that will help take your skills to the next level—and beyond. Log onto DCI.org/audition to learn how to get started. However, for the most complete and up-to-date info, check the individual corps’ Web sites. Links to all the corps in all three divisions can be found at DCI.org.

Add ’06 to your DCI CD/DVD Collection If you caught any of the action on the field, you know that 2006 was one of the most competitive and creative World Championships seasons in history.

Now you can own all of your favorite moments from the “March to Madison,” available on both CD and DVD. Surf over to store.DCI.org for more info. www.dci.org 7

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Pit Break Blue Devils Entertain off the Field It takes a talented team to win World Championships, and that talent can be put to good use between campaigns. BDEntertainment is an offshoot of multi World Champion Blue Devils Drum and Bugle Corps and their affiliates, that works with some of the most prestigious event producers in the business, as well as clients such as Hyatt Hotels, Macy’s, Sterling Jewelers and Wells Fargo. Ellen DeGeneres fell in love with The BD Drum Line and had them open the sophomore season of her two-time Emmy-winningdaytime talk show. Besides creating drum lines for the Phoenix Suns, Los Angeles Clippers, Sacramento Kings and Oakland Warriors, BDE has produced the San

Francisco 49er’s “Niner Noise,” a huge hit with Niner fans. Learn more at bdentertain.com.

Crunching Numbers, 2006 39: States hosting DCI events 58: Days of the Summer Music Games Tour 143: The number of competitions sanctioned by DCI in 2006 4,675: Number of video streams transmitted on DCI.org to Season Pass subscribers 15,831: Paid attendance in Atlanta on July 29, a new modern-day record for a regional event

BDEntertainment at the NBA All Star game.

BDEntertainment on tour in Korea.

21,232: Paid attendance of the Finals at Madison, the third year in a row to top 20k 22,715: Attendance in select theaters for DCI Cinema Live on Aug. 10.

375,000: Total combined attendance for all events 824,000: Viewers who tuned into the two-hour broadcast on ESPN2 on Sept. 5.

Coming Up Roses in ’07 The Rose Bowl Stadium has a rich history

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ou may already have your tickets booked for next August, but here’s some background on the historic venue that will host the ’07 World Championships.

The Rose Bowl Stadium is one of the most famous venues in the U.S. Yet its signature event dates to long before constuction of the Bowl. In 1902, the Tournament of Roses Association decided to enhance its parade by adding a football game. Stanford University accepted the invitation to take on the powerhouse University of Michigan—but the west coast team was flattened 49-0, and gave up in the third quarter. The lopsided score prompted the Tournament to drop football in favor of Roman-style chariot races! It wasn’t until 1916 that football returned for good.

On January 1, 1923, the Rose Bowl Stadium was dedicated for a football game between Penn State and USC. Though best known for the gridiron, the Stadium has hosted many different events, including the Olympic Games and World Cup soccer finals for both men and women.

With a current seating capacity of around 93,000, it’s one of the largest venues in America.

Of course, the Rose Bowl Stadium is not the only attraction in Pasadena. The town is close to the San Gabriel Mountains and Pacific ocean, and boasts the cultural opportunities of one of America’s biggest metro areas.

“Pasadena and the Los Angeles area have a lot to offer,”says Andrea Ryder, Drum Corps International’s travel and meeting coordinator.

“With beautiful scenery, a historic stadium venue and ample sight-seeing and entertainment opportunities, the week of the 2007 World Championships will no doubt have something to offer the firsttime visitor and the long-time fan.”

Getting there is easy. The Rose Bowl Stadium is less than 40 miles from LAX airport in Los Angeles.

A new light rail line links LA’s Union Station and Sierra Madre Villa in East Pasadena. Learn more at Pasadena.com

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Pit Break

Corps on the Rise The Academy Wins Division II

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alk about your fast starters: The Academy Drum and Bugle Corps of Arizona marched into Madison and walked away with the Division II Championships— quite a feat for a corps that’s only been in existence for three years.

The Academy began its trek towards competition in 2001 with what was then called Summer Brass & Percussion Ensemble, and by 2004 had added the color guard element to begin competition. “We believe that if our instruction and values are in place, the arts community around us will be enhanced by a swarm of young individuals properly trained in their skills,” says Mark Richardson, Executive Director of Arizona Academy of the Performing Arts. “The members are told that the big picture is to make Arizona a better place for performing arts, and that the knowledge they gain should be shared with their own high school and college programs. We also believe that we are training young people to be better equipped for life itself. Like any drum corps, we hope that the values of teamwork, character of a champion, work ethic, all enable our members to better conquer the hurdles in life.”

And local kids are getting the message: Last year, the Academy had more than 200 candidates come down for each audition weekend. “Each year, as we continue to build consistency and stability, interest in the corps continues to grow,” Richardson says.

Interestingly, despite the Academy’s rapid rise, Richardson points to a steady-as-she-goes approach to building the corps. “The secret to our success has been the ‘baby steps’ approach to development,” he explains.

“It’s ironic that it seems that we have managed to portray a sense of quick progress. We feel that while the competitive success has been a bit of a surprise, the financial and logistical side of our development has always been as planned.”

And, as the win in Madison should point out, you can expect the Academy to do the unexpected. “People should always watch us for something different,” Richardson admits. “The only thing our design team talks about at the beginning of each year is how the next production will be different than the last. I hope that people can expect to see a group that puts out an entertaining and passionate performance every year.” Arizonaacademy.org

2006 DCI Top Scores Division I The Cavaliers 97.200 Phantom Regiment 96.850 Blue Devils 96.550

Division II The Academy 95.625 East Coast Jazz 95.075 Spartans 94.025

Division III Impulse 84.975 Revolution 83.950 Raiders 80.500

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Commitment to Excellence

By Debbie Galante-Block

The Cavaliers Jeff Fiedler For the leader of this year’s champs, excellence means teamwork.

