DCI Magazine Spring, 2009

Spring 2009 | Vol. 3 No. 3

The Magazine of Marching Music’s Major League™

DrumCorps International

How Fans

In the Know

Watch A Show

Corps Contribution KEITH URBAN’S DRUM TECH

Who’ll

Stepping Up

Rule?

at the

GRAMMYS WITH RADIOHEAD

SCENE AT TMEA MARCHING ONTO “MILLIONAIRE” THE LATEST NEWS, GEAR & LESSONS

2009

DCI TOUR

PREVIEW

3 Ways

YOU

Can Change Music Education…for the Better

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Petition for Equal Access to Music Education Time to ring some changes! Be part of a nationwide campaign sponsored by MENC: The National Association for Music Education to show our nation’s new leaders just how important their support for school music is.

Help MENC deliver one million signatures to the new Secretary of Education in June 2009.

Change Drive for Change in Education Your spare change can make a difference! Help MENC raise funds to boost the profile of music education within the new administration. Conduct a change drive between now and June 2009. Your efforts will benefit MENC’s Fund for the Advancement of Music Education (FAME).

Rally for Music Education—June 18, 2009, Washington, DC Ready, set, march! Music educators, students and their family members, and all school music supporters are invited to Washington, DC in June 2009 to rally for music education at the U.S. Department of Education. At the rally, we will deliver the petitions to the new Secretary of Education, followed by a march to Capitol Hill and visits to members of Congress.

The rally is part of MENC’s “Music Education Week in Washington,” a program of music education advocacy, professional development, and stirring performances against the backdrop of the nation’s capital’s historic monuments. Events include intensive “academies” for jazz, technology, performance, and general music, a mass singing of “The Star-Spangled Banner” at the Lincoln Memorial, the Drum Corps International (DCI) 2009 summer season kickoff, and much more!

For details on how to participate in the petition and change drives and the Rally for Music Education, plus ideas for getting your community involved, visit www.menc.org.

To sign the petition online, visit www.thepetitionsite.com/157/petition-for-music-ed.

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We Can Already Hear the Drums Beating

onships the 2009 DCI World Champi Lucas Oil Stadium, home of

INDIANAPOLIS PROUDLY WELCOMES THE DCI WORLD CHAMPIONSHIPS TO THE HEART OF DOWNTOWN In Indianapolis we know a few things about the thrill of competition. From cars ripping around the Indianapolis Motor Speedway to the annual playoff run by our Colts, we live for heart-thumping drama and the opportunity to witness great performances.

Our love of victory spills across the city in the form of our hotels, restaurants and attractions that push themselves to offer more than you ever expected. When you visit Indianapolis this summer rest assured that the performers on the field won’t be the only ones raising their game. We’re glad your coming and want to make this a year that won’t be forgotten.

For information on where to stay, what to do and where to eat go to visitindy.com.

Raising the Game

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DrumCorps International

SPRING 2009

Carolina Crown

6 From the Top Excitement is building for the start of the summer

9 Sidelines Getting around Indy… DCI’s executive director receives a fellowship… Marching to “Millionaire”…

DCI on the big screen this spring... Backing Radiohead at the GRAMMYS

18 Scene at … TMEA Faces from around the 2009 Texas Music Educators Association Workshop/Convention

20 Commitment to Excellence Director Greg Orwoll took the Colts to march at President Obama’s inauguration in January.

46 Gearing Up Get ready for summer with the latest in apparel, equipment and accessories.

50 Age-Out

FEATURES 22 Tour de Force: DCI’s 2009 Summer Tour Preview Intense competition, new rules, and a new World Championships venue is sure to make 2009 the hottest Drum Corps International season on record.

33 How to Watch Drum Corps A trio of experts offer an insider’s view on what fans should look for on the field—and what separates a good performance from a great one.

41 Brass Lesson Posture and position are the keys to good sound.

By Boston Crusaders tuba technician Tom Ruby

42 Percussion Lesson Setting a technical foundation with rhythmic building blocks. By DCI Hall-of-Famer Thom Hannum

44 Movement Lesson Recovery and rest enhance training and prevent injuries. By Gary Granata, Ph.D.

Drum tech and former Emerald Knight Mark Arnold stepped up when country star Keith Urban added drum corps to his live set. www.dci.org 5

DrumCorps International THE OFFICIAL MAGAZINE OF MARCHING MUSIC’S MAJOR LEAGUE Volume 3 Issue 3 Dan Acheson Executive Director Chris Weber Communications Manager Bob Jacobs Marketing Quarterback Lora Morton Manager of Promotion Services John DeNovi Director of Business Development

Let’s Get Started!

S

ince t he t hrilling conclusion of t he 2008 Dr um Corps International World Championships last August, we’ve invited drum corps fans everywhere to expect even more excitement from the world’s most elite marching music ensembles in 2009 by inviting their loyal followers to “Imagine what they’ll do next year.” Now with the summer only a few short months away, I’m excited that the time when imagination becomes reality is almost here! Corps members from around the country and around the world will shortly begin moving into their respective spring training and rehearsal facilities in preparation for a new season that will again take them out on the road; covering more than 10,000 miles in nearly 10 weeks, while performing for a combined live audience in excess of 300,000 in stadiums throughout the United States.

A visit to Annapolis, Md., will be one of the first stops on the 2009 DCI Tour, for a very special event produced in conjunction with MENC: The National Association for Music Education. Having just wrapped up the celebration of MENC’s Music In Our School’s Month in March, I was once again reminded that for the thousands of young men and women comprising the ranks of Drum Corps International’s many units, the quest to achieve “the ultimate performance” began with a first step in a music classroom long before they ever entered the stadium gates.

Whether you’re able to experience any of the more than 100 DCI events on this summer’s schedule, or if you’re lucky enough to have a corps rehearsing in your backyard or parading through your community, we hope you’ll have the chance to experience for yourself the passion, innovation, creativity and commitment that make the corps of Drum Corps International so truly unique. I am confident that as always, this season will surely be one to be remembered for years to come, and we’d love nothing better than for you to be a part of the excitement.

Daniel E. Acheson Executive Director/CEO Drum Corps International Marching Music’s Major League™ 6

www.dci.org

Custom Published By: In Tune Partners, LLC Irwin Kornfeld CEO Will Edwards President Angelo Biasi Publisher Emile Menasché Editor-in-Chief Jackie Jordan Creative Director Mac Randall Senior Editor Adam Perlmutter Associate Editor Chris Previc Associate Editor Robin Stein Production Director Don Helsel Operations Director Joan Ferrara Business Manager Illustrations Trevor Johnston Photography Johnny Gilbert, David Rhodenbaugh Sid and Linda Unser Contributors Gary Granata, Thom Hannum, Carolyn Keating, Danny Miles, Adam Perlmutter, Tom Ruby Drum Corps International is the world leader in producing and sanctioning competitive marching music and related stadium events for the world’s most elite marching music ensembles. Editorial and business contact is P.O. Box 3129 Indianapolis, IN 46206, phone: 317-275-1212, fax: 317-7130690. Drum Corps International Magazine is published in Fall, Winter and Spring each year.

Nonprofit organization U.S. postage paid at Long Prairie, MN, permit #2223. Copyright ©20082009 Drum Corps International. All rights reserved.

NOW LESS IS MORE.

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Sidelines

News and Notes from Drum Corps International 2009 World Championships Schedule

Open Class Quarterfinals Tuesday, August 4 Ames Field Michigan City, IN Individual & Ensemble Competition Wednesday, August 5 Indiana Convention Center, Indianapolis, IN World Class Quarterfinals Thursday, August 6 Lucas Oil Stadium Indianapolis, IN Open Class Semifinals Friday, August 7 Lucas Oil Stadium World Class Semifinals Friday, August 7 Lucas Oil Stadium

LUCAS OIL STADIUM; MEDIAWRIGHT PHOTOGRAPHY

Open Class Finals Saturday, August 8 Lucas Oil Stadium World Class Finals Saturday, August 8 Lucas Oil Stadium

Will you be at the World Championships or any other 2009 Drum Corps International Tour events? See who else will be there too by visiting us at DCI.org/facebook.

