Drum Corps International Magazine Fall, 2008

Fall 2008 | Vol. 3 No. 1

The Magazine of Marching Music’s Major League™

DrumCorps International On Top

ofthe

World

PHANTOM REGIMENT’S

“SPARTACUS”

AND HIGHLIGHTS FROM THE 2008 WORLD CHAMPIONSHIPS

The Clothes That Make The Corps FOR UNIFORM AND COSTUME DESIGNERS, SUCCESS HANGS

BY A THREAD

They Write the Songs DRUM CORPS COMPOSERS AND ARRANGERS

Cadets Alum Goes to the Dogs SCENE @ THE WORLD CHAMPIONSHIPS PRO TIPS ON BRASS, PERCUSSION, AND COLOR GUARD AUDITION INFO, HOT GEAR, AND NEWS FROM INDY!

e h t t e L t ’ n o D y r o t ic V o t Road End Here!

Your local community music store has everything you need to continue on your journey, whether it’s music lessons, new instruments or technical support and advice.

Visit www.wannaplaymusic.com to locate your local music retailer and learn more about the proven lifelong benefits of making music.

www.wannaplaymusic.com

Indianapolis Welcomes...

DCI World Championships Indianapolis is honored to host the DCI World Championships, August 4-8, 2009. We know how exciting it is to perform at the highest level. We do it every time someone visits. That’s why we believe DCI chose Indianapolis as its new home.

If you have been here before, you know Indy is a great destination. If it’s your first time visiting the Circle City, go to www.indy.org for more information on where to stay, what to do or where to eat.

We are glad you are here, can’t wait to serve you and wish everyone success.

www.indy.org

Congratulations to all the marching members, staff and management for another remarkable season.

SANTA CLARA VANGUARD BLUE STARS BLUE KNIGHTS BOSTON CRUSADERS SPIRIT TROOPERS PIONEER VANGUARD CADETS MEMPHIS SOUND YAMATO BEATRIX VELVET KNIGHTS 7 TH REGIMENT

Special Congratulations to our I & E Ensembles on their Championship performances this year. •SANTA CLARA VANGUARD•

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DrumCorps International

FALL 2008

Boston Crusaders

6 From the Top Getting on the field in 2009

9 Sidelines 2008 World Championships wrap up… Audition information… DCI’s most improved corps… Ticket packages for 2009… DCI Director of the Year, Jim Jones Award winners, and other news

18 Scene at…Bloomington Faces from around the 2008 World Championships

20 Commitment to Excellence Rick Valenzuela, executive director of the 2008 World Class Champion Phantom Regiment

46 Gearing Up Get ready for audition season with the latest in apparel, equipment, and accessories

50 Age Out Former Cadets member Kathy Santo builds on the competitive discipline she learned in drum corps to become a leading dog trainer, teacher, author, and entrepreneur.

FEATURES 22 Fashioning Victory Uniforms and color guard costumes add to the drama and spectacle of every drum corps performance, and for the designers and manufacturers, the season starts on the drawing board. By Danny Miles

31 Making Arrangements You’ve heard the music on the field; now meet the people behind the notes. We spoke to leading drum corps composers and arrangers and asked them to tell us the “score.” By Chris Previc

39 Brass Lesson Warming up for effective practice, by Robert W. Getchell

40 Percussion Lesson Developing equal strength in left and right hands, by Denny Hair

42 Movement Lesson.

When it comes to fueling and nutrition, timing is everything, by Gary Granata, PhD., R.D.

www.dci.org

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DrumCorps International THE OFFICIAL MAGAZINE OF MARCHING MUSIC’S MAJOR LEAGUE Volume 3 Issue 1 Dan Acheson Executive Director Chris Weber Communications Manager Bob Jacobs Marketing Quarterback Lora Morton Manager of Promotion Services John DeNovi Director of Business Development

Throw Your Hat into the Ring

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

ith the curtain now closed on what was an incredibly exciting 2008 season for all of us at Drum Corps International, preparation is already well underway for more spectacular performances at even higher levels when these groups again return to “center stage” next summer.

Now is the time when Drum Corps International units turn their attention to gathering up the “horsepower” that fuels their engines —the talented and highly-motivated students who fill their ranks. This fall and winter, prospective and returning corps members will prepare to audition for a performing role in the ensemble of their choice. Each year some 8,000 students vie for one of the fewer than 3,500 available positions in the top-tier drum corps. Although this may seem intimidating if you are one of those students looking to jump into the drum corps experience for the first time, you can take comfort in knowing that every one of the corps members you see performing each summer started their journey by auditioning as well.

Besides being prepared with your individual requirements, it is important to keep in mind that nearly every experience during the audition process can be a learning opportunity. Today, drum corps units are taught by some of the finest educators in the country. These professionals come into the audition season not looking to intimidate or to “weed out” bad musicians, but rather to inspire and improve everyone with whom they interact; all within the unique style and framework which has been created for their respective organizations.

With the 2008 season freshly imprinted on our minds for its thrilling competitive excitement and unrivaled performance excellence, I can’t help but imagine what the incoming group of corps members will achieve in 2009. It all starts right now with that first “marching step” through the door to an audition camp. Practice hard, good luck, and we hope to welcome you as the newest members of “Marching Music’s Major League™.”

Contributors Debbie Galante Block, Jim Dunlap, Robert Getchell, Gary Granata, Denny Hair, Danny Miles

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

Drum Corps International is the world leader in producing and sanctioning competitive marching music and related stadium events for the world’s most elite marching music ensembles. Editorial and business contact is P.O. Box 3129 Indianapolis, IN 46206, phone: 317-275-1212, fax: 317-7130690. Drum Corps International Magazine is published in Fall, Winter and Spring each year.

Nonprofit organization U.S. postage paid at Long Prairie, MN, permit #2223. Copyright ©2008 Drum Corps International. All rights reserved.

www.dci.org

Will Edwards President Angelo Biasi Publisher Emile Menasché Editor-in-Chief Jackie Jordan Creative Director Mac Randall Senior Editor Adam Perlmutter Associate Editor Chris Previc Associate Editor Robin Stein Production Director Don Helsel Operations Director Tia Levinson Business Manager Illustrations Trevor Johnston, Alex Reardon Photography Johnny Gilbert, David Rhodenbaugh, Sid and Linda Unser

DEPENDS ON YAMAHA. “When

Carolina Crown decided to purchase new instruments, there was only one critical element to keep in mind...“the wall of sound.” Only one company could live up to this standard of excellence....Yamaha.”

-Jim Coates Faculty/Program Coordinator Carolina Crown

QUALITY

.

SUPPORT

.

PROFESSIONALISM

.

