I was fortunate to catch this show 3 times (my college roommate played sop). Even sneaked on the field in Indiana for the encore. Final scores have stood the test of time - several decades of DCI shame for the incredibly obvious and disgusting shaft. As a cadet put it later - "it didn't matter that we won, because everybody only talks about star".
I have to say though, as far as historically and vertically, this is probably my favorite year of DCI, period, taking the average awesomeness of the shows from so many corps that year - meaning, There is no other year that I STILL remember so many of the shows. Everyone can cherry-pick their specific favorites over the years, and not all my favorites are in 1993. However, the average across the board was fantastic.
I've heard so many different instructors and techs talk about "that one roll Stars played in '93." It really is spoken as a legend, rightfully so. I shit you not that roll brought tears to my eyes.
I love how 20 yrs later this show & the drum line is still relevant is today's discussion. Only a handful of shows garner this much discussion! Amazing!
May I add that I saw Star 93 perform I'm Blaine, MN. Then took a front row seat at the post show performance. They inspired me to march quads with the Madison Scouts the next 3 years under Jeff Moore. Then UNT quads under Rennick 98 - 2000. I put an audible into that last gig in 2000...."Finish It".... because of this line. It's June 7th, 2023, and I still walk away with goose bumps and in tears after hearing this. Love all of you performers this year! Jason
YOU might think they are the holy grail. When there's entire minutes in your program, and you aren't exactly playing a bunch of notes, you have time to make the playing clean -- although this wasn't as he noted in several places. And this type of music doesn't call for a lot of jamming anyways. To be honest, THIS is when DCI jumped the track. It was Star that started all this crap that DCI is today and why it is a disaster. And I marched in another corps during this time frame ... and I would have never put up Star on this pedestal you have.
The Star of Indiana 1993 Drumline was terrific. But do not anoint before you hear the 1976 Cavaliers, the 1981 Santa Clara Vanguard, the 1982 Bridgemen, the 1986 and 1987 Blue Devils and I'm not even going to mention the drum lines of the 90's or even this century. Even though Star 1993 is in that category !!!!
5:23 the absolute tightest eighth note crescendo you will ever hear from a seven man snare line. That rim shot is the future. Also, "Ok, demand noted" is basically this whole thing. This book - and more importantly in my opinion, the execution - is still ahead of the game to this day.
As a percussionist who marched during this time frame, I am sitting here in 2018 reading your comments. And I am thinking ... they played EIGHTH NOTES with a rim shot and you're saying it's the tightest you've ever heard? GMAFB THEY'RE EIGHTH NOTES! I can count a number of drumlines where they played much harder music just as dynamic and clean. This "ahead of their game" shit is revisionist history. This type of music, while not playing a lot of notes, requires a lot of articulation.
@@JohnSmith-zi9or I think you're correct in stating that there were 1993 drum lines who played faster and more challenging rudimental vocabulary while achieving a similar level of clarity to Star (93 cadets comes to mind immediately). Although there were other groups that demonstrated a nuanced approach to dynamics, Jim Campbell Cavalier's lines are a good precedent, I don't think that there other groups who were as dynamically expressive as Star. However, what made Star "ahead of their(sic) game" wasn't just excellent clarity or dynamic shaping. It was the conceptual sophistication of Hannum's arrangement and the group's sublime approach to sound production and phrasing. Hannum wrote an intentionally sparse batterie score to facilitate a few important ideas: 1. A phrase is defined equally by the use of musical sound and the intentional use of space. 2. Every note should have a unique sound. 3. Every note's unique sound is determined by more than its timbre, volume, non-harmonic pitch and duration. It's also determined by its expressive relationship to all the other notes of that phrase. Hannum had been refining these ideas throughout his tenure at Cadets and Star. However, the 93 season was the plainest demonstration of his compositional and interpretive philosophies. Hannum's approach opened up a world of expressive possibilities for marching percussion that were obviously influential on Bret Kuhn, Paul Rennick, Colin McNutt, Jim Casella, Brian Tinkel and Mike Jackson among many others
@@terrynewark7443 "I don't think that there other groups who were as dynamically expressive as Star." While I am not sure if I disagree with you on this, I will say Star HAD to be extremely expressive. Otherwise their book would be sophomoric at best! I mean the judge jizzes all over the freaking timpani crescendo. I'm like *really*? "Hannum's approach opened up a world of expressive possibilities for marching percussion" I just don't know what to say here. Marched in a corps that had completely different music, but one that did all kinds of things out of the box to achieve different sounds. Marched equipment on the field others did not. I will just have to disagree to agree. I personally think Cavaliers expressive battery blows these guys away. And in the first minutes when he makes it out to the battery, they're not even clean! Couple of dirty rolls in the crescendos etc.etc. and "phrasing" between snares tenors. But I get it, when you play music that's so exposed, one voice here, one voice there, you must be extremely articulate. Otherwise it sounds like a bunch of garbage and becomes very sophomoric. My two cents ... don't get upset. I hate this show and the music and I see nothing futuristic about it. To suggest otherwise is throwing a lot of corps under the bus.