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The Cavaliers are a diverse group: Not only are 28 states represented in membership, the corps also boasts members from countries such as Japan and Canada.

This year, the Illinois-based corps hopes to open its field further. “We will have auditions not only in Chicago but also in Atlanta, Dallas and Houston. A third of our drum corps are from Texas right now. We hope to attract students that wouldn’t necessarily get on a plane to come to Chicago without knowing what they’re getting into,” says Fiedler.

In terms of winning competitions, The Cavaliers have had their share of ups and downs. Winning their first DCI championship in 1952, they stood strong through the 1960s with a little bit of a lull during the 1970s and 1980s, but according to Fiedler, being a member was always a positive experience. For 85 days of the year, most members work harder than they ever have on anything else. “For 28 days, we work 12 hours a day learning our show. When we know the music, we have to put the drill to it. The other 57 days, we go a couple hundred miles a day on the bus, and we perform at night. In a funny way, it’s a little bit like being rock stars. Inside the corps we really don’t necessarily see it that way, but, looking in…there are similarities.”

After some quiet time, the Cavaliers began winning titles again in 1992. This past August, the Cavaliers rocked Madison, Wis., to take their seventh Drum Corps International crown. The corps scored a 97.2 and edged the competition from their perennial rivals the Blue Devils of Concord, Calif. The Cavaliers also won the Spirit of Disney Award for Innovation and Creativity, making them the only corps to win the award and the DCI championship in the same year. For good measure, the Cavaliers were recognized as tops in the visual and general effect captions.

Fiedler says there is no one person that pulls the Cavaliers together. Staff and program coordinators and design teams that include brass and percussion arrangers as well as drill and color guard designers are all important parts of the total package. “We also have a composer, because much of what we have been performing lately has been composed rather than arranged,” says Fiedler.

While competition is a part of life, Fiedler likes to focus on the shared gains that all corps provide. “In the drum corps, you’re competing against yourself and your own history,” he explains. “The young people who are part of the corps are in the best physical shape of their lives, and these young people are the best in the world at what they do.”

hen the Cavaliers drum corps started up in 1948, the whole corps, uniforms, and instruments could fit on one bus.

It was a $25,000-a-year activity. But today, according to Jeff Fiedler, director of this year’s World Champions, $1 million is a more likely figure.

“It’s big business!” Fiedler says. However, being part of the Cavaliers is not big business to its 135 members.

“We provide a structure where the young men discover who they are and learn to get along with people that are very different than they are,” Fiedler says.

Fiedler’s experience goes beyond his 15 years as director. In 1973, as a 13-year-old boy learning to play the trombone in school, he became a member of a feeder group to the Cavaliers. When he was 15, he went up to the big corps. “I had to learn to play the baritone bugle, which had the same mouthpiece as the trombone, but was a completely different instrument.” Fiedler marched as a Cavalier for six years, first as a bugle player then as a drum major. Subsequently, after years of teaching Want to learn more about DCI’s Commitment to Excellence program? Visit us online and assisting former director Adolph DeGrauwe, Fiedler at DCI.org/excellence. Do you have a great story about your band members and their commitment to excellence? Tell us about it at excellence@DCI.org. became the director in September 1990.

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Free Day

By Marco Buscaglia

Nervous to the Corps Auditioning can generate butterflies, but the payoff of marching with the corps is worth it.

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remember the night before my audition camp for the Cavaliers like it was yesterday.

Okay, maybe not yesterday.

More like it was 23 years ago, which it was.

I was trying to sleep on the bedroom floor of George Satur, a friend of mine from the cadet corps, but couldn’t doze off.

I just kept watching the red LCD numbers on his alarm clock increasing by one. Chalk it up to a bad case of nerves, I guess. After six years in the Cavalier Cadets, I was now going to try out for the A-corps, and was anxious about getting a spot.

The next morning, I stood in line with the other hopefuls, paid my registration fee, filled out some forms, was handed a horn and told to go to the Rosemont School gymnasium, where the rest of the horn line would assemble. It was there that I would have to prove my mettle.

Oh, who am I kidding? I was one of about 11 baritone players who showed up that day. The staff checked for pulses and leprosy scabs at the door, and if they found the latter, they told you to cover them up and go join the horn arc.

I had only played baritone for two years in the Cavalier Cadets, but I knew I had a spot in 1984. Who else would they put in an all-male corps? A girl?

Of course, the try-outs were a bit tougher for my cadet-corps pals from the drum line, but the drum staff found a spot for most of them, especially if they had a hidden talent, like a parent who could produce tuna salad in mass quantities. I think guard try-outs were a bit different, but I’m pretty sure most people made it as well, especially those with dads who knew how to drive a truck.

Cut to today, where a prospective member could be one of a few hundred, all looking to make the drum corps they’ve idolized since first picking up an instrument.

The quest for members is so competitive that today’s top corps hold audition camps in states other than the one in which their hometown is located.

That wouldn’t have worked for me. Before I gathered up enough Chinese-food delivery money to buy a car, I was the guy who always needed a ride to camp.

Somehow, “Can you fly me to Texas?” seems a harder sell than, “Come on, it’s about two minutes off the expressway, it’s practically on your way.”

Summer may be months away, but November is just around the corner. Find a friend from band and drive to an audition camp together. Even if you don’t make it into your dream corps your first year, you’ll learn what’s expected of you and you’ll probably rid yourself of some of those audition jitters. And you don’t have to take no for an answer. If the staff tells you you’re not ready yet, take a look at some of the other drum corps around the country and see if you’d like to give one of them a try.