Winter Meeting Yields New Rules for 2009 At its annual winter meetings in January, Drum Corps International instituted several significant new rules for the 2009 season. First, in a surprise vote, the controversial tie-breaker rule (See “Too Close to Call,” Winter, 2009) has been eliminated in favor of a return to the previous policy of awarding first place to both corps in event of a tie at the top. “The judges make their decision when they give the corps their scores,” explains Gene Monterastelli, head of the DCI Rules Committee. “Under the old rule, it would be artificially decided—after the scores are presented—that only one of those corps that tied should be awarded first place. We accept that the judges did their job and made the final decision regarding the score.” Interestingly, the change was proposed by the Cadets’ George Hopkins— one of the early champions of the tie breaker when it was first adopted.

The committee also clarified rules governing the use of electronic instruments (the rule initially passed in 2008 for implementation this season). Music from electronic instruments must be “performed live, in real time during the performance.” Corps can’t incorporate prerecorded sequences and loops into their shows, but can use pre-recorded sound effects and spoken word. “We are allowing for electronic musical instruments and pre-recorded sounds,” Monterastelli says. “We are allowing for prerecorded voice as well, but not for singing. For example, a corps could use the Martin Luther K ing Jr. ‘I Have a Dream’ speech, or bird sounds, or the sounds of a waterfall. However, a corps can’t have someone on a recording sing by just hitting a key. One single keystroke can only result in a single event. A single keystroke can’t result in multiple musical tones.” Read more about the new rules at DCI.org www.dci.org 9

Sidelines Fans’ Votes Count for “The Countdown”

T

wenty-two-year old Alex Ozenberger learned a lot about performing under pressure while playing euphonium with the Jersey Surf in 2004. The recent graduate of Syracuse University tapped into that experience while appearing on Who Wants to Be a Millionaire hosted by Meredith Vieira.

With the slumping economy, Ozenberger has been living in his parents’ basement. But after winning $50,000 on the show, he plans to find his own place, and even pony up for some horseback-riding lessons for his girlfriend, Jackie.

After passing an audition in Hanover, Md., Ozenberger went with his mother and grandmother to New York City to appear on a special family edition of the show. “They ran out of time before we could be chosen to play, but the very next week, they called me back and invited me to appear by myself,” he says.

With all the excitement, Ozenberger only hazily remembers the details of his appearance, which was taped back on October 6, 2008. “What struck me most is how fast it all went,” he says. “Once I got called down to the stage everything was a blur. Sitting across from Meredith Vieira, the lights in my face, the audience cheering ... It was surreal. I’m looking forward to seeing the show on TV because honestly, I can’t remember what I said.”

Ozenberger credits much of his success on “Millionaire” to his father, Brad, who “militantly prepped” him for the show. He also says that drum corps—and music-making in general—helped him. “It’s all about performing your best under pressure,” he says. “The key is just to stay cool and confident, and that’s an ability that my drum corps experience in the Jersey Surf definitely helped me develop.”

Acheson Named Mason Fellow Drum Corps International Executive Director Dan Acheson was awarded a 2009 Lowell Mason Fellowship by MENC, the National Association of Music Education. The Fellowship, which recognizes outstanding contributions to music education, is named for one of America’s pioneers in the field. Born in 1792, Mason co-founded the Boston Academy of Music in 1837 and taught music on a volunteer basis, eventually helping to establish music as part of the regular curriculum of the Boston public schools in 1838. “To be honored alongside so many great music educators and advocates is a bit overwhelming,” Acheson says. “I have the honor of working with—and look up to—so many amazing individuals in this profession that it is quite humbling for me to be recognized in this manner.

My passion for helping to provide quality music education and access to that experience for everyone gets stronger every day.”

MENC.org

DVD Gets Inside Corps Want to know exactly what it’s like to tour with a drum corps? The documentary Throw It Down—which was recently accepted to the New York Film Festival—offers an intimate look at the ’06 Bluecoats season. “It doesn’t serve as a mere chronicle of the events that took place during that year,” former Bluecoats euphonium player Luke Bauerlein (who served as an instructor in ’06 and ’07) says on the DVD’s website. “It captures the essence of all drum corps by focusing on the specific experiences, hopes, dreams, and stories.” throwitdownthemovie.com 10

www.dci.org

TOP LEFT: VALLEYCREST PRODUCTIONS LTD.; TOP RIGHT: WILL VAN OVERBEEK

Former Surf Member Rides Tide on Millionaire

The lineup for 2009’s edition of “The Countdown” is set.

Performances by the 2008 Phantom Regiment, 2004 Cavaliers, 2007 Carolina Crown, 2004 Santa Clara Vanguard, 2006 Blue Devils, and 2007 Bluecoats will be shown on the big screen at selected theaters around the country on Wednesday, May 13. The six corps were among 72 World Championship Finalists from 2004-2008 chosen by more than 17,000 fans voting online at DCI.org. Fans attending “The Countdown” in theaters on May 13 will act as judges, using special score sheets (which can be downloaded from DCI.org) to rank and rate the performances. After the show, fans can submit scores online: The corps receiving the highest marks will be declared the “2009 Countdown Champion.”

Tickets will be available starting April 10.

For more information and a list of participating theaters, check out DCI.org/ countdown.

Sidelines Lucas Oil Stadium by the Numbers

The Road to Indianapolis

GENERAL 6 panels, 88’ tall, total 244’ wide: Operational large north window

5

1.8 million: square feet 137: corporate suites 63,000: seating for football 1,400: toilet fixtures 14: escalators 11: passenger elevators 148: concession stands $122 million: fee paid over 20 years by Lucas Oil for naming rights

temporary Art; the Indiana State Museum; the Eiteljorg Museum of American Indians & Western Art; the Madame Walker Theater Center; the Ruschman Gallery; Harrison Center of the Arts, The Children’s Museum of Indianapolis, an IMAX theater and more.

Sports fans might want to check out the NCAA Hall of Champions, which is just in the process of renovating and reopening after a fire in 2007 forced it to close. Then there’s Indianapolis Motor Speedway, host to both open-wheel and stock-car races, and Victory Field, the home of the Pittsburgh Pirates’ AAA affiliates, the Indianapolis Indians.

If you’re looking to get out and explore, there’s the Indianapolis Zoo, the famous and scenic Central Canal, and the Indianapolis Cultural Trail, a seven-and-a-half-mile bike/ walking path that connects five downtown districts. Learn more and find links to individual destinations at indy.org.

CONSTRUCTION 130,000: cubic yards of cast-in-place concrete 16,000: tons of steel 700: pieces of structural precast concrete

1,440: pieces of architectural precast 9,100: pieces of exterior glass RETRACTABLE ROOF 176,400: square feet opening area 9-11 minutes: opening or closing time

Getting Tickets

>> DCI Partners Offer Special Hotel Rates: The 2009 season will include more than 100 events over 50 days in 41 states. To make it easier to follow your favorite corps throughout the summer, Drum Corps International has teamed up with Motel 6 and Wyndam Properties (which includes chains such as Wingate, Days Inn, Super 8 and Ramada) to offer discounts to fans.

Learn more at DCI.org/promotions. As for the World Championships, Drum Corps International has reserved blocks of rooms at special rates in many popular downtown Indianapolis hotels (all within walking distance of Lucas Oil Stadium). Book online at be DCI.org/indyhotels.

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www.dci.org

Visit the Drum Corps International online box office to order your tickets to 2009 DCI Tour events. Learn more at DCI.org/ tickets or call 317.275.1212 x3.

FROM TOP: INDIANAPOLIS CONVENTION & VISITORS ASSOCIATION/INDY.ORG; MEDIAWRIGHT PHOTOGRAPHY; JACKIE JORDAN, INDIANAPOLIS CONVENTION & VISITORS ASSOCIATION

The city hosting the Drum Corps International World Championships finals starting this year has become something of a cultural hotspot in the midwest.

Lucas Oil Stadium is just one of the projects that have helped to revive Indy’s downtown. Area attractions include the seven-block Indiana War Memorial Plaza Historic District, a collection of neoclassical buildings and structures and landscaped open spaces that includes the American Legion Mall, Indiana War Memorial, Soldiers’ and Sailors’ Monument, University Park, U.S.S. Indianapolis, Veterans’ Memorial Plaza and the World War II Memorial.

