How are you? http://gmsintl.com.hk/wfc/gentlemen.php
Daniel Wright
Friday, September 12, 2014
Wednesday, June 19, 2013
Saturday, April 11, 2009
World Class Corps Repertoires-2009
World Class Corps Repertoires-2009
1) Cadets - Music of Leonard Bernstein: Rumble, Cool; I Have A Love & Tonight from West Side Story
Carolina Crown - The Grass Is Always Greener - music from Aaron Copeland to Elvis Costello. -
2) Cavaliers - The Great Divide - Extreme Makeover by Johan De Meij - Pampeana No.3-Impetuosamente by Alberto Ginastera - The Engulfed Cathedral by Claude Debussy - On the Great Divide by John Adams.
3) Colts - Fathoms (about the ocean).
4) Crossmen - ForbiddeN - Medea's Dance of Vengeance by Samuel Barber - My Immortal by Evanescence.
5) Madison Scouts - Relampago: Mvmnt. 1. The Forces of Nature-Original Music by Vince Oliver and Malaga by Bill Holman. Mvmnt. 2. Two Left-Footed Mambo-Baron Cimetiere's Mambo by Donald Grantham. Mvmnt. 3. Love is in the Air-Original Music by Vince Oliver. Mvmnt. 4. A Turn to the Dark Side-Candela by Gabriela Ortiz
Mvmnt. 5. Relampago's Triumphant Return-Margaritenia by Inocente Carreno.
6) Phantom Regiment - The Red Violin.
7) Santa Clara Vanguard - Ballet for Martha (a ballet score commissioned in 1942 by Aaron Copeland for his friend and dancer Martha Graham; it includes Appalachian Spring).
8) Spirit of JSU - "Live...In Concert!".;
9) Troopers - Western Side Story.
1) Cadets - Music of Leonard Bernstein: Rumble, Cool; I Have A Love & Tonight from West Side Story
Carolina Crown - The Grass Is Always Greener - music from Aaron Copeland to Elvis Costello. -
2) Cavaliers - The Great Divide - Extreme Makeover by Johan De Meij - Pampeana No.3-Impetuosamente by Alberto Ginastera - The Engulfed Cathedral by Claude Debussy - On the Great Divide by John Adams.
3) Colts - Fathoms (about the ocean).
4) Crossmen - ForbiddeN - Medea's Dance of Vengeance by Samuel Barber - My Immortal by Evanescence.
5) Madison Scouts - Relampago: Mvmnt. 1. The Forces of Nature-Original Music by Vince Oliver and Malaga by Bill Holman. Mvmnt. 2. Two Left-Footed Mambo-Baron Cimetiere's Mambo by Donald Grantham. Mvmnt. 3. Love is in the Air-Original Music by Vince Oliver. Mvmnt. 4. A Turn to the Dark Side-Candela by Gabriela Ortiz
Mvmnt. 5. Relampago's Triumphant Return-Margaritenia by Inocente Carreno.
6) Phantom Regiment - The Red Violin.
7) Santa Clara Vanguard - Ballet for Martha (a ballet score commissioned in 1942 by Aaron Copeland for his friend and dancer Martha Graham; it includes Appalachian Spring).
8) Spirit of JSU - "Live...In Concert!".;
9) Troopers - Western Side Story.
Friday, April 3, 2009
The Cavaliers 2006 "Machine" performance tops it all!
I first saw this performance at a DCI Countdown theatre last year and was blown away. Now that the newest installment of the DCI Countdown is coming to a theater near you I thought I would post this before I forget it.
It is a very percussion-oriented show, and the drill is just impeccable. The show tells a story of machines and the world of automation: robots, metal and impersonal Borg-like beings (from Star Trek The Next Generation) who try to assimilate new sections of the corps (Invasion of the Body Snatchers-style) into their "collective" consciousness. Maybe I am reading too much into this since I am such a fan, but it was an awesome reminder of the Trek universe. The physical body-language, acting, and poses, especially the guard-work, were creative and
sharp. It all comes to a head at the end when the colorguard "robots" finally assimilate the last straggler: a snare drummer. But he gets the last word by playing the last note of the show.
It is a very percussion-oriented show, and the drill is just impeccable. The show tells a story of machines and the world of automation: robots, metal and impersonal Borg-like beings (from Star Trek The Next Generation) who try to assimilate new sections of the corps (Invasion of the Body Snatchers-style) into their "collective" consciousness. Maybe I am reading too much into this since I am such a fan, but it was an awesome reminder of the Trek universe. The physical body-language, acting, and poses, especially the guard-work, were creative and
sharp. It all comes to a head at the end when the colorguard "robots" finally assimilate the last straggler: a snare drummer. But he gets the last word by playing the last note of the show.