Not all corps are turning kids away. In fact, there are plenty of strong drum corps that don’t get enough attention from today’s students. And that’s too bad.

Today’s prospective members have to ask themselves what they want out of drum corps: Fun? Upright sleeping? Friendship? Back acne? Education?

Breakfast on asphalt? Maturity? Inconceivable tan lines? Responsibility? Bus fumes?

When you come up with your answer, make plans to attend that first camp. If your choice doesn’t appeal to your friend from band, go alone. They’ll be plenty of others there who are in your situation, many of them staring at the alarm clock the night before, watching the minutes tick away before the next chapter of their lives begin.

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The Cadets photographs by David Rice

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our T n o t a lueco by Ashley Studer B a f o e Life h t n i y A Da

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y name is Ashley Studer. I marched with the Bluecoats Drum and Bugle Corps, where I served as the Color Guard Captain for the 2005 and 2006 seasons. I am originally from New Philadelphia, Ohio. I’m 21 and currently reside in Akron, Ohio, where I attend the University of Akron as a dance and education major.

I got involved in drum corps through the encouragement of my friend Mike See (who also marched Bluecoats) and his father. My first season with the corps, my “rookie year,” was 2001.

This past summer was simply incredible. If you are one who follows drum corps, then you already know that the Bluecoats had quite a journey this summer.

Breaking the norm and creating history is not something that many of us get to be a part of. So having had the opportunity to be in such a group was unbelievable! If it were possible for me to pick a favorite memory from the summer I would. But choosing a favorite drum corps moment is like asking a parent to pick a favorite child.

Every day in drum corps is different. There are rehearsal days, parade days, laundry days, free days, and everyone’s favorite: show days! To help give the full essence of what being in corps is like, I thought it would be fun to look at a typical show day.

Stealing some sl eep

Up ’n’ at ’em The day begins somewhere around 9 a.m. The 135 or so members are sleeping in a gym somewhere. You can always find me next to my corps friends—Allison, Rebecca, and Laura—on air mattresses lined up in the back of the girls’ side of the gym. (At Bluecoats, the gym is usually divided into halves, with the boys on one side

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4 2 IN THE

CORPS and the girls on the other.) All of a sudden, we’re jolted awake by the drum major’s voice.

“Goooood morning, BLUECOATS! The time is 9 a.m! You have one hour to get your stuff together, eat breakfast, and be ready for stretch.”

At this point, everyone in the corps has a morning routine, and each person’s routine is a bit different. I like to get up right away and make my way to the food truck where breakfast is served. This way I can beat the line.

From there I’ll get ready for the day by brushing my teeth and such. I like to use my breakfast time to start packing up my things, deflate my air bed, and take my pillow and blanket to the bus. After that, I’ll make my way to the truck to get my equipment, and head over to stretch.

On a typical show day, we have two blocks of time: a morning rehearsal block, followed by lunch or snack; and an afternoon rehearsal block. It might go something like this: nd... and h a frie d at a show. it w g in Hang row in the c soaking

Morning Block

hard orps is Drum c ut there’s work, b r fun, too. time fo

9:00 a.m. Up, Eat 10:00 a.m. Stretch 10:30 a.m. Sectionals

Here we break into sections—guard, brass, percussion, and front ensemble—and work out individual issues with each section of our show.

12:00 p.m. Visual Ensemble

Visual ensemble brings guard, brass, and battery percussion together. The focus of this part of the day is to only work on visual elements of the show. This would include drill, color guard, horn moves, and body work throughout our show.

1:30 p.m. Break for Lunch/Snack

Many variables go into deciding if we have a full hour for lunch or 30 minutes. What time did we get up?

How long is the day? How far from the show site are we? Besides relaxing during the break, many people finish packing their things, get their uniforms off the truck, reapply sunscreen, and refill water jugs.

Afternoon Block 2 p.m. Sectionals

This time slot is similar to morning sectionals, only hotter! It’s used to work out problem areas. These sectionals vary in that the horns now focus on music and also on what we call “sub sections.” This means instead of practicing as full horn lines, the horns practice as sections (i.e., trumpets, mellos, baris). The drum line does the same. The color guard sectional block doesn’t vary much, except that the visual team comes to the sectional to help with drill.

3:30 p.m. Ensemble

This is when the entire corps, including the front ensemble, comes together. We connect all sections and elements of our show to increase coherency and consistency.

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“The Commandant’s Own” THE UNITED STATES MARINE DRUM & BUGLE CORPS

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4 2 IN THE

CORPS 4:45 p.m. Full Run

For the last 15 minutes of the ensemble rehearsal, we do an entire run of our program from beginning to end.

After the run we meet with our drum majors and corps director and discuss logistics for the evening.

pre-show rituals. The horn line sings; the drums hype each other up; and the guard recites: “I Believe.” Right before we line up in twos to take the field for performance, we all come together and do a pre-show hype.

9:26 p.m. Performance!

5 p.m. Eat, Pack, Load

During this two-hour period, we have to load all of our equipment, polish the horns, tune and clean the drums, eat, pack up all our stuff, take it out to the buses, shower, and get ready for the show. Sound like a lot? It is. But we get used to it and find ways to get it all done.

This is how I did it: I’d pack up all of my things throughout the day. When rehearsal was done, I’d load my equipment and get in the shower. Then I’d take all my stuff to the bus, grab something to eat and, finally, get ready for the show—which means hair, make-up, and all that stuff.

rps, you In the co long friends make life After the loading crews have packed the buses, the mello line has cleaned the fields, the trumpets have cleaned the locker rooms, and the snares have cleaned the gym, we get on the bus. Every section has a job to do, not only to maintain the facilities we use, but to keep us on the move and on time.

