DCI Magazine, Spring, 2012

DrumCorps

Spring 2012 | Vol. 6 No. 2

The Magazine of Marching Music’s Major League ™

International SEASON PREVIEW

Music that Moves

The score to DCI’s 40th anniversary runs from the classics to the cutting edge

A Touch Of Class TRAINING YOUNG MUSICIANS TO ACHIEVE DRUM CORPS EXCELLENCE

An Atlanta Marcher’s

Indomitable Spirit

Velvet Knights Alum’s “Highway” to Rascal Flatts

DRUM CORPS’ BIG REUNION KICK-STARTING THE FALL BAND SEASON STANDOUTS, EVENTS, NEW GEAR & LESSONS!

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DrumCorps International THE OFFICIAL MAGAZINE OF MARCHING MUSIC’S MAJOR LEAGUE Volume 6 Issue 2 Dan Acheson Executive Director/CEO Bob Jacobs Director, Marketing John DeNovi Director, Sales & Business Development Chris Weber Sr. Manager, Communications

Custom Published By: In Tune Partners, LLC Irwin Kornfeld CEO Will Edwards President

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Angelo Biasi Publisher Emile Menasché Editor-in-Chief Jackie Jordan Creative Director

FEATURES 18

The Sweet Sound of Success

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The Field Is Their Classroom

Mac Randall Senior Editor Robin Garber Production Director Barbara Boughton Business Manager Illustrations Trevor Johnston Photography Ryan Cain, Johnny Gilbert, Jolesch Photography, Sid and Linda Unser Contributors Debbie Galante Block, Geoff Giordano, Ben Harloff, Danny Miles, Adam Perlmutter, Matt Savage, Frances Smith Drum Corps International is the leader in producing events for the world’s most elite and exclusive marching ensembles for student musicians and performers. Editorial and business contact is 110 W. Washington St., Suite C, Indianapolis, IN 46204, phone: 317-275-1212, fax: 317-713-0690. Drum Corps International Magazine is published in the Winter and Spring of each year. Nonprofit organization U.S. postage paid at Long Prairie, MN permit #710. Copyright ©2012 Drum Corps International. All rights reserved.

No one knows who will win, but one thing’s certain: You’ll hear great music throughout the summer. Learn who’s playing what—and why— in our 2012 Season Preview. BY ADAM PERLMUTTER How do drum corps groups transform “band kids” into elite marching musicians? We asked World and Open Class instructors to share their methods and recommendations to help new members make the grade in Marching Music’s Major League. BY EMILE MENASCHÉ

DEPARTMENTS 7 Sidelines

Kick Start your fall band season this summer ... The biggest drum corps reunion in history ... Devils March in Malaysia ... and more!

14 Standouts

Recognizing the achievements of outstanding drum corps members.

16 Commitment to Excellence

Spirit of Atlanta’s Darryl “DJ” Turner wouldn’t let cancer silence his horn.

50 Gearing Up

Cool equipment and accessories for marching musicians and guard members.

52 Age-Out

Rascal Flatts bandleader Jim Riley still connects with his days in the Velvet Knights.

LESSONS 43 Brass Lesson It’s All About Your Sound, by Carolina Crown brass staffer Ben Harloff

44 Percussion Lesson Fake Your Way to Better Flams, by Jersey Surf director of percussion Matt Savage

46 Movement Lesson A Spring Training Survival Guide, by Bluecoats strength & conditioning coordinator Frances Smith www.dci.org

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Kick Start the Fall Band Season

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rum Corps International members are known for turning individual effort into group achievement. And while the fruit of their hard work is evident on the field at every show, DCIâ&#x20AC;&#x2122;s new Kick Start program will offer teachers and students the opportunity to experience their commitment to excellence up close at educational clinics taking place at seven events during the 2012 season.

Offered for free to groups that purchase qualifying ticket plans, Kick Start is designed to show students how to become effective at both leading and following directionâ&#x20AC;&#x201D;and know when to do each. â&#x20AC;&#x153;Too often, itâ&#x20AC;&#x2122;s only a small group of students who end up going to leadership programs,â&#x20AC;? says program head Fran Kick, whoâ&#x20AC;&#x2122;s been a motivational speaker and educational consultant since 1986. â&#x20AC;&#x153;These Kick Start sessions strive to do something different: We want to give all music students an opportunity to learn more about what I call the â&#x20AC;&#x2DC;followership + leadershipâ&#x20AC;&#x2122; dynamic.â&#x20AC;?

Each session will provide a learning lab and case-study example for students, staff, and parents. â&#x20AC;&#x153;It promises to be fastpaced and hands-onâ&#x20AC;&#x201D;learning by doing and not just sitting, listening, and watching,â&#x20AC;? says Kick, who draws on his own experience as band director at Centerville (Ohio) High School in the 1980s and â&#x20AC;&#x2122;90s, as well as more than a decade of work i ng w it h Ba nds of America/Music For All. See a complete schedule and learn about group ticket plans at DCI.org/groups. www.dci.org

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Sidelines Get Back to Where You Belong!

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uper Bowl XLVI may be best remembered for the Giants’ late game-winning touchdown and Tom Brady’s desperate end-zone incompletion that sealed New York’s title. But the first ever Super Bowl in Drum Corps International’s home city of Indianapolis included many other highlights for members of the marching music fraternity, including a chance to participate in Madonna’s lavish halftime show. Alongside of all-star guest performers like LMFAO, Nicki Minaj, and Cee Lo Green was a 100member drum line that included students from Indianapolis-area Center Grove, Avon, Fishers, and Franklin Central high schools.

The students were at Lucas Oil Stadium thanks to the efforts of group experience specialist Susie Ferreira, who helped the show’s producers find members for the drum line. “What an experience this was for the group,” Ferreira says. “There was a really great moment during one of our rehearsals when the drummers learned for the first time that they’d also be performing with LMFAO and Nicki Minaj. They were freaking out!”

Read more at tinyurl.com/SuperDCI.

Start the Season in the Cinema You don’t have to travel to Akron, Ohio, to see six World Class corps (including local heroes the Bluecoats and the defending champion Cadets) kick off the 2012 season on Saturday, June 16.

The event will be recorded in high-definition video and shown in more than 400 movie theaters across the country the following Monday. DCI will be back in theaters for the World Championship Prelims live broadcast on August 9.

Learn more at DCI.org/cinema

Picture This Drum Corps World publisher Steve Vickers recently helped DCI’s effort to preserve drum corps history by donating decades’ worth of images to the organization.

The Drum Corps World archive may well be the world’s most comprehensive assembly of drum corps art, with more than 140,000 photos from before and after the DCI era showing hundreds of North American and international groups of all classifications. Vickers sees the donation as one important step toward a larger goal. “I’ve been talking with DCI for many years about someday having a marching music museum with drum corps as the centerpiece,” he says. “I’m hopeful that this donation could serve as the impetus.” See some of the photos at tinyurl.com/DCI-Archive.

Stay Close to the Action with DCI’s Fan Network and Field Pass Want to keep on top of the latest drum corps action—even when you can’t get to the stadium for a show? DCI’s media department has you covered. Thanks to the Fan Network—where you’ll find live streams and on-demand video and audio available 24 hours a day—and the free Field Pass podcast hosted by Dan Potter, you’ll always have a virtual seat on the 50-yard line. To learn how you can get all the action on your computer or mobile device, visit DCI.org/media.