VALUE

©2008 Yamaha Corporation of America. All rights reserved • www.yamaha.com

s From Greetingianapolis Ind

SOUTH CAPITOL AVENUE

Sidelines

News and Notes from Drum Corps International 2009 World Championship FANtastic 5 Ticket Packages It’s not too early to get tickets for the 2009 World Championships. Introduced last year, the FANtastic 5 Ticket Package offers the best seats in the house: access to all five events, held in early August at the new and state-of-the-art Lucas Oil Stadium, home of the NFL’s Indianapolis Colts. Package prices range from $120$290; for more information, see DCI.org/tickets/fanfive.

Thursday, August 6, 2009 † World Class Championship Quarterfinals Friday, August 7, 2009 † Open Class Championship Semifinals † World Class Championship Semifinals Saturday, August 8, 2009 † Open Class Championship Finals † World Class Championship Finals

Phantom Regiment Conquers the “World” Phantom Regiment, of Rockford, Illinois, had for many years been the underdog.

“If you don’t know Phantom Regiment’s story, it is one of close calls, near misses, and a constant struggle to be recognized. Many would argue that ever y silver medal we have earned (five) should have been gold,” writes Courtney Lawrence, of Phantom’s euphonium section, in her online journal.

But persistence paid off, big time, with a program dedicated to one of drama’s greatest underdogs, “Spartacus,” as Phantom Regiment won World Class top honors at the 2008 Drum Corps International World Championships, held in Bloomington, Indiana. With a score of 98.125, Phantom edged the

defending champs, Concord, California’s Blue Devils (98.100), by the slimmest margin in World Championship history. Phantom enjoyed a raucous display of enthusiasm from the audience. Lawrence says, “I was so moved by the crowd, and how much they loved us.

We’ve had some loud crowd moments, but they’ve certainly never cheered for us, or anyone, like they did that night. It was incredible.”

Third place went to The Cavaliers (97.325).

Meanwhile, in the Open Class Finals, California’s Santa Clara Vanguard Cadets took home first place, scoring 96.825; Blue Devils B came in second place with a score of 96.775, followed by Jersey Surf’s 96.050.

For the rest of the results and more, see DCI.org/scores. www.dci.org 9

Sidelines Spokane Thunder Honored as Most Improved Corps 2008 Performance Downloads Ready to relive the magic from the 2008 Drum Corps International World Championships? Check out DCI’s Audio Performance Downloads (APD). APDs feature top-quality audio (320 kB/s) of performances by all World and Open Class corps and will work on almost any portable music or multimedia player. Each APD is $4.49 (only $2.49 for Fan Network subscribers), with all proceeds going to the corps. Also available are DCI’s Video Performance Downloads (VPD), featuring winning performances from 1974-2006 and viewable in Quicktime or iTunes.

Each download costs $6.49 ($4.49 for Fan Network subscribers).

DCI.org/fannetwork

’08 World Championship DVDs and CDs DVDs include separate volumes for the top 12 World Class Finalists, the 13th-20th placing World Class corps, and the top 12 Open Class Finalists and International Champion. The World Championships CD set features all competing World Class corps on three discs.

All are available for preorder at store.DCI.org.

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Spokane, Washington hadn’t had a competitive drum corps in nearly a quarter of a century when Spokane Thunder arrived on the scene in 2004.

By 2006, Thunder was participating in the DCI World Championships, and last summer, the relatively new group enjoyed its best performance ever, scoring 91.025 and finishing seventh in the Open Class World Championships— enough to garner the Most Improved Award.

“It’s been a really magical season for us,” Director Rich Harvey says. “The kids worked so hard and

have overcome so many obstacles this season. This has just been a wonderful summer for us.”

Members of Thunder also excelled in the Individual & Ensemble Competition (I&E).

Baritone player Ryan Whitehead walked away with second place in that caption, while Casey Whitehead won fourth place on mellophone.

“We’re the little corps that could,” says Harvey. Learn more at spokanethunder.org.

2009 Audition Season

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t’s fall again, and as the leaves change color and the holidays lurk just around the corner, drum corps throughout the country prepare for a wave of new recruits, which means one thing: auditions.

For those wishing to join a corps, preparation is essential.

Fortunately, most corps offer materials online detailing all of their technical requirements and explaining their respective audition processes. But being in a corps is not just about musical or dance chops; fitness also plays a role. “We encourage our members and prospective members to be involved in a physical fitness program of some sort, placing emphasis on aerobic fitness and core strength,” says Thomas Spataro, Executive Director of the Boston Crusaders. So while you’re running scales, run a few laps, too.

Don’t be shy about poking around to learn more about the various corps close to your area. “It’s important to try to get a feel for the organization—look at past shows, talk to current or past members,” Spataro says. “And contact staff members; they’ll be more than happy to tell you about their corps.”

When researching corps to join, be sure to factor in things like location, fee structure, music, and marching styles.

While elite corps can be pretty demanding and a marching background definitely helps, drum corps experience isn’t always necessary, and some corps are ideal for beginners.

And even if you fall flat at your audition, the process will still be rewarding. “Sometimes performers will give up without even trying, and what a loss that is,” says Spataro. “We encourage everyone to come out to the audition, even if it’s just to check out t he corps. If someone doesn’t feel ready to commit to the summer, it’s a great way to prepare for the future. Even spending one weekend with the corps will leave you with a great educational experience.” For all the latest in audition dates and locations, go to DCI.org/auditions.

Sidelines Meghan Huber with DCI Hall of Fame member Gene Monterastelli

Spotlight on Individuals and Ensembles Drum Corps International’s wide-ranging Individual & Ensemble Competition (I&E) gives both small groups and individual players a chance to shine. Listed below is the top winner in each category from the 2008 event. Head to DCI.org to learn more about the I&E, and to view all scores from the event.

Bass Drum Ensemble: Blue Knights: 97.5 Cymbal Ensemble: Santa Clara Vanguard: 93.3 Mixed Ensemble: The Cavaliers: 91.75 Percussion Ensemble: Santa Clara Vanguard: 96.0 Brass Ensemble: Spirit: 95.0 Keyboard: Bojan Hoover (The Cavaliers): 95.5 Multi-Percussion: Wes Anderson (The Academy): 95.5

Huber Wins Leadership Award

M

eghan Huber, drum major for the Crossmen, has been named the 2008 World Class recipient of the Jim Jones Leadership Award. (For the Open Class winner, see page 14.)

“Winning the award this season was such an honor,” says the 21-year-old Huber, who was a baritone player for the Jersey Surf from 2002 to 2005 before joining the Crossmen in 2006.

“This summer was very successful for the Crossmen because of the members’ hard work and dedication to improvement on and off the field. Everything I learned about leadership has come from the advice and inspiration from the members and staff of the corps, and for that I’m extremely thankful.”