7–7:20 p.m. Depart for Show/Arrive at Show Site

Upon arrival at the show site, we get off the bus, get our stuff, and head to warm-up. Warm-up is somewhere between one-and-a-half and two hours. We stretch, review sections of the show, and mentally prepare ourselves to have a fantastic show. At the end of each section’s respective warm-ups, we meet each other at the gate. Once we arrive at the gate, everyone begins their

This is the moment when everything you did all day comes together. Ideally, you apply everything you’ve learned up until that point and have a stellar show.

After the show we circle it up and the drum majors and corps director talk to us again. This time, we talk about the performance and logistics for departing the show site. At the end of the meeting, we’re given a time to be back on the bus. From the time we break until we need to be on the bus, we have a lot to do: change out of our uniforms and load them on the truck; load our equipment and instruments back on the truck; practice; and eat. Once the drum majors return from retreat, we board the bus and head to our next location.

The bus rides can be anywhere from 30 minutes to 10 hours (with rest stops along the way). The bus rides are a time to relax and hang out with friends, while also getting some sleep. Once the tour season starts, we get most of our sleep on the bus. The rides are also a great time to call family and friends. The bus truly becomes your home away from home, and you get pretty close to the people on it. But you also miss everyone back home.

Once we arrive at our next destination, we unload our suitcases and sleeping gear from under the bus and stagger into another gym to get a few more hours of sleep. Initially, the gym is pretty noisy while people find their spots and inflate their beds, but soon the room falls silent and every one is snoozing, exhausted from the previous day. Then, what feels like just moments later, we are awakened by that familiar call: “Goooood morning, BLUECOATS! The time is 9 a.m. You have one hour to get your stuff together, eat breakfast, and be ready for stretch.” And another day on the road begins.

Of course, this is just a basic outline of what a typical day looks like in drum corps. Each corps runs their day differently and each person within the corps has his or her own routine and methods for preparing.

Each day in corps brings new problems, challenges, and difficulties you must learn to work through.

There is often something new thrown into the mix that you have to deal with. When asked what a person learns in drum corps, one of the more common answers is “time management.”

Knowing what a typical drum corps day looks like, it’s easy to understand why that particular answer is so popular. P

20 www.dci.org

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FALL INTO

FITNESS

By Emile Menasché

If you want to be at your best next marching season, you need to hit rehearsal camp already in shape. Fall may be “off season,” but it’s also time to get your workout on. We talked to Certified Athletic Trainer Thomas E. Mallette, who has worked with many Sports Medicine Programs including Michigan State University, the University of Southern California, and Western Carolina University, to help you get with the program.

S

ay the word “exercises” to most musicians, and you get them opening up method books, practicing rudiments and scales, and working on their sight reading, tone, and timing. People in drum corps have to do those things too, but there’s another kind of exercise that’s just as important in an activity that’s as much athletic as it is aesthetic. The off-season may be a break from the rigors of tour, but it’s not time to go into couch-potato mode. Back in the day, you might have gotten by with a few laps in the off-season, but like all athletes, modern-era drum corps marchers can’t wait until “spring training” to get themselves into shape.

“The biggest change may be the physical demands that are placed upon the marching members,” says Thomas Mallette, who has created the Youth Education in the Arts! Summer Preparation Program, which is used by the Cadets to prepare for each season. “These days, each member must be in prime physical condition in order for the group to succeed in its goals. Athletes have learned that the pre-season or spring training is

not the time to ‘get in shape’ for the season, but a time to refine their skills and techniques.”

So, how do you use your fall and winter so you’re ready to rock when marching season heats up? Mallette’s program recommends five main areas: nutrition, flexibility, strength, balance, and cardio conditioning. Nutrition is too deep to get into here, though it’s important to know that your engine is only as good as the fuel you feed it. Avoid junk, and consult the FDA’s food pyramid for your body type (learn more at www.mypyramid.org).

And remember that “feeding” includes proper hydration.

Drink plenty of water.

1

Get flexible A professional dancer once told this writer, “I’m only in shape when I’m flexible.” She then proceeded to bend her leg behind her head. No one expects you to be a contortionist, but proper flexibility is essential to any workout.

“Overall body flexibility is not only important for increased body control, but also is key in injury prevention,” Mallette www.dci.org 23

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says. Key areas are hamstrings, quadriceps, Achilles tendon and calf, lower back, hip, groin, and upper extremities: arms, wrists, hands, and elbows. Mallette’s program calls for hold-and-release stretches, where the main stretch is held for 20-30 seconds (depending on the stretch), followed by a contraction of 4-6 seconds. “Holdrelax stretching techniques have been clinically proven to more effective and safer than ballistic or bouncing type techniques,” Mallette says. Stretches can be done before or after strength training, but should always be preceded by a good warm-up.

2

Build your core In order to perform your best, your body must be strong enough to support the rigors of movement and gear, so that you can focus your energy on playing your instrument or performing your movement. Proper strength training builds muscles and the increase in muscle mass supports the ligaments and joints. That doesn’t mean you need to hit the gym and pump heavy iron. In fact, Mallette recommends a group of exercises that need no equipment, and very little space.

The program starts with your core, the area between your hips and mid chest that helps stabilize your body and gives you better body control. First up, Baker’s

Dozen, a combination of alternating sit-ups (legs up on the wall, 90 degrees) and pushups. This gut-buster starts with 13 reps a set (i.e., 13 sit ups; 13 pushups), and then you work your way down until your final set is one each. The goal: finish the cycle in five minutes.

