DCI Magazine, Winter, 2011

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DrumCorps Winter 2011 | Vol. 5 No. 1

The Magazine of Marching Music’s Major League™

International

Classic Tracks

SIGNATURE MUSIC GIVES DRUM CORPS A SOUND IDENTITY

Marching Goes Mobıle: TECHNOLOGY BRINGS THE SHOW ANYWHERE YOU GO

Pioneer’s Golden Year A Director Scouts Excellence

SCENES FROM THE 2010 SEASON EX-PHANTOM’S AXE OF COURAGE 2011 EVENTS, NEWS, GEAR, AND MORE!

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DrumCorps International

WINTER 2011

Glassmen

6 From the Top

Looking ahead to a special season.

9 Sidelines

New Finals Week format... Star Alumni return to the field in Indy... Drum corps apparel... Tour of Champions... Plan your stay in Indy... Pioneer celebrates its 50th year.

18 Scene During the 2010 DCI Tour

Capturing some of the great off-the-field moments from last summer’s tour.

20 Commitment to Excellence

Corps director Dann Petersen is helping restore the Madison Scouts to glory.

44 Gearing Up

Get ready for the spring training season with the latest in apparel, equipment, and accessories.

46 Age-Out

Phantom Regiment alumnus Todd Abrams has become the “King of Fling” under his knife-throwing stage name, Jack Dagger.

FEATURES 22 Playing Favorites

Over nearly four decades of DCI history, some corps have become identified with certain composers and styles of music—while others are known for avoiding patterns. By Michael Boo

31 Device Squad

Podcasts, social media, streaming broadcasts, and video-on-demand are bringing drum corps fans more ways than ever to enjoy the action. By Danny Miles

37 Brass Lesson

Practice your horn snaps in these easy steps. By Santa Clara Vanguard Visual Caption Manager Christopher Alexander.

38 Percussion Lesson

Smash your own personal speed record and break your old practice habits. By performer, author, and instructor Jeff Queen.

40 Movement Lesson

Running hill-sprint intervals to get your body geared up for spring training. By Bluecoats Strength & Conditioning Coordinator Frances Smith. www.dci.org

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DrumCorps International THE OFFICIAL MAGAZINE OF MARCHING MUSIC’S MAJOR LEAGUE Volume 5 Issue 1 Dan Acheson Executive Director Chris Weber Communications Manager Bob Jacobs Director of Marketing Diane Peasel Development & Media Coordinator John DeNovi Director of Business Development Custom Published By: In Tune Partners, LLC

Feeling Good Like many non-profits, in recent years Drum Corps International and its participating corps have been through significant twists and turns trying to navigate the economic turmoil that has challenged us for the past three seasons. Fortunately, the drum corps experience is perhaps one of those gems in our society that is immune from the hopelessness many may encounter during such an economic roller coaster ride. That’s because as fans or as participants, the drum corps experience at any level simply makes you feel good. Hard work toward shared goals, lifelong friendships, and life-changing experiences are all byproducts of this unique art form, and despite the challenges we all endure, the future is a bright one for those engaged with marching music at its highest levels. Do yourself a favor and buy a ticket to a 2011 Drum Corps International Tour event. After witnessing the magnificent efforts of thousands of smiling student musicians and performers just like you, it will be impossible to walk away from the experience without feeling good. Then, take it one step further and share that same drum corps experience with someone you know. By sharing your passion with others, the drum corps experience will continue to thrive for many summers to come.

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

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Irwin Kornfeld CEO Will Edwards President Angelo Biasi Publisher Emile Menasché Editor-in-Chief Jackie Jordan Creative Director Mac Randall Senior Editor Robin Garber Production Director Barbara Boughton Business Manager Illustrations Trevor Johnston Photography Ryan Cain, Johnny Gilbert, Craig Olear, Sid and Linda Unser Contributors Christopher Alexander, Michael Boo, Geoff Giordano, Danny Miles, Adam Perlmutter, Jeff Queen,Craig Rosen, 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 Fall, Winter and Spring of each year. Nonprofit organization U.S. postage paid at Long Prairie, MN permit #710. Copyright ©2011 Drum Corps International. All rights reserved.

www.dci.org

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Sidelines

News and Notes from Drum Corps International 2011 World Championships Schedule

Open Class Prelims Michigan City, IN Monday, Aug. 8 Ames Field Open Class Finals Michigan City, IN Tuesday, Aug. 9 Ames Field World Championship Hall of Fame Kickoff Party Indianapolis, IN Wednesday, Aug. 10 World Championship Prelims Indianapolis, IN Thursday, Aug. 11 Lucas Oil Stadium World Championship Semifinals Indianapolis, IN Friday, Aug. 12 Lucas Oil Stadium World Championship Parade Indianapolis, IN Saturday, Aug. 13 Streets of Downtown Indianapolis Open Class Individual & Ensemble Competition Indianapolis, IN Saturday, Aug. 13 Indiana Convention Center World Championship Finals Indianapolis, IN Saturday, Aug. 13 Lucas Oil Stadium

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The Finals Get a Facelift

ne of the biggest things to come out of Drum Corps International’s planning meeting last September was a new Championship Week schedule. Festivities will kick off in Michigan City, Ind., on August 8, 2011 with a new Open Class World Championship format. After a day of Prelims, 12 Open Class corps will battle it out on Aug. 9 in a special one-day Open Class World Championship Final. The action moves to Indianapolis on August 10, where the popular Hall of Fame Kickoff Party will jumpstart festivities. The following day, the new Prelims competition will feature all 23 World Class groups—in addition to any Open and International Class corps who chose to perform. All World and Open Class corps will be on equal footing in a head-to-head competition running throughout the entire day. On August 12, a new Semifinals format will winnow down the 25 corps from the Prelims to 12 Finalists. The day will be capped by the traditional DCI Age-Out Ceremony and other noncompetitive festivities. The week climaxes on August 13: First up will be a parade through downtown Indianapolis featuring all of the non-Finalist corps, followed by an Individual & Ensemble Competition for Open Class groups at the Indiana Convention Center, before concluding with the World Championship Finals at Lucas Oil Stadium. www.dci.org 9

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Sidelines Gold and Bronze For the Blue

Star Back in the Spotlight Fans have a “Blast” as Alumni Capture Bloomington’s Former Glory