Also nearby are the 780,000square-foot Circle Centre shopping mall; the State Capitol, which was built in 1888; and the State Library, housed in an elegant art deco building. Cultural touchstones include the Artsgarden Visitor Center; the Indianapolis Museum of Con-

Sidelines

Marching to GRAMMY Glory

“T

his story goes like this,” says Dr. Art Bartner, Director of the University of Southern California’s Spirit of Troy Marching Band. “The folks at the Grammys had invited Radiohead to perform a number of times over the years and the band always decined. This time, when [Grammy Awards Show Executive Producer] Ken Ehrlich approached them, Radiohead called back and said if he wanted them on the show to be prepared with a marching band.”

Ehrlich contacted the USC band, which has a track record of rocking out with acts like Outkast and, most famously, Fleetwood Mac on “Tusk” in 1979. Despite having only two weeks to prepare, Bartner was game—until he heard the tune Radiohead wanted to play, “15 Steps.”

“I go no way,” he admits. “It’s in 5/4 and has a strange form. But drum instructor Tad Carpenter—a 25-year drum corps veteran who marched with the Santa Clara Vanguard, and has taught the Freelancers and Glassmen—said ‘we can do this!’”

On the recommendation of Radiohead, Barntner and Carpenter got together with arranger David Campbell.

Campbell handled the brass and Carpenter focused on the percussion. “We had four days to write the arrangment,” says Carpenter, who credits his drum corps experiece with helping him work quickly under pressure. “I had to adapt the original parts that included both drum machine and drum kit and arrange them for marching band.”

“We ened up with 13 drummers, 16 brass and three tubas,” Bartner says. Why separate the tubas from the other brass?

“That’s the interesting part.” Barnter explains. “Only [singer] Thom Yorke and [guitarist] Jonny Greenwood were coming; we were supposed to be the other three-fifths of the band. So the tubas were the ‘bass guitars,’ the brass were the ‘synthesiz-

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ers’ playing chords and effects, and the drums were the ‘drum kit.’” As the band members learned their parts, Bartner sent recordings to London. “I half expected them to back out,” he says, “but they didn’t.”

Next, Radiohead’s creative team came out and started working with the band—which included former Pacific Crest member Scott Spongberg and Oregon Crusader Blake Phillips, both juniors. “The kids were unbelievably professional,” Bartner says. “They made changes and my guys were like ‘okay, let’s do it.’”

Yorke and Greenwood arrived the Wednesday before the Grammys broadcast and rehearsal began in earnest—first at Sony studios, and then on Saturday at the Staples Center. “I’ve been in this business 40 years, and there was a real buzz about the performance [at the rehearsal],” Bartner says. “From Ken Ehrlich to the lighting and sound guys—they knew they had something special.”

On the night of the show, Bartner sensed some jitters in the ranks. But one of Radiohead’s crew came out and yelled “Tusk!” and when the band kicked into it, “Thom Yorke came out dancing, bopping up and down, and you could feel the nerves go away,” Bartner says. “By the time we went on, the band played loose and just nailed it.”

Among the highlights for Bartner were the introduction by Gweneth Paltrow that recognized the band’s contribution (“Unheard of— it’s usually about the stars!”) and the way the band was miked individually. At one point, he says, “ the bass trombones double the tuba, and the camera caught that moment.” After the show, Yorke and Greenwood hung out with the band in the rehearsal room.

“They were high-fiving everyone and taking pictures… they celebrated a great performance by the band.”

FROM LEFT: JOHN SHEARER/WIREIMAGE.COM; BRETT PADELFORD (2)

Corps veterans help USC’s Spirit of Troy back Radiohead

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Scene at the TMEA Convention

By Paul Irwin

L

ike the Lone Star State itself, the Texas Music Educator’s Association (TMEA) is big. With more than 9,000 members, it’s one of the largest arts education organizations in the country. Each year, TMEA holds a Clinic/Convention where educators from around the state, as well as musicians, maufacturers and oth-

ers in the music community gather for programs and exhibits that cover a wide range of topics related to music education.

The 2009 meeting took place February 11-14 at the Henry B. Gonzalez Convention Center in San Antonio, and coincided with the 2009 TI:ME National Music Technology Conference, which drew educators from around the U.S.

>> 1 Conn-Selmer’s Jim Doepke hangs out with the low brass.

>> 2 Tom and Cyndee Herald from Director’s Showcase cozy up to a mannequin at the booth.

>> 3 Rich Bahner, Associate Director of Bands and Coordinator for Percussion studies at Tarleton State University (Texas), stops by the Percussive Arts Society booth.

1 2

3 << 4 Stanbury Uniforms president Gary Roberts and designer Brent Becker stand by one of Brent’s designs at the Stanbury booth.

<< 5 Remo’s Mark Branson “crowns” around at the booth.

<< 6 Zildjian’s John King, Adrian

4

5

6

Bolton, and Keith Aleo discuss cymbalism at the Zildjian booth.

>> 7 Crossmen director Mark Chambers pauses for a picture.

>> 8 Kevin Criblez and Jim White from Jupiter Band Instruments are looking for that Thanksgiving drumstick.

>> 9 Kim Steinbauer of Wenger says “cheese.”

>> 10 Santa Clara Vanguard composer and arranger Key Poulan

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8

9

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<< 11 Yamaha’s Joel Tetzlaff sticks to it.

<< 13 US Marine Drum

11

& Bugle Corps Musician Placement Director, GySgt. Roger H. Wright

<< 14 S.C. Vanguard’s

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www.dci.org

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Jeff Fiedler poses with Youth Education in the Arts’ George Hopkins.

PHOTOS: WILL VAN OVERBEEK

<< 12 Blue Man Group rep Kirstin Beal flashes a smile.

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Commitment to Excellence

By Danny Miles

Greg Orwoll Executive Director, Colts

F

or over 25 years, Greg Orwoll has spent hot summers helping the Colts deliver searing shows to drum corps fans. But on a frigid day last January, Orwoll led a group of current and veteran members of the Dubuque, Iowa corps onto Pennsylvania Avenue and into the glare of television lights to face a different kind of audience: The new President of the United States, along with thousands gathered to celebrate the inauguration.

“When I looked up and saw the President and his family paying such close attention to us, and saw literally dozens of television cameras, it was an incredible moment of pride for me personally,” recalls Orwoll, who became Colts Executive Director in 1989. “I think the members shared the same chill of understanding at that same moment.”

The march may have been a relatively short one through the streets of D.C., but the “journey” took months and the effort of people. Colts board member Peter Hansen got the ball rolling by suggesting the corps apply for one of the 100 available slots (they were chosen from a record 1,840 entries).

“Peter did a great job lining up letters of support from our Iowa Congressional delegation, and we ended up with support letters from both Iowa Senators and all six Iowa Congressmen,” Orwoll says. “I lined up support letters from

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the Superintendent of Schools, the Dubuque Symphony, the Dubuque Community Foundation, the Chamber of Commerce, City Council, Mayor and County Board of Supervisors.

Of the 119 Colts to march at the inauguration, 96 were ’08 members. The rest were alumni, who were chosen based on years of membership. “The oldest member marched in 1977,” Orwoll says. “We could have added another 50 to the roster if we’d had room.

We discovered how deep the commitment to the Colts mission runs. With so many volunteers pitching in, we traveled with 237 people including alumni.

I also realized how strong our local support is. In six weeks, we raised the more than $60,000 we needed to fund the trip, from 603 different supporters.”

Brass arranger Chris Tomsa and percussion arranger Max Mullinix had very little time to prepare the show. “We planned to learn the music, teach the color guard work and fit uniforms at our December rehearsal camp, but we had to cancel due to a blizzard,” Orwoll says. “Plan B then was to ‘fit’ uniforms, including the custom guard uniform, and learn the guard work and music via email. The first time we physically were together as a group to rehearse was Sunday night in Washington!”

For the Colts, inauguration day began hours before the performance. “We started at the Pentagon at 7 a.m. with a security screening of each individual and the buses,” Orwoll says. “Instruments were x-rayed, and all participants went through metal detectors. The buses were bomb-sniffed and inspected as well. At 9:30, we followed a police escort to the Ellipse, the park bet ween the W hite House and the Washington Monument. There, all marching groups assembled prior to walking to the Capitol to the start of the parade.