As with all strengthening exercises, you should start slowly and make sure that you have your form correct before you pull out the stopwatch. “Good body position must always be maintained for maximum results,” Mallette says. For the sit-ups, be sure “not to use your hands to pull on your neck. Use your abdominals.”

If that doesn’t sound challenging enough, the name of the next routine might get your attention: Supermans.

“Get on all fours on the ground and make sure your low back is in ‘neutral’ position [back not arched up or down],” Mallette says. “Tighten your abs by pulling

your belly button in and keep tight through out the exercise.” Next, with your head up, you raise your right arm and your left leg to a 90-degree position, holding for three seconds, then switch over and use the left arm and right leg. Keep going to fatigue, and keep track of how many you can do.

The next set is called Fire Hydrants—named in honor of a dog and how he might put one to use (really!). Start in the same position, keep your abs tight, and raise your right leg at a 90-degree angle—just like a pooch on a pit stop. “Be sure to use your full range of motion and try to get to 90 degrees without allowing your back to arch.

Pretend you have a glass of water sitting on your low back and you do not want that to spill,” Mallette recommends. Repeat to fatigue, then switch to the other side, doing three alternating sets, to fatigue, on each side.

3

Strengthen your base Strong legs are your foundation and your wheels in any activity in motion, and it’s important to balance your work between strength and flexibility. The three lower extremity exercises in this program are lunges, calfraises, and a routine called the Card Pickup.

Lunges can be performed with our without weights, though Mallette’s program is the weight-free version.

Start from a standing position. “Step forward with your right leg so that your hip and knee are bent at 90 degrees,” he says. Go until your left knee touches or is close to touching the ground. Repeat with the left leg, and go to fatigue. “Be sure that your knee does not ‘go over’ your toes,” Mallette cautions. “Keep your upper body upright, abdominals tight and head up.”

Calf raises are another gym favorite that can be done with weights, and they build both strength and balance.

Here, however, you’ll forego the weights and do as many reps as you can. This version is performed on one leg at a time. If you need a wall for support use one finger only on the wall, which will help improve balance. Start with your right leg and raise up on your toes, as high as you can go. Hold, and come down. “Make sure the motion is slow and smooth, Mallette says. “Do not bounce!” Repeat

24 www.dci.org

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to fatigue, then switch legs. “Calf raises can be done anywhere, anytime,” Mallette says. “Plan on 1000 a day!”

The Card Pickup is not a nod to the poker craze, but is a form of the squat that uses 10 playing cards or 10 pieces of paper, cut to the size of cards.

With your abs tight, and your posture upright, squat by bending your needs in a smooth motion, and place one card at a time on the ground, doing one squat for each card. When you’re out of cards, pick them up, again, one card at a time. Do at least three sets. “As with the lunges, do not let your knee fall over your toes,” Mallette advises. “Again, keep your abdominals tight!”

As for the upper extremities, Mallette recommends that the horn line does a different routine from drummers color guard. For horns, focus on the shoulders

long as you can. Repeat on the opposite side, and go to fatigue. “As your balance improves, you can start doing single leg squats,” Mallette says. “Remember to keep the abdominals tight and your posture upright.”

You can up the complexity by playing catch with a friend while balancing. You can use any ball—tennis balls, soccer, or basketballs will do. “Tell them to throw to your left side, right, up high, down low, etc.,” Mallette says. “You must always attempt to catch the ball with two hands and without twisting your body. Have your friend make you work at this.” As always, be sure to switch legs. You can add even more complexity by balancing on an uneven surface, like a sand pit.

The Single Leg Hop is done from a bottom stair or an 8” box. Hop down to a flat surface, landing on a

with extra pushups and deltoid raises—an exception to the no-weights theme of this program.

Use 8-10 pound weights. With your elbows bent at 90 degrees, raise your arms from the shoulders to 90 degrees, so that your elbows are inline with your shoulders. “Do not raise your arms past 90 degrees,” Mallette warns. “This can cause shoulder impingement!”

For drummers and color guard, Mallette suggests you contact your corps for an exercise program.

“Drummers should really work at the core stabilization program to prevent those low back injuries and wrist and forearm exercises to increase their drumming strength and endurance,” he says.

single leg, then repeat on the opposite side. “Work to ‘stick’ the landing with the opposite leg bent,” Mallette says. “As your balance improves, increase the height, but be careful to not over do it. Your non-dominant leg may have less balance than your dominant side.”

4

Do a balancing act Standard exercise programs may focus on strength, flexibility and stamina, but Mallette notes that in drum corps, balance, or proprioception, is the key to everything you do on the field. “The following exercises, combined with the core builders above, can help you stay in control at 220 beats-per-minute,” Mallette says.

The single leg balance is better if done in front of a full-length mirror, though you can get by without one.

Balance on one leg by bending the opposite heel to your rear end. Don’t use your hand to pull the leg: bend your knee using your leg muscles. Stand on the single leg as

5

You gotta have heart (and lungs)!

The final piece of the puzzle is a good conditioning program with plenty of cardio. There are a wide number of choices here: from running, cycling or even walking outside to playing a sport like racquetball or soccer to using the treadmill, elliptical trainer or Stairmaster at the gym. The key is to get in at least 30 minutes per day at 60% of your maximum heart rate (subtract your age from 220; for example, a 20-year-old’s heart rate would be 220-20=200. Your target would be 60 percent of 200, or 120 beats-per-minute).

“Move!” Mallette says. “Take the stairs. Visit your friends in person instead of using Instant Messenger.

Park far from the store instead of driving around for 10 minutes hunting for the closest spot. Enjoy the outdoors. Join an intramural team. Conditioning does not have to be a chore. Find an activity you like and do it. Just keep moving every day!” P Be sure to consult a physician before beginning any exercise program.