@@JohnSmith-zi9or I think you nailed when saying "Star HAD to be extremely expressive otherwise their book would be sophomoric at best!" That's a significant risk to take as an educator. You need to be an extremely capable education team to communicate and facilitate this type of vision with a student ensemble. It's easier to achieve student engagement/ownership, and ultimately success, when presenting technically demanding parts. I also agree there's a risk in minimizing the conceptual, technical and musical achievements of other groups when hyperbolizing Star's 93 line. What comes to mind immediately as deserving wider recognition is Prosperie's writing for Phantom's batterie during this period. However, this is the unfortunate nature of history. The two years I marched (95, 96) the two cleanest lines were the Blue Knights (95) and Phantom (96). Neither of them won drums or are recognized as historically significant (other than Phantom's batterie contributing to their first overall DCI title) but they were fucking badass.
John Smith Huh I guess you are an old timer who hated this show now and likely booed at them like a lot of people did in the audience. I guess Cavies was better than them because Star kept beating them right?
I didn't start getting into corps until 94 and my big regret is that I did not get to see this show. This kind of musicality was unheard of in the 90s. The delicate touch and offbeat attacks would be tough to perform on the run like these cats did. Very different than the 9 minute note ramming sessions we're subjected to today. This show proved "different" isn't always bad.
This show was way ahead of its time. The horn line "dancing" at a few points during the show. ( but NOT overdone like it is today). This is true drum corps. BUGLES, DRUMS , and COLOR GUARD all working in unison, WITHOUT the need for amplification, or field props. Musically, its breathtaking. Visually, its stunning.
This entire ensemble is just perfection from a musicality standpoint. After 40 years in the activity, this is still the benchmark for the entire activity. None have ever done better. The articulation, the phrasing, the touch, and you can go on and on and on. Every note had purpose and was never in question what they were trying to do.
This is my favorite judges tape. Not just because this is the greatest drumline ever, but because the judge actually had intelligent things to say throughout(unlike today's judges I.e. Mike McIntosh). He even complimented the score (which is still amazing by today's standards). He also said my favorite thing about the line's style: "...every note just speaks of it's own volume".
@@Ridebmx34521 Oh I'm just some nobody. I big-time respect Mike as a player, but I've heard his indoor judge tapes. Nothing you can really work with. Things like, 'Woah. Cool. My face is melting off!' etc. It's been a long time but I think it's a Rhythm X tape with not a single critique. Must have been perfect I guess.
Brian Collier yeah man. That rhythm x show, Touch, got a perfect GE score and set a new standard for the activity. It’s still talked about in design clinics to this day even though it’s over 10 years old. But yeah, you’re probably a nobody. Makes sense.
@@Ridebmx34521 Oh, no doubt. And here we are almost 30 years later listening to a DCI judge getting his face melted off while running around the field, and still giving meaningful comments. This show was just as revolutionary for DCI. #definitelysomenobody
As a brass player, this is my all time favorite Percussion Book. The intricacies and the musicality are emotionally moving to me. The amount of ensemble rehearsals had to be at least half of the typical tour day. The entire design and writing of this show puts it in my top 3 shows from the 1990s. ❤⭐
This show, this drum corps, this brass front ensemble, color guard and drum line make my heart beat fast. This show is one of the most musically masterful shows of all time. I always look back at this and say wow. I still don't know if there is a show better than this, musically, to me. This is truly a symphony on the field.