There were warming tents for all the participants and the swearing-in ceremony was shown inside the tents. You could have heard a pin drop in our tent, containing about 750 marchers, during the oath of office. We tried to do some warm-up prior to the ceremony, but it really was too cold and windy to be productive. At 1 p.m. we were sent outside and we marched a mile and a half to the beginning of the parade.

There we waited until 4:50 to step off—about 2 hours late.”

Performing on the second-coldest inauguration day in U. S. history was a challenge for the marchers, who had to deal with frozen instruments and hands. But to Orwoll, overcoming those obstacles demonstrated the Colts’ spirit. “The way the corps came together in perfecting the show in such little time was amazing,” he concludes. “It looked as though we’d been together for months. And the way they persevered in the cold, keeping a great attitude, was inspiring.”

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Phantom Regiment

Fierce competition and a new home for the Championships are set

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hampionship 2009 World C s Final 2009 Sat, Aug 8, ium ad Lucas Oil St diana In Indianapolis, S FIN AL S WO RL D CL AS

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ast year’s World Championship Finals was decided by one of the slimmest margins in Drum Corps International history. And with new rules, new elig ible inst r u ment s and t he long-awaited move to Indianapolis’ Lucas Oil Stadium for the Championships weekend, 2009 portends to be unpredictable as any season in memory. Never have there been so many legitimate contenders for the top spots in both World and Open Classes. If 2008 was a stunner—highlighted by Phantom Regiment’s come-from-behind win on Finals night, 2009 could prove to be the year of the shake-up. There is no telling where the cards will fall.

For the defending champion Phantom Regiment, who edged out the Blue Devils by 0.025 points, “following one of the most fan-favorite shows of all time will be a challenge,” says director Rick Valenzuela. “But the ingredients that made that show come alive are the same things we’re looking to instill in our 2009 production, ‘Red Violin.’ We’re not going to try to top or copy 2008, but we do want to create a show that has all the elements that the Phantom Regiment is known for.

We’re looking forward to our challenge to put out a show and corps in 2009 that sets the standard for Regiments

to make the 2009 Drum Corps International season a ...

BYLINE HERETKFILL

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PREVIEW IP H S N IO P M A H C 9 200 to come, and add to the great history of this organization and the activity as well.”

The runner-up Blue Devils had not released specific show plans as we went to press, but we managed to track down Director David Gibbs, who hinted that the Blue Devils’ show will push musical boundaries while honoring tradition. “The contrast of an economic storm-front and the beauty of American optimism present a collage of the cultural unknown today as well as in the past,” Gibbs says.

The Cavaliers “The present and the past will convene in a theatrical conversation of passion and exhilaration.” The third-place Cavaliers are hoping to unite fans and judges with “The Great Divide,” which will include music by Johan de Meij, Alberto Ginastera, Claude Debussy and John Adams.

Over the past few years Carolina Crown has become a crowd favorite that’s strong in all captions but noted in particular for the power and presence of its horn line. “This season is progressing very well with a high retention of returning members,” says Jim Coates, Crown’s Program Coordinator. 2009’s show, “The Grass is Always Greener…” includes music by composers ranging from Aaron Copland to Elvis Costello (if you haven’t heard Costello’s concert works, this will be a great introduction). “Look for a more aggressive Crown this year with an improved level of performance excellence,” Coates says.

Not to be forgotten are the nine-time World Champions, The Holy Name Cadets. That’s not a misprint: As part of the celebration of their 75th anniversary (only the 82-year-old Racine Scouts have been active longer), the Cadets will reach back to their founding out of the Church of the Most Holy Name in Garfield, N.J. Listen and you’ll hear Leonard Bernstein music coming from their rehearsal sites. The question is: Will the show be traditional or cutting edge? In

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The Cadets

Cadet tradition, the answer seems to be “yes.”

With “Imagine,” the Bluecoats hope to be on the cutting edge both visually and musically. “‘Difference’ is what I expect see, not only from the Bluecoats, but for the activity,” says Jeff Fackler, the Bluecoat’s drill designer. The corps from Canton’s design team is taking cues from the imagery of noted surrealist painter René Magritte. “Clouds, the bowler hat, birds… not standard,” says P r o g r a m C o o r d i n a t o r, T i m Fairbanks. “It’s not what you would imagine.” The Bluecoats have evolved over the years into a completely buttoned-up organization unafraid of taking risks on the field.

“Imagining can be a very s c a r y o c c u p a t i o n ,” s a y s M i c h a e l G r a y, V i s u a l Coordinator. “You have to be brave to do something other people have not done.”

I n “The Factor y,” t he Blue Stars will explore the life, sounds, imagery, and experiences of a 1940s-era factory worker. The people of t h is t ime are of ten described as the “greatest generation” in American hisCarolina Crown

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PREVIEW IP H S N IO P M A H C 9 200 tory, and are defined by an indomitable spirit of duty, honor, and country, and the Blue Stars intend to honor that spirit.

Boston Crusaders are exploring a dark and sultry theme: “Eve,” the original femme-fatale. And dark and sultry has been good to Boston in the past (see their breakout show “Red” from 2000). “I will refrain from being cliché, but I will say t hat our staf f is ver y pleased with the talent level and Bluecoats attitude of this year’s members,” says Director Tom Spataro, who expects the corps to benefit from the high percentage of returning staff.

In addition to new sounds, there’s be new uniforms in World Class: The Jersey Surf, one of the strongest and most innovative Open Class corps, has shifted into the World Class division for 2009.

“We’re thrilled to join the ranks of some of the world’s most highly regarded drum corps,” says Brian Prato, Director of Corps Operations. The Jersey Surf has worked relentlessly over the last nineteen years to get to this position, but the corps will continue to follow a more limited “regional touring” model which Prato says will Jersey Surf

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allow the organization to provide an alternative to students who might not be able to participate in a World Class corps that travels more extensively.

Santa Clara Vanguard will be doing “Ballet for Martha,” a tribute to dance legend Martha Graham composed by her friend Aaron Copland. (Historical note: The Vanguard performed Copland’s “Appalachian Spring—an expanded version of “Ballet”—several times in the 1970s and ’80s.) We’ll go out on a limb and say to expect to see Graham’s influence reflected in the color guard.

Dancing on their heels will be the Blue Knights who snatched up DCI Hall of Famer Marc Sylvester during the off-season to enhance the corps’ already strong visual package.

Coming off a solid run to the Finals in 2008, Glassmen Executive Director Brian Hickman has expressed excitement about the ’09 rule change that will allow the use of electronic instruments, so expect the Toledo, Ohio corps to explore the Boston Crusaders sonic boundaries.

Drum Corps fans should keep an ear out for the Madison Scouts. After overcoming a tough early season to make the ’08 Finals with their celebration of Latin culture, “La Noche de la Iguana,” the two-time World Champions hope to climb up the standings this time around by delivering another Spanish-flavored show, “Relámpago.”

Those on the fence about the implementation of electronics in this year’s performances may want to hold their judgment until they hear what the Crossmen do with soundscapes in their Santa Clara latest, “Forbidden.”

Vanguard The group—famous for balancing tradition with innovation—hopes to return to the Finals after a four-year absence.

2007 finalists the Colts had the honor of marching in the Inaugural Parade in Wa s h i n g t o n ( s e e “Commitment to Excellence” on page 18), but after surviving

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HIP PREVIEW 2009 CHAMPIONS the frigid D.C. conditions are probably looking forward to the warm weather and delivering what they hope to be a deep show: “Fathoms.”

Jacksonville, Alabama’s Spirit will be rocking to the tunes of Kansas hits like “Song for America,” “Carry On Wayward Son,” “Point of Know Return,” “Dust in the Wind,” and Journey from Mariabronn.”

Speaking of carrying on, Casper, Wyoming’s Troopers Pioneer may combine Sharks, Jets and Cowboys with “Western Side Story.”

Some familiar faces will get a fresh look as Pacific Crest dons new uniforms in ’09. You can see an online clip of the corps tearing through the opener of its show, “El Corazon de la Gente” on the Fan Network.

CH AM PS Entering its third year as a World 00 18 82 83 Class corps, 2006 Division II winners The Academy of Tempe, Arizona hopes SE CT ION to rise into the top 12 with “The Ascent” in 2009.