Huber, a native of Linwood, New Jersey, is in her senior year at Rutgers University, where she’s a Dean’s List student in biomedical engineering. She says she’s looking forward to leading the Crossmen again next season. “The most impacting lesson I learned this season from being drum major was to never lose sight of my goals,” explains Huber. “Everyone has challenges and triumphs. It’s what you learn while experiencing them that affects who you are as a person in the long run.”

Selections for the annual award—named for Jim Jones, one of Drum Corps International’s founding directors and a charter member of the DCI Hall of Fame—are made by a committee of Hall of Famers.

By the Numbers With audition season around the corner (see story on page 10), it’s a good time to take a quick head count of everyone directly and indirectly involved in the drum corps experience.

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1Multi-Tenor: Matt Bowers (Blue Devils): 95.5 Snare: Emmanuel Deleon (Santa Clara Vanguard): 92.0 Timpani: Montna Malbrouth (Blue Devils): 96.0 Trumpet: Sara Meyers (Boston Crusaders): 97.0 Mellophone: Jon Holloway (Mandarins): 92.0 French Horn: Sebastian Granados (Blue Knights): 96.5 Euphonium: Irving Ray (Madison Scouts): 95.5 Baritone: Sean Davis (Blue Knights): 90.5 Trombone: Austin Tran (Madison Scouts): 96.0 Tuba: Mike Post (Blue Stars): 90.0 Clarinet: Evan Lynch (The Academy): 92.3 Flute: Daryl Thompson (Madison Scouts): 98.0 Saxophone: Sean O’Connor (Oregon Crusaders): 82.0 Auxiliary: Amanda Brisbey (Spirit): 95.0 Auxiliary Ensemble: Blue Knights Auxiliary Ensemble #2: 98.0 Dance: Jonathan Glatfelter (Madison Scouts): 98.0 Dance Ensemble: Boston Crusaders: 98.0 Flag: Ben Ash (The Cavaliers): 98.5 Flag Ensemble: Blue Knights: 95.0

7.2 Million: Number of people between ages 13 and 22 involved in the performing arts in the U.S. 15: Number of countries with active participants in U.S.-based drum corps 7400,000: fans who viewed live drum corps events in 2008

8,000: number of kids who audition for drum corps spots <3,500: number of available spots in top-tier drum corps 66: percentage of participants who are male 25,000: number of high school students who attended at least one major drum corps event last year.

Sidelines

Chamber of Honors Crossmen Director Mark Chambers “Baggs” Director of the Year

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or director Mark Chambers and the San Antonio-based Crossmen Drum & Bugle Corps, a few sweat-soaked days of hard work in July—following a ninth-place finish at DCI Orlando Premier Event—marked a major turning point in the 2008 campaign.

“We found ourselves in a tough position in that we were not seeing the results we wanted,” Chambers recalls.

“There was a sense of urgency within the staff and corps that resulted in an amazing week of work and progress. It was the most determined group of young people that I have ever seen.”

The corps embarked on a new course, setting what Chambers calls “clearly defined, reachable goals” oriented toward performa nce, not ra n k i ng s. T he re s u lt wa s improvement at each subsequent major regional competition. And for Chambers, the effort has brought some individual recognition with the peer-voted Dr. Bernard Baggs Leadership

Award, which recognizes the outstanding corps director of the year.

“It is very exciting but also humbling to be selected by your peers,” says Chambers, “especially when you consider the amazing group of directors leading corps today. I am honored to have been chosen.”

After seeing improvement in most captions this season, Chambers says the future is about building on this past season and continuing to improve.

“We were a young corps and have the potential for many [members] to return,” explains Chambers, who before joining the Crossmen was the director of bands at Ronald Reagan High School in San Antonio from 1999 to 2007. “It’s our goal to increase our talent and ability as well as continue working on the ‘culture’ of the corps. We’ll continue to develop a ‘style,’ if you will, in terms of design that’s entertaining and creative. I think we are in a great place right now. The atmosphere is positive, yet determined. I think the corps has a great future.” —Jim Dunlap

Velvet Knight Wins Inaugural Open Class Jim Jones Award With 2008’s reorganization of the old Divisions II & III into Open Class, Drum Corps International added individual recognition of that circuit’s drum majors, creating the Open Class version of the Jim Jones Leadership Award. Eighteen-year-old Velvet Knights drum major Blair Lezcano is the first recipient. “It’s quite an honor,” says the Orange, California native, who’s currently a freshman at Santiago Community College. “It was a little unexpected. I was just doing my job as drum major and here it came!”

Velvet Knights director Mayra Iraheta says 14

about Lezcano: “Blair is a very intelligent young man for his age. He’s funny and he’s serious when he needs to be. I’ve been very, very proud of him as I’ve watched him grow into his role as drum major.”

She’s not kidding about him being smart— last year, Blair hotwired the VKs’ Dr. Beat metronome to run on solar power! “This season has definitely been challenging,” Lezcano says.

“Last year we didn’t travel very far because the World Championships were in our hometown, Pasadena. It was interesting to travel across the U.S., and it was a lot of fun.” vkyo.org

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They make transitions from storage to transport to performance seamless â&#x20AC;&#x201D; without worry. Our new Timpani Cart, Bass Drum/Gong Cart and Speaker Cart secure equipment into place so you can concentrate on moving onto the ďŹ eld and giving your best performance. Each cart comes with pneumatic wheels allowing carts to roll easily on any surface. The OnBoard Cargo and Uniform Cart are a unique system for storing and transporting your instruments and uniforms. Complement these with OnBoard Keyboard and Percussion Carts â&#x20AC;&#x201D; and keep your or drum corps on a roll.

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New Edition

Marching Band Techniques

By Patrick Dunnigan

Practical ideas from one of the leading authorities on marching.

Both new directors and seasoned veterans will find valuable advice in this book. 134 pages, hardcover, $18. (Prepayment required except on school purchase orders. Please add $5 shipping.)

National School Marching Award After many requests from directors, we introduced this new award two years ago to recognize outstanding contributions on the field. It honors the musical contributions and dedication of student leaders whose example inspires other students.

Each year give your most deserving band members the student award, a 5" x 7" walnut plaque with a beautiful color picture, $41. Engrave students’ names on the matching walnut wall plaque for the band room. (10 1/2" x 13") $82.

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THE MOST IMPORTANT DECISIONS START WITH THE MOST IMPORTANT PEOPLE.

There’s strong. And then there’s Army Strong. You taught them right from wrong.

You told them they could do anything. Now they want the discipline, leadership training and college benefits that come from being in the U.S. Army.

If your son or daughter wants to talk about joining, listen. You just might be proud of what they have to say. Find out more at goarmy.com/for_parents.