The 2010 Blue Devils (98.900) and Blue Devils B (97.550) took the World and Open Class titles for the second year running (the organization remains the most prolific winners in DCI history). But the biggest feel-good story of the season may have been the showing by the Bronze Medal-winning Bluecoats. The group enjoyed its best finish ever, posting a score of 96.400 to finish behind the Cavaliers, who took Silver with a score of 97.750. 2010’s nine other World Class Finalists included (in order of finish) Carolina Crown, The Cadets,

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he Star of Indiana enjoyed tremendous success during its brief competitive run. The Bloomington-based corps made it to the Finals every season between 1985 and 1993, taking the Drum Corps International Division I World Championship in 1991. But after a second-place showing in ’93, Star left the competitive circuit. Some of the group’s members toured under the name Brass Theater before creating the Tony- and Emmy-award-winning show Blast!. On August 14, 2010, the Star Alumni Corps gave a long-anticipated return performance after the competitive segment of DCI’s World Class World Championship Finals. Against giant backdrops showing projected photos from their classic performances, the corps—adorned in pink soccer jerseys— played a medley of the most popular selections from its glory years in DCI competition. The audience included Star’s founder, Bill Cook, his wife, Gayle, and former director James Mason. “[The Star Alumni] have done this on their own and they’ve concentrated very hard on bringing the essence of Star of Indiana to the field,” Mason said before the show. “I’m excited as everyone else in the audience to see what they’re going to do tonight.” The Star’s return concluded with a performance that moved old and new fans alike: As 2010 age-outs strode to the field, the Star Alumni encircled them and performed a rousing rendition of “When You Wish Upon a Star.” 10

Phantom Regiment, Santa Clara Vanguard, Blue Stars, Boston Crusaders, Madison Scouts, Blue Knights, and Glassmen. See all the scores for both Open and World Classes at DCI.org/scores.

Catch the 2010 Championships on DVD and Blu-ray All of the action from Drum Corps International’s historic 2010 World Championships is now available on DVD and Bluray through DCI’s online store. DVD offerings include Vol. 1, containing the top 12 World Class corps; and Vol. 2, highlighting the 13ththrough 23rd finishers. The top 12 can also be seen on high-definition Bluray disc. You can hear all 23 World Class groups on CD. Items are available individually, or can be bundled together in various configurations. 2010 Open Class performances can be found as digital video downloads from the DCI Fan Network. store.DCI.org

Get into the Fabric of Drum Corps Want to wear your passion for drum corps on your sleeve (or even on your chest, cap, or shorts)? DCI’s online clothing store offers everything from caps and T-shirts to sweatshirts, track jackets, sprint shorts, winter wear, and high-performance workout gear for men and women. You’ll also find items from many of DCI’s member corps, cool vintage apparel, and a clearance center where you can save on merchandise from past seasons. Learn more at store.DCI.org.

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ot long ago, a few drum corps fans bounced around an idea on Facebook: What if there were an organization that would help develop and sustain hometown drum corps in the United States and Canada? Their notion went into motion on November 13, when the inaugural meeting of Drum Corps North America (DCNA) took place in Philadelphia. Among the 35 attendees were representatives from prospective, existing, and former drum corps organizations from the junior, senior and alumni ranks spread across eight states. “There are some great opportunities on the horizon already, and some obviously passionate people getting involved,” Jersey Surf Executive Director Bob Jacobs told the gathering. “I think it’s a great thing for the drum corps activity to harness some of this positive energy.” “We are very encouraged by the turnout at this meeting, and we’re looking forward to working to create opportunities for a resurgence in community-based drum corps activities,” added Craig Coldren, a former member of the Sky Ryders drum corps of Hutchinson, Kan. and one of DCNA’s founders. Be sure to check out the Drum Corps North America page on Facebook.

Act Now to Book World Championship Accommodations The Drum Corps International World Championships return to Indianapolis’s Lucas Oil Stadium August 11–13, 2011, and DCI has teamed up with some of Indy’s finest hotels to offer favorable rates close to the action. You can reserve special blocks of rooms at downtown hotels, where you can also enjoy a range of dining and cultural options. Learn more about the Circle City and plan your trip online by pointing your browser to visitindy.com/dci. To check room availability, compare accommodations, and book your stay, head to DCI.org/IndyHotels. 12

The new World Championship format (page 9) isn’t the only exciting addition to the 2011 Drum Corps International season. The season will include a series of eight special events called the Tour of Champions. Starting in June and running

We Like You Too! Drum Corps International’s fan page is one of the most robust online hangouts on Facebook. As we went to press, more than 115,000 Facebook users had given DCI’s page the

ol’ thumbs up. Join the community and stay up to date with news and resources at facebook.com/ drumcorpsinternational.

into August, the series will feature the Blue Devils, Blue Stars, Bluecoats, Cadets, Carolina Crown, Cavaliers, Phantom Regiment and Santa Clara Vanguard. At press time, the Tour of Champions Series included events in Saginaw, Texas, (June 18); Austin, Tx. (June 19); Omaha, Neb. (July 10); Rockford, Ill. (July 17); Houston, Tx. (July 22); Murfreesboro, Tenn. (July 29); Charlotte, N.C. (July 31); and Piscataway, N.J. (Aug. 7). Another cool addition to select 2011 events will be the performances by two International Class corps: Jubal (Netherlands), the 2009 Drum Corps Europe Champions; and the Yokohama Scouts (Japan), a group that last toured the United States in 2007. See up-to-the-minute show information, line-ups, and order tickets at DCI.org/schedule.

TOP LEFT: BOB FIELDS, DRUM CORPS WORLD

New Organization Unites North American Drum Corps

Want to introduce a friend to drum corps or make a veteran fan’s day (or summer)? For the 2011 Tour, Drum Corps International is offering gift certificates available in increments of $25 for events in various cities from June 18 through August 6. For additional details, head to the DCI.org or call 317-275-1212.

Tour of Champions Offers a Major Twist

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Sidelines

For Pioneer, 2011 Will Be Golden Celebrating a half-century of music, passion, and determination on and off the field.