The Cadets 2006 "the zone"
This show is amazing! It has only a few lapses in the brass and minor timing problems with percussion, but the creativity, originality and expression and overall execution of the show make up the difference. The story that is told has many elements: beauty, playfulness, technical virtuousity, lush dreamlike sequences and a kickin' ending that gives me goose-bumps and quite a rush every time I listen to it.
The opener has a mysterious bit of pit percussion with the notes from "The Twilight Zone" theme song (you know, doo-doo-doo-doo, doo-doo-doo-doo...). Then what follows is the verbal monologue we all remember from the series. Then comes an explosion of brass and movement like we've not heard in awhile (are you awake now? I know I am.)
Then there is some quotes from "Alice in Wonderland", with a singsongy piece... very playful and evocative of a rollercoaster ride, cotton candy in hand. :)
The ballad is so powerfully emotionally to me that I cease to be my usually
objective self! By utilizing a female voice as an instrument: not singing words but
syllables (almost like scat singing), the Cadets may have added a new tone color
to drum corps. I think George Hopkins was onto something when he suggested
this rule change. The activity has taken a new direction with all the vocalizations
that have been heard during DCI performances in recent years. Anyway, I vote this the best arranged, best sounding ballad ever!
And then, a classic Cadets ending: starts out slow, then it picks up speed, until finally, they are fast and furious and unrelenting. Such range, such power, such joy at the end when you hear the Cadets version of the "Twilight Zone" theme, with mellophones leading the final
charge. And then the final chord: rich, satisfying, full of vigor and some loud percussive beats top it off!
There you have it. My verbal take on a very visual and musical experience that takes my breath away, every time.
The opener has a mysterious bit of pit percussion with the notes from "The Twilight Zone" theme song (you know, doo-doo-doo-doo, doo-doo-doo-doo...). Then what follows is the verbal monologue we all remember from the series. Then comes an explosion of brass and movement like we've not heard in awhile (are you awake now? I know I am.)
Then there is some quotes from "Alice in Wonderland", with a singsongy piece... very playful and evocative of a rollercoaster ride, cotton candy in hand. :)
The ballad is so powerfully emotionally to me that I cease to be my usually
objective self! By utilizing a female voice as an instrument: not singing words but
syllables (almost like scat singing), the Cadets may have added a new tone color
to drum corps. I think George Hopkins was onto something when he suggested
this rule change. The activity has taken a new direction with all the vocalizations
that have been heard during DCI performances in recent years. Anyway, I vote this the best arranged, best sounding ballad ever!
And then, a classic Cadets ending: starts out slow, then it picks up speed, until finally, they are fast and furious and unrelenting. Such range, such power, such joy at the end when you hear the Cadets version of the "Twilight Zone" theme, with mellophones leading the final
charge. And then the final chord: rich, satisfying, full of vigor and some loud percussive beats top it off!
There you have it. My verbal take on a very visual and musical experience that takes my breath away, every time.
Thursday, April 2, 2009
The basic elements of a quality drum corps show...
One thing that should always be present in a drum corps performance is the entertainment factor. Are the members enjoying themselves? Is their performance serious, dramatic, emotional, comedic, exciting, aggressive, or mysterious? Is this conveyed to the audience?
This ties in to a previous theme about shows telling a story. One of the best at this is The Cadets. Their ballads are full of drama and tell a story better than no one else. My favorite is the 1991 show The ABC's of Modern Music (I think...). The midpoint of the show has a neighborhood baseball game being played in ballet form (by the colorguard), then the girls come out and set up a picnic. Everyone gets paired off but one kid who sadly is on the outside looking in at all the fun the other's are having.
His expressions (it helps to have TV cameras up close) really sell the show, and the
delicate arrangement definately tell a story.
Some of the best "packages" include songs with different emotional "hooks". A great
case in point is the 1989 performance "The Phantom of the Opera" by the Santa
Clara Vanguard. This show is considered one of the best shows of all time. It had
lots of drama, revelry, somberness, excitement, sorrow, aggression, and of course
subtlety. They chose wisely to go with a soft, slow ending instead of the loud and
brash endings that are so common. It was dripping with drama and beauty, as the
"Phantom" dissappeared along with the corps itself. It was a complete show with the elements needed for victory. And win they did that year, with a record high score,
98.7!