7:00 -- "It's too bad the average fan doesn't know how hard that is!" Yeah, it is; filling holes with notes makes it easier for the brain to stay on time, but the pit at the reentry of Medea was SO exposed. You can imagine how flam-my it must've been early on.
So all you have to do to have great percussive music is to write whole and half notes and its suddenly musical? GMAFB In this type of music, you better be dynamic and articulate. Otherwise, yes, you're exposed and it will sound like garbage. But then again when your battery goes minutes and minutes without playing, when they are playing better be very clean and articulate.
to the haters... Why Why Why? Do you insist that playing a lot of notes that are check pattern based/non-stop ram exercise like writing is harder to play than stuff that has breaks (i.e. cold attacks), shaping, extreme dynamics.. or how about dynamics at all, touch, clarity (and I mean clarity from an individual standpoint and an ensemble standpoint) subtlety, emotion etc. etc. A lot of lines can play a lot of notes but so what. Can they play 1 note that means something and moves people?
Eric Bolivar some folks are very one dimensional and Jizzy Gillespie with how they want their arrangements. I wouldn't doubt that the people that ram notes in all the time to be cool probably don't last too long in bed with their wives either.
This line didn't move me. Yawned me really. Perhaps I'm bitter since I marched in another line during this time. If being very dynamic without playing much music is the way to win the hearts and minds, I guess shows like Madison and Blue Devils that are jamming it out are boring to the crowd. I think they beg to differ. Hell, I am more impressed by the Cavies. During the early 90s they had very articulate lines and writing (suited their music style) but they weren't exactly playing a demanding book. Sorry, I don't call this music demanding. I just will never understand how in the world the Star drumlines are viewed as the holy grail. Never. And I nothing against them, personally.
@@AlexMartin011 John Smith is a troll account. Ignore him; he's only being antagonistic for the lulz and the wet spot he gets on his pants from stirring the pot.
I’ve never double tapped the left side of my screen more than this video. Literally every section of their book has me saying “Jesus Christ!” Imagining myself in the shoes of this judge gives me goosebumps.
Why? For the same reason everyone on the planet isn't a Steely Dan fan. That said, the beefy style of writing you mentioned can, albeit rarely, also be sophisticated. This year's Cadets is a good example. Regardless, your old line definitely took the award for 'most sexy'.... again :)
can someone explain to me why drums don't sound like this anymore - it's like they're muted now. I know playing clean on Pearls is the hardest yet most rewarding sound wise. But, the equipment they play on today doesn't sound like much at all. What's going on ?
@@benf1111 It's more of an arms race than a youth activity now, unfortunately. Everybody has been told by the judges and the WGI bigs that they need new drums and new wardrobe and new sound tech every year. It's such bullshit.
All the young kids who are dogging on this show are the reason I despise drum Corp nowadays. There’s a few teachers that are keeping it going but most drum lines I hear are playing notes for notes sake. Nothing relevant to the horns or serving the music. Thom and crew set the standard for things to come. And these young monsters playing this music are doing gods work. I mean this is blend, balance, using space. It’s music. The only lines that are doing that these days are paul rennicks lines and anything with thom aungst and Colin.
It's really too bad most of these DCI bands do not play rudiments, or very few at that. They basically sound like what we used to do in Old School drum and bugle Corp, like warm up exercise at best. These are just my opinions my preference would be utilizing all the standard rudiments plus Swiss rudiments.
That's part of why what's there is so good. It *has* to be; there aren't a lot of active sections so every note and everything about the notes and every phrase and everything about them all have *more* importance to the music than they might otherwise have (no pressure there!). There's a thing called "play the silence" and it means more to the music than just "rest". The concept can be found in almost every musical genre (except pop music, and even then it sometimes happens), and it's been used by other corps besides Star. The Blue Devils did this same kind of thing across the entire corps in their closer in 2003, for example. And then, for the most extreme example of the concept, there's John Cage's "4'33", in which the performer *only* plays the silence. If you're unfamiliar with it, the piece consists of four minutes and 33 seconds of "silence"- the contents of the piece are made entirely of the sounds present in the hall, making every performance frustratingly unique from any other performance of the same piece.