Another former Division II winner RO W looking to make progress in World Class competition is the Mandarins. The SE AT Sacramento, Calif., corps’ new show is “Absolute,” which carries the subtitle “Absolute Fanfare, Absolute Passion, Absolute Joy, Absolute Rhythm, Absolute Velocity.”

W i t h “ C e l t i c Tr i n i t y,” Milwaukee, Wisconsin’s Pioneer hopes to improve on its ’08 placement by adding a new page to the Irish-influenced music that’s been a corps tradition.

“The music has a contemporary Irish sound, as compared to the more traditional Irish/American music that we have used in the Oregon past,” the corps web site says.

Crusaders “We will also take advantage of the use of the new DCI rules regarding electronics to enhance our field presentation.”

After staying home in the Northwest for the 2008 season and marching in exhibitions, the Cascades return to the World Class stage. A slew of new staff and marchers are

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hoping to continue a rebuilding effort that began in 2007 with their ’09 show, “Beyond the Forest.”

Open Class

If the World Class corps are in a dogfight for the top spots, the Open Class corps are going to be in an all out war. Last year’s World Championship Finals was a tight race with a lot of competitive placement shifts over the last week of the season. With almost two-dozen corps facing off, this season could be another photo finish.

Here’s a rundown of some of the top contenders for Open Class glory.

The Santa Clara Va n g u a r d C a d e t s are returning to defend their title with a show that explores the biggest of l i f e ’s b i g m y s t e r i e s , “Love.” “This year the design team wanted to explore a universal theme and we couldn’t think of anything more thematically universal than love, the most powerful and transforming human emotion,” says Director Rob Ripley.

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HIP PREVIEW 2009 CHAMPIONS might mean a return of the color red to the Vanguard Cadet uniform. With only a tenth separating their final scores last year, it is sure to be a red vs. blue rematch at some point this season as Blue Devils B is hard at work on its next set – though the corps isn’t quite ready to disclose what it is.

The Californians are going to have to keep their balance, because the Oregon Crusaders—who finished an impressive fourth last season—are bringing it on with 2009’s “Equilibrium.”

One team to watch out for is Teal Sound, who look to be on the cusp of a move up to the World Class themselves. This year’s production, “The Velvet Rope,” is being designed as a high energy dance mix that will allow each section to rock the stands. Director Randy Blackburn says, “It is a complete step into the V.I.P. celebrity world that asks the question, ‘Which side of the velvet rope are you on?’” Mix high energy in with everything else Teal Sound has going for it, and they may find themselves V.I.P’s by the end of the season.

Citations had the color guard to beat in ’08, which made the corps’ visual package shine. The way Citations’ music scores were rising, it is safe to say the corps would have been near the top of the pack had there been another week to the season. This Massachusetts powerhouse, though, has to share New England with their rivals from

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New Hampshire, the five-time gold medalist Spartans, who made big strides this past offseason to return to peak form.

Expect these two to slug it out right from the get go. The one that gets the early edge will probably be wearing hardware at the end of the season.

The sleeping giant of Open Class is Revolution from San Antonio, Texas. With strong competitive indoor programs to help develop its outdoor talent and increase its numbers each year, Revolution’s 10th anniversary may turn out to be one big celebration. DCI Magazine obtained bootleg copies of Revolution’s latest, “ElementAll” a tightly woven patchwork of the corps’ past musical elements (including compositions by David Holsinger and Phillip Glass), along with some new material possibly from Pat Metheny. “The charts are definitely stronger than last year and hone in on our signature dark s o u n d ,” s a y s D i r e c t o r J o h n Rodriquez.

Canada’s Dutch Boy is playing an arrangement of Michael D a u g h e r t y ’s c o m p o s i t i o n “Bizarro,” and adding some of Anthony Dilorenzo’s penetrating music. “The show will include never-seen-before effects on a drum corps field,” reveals Peter Jones, Dutch Boy’s Program Coordinator. In a year in which many corps are reaching for the “new thing,” daring to be different, and promising to shake-up everything we think we know about drum Dutch Boy corps, Dutch Boy’s claim that they will take the crowd to an alternate reality is one more break from normalcy we’re looking forward to exploring. What is this new effect? Jones isn’t saying. Like any good poker player, he’s not going to tip his hand.

But another dozen or so Open Class corps will also be at the table, ready to turn the game on its ear at any time. After all, a drum corps season is always a paradox: a marathon run at sprinter’s speed; a competition ruled by cold hard numbers yet influenced by the subjective nature of art. That combination of competition and creat iv it y is su re to ma ke 20 09 one intriguing ride.

Many little snapshots make up the big picture of a drum corps show.

Three experts tell you what to look for.

MAN: PHOTOOBJECTS.NET/©2009 JUPITERIMAGES; BENCH: PHOTOS.COM/ ©2009 JUPITERIMAGES

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o paraphrase Charles Dickens, success on the drum corps field rides on both the biggest of things and the smallest of things. Over the course of an evening, audiences will see hundreds of marchers performing dozens of pieces of music and witness thousands of individual moves and notes—all across the huge stage of a football field.

Yet it’s often just a few points—or percentages of a point—that separate the best from the rest on the score sheet. As in any competition, technique is paramount: In the trenches, a championship can ride on a dropped rifle or a missed beat.

But because it’s also an art form, a drum corps show isn’t just about the score. “I would tell [observers] to enjoy the connection between the music and the visual,” says Cavaliers director Bruno Zuccala.

“Do you see what you hear and hear what you see?

Finally, just enjoy the show as it happens.”

But what if you want to both enjoy the show and follow the sport? What should you look for when watching the color guard, percussion or brass sections?” We asked t hree ex pert s w it h decades of experience as marchers, staff members and observers to give us their inside views. www.dci.org 33

Brass INSIDER: KEY POULAN Resume: Poulan is the brass composer and arranger for the Santa Clara Vanguard and also works with the Vanguard Cadets, Bushwackers, Renegades, and Millennium (Italy) Drum and Bugle Corps. As the owner of Key Poulan Music, he has been recognized as one of the country’s top arrangers and composers in the area of contemporary marching band, has several concert band works to his credit, and recently scored the film On the Starting Line. Poulan marched as a member of the Blue Devils in the 1980s, and in addition to serving on various drum corps staffs, he was a DCI Brass/Music judge from 1990-2002.

3 Big picture: I often work in terms of the big picture when I design a show or write a brass [arrangement]. After the design process is completed and the show has “come to life” on the field, I put on my “General Effect” (GE) ears to observe it. To me, “general effect” music is what the big picture is all about. Does the music take you on an emotional journey? Are there highs, lows, and everything in between?

Is there a logical flow from one section to the next? Does it intrigue you intellectually? Is it clever?

3 Knowing the score: Sometimes, how a corps scores one way vs. another depends on who’s judging and what their perceptions, tastes, and preferences are. Don’t get me wrong, a good judge can rank and rate groups even if he/she prefers another style.

In terms of the GE Music sheet, there is the design component—i n which the coordination between elements plays a significant role—and there is also brassto-brass coordination, brass-to-percussion coordination, and music-to-visual coordination. Corps that often score at the top have a well-planned design that covers all of these areas, and they execute it with an incredible amount of excellence and precision.

3 Where to watch: The individual performance skills of a group can’t necessarily be evaluated by a fan who is positioned anywhere other than where the judges are. I judged DCI competitions for 13 years and spent plenty of time evaluating the individual brass performance category. You would be surprised at how many things go wrong for individuals on the field even though the full ensemble may sound fantastic to the average fan up in the stands. I would always try to sample every individual in a brass section whenever I had the 34

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responsibilit y of placing a number on the brass [score] sheet. It’s important to understand that sampling an entire brass section is difficult to do in such a short period of time.

It’s even more difficult when weapons are f lying through the air and the drill is collapsing around you! Even the best judges don’t catch all of the exposed moments that occur on the field, and sometimes they can be [far removed] from brass elements that are disintegrating a good 80 yards away. In any event, I would recommend that fans place their focus on the emotional ride while occasionally evaluating the full music ensemble performance in terms of togetherness. That’s certainly enough to listen critically to while trying to enjoy a show.

3 What some fans don’t know—but should: The most challenging elements that a fan might not appreciate are the ability to perform at a high emotional level and with a great deal of excellence while running at full speed. The visual demands on members these days are truly amazing.