Private Matthew Bryan

Scene at the Championships

By Paul Irwin

he 2008 World Championships took place in Drum Corps International’s new Indiana home, and the Hoosier State had its welcome mat out. Held at Indiana University’s Bloomington campus before moving on to Indianapolis’ brand new Lucas Oil Stadium in 2009, the title fight featured one of the closest competitive

T

finishes in history (see Sidelines, p 9). But as always, there was plenty of action off the field too, as members of the drum corps community, educators, sponsors, alumni and fans got together for what’s always as much about celebration as it is competition. Scene’s eagle-eyed cameras were there to capture it all. << 1 Dr. John Malhman and Barbara Geer of The National Association for Music Education (MENC). << 2 Brian Young, winner of Beatnik’s World’s Most Accurate Drummer Contest.

<< 3 DeMoulin’s product manager Mike Marsden (l.), poses with Vice President of Sales and Marketing Steve Trull and Steve’s wife, Sonia.

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2 3

4 << 4 WGI’s Marketing and Communications Coordinator, Aaron Jenkins.

>> 5 Two fans mug for the camera during the “Zildjian Dash to the Crash” promotion. >> 6 Keith Hall, President of The Band Hall, at the Finals. >> 7 2007 “Mrs. World,” Diane Tucker, with Don Welsh, President and CEO of Indianapolis Convention and Visitors Association.

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7 << 8 Santa Clara Vanguard Cadets, 2008 Open Class champions. << 9 CBS Orchestra trumpeter Al Chez checks in with Brian Dix, CWO-4 of the U.S. Marine Drum and Bugle Corps. << 10 Dynasty’s Mark Schafer takes a break from the action in the Festival Marketplace.

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>> 11 Indianapolis Indians mascot Rowdie tries his hand at drumming.

>> 12 Fred Miller, President and CEO of Fred J. Miller, Inc., and Jennifer Paisley from NAMM. >> 13 Christine Norton, drum major ’08 U.S. Army All-American Marching Band, with last year’s band leader, Mike Blakely, and Army reps.

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Commitment to Excellence

By Jim Dunlap

Rick Valenzuela Executive Director, Phantom Regiment hen Phantom Regiment claimed the DCI World Championship title this past August, it did so with very little room to spare. En route to the second title in its history, the Rockford, Illinoisbased corps scored a 98.125 for the dramatic “Spartacus,” eclipsing the Blue Devils’ 98.100 by the slimmest of margins.

“In terms of scoring, I don’t know if you can get any closer than that,” says Phantom Regiment Executive Director Rick Valenzuela. “The funny thing is, when the Regiment won their first title in 1996, it was a tie with the Blue Devils, and it was almost a tie with the Blue Devils again this year.

That just goes to show you that when you get up to those top five or so corps, it’s pretty hard to tell them apart. I wouldn’t want to judge at this level, no way.”

The taste of victory was sweet for Valenzuela, whose outfit built momentum as the Championships unfolded: Phantom Regiment entered the Quarterfinals as a fourth seed, moving up a single spot each night. The corps first edged past Carolina Crown before passing the Cavaliers.

That set the stage for the climactic finish and the paper-thin final advantage over the Blue Devils.

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“We ask the kids to make each night better than the previous night,” explains Valenzuela, whose corps history dates back to 1983 when he was a soprano player with the Santa Clara Vanguard. “That was actually a mantra that we had all year long, that each show should be better than the last one. What happened in the Finals went right in hand with that. And it was exciting to see, but it was also exciting to see the kids get into that every night, no matter what time of the season it was and no matter how crowded the stands were. They were always trying to one-up themselves. And I think they did that in each of their Championship performances; they outdid their previous show.”

A dominating battery percussion unit helped propel Phantom Regiment to victory: the drummers, led by Paul Rennick, finished first in the Quarterfinals, Semifinals, and Finals, winning their second Fred Sanford High Percussion Award in three years.

The corps also captured the High General Effect Award, as well as the annual Spirit of Disney Award, which recognizes a program’s entertainment value.

“One surprise for me was that we won t he Disney Awa rd,” Valenzuela says. “I knew we were crowd favorites, but I wasn’t sure that Disney would get a kick out of our entire show the way they did. I’d already picked someone else to win that award. When I found out they’d given it to us, I was actually shocked.”

Valenzuela enjoyed a long relationship with the Santa Clara Vanguard before joining Phantom Regiment. He aged out in 1989, held a number of staff positions during the 1990s, and in 2000 became only the fourth director in SCV history. Valenzuela maintained that post until 2005, the same year he came to the Phantom Regiment as the director of development and special projects. He was appointed executive director the following year.

As for taking the 2008 World Class crown, Valenzuela says it was just icing on a pretty tasty cake; he was already proud of his corps. “For us, the excitement of each night was really what got us going,” he says. “Just coming into the stadium and seeing the crowd going nuts—that’s what performers live for. It was so nice to see the crowd receive them as well as they did. The Regiment just had an absolute love affair with the crowd this year.”

Fashioning

BY DANNY MILES

VICTORY

Blue Devils’ 2008 color guard

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Long before the season starts, drum corps staff and uniform designers start sketching out ideas for uniforms and costumes.

ach yea r fol low i ng t he Wo r l d C h a m p i o n s h i p Final, all the World Class corps stand together on the field that has been their competitive battleground. It’s a moment of solidarity and celebration, and tribute to all the members and staff who’ve made it through another tour.

But it’s also a testament to the visual power of the corps. The field is awash with color as musicians and g u a rd memb er s s t a nd i n t hei r resplendent attire. It’s a reminder that the sights and sounds of drum corps make a powerful statement, long after that last note of the campaign has faded out.

Uniforms and costumes are a huge part of the drum corps experience for members and fans alike. They project a corps identity over the vast distances of a football stadium. A nd in a musical sport where precise movement must punctuate every note, and where the color guard must help deliver the narrative and emotional part of a program, the development and creation of uniforms and guard costumes can be as important to the success of a show as writing the score and plotting drill. We talked to folks from leading uniform manufactures Fred J. Miller, DeMoulin, Stanbury and The Band Hall to get at the fabric of drum corps.

A Uniform Approach “Creating a new uniform for today’s marching musical ensemble can be a daunting and overwhelming task,” says DeMoulin chief designer Chad Duggan, who has also teamed up with Dance Sophisticates to create costumes for Santa Clara Vanguard, Bluecoats, Madison Scouts, Crossmen, a nd Tea l Sou nd, a mong ot hers.

“Should one stick with the tried and true, traditional designs—or rock the proverbial boat with a new and updated style?”

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Evolution of a uniform 1994

2002

2004 After consulting the corps for direction, DCI Hall of Fame designer Michael Cesario creates a copyrighted sketch.

Note the evolution of Carolina Crown’s uniforms over the years.