I was fortunate to catch this show 3 times (my college roommate played sop). Even sneaked on the field in Indiana for the encore. Final scores have stood the test of time - several decades of DCI shame for the incredibly obvious and disgusting shaft. As a cadet put it later - "it didn't matter that we won, because everybody only talks about star".
I have to say though, as far as historically and vertically, this is probably my favorite year of DCI, period, taking the average awesomeness of the shows from so many corps that year - meaning, There is no other year that I STILL remember so many of the shows. Everyone can cherry-pick their specific favorites over the years, and not all my favorites are in 1993. However, the average across the board was fantastic.
Just an astounding line. They were unbeatable from a musicality standpoint and just wicked clear in their articulation. A true delight to see live.
9:03 The roll heard around the world...
Ooo!!!
I've heard so many different instructors and techs talk about "that one roll Stars played in '93." It really is spoken as a legend, rightfully so. I shit you not that roll brought tears to my eyes.
Try to find a single instance where they don't absolutely shred it. It's inhuman.
As a composer who's not a percussionist, could you help me understand what about that particular roll is so good?
it is not good. It was perfect.
This is one of the most articulate percussion sections ever.
I love how 20 yrs later this show & the drum line is still relevant is today's discussion. Only a handful of shows garner this much discussion! Amazing!
Santiago Lopez 27 years.
The best!
May I add that I saw Star 93 perform I'm Blaine, MN. Then took a front row seat at the post show performance. They inspired me to march quads with the Madison Scouts the next 3 years under Jeff Moore. Then UNT quads under Rennick 98 - 2000. I put an audible into that last gig in 2000...."Finish It".... because of this line. It's June 7th, 2023, and I still walk away with goose bumps and in tears after hearing this.
Love all of you performers this year! Jason
"Every note is important in this book. Not a whole lotta extra flush. None, in fact."
For those of you who want to talk bad about them, Star's 93 battery section is considered the holy grail of drum lines.
Because they’re unbelievably clean and musical and expressive.
YOU might think they are the holy grail. When there's entire minutes in your program, and you aren't exactly playing a bunch of notes, you have time to make the playing clean -- although this wasn't as he noted in several places. And this type of music doesn't call for a lot of jamming anyways. To be honest, THIS is when DCI jumped the track. It was Star that started all this crap that DCI is today and why it is a disaster. And I marched in another corps during this time frame ... and I would have never put up Star on this pedestal you have.
@@JohnSmith-zi9or Damn way to shit on a dead corp oldie. Bet you miss G Bugles too.
seti young
Nah he misses when they would just play an entire song halted
The Star of Indiana 1993 Drumline was terrific. But do not anoint before you hear the 1976 Cavaliers, the 1981 Santa Clara Vanguard, the 1982 Bridgemen, the 1986 and 1987 Blue Devils and I'm not even going to mention the drum lines of the 90's or even this century. Even though Star 1993 is in that category !!!!
6:56 his comment - "It's too bad the average fan doesn't know how hard that is"
OUTSTANDING ARTICULATION THERE SNARES, UNBELIEVABLE
5:23 the absolute tightest eighth note crescendo you will ever hear from a seven man snare line. That rim shot is the future. Also, "Ok, demand noted" is basically this whole thing. This book - and more importantly in my opinion, the execution - is still ahead of the game to this day.
As a percussionist who marched during this time frame, I am sitting here in 2018 reading your comments. And I am thinking ... they played EIGHTH NOTES with a rim shot and you're saying it's the tightest you've ever heard? GMAFB THEY'RE EIGHTH NOTES! I can count a number of drumlines where they played much harder music just as dynamic and clean. This "ahead of their game" shit is revisionist history. This type of music, while not playing a lot of notes, requires a lot of articulation.