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TOP LEFT: KEVIN MAZUR/GETTY IMAGES

A Super Showing for DCI

Even more than the thrill of competition, it’s the special camaraderie enjoyed by those who’ve participated in drum corps that made DCI’s first 40 years so special. What better way to celebrate that lifelong connection than by throwing a party? DCI will do just with the Grand Reunion, running August 9-11 as part of the 2012 DCI World Championships in Indianapolis. “We’ve created a way for drum corps alumni from around the world to reconnect and celebrate,” explains DCI director of events Susan Kuehnhold. “With more than 400 corps taking part in the DCI World Championships since 1972, an estimated 250,000 drum corps alumni are out there.” Festivities will include an on-field VIP ceremony honoring 40 years of DCI alumni and an exclusive “after-party” immediately following Friday’s Semifinals at Lucas Oil Stadium. See complete details and order from a range of available packages at DCI.org/reunion.

www.dci.org

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Sidelines

A MARCH IN MALAYSIA

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Last December, members of Blue Devils’ System Blue delivered a world-class educational clinic in Kuala Lumpur.

he Blue Devils are no strangers to the road. But last December, the organization set out for some uncharted territory when the System Blue Educational Series presented a program of educational clinics in Kuala Lumpur, Malaysia. “We were invited by Zulkifli Ishak, CEO of the World Band Championship organization and a long-time band and drum corps enthusiast,” says System Blue manager Patrick Seidling. “Thirty members and instructors spent a week giving clinics and performances to more than 200 band students from across Malaysia, Thailand, and Indonesia. It was really satisfying to see Blue Devil members perform for a very appreciative audience and become teachers and mentors to these enthusiastic young people. And it was inspiring to see the wide-eyed clinic students get to learn from their Blue Devil heroes.”

The trip was also an eye-opener for members like Cassie Connolly, a five-year veteran of the Blue Devils color guard who started with the organization in 2002.

“Stepping out of the Kuala Lumpur airport for the first time was amazing,” says Connolly, who’s entering her age-out season. “The people were fantastic. Everyone welcomed us with open arms. My students were so respectful and eager to learn. I truly enjoyed meeting and bonding with both the students and their parents. They’re unique and talented individuals.”

In addition to sharing their expertise, the Blue Devils

10

managed to explore the South Asian city known for its cultural diversity, architecture, and food. “We were able to go to a mosque; it was so elegant, beautiful and pristine.” Connolly recalls. “Another highlight was exploring the ‘Central Market.’ We were able to haggle and bargain prices from the locals for exotic goods to bring home. Later, we discovered a jungle behind the school where the clinics were being held! We were able to go on a little journey of our own and take in the wildlife and gorgeous rainforests.”

Still for Connolly, the most satisfying part of the trip was discovering how eager the students were to learn from members of her corps. “I didn’t realize until we arrived in Malaysia that the Blue Devils are very popular among that marching music community,” says Connolly, a student at Old Dominion University in Norfolk, Va., who’s double majoring in psychology and communication disorders. “I think the fact that we were able to bond with the students on a personal level affected them more deeply than I had expected. They were able to see a different side of us— not only as performers, but also as teachers and friends. I learned that music and dance is truly a universal language. Spending time with these students reminded me why I’m a performer and why I love to teach color guard.

They inspired me to be better—and I think we did the same for them.”

www.dci.org

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Standouts

By Danny Miles

JEFF MCCLEVE

JESSE GARCIA

MARIA BARONE

Elite company: As a member of the Academy since 2010, Jeff McCleve has taken part in some pretty intense competition. This offseason, the senior at Phoenix’s Desert Vista High School got to strut his tuba stuff alongside 124 of the nation’s top high school musicians as part of the U.S. Army All-American Marching Band. “The USAAAMB member performance quality and focus reminded me of my experience with drum corps,” says McCleve, who’s been playing the tuba for six years. “The energy was very high during rehearsals.

Even with the limited time, we came together as a family. We had one week to learn and perform the show at the AllAmerican Bowl game in San Antonio.”

Corps to the core: When Jesse Garcia ages out this summer, it will mark the end of a long journey. After starting his drum corps career with Jersey Surf in 2006 and ’07, the Emerson College sound design/post-production major joined the Cadets in 2008, and the corps has been his home for all but one season (2010) since. It was during his “off year” that Garcia, who hails from Jackson, N.J., got a chance to demonstrate another side of his playing as lead trumpet for the Philadelphia Jazz Orchestra. “We toured Italy and Portugal for two weeks playing shows every night for high-end galas, as well as free shows for the locals,” he says.

Striking a cord: Nineteen-year-old Boise State communications/journalism major Maria Barone recently discovered a creative way to tackle the age-old problem of financing her drum corps dream by creating InfinityCords, a line of bracelets celebrating the activity she loves. “My older brother taught me how to make these bracelets when I was in middle school,” says Barone, who marched with Troopers last year. “When I got home from the summer tour this past August, I made a couple for myself and my friends started asking for them.”

The Academy {Tuba}

Drills and thrills: “We rehearsed two or three times every day while also enjoying special events like going to Fort Sam Houston, the Alamo, barbecues, and parties. We traveled everywhere with Army ROTC cadets and worked with members of the Army Field Band.

We met other high-ranking officers, including the Army Chief of Staff. They spoke to us about being better people and being the role models in our communities.”

MOVING ON: “After my age-out year, I am considering joining the Army—preferably as part of one of their bands. I’d also like to be a high school band director and continue to perform in concert.”

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Recognizing noteworthy off-field achievements by DCI corps members

The Cadets {Trumpet}

Cadets’ confidence: “I would not have played in the Philadelphia Jazz Orchestra if it were not for drum corps—and especially the Cadets. Drum corps has taught me to live my life to its fullest and helped give me the confidence to pursue things that I wouldn’t have thought possible.”

After effects: “After I age out, I plan to move to Los Angeles and work for a sound design company making movies, commercials, and TV shows.”

SEASON TO REMEMBER: “My personal highlight was after the 2011 Finals. Seeing thousands of people stand up for us was the most amazing feeling I’ve ever had. Standing next to 150 people who all felt the same way is something I’ll always remember.”

Troopers {Front Ensemble}

Marching into business: “When I opened my InfinityCords online store, my business plan included fashion and college bracelets. Soon, the requests for DCI bracelets overran all other styles, and I couldn’t refuse the chance to express my love for drum corps by making them.”

Infinite inspiration: “Without DCI, InfinityCords would never have been established. I named it InfinityCords after a segment in our 2011 show that was dubbed ‘The Infinity Chord’ early on in the season.”

CORPS CARRYOVER: “I never thought making bracelets would have any impact until a member told me that the ones I made him put him ‘right back on the field with my brothers.’ I’m repaid every time people tell me things like that.”

www.dci.org

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Commitment to Excellence

By Debbie Galante Block

Darryl “DJ” Turner

A love of marching helped this Spirit of Atlanta member win the fight of his life

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nyone who’s marched in a drum corps will tell you that it takes both determination and physical fitness to survive the season. But last year, those qualities helped Spirit of Atlanta tuba section leader Darryl “DJ” Turner face down a much tougher challenge—stage 2A Hodgkin’s lymphoma.

“I went through four rounds of chemotherapy and 15 radiation treatments, which ended January 17,” says the 19-year-old, who’s getting ready for his third year with the corps. “I actually attended my first two rehearsal camps for the 2012 season while still undergoing treatment.”

Many people with Turner’s condition might have decided to skip the season, but the Tennessee Tech civil engineering major was anxious to get back to the group that grabbed his heart at his very first camp in 2010. “I’m not exactly sure what made me fall in love with the activity,” explains Turner, a onetime sax and trombone player who took up tuba to help fill a need in his high school’s marching band. “I guess it had something to do with seeing such a big group of people acting larger than [a collection of individuals]—and the fact that they were doing it through musicianship and athleticism at a level comparable to none. That first season was rough, being not as physically fit as I should’ve been. But I told myself I wouldn’t quit.”

To keep that promise, Turner had to overcome some finan-

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cial obstacles the following year after his parents realized that there just wasn’t enough room in the family budget to cover the cost of marching. “Being selected as a section leader, I was going to stop at nothing to find the money to march! I raised money door to door with a friend of mine. I also found some large sponsorships through personal connections and through the Spirit organization.”

Little did Turner know that bigger challenges were on the horizon. In February of 2011, he developed a cold—with a cough that never went away. Leading up to the season, two different doctors blamed the cough on bad allergies. But his condition only got worse as the summer progressed. “I thought maybe I had asthma,” he says. “I went to a doctor in New York who gave me some medicine and an inhaler. That helped somewhat, but there was still a noticeable cough and some tightness in my chest. All I could think was that, as section leader, I had do everything in my power to be a leader and role model.”

The week after the 2011 DCI season, Turner saw yet another allergist—and his world changed. “The day I was supposed to head to [college] band camp, I got a phone call from the doctor who said I had a mass in my chest and needed to go to the hospital,” he recalls. “Funny thing, all I could think was ‘well, there go my lunch plans.’” Two or three days of “not so fun” testing followed. During the biopsy, doctors deflated Turner’s lung to remove part of the tumor.