26 www.dci.org

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✁

BrassLesson

By Donald Hull Brass Instructor The Cavaliers

Developing Better Articulation of the most common struggles for a brass player is the ability to articulate One clearly and consistently.

Top players can begin a note immediately without interference, and also repeatedly tongue a series of notes so that each one sounds the same. Articulation exercises can help you master this important technique.

Most amateur brass players rely on their tongues to begin notes, rather than allowing the air behind the tongue to initiate the tone.

Players focus on attacking notes and shocking their lips into vibrating with a forceful tongue, rather than using their air create the vibrations.

Attacking causes notes to start with bumps or explosions of sound instead of a pure, instantaneous sound. You must find a balance between the strength of the tongue as well as the strength of the air to create the appropriate sound.

To find the right balance of air, try to start a note without using the tongue. Take a calm, deep breath, keeping the upper body soft and relaxed. Think of the syllable “pooh” as you exhale and send the air down the center of your mouthpiece. Allow the air to separate the lips to begin a note. Try to create an air speed that will support a correct tone that begins immediately. Don’t press your lips together tightly or force the air, but keep it calm and smooth. Once you can easily begin a note with the proper sound using only air, try adding the tongue to help clarify the start of the note.

When adding the tongue, think of the spot behind your teeth where your gums and top teeth meet as a target for the tongue, as shown here. The tip of the tongue should touch this spot and move downward to release the air. (The motion of the tongue should be up and down, not back and forth.) The tongue should be soft and motionless in the bottom of the mouth for the duration of the note. If this note is repeated, the tongue should touch the same spot every time—if it touches in different places, it’s very difficult to get each note to have the same sound. Practice with a mirror during this step to eliminate any subconscious embouchure or jaw movement.

Another factor that may affect of articulation is the strength with which the tongue touches that spot in the mouth. If the tongue touches really hard one time and very lightly the next, the sounds will be different. A phrase we use at the Cavaliers is “touch your tongue to the same spot with the same strength every time.” Finally, no matter the tempo of the music, the tongue should move quickly inside the mouth.

A slow-moving tongue will distort the shape of the note and cause tone and pitch changes.

Positioning the tongue behind the teeth

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✁

Percussion Lesson

By Lauren Paul Percussion Instructor Colts

Get a Big Sound single most important aspect of cymbal playing is sound production.

The The visual effect the cymbal creates is secondary.

At the point of attack using a standard crash, the cymbals should NOT meet exactly together “edge to edge.” This will result in what is called an air pocket, which is a momentary vacuum that locks the cymbals together and kills most of the sound. To create a full crash sound, apply a flam-like technique. At the instant of attack, the bottom edges of the cymbals meet first, followed by the top edges. Unlike an actual flam, there should be no audible “grace note.” Using this sound quality technique, a full sound will be produced.

To begin, your arms from the shoulder to the elbow should be parallel to the ground. From the wrist to the elbow should be approximately at a 45-degree angle. Wrists are bent to allow for the cymbals to be parallel. The cymbals should be two to three inches apart, with the knots of the cymbals in line with your eyes. To prepare for the crash, open the cymbals up to an “A.” To do this, straighten the wrist to create a flat line from the tip of the fingers all the way to the elbow. Then, break the wrist back so the cymbals form a “V,” as shown here. This is where the first crash, or “grace note,” happens at the bottom of the cymbals. The crash hits bottom, then pushes through to the top and opens back up to the original A position. To finish, open back up to the V and snap back to set. (11 AVAV 11 = one crash) The snap-to set should happen two counts after the crash (e.g., crash on one, snap back on three).

This information for crash technique can also be applied to crash chokes. From the “A” position after the crash, bring the cymbals into your latissimus dorsi (the muscle that connects your shoulder and chest/underarm). Your cymbals should return from this dampened “A” position to the set position two counts after the crash. (For example, choke on count one, out on count three.) Other cymbal sounds may include, but are not limited to: slide chokes, scrapes/zings, taps, bell-taps, high-hats/hinge chokes, and cymbal rolls.

30 www.dci.org

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BLUE DEVILS

THE CADETS

SANTA CLARA VANGUARD

BLUE KNIGHTS

MADISON SCOUTS

BOSTON CRUSADERS

TO ALL OF THE VIC FIRTH DIVISION I FINALISTS!

We also commend the following corps on another great year: Colt Cadets Pacific Crest Colts Yamato Esperanza Crossmen Fever Spartans Capital Regiment Citations Vanguard Cadets Mandarins H.Y.P.E. Blue Devils B Seattle Cascades Vision Elite Jersey Surf The Magic Special Congratulations to: Tim Jackson, Blue Devils - Multi-Tenor Champion Mike Bierek, Blue Devils - Snare Drum Champion Santa Clara Vanguard - Best Cymbal Ensemble Frank Gonzalez, Blue Knights - Best Keyboard Brian Radock, Boston Crusaders - Best Timpani Be sure to check out VICFIRTH.COM for exclusive behind the scenes rehearsal footage, interviews with staff and members, photos from the ďŹ eld and MORE! Only available at VICFIRTH.COM!

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✁

Movement Lesson

By T.J. Doucette Color Guard Instructor Blue Devils

Using the 27 Points to measure space heard of 27 Points from Stanley Knaub ages ago, but didn’t use it until I Ifirst realized how important it could be to an equipment technique program.

Now, all my students learn how to use this great space measurement tool. But what is “27 points”, and where did it come from?

Around 1928, choreographer and movement theorist, Rudolf Laban, started developing a movement analysis system to describe and record choreography and ordinary human movement. He thought the body’s efforts, shapes, and use of space could be systematically described, measured and notated.