Another element needed for victory is perfection. Yes, that's right. Although it is not
really possible, with much practice, appearances can be deceiving. One of corps that
achieves perfection more than any other, I think, is the Cavaliers. I have always
appreciated their shows. Not a note is wasted, every chord is perfect and balanced.
They are the true professionals in the drum corps community and have a good
reputation. It is also interesting to note that they spend less time in rehearsal than
most other corps!
This ties in to a previous theme about shows telling a story. One of the best at this is The Cadets. Their ballads are full of drama and tell a story better than no one else. My favorite is the 1991 show The ABC's of Modern Music (I think...). The midpoint of the show has a neighborhood baseball game being played in ballet form (by the colorguard), then the girls come out and set up a picnic. Everyone gets paired off but one kid who sadly is on the outside looking in at all the fun the other's are having.
His expressions (it helps to have TV cameras up close) really sell the show, and the
delicate arrangement definately tell a story.
Some of the best "packages" include songs with different emotional "hooks". A great
case in point is the 1989 performance "The Phantom of the Opera" by the Santa
Clara Vanguard. This show is considered one of the best shows of all time. It had
lots of drama, revelry, somberness, excitement, sorrow, aggression, and of course
subtlety. They chose wisely to go with a soft, slow ending instead of the loud and
brash endings that are so common. It was dripping with drama and beauty, as the
"Phantom" dissappeared along with the corps itself. It was a complete show with the elements needed for victory. And win they did that year, with a record high score,
98.7!
Another element needed for victory is perfection. Yes, that's right. Although it is not
really possible, with much practice, appearances can be deceiving. One of corps that
achieves perfection more than any other, I think, is the Cavaliers. I have always
appreciated their shows. Not a note is wasted, every chord is perfect and balanced.
They are the true professionals in the drum corps community and have a good
reputation. It is also interesting to note that they spend less time in rehearsal than
most other corps!
Wednesday, April 1, 2009
The basic elements of a quality drum corps show...
Then there is the visual part of a show: does the colorguard enhance the picture or muddy-up the show? The visual part is really what makes drum corps what it is, and not just some glorified concert band. You can see that anywhere. But the proper venue for drum corps is a good, old fashioned football field. Even a soccer field will work if you know your drill.
The colors, drama, lines, shapes, wave forms, scatter drill and other marching elements make for an eye-pleasing panorama. In most good shows you can look all over the field and see things going on that enhance the show. Most people need to see a show several times in order to catch it all.
There is much said about the closer in a drum corps show. Many corps will spend much time and effort to craft the right ending. Some constantly change it during the season, trying to tweak it and get it just right. The common thread with closures is that they are loud, usually quadruple forte, and long, with a resolved chord that finally relaxes the tension musically built up during the last few phrases. This is all too common and seems like a good idea, in that a group gets the chance to make a strong and lasting impression ok the audience.
Some groups also put in alot of fast drill toward the ending. This of course increases the difficulty level and keeps the audience (and judges) on their toes, paying attention for that original nuance that may increase the GE just a tad. Just a tad may be enough to propel a corps from the middle of the pack to the top nowadays.
I have seen corps change chords, as well as drill during finals week, ultimately breaking out their last visual scene, prop, gimmick or drill form just to get that edge. The video you may own of finals night may not be the whole story. I have seen YouTube footage of corps in their early season and you would be surprised what kind of editing occurs in the drill book...
The colors, drama, lines, shapes, wave forms, scatter drill and other marching elements make for an eye-pleasing panorama. In most good shows you can look all over the field and see things going on that enhance the show. Most people need to see a show several times in order to catch it all.
There is much said about the closer in a drum corps show. Many corps will spend much time and effort to craft the right ending. Some constantly change it during the season, trying to tweak it and get it just right. The common thread with closures is that they are loud, usually quadruple forte, and long, with a resolved chord that finally relaxes the tension musically built up during the last few phrases. This is all too common and seems like a good idea, in that a group gets the chance to make a strong and lasting impression ok the audience.
Some groups also put in alot of fast drill toward the ending. This of course increases the difficulty level and keeps the audience (and judges) on their toes, paying attention for that original nuance that may increase the GE just a tad. Just a tad may be enough to propel a corps from the middle of the pack to the top nowadays.
I have seen corps change chords, as well as drill during finals week, ultimately breaking out their last visual scene, prop, gimmick or drill form just to get that edge. The video you may own of finals night may not be the whole story. I have seen YouTube footage of corps in their early season and you would be surprised what kind of editing occurs in the drill book...
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