2008

That’s the question that corps staffs wrestle with every time they approach a designer for a uniform change: How do they freshen their look while being true to the corps identity? “The design of drum corps uniforms over the years is not unlike fashion in any other segment of the apparel industry,” says The Band Hall’s President and CEO Keith Hall.

“Take football uniforms, for example; some teams continue to use a traditional design that has been worn for decades while others prefer the latest greatest new trend. Whatever works for you is the right answer.”

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Corps uniforms trace back to the activity’s military roots, and most today still suggest the formality of military academy-style tailoring: Wide-shouldered, sharply cut jackets; gloves; bright buttons; and hats—often with plumes— pay homage to the parade grounds of yester year. “The vast majorit y are based on what we call the West Point look,” says Stanbury designer Brent Becker, who once manned the horn l i nes for Pha ntom Reg i ment , Guardsmen, and The Cavaliers, and at 29 is among the youngest designers in the business. “In the ’70s, there was the ‘satin blouse’ and open-collar lapels. In the ’80s and ’90s, it got more diverse, and today, it’s all over the place—some corps wear shako hats with plumes, some Aussie hats, and so on.”

But even within a traditional approach, corps are always looking for a visual edge, and therefore change uniforms relatively frequently. “Drum Corps International groups— with their rigorous schedules and numerous appearances— tend to replace uniforms more often than our band clients,” says award-winning Fred J. Miller designer and DCI Hall of

Back to the Drawing Board

aimed at reaching the inner identity of each group,” says Cesario, who emphasizes that uniforms must both maintain a link to the corps’ history and meet the needs of the moment. “Each drum corps client has its own distinct character, but in time, this translates into an abstract image.”

The next step is to create sketches—Cesario’s are actually copyrighted illustrations—which are then used as a basis to develop models of the uniform. “Then it goes back to the clients for refinement,” Cesario says. “The entire process is overseen directly from our main offices and workrooms with the Miller family and me directly involved throughout the process.”

“It takes us up to a year from start to finish to do the drawings, color sketches, and create samples,” says Roberts.

“The prototype will get tweaked a couple of times, and then it gets to a stage where the staff takes it outside the field and climbs up on the bleachers to see how it looks on the football field.”

Part of t he challenge is to maintain a traditional formal look in a garment that will be used at the speed—and in the heat—of a drum corps performance. “We’re always exploring options for uniform fabrics,” says Roberts. “In

The process of refreshing or redesigning a drum corps look involves a lot of back and forth between the corps staff, the designers, and the manufacturers. Some corps come to the designers with a preconceived look— Chief designer Chad Duggan’s or even a vision based on the upcomguard costumes reflect the ing season’s music program. Others multifaceted nature of Santa Clara Vanguard’s ’08 show “3HREE rely on the designers to generate Mind-Body-Soul” (above). Duggan ideas from scratch. says that the drum corps look has “We begin with a great deal of a major influence on the marching band uniforms he designs for research and conversation, most DeMoulin (right). often with ‘big picture’ questions 26

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SANTA CLARA VANGUARD PHOTOS: JOLESCH; BOTTOM RIGHT (2): COURTESY OF DEMOULIN

Famer Michael Cesario, who adds that elite drum corps can serve as a testing ground.

(FJM and all the other manufacturers also provide uniforms to other marching ensembles.) “Since 1984, we have used selected drum corps as opportunities for research and development, since drum corps uniforms are ‘ridden hard and put away wet,’ making sure that these garments can withstand the athletic punishment unique to DCI groups.”

“The sky’s the limit,” says Gary Roberts, president of Stanbury. “We’re able to create more distinct looks than in the past. It’s more fun, more rewarding—and more challenging.”

So, what goes into a marching unit’s makeover? “First and foremost, if an organization is well-established, they have to look like themselves,” says Becker, who has penned corps uniforms for Madison Scouts, Santa Clara Vanguard, Blue Stars, and others. “The uniform has to have an identity, even with new designs.” Sometimes, this means returning to an element from the corps’ past. “But some corps want to make a dramatic detour,” he says, explaining that certain corps staff members follow fashion trends and bring ideas to his attention.

the past, heavy wool was worn and some corps still wear it. But today most use lightweight breathable fabric similar to the materials used by athletes. Over the last 10 years, there’s been a lot of innovation with fabrics treated with wicking and soil-release chemistry that resists odor, stains and mildew.”

Dress Rehearsal Designers must also consider how the uniforms and costumes look in motion—and over a very large area.

“How a design appears when viewed from the back as compared to the front should also be taken into account,” says Duggan, who in addition to his guard work designs marching band uniforms for DeMoulin.

“Beautiful visual effects can be created when there is a light-to-dark contrast from the front of the uniform to the back. Keep in mind that when a musical ensemble is facing away from the listener, the volume LEARN MORE ABOUT THESE le vel i s t y pic a l l y UNIFORM reduced. A design with darker color MANUFACTURERS placement on the back, and a lighter The Band Hall: color appearance from the front” thebandhall.com enhances the music.

800-398-3064 Becker says a corps’ ability to exeDeMoulin Bros. cute can actually influence its choice and Co.: of uniform. “Top corps can sometimes demoulin.com be more adventurous in terms of the 800-228-8134 look,” he says, pointing out that bright Fred J. Miller, Inc.: colors and contrasts can make mistakes fjminc.com seem more apparent.

800-444-FLAG One thing all corps seem to want is Stanbury: for their members to look taller and stanbury.com leaner. “They want lean, mean, and 800-826-2246 tall,” Becker says.

The Band Hall’s Tommy Keenum has penned uniforms for a range of corps, including Mandarins ’08 (shown).

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Stanbury’s Brent Becker focused on a “lean and mean” look for the ’08 Blue Stars uniform.

“Continuing the trouser color onto the lower portion of the coat is a way to create the impression of more height,” Duggan explains.

“This can be further enhanced by a shorter than average coat length, which makes the legs appear to be longer. A more tailored fit of the bib trousers and coat streamlines the silhouette of the body to help create a taller appearance—but requires more customized fitting.”

Duggan explains that he often emulates the classic drum corps style when creating DeMoulin’s uniforms for marching bands. “It’s safe to say drum corps is a major influence.”

As for the guard, these costumes are updated more frequently and can play a direct role in any given program’s theme, whether it’s the Roman-inspired attire worn by Phantom Regiment in “Spartacus,” the neon-vibrant costumes from the Blue Devils’ “Constantly Risking Absurdity,” or the colorful—and morphing—big-city look worn by Santa Clara Vanguard for “3HREE Mind-Body-Soul.”

“Today, the color guard is used in a more theatrical and character-related manner,” Cesario explains. “It must stand away from the look of the corps, achieving its own focus, without distracting from an overall impact.