@@JohnSmith-zi9or I think you're correct in stating that there were 1993 drum lines who played faster and more challenging rudimental vocabulary while achieving a similar level of clarity to Star (93 cadets comes to mind immediately). Although there were other groups that demonstrated a nuanced approach to dynamics, Jim Campbell Cavalier's lines are a good precedent, I don't think that there other groups who were as dynamically expressive as Star.
However, what made Star "ahead of their(sic) game" wasn't just excellent clarity or dynamic shaping. It was the conceptual sophistication of Hannum's arrangement and the group's sublime approach to sound production and phrasing. Hannum wrote an intentionally sparse batterie score to facilitate a few important ideas:
1. A phrase is defined equally by the use of musical sound and the intentional use of space.
2. Every note should have a unique sound.
3. Every note's unique sound is determined by more than its timbre, volume, non-harmonic pitch and duration. It's also determined by its expressive relationship to all the other notes of that phrase.
Hannum had been refining these ideas throughout his tenure at Cadets and Star. However, the 93 season was the plainest demonstration of his compositional and interpretive philosophies. Hannum's approach opened up a world of expressive possibilities for marching percussion that were obviously influential on Bret Kuhn, Paul Rennick, Colin McNutt, Jim Casella, Brian Tinkel and Mike Jackson among many others
@@terrynewark7443 "I don't think that there other groups who were as dynamically expressive as Star." While I am not sure if I disagree with you on this, I will say Star HAD to be extremely expressive. Otherwise their book would be sophomoric at best! I mean the judge jizzes all over the freaking timpani crescendo. I'm like *really*? "Hannum's approach opened up a world of expressive possibilities for marching percussion" I just don't know what to say here. Marched in a corps that had completely different music, but one that did all kinds of things out of the box to achieve different sounds. Marched equipment on the field others did not. I will just have to disagree to agree. I personally think Cavaliers expressive battery blows these guys away. And in the first minutes when he makes it out to the battery, they're not even clean! Couple of dirty rolls in the crescendos etc.etc. and "phrasing" between snares tenors. But I get it, when you play music that's so exposed, one voice here, one voice there, you must be extremely articulate. Otherwise it sounds like a bunch of garbage and becomes very sophomoric. My two cents ... don't get upset. I hate this show and the music and I see nothing futuristic about it. To suggest otherwise is throwing a lot of corps under the bus.
@@JohnSmith-zi9or I think you nailed when saying "Star HAD to be extremely expressive otherwise their book would be sophomoric at best!" That's a significant risk to take as an educator. You need to be an extremely capable education team to communicate and facilitate this type of vision with a student ensemble. It's easier to achieve student engagement/ownership, and ultimately success, when presenting technically demanding parts.
I also agree there's a risk in minimizing the conceptual, technical and musical achievements of other groups when hyperbolizing Star's 93 line. What comes to mind immediately as deserving wider recognition is Prosperie's writing for Phantom's batterie during this period. However, this is the unfortunate nature of history. The two years I marched (95, 96) the two cleanest lines were the Blue Knights (95) and Phantom (96). Neither of them won drums or are recognized as historically significant (other than Phantom's batterie contributing to their first overall DCI title) but they were fucking badass.
John Smith
Huh I guess you are an old timer who hated this show now and likely booed at them like a lot of people did in the audience.
I guess Cavies was better than them because Star kept beating them right?
GOAT stick heights, whole notes, and rim shots. Everyone learned the wrong lessons from this show, but thank god it exists.
I didn't start getting into corps until 94 and my big regret is that I did not get to see this show. This kind of musicality was unheard of in the 90s. The delicate touch and offbeat attacks would be tough to perform on the run like these cats did. Very different than the 9 minute note ramming sessions we're subjected to today. This show proved "different" isn't always bad.
This show was way ahead of its time. The horn line "dancing" at a few points during the show. ( but NOT overdone like it is today). This is true drum corps. BUGLES, DRUMS , and COLOR GUARD all working in unison, WITHOUT the need for amplification, or field props.
Musically, its breathtaking. Visually, its stunning.
Possibly one of the cleanest shows and drumlines around
Ever
This entire ensemble is just perfection from a musicality standpoint. After 40 years in the activity, this is still the benchmark for the entire activity. None have ever done better. The articulation, the phrasing, the touch, and you can go on and on and on. Every note had purpose and was never in question what they were trying to do.