His lung was cut during surgery and he had to breathe though a tube until it healed. It was unclear if he ever would breathe normally again—let alone march and play tuba.

But Turner says his drum corps training aided his recovery. “When doctors took my vitals, they asked me if I was an athlete because my heart rate was so low. I was in the best shape of my life when it all occurred. After surgery, when I could stand up, I tried exercising in my hospital room. I managed to curl my duffle bag and do some air squats without it hurting too much. I guess I was in this weird mindset: Knowing that I would more than likely heal, I had to do my best to stay in shape for the next season. The doctors told me I could do anything I could physically handle—and I discovered I could handle it.”

With money still tight, Turner recently set up a fundraising website, helpmemarch.tumblr.com to help raise funds for the upcoming season. “It’s been a rough process, but I saw last year that if you really want something, then it’s possible to achieve it—but it might just be the hardest fight of your life.”

www.dci.org

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“The Commandant’s Own”

The United States Marine Drum & Bugle Corps USMC.Drumcorps

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The Sweet

S UND No one knows who will win, but one thingâ&#x20AC;&#x2122;s certain: Great music will underscore the march to the World Championships.

BY ADAM PERLMUTTER

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www.dci.org

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D SUCCESS of

Phantom Regiment

2012 SEASON PREVIEW www.

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2012 SEASON PREVIEW

2012 WORLD CHAMPIONSHIPS SCHEDULE

OPEN CLASS PRELIMS Michigan City, IN Monday, Aug. 6 Ames Field OPEN CLASS FINALS Michigan City, IN Tuesday, Aug. 7 Ames Field OPEN CLASS INDIVIDUAL & ENSEMBLE COMPETITION Indianapolis, IN Wednesday, Aug. 8 Indiana Convention Center WORLD CHAMPIONSHIP KICKOFF PARTY & HALL OF FAME INDUCTION Indianapolis, IN Wednesday, Aug. 8 Historic Union Station WORLD CHAMPIONSHIP PRELIMS Indianapolis, IN Thursday, Aug. 9 Lucas Oil Stadium WORLD CHAMPIONSHIP SEMIFINALS Indianapolis, IN Friday, Aug. 10 Lucas Oil Stadium CELEBRATE INDY ARTS! PARADE Indianapolis, IN Saturday, Aug. 11 American Legion Mall WORLD CHAMPIONSHIP FINALS Indianapolis, IN Saturday, Aug. 11 Lucas Oil Stadium 20

The Cadets

Last summer, Frank Ticheli won Drum C o r p s I n t e r n a t i o n a l ’s Wo r l d C l a s s Championship. Sting, Sara Bareilles, and a few other artists earned the Open Class title.

Well okay: Ticheli, Sting, and Bareilles weren’t physically on the field in Indianapolis or Michigan City during the 2011 Finals.

But their music was. And as the Cadets capped off last August’s gold medal performance, it was a note from Ticheli’s “Angels in the Architecture” that resonated through Lucas Oil Stadium.

As always, the work of many different composers will underscore the championship dreams of DCI’s 23 World Class and 20-plus Open Class groups. “This will be a big year for music,” says DCI A rtistic Director Michael J. Cesario. “We’ve Carolina got what seems to be 100 Crown genres represented, with each corps sounding vastly different than the next one.

It’s definitely the summer fans have been waiting for.”

If you want a good illustration of how diverse—and sometimes quirky—drum corps repertoire can be, you need look no further than the Cadets, who will defend

their title by bringing some holiday cheer to the field in perfect summer style—by playing a show filled with Christmas music!

At press time, 2011’s second place Blue Devils (World Champs in 2009 and ’10) and Bronze medalist Cavaliers were maintaining radio silence about their respective repertoires, but many corps have already revealed what they’ll be playing in 2012. And like every other season since its founding in 1972, DCI’s 40th Anniversary season should provide listeners an eclectic mix of st yles, enhanced this time around by a judging system in part designed to reward originality.

A Classical Feast

Marching music has roots in the classical tradition, and the great composers always seem to have a place on the field. For instance, 2011’s fourthplace finishers Carolina C r o w n v e nt u r e d i nt o Ru s sia n ter r itor y w it h R a c h m a n i n o v ’s P i a n o Concerto No. 2 and Symphonic Dances (interspersed with some rock courtesy of Black Sabbath, the Rolling Stones, and

www.dci.org

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2012 SEASON PREVIEW Puccini opera Turandot. “We’re still working on the program, but as you can imagine, tak ing an entire opera and extracting 10 minutes of the most compelling music—while at the same time making sure that the show has the proper programmatic flow—is a massive undertaking,” Farrell says.

“Opera can be very emotionally satisf ying, and in combination with the visual ideas inspired by this music and story, the end result could prove to be a ver y good drum corps show.”

Santa Clara Vanguard’s repertoire has included such composers as Béla Bartók, Samuel Barber, and Aaron Copland in recent years.

This season, the group will perform the music of contemporar y composers Eric Whitacre and John Mackey.

In its 2012 program, Reframed, Madison Scouts will take their brass and percussion sections to a higher level with selections from Modest Mussorgsky’s Pictures at an Exhibition, originally a virtuoso piano composition.

“The program uses Pictures at an Exhibition as the underlying melodic references, but they have been arranged in a manner that are uniquely the Madison Scouts,” says Executive Director Chris Komnick. “Fans will appreciate the complexity and variety of the music, and the visual program is being designed to enhance that variety.”

Madison Scouts

“Fans will appreciate the complexity and variety of the music, and the visual program is being designed to enhance that variety.”

Queen). Fans also heard works written (or inspired by) Tchaikovsky, Gustav Holst, Percy Granger, J.S. Bach, Beethoven, Bizet, and Leonard Bernstein, among others.

You can expect to hear a similarly exciting range of classical composers this season, too.

Sometimes it will be a piece or two sprinkled within a show that features a variet y of genres, but there are also shows that feature classical fare exclusively.

Turning a long-form classical piece into a compelling drum corps show is a challenge,” says Dan Farrell, program coordinator for Phantom Regiment, which hopes to top last season’s fifth-place finish with a show built entirely on selections from the Giacomo

Santa Clara Vanguard

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www.dci.org

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2012 SEASON PREVIEW

Sound Challenges

The music that you hear this summer may sound effortless. But the technical and stylistic demands of each program can challenge arrangers, composers, and musicians alike. Consider Phantom Regiment’s decision to tackle opera—music not ordinarily associated with marching. “Italian opera is a style unto itself, so we’ll be balancing that with all of the musical pedagogy that we strive to improve on from year to year,” says Phantom’s Dan Farrell. “The challenge will be to achieve a proper balance of the top-notch musical performance and the emotional impact this the opera should have on an audience.”

Pioneer faces similar complexities with Irish Immigrants: The Hands That Built America. “It’s difficult to fit Irish music into the typical production of today’s drum corps programming,” Pioneer’s Lansing Dimon admits. “Our goal is to make the music relevant to the overall program and capture the essence of the Irish immigrant experience. We’re looking to include and entertain the audience—especially with the ballad and closer.”

Some of the Jersey Surf’s 2012 source material—originally recorded with electric guitar, bass, and Continued on next page...

Spartans

Boston Crusaders’ Titans will include the

work of composer Ottorino Respighi, Gustav Mahler, and Terry Kirkman as it looks to make the World Class Finals for the 14th straight season.

Stravinsky has long been popular with drum corps. This season, his work will be heard in both classes, thanks to 2011 World Class Semifinalists The Academy and Open Class fourth-place finishers Spartans. The latter group’s Renewal will feature four selections from Stravinsk y’s first ballet, The Firebird (1910), as well as a movement from his most controversial piece, Rite of Spring (1913). Spartans Director Richard Rigolini says that the corps identifies with the mystical creature of the former work because the staff and members see themselves as having risen from the ashes in terms of performance. “The Firebird transforms through the story into something greater and more beautif ul in the end,” he explains. “We will use that imagery as we develop the concept of transformation, from the opening themes to Velvet Knights t he closi ng moment s.