3 The fine points of greatness: What separates the great from the good? Several things. The quality of sound (tone) has to be pure. I prefer a rich darkness to the sound, but I also prefer intensity of sound at all volume levels—like that of a powerful orchestra. There must be clarity in all parts. I am not a fan of a single “homogenous” or “covered” sound but I do like that “organ” quality at times—when it is appropriate. I prefer textures based upon the combination of instruments at a specific time. Greatness of sound is the ability to create different textures with clarity and pure tone depending on what is being performed at a specific time.

3 Insider’s view: If you want to understand why certain groups place a certain way, watch the field brass judge. Look at what he or she is sampling throughout the show. If a section of a corps is having difficulties and the judge is right in front of them, you will most likely see that reflected in the score.

If that same group is having the s a me i s s ue s a nd t he judge i s nowhere near the problem, then the score will most likely not be affected in a negative way. Think of it like a highway patrolman with a radar gun. When he’s pointing it at a series of cars, he knows who is speeding. When he pulls over a car and is writing a ticket, he doesn’t know who is speeding by him. That’s why judging is so subjective!

Also, I would suggest that you watch the drill (movement) and the color guard as much as possible while you are listen-

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ing. Bottom line, you often want to see what you hear and you want to hear what you see. This is true coordination most of the time, unless there is a specific intent on the part of the design team to juxtapose visual and musical elements. Study the storyline or intent of a show. See if you can pick up on the deep layers that all point to the concept. Some corps are very “overt” and some are “covert.” Santa Clara Vanguard thrives on being covert. Check out sev-

Percussion INSIDER: DENNIS DELUCIA Resume: Dennis DeLucia served as percussion arranger/instructor for the Muchachos, Bridgemen, and Star of Indiana and was Program Coordinator for the Crossmen before joining the DCI World Championship broadcast team in 1994. A former member of the West Point Band, DeLucia has been an educational consultant and clinician for Yamaha, Sabian, Remo, and Pro-Mark and an author and contributor to Halftime and PAS magazines. He’s also a judge and Steering Committee member for Winter Guard International Percussion and a judge for many other band competitions.

DeLucia is a member of the DCI, WGI, and DCA Halls of Fame.

3 Big Picture: The primary role of the percussion section is twofold: It “drives the car” by providing the rhythmic pulse and energy for the entire corps and it “colors the musical portrait” by providing textures, timbres, and nuances that brass instruments alone cannot create. Usually, the battery provides most of the rhythmic drive and the front ensemble, or pit, provides most of the colors.

Try to listen to the corps in an imaginary stereophonic way: Tune out the percussion, get a feel for what the brass is “saying,” then pay attention to the percussion again to see if the musical whole seems better, worse, or unchanged with the percussion in your consciousness vs. without.

3 Breaking down the beats: First, consider the Five T’s: Time—control of tempo and rhythm; Technique—how the players hold and move their sticks or mallets; Touch— the moment at which the implement [stick or mallet] strikes [“touches”] the instrument, producing the sound; Taste— musicality, balance within the percussion ensemble, bal-

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eral of our past shows and take a look at everything that isn’t so obvious. If you have the DVDs, take a look at SCV’s “Eureka” in 2007. Everyone understood the exclamation marks (!) when the forms were 50 yards long and center field.

Now take a look at the color guard costuming, particularly the white stripe. Many drum corps have layers and layers of things like this. It keeps the season interesting for the fans who want to dig a little deeper.

a nce bet ween hor ns a nd drums, idiomatic writing and playing, style, support of the brass section; and Tone—a combination of tuning, muff ling, stick/mallet choices, and touch.

Then add the Five C’s: Cleanliness: Are the individual segments—snares, tenors, basses, pit, etc.— clean, or are they sloppy?

Clarity: Are the ensemble parts clearly written and performed? Composition: Is the written material supportive of the brass parts? Does the percussion enhance or detract from the total musical product of the horns and drums together? Color: Percussive color is a good thing! Clutter: Percussive clutter is a bad thing!

Listen for a variety of writing techniques. Some phrases might be “linear”—each voice plays a separate part that fits together like a jigsaw puzzle—and some might be “vertical,” with the tenors and basses playing the same rhythms as the snares.

3What some fans don’t know—but should: One challenge the fans might not understand is the constantly shifting “pocket,” which is the physical relationship of all of the elements in the show. Imagine playing bass guitar in a jazz band in which the drummer was on a constantly moving platform so that the distance between the two of you was always changing! Another factor is the distance between the battery and the pit, both front-to-back and left-to-right.

Finally, can the players in the pit really hear the battery through the horn line?

They may make it look easy, but it’s not. There are so many challenges: the wide range of dynamics, from very soft to very loud; playing expressively; exploring a variety of styles; having to perform unusual sticking pat ter n s t hat va r y f rom t he st a nda rd RLRLRL; pulling off bass drum “splits”— rhythms that shift from drum to drum flawlessly, creating one seamless, readable pattern; and speed and tempo variations.

3 Key players: Among the marchers, the center snare drummer usually controls tempo in conjunction with the drum major/conduc-

TAKING THE FIELD WITH COLOR

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tor. Watch him or her for clues on how well things are going.

In the pit, there will often be a lead mallet player who serves as the glue. He or she might actually conduct tempos within the front ensemble. He or she must watch the drum major but must listen back to the sound of the battery and horn line and play to that sound. Toughest job on the field!

3 Inside look: Watch the feet of the marchers because they offer clues as to how well the hands will play. This is a big concern with many younger corps, bands, and drum lines.

Pay attention to whether the drum line can march and move as well as t he members of t he horn line and g uard.

Remember, those drums weigh between 18 and 40 pounds!

Regarding the visual design, my creed is “Width works; depth destroys.” Forms that are wide yet fairly equidistant from the podium have a greater chance of succeeding than forms that are very deep (front

Color Guard INSIDER: ED DEVLIN Resume: Ed Devlin is currently the owner of Devlin Visual Design, which provides services for the marching arts both inside and outside the drum corps arena. In this capacity, he works with the Jersey Surf and Citations. Director of the Blessed Sacrament color guard since 1995, Devlin has been with the organization for 26 years, and also designs for the Miamisburg High School winter guard and many bands— including, for the past 22 years, King Philip Regional High School. Devlin is the President of the Winter Guard International (WGI) Board of Directors.

3 Big picture: The guard is a key portion of the drum corps visual program. The guard brings the music to life through the use of movement and equipment. The use of equipment—i.e., flags, rifles and sabres—is determined by what the designer deems appropriate for the music the corps is using. Props can also be utilized to help bring the music or concept to life. During the program, the guard may perform a section of the program where members dance without the use of equipment, so choreography can be a key to the strength of a guard program.

W hen watch i ng t he color g uard ensemble, most veteran fans know to focus on how together the performance looks: Are equipment spins, tosses, and phrases together? Is the technique uniform?

But there’s more to a 38

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to back) because of the speed at which sound travels. A variety of sets can enhance the visual cont r ibut ion of a ny d r u m l i ne.

Finally, foot speed and hand speed must co-exist in order to play well.

3 Ingredients of sonic greatness: The tuning and muffling of the drums should work individually and collectively to create a pleasing, resonant, musical blend that supports the voicing in the horn line. A good amplification setup that will enhance the sound of the mallet instruments can help. Also, listen for rhythmic characteristics that clearly define the groove or the style of music being played, and for unique and appealing textures.

show than technique. A color guard needs to communicate the show’s themes to the fans. They not only have to master the techniques they’ve been given to perform; they must also communicate the emotion to the audience.

3 Weapon watching: People tend to correlate good use of weapons (rifles and sabres) with the section being able to achieve their tosses and tricks crisply and without making mistakes like drops or awkward catches. But the staging and the way the corps incorporates these sections at appropriate points in the program is also very important.

At various times in the performance, a show will be staged to highlight what a particular section is doing. A cool trick or phrase can be written for a section, but if it’s staged improperly, no one will be able to see it!

3 What some fans don’t know—but should: When you watch the guard, look beyond how well the unit dances. One factor that separates the better guards from the pack is the way the individuals “travel.” The staffs of well-trained guards stress factors like body alignment, centering and balance, and projection of the performer to the audience, both within the ensemble and among individual members.