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n its 50th year, the World Class Pioneer Drum & Bugle Corps of Milwaukee, Wis., continues to embody the values that inspired a 19-year-old named Roman Blenski to become one of the group’s first instructors back in that inaugural season of 1961. When St. Patrick’s Church in Milwaukee decided to create a corps, Blenski and two p e er s f rom t he I mp er i a l s of Norwood Park in Chicago helped create the Imperials of St. Patrick. Blenski assumed the role of brass instructor, while his colleagues Lee Boudreau and Gar y Czapinsk i taught the drummers and the color guard, respectively “We had no equipment,” Blenski recalls. “Lee collected his drumsticks and sticks he had from some of his friends, and Gary would borrow all the broomsticks from the janitors.” Blenski collected mouthpieces from local music stores and repair shops so each player could have one. “We don’t do this today, of course, but then we’d pass the horn down” so everyone could have a chance to play. As the corps slowly began to acquire used instruments, 100 or so sixth-, seventh- and eighth-grade players—most with little prior musical experience—devoted themselves to learning to work together. “All the kids came from St. Patrick’s grade school,” Blenski says. “They all lived in the neighborhood. We had an Irish name, but the majority of kids were Spanish,

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and the three instructors were all Polish.” Access to nearby St. John’s Gymnasium meant the instructors could entice their charges to practice by following rehearsal with a little basketball. The Imperials remained largely a neighborhood affair until the early ’70s. As expenses mounted, they merged with the Thunderbolts, a nearby corps in similar straits. The united entity — which briefly went by the name “The Thing” — eventually earned sponsorship and a new name from the Pioneer Box and Container Corp. “ We’ve c h a n g e d w it h t he times,” Blenski says. “Every 10 years there are different variables. The biggest variable I see today is the amount of time we rehearse. And we don’t have kids who stay with us 10 or 11 years anymore because we recruit them at 15 or 16 instead of 9 or 10.” Yet Blenski notes one important connection to the corps’ earliest days. “We use Irish music as kind of our identity [and we] tend to lean toward being an audience appeal-type corps.” Another connection to the past is a staff that, while larger, is as dedicated to corps’ mission as the group’s pioneering trio. “There are tons of people who volunteer their time and energy. A lot of our alumni come back and teach. These are the kinds of people who have really kept the corps in the forefront.” pioneer-corps.org

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12/17/10 11:25:16 AM

Scene During the 2010 DCI Tour

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By Paul Irwin

very Drum Corps International season seems to combine a sprint (is there ever enough time to reach performance perfection?) with a marathon of long days, long drives, and constant practice. For members and staff, “life” (if that’s what you call time off the field) still happens, but it’s wedged between practices and perfor-

mances. So as DCI’s member corps start to ramp up for the summer of 2011, we thought we’d celebrate some of the people who make it happen and a few of their off-the-field moments during 2010, from the start of the season in June through its dramatic conclusion during the World Championships in August. << 1 Author Fran Kick speaks at the MENC Future Music Educators event during World Championships week. << 2 Volunteers of the Year Dr. Randall Chaffee, Thomas Chase, Becky Nelson, and Steve Stueck accept their awards at the Finals.

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<< 3 Roll tape: DCI video intern Amy Fallon helps bring drum corps to the screen.

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>> 4 DCI’s Diane Peasel

speaks at the Friends of DCI breakfast during the World Championships.

>> 5 The Cavaliers color

guard gives fans a preview at White River State Park in Indianapolis.

>> 6 DCI staff and volunteers take a break from working the DCI booths at the World Championships.

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6 <<

7 Madison Scouts Exec. Dir. Chris Komnick (right) and Boston Crusaders Exec. Dir. Tom Spataro trade shirts and square off during a friendly fundraiser in Atlanta.

<< 8 U.S. Marine Drum & Bugle Corps drum major MSgt Kevin Buckles on the field before the World Championships.

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9 Jeff Queen gives a “hands-on” drum clinic at DCI’s San Antonio Live Learning Event in July.

>> 10 Trumpeter Al Chez from the Late Show Band performing the National Anthem. >> 11 Mrs. America Pageant Delegates with drum majors following the DCI Salutes America event in June.

>> 12 DCI photographer Johnny Gilbert. 18

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INDIANAPOLIS IS EXCITED TO WELCOME BACK THE DCI WORLD CHAMPIONSHIPS As a city that strives to be the very best, we’re in-tune with your elite standards of excellence and are proud to transform our home into your stage. Each year the spotlight shines on the DCI World Championships and each year we are inspired by the moving composition of your performances, your leadership and your dedication. Indianapolis has been working hard to raise its game to provide the best for you. In the same way you work tirelessly to perfect your performance, we are working hard to strengthen the championships and our commitment with you. Good luck to all of you!

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Commitment to Excellence

By Geoff Giordano

Dann Petersen

A Madison Scouts “lifer” earns 2010 Director of the Year

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ith 2010’s return to the Finals, the Madison Scouts may well be on their way to recapturing the glory that brought the corps two World Championships, two Silver Medals, and one Bronze Medal in decades past. Ironically, Drum Corps International’s 2010 Director of the Year, Dann Petersen, wouldn’t be leading the Scouts’ charge if he’d gotten his way as an 11-year-old. “Although the Madison Scouts were the reigning DCI World Champions, I had never heard of them,” recalls Petersen, who was seeking a new activity after five years of extracurricular swimming. “I reluctantly agreed to try out the Junior Scouts [a feeder corps] and began attending the winter camps. I hated it.” A few days before a 1988 performance by the corps, then third soprano bugler Dann Petersen told his director, Mike Stormer, he wanted out. But Stormer explained how the teamwork in drum corps made each individual important. “In swimming, someone else could swim my events,” Petersen says. “But nobody else knew my drill and the third soprano part. I agreed to stick with it a little longer, but I still wasn’t enjoying it. That soon changed.” The turning point came when Petersen marched in his first field show. “I had never even seen a drum corps show, and here I was marching in one,” he says. “After the show, I went up into the stands to find my mom with an ear-to-ear

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smile. When the Scouts finished their show, I told her I would march with the corps every year until I aged out.” True to his word, he spent three seasons with the Junior Scouts and six with the Scouts, aging out in 1997. A decade later, former Junior Scouts corps-mate Jeff Spanos—Madison’s newly appointed Execut ive Director— offered Petersen a position on the Scouts’ visual staff. It wasn’t long before Petersen found himself at a another crossroads: When a bus broke down during the ’07 tour, Spanos a nd Pe t e r s e n s t a y e d beh ind in Colu mbus, Ohio, to await repairs. Petersen had just earned his master’s degree in international studies (he a l s o h a s a deg re e i n French) and planned to embark on a different career path after the season. But while the bus was being fixed, Spanos suggested Petersen become corps director. Three years later, Madison has remade its staff while jumping from 15th to 10th place. To Petersen, being recognized as DCI’s Director of the Year “extends beyond the efforts of any one individual. It acknowledges significant improvement of the entire organization. 2010 was a landmark year for the Madison Scouts, one that set a precedent for the near future.” But while the Scouts’ on-field performance has earned recognition from his peers, Petersen says that it’s only a part of what makes leading the Scouts so rewarding. “I am more impressed now with events that take place off the field, primarily when I see members applying or teaching the lessons they learned with the Scouts, and especially when they think no one is watching,” he says. “These are the moments that move me more than any final chord I have ever heard: The time four guys helped an old woman push her dead car out of traffic; the older veteran taking time out of lunch to work with the younger rookie; the feedback I receive from spectators who met a Scout in the stands; or a rest stop manager about how impressed he is by such a respectful and classy group. No doubt there will be new surprises and challenges in 2011, but I have a great administrative team to help solve problems, and excellent resources to lean on.”