Starting dark and intense, the program will progress with variations of color, timbre, mood, and layering to end with music that is upl i f t i ng a nd p ower f u l. St r av i n sk y ’s music was chosen to take us through such a journey.”

This Was the Future, will mark the third straight season that Troopers will return to the music of Aaron Copland—a composer whose works are a popular choice for many drum corps’ repertoire every year.

In Moving Forward, Velvet Knights will be performing a pair of pieces by great minimalist composers—Philip Glass’s 1000 Airplanes on the Roof and John Adam’s Short Ride on a Fast Machine—as well as “Road to Chicago,” by the soundtrack composer T hom a s New m a n. T he corps will use these pieces to convey different types of movement—aviating, driving, and walking—to dramatic effect. “The Glass piece is about flying in an airplane,” says corps director Mayra Iraheta. “This is where t he st udent s w ill experience rapid changes in speed—getting their heart

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2012 SEASON PREVIEW ...from prevıous page

drum set—was tricky to approximate with brass, battery and front ensemble. “Playing ‘groove’ music presents so many challenges— especially for the percussion arrangers, who must capture the intent of the original idiom and transfer that feel to the drum corps field,” Surf’s Dennis DeLucia says.

“The drill provides added challenges because the role of percussion is so different in groove music [more traditional marching] literature.”

The work of Igor Stravinsky provided Spartans with a different challenge. “When deciding to present music that has not only been a staple of orchestral literature but drum corps history, we understood the need to put a fresh face on an old classic,” Spartans’ Richard Rigolini says.

“We‘re purposely avoiding a literal ‘Firebird’ show, but using our own transformation as the framework for ‘Renewal’. We truly believe that we have something new to say.”

rates up and then having Jersey Surf them falling fast, just like many passengers experience on jet planes.”

Legends has put together a show in tribute to its home state, Michigan, using pieces

by Benja m i n Br it ten, G ordon Light foot , a nd James Horner to tell the story of a great tragedy—the 1975 loss of The Edmund Fitzgerald, a large freighter, which sank to the depths of Lake Superior during a massive storm, taking with it 29 officers and crew. “The full music production is extremely exciting,” says Executive Director Ibe Sodawalla. “We explore a number of textures. Music is set to each ‘scene,’ almost like a cue you would hear in a movie. We cover everything from calm to rage and aggression to beauty.”

Telling Stories

Sometimes, a corps will build a show around that season’s musical selections. But sometimes, the story comes first, and the music is chosen to tell it. Pioneer’s 2012 production, Irish Immigrants: The Hands That Built

America, includes selections that are Irish in character.

T he cor p s’ “ I r i sh Ne w World” mashes up bits of Dvor˘ ák’s Symphony No. 9 (New World Symphony) with Irish material, part of a set that will also include an i nt e r p r e t a t i o n o f “ I ’m Shipping Up to Boston” by t he Celt ic pu n k ba nd Dropk ick Murphys.

Pioneer’s staff was originally inspired by the period music heard in the motion picture Gangs of New York. “Along the way, other pieces were considered and added in by staff and the design team, making it less of the music from the movie but keeping the idea behind the story of Irish immigrants coming to America circa the late 19th century and the trials and hardships they faced,” says brass caption head Lansing Dimon.

Pacific Crest will use a variety of composers to explore the theme of color in its 2012 show, The Spectrum, while Jersey Surf ’s Bridgemania will honor the Garden State’s drum corps history by reprising music played by the legendary Bayonne Bridgemen, who

Pioneer

Whether they’re drawing from classical, pop, jazz, or original compositions, every corps will ultimately strive to create its own musical voice this summer. “I’m so delighted that each group has gone far out of its way to make a distinctive, compelling program,” says DCI’s Michael J. Cesario. “I’m absolutely certain that this thrilling variety will create a whole new generation of DCI fans.”

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)odoihC einnoC yb otohP(

drum corps excellence

2012 SEASON PREVIEW

“There are now points for creativity, orchestration, development, and character.”

competed in the DCI World Championships bet ween 1972 and ’87 and still maintain an active alumni corps.

The set will range f rom Earth, Wind & Fire to a ballad from Willa Wonka & the Chocolate Factory. “We decided to play about six minutes of ‘real’ Bridgemen music and four minutes that would f it into t he Bridgemania t heme but be u n ique to Jersey Surf,” says Surf design Music City t e a m c h a i r m a n De n n i s DeLucia. “We decided to open with one of the most iconic Bridgemen statements, going from ‘In the Stone’ into ‘Land of Make Believe.’ Our corps song is ‘Pure Imagination,’ and since it fit perfectly into the overall theme, it became our ‘pretty’ moment, followed by a high-energy finale that includes LMFAO’s ‘Party Rock Anthem.’”

Sometimes, a program can be inspired by a significant moment in a corps’ own history. “Our 2012 show, Crossroads, is a reference to t hat moment during t he 2011 season when we decided to chart a new course,” says Forte director David Smith. Smith originally proposed an oblique allusion to the group’s turning point— For te w i l l tel l it s stor y t h r ou g h e xc er pt s f r om Philip Glass’ Heroes Symphony (based on David Bowie’s album Heroes), paired with the T.I. and Justin Timberlake song “Dead and Gone,” as well as original works by the corps’ brass arranger, Craig Fitzpatrick.

Rock and other pop styles will be evident elsewhere, too. Expect World Class Teal Sound to stick to its hard-rocking tradition with CircO: Circus for a Modern World. Music City will become the first corps to mix Tammy Wynette’s “Stand By Your Man” into a set, which will be heard alongside the work of vetera n dr u m cor ps composer Key Poulan—whose music will form the basis of Mandarins’ 2012 program, Prophesy.

Originality Rules!

While the repertoire of these and other corps may undergo some changes as the summer approaches, 2012’s musical programming is likely to demonstrate more inventiveness than ever before, spurred on in part by new judging guidelines that reward originality.

The new system not only considers a group’s overall execution against a set standard, but now also accounts for variations in complexity compared to competing groups’ material.

Teal Sound “Our new judging system encourages corps to be different from one another because there are now points for creativity, orchestration, development, a nd character,” the June 16th season opener in Akron, Ohio, and the World ChampionCesario explains. “We’ve actually ship Finals, which takes place in Intightened all of the requirements. dianapolis on August 11, you’ll have More than ever before, the corps ample opportunity to do just that. will really have to work for each and Find the latest scheduling and ticket every point.” information at DCI.org/schedule.

HEAR YE HEAR YE! The best way to experience the diverse music and intense movement that Drum Corps International groups bring to the field is to be inside the stadium as they engage in artful competition. With more than 100 shows all over the U.S. between

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THE FIELD IS THEIR

o see a Drum Corps International group perform, and as you marvel at the speed and precision of their movement, the power and expression of their music, and their ability come together as a whole, it’s easy to forget that you’re watching an ensemble made up of young performers, some in high school and none older than 22.

Looked at another way, what you’re seeing and hearing on the field isn’t just a show: It’s a massive recital performed by some of the hardest working

music and movement students on the planet. And every one of them, from the youngest rookies to the section leaders of the World Champion corps, is constantly striving to get better as individuals while blending with the complex entity that is a drum corps. “The drum corps experience—whether a student attends one rehearsal camp or completes a full season—helps to improve a number of areas,” says Ibe Sodawalla, executive director of the Open Class group Legends. “The focus on commitment and hard work, and growth is a part of the process.” www.dci.org