Many fans are not familiar with the more complex skills needed to be a higher-scoring ensemble. Look for more challenging techniques with the equipment—such as catching weapons or flags in unusual positions. Also, top corps will have longer phrases with more complicated moves and more intricate use of the equipment.

3 Sight and sound: A good guard will pick up the musical lines that are presented by the corps. For example, the weapon line could be interpreting the trumpets, while the flag line could be expressing what the percussion and front ensemble line is playing at any moment.

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Brass

Lesson

by Tom Ruby Boston Crusaders Tuba Technician

The Power of Posture ow you stand or sit can be among the most important factors when playing a wind instrument. Poor posture can lead to problems in tone, breath support, and technique. It is important to recognize good habits and reinforce them to promote a great sound.

H

Standing Posture

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The airstream from your lungs into the instrument should be thought of as one long tube. It is your responsibility to keep this tube as open as possible without crushing it or inhibiting the airflow!

Q Head placement is the most important element in proper posture. Your chin should be parallel to the ground, which will make your head levelâ&#x20AC;&#x201D;or slightly above level. Keep your shoulders relaxed.

Q The key to proper breath support and a great sound is to remain as relaxed as possible. Keep in mind that standing for a long time in an unfamiliar position can make your body tired, which may cause it to tense up. The more you practice good posture, the easier it will become.

Q While standing, maintain the head placement described above. Keep your feet shoulder-width apart, and do not lock your knees. Your upper back should be in a vertical position.

Sitting Posture

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Sitting while playing is almost exactly the same as standing. To achieve proper seated position, stand in front of a chair, using the standing posture described above, and sit down keeping the same head and upper back alignment.

The only difference between the standing and seated positions, should be a ninety-degree angle at your knees. Your feet should be flat on the floor. Do not cross your legs.

Remember, you should feel comfortable in both positions.

Tension and Release

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A great exercise to relieve body tension is to completely tighten up all of your muscles to create total body tension.

Hold this position for a few seconds, and then release the tension to make yourself completely relaxed. Think of it as building tension throughout your body and then quickly throwing the tension out of your body. This will give you an idea of the extremes of full tension and full relaxation.

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Percussion Lesson Rhythmic Building Blocks

A

solid rhythmic foundation is necessary for good sight reading and consistency in any musical performance. For students, learning to recognize and respond to patterns gets them beyond the note-to-note stage of reading music. There are two fundamental subdivisions that form the basis of most music.

By Thom Hannum DCI Hall of Fame

5 Duple Building Blocks

Play every first and third sixteenth note with the (R)ight hand, and every second and fourth sixteenth note with the (L)eft hand.

Var. 1

R L R L

Var. 3

R

RLRL

RLRLRL

Pattern recognition helps to improve technical facility and musical expression since the player now concentrates on a unit larger than a single note value. All percussionists should master the following one-beat rhythm patterns, or rhythmic building blocks, and their corresponding sticking. A consistent approach to sticking these rhythms will: Q help improve pulse control Q establish a system for improving rhythmic accuracy Q teach control of note lengths and rests Q develop a natural stick flow

L R L

Var. 5

R L RL

Var. 7

RLRL

Var. 9

R L R L

Var. 11

R L RL

Var. 13

RLRL

Var. 2

R L R L

Var. 4

R

L

R L

Var. 6

RLR L

Var. 8

R L R L

Var. 10

R L R L

Var. 12

RLR L

Var. 14

R

L

R L

5 Triplet Building Blocks When practicing, make sure to use a metronome.

Go slow at first and tap your foot to reinforce a feel for the downbeat pulse!

Because there are three notes per beat, each consecutive downbeat starts on the opposite hand. The right hand leads on beat 1, and the left hand on beat 2.

Var. 1 R L R L R L

Var. 3 R L R L R L

Var. 5 R L R L R L

Var. 2 R L R L R L

Var. 4 R L R L R L

Var. 6 R L R L R L

For more detailed use of these rhythm patterns in musical phrases please refer to Thom Hannumâ&#x20AC;&#x2122;s soon-to-be-released new book by Alfred Publishing titled: A Percussionistâ&#x20AC;&#x2122;s Guide To Check Patterns: Building Your Rhythmic Vocabulary.

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Feel the color of music.®

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© Pro-Mark Corporation. Feel The Color Of Music is a registered trademark of Pro-Mark Corporation.

Movement Lesson

Gary Granata, PhD, RD Founder, PerformWell, LLC www.performwell.net Bayonne Bridgemen drum line, 1979-81

Recovery and Rest: Strategies to Enhance Performance and Prevent Injury

H

ow often did injury cause a corps’ member to miss a performance or rehearsal last season? How often has your corps left its best performance on the practice field?

Has your corps ever caught fire during the week and then given a flat performance at the big show on Saturday night? High injury rates and inconsistent or flat performances are classic symptoms of over-training. Proper recovery and sufficient rest are proven ways to enhance performance and prevent injury in well-trained athletes.

The most effective training programs alternate periods of intensive physical training with periods of recovery and rest. Overuse injuries occur when tissue repair mechanisms are compromised by excess training and inadequate recovery and rest.

3 Recovery

Recovery should begin immediately after the last note of a performance or rehearsal. Note that an active “cool down” facilitates recovery better than simply halting the activity. Continuing the activity at a lower intensity gradually lowers heart rate and returns blood to general circulation and away from working muscles. Competitive swimmers may spend 30+ minutes in the “swim down pool” after a single race! A period of static stretching should follow, as flexibility exercises are most beneficial after activity when the muscles are warm. A recovery drink containing a 4:1 carbohydrate to protein ratio should be consumed soon after activity to initiate muscle repair. Decaffeinated fluids should be liberally consumed to rehydrate. Ice should be immediately applied to any tight, sore, inflamed or injured area. A cold shower can also aid recovery by fully cooling down muscles and joints.

3 Rest

Muscular and metabolic adaptations to training occur only when the body is at rest. Thus, scheduling rest days is an essential, and often overlooked, component of any training regimen. Continuing to train fatigued muscles dramatically increases injury risk and can produce negative training adaptations. Additionally, fatigue increases mental errors and wastes valuable rehearsal time. A drum corps tour has been aptly compared to marathon training. However, competitive marathoners reduce their workouts during the final month of training so that their muscles are fully recovered and fresh on race day. How often has your corps’ best performances occurred after a laundry day or rain-out? Proper recovery and sufficient rest are essential to maximizing rehearsal time, reducing injury and preparing for the big show.

Corps will also benefit by using the fueling and training tips published in my two previous Drum Corps International articles (see Fueling Drum Corps, Fall 2008 and Conditioning Drum Corps, Winter 2009).

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GEARING UP New and noteworthy instruments and equipment for marching musicians Rain on Me Stick Up

Flip Out

Vic Firth debuted a number of marching music implements this year, including a signature stick to honor Santa Clara Vanguard legend Murray Gusseck. Affectionately nicknamed “M-Dawgs,” the sticks are made from hickory and boast a slightly elongated tip designed to provide quick rebound, for a bright snare or tenor sound. vicfirth.com

If you’ve ever wanted to film some of your moves on or off the field but haven’t felt like dealing with bulky and expensive equipment, the Flip Mino (pronounced “minnow”) may be the ticket. This pocket-sized, point-andshoot camcorder records for up to 60 minutes, has rechargeable batteries, and enables users to easily share their videos.

Featuring similar specs but higher-quality video is the slightly more expensive Flip Mino HD. theflip.com

Sole Survival Marching can be really hard on your feet, but Shock Doctor’s Ultra2 insole can quiet those “barking dogs.” The Ultra2 is designed to conform snuggly to the heel, mid foot, forefoot, and toe area. A molded chassis stabilizes the heel, while multiple layers of foam absorb shock.

Plus, there’s an anti-microbial cover to keep your feet fresh and prevent odor. shockdoctor.com

It’s a Wrap Is it a blanket? A robe? It’s both! The Snuggie—a blanket with sleeves that will keep you toasty while allowing your hands to move around—may be the ideal way to keep warm on long bus rides.

One-size-fits-all Snuggies come in three colors—burgundy, royal blue, and sage green—and are available at getsnuggie.com.