www.dci.org

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PLAYING favorıtes Every year, the music a drum corps chooses to perform can reinforce its traditional identity—or help it forge a whole new personality. BY MICHAEL BOO

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hen it comes to establishing a drum corps’ identity, many would argue that the two most important elements are the uniform and the choice of repertoire. While uniforms for brass, percussion and even color guard once remained the same for years on end, guard uniforms now change every year to reflect the theme of each corps’ show. However, today’s guard uniforms are dictated by the musical selections—the repertoire. So while the g uard’s attire may be the first thing fans notice when a corps enters the field, you could make a case t hat t hose cost u mes wouldn’t exist were it not for the repertoire for that season’s show. Drum corps repertoire has changed radically since the activity’s early days, but over the years, certain corps have come to be identified with composers, specific pieces of music, musical styles, and even with a willingness to avoid any clear pattern. Staffs agonize over how to establish and maintain an identity for their respective corps, and nothing does so as effectively as the choice of musical repertoire.

PICKING THE PIECES The process of choosing repertoire for any given season starts almost immediately after the World Championships. Each corps’ creative staff probably spends more hours pondering these musical selections than on any other show element. The factors that influence this choice can vary from corps to corps and from season to season. With some groups, fans have come to expect music by certain composers, so the question is whether to stay with tradition or to perform a sudden “about face” in music selection, which can set a corps off on an entirely new trajectory. For several years, the Cavaliers

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were known for introducing symphonic music t hat wa s e ssent ia l ly unknown to the masses—music that had a sophisticated character t hat slowly g rew on aud iences t h rough repeated hearing. Then, in 2010, the corps took a left turn with the hardhitting and somewhat offkilter “Mad World” and appeared to set off on a radically new course. It was an important part of the group’s highest Finals score since 2004. For years, Phantom Regiment was known as the originators of “symphonic pageantry,” a technique for telling a story through the choice of music. Some look at symphonic pageantry as a way of bringing operatic theater to the football field. Regiment has occasionally veered away from such drama to present productions of pure music without quite so much visual subtext. But the corps has always returned to the realm of symphonic pageantry as its calling card. Perhaps the best example was the DCI Championship-winning “Spartacus” show in 2008, which took symphonic music and an opera-like visual presentation to heights that mesmerized audiences—and won over the judges. Since shows today tend to have a theme, most if not all might be referred to as a form of “symphonic pageantry.” At its best, symphonic pageantry allows viewers to understand a show with their eyes open and their ears plugged, or to

www.dci.org

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understand it wit h their ears open and their eyes shut. But put sight a nd sou nd together, and you’ve got a winning combination. While the repertoire typically comes first and the visual t reat ment later, there are cases where a show concept dictates the musical selections. If the show is to feature original music, the visual coordinator might offer some strong suggestions to the music arranger regarding the desired mood. (Recent shows by the Cavaliers are prime examples.)

SIGNATURE COMPOSERS

While any corps can play any music in any given year, some groups are thought of as being synonymous with specific composers. Perhaps the best example of corps-composer comity is the Cadets’ affinity for Leonard Bernstein— specifically in regards to the music from West Side Story. The corps has performed repertoire from that great American musical in every decade since the production hit Broadway in the late 1950s (most recently in 2009). The Cadets have played other Bernstein works as well, such as Candide, Mass, Jeremiah Symphony, and others. Santa Clara Vanguard has also performed quite a bit of Bernstein over the years, including much of the same mate-

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rial used by the Cadets. Santa Clara has also touched on selections passed over by the Cadets, including “Slava!” and “The Age of Anxiety.” Yet in the minds of the audience, this corps is most associated with the music of another great American master—Aaron Copla nd. Sa nt a Cla ra ret u r ned to Copla nd’s Appalachian Spring in 2009 after spending several seasons exploring musical theater selections such as Fiddler on the Roof Roof, A Little Night Music, The Wiz, Evita, Phantom of the Opera, and Miss Saigon. In addition to popular Copland works such as The Tender Land and The Red Pony, the corps has explored the composer’s more obscure offerings, such as Symphony for Organ and Orchestra and selections from his modernist period that were typically unknown by all but the most academic of Copland scholars. For decades, Troopers paid homage to the Old West with a repertoire that instantly conjures up visions of cowboys (or, at least, Hollywood’s version of cowboys). Close your eyes, and the music’s vast, open feeling may have you imagining majestic mesas and craggy mountains. Longtime drum corps fans will note that two selections are most associated with the corps: Alfred Newman’s film score to How the West Was Won (performed 17 times between 1964 and 1993), and Stan Jones’ Ghost Riders in the Sky (performed 18 times between 1958 and 2008). Troopers have also turned to Copland’s work many times, including Billy the Kid, Third Symphony, The Red Pony, Outdoor Overture, El Salon Mexico, Our Town, and various selections from Rodeo, and is returning to the composer for 2011. Interestingly, there’s a real contrast between the way Troopers and a group like Santa Clara Vanguard approach Copland: Where Santa Clara might set a purely symphonic mood, Troopers may use the same material to project the soaring majesty and romance of the untamed West.

STATUS QUO

The music for an entire show may change from year to year, but some corps also find ways to maintain their unique musical identities, no matter the main repertoire of a particular season.