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To help the students to grow as both individual players For Open Class groups, the audition isn’t so much a pass/ and as members of their sections—and ultimately, the com- fail test as it is a way for prospective members to see if and plete ensemble—a typical DCI corps’ brass, percussion, and how they might fit into a drum corps—and for the corps’s visual departments may each employ as many as 10 or more teaching staff to develop a plan for each student. “Development staff members. is one of the main focuses of Open Class How do they teach raw recruits to corps,” says Joe Haworth, brass caption “When we shine as members of Marching Music’s super visor for the Open Class Blue listen to a student Major League? How can students prepare Devils B. “We try to allow as many memthe number-one to get the most out of the lesson that bers into our brass section as possible.” question is the they’ll be learning before and during the According to Haworth, a prospective season? And what are some of the ways member’s instrumental chops tell only quality of sound both students and teachers can get a head part of the story. “With the ‘B’ Corps, they’re getting.” start on developing the skills needed to we tend to look at a new member’s visual —Matt Harloff, Carolina Crown excel at the Drum Corps International proficiency as a heavier determining faclevel? We asked Open and World Class tor in our evaluations than their musical instructors and clinicians to share their experiences and ability,” he explains. “We can usually make accommodations insights—and help current and future members flatten the to accept members who are musically deficient in some way— learning curve. for example, we occasionally have players who are switching over from woodwind instruments [which aren’t eligible for use in DCI units] to brass. But it’s much more difficult to do Like all good teachers, drum corps instructors start by eval- the same on the visual side of things due to the intense physuating each prospective member, usually through an audition ical demands that are placed on the members, even at the during winter rehearsal camps. The audition requirements Open Class level.” can vary widely depending on the level of the corps. In World While the specific criteria may be different for World Class groups, especially regular Finalists, auditions can be Class groups, which often include more experienced memvery competitive. An Open Class group, on the other hand, bers than their Open Class counterparts, they too look for may look at the audition as more of an assessment. But in members who can play and move well—and more important, either case, the audition is one of the first—and most impor- sound good when playing challenging material. “When we tant—“teachable moments” for drum corps members. “Over listen to a student, the number one question is the quality of the camp weekend, we take notes in various categories, such sound they’re getting,” says Carolina Crown brass caption as tone, technique, rhythm, and adaptation,” Sodawalla says. head Matt Harloff. “If a student comes in and can’t, say, dou“Applicants also talk one-on-one with the department super- ble tongue at the first camp, we can work on that through the visor toward the end of camp to discuss their experience over whole year. By the end of the summer, that student will probthe weekend and what areas to improve upon. They leave ably be able to double tongue pretty well. Sound is harder to with a sheet of notes that were taken through the weekend fix and may mean resetting an embouchure. But once we for their reference.” know they can produce a good sound, we look at what kind of material they can play and check out their flexibility, articulation, register, etc.”

“Most programs will tr y to establish their technique and the general expectations as soon as possible,” adds t wo-time DCI Individual & Ensemble champion, i nst r uctor, a nd cl i n icia n Jef f Queen, who marched as a member of a number of corps before joining the Blast! theater production.

“This can be done in an ensemble sett ing or in sect ions— snare, tenor, bass, etc. They will break down the technique and then jump into the audition requirements.

This could move pretty fast so the more prepared you are, the better chance you have of being able to apply the new techniques you’re

Sizing Things Up

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To pull music and movement together, Carolina Crown’s staff divides their instruction into three areas: “First, there’s technique of playing an instrument at a high level while standing still,” Harloff explains.

“Then t here’s t he tech n ique of marching or body movement. Finally, there’s the technique of doing both at once. Some of our exercises are not very traditional. For example, we’ll have the members sit down and stand back up, do some pliés, jump up and down... We say ‘try to get the same sound you always get—even though you’re laying on the ground!’”

A drum corps show may be only 12 minutes long, but packed within that time is a lot of challenging music—not to mention movement.

Sodawalla says it can be helpful to learn the repertoire in manageable units, especially early in the season.

“Throughout camps, we begin to teach the production in installments, along with parade music, our encore repertoire, and our exercise manual,” he says. “Constant feedback and updates help to maintain the development of each performer throughout the year.”

being asked to learn.”

According to Harloff, students are asked to adopt higher standards than those typically expected in school marching or concert band programs. “The biggest thing that we do is hold the members individually accountable.”

Because they face such a range of players coming into rehearsals, drum corps instructors know how to tailor their One of the reasons that marching with a DCI group is such expectations to the individual students. Basic techniques an intense learning experience is the sheer amount of time might be enough of a challenge for rookies, but once students the members and staffs are together over the course of the have the fundamentals down, it’s time to push them a little harder. “I am more picky “Constant feedback and updates help to with experienced members,” Queen says. maintain the development of each performer “They are on the path, so I can dig in more throughout the year.” —Ibe Sodawalla, Legends with them. I would get more particular about technique, sound quality, etc. as they have more of a foundation to build off of. This doesn’t mean summer. Touring drum corps—which include all of the that the less experienced members get less instruction. It’s World Class and a large percentage of the Open Class just that we can be more specific with the more experienced groups—practice nearly every day for two months, working players and they will know what to do with that info.” through drill after drill before shows, then performing several times a week. Drum corps staffs work hard to make sure all of that time is used as effectively as possible. “An immense Once camp starts, the lessons begin to take shape. Because amount of rehearsal planning goes into a drum corps sumthe music and the movement of any show may evolve mer,” Haworth says. “There is usually a precise goal in mind throughout winter camps, spring training, and even during for each rehearsal.” the season, instructors balance the members’ lessons between “The performers’ technical training never ends!” adds reinforcing core fundamentals and focusing on specific musi- DCI hall-of-famer Wayne Downey, Blue Devils brass capcal and movement techniques needed for that year’s show. tion head and owner of Xtremebrass.com, a website that “I’ve had a slogan for a while now,” Harloff says. ‘It doesn’t offers instruction geared toward marching musicians. “Each count unless it’s on the move. The visual instructors say this day we blend performance of the program with technique.” all the time as well: A member can make the drill move perBefore the season begins, however, instructors have less fectly, but when he or she starts playing, [the movement] is direct time with their students. Weekend-long winter camps completely different.” are scattered throughout the school year, and while these

Homework

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provide intense and focused teaching and learning time, as part of the complete ensemble—is an essential part of the members are expected to keep progressing in between the drum corps curriculum. “We work on multiple exercises to camps by doing their homework. “We tailor the exercises to refine all areas of producing a great sound and developing skill develop fundamental skills to let them become better overall in all disciplines,” Sodawalla explains. “Much of our instrucplayers,” adds Harloff, “but we also work on specific funda- tion is instrument specific. But then those instruments come mentals that will be important to perform that season’s together in larger sub-departments, like brass, battery, keyshow.” Crown is among the DCI groups that follow each board percussion, etc. We focus a great deal of time on refinmember’s progress while at home by using SmartMusic soft- ing these sub sections.” ware, which tracks and reports the players’ accuracy as they “It’s important to start developing a unified sound and perform their assignments. “We give them feedback from SmartMusic,” Harloff says. with a good sound, playing rolls at “We also have them videotape themselves various speeds, with and without acmoving and playing, and post the video on a cents at loud and soft dynamics, and Facebook page set up specifically for their Drum Corps International groups atmaster the basic flam rudiments.” section. And finally, they play for me and tract some of the best young marchFor brass players, Carolina other staff members so that we can assess ing musicians in the world. If you Crown’s Matt Harloff suggests focushow to help each individual improve.” want to count yourself among them, ing on producing good sound in both you can get a head start by working high and low pitch registers: “Do lip But while the assignments can be chalon some key techniques. slurs and lip flexibility exercises,” he lenging, many new members find that they’re “When I do clinics and teach says. “The other thing to do is simply inspired to try harder because they’re suraround the country, one of the play high. Try to hit that high note rounded by equally motivated peers. “Most most consistent questions I get is: every single day, then do the next of the students who attend are determined to ‘What does it take to make a drum higher note and work on that one. Try do well and have already set themselves apart corps drum line?’” says veteran to balance things out: Play high and from those who don’t want to be there,” performer, instructor and clinician play low, so that you have flexibility Sodawalla says. “So the environment to excel Jeff Queen, who will be hosting a and are taking care of the muscles on and improve is at its highest form.” summer program geared toward your face. When you work on range

Learning Together

While it’s obviously important for all members to develop their individual technique, learning to blend in sections—and eventually

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drum corps-style marching this summer at Butler University in Indianapolis (http://tinyurl.com/ jeff-queen-camp). “There are a few things that players of any level can improve upon to help their chances: Make sure you know how to move your feet to anything that you are being asked to play. Make sure you have the physical strength to control the drum while marching. Work on timing accuracy with a metronome.

Practice playing accents and taps

try to do a lot of lip slurs, and then work on playing the notes.”