Damn. I miss those nights on the buss passing around judge's tapes. Pioneer 99'
This is my favorite judges tape. Not just because this is the greatest drumline ever, but because the judge actually had intelligent things to say throughout(unlike today's judges I.e. Mike McIntosh). He even complimented the score (which is still amazing by today's standards). He also said my favorite thing about the line's style: "...every note just speaks of it's own volume".
Brian Collier lol. Don’t ever trash Mike. Who even are you
Sorry to say not the greatest Drumline ever it would many way before them that played some real difficult parts
@@Ridebmx34521 Oh I'm just some nobody. I big-time respect Mike as a player, but I've heard his indoor judge tapes. Nothing you can really work with. Things like, 'Woah. Cool. My face is melting off!' etc. It's been a long time but I think it's a Rhythm X tape with not a single critique. Must have been perfect I guess.
Brian Collier yeah man. That rhythm x show, Touch, got a perfect GE score and set a new standard for the activity. It’s still talked about in design clinics to this day even though it’s over 10 years old. But yeah, you’re probably a nobody. Makes sense.
@@Ridebmx34521 Oh, no doubt. And here we are almost 30 years later listening to a DCI judge getting his face melted off while running around the field, and still giving meaningful comments. This show was just as revolutionary for DCI. #definitelysomenobody
As a brass player, this is my all time favorite Percussion Book. The intricacies and the musicality are emotionally moving to me. The amount of ensemble rehearsals had to be at least half of the typical tour day. The entire design and writing of this show puts it in my top 3 shows from the 1990s. ❤⭐
never gets old!
Here in 2022, and this show would still be top 2. Just wow!
Not enough props though 😜
This show, this drum corps, this brass front ensemble, color guard and drum line make my heart beat fast.
This show is one of the most musically masterful shows of all time. I always look back at this and say wow. I still don't know if there is a show better than this, musically, to me.
This is truly a symphony on the field.
What a way to end your last year as a corps and individual with immense playing and difficulty...the more experience the more appreciation
7:00 -- "It's too bad the average fan doesn't know how hard that is!" Yeah, it is; filling holes with notes makes it easier for the brain to stay on time, but the pit at the reentry of Medea was SO exposed. You can imagine how flam-my it must've been early on.
So all you have to do to have great percussive music is to write whole and half notes and its suddenly musical? GMAFB
In this type of music, you better be dynamic and articulate. Otherwise, yes, you're exposed and it will sound like garbage. But then again when your battery goes minutes and minutes without playing, when they are playing better be very clean and articulate.
I know I sound like everyone else, but my god this show was decades ahead of its time. Light years.
to the haters... Why Why Why? Do you insist that playing a lot of notes that are check pattern based/non-stop ram exercise like writing is harder to play than stuff that has breaks (i.e. cold attacks), shaping, extreme dynamics.. or how about dynamics at all, touch, clarity (and I mean clarity from an individual standpoint and an ensemble standpoint) subtlety, emotion etc. etc. A lot of lines can play a lot of notes but so what. Can they play 1 note that means something and moves people?
Eric Bolivar some folks are very one dimensional and Jizzy Gillespie with how they want their arrangements. I wouldn't doubt that the people that ram notes in all the time to be cool probably don't last too long in bed with their wives either.
This line didn't move me. Yawned me really. Perhaps I'm bitter since I marched in another line during this time. If being very dynamic without playing much music is the way to win the hearts and minds, I guess shows like Madison and Blue Devils that are jamming it out are boring to the crowd. I think they beg to differ. Hell, I am more impressed by the Cavies. During the early 90s they had very articulate lines and writing (suited their music style) but they weren't exactly playing a demanding book. Sorry, I don't call this music demanding. I just will never understand how in the world the Star drumlines are viewed as the holy grail. Never. And I nothing against them, personally.
@@JohnSmith-zi9or nuance is what made this great!
@@AlexMartin011 John Smith is a troll account. Ignore him; he's only being antagonistic for the lulz and the wet spot he gets on his pants from stirring the pot.