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Boston Crusaders is proud of its “in-your-face” impact, which harkens back to the days of “old-school” drum corps. While many corps would be leery of referring to anything they present on the field as “old-school,” Crusaders relish the term and have even used it in its fund-raising efforts. (A good-natured competition bet ween the corps and Madison Scouts in 2010 challenged fans to vote for their favorite “old-school” corps amongst the two units, ending with Crusaders raising the most money and Scouts having to complete the season with a Boston decal on their equipment tractor.) As a tip of the shako to Crusaders’ fans, Boston always manages to work at least a snippet of the corps’ trademark piece “Conquest” (from Captain from Castile) into every show. Sometimes it’s blatantly obvious; sometimes quite subtle. “Conquest” has been played as a full production 19 times since 1969. In just about every show during the past decade, Boston has either snuck the bugle calls from the “Conquest” theme into the performance or woven the rhythmic chordal stabs most associated with that theme into the fabric of the music. Madison Scouts have seemed to do best with music that is typically big and brash and, more often than not, very American, often dipping into classics from the American theater and hard-hitting jazz standards from the big band catalog of Stan Kenton, Maynard Ferguson, and Louis Bellson. In an attempt to reclaim an identity that led the corps to its first DCI World Championship in 1975, the 2010 Scouts brought back two classics from that earlier year, Richard Rodgers’ “Slaughter on Tenth Avenue” and George Gershwin’s “Rhapsody in Blue.” This was perhaps the season’s most significant example of a corps utilizing a specific repertoire to foster an identity with the audience. And it worked, with Madison enjoying its best finish in years. Sometimes, it takes just a few notes to set

a theme, letting the audience know instantly what a show is going to be about. Such was the case with Richard Rodgers’ “Song of the High Seas” from Victory at Sea during Colts’ 2009 production “Fathoms.” One time through the dramatic fanfare melody and the audience was transported to the open ocean.

ROCK FOUNDATIONS

Considering the influence rock music has had on American society, it’s somewhat surprising that more corps haven’t adopted rock as an identity. Many groups have done the occasional rock piece. (The Beatles and Billy Joel seem to be especially popular.) It’s not uncommon for corps to use pop songs alongside more traditional fare, as 7th Regiment pl a n s t o do b y i nc lud i n g Radiohead in a 2011 show that a lso feat u res t he music of Joh n Adams a nd Dave Brubeck. Other corps may turn to rock as a change of pace: The Cadets did an entire show of Jethro Tull’s music back in 2004, but has since gone back to a more traditional approach. Teal Sound seems to be the World Class corps that has made pop and rock its onfield signature. With an actual rock band in the front ensemble, complete with electric guitar, electric bass, drums, and synthesizers, the corps has created a unique image by venturing where other corps haven’t tread. While the tunes of Justin Timberlake a nd C oldpl a y ap p e a r e d i n 2009, not all of Teal’s selections are from the Top 40. The 2010 show presented the music of highly technical progressive rock band Dream Theater.

Some corps find ways to maintain their unique musical identities, no matter the individual show’s repertoire.

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MOOD SWINGS

There’s one nice thing about having a strong sonic identity: When you make a change, people notice. For a few years, Blue Knights chose symphonic repertoire somewhat on the dark side, intensely searing with a sense of brooding. Show titles like “Fear and Trembling,” “Dark Knights,” and “Dark Dances” left no doubt about the emotion the group hoped to convey. In an attempt to forge a new artistic direction and lighten things up, the creative staff decided that a total change in the nature of the repertoire was in order. The 2009 show “Shiver” told the story of winter in Colorado with music as diverse as Vivaldi’s “The Four Seasons” and Stevie Nicks’ “Landslide.” Just one season with a different type of repertoire was enough to give corps a thoroughly new identity. But not all corps want to be associated with specific musical styles. In recent years, Bluecoats, Carolina Crown, and Blue Stars have been difficult to pigeonhole. Their style of music changes to fit each season’s visual theme. Bluecoats were long known as a “big band” corps, but over the past few seasons, the group has gravitated toward jazz arrangements that explore more contemporary symphonic styles. The repertoire was selected to enhance strong storylines that depicted criminals, boxers, a whimsical fantasy world, and a world of future possibilities. Carolina Crown offered an excellent example of using musical selections to tell a story in

its 2007 show, “Triple Crown.” Classical and pop music associated with horses allowed the corps to illustrate wild animals being rounded up, tamed, and trained for success on the racetrack. The following year, the corps took the unusual step of performing over a dozen musical selections, but only taking the ends of each piece. “FINIS” was amusingly provocative because the show constantly seemed to be turning a corner by playing a wide variet y of well-known endings, which it managed to string into a cohesive thread. The selections were the result of the theme—albeit, not a narrative one—but the theme could not have succeeded w it hout t he steady stream of repertoire that kept the audience off guard. The 2008 Blue Stars returned to the World Class Finals for the first time since 1979 with a show about the Tour de France. Setting the mood with music from the deep inkwell of French Romanticism allowed the visual staff to develop a variety of images that clearly depicted the world’s famous bicycle race.

One of the nice things about having a strong sonic identity is that when you make a change— people notice.

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RAMPING UP THE “REP”

Considering how important the selection of repertoire is to a corps’ identity, it’s no wonder that corps staffs spend weeks, months, and even years trying to figure out what music their groups will perform in any given season. Even before the end of the previous competitive season, it’s not uncommon for corps staffs to collect, share, and listen to hours upon hours of recordings. Meanwhile, fans eagerly await the first announcements of what the corps will be playing in the coming season. If everything goes as planned, the fans won’t be asking themselves what the corps staffs were thinking once the shows hit the field in June. And if everything in a particular show “clicks,” an individual corps will either reinforce its existing identity, revive an old trademark, or forge a brand new one.

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Device Squad

From podcasts to streaming video to social media, fan uploads, and mobile sites and apps, there are more ways than ever to stay in touch with your favorite corps. BY DANNY MILES

sk anyone who’s sat in the stands and watched a drum corps in action, and they’ll tell you that nothing compares to the visual and aural experience of a live show. But unless you can clone yourself and fly all around the country at will, there’s no way to personally attend every event in any given season. Fortunately, mobile technology has made it easier than ever to keep up with your favorite corps— whether you’re home, on the road, or even heading to or from a live event. “Years ago, the World Championship Finals would be broadcast on PBS, and that would be the only way many fans saw it,” www.dci.org