One of Laban’s most important ideas was his “kinesphere,” a representation of space within reach of the human body. By describing this space in terms of left and right, front and back areas, and high, middle and low levels, he defined 27 basic directions, or points, that could be used to understand two- and threedimensional movement.

In a quick Internet search, I found Laban’s ideas applied 13 4 1 7 to Aikido, child development, 10 10 25 22 computer animation, and even 7 13 19 16 4 frisbee. So, how are Laban’s ideas useful to color guard?

In terms of equipment technique, I have my students 14 17 17 14 memorize the numbered version 11 23 26 11 8 2 of the points, in the form of 5 8 an often-repeated flag angle 5 exercise. Then we can talk more specifically and efficiently about 15 18 21 space, using the points to define checkpoints, pathways, planes 15 12 27 24 and plane changes, direction 12 facing, and even focal points.

9 3 9 6 Training can take a bit of time, 6 but the real payoff is in faster cleaning time.

16 19

25 22 1

17 20

26 23 2

18 21

27 24 3

Here are some examples of how 27 points can be used: • • • • • •

Go to point 6 on count 2. (checkpoints) Make the arc peak through point 4. (pathways) Keep the spins in the 6 and 16 plane. (planes) Slice the 10/24 plane to point 24, then ascend to point 25. (plane change) Face the 7/9 corner. (direction facing) Take your focus down to point 12 at the end of the phrase. (focus)

This may seem complicated, but once you get over the initial craziness of memorizing the points, you’ll see the value and get very comfortable using this space measurement system.

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If you would like your band to participate or host an event in 2007, or more information on the USSBA please visit www.yea.org.

9/26/06 8:19:25 PM

Bands of America and Music for All Foundation are now “Music for All, Inc. will provide a mechanism to connect those who develop policy with those who will implement that policy on a large scale.”

Arkansas Governor Mike Huckabee, past chairman and current board member of the National Governor’s Association and the Education Commission of the States

“We have worked closely with both organizations in the past and we fully support this merger.”

Joe Lamond, president and CEO of NAMM, the International Music Products Association

“The merger of Music for All and Bands of America is a highly significant development for music education in America.

The merging of these two proven agencies into a single united force is very good news for students, educators and musicians across the country and for education as a whole.”

Music for All Foundation and Bands of America, Inc. have merged to create Music for All, one of the largest and most influential national music education organizations in support of active music making. For info on our events, the merger and research and advocacy tools, visit

Sir Ken Robinson, author and one of the world’s foremost authorities on creativity

musicforall.org

RESEARCH & ADVOCACY

INDIANAPOLIS, IN • WARREN, NJ • 800.848.2263

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It doesn’t have to end in August!

2007

PERCUSSION

2007

COLOR GUARD

Feb 3-4

Mar 10

Feb 3

Mar 10-11

Rancho Cucamonga, CA*

Phoenix, AZ Stratford, CT

Austin, TX Orlando, FL Richmond, VA

Midwest Power Regional* –

Feb 10-11

Chesterton, IN

Phoenix, AZ Union City, CA*

Indianapolis, IN*

Mar 17

Feb 17

Feb 10-11

Richmond, VA

Denver, CO Spartanburg, SC Union City, CA

Dayton, OH* Salem, MA

Mar 17-18

Feb 24

Mar 24-25

Feb 17 Ceres, CA London, England Pensacola, FL St. Louis, MO

South Power Regional* – Tampa, FL Denver, CO

Feb 24

West Power Regional* –

Ft. Lauderdale, FL Portland, OR St. Louis, MO Troy, MI

Coatesville, PA Nashville, TN*

Mar 3-4 Dayton, OH* Las Vegas, NV* Pensacola, FL

New England Power Regional* – Kingston, RI

Mar 24-25 Southwest Power Regional – Dallas, TX

Ferndale, MI Ft. Lauderdale, FL So. Brunswick, NJ

San Bernardino, CA

Nashville, TN*

Mar 3-4 Atlanta, GA Houston, TX Las Vegas, NV*

April 12-14

*Denotes two-day regional

2007 WGI Color Guard World Championships – Dayton, OH

April 19-21 2007 WGI Percussion World Championships – Dayton, OH

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Carolina Crown Fort Mill, South Carolina

On the field and in the classroom, Drum Corps International shares your Commitment to Excellence.

The Drum Corps International “Commitment to Excellence” (C2E) program recognizes music education professionals and their students who are motivated and inspired by the outstanding performances of Drum Corps International member corps, and who translate that inspiration into action in their own scholastic music programs; as individual performers, student leaders, and as dedicated members of musical ensembles.

Each year, tens of thousands of high school and college students are stimulated by the extraordinary young men and women performing in Drum Corps International events throughout North America. The incredible achievements of today’s corps are a direct result of the dedication of thousands of educators to the enrichment of the lives of young people through music and the performing arts. Many of today’s corps performers will become the next generation of teachers, helping to instill in their students a “commitment to excellence” of their own.

From the classroom to the stage, from the parade route to the football field and beyond, schools participating in the Drum Corps International “Commitment to Excellence” program have demonstrated their desire to achieve ultimate excellence, and to provide a valuable and extraordinary experience for their students, schools and communities.

Enroll your band in the Drum Corps International Commitment to Excellence program today.

You’ll become a part of a fast-growing network of music education professionals who use the examples set by the world’s most elite marching music ensembles as the standard of achievement for their students.You’ll receive multi-media curriculum support for your classroom and you’ll be among the first to know of Drum Corps International activities and events in your area.

Band Directors: Visit us today to enroll in this exciting program www.DCI.org/C2E

Drum Corps International • 470 South Irmen Drive • Addison, IL 60101 • www.DCI.org

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9/26/06 9:18:23 AM

GEARING UP New and noteworthy instruments and equipment for marching musicians Hear

Here

Ear protection is important to all people around loud sound levels, but it’s especially crucial for musicians. Among the best new options are the Etymotic ER-20 HiFi set.