Each program requires careful design.”

But for all those involved in dressing up the corps, the payoff comes when their work is displayed on the field. “Our mission is accomplished when a corps’ uniforms elicit the image the unit wants to portray,” Hall says.

And ultimately, it’s that synergy between music, message, and look that makes designing for drum corps gratifying. “When the uniforms are complete and they’re in the warehouse, it’s really exciting,” says Stanbury’s Roberts. “The Madison Scouts came to visit once and did a performance for the factory people so they could see their uniforms in action. It was a real morale boost. We go to the World Championships and we cheer for all our corps.”

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making r n m t

BY CHRIS PREVIC

a ra ge en s

Creating music for drum corps is a complex and specialized art. Three World Class composers and arrangers tell us the “score.”

omposing and arranging for drum corps is almost a genre unto itself. Not only does the music have to please the ear; it must also work for what is essentially the fastest and biggest visual/musical medium on earth. Think film composers have it tough writing for the big screen? Imagine that your screen is 120 yards wide, 50 yards deep, and that every note in an 11-minute program has to count!

Drum corps composers and arrangers com-

bine musical artistry with the ability to arrange for a very specialized form that’s athletic, artistic—and competitive. Each time a drum corps takes the field, part of its mission is to demonstrate instrumental virtuosity that far exceeds anything in the standard canon of marching music. If the drum corps experience is one of music in motion, then the work of composers and arrangers is the map.

Often, drum corps composers and arrangwww.dci.org 31

ers are creating from scratch, composing music that’s as complex as any orchestral score. Sometimes they’re asked to write new arrangements to familiar tunes—most of them originally composed for more conventional ensembles—adapting the music of a pop artist like Billy Joel for one show, the soundtrack to a film like The Godfather for another. Still, much of the music surrounding the familiar melodies is completely original. And always, the music must propel the visuals, capture the audience, and inspire—and challenge—the best marching musicians in the world.

Corps scores don’t come off the shelf, and the people who compose them must come to the job with a deep understanding of this unique activity.

Most have been members of a corps, and many have experienced the sound of drum corps evolving from days when it was common to see corps members playing marching xylophones and single-valve brass instruments, to today—when players use the same finely tuned instruments played in an indoor concert hall. A few of these notable names are Frank Sullivan (who has worked with the Boston Crusaders), Mike Nevin (Blue Knights), Richard Saucedo (the Cavaliers throughout the ’00s), and longtime great Robert W. Smith (it’s worth subscribing to DCI.org’s Fan Network just to study the Suncoast Sound and witness the force that was “A Florida Suite”). We had a chance to talk to three of today’s top tunesmiths—Jay Bocook of the Cadets, Jim Casella (Cavaliers), and Wayne Downey (Blue Devils)— and ask them exactly what sets corps composing apart.

as a principal composer and arranger for Hal Leonard. His works have been heard at multiple Olympic games and are often played by the U.S. Marine Band. But 20 years of composing and arranging music for a host of great corps across the countr y has given B o c o ok (a l s o t he Director of Athletic Bands at Furman Universit y— does t he g u y sleep?) sp ec ia l i nsight i nto what makes drum corps music unique.

“It’s effect music,” says Jay—“effect” in this case meaning that the music has to grab the audience’s attention, often when they least expect it. Take “Liquid,” the original piece he wrote for that memorable ’05 Cadets show, “The Zone.” The music swells and swirls, drips and trickles, and then unleashes a downpour that drenches the audience in sound. “The visual does the same thing,” says Bocook. “The effect is that the visual is another musical voice.”

And that’s what makes drum corps compositions different from other instrumental works. While a concert piece like Bocook’s “Aztec Fire” might convey a strong mental image to the listener, an original drum corps piece is built from the beginning to include specific visual elements that are meant to be experienced live and in person.

“The visual element can really drive t he melody and harmony,” says Bocook. “There’s a total package to consider.”

Even when it’s based on a wellknown piece of music, that total

“The visual element can really drive the melody and harmony.

There’s a total package to consider.”

Jay Bocook: Special Effects Jay Bocook didn’t start out as a drum corps composer and arranger, but his 16-year tenure with the Cadets has earned him a well-deserved spot in the hearts of all drum corps fans and a place in the Cadets Hall of Fame. Bocook’s roots are in arranging for band—an occupation he’s still involved in

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package often calls for snippets of original music inside the arrangement. As a show unfolds, the corps will eventually need to reach an effect point (like a boxer looking for the moment to land a one-two punch). These effect points are designed to capture the audience’s attention and help the show transition from one movement to the next. “It’s not usually there in the original work, so we have to compose an effect from scratch,” Bocook explains.

Part of the art is to harness the power of such a fluid group of musicians, where multiple brass lines dance and unite with the driving battery percussion and front ensemble until it all becomes one great encompassing voice. “That’s drum corps,” smiles Jay. “It really is larger than life.”

Jim Casella: Battery Powered Jim Casella caught the drum corps bug as a member of the Santa Clara Vanguard drum line in the early ’90s. Without missing a beat, he got a simultaneous education from worldclass music schools (San Jose State University and the San Francisco Conservatory of Music) and in the drum corps arts, rising quickly to a spot as SCV’s percussion arranger (from ’96 to ’04).

Now a composer and arranger for film, TV, and the Cavaliers—as well as an international clinician and performer in his current hometown of Portland, Oregon—Casella uses his skills to showcase the talents of the corps’ members.

When writing for a movie like the upcoming feature film The Graves,

Casella must embellish the pictures and story with music. Drum corps, though also visual, is different.

“Drum corps has a culture that centers around showcasing the skills of the performers,” he says. Because it’s live entertainment, there’s more for a composer to consider, but one constant underlies every corps piece, before the uniforms, the props, the drill, or the music: “It’s all about performers communicating to an audience.”

Audiences—and the judges who ultimately decide who wins the Championship—come to performances with high expectations, and one of them is to hear and feel the intensity of the drum line. “The drum line’s role is so specialized that it’s difficult to call [writing for it] an ‘arrangement,’” notes Casella—which means that even though the Cavaliers performed Billy Joel songs like “The Stranger,” “Pressure,” “And So It Goes,” and “Scenes from an Italian Restaurant” in ’07, the battery “book” underneath the familiar melodies was a purely original composition.

How do composers and designers balance all the elements to make a unified piece?

“There’s something of a storyboard in place t hat helps to guide the way we pace things,” reveals Casella, alluding to the effect points of the show. Still, wit h scores and drills needing constant revision and composers living all over the countr y, it’s important to be open to input from the entire corps staff.

“Drum corps has a culture that centers around showcasing the skills of the performers.”