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notes Drum Corps International’s John DeNovi “We’d all wait for that one broadcast, months after the season was over.” Today, however, you can stream many shows live to a computer, or download them after the fact. You can listen to podcasts that take you behind the scenes as never before. You can even share your own video and comments through social network sites. “When everybody has a Flip camera or an iPhone, it brings us closer,” says Dan Potter, host Handheld of DCI’s Field Pass podcast. “Over the last couple cameras of years we’ve gotten great glimpses into life on the capture the action up bus and life in the gym.” close. Drum corps resonates with fans in a very personal way. That connection can be seen on DCI’s Facebook page: With over 115,000 fans and counting, the digitizing the video.” activity is among the fastest growing “likes” in social Today, the Fan Network offers live webcasts, which allow media. “The LPGA, a national sports organization with fans to log into their account and watch shows as they hapnetwork televised events, has around 10,000 fans,” DeNovi pen, as well as on-demand streaming video from the current adds. “The fact that we’ve been able to attract 10 times that season and legacy performances dating back to 1974. Fans number shows the passion drum corps supporters feel, and can also purchase Audio and Video Performance Downloads their connection to the community.” to hear shows from the current season and watch or listen to Feeding this passion is the vast amount of content avail- historical performances. able online. You’ll find audio and video through DCI.org, “Live webcasting is our staple,” Fritzsching says. “It’s on individual corps websites, and on YouTube. You’ll see what connects our fans to the buzz of what’s happening inside the stadium when they can’t be there in person. While our focus has been delivering the live broadcast to computers in the last five years, now one of our goals is to get live material onto a mobile device. That’ll happen as we continue to evolve with the technology.” W h ile watch ing live webcast s on t he Fa n Network, viewers can integrate their Facebook and Twitter feeds, post comments about what they’re seeing, and read what other fans are saying. “It’s like bringing the discussion you’d have with fellow fans at the stadium into your own home,” DeNovi says. “We strive to make video-on-demand performances available on the Fan Network almost immediately following an event. So typically our fans who Major events are recorded were in the stadium that night can watch the perforwith broadcast-quality cameras. mances again when they get home to their computers,” he says. “As technology has improved and we’ve both professionally produced videos and viral content gotten better at what we do, we can make this happen a lot uploaded by fans and members themselves. “As you look quicker than we could when we started.” around trying to compare other forms of marching arts, I’d Being able to see every show isn’t just a boon for hardsay that DCI is in the lead,” Potter notes. “DCI is showing core fans. Members’ families have also found it a great way other groups the way and helping them get their viral mes- to keep track of their kids while on tour. “It brings everysages out as well.” DCI’s Fan Network got an early jump by one closer together,” DeNovi says. “And it can be reassurmaking content available to fans, digitizing its vast audio ing to know that you’ll see where your kid is, even if he or and video archives just as broadband and streaming tech- she is thousands of miles from home.” nology were beginning to mature enough for mass consumption. “When we started back in 2003, the audio was the first thing we tackled,” says Ricky Fritzsching, DCI’s While the performances on the field are always the highDirector of New Media and Information Technology. “In light of the drum corps experience for members and fans 2004 and 2005, we caught up with technology and started alike, it’s the communal spirit off the field that makes the

"EHIND THE 3CENES

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bond between members and corps so strong. “I think that fans’ fascination with stuff that goes on behind the scenes manifests itself with the people who hang out in the parking lot and watch the drum lines and the horn lines warm up,” Potter notes. “Our fans have this hunger for more than what they see on the field. One of the things that I’m proud of about Field Pass is that we’ve been able to get those moments.” Potter’s free Field Pass podcast (available on iTunes and at DCI.org/media) offers features and commentary on a range of drum corps topics. During the season, new casts are posted almost daily, but there are also updates throughout the offseason. “Field Pass is looking to expand in 2011, not just with more audio but with video and special events as well.” Potter says. “What I love most about covering drum corps and other marching arts is that whether it’s a performer, a fan, an instructor, a judge, anyone connected with the activity— they all want to talk about it. It’s just so refreshing. Even if it’s a tough t h i ng — a show that didn’t go so well—I’ve never once had somebody say ‘I don’t want to talk to y o u .’ E v e r y b o d y wants to talk about this activity because they’re so passionate about it and want to Dan Potter conducts an interview for the share it.” Field Pass podcast. Drum corps fans are a vocal bunch; Potter says it’s that two-way communication that makes the podcast so interesting. “We get feedback directly from the podcast page, through the DCI Field Pass Facebook page, and on the iTunes comments page, which anyone can access,” he says. “A lot of them are just really cool. They keep me going.” Potter gets more than a pat on the back (or occasional argument) from his listeners. Because drum corps fans are so closely woven into the community, they can be a good source for story ideas. “A former drum corps member started a campaign to raise money to supply current corps members with hearing protection,” Potter explains. “I got another story idea through the web the other day, from a gentleman who wants to start a campaign asking every drum corps veteran to invite ten people to come to a show this summer. Last season, I got an email tipping me off about what was going on with City Sound—a drum corps that 34

started in an urban neighborhood in Los A ngeles—and that led to a feature on Field Pass in Ju ly when I was out in Cal ifor n ia. I welcome that; I love it!”

&AN &RIENDLY

Whether it’s audio, video, the free DCI app for the iPhone, or social media sites Podcasts and viral videos let fans witness drum corps life like Facebook and beyond the performances. Twitter, Fritzsching notes that technology is only effective if it works without causing the consumer headaches. “We follow the open digital rights management (DRM) system because it gives both us and our customers more options with their media. If they want to put their drum corps downloads on their iPod, or burn them to a CD, we don’t want to have any barriers for them to do that. We try to keep it as simple as possible.” And as more people get access to faster mobile networks, t he opt ions w i l l cont i nue to g row. Dr u m Cor ps International has been working with other organizations to help develop their multimedia presence, while testing out new technologies so that they’re ready for the upcoming season. “Winter Guard International and a few others use our Fan Network platform, so although DCI is in our offseason, we can test out all the cool software bells and whistles in WGI in 2011 and have them ready for when DCI starts up again in the spring,” Fritzsching explains. The ultimate goal is to bring new fans and members into the activity, to share an experience that has shaped the lives of so many, and to help make attending a show in person all the more exciting. And as new technology and coverage develops, Potter says that the fans continue to become even more involved. “You could always say that readers of newspapers have been able to shape coverage with their suggestions,” he concludes. “But now it’s so much more convenient and easy for fans to click their mouse buttons and send a great idea our way. I really do think that the audience is able to shape coverage of programming a lot easier than they could in the past. For the most part, we know that being responsive is a best practice. We’re all paying closer attention to the A technician captures audio fans than we would have ten at a DCI show. or twenty years ago.”