46

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A heavy rainstorm doesn’t need to put a damper on your training or practice this spring. 02 Rainwear is designed to handle the heaviest of downpours while allowing the freedom of movement necessary for drum corps training and performance. Thanks to a high-tech polypropylene membrane, 02’s gear is designed to stay waterproof under the most intense conditions while remaining breathable, lightweight (a hooded jacket weighs only 5.5 ounces) and affordable. rainshield.com

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November 6-8

Age-Out

By Carolyn Keating

MA Mark Arnold

Then: Emerald Knights, Cedar Rapids, IA Now: Drum Technician, Keith Urban’s Band

“It doesn’t matter where or when you marched,” Mark Arnold says. “What matters is that you did march.” A bass drum, tenor, and snare player in the former DCI corps Emerald Knights (which disbanded in 2002), Arnold believes that drum corps people have a certain affinity for each other, regardless of what they’ve done or where they’ve done it. Now the tech for drummer Chris McHugh in country star Keith Urban’s band, Arnold’s past experience gave him credibilit y when he was asked to coordinate drum line appearances for Urban’s 2007– 2008 “Love, Pain & the Whole Crazy Thing” tour.

The more than 70-show tour featured appearances by a dozen groups from around the country, including high school, college and professional dr um lines. Each night after the band played the song “I Told You So,” local drummers would launch into the postlude “Hot Pepper Cheese,” written by guitarist Brian Nutter. The song was a highpoint of the night, bringing the crowd to its feet screaming and cheering.

The repetitive, military-like rhythm of “I Told You So” gave Urban the idea of featuring a drum line from different cities on the tour, with participants including Drum Corps International’s Santa Clara Vanguard Cadets, Seattle Cascades, and the Jersey Surf. Along with bringing an exciting element to the show, it was a great opportunity for drum corps members to perform onstage in front of a huge audience. “We had the whole gamut [of experience], from students who didn’t have any, to people who were members of World 50

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Champion corps,” says Arnold. “The cool thing was that those who had a lot of drum corps experience, were just as jazzed as those who had never been in the spotlight before.”

Arnold became a part of Keith Urban’s band through a long-term friendship with Urban’s drummer, whom Arnold met while managing the Nashville cartage company Drum Paradise and setting up studio drummers’ gear at different sessions around town. One day, McHugh asked Arnold if he would be willing to go on the road and take care of his gear, to which Arnold replied, “When do we leave?”

As McHugh’s drum tech, Arnold is responsible for setting up, breaking down, and maintaining the band’s drum kits, changing and tuning the heads, making repairs as needed, and making sure that everything is in place and in proper working order. For the “Love, Pain” tour, he also facilitated the drum corps appearances by finding the local corps, rehearsing the music with them, and preparing them for the upcoming show.

Arnold says he was happy to work with the drum corps community again, and wants to do anything he can to help the activity, bring the general public to drum corps, and expose more people to it.

The experience of touring with a corps still resonates in Arnold’s daily life on the road.

“You’re traveling with 70 other people, so you lear n really quickly how to get along with others, and what to do and what not to do,” he says. “Now, I live on a bus with 10 other people.

It’s very close quarters, and you have to learn how to work with them and how to help them do their jobs to the best of their abilities. It also teaches you independence. [As drum tech] I can’t depend on anybody else.

So it’s interesting that the drum corps experience teaches you how to be part of a team, but also teaches you individuality and how to take care of yourself.”

All in all, it has been a statisfying ride for the former Emerald Knight. “I love what I do now,” Arnold says. “I love the road, [getting] to see the country, Europe, Australia. If I can keep doing the live drum tech thing for a really long time, I’d love to.” But if he had the time, he says, he would also love to march again. “I miss playing in a bass drum line.”

“This is where my DCI journey began.”

– AUSTIN NELSON BLUECOATS MEMBER

%DMOND -USIC s %DMOND /KLAHOMA

The local community music store is often the first stop on ancommunity amazing musical journey.

The local music store is often the first stopNelson on wasan amazing Austin in sixth grade when hemusical walked into his journey. neighborhood music store. Like a kid in a candy store, he was mesmerized by all the displays. Then he bought his first trumpet, and music has played a huge part in his life ever since.

Your local music store has everything you need to embark upon—or continue—your own musical journey. To locate a music retailer near youand learn more about the proven lifelong benefits of making music, visit www.wannaplaymusic.com .

1. Rockford, IL • 6/19 2. Chambersburg, PA • 6/19 3. Walnut, CA • 6/20 4. Stillwater, MN • 6/20 5. Annapolis, MD • 6/20 6. Riverside, CA • 6/21 7. Menomonie, WI • 6/21 8. Mankato, MN • 6/22 9. Pittsburgh, PA • 6/22 10. Sioux Falls, SD • 6/23 11. Dublin, OH • 6/23 12. Rio Rancho, NM • 6/23 13. Glendale, AZ • 6/24 14. Toledo, OH • 6/25 15. Des Moines, IA • 6/25 16. Normal, IL • 6/26 17. Clovis, CA • 6/26 18. Naperville, IL • 6/27 19. Brockton, MA • 6/27 20. Stanford, CA • 6/27 21. Stockton, CA • 6/28 22. Madison, WI • 6/28 23. Decatur, IN • 6/28 24. Erie, PA • 6/29 25. Dubuque, IA • 6/30 26. Rome, NY • 6/30 27. TBA, IL • 7/1 28. Ft. Edward/ Glens Falls, NY • 7/1 29. Beverly, MA • 7/2 30. Vicksburg, MI • 7/2 31. Bakersfield, CA • 7/2

32. Eugene, OR • 7/2 33. Bristol, RI • 7/3 34. Cedarburg, WI • 7/3 35. Santa Barbara, CA • 7/3 36. Portland, OR • 7/3 37. Pasadena, CA • 7/4 38. Michigan City, IN • 7/5 39. San Diego, CA • 7/5 40. Fairfield, OH • 7/6 41. East Brunswick, NJ • 7/6 42. Tri Cities, WA • 7/6 43. TBA, VA • 7/7 44. TBA, ID • 7/7 45. Kingsport, TN • 7/7 46. Ogden, UT • 7/8 47. Columbia, SC • 7/9 48. Windsor, CO • 7/10 49. Valdosta, GA • 7/10 50. New London, CT • 7/11 51. Denver, CO • 7/11 52. TBA Southern, CA • 7/11 53. Orlando, FL • 7/11 54. Manchester, NH • 7/12 55. TBA Southern, CA • 7/12 56. Hutchinson, KS • 7/13 57. Ft. Walton Beach, FL • 7/13 58. Broken Arrow, OK • 7/14 59. Ocean Springs, MS • 7/14

81. Salem, VA • 7/27 82. Eau Claire, WI • 7/27 60. Edmond, OK • 7/15 83. Charleston, WV • 7/27 61. Dallas, TX • 7/16 84. South Lyon, MI • 7/27 62. Houston, TX • 7/16 85. Sevierville, TN • 7/27 63. Houston, TX • 7/17 86. Richmond, KY • 7/28 64. Dallas, TX • 7/17 87. Madison, WI • 7/28 65. San Antonio, TX • 7/18 88. Belding, MI • 7/29 66. Winslow Township, NJ • 7/18 89. Warrenton, VA • 7/29 67. TBA Northern, CA • 7/18 90. Centerville, OH • 7/29 68. Denton, TX • 7/19 91. Columbus, OH • 7/30 69. TBA Northern, CA • 7/19 92. Greendale, WI • 7/30 70. Lafayette, LA • 7/20 93. West Chester, PA • 7/30 71. Van Buren, AR • 7/21 94. Dubuque, IA • 7/31 72. Monroe, LA • 7/21 95. TBA, MI • 7/31 73. Hattiesburg, MS • 7/22 96. Lawrence, MA • 7/31 97. Allentown, PA • 7/31 74. Murfreesboro, TN • 7/23 98. Allentown, PA • 8/1 75. Gadsden, AL • 7/24 99. Clifton, NJ • 8/2 76. Murfreesboro, TN • 7/24 100. Buffalo, NY • 8/2 77. Atlanta, GA • 7/25 101. Dayton, OH • 8/2 78. Omaha, NE • 7/25 102. Massillon, OH • 8/3 79. TBA, NY • 7/25 103. Toledo, OH • 8/3 80. Charlotte, NC • 7/26

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Events and dates subject to change.

For “Countdown” information, visit: www.DCI.org/countdown