These affordable, one-size-fits-all silicone plugs attenuate sound by an impressive 20dB, yet also retain audio quality. Etymotic.com

This Phone’s Got Game (and email, too)!

Nokia’s N-Gage QD boasts wireless multiplayer gaming and full color 3D graphics—and doubles as a mobile phone with web access, messaging, and email. Not much larger than a standard cell phone, the N-Gage is compatible with hundreds of titles, and allows players to go and access the worldwide N-Gage Arena community. N-Gage.com

Bag

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L.L. Bean’s Customizable Adventure Duffle is one part rugged day pack, one part artist’s palette. With a reinforced bottom and water-resistant coating, it’s tough enough to go anywhere. Point your mouse to Llbean. com and choose from a wide variety of colors, patterns and styles. Your browser must be equipped with Macromedia Flash.

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Poly-tick

The Timex Bodylink Trail Runner System combines a sports watch with a system of body sensors that let you monitor key factors like speed, distance and heart rate. Though the system’s centerpiece, the Ironman watch, has been around for a while, the new Navman II sensor is sleeker and more aerodynamic than previous versions. Timex.com

Launching

Yamaha’s new PPQ-500 practice pads offer a sextet configuration in a compact, portable and durable package that fits on a table top, on the player’s lap, or on a stand. A polyurethane black finish and blue dyed gum rubber lend the pads a distinct look, while non-skid rubber backing prevents slippage during vigorous pounding. Yamaha.com

36 www.dci.org

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On the outside, the SeV Fleece 4.0 is a stylish piece of winter outerwear.

On the inside, it’s a hightech storage center, with 12 hidden pockets and space for headphones to run from iPod to ear without ever showing. Removable sleeves and a Coolmax mesh interior round out the package. Zip the fleece into an SeV jacket for extra warmth.

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Age-Out nothing about opera, and this happened to be a recording session for Puccini’s Manon Lescaut. The set-up was such that the tenor was standing right behind the trumpets. Suddenly I heard this amazing sound: It was Luciano Pavarotti! I began to understand what the fuss was all about.

The Metropolitan Opera is an enormous operation, presenting more than 25 operas every year, seven performances every week for 30-33 weeks. The orchestra is a full-size symphony that accompanies and supports the singers. The music ranges from the relatively anonymous accompaniment to bel canto operas to the sublime sophistication of Mozart, incredibly dense and Then: Trumpet, Phantom Regiment demanding scores of Wagner, Strauss, Berg, and operas by today’s composers like Philip Glass, John Corigliano, Now: Trumpet, Metropolitan and Tan Dun. Opera Orchestra My typical day involves a rehearsal for an upcoming opera from 11am until 2 or 3pm, home for dinner, and One of my first assignments as Second Trumpet with the then back to the theater for an evening performance.

Metropolitan Opera Orchestra was on stage: I was given Operas are long, averaging three-and-a-half hours. a uniform, and told I was to be in ... a marching band? Some are five and six hours. The “Met Orchestra”—as After years of practice, study with famous teachers, and we’re known in our symphonic incarnation —also plays traveling to auditions all over North America, I had finally concerts at Carnegie Hall four Sundays each season and tours domestically won a position in a major orchestra, and here and internationally.

I was, marching again. Who says drum corps The most unique skills aren’t useful later in life? aspect of my job, I was a member of the Phantom Regiment however, is the stage from 1971 to 1977, a period that saw the work. Some nights, founding of DCI and a tremendous rise in instead of a tuxedo, the popularity of drum corps through TV I put on sandals broadcasts and the adoption of the “corps and a robe (Aida), style” by college and high school bands or a French cavalry across the country. More memorable for me, uniform (Carmen), though, is that in those seven years PR rose or a 19th-century from a so-so regional corps to the top ranks band uniform (La of DCI. It was a wonderful thing to be a part Bohème), and then of, and the source of many life-long memoI’m on stage with ries and friendships.

Plàcido Domingo, I attended Western Illinois University with or Renée Fleming, every intention of becoming a band director Peter Bond prepares before a concert or any number of but soon became more interested in exploring professional playing. I wondered, “How far can I the worlds greatest singers, playing music of the world’s go?” Graduate studies at Georgia State University fol- greatest composers.

Did drum corps give me the playing skills that enabled lowed, where I began serious study of orchestral trumpet with members of the Atlanta Symphony. For the next me to win orchestra auditions? No. Orchestra-playing is seven years, I was a busy freelance musician in Atlanta, quite different, and drum corps is not a music conservatory. My corps experience helped me in the same way and practicing the symphonic repertoire like a maniac.

In 1987, I won an audition for Principal Trumpet in it helped so many of my fellow corps members become the New Mexico Symphony in Albuquerque—an excel- successful in their chosen fields: It gave us all a strong lent regional orchestra that gave me valuable experience. work ethic, a commitment to excellence, exceptional Five years and 10 auditions later, I got the position with perseverance, and self-confidence.

And if that wasn’t enough, performing those shows the Metropolitan Opera in New York.

My first day on the job was interesting. I knew almost with my friends was a blast.

PB Peter Bond

38 www.dci.org

38 Age Out-DC.indd 18

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T

he only choice—Yamaha. Why? We have world class designers, stateof-the-art manufacturing techniques and are committed to producing the industry’s most consistent, superior-sounding instruments available.

Just three of the many reasons Yamaha is unparalleled in providing drum corps with the world’s premier line of musical instruments.

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All Rights Reserved. www.yamaha.com

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