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12/17/10 11:05:29 AM

BRASS LESSON Christopher Alexander Visual Caption Manager Santa Clara Vanguard

Practice for Effective Horn Snaps To reach the highest levels of performance in marching band or drum corps, it’s important to take a detailed approach in every aspect of your visual responsibilities, including something as simple as bringing your horn up to play. When perfectly matched across a brass ensemble, horn moves can contribute to visual effect, especially when they’re executed as a one-count horn “snap.” Though the fine details of horn carriage differ slightly from one ensemble to the next, the following is a general method for developing a fast, crisp horn snap:

Learning Snaps in Steps Start with your horn down, and focus on your posture and alignment. It’s important that you begin with strong upper body presence, as this posture will serve as a reference point which you will strive to maintain as you manipulate your horn. Where horn carriage is defined with the left hand around the valve casings, we want the left arm to do most of the work during a horn snap. The right arm merely provides stability. So, begin by practicing horn moves with the left arm only. Start slowly in front of a mirror and use a metronome as you bring the horn up in four counts, hold for four counts, down for four, hold for four and repeat. As you perform this exercise: Q Focus on creating clear starts and stops. There should be no extraneous motion at the beginning or end of a hold. Q Think

about timing and subdivision so that you cover space evenly and take all the counts.

Q Be

efficient. The fastest horn moves are those that take the shortest possible path. Using an overly curved path, like moving the horn out and away from your body as it snaps up, will only add distance and slow you down.

Q Maintain

your starting posture. Your alignment should not change as the instrument moves. There should be no break in the wrist, no change in the angle or shape of the arm, and the shoulders should remain sloped down and as relaxed as possible.

1Repeat this exercise with three count phrases, then two, and eventually one-count snaps. Once you’ve mastered the exercise using only the left arm, add the right arm, but make sure to keep the fingertips of your right hand on the valve caps. Compressing the valves or curling your fingers around them as you perform a horn snap could damage the instrument. Again, the right arm is for stability only. Remember, before doing any horn snap, double check that your mouthpiece is seated firmly in the lead pipe. It’s also a good idea to secure the first and third valve slides with an elastic band. Nothing dampens the effect of a great horn snap like pieces of your instrument flying off in all directions! www.dci.org

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PERCUSSION LESSON Jeff Queen Performer, Author, and Instructor Percussion Director Avon Band program

The Art of Playing Faster

When it comes to playing faster, you have to get out of your comfort zone and try new approaches. The exercises below will help you break the limits you may have developed in your current routine. You need a strong foundation in the basics, regardless of what you are trying to play or how fast you are trying to play it. Make sure that you have a very solid understanding of the rudiments involved before applying these techniques. Visualizing a concrete goal also helps: Don’t say, “I want to play faster,” but, “I want to play 32nd-note paradiddles at 200 bpm.” Grab a metronome and sing and air drum the rudiment or phrase you are trying to play faster (e.g., sing paraexercises excerpted from diddles and move your hands as though you’re playing them). "The Next Level: Rudimental Drumming Techniques" avaialable from Jeff Queen Productions When you get so fast that you can’t articulate the words, just say www.jeffqueen.com Finger Isolation exercises excerpted from “par, par, par, par.” Clock that speed—the fastest speed you can "The Next Level: Rudimental Drumming Techniques" even RH “think”—and mark that down as your goal. avaialable from Jeff Queen Productions Fulcrum RH Middle Finger LH Index

RH Ring Finger

RH Pinky LH Wrist

RH Fulcrum RH Middle Finger RH Ring Finger RH Pinky LH Thumb

1. FINGER ISOLATION

LH MIddle Finger Finger Isolation

www.jeffqueen.com

LH R Thumb ... L ...

R L

LH Index

... ...

LH MIddle Finger

LH Wrist

Speed Paradiddles

Speed Paradiddles R L R R L R L R R L R L R R L R L R R L R L R L L R L R L L R L R L L R L R L L R L R R L R L R R L R L R L L R L R L L R L RR L R L RR L R L RR L R L RR L R LRL LR LRL LR LRL LR LRL L R L RR L R L RR L R L R L L R L R L L R L R R L R L R L L R L R R L R L R L L R L R R L R L R L L R L R R L R L R L L R L R R L R L L R L R R L R L L R L R R L R L L R L R R L R L L Finger Isolation Exercise 2. SPEED PARADIDDLES

RLRRL R LRL LRLRRL R LRL L

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Speed Paradiddles R L R R L RExercise L LRLRRLRL LRLRRLRL LRLRRLRL L

RLRRL R LRL LRLRRL R LRL L

Our fingers move quickly, so use them to your advantage when learning to play faster. Use this exercise to isolate your fingers and use independent finger motions in either hand, along with your wrist, to play faster. Try playing one paradiddle at a time, one five-stroke roll, one count of singles, etc. If you can learn to play just one thing quickly, there is nothing stopping you from playing other figures that fast. For now, focus on speed, not quality. Do whatever it takes to play faster! Try different motions, heights, grip pressures, etc.

Now that you’re playing faster, how does it sound? The next step is making sure you sound as good at speed as you do when playing slower. Find your max speed by playing the passage or rudiment with a metronome. Start slowly and work the tempo up. When your quality starts to suffer, back the tempo down. You will find a window of about 15-20 beats per minute where you can sound really good on the slow side, and not so great on the fast. The better you sound right in the middle of that range, the faster you will be able to play with quality. Keep trying to push your individual speed just above where it sounds really good. Over time, if you are patient, you will get faster by just pushing yourself a little bit each day.

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12/17/10 11:09:53 AM

MOVEMENT LESSON Frances Smith Strength & Conditioning Coordinator Bluecoats

Get a Fast Start on Spring Training With Sprint Intervals In order to properly train for May move-ins, it is important that you begin at least eight weeks prior and not procrastinate until the last day. It takes time for the body to make the neurological and physiological changes within, which will help protect you from heat illnesses, fatigue, and muscle pulls. All of these injuries can cause you to be benched for a majority of the season—or even sent home to recover. Incorporating high-intensity hill sprints is a prime way to optimize your workout by cutting down on workout time and gaining the added benefits that come from this type of interval training. These sprints will develop speed, muscle power, core strength, aerobic capacity, and other factors that will allow you to resist fatigue by helping your body utilize oxygen more efficiently. (To reduce the risk of injury, consult your medical professional before beginning any exercise program.)