@@JohnSmith-zi9or you say you have nothing against them and show obvious signs of bitterness absolutely everywhere you go in this comments section
I’ve never double tapped the left side of my screen more than this video. Literally every section of their book has me saying “Jesus Christ!” Imagining myself in the shoes of this judge gives me goosebumps.
9:03
gordoncouch 🤘🏽
7:30 i can’t even explain how good that sounds.
nothing like clean pearl snares .. . . perfection !
“Extreme demand noted”
Not much more to be said
Saw this show at Finals. I couldn't believe Garfield won.
"Every note speaks of its own volume...'
8:40 the cadets played that in 2013
And Crown is playing it this year. It will never sound as good as this, though.
Matt Stryker (lies)
8:43 roll
SMH IN DISBELIEF THE SURROUND SOUND THE ACTUAL SHOW. SOUND AND DYNAMICS FIELD SHOW DRILL AND MENTAL CONCENTRATION. EAR GASMIC AND PULLED IN.
That crowd thooooo
Finally get to hear how the flubs were tuned.
7:30
I will never know this year in drum corps.
Why? For the same reason everyone on the planet isn't a Steely Dan fan. That said, the beefy style of writing you mentioned can, albeit rarely, also be sophisticated. This year's Cadets is a good example. Regardless, your old line definitely took the award for 'most sexy'.... again :)
can someone explain to me why drums don't sound like this anymore - it's like they're muted now. I know playing clean on Pearls is the hardest yet most rewarding sound wise. But, the equipment they play on today doesn't sound like much at all. What's going on ?
Almost nobody plays Pearls anymore for one. I think the corps are incentivized by vendors who can sell both brass and drums.
I miss that Pearl drum sound
The drum heads are just cranked so tight from a pounds per inch standpoint which makes their pitch so high is one of the problems!!!!
@@benf1111 It's more of an arms race than a youth activity now, unfortunately. Everybody has been told by the judges and the WGI bigs that they need new drums and new wardrobe and new sound tech every year. It's such bullshit.
Light Mcnutt sticks?
All the young kids who are dogging on this show are the reason I despise drum Corp nowadays. There’s a few teachers that are keeping it going but most drum lines I hear are playing notes for notes sake. Nothing relevant to the horns or serving the music. Thom and crew set the standard for things to come. And these young monsters playing this music are doing gods work. I mean this is blend, balance, using space. It’s music. The only lines that are doing that these days are paul rennicks lines and anything with thom aungst and Colin.
nice
Dumb question, did Star win percussion that year?
Yes, they scored 19.4 and Cadets got 19.2
upvote
I see. I thought it wasn't cause of the "ONE" tick I heard from them on those double stops towards the end. But excellent all the way.
3:35 judge was not impressed with drum break.....
Who judged?
lamarmakespizza Pretty sure this was Chuck King.
The luckiest man in the world
I heard they stormed the field after the score announcements!! Is that true
Nope
No
This isn't the finals tape is it?
Jason Givens yes it is.
anybody have the finals tape?
That is the finals tape!
It's really too bad most of these DCI bands do not play rudiments, or very few at that. They basically sound like what we used to do in Old School drum and bugle Corp, like warm up exercise at best. These are just my opinions my preference would be utilizing all the standard rudiments plus Swiss rudiments.
Bands, well you just lost all credibility, opinion or not.
Not much to listen to here..
That's part of why what's there is so good. It *has* to be; there aren't a lot of active sections so every note and everything about the notes and every phrase and everything about them all have *more* importance to the music than they might otherwise have (no pressure there!). There's a thing called "play the silence" and it means more to the music than just "rest". The concept can be found in almost every musical genre (except pop music, and even then it sometimes happens), and it's been used by other corps besides Star. The Blue Devils did this same kind of thing across the entire corps in their closer in 2003, for example.
And then, for the most extreme example of the concept, there's John Cage's "4'33", in which the performer *only* plays the silence. If you're unfamiliar with it, the piece consists of four minutes and 33 seconds of "silence"- the contents of the piece are made entirely of the sounds present in the hall, making every performance frustratingly unique from any other performance of the same piece.