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“When each person has their specialized focus, the result is that the bulk of the creative process is spent collaborating, not putting notes on a page,” Casella explains. Many cooks do not spoil the stew in this case, because drum corps is one really big pot. The final showcase is a weave of unique voices bound together by a common vision. And all those different composers help push the activity forward.

Wayne Downey: Breaking Boundaries

“Every corps is uniquely their own, and beyond that, it’s a wide open door.”

As a tenacious youth in a crowded New York suburb, Wayne Downey played his trumpet diligently. Local buglers scouted out his fortissimo sounds and brought him to a drum corps at an early age. At a time when most of us are still trying to figure out the hallways of our middle schools, the future Blue Devils Music Director was getting a head start in navigating the drum corps art form.

And he’s been ahead ever since.

When his parents moved the family to California, they bought a house around the corner from Gail Royer, the legendary director of the Santa Clara Vanguard. After Downey established himself as a premier soloist and brass instructor, a young corps called the Blue Devils asked him to teach and arrange for them. That job offer began a dynasty that includes an unprecedented 22 Jim Ott Brass Trophies. And it was just the beginning.

Downey’s work has also been an integral part of marching music’s leap to the stage with shows like Blast!, Cyberjam, and the upcoming Brass

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Odyssey from Japan. His roots as an educator have prompted him to create a website for brass instrument educators and students, xtremebrass.com.

“The possibilities are now endless for composers,” Downey says, referring to rules passed over many years that allow for the evolution of different sounds, effects, and instrumentation that can be used within the competitive framework of the drum corps activity. “It makes it a lot easier to take the music straight out of your dreams and put it on the field.”

Scoring it all is a massive undertaking. “The book can be as big as 100 pages of music,” Downey says. “Since the creative/writing process is done in stages, it usually takes a good two to three months to produce the first draft. The number of revisions is based on how good the first draft is from a compositional standpoint, but it takes usually two to three revisions before the final product is in place.”

But whatever colors are available to his (or her) sonic palette, a composer still has a responsibility to maintain a corps’ identity. “You go to see and hear a personality,” Downey concludes. “It’s those personalities that create the look and sound. Every corps is uniquely their own, and beyond that, it’s a wide open door.”

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Brass

Lesson

By Robert Getchell Excerpted from “Cornet and Trumpet Warmups” King Brasswinds ■ kingsofthefield.com

Warming Up with Long Tones ndoubtedly, the most important part of a brass player’s day is the warm-up period. The degree of response by the embouchure throughout the remainder of the day will, in great part, be dictated by the thoroughness and care with which the brass player prepares his lip in the initial practice session.

This is not a time for clock-watching! On certain days, the player will find that the embouchure muscles require a more gradual and thorough loosening-up than at other times. Thus, the length of time spent in the warm-up process should be dictated by the condition of the lip.

It is doubtful that there is any one warm-up routine that would lend itself equally well to all brass players. However, teachers generally agree that, of the various exercises which are beneficial in this regard, long tones and lip flexibility exercises are of primary importance.

U

7 Start softly When you practice the long tones, gradually extend the register upward and downward in equal proportions, but not going beyond the range you can play easily. Start each tone as softly as possible.

3 Build Dynamic Range

TREVOR JOHNSTON

Gradually increase volume to the fullest dynamic level playable without distorting quality of the tone. Work for a balanced crescendo and diminuendo. Maintain uniform tone quality and intonation at all dynamic levels. These warm up excercises are intended to develop a clear, free, resonant tone; breath control and endurance and lip control and lip endurance.

For an extended version of this lesson, including sheet music, go to kingsofthefield.com.

www.dci.org

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Percussion Lesson

By Denny Hair Excerpted from “Left Hand Development” Ludwig Drums ■ ludwig-drums.com

Don’t Get “Left” Behind

W

hether naturally left- or right-handed, almost all drummers have a dominant hand, which is further developed than the other. Bringing both hands to equal proficiency requires several steps:

1Matching Grips

1Strike Placement

The first step I recommend is making sure both sticks are hitting the same way. If the player is using a matched grip, then both hands should mirror each other; the grip should be identical on both hands. If the player is using a traditional grip, then it becomes very important to match the fulcrum of the stick so the “balance” is maintained evenly.

Once the balance is established, then the striking point on the head or pad needs to be at the same place for both sticks. Once this is achieved, then you can diagnose the problem areas and work toward developing the muscles to correct the unevenness by bringing the weaker hand closer to the dominant hand in playing ability.

Building Up In simple terms, you have to wear the muscles down so they will build up. How much exercise is needed and what the student can or should do will depend on the extent of the problem. There are several techniques that can be used and many books on the subject. The Moeller technique is one that has come back into popularity but whatever technique or style you use, the bottom line is that it takes hard work and persistent practice to get parity in both hands.

ALEX REARDON

For an expanded version of this lesson, go to keynotesmagazine.com.

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The Hybrid Series

D’Addario & Company, Inc. I PO Box 290, Farmingdale, NY 11735 USA I Evans is a registered trademarks or trademark of D’Addario & Company, Inc. or its affiliates in the United States and/or other countries. © 2007. All rights reserved.

Movement Lesson

Gary Granata, PhD, RD Founder of PerformWell, LLC performwell.net

Fueling Drum Corps Strategies to Enhance Performance and Prevent Injury

T

odayâ&#x20AC;&#x2122;s drum corps place incredible physical demands on the individual performer. The rigors of both performance and rehearsal produce energy expenditure rates comparable to those of competitive athletes. Further, the incidence of repetitive use injuries appears to parallel the increase in performance demands. Deficient energy (calorie) intake contributes to both poor performance and repetitive use injuries, especially when energy expenditure is high. Energy deficiencies cause low blood glucose levels, which forces the body to break down muscle tissue to use as glucose energy. Decreased muscle mass leads to decreased physical performance and increased injury risk. Fueling frequently (i.e. consuming calories every two to three hours) is a proven strategy to avoid energy deficiencies.

7Frequent Fueling Regimens Research in athletes shows that frequent fueling increases muscle mass, decreases body fat, and improves performance. Proper fueling before, during, and after activity further maximizes training and enhances performance.

Fueling before activity provides the carbohydrate energy and fluids required for physical activity. Meals consumed two to three hours before activity should provide mostly complex carbohydrates (e.g. starches and grains), moderate protein, minimal fat and decaffeinated fluids. Foods high in protein and fat should be avoided, as both digest slowly and increase the risk of dehydration. Additional fuel and fluid should be consumed during the 30 minutes immediately before physical activity. Simple carbohydrates (i.e. simple sugars) and fluids should be consumed during this period. Sports drinks and gels, fruit, and fruit juice are good sources of simple carbs.