If you want to see how drum corps instructors work first hand, consider attending one of the clinics that many DCI groups and instructors put on before and during the season. Go to DCI.org/corps to find contact information for the groups in your area, or check the websites of companies such as Vic Firth, Yamaha, and Pearl, who often sponsor clinics around the country. —Danny Miles

www.dci.org

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approach within each section as early as possible,” Haworth adds. “Sectional rehearsals also really help the members get to know one another as well as their instructional staff.

They’re great for developing a good work ethic throughout the corps.”

But while most instructors have a basic approach that forms the core of their teaching, they also recognize the need to keep things fresh, especially over the course of a long season. “As a teacher, you have to be creative in how you approach things,” Queen admits. “Sometimes, you have to think of a new angle if the given approach isn’t working. Also, you have to keep reminding the players of the fundamentals and keep working at getting better at those as they apply to a given musical program. It is a grind, and keeping a positive attitude is key as the days get longer.”

Playing well as a unit requires more than the ability to get the notes and steps down. Drum corps members must also learn how to listen to one another and adjust their own performance for the ideal blend. “We focus on communication and expression as well as learning notes and rhythms,” Downey says. The goal is to develop “a sense of oneness or consistency, which is usually seen in the uniformity of timing in both movement and music. In the show, the performers must consistently communicate the emotions of each phrase, both musically and visually.”

In the end, the goal of all that practice is to produce a show that connects with the audience—while also satisfying the judges who determine the standings. Members and their instructors alike live for those moments when the corps execution and emotion come together. “At the end of the year, we ultimately stop being their teachers and we become their biggest fans,” Harloff concludes. “And when they nail something, we celebrate together. The kids know it, we know it, and we just look at each other, high-fiving and having a blast—celebrating together because we’ve accomplished something that we worked on for a long time.”

40

Any marching musician can learn a lot by auditioning, and the education only gets deeper for those who go on to join a corps, whether it’s for one season or for many. But you can also get some “schooling” by seeing Drum Corps International corps in action on the field—especially if you know what to look for.

“Look at the simultaneous demands—playing instruments while also marching and/or performing dance movement—asked of the corps members,” Joe Haworth of Blue Devils B advises. “Many fans notice which groups play really loud, or when a show has that one crazy visual move. But not everyone fully appreciates how difficult a given show can be in regards to moving and playing. Marching musicians should pay special attention to how well the performers—both brass and percussion—are able to isolate their upper body from their lower body while performing the drill or movement and traveling around the field. That’s important in order to keep a smooth sound coming out of their horns, or keep their drums from bouncing up and down or side-to-side, which would make them much more difficult to play accurately.”

The view from the stands can give you the big picture, but you can also learn by watching as corps practice outside the stadium before every show. “There is so much to see in a drum corps production that it’s difficult to catch everything,” says Legends’ Ibe Sodawalla. “So take the time to see some warm-ups. Pay special attention to how each individual is a part of the whole—something that is very significant in our artistry.”

www.dci.org

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BRASS LESSON Ben Harloff Carolina Crown Brass Staff Blast Trumpet Soloist

It’s All About Your Sound!

Why Is It All About Your Sound?

When you actually start playing and performing, you should not be thinking about the technical aspects of playing. Your mind needs to be on one thing: sounding good.

Your sound makes you unique from other musicians. It doesn’t matter how musical you are, how much speed you have, or how high you can play. Great playing technique is irrelevant unless you can produce good sound.

Sound Techniques

To achieve a great sound, you must focus on a combination of technical areas.

Air: The quality and quantity of air is crucial to achieving a great sound. It is not just the amount of air you use—it is how you use it. There are many great breathing exercises that you can do on a daily basis. Do them and make sure you use lots of air in a relaxed, flowing and effortless way.

Embouchure: There are many different shapes of lips and mouthpieces, so no one embouchure is right for everyone. The most important thing is to allow the lips to vibrate efficiently. The corners must be firm, and the center of the lips must be relaxed to efficiently vibrate in all ranges. There should be no pinching or tightness inside the mouthpiece cup.

Body: You can’t produce your best sound when your body is tense. Stay relaxed andBeautiful release any tightness you may have.

Sound Thinking

Before you take a breath to play, it’s very important to have a concept of good sound in your head. Listening to recordings of great players can be very helpful when developing your own sound. When I play classical music, I have [Chicago Symphony Orchestra principal trumpet] Chris Martin’s sound in my head. When I play jazz, I “picture” Miles Davis’s or Clifford Brown’s tone. Without that concept of sound, we are simply lost in the technical aspects of blowing through metal.

Practicing for Sound

Below, you’ll find two exercises from my instructional DVD “Release Your Sound” (the DVD can be purchased at thecrownstore.com), which focus on melody. Play both exercises in as many keys and Melodies #2can. and ranges as you Take#4 your time, stay relaxed, and make sure every note has your unique sound.

Melodies #2 and #4 fromBeautiful "Release Your Sound" Instructional DVD

Ben Harloff

Beautiful Melodies #2 andfrom #4 "Release Your Sound" Instructional DVD

Ben Harloff

& 43 œ œ œ œ œ & 43 œ œ œ œ œ

from “Release Your Sound” Instructional DVD Beautiful Melody #2

Beautiful Melody #4

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43

3/27/12 4:28:46 PM

PERCUSSION LESSON Matt Savage Jersey Surf Director of Percussion drumcamp.net

Fake Your Way To Better Flams Flam rudiments are one of the most challenging things we play as percussionists. Consistency is paramount. Too “open,” too “closed”— or somewhere in between—are all concerns. I’ve found that practicing “fake flams” helps develop consistency and superior quality of sound.

A fake flam is accomplished by beginning with the right stick in the up position, 12” from the drum head and the left in the down position, 3” from the head. Play the left grace note as an upstroke and “fake” the right hand downstroke by stopping the stick 3" from the head without striking. Be sure not to lift the grace note before you play: simply drop and lift to the up position.

This is a soft volume stoke. You should finish with the left in the up position and the right in the down position. From there, repeat by playing the right upstroke and the left as a fake downstroke without hitting the head. Here’s how to approach the exercises below: 1 Practice with repeated right fake flams (reset after each flam). Do not play the notes in parentheses, but execute the motion without striking the head. Use the same downstroke velocity as you would to play the stroke.

1 Right Fake Flams

Reset

L (R)

Reset

L (R)

3 Alternating Fake Flams

L (R)

R (L)

Reset

L (R)

L (R)

L (R)

R (L)

44

L

R

R L

R

L

L (R)

L

R

R (L)

R

4 & 5 Now you can apply what you’ve learned to more complex passages like the Flam Accent (4) and Flam Paradiddle (5) shown below. Finish these flams with both sticks in the down position. You can experiment with all the other flam rudiments by substituting fake flams as well, and pretty soon, you’ll see an improvement in your REAL flams. Good luck and have fun!

2 Left Fake Flams

Reset

R (L)

L R

L

Reset

R (L)

Real Flams

L R

3 Play the four fake flams, followed by four real flams. After using the fake flam as a learning tool, the main downstroke of the flam should become easier to control.

Reset

4 Flam Accent

2 Practice repeated left fake flams.

Reset

R (L)

R L

Reset

R (L)

L R

R L

5 Flam Paradiddle

R

L

R

R

L

R

L

L L (R)

L

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R R (L)

R

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L

www.dci.org

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MOVEMENT LESSON Frances Smith Strength & Conditioning Coordinator Bluecoats facebook.com/drumcorpsfit

A Spring Training Survival Guide Some drum corps veterans seem to relish telling rookies their horror stories about searing sunburns, rolled ankles, aching muscles, and the trials of conditioning. Having been a scared and confused rookie myself back in the day, I thought it would be helpful to offer some tips good for new and returning members alike. I did a little field research and asked some fellow corps alums to chime in too.

3Drink fluids: Physical activity in the sun and heat can make your body sweat up to three liters an hour! To replace these fluids, you must consume 1.5 times the amount you lost. Sports drinks can replace the electrolytes you lose through sweating.

3Get properly fitted shoes and insoles: “Take care of your feet,” advises former Phantom Regiment color guard member Liz Slavin. “Be very cautious about the shoes you are buying. Don’t ignore blisters, especially on the balls of your feet.