Interval Exercise:

1Steps to Proper Form:

n Keep your eyes and head forward, shoulders low and loose, and your torso in an efficient, upright position. “Run tall.” o Arms should be at a 90-degree angle and pump forward and back. During uphill sprints, use your arms to help “pump.” Bring them as far up as your ears. p Use short, quick steps, lifting the knees high. Land on the leading foot between the heel and mid-foot and use the back foot to spring off the ground with maximum force.

Smith can be reached at halcyonfitness.com

40

Here is an example workout using high-intensity interval hill sprints. Keep in mind, this is a very demanding exercise and must be eased into over time. n Begin with a five- to 10-minute warm-up jog on a flat surface. This increases cardiac output and blood flow to the skeletal muscles. o Find a hill that is a medium (6-10%) grade. Sprint all-out up the hill for 10-15 seconds while maintaining proper form, pumping the arms, lifting the knees high, and breathing deeply. Running at max intensity will recruit fast twitch fibers (speed); keeping the time around 10 seconds will avoid lactate production. p Rest for one to two minutes, walk backwards down the hill to prevent knee injury and quadriceps fatigue. q Repeat sprints up to 20 times, depending on your current physical ability. Over time your body will adjust to the “overload” and you will be able to add on more intervals. r Cool down with a 10-minute jog or fast walk to return blood “pooled” in your muscles to central circulation.

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Gearing Up

New and noteworthy instruments and equipment for marching musicians

Sun and Songs

The Etón Soulra solar-powered sound system provides stereo sound for iPods and iPhones (and other devices via an aux input). With a large 130mm x 130mm panel and a cell designed to work in both sunny and cloudy conditions, the Soulra boasts a maximum power output of 230mA. Its rubberized exterior is designed for adverse conditions. etoncorp.com

Track Data

The Nike+ SportBand is a training aid that keeps track of distance, pace, time, and calories burned. The band— which doubles as a watch— comes in one adjustable size and a range of colors. It can be plugged into a computer via USB for charging and data transfer. (It stores up to 30 hours onboard.) The SportBand comes with a Nike+ sensor, but requires Nike-compatible shoes to work. nike.com.

Brass in the Bag

Gator’s new lightweight GL series trumpet case features a plush 600-denier nylon exterior with reinforced nylon webbing over a dense EPS foam interior in a package weighing around five pounds. Amenities include a no-slip rubber shoulder pad, reinforced padded handles, a roomy nylon zip pocket, and adjustable elastic external tie downs. Cases come in black and red. gatorcases.com

Score one for the iPad

The ForScore iPad app lets users load and manage thousands of pages of sheet music. You can download PDFs directly from the web; organize the files into libraries; tag files with up to six types of metadata for easier searches; add bookmarks and annotations; and more. The half-turn option lets you see the top half of the next page while you finish the current one. forscoreapp.com 44

Hammer Jammers

Vic Firth has added two new Ralph Hardimon signature models to its Corpsmaster line. The Hammer (top) is made with Sta-Pac synthetic material for added weight and sound production. The Chop Out practice stick is identical to the Hammer but has a rubber tip. vicfirth.com

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12/21/10 12:24:03 PM

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12/17/10 12:01:15 PM

Age-Out

By Geoff Giordano

Jack Dagger THEN 3 NOW 3

W

Percussionist Phantom Regiment World-renowned knife thrower and performer.

hile Jack Dagger — r e a l n a m e To d d Abrams — is plying his trade as the “King of Fling,” his drum corps experience serves him with every expert throw of his knives. Born into a musical family in New Orleans in 1973, he moved to Baton Rouge in 1976. There, he began learning the intricacies of knife throwing that he has since parlayed into a high-profile career with appearances on TV shows like The Tonight Show With Conan O’Brien. He did his first commercial in 1995, and he also founded the Baton Rouge Knife and A xe Throwers Club and, after moving to Los Angeles in 2003, the L.A. Daggers. While throwing knives in the backyard was a hobby, music was a family obsession. “My dad sang for the Baton Rouge Symphony Chorus and was a vocal performance major at LSU in the ’60s,” he says. “My mom played a little piano and sang real well. Whether or not we pursued music was really not an option; the only choice was how we pursued it.” Percussion, particularly snare and tenor drums, turned out to be Abrams’ focus. His high school band teacher took his players to the Drum Corps International Finals every year as a motivational tool. “One look at DCI and I thought, ‘I want do that,’ ” he recalls. He joined Louisiana Expressions (a former Open Class corps) in high school in 1990 and went on to LSU, joining Phantom Regiment in 1992 and majoring in percussion performance for two years. “It was on-the-job training at Expressions,” he recalls. “[Instructors] Troy and Ray Theaux recognized my poten-

46

tial and eagerness to learn. In the beginning, I was the weakest link with the most work to do, and I’ll never forget being dragged into a private area while Ray tried for hours to get me to properly perform a double-stroke roll. That was by far the most difficult plateau in my drum training.” His experience at Phantom Regiment was just as intense. When the corps didn’t finish in the top six in 1992, “I was heartbroken,” he recalls. “It was quite a reality check that sometimes you just don’t get what you want, no matter how hard you try.” Since aging out, Abrams has tapped into his drum corps experience throughout his career as a performer. “Every movement or action in drum corps is made up of smaller parts,” he explains. “No matter what you see, I can guarantee there are 50 individual exercises that contributed to it. It’s all about the details, and simplicity of curriculum for maximum consistency.” In addition to performing, Abrams coached drum lines for a time and has been teaching knife throwing since moving to Los Angeles. “I teach students to conquer the hurdle of the basics, then it’s drill and train until their accuracy improves. I teach them how to focus through distractions and allow themselves to perform consistently well.” Abrams has appeared in thousands of performances, won world championships, and earned recognition from the International Knife Throwers Hall of Fame for inventing such techniques as the Jack Knife Cucumber Slice. “I credit my experience i n b o t h E x p r e s s io n s a nd Regiment for preparing me with the work ethic and humilTodd during ity required to become a prohis Phantom fessional performer,” he says. Regiment days. “Drum corps was the first time I was part of something that was bigger than me. It is also, to date, the hardest I’ve ever worked for anything. I learned that excellence only comes to those who really put the hours into it, and nothing less. I learned that with humble and diligent work, you can do pretty much anything.”

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12/20/10 5:07:26 PM

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The 2011 Drum Corps International Tour

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MARCHING MUSIC’S MAJOR LEAGUE™

12/17/10 10:04:22 AM

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