Fueling during activity provides energy to sustain activity, prevent muscle breakdown, and delay fatigue. Injury rates are considerably higher when athletes are fatigued. Thus, simple carbs and fluids should be consumed at regular intervals during rehearsal.

Snacks (e.g. fruit, energy bars, trail mixes, etc.) should be provided when rehearsals last more than three hours.

Recovery fueling and rehydrating is essential to both repair the body and prepare it for the next day. Beverages containing a 4:1 carb-to-protein ratio should be consumed immediately after rehearsal and competition. While numerous recovery drinks are available, chocolate skim milk also does the trick. Frequent fueling should continue during the hours after activity and provide a balanced mixture of carbs, protein, and fat.

Fueling and hydrating regimens should be tested and practiced by each athlete during rehearsal. Consuming a new fuel or fluid before a performance can be as disastrous as trying an unrehearsed drill move in competition! Proper fueling and hydration regimens are essential tools in any athleteâ&#x20AC;&#x2122;s repertoire.

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ALEX REARDON

7Recovery

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Gearing Up

New and noteworthy instruments and equipment for marching musicians

Sock It to You Being in the drum corps can be hard on the arms and hands— and on the feet too. Protect your peds with Injinji Tetrasok socks.

Unlike a conventional sock, the Tetrasok has a five-toe design, which discourages blisters between toes. The Tetrasok is also made with CoolMax, an advanced fabric that wicks moisture so that your feet will stay dry and comfy when you’re marching about. injinji.com

Smart Bells It can be challenging to maintain a weighttraining regimen when traveling. Here’s an excellent solution: take along AquaBells Travel Weights—a virtual gym that weighs less than 26 oz. and is compact enough to fit in a briefcase. Fill these puppies with water, and you can get up to 16 lbs. of resistance per dumbbell. Also available are ankle weights, as well as cold packs for those muscles that ache from wso much drumming. aquabells.com

Dry Idea Training can really cause you to work up a sweat. To stay dry, try SmartWool’s Microweight NTS Tee. Made from 100% wool, this ultra-light top boasts natural moisture management.

Available in both men’s and women’s styles, it can be worn alone for warm weather, or as a base layer when it’s cold outside. smartwool.com 46

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Get a Grip The PRO is Gripmaster’s top model, a hand exerciser suitable for musicians and athletes alike. It’s available in three different colors, each assigned to a different weight: For the average hand, there’s red/medium (7 lbs./finger); black/heavy offers a little more resistance (9 lbs./finger); and for you tough guys, there’s the extremely heavy grey (11 lbs./finger). prohands.net

Backpack Oasis Who’s got time to hunt around for water when there’s training to be done? For those long rehearsals, during which it’s crucial to stay hydrated, try CamelBak’s Unbottle. This fully insulated 70-ounce container can fit inside or attach to your day pack and will keep your water cool for up to three hours. The Unbottle is made from lightweight but sturdy fabric and carries a lifetime warranty. camelbak.com

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Age-Out

By Debbie Galante Block

KS Kathy Santo

Then: Rifle Line, Garfield Cadets Now: Dog Trainer, Writer, and Entrepreneur

If there is one lesson that dog trainer, writer, and entrepreneur Kathy Santo learned from drum corps, it is that anything is possible. “You think you hit a wall, but drum corps shows you how to climb it, go over it or even around it,” she says.

Santo’s taken that to heart in carving out her own path.

A fter being in t he Garf ield Cadet s i n 1982 du r i ng her sen ior year i n h igh school, Santo graduated and became a secretary. She knew that wasn’t for her, so she followed her true passion—dogs.

Her interest in marching arts began as freshman at Governor Liv i ng ston Reg iona l H igh School in New Jersey, where Santo played trumpet in the marching band. By her sophomore year, she switched to the rif le line in the color guard.

The f irst t ime Santo saw a drum corps show, she knew she wanted to be in it. When she finally auditioned for the Cadets as a senior, Santo was only the second person from her high school band that had made it into a corps.

She admits that the real thing was intimidating at first. But the love of a challenge she developed while fighting for a spot on the rifle line stayed with her when she went into dog training. “You go to competitions—it’s like drum corps,” she jokes. “People started asking me for lessons and I started training them as well as the dogs.” Soon, Santo started a school, Kathy Santo’s Dog Training, and began training dogs for competition and home 50

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obedience, as well as evaluating the temperaments of shelter dogs to help match them with adopting families. Santo’s students have achieved over 500 obedience, agility and Canine Good Citizenship titles. Eventually, she put her knowledge to paper in the book Kathy Santo’s Dog Sense (Knopf).

“Drum Corps taught me that you can be anybody you want to be,” Santo says. “You don’t have to go the conventional route. So, I thought, ‘Of course I can write a book!’”

Santo, who makes monthly appearances on The Martha Stewart Show, also writes regularly for American Kennel C l u b ’s T h e F a m i l y D o g , H o u s e B e a u t i f u l , a n d GoodHousekeeping.com.

When one of Santo’s clients asked if she’d be interested in starting a program to be funded by the Daniel Jordan Fiddle Foundation (djfiddlefoundation.org) for adolescents with autism, she jumped on it. It was a learning experience for her, but as soon as she mixed the children with the dogs, Santo noticed the children were fascinated with the agility equipment she had in the yard. “The children bonded with the dogs, and for the first time in their lives the k ids were teac h i ng i n stead of b ei ng taught,” she says. “The empowerment was just amazing.”

Santo credits her Cadets “family”—Doc Santo, George Zingali, Peggy Twiggs, Michael and Greg Cesario, and George Hopkins—with giving her a foundation for her successes.

While with the Cadets, she also met the man who’d become her husband, Doc’s son, Eric.

The couple strives to live an organic lifestyle, and this has led to yet another avenue for Santo: With her business partner, Mark Grannon, she’s created a line of organic products for dogs called Kathy Santo’s Ever yday Pet s ( k at hysa nto .com).

The willingness to take risks and innovate is something that Santo hopes to pass on to her children Elisa, 10, and Ryan, 16, who are already involved in marching arts. “I remember winning the DCI East contest.

It was the first DCI title for the Cadets since 1972. It was my birthday, and my whole high school band was in the stands.

I thought… ‘If I can do this, what else can I do?’ That was 1982—but those traits are still ingrained in me today.”

WORLD CLASS FINALIST The Blue Devils

OPEN CLASS FINALIST Blue Devils B Corps

OPEN CLASS FINALIST Oregon Crusaders

OPEN CLASS FINALIST Teal Sound

Congratulations to everyone that particip participated ated in the recent DCI Championships.

Other Open Class Finalists: Citations, Spokane Thunder, Revolution, Dutch Boy Open Class Semi Finalist: Impulse World Class Quarter Finalist: Pioneer

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