I almost lost all the skin on the bottoms of my feet by not treating blisters during those long days at Phantom.”

3Eat breakfast: Many new drum corps members seem to think it’s okay to skip that all-important morning meal. It’s not: Yesterday you may have burned upward of 4,000 calories. At this morning’s marching rehearsal, you could burn another 1,500.

You need fuel!

3Finish the day with a stretch: Stretching before bed will help loosen your hard-worked muscles and will allow them to repair overnight.

3Get your rest: “It will be extremely tempting to socialize all night,” says percussionist David Brent, who marched with Blue Knights. “Your body needs sleep! After prolonged periods of sleep deprivation, your body will start to make you sleep, and not always at times that are convenient.”

3Be honest about injuries: Hiding an injury can prolong your recovery or lead to more serious 46

complications.

Report any injuries to your group’s training or medical staff so they can help you assess the problem.

3Get in shape before the season: Don’t wait for spring training to start building your strength and endurance. Train for what you’ll be doing on the field. Former Blue Knights euphonium player Matt Seltzer recommends that brass players work their upper bodies and practice holding their horns upright for 12-minutes at a time (the length of a typical performance). Ari Lozano, who was a percussionist with Teal Sound, notes that because the weight of marching drums can put a strain on the lower back, drummers should spend extra time strengthening their core muscles.

3Even if you’re well prepared, training is hard: Santa Clara Vanguard alum Taylor Trevino says that attitude can help you get past the tough times.

“Be friendly. Get to know volunteers and staff and have the attitude that you have a lot to learn. You can get better at something every single rehearsal—regardless of how tired you feel.”

www.dci.org

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Gearing Up

New and noteworthy instruments and equipment for marching musicians

Flying Dry

Trumpet Trio

Jupiter Band Instruments recently debuted a trio of new trumpets—the lead-voice 1100S (pictured) and the ensemble-ready 1102RS and 1104RS—designed to handle a wide range of situations. All three boast new features to ease playability, intonation, and tonal quality. jupitermusic.com.

The BareSkin towel is a light weight synthetic chamois designed to offer high absorption, fast drying properties (BareSkin says it’s three times faster than other materials), and antibacterial features. It folds from 34" x 58" to 4" x 6", and because it can be used multiple times, the BareSkin should be well suited for travel and training before and after the season. bareskintowel.com

Pillow Talk

The Chillow is a thin, soft, medicalgrade, non-electric thermoregulating device designed to keep your pillow cool without blowing air, making noise, or costing money to run. Once activated, the Chillow can stay in your pillowcase, hopefully proving that when it comes to sleep, cooler heads do prevail! chillowstore.com

Carbon Shell Game

After years of planning and testing, Pearl unveiled its new Championship Maple CarbonCore Series marching snares and tenors this winter. Specially constructed to offer both tone and strength, the shells feature six-plies of maple, which surround an inner layer of super-strong carbon fiber. Like all Pearl Championship Series instruments, the CarbonCore models can be used with Pearl’s CX AirFrame Carrier and Advanced Marching Hardware Systems. pearldrum.com

50

Sleeping In

If you liked the Snuggie, you may love the Selk’bag sleepwear system, which is basically a sleeping bag that you can walk around in.

The company offers two adult models: The Classic is rated for temperatures as low as 35°F, but touring members might be more comfy in the Lite, which weighs 30% less and is rated for 45°F. selkbagusa.com

www.dci.org

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Age-Out

By Geoff Giordano

Jim Riley THEN 3 NOW 3

J

Tenor Drum Line: Velvet Knights Tour Drummer and Bandleader: Rascal Flatts

im Riley, tour drummer and bandleader for superstar country act Rascal Flatts, is talking excitedly about his career. But he’s not recalling the thrill of stadium shows backing a millionselling band. What’s got the Boston-born Riley revved up is explaining the impact of his experience in drum corps, which started in the late 1980s as part of the University of North Texas drum line and included the 1989 season with Drum Corps International’s Velvet Knights.

Riley fondly explains that while his drum corps career prepared him for his current success as a Nashville-based session player, things didn’t begin so easily. “When I was in high school, we had a pretty okay program, but it was really nothing along the lines of the DCI or even the collegiate level,” he recalls. “I thought when I was going to college that I had pretty good chops. I got to North Texas, and the drum line was a very big deal. I realized very fast that I had overestimated my preparation level. The stuff these guys were doing on the collegiate level was far beyond what I was capable of—which was a great environment for me because it

52

gave me a lot of room to learn.”

“He auditioned for UNT’s drum line in 1987 and was immediately dismissed from snare drum and tenors. “I was thrown into a giant pile of would-be bass drummers and got cut,” he says. But he wasn’t deterred. “I went to the instructor and said, ‘Listen, I really think you’re making a mistake.

I really think I can do this. I wish you’d give me a shot.’”

The freshman’s perseverance worked. He got a second audition and won a spot on bass drum. Playing alongside him were Brian West, now a professor of percussion at Texas Christian University, and Jason Sutter, now drummer for Marilyn Manson.

The following year, Riley marched as a tenor drummer and was invited to part icipate wit h t he Velvet K nights of Anaheim, Calif., in 1989. “It was a tough year for the corps as a whole, but the drum line was great,” he says. “We were very competitive and ended up making the DCI Finals. Going back to North Texas having that DCI experience made me a lot more prepared.”

Upon graduating with a music degree, Riley began teaching as head of percussion studies for the Coppell Independent School District in Texas. He moved to Kansas City in 1995 to begin pursuing his career as a professional musician, building and selling custom drums as he followed his dream.

A year after moving to Nashville in 1997, he earned a gig with country star Mark Chesnutt. Only two years later, he began his current role with platinum-selling Rascal Flatts and remains a busy country music session and touring pro.

Yet Riley has never lost touch with his drum corps past. “I recently had a college student ask me if I pledged a fraternity,” he says. “I very politely told him, ‘You know, I started to pledge, but decided it just wasn’t for me because my social network and fraternity was the drum line.’”

He credits the stringent requirements of drum corps and his experience on tour “crammed 44 in a bus” for preparing him for a career in music. “If you ever played in a DCI corps, you know that your attention to detail and your view of excellence and perfection have forever been changed,” he concludes. “It takes everything from ‘standard definition’ to ‘high definition.’ You don’t go back to seeing the world the way you did before.”

www.dci.org

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The 2012 Drum Corps International Tour

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P R E S E N T S

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DCI Premier Events highlighted in red.

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Tour of Champions Series highlighted in blue.

MARCHING MUSICâ&#x20AC;&#x2122;S MAJOR LEAGUEâ&#x201E;˘

3/28/12 4:41:47 PM

DrumCorps

Spring 2012 | Vol. 6 No. 2

The Magazine of Marching Music’s Major League™

International SEASON PREVIEW

TEACHER’S EDITION

Here’s a Preview of One of the Best Event Series in Music Education.

(Pass it around!)

W

ith summer fast approaching, now is the time to plan a trip to attend a Drum Corps International performance (or recommend that your students do so). This guide will help you and your classes fully explore a summer full of the most inspirational performances a young marching musician (or color guard member) can experience. Go to DCI.org/Schedule for information on dates, locations, group or individual ticketing, and general information about this activity, which takes marching music to a Major League level for students between the ages of 16 and 22.

The student reading in the magazine (along with the lesson plans provided in this Teacher Guide) will open the door to a world of marching music excellence while offering your classes practical lessons that can be applied to your existing curriculum. Here are some highlights: Q Attend a KickStart group leadership clinic. At selected events this summer, educator and former band director Fran Kick will teach students to reach their personal level of excellence.

Q Read about the skills needed to march and play music on the DCI level with expert tips from corps staff members.

Q Explore the repertoire used by DCI groups and relate it to music your classes may already be playing.

These are just a few of the musical and life lessons offered by the drum corps experience. Make them part of your students’ education, too.

Sincerely,

Angelo Biasi, Publisher abiasi@intunemonthly.com

A Touch Of Class TRAINING YOUNG MUSICIANS TO ACHIEVE DRUM CORPS EXCELLENCE

Find an online edition of this magazine at DCI.org

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TEACHER GUIDE

LESSON PLANS

The articles in Drum Corps International Magazine provide the basis for activities and lessons that meet National Standards.

By Joseph M. Pisano, Ph.D. Grove City (Pennsylvania) College, Associate Director of Bands, Assistant Professor of Music and Music Technology.

NAfME NATIONAL STANDARDS:

1. Singing, alone and with others, a varied repertoire of music 2. Performing on instruments, alone and with others, a varied repertoire of music 3. Improvising melodies, variations, and accompaniments 4. Composing and arranging music within specified guidelines 5. Reading and notating music 6. Listening to, analyzing, and describing music 7. Evaluating music and music performances 8. Understanding relationships between music, the other arts, and disciplines outside the arts 9. Understanding music in relation to history and culture.

The Sweet

Spotify playlist created for this lesson only contains works by Stravinsky that have been played by the drum corps groups.

S UND of SUCCESS No one knows who will win, but one thing’s certain: Great music will underscore the march to the World Championships.

Begin the lesson by playing The Firebird Suite: Finale (Classical Masters) from the Spotify playlist. Open a discussion on the piece’s musical elements.

BY ADAM PERLMUTTER

Phantom Regiment

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2012 SEASON PREVIEW

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THE SWEET SOUND OF SUCCESS

Lesson: The Music of Igor Stravinsky

Meets National Standards: 6, 7, and 9 Objective

Explore and discuss the music of one of the most performed composers in drum corps history: Igor Stravinsky.

B ac k gro un d

Drum corps play an incredibly varied selection of the musical genres in their performances. This lesson focuses on one of the more popular composers in the corps: Igor Stravinsky

R e l at e d On lin e Resou rces

Q Biography—classical.net: classical.net/music/comp.lst/stravinsky.php Q YouTube–Stravinsky Conducts Firebird: youtu.be/5tGA6bpscj8 Q Spotify–Stravinsky Playlist: mustech.net/go/intunestravinsky

Prepare: Assign the students to read “The Sweet Sound of Success” starting on page 18. Review the online resources listed for this lesson. If necessary, create a free Spotify account at spotify.com. The TG 2 Spring 2012

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Explore and Develop the lesson by introducing Igor Stravinsky to the class by discussing his background and life as a composer and musician. Cover his inclination toward the music of the French impressionists (Debussy and Ravel). Provide cultural context by placing Stravinsky with some of his composing contemporaries, including popular musicians like Duke Ellington, George and Ira Gershwin, and later in his career, the Beatles, etc. Explore his compositional technique of writing irregular rhythmic patterns and interesting non-conventional rhythms. A blazing example of this may be found in his “Infernal Danse,” part of the Firebird Suite.

Here’s a brief look at Stravinsky works performed by various Drum Corps International groups over the years (selections from this list are on the Spotify playlist).

Q 1974 –Anaheim Kingsmen, Bravura Finale (Firebird Suite) Q 1977 –The Cadets, Rite of Spring Q 1978 –Phantom Regiment, Scherzo A La Russe Q 1988 –Spirit of Atlanta, Petrouchka Q 1997 –Academie Musicale Finale (from Pulcinella) Q 2007 –Phantom Regiment, Firebird Suite Q 2007 –Blue Devils, Introduction to Rite of Spring Q 2012 –The Academy, Rite of Spring Finish by playing a few more examples from the playlist. Have the students discuss how Stravinsky’s work differs from earlier composers such as Haydn, Mozart, or Bach. Consider having a few pieces from the aforementioned composers ready to play for comparison.

Note that this lesson can also be adapted to any composer used by DCI groups—whether from classical or popular music (using the story as a guide). You can also find extensive corps repertoire information at corpsreps.com.

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Assessmen t

the beginning of November and end by mid-to-late December, with “winter camps” beginning in early-tomid January.

Q Are the students able to describe what they are hearing rhythmically in the music of Stravinsky?

Q Have the students been able to place Stravinsky in context with the time period of his composing (fairly recent)?

Q Have the students gained an understanding of the breadth of the styles of music performed by drum corps groups?

Final Note: There many recordings of drum corps groups available online that could a very valuable asset to this lesson and used for comparing the classical recordings of Stravinsky to the drum corps arrangements. The DCI store is a great place to start looking for these recordings: store.DCI.org

THE FIELD IS THEIR

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How drum corps groups transform “band kids” into elite marching musicians.

BY EMILE MENASCHÉ

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o see a Drum Corps International group perform, and as you marvel at the speed and precision of their movement, the power and expression of their music, and their ability come together as a whole, it’s easy to forget that you’re watching an ensemble made up of young performers, some in high school and none older than 22.

Looked at another way, what you’re seeing and hearing on the field isn’t just a show: It’s a massive recital performed by some of the hardest working

music and movement students on the planet. And every one of them, from the youngest rookies to the section leaders of the World Champion corps, is constantly striving to get better as individuals while blending with the complex entity that is a drum corps. “The drum corps experience—whether a student attends one rehearsal camp or completes a full season—helps to improve a number of areas,” says Ibe Sodawalla, executive director of the Open Class group Legends. “The focus on commitment and hard work, and growth is a part of the process.”

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THE FIELD IS THEIR CLASSROOM

Lesson: Good Prep For Aspiring Drum Corps Members Meets National Standards: 7 and 9 Objective

Create a study method for percussion and brass players to help them build the skills needed to play in a DCI Open or World Class group.

B ac k gro un d:

In this month’s magazine article “The Field is Their Classroom,” tips are given by both veteran performer, instructor and clinician Jeff Queen and Carolina Crown’s Brass Instructor Matt Harloff.

R e l at e d On lin e Resou rces:

Q Drum Corps International Audition Resources: DCI.org/audition Q Various DCI corps’ websites (DCI.org/corps)

Prepare the lesson by having your students read “The Field is Their Classroom” (starting on page 32) prior to the classroom lesson itself. Assign the reading the day (or week) prior to the lesson.

Begin the lesson by discussing the many options available for students who might like to learn more about—or audition for—any of the DCI groups.

Auditions for World Class groups typically will start by

Explore and Develop the lesson by discussing a number of preparation tips that will help interested students be successful at the DCI level. Any current corps members will know that being able to move and play accurately and responsively is one of the keys to marching. Jeff Queen makes a point of hammering this concept home when talking about the percussion section in the article. Matt Harloff also speaks of the importance of lip flexibility exercises for brass players, while recommending that players work on developing good sound from a stationary position, good movement skills, and then combining the two. Brass players can get the public-domain first edition of the Method for Cornet (“The Arban Book”) for free at IMSLP.org and mustech.net/go/dciarban. This book has become one of the staples for studying the techniques of the instrument. There are literally hundreds of tips available for aspiring DCI Corps members that can be found online. A good place to start is the ”Audition Resources” page at DCI.org (Click on the “Audition Tips” tab). Help the students develop a study plan that will build these skills, and evaluate their progress at regular intervals.

Finish the lesson by discussing the options available to students who are really interested in finding out more information about the corps, and encouraging students to go see a performance and/or a clinic to see players at this level performing in person (Find a list of events at DCI.org/schedule). Many of the DCI groups have information available on their own websites, as well. A number of the groups even have a day set aside where aspiring marchers can be a part of their group for a day. A good example of this is the Crossmen eXperience Day, where any middle or high school student can literally perform and rehearse with the corps. Blue Devils and other groups also offer clinics. Finally, consider bringing a group of students to a KickStart event (see box below).

A s s es s m en t :

Q Do the students understand the skills needed to perform in a Drum Corps International group?

Q Can the students execute the recommended exercises (for example, flam rudiments and rolls; lip slurs, etc.) both stationary and while moving?

Q Can the students apply these advanced skills to their school marching bands?

ADDITIONAL STUDENT READING Q Sidelines: Stories on drum corps events and members. Teachers and students may be especially interested in KickStart (P. 7), and DCI’s theatrical events (P. 8).

Q Standouts (P. 14): Highlighting the off-field achievements of drum corps members.

Q Commitment to Excellence (P. 16) and Age-Out (P. 52): Readings about current DCI groups and alumni.

Q Lessons (P. 43): Expert instruction in brass, percussion, and movement from the DCI community.

DCI.ORG t Spring 2012 TG 3

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