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r & Bugle Corps e t p a

h in music literature C A selective, annotated bibliography of drum and bugle corps articles compiled by Sharon Walbridge Washington State University Libraries

As drum and bugle corps gained exposure Specific drum corps publications such as The author records his progressive injury and popularity from the mid-1970s on, an Drum Corps World, Drum Corps News and that ultimately led to arm surgery. He had to increasing number of articles related to the Drum Corps America are not covered in this learn to play all over again. This is an drum and bugle corps activity began to appear bibliography, but readers need to know that important article for all , especially in music publications. these publications cover specific corps and those in intense environments such as This bibliography is indicative of that. Most specific events. They are invaluable resources competitive drum and bugle corps. of the citations have been taken from the Music for those interested in drum corps from a Index. Some of the articles are on the drum current or historical standpoint. • Ancona, Jim. “Tips on Auditioning for a and bugle corps activity, while others relate to Drum Corps World continues to be the DCI Pit.” Percussive Notes 37, no. 4 (August marching bands and the influence that drum active publication of the field. Drum Corps 1999) : 40-42. and bugle corps have had on that activity. News is defunct, but is available in microfilm This is “a how to do it” article that gives Some of the articles are instructional in from University Microfilms in Ann Arbor, MI. specific instructions on applying and nature. Readers will notice that many more Drum Corps America is no longer published. auditioning for seven of the top 12 DCI corps. articles deal with percussion than with brass. For information on all of the other drum The seven corps include: the Blue Devils, Blue In preparing this bibliography, all of the and bugle corps publications that have existed Knights, Cadets of Bergen County, Carolina articles were read and the annotations since the end of World War II, see chapter ___ Crown, Crossmen, Phantom Regiment and the summarize the content. It should also be noted on page ___. Santa Clara Vanguard. that this is just a sampling of available articles. Such publications as Modern and Citations • Anderson, Robert. “Woodwind Crisis in Modern Percussionist also carry articles about Corps-Style Bands.” The Instrumentalist 37, the drum and bugle corps activity -- these are • Allen, John. “An Experience with Injury.” no. 4 (November 1982) : 13. not included in this bibliography as I was Percussive Notes 38, no. 4 (August 2000) : 50- Anderson writes about the weakening of unable to personally inspect the issues. 51. woodwinds as bands emphasize power brass and 373

spriNgfield marksmeN alumNi, Springfield, MA (1989). marquis, Fond du Lac, WI (1985). Nighthawks, Houston, TX (1988). Photo from the collection of Drum Corps World. Photo by Donald Mathis from the collection of Drum Corps World. Photo by Dale Eck from the collection of Drum Corps World. percussion in corps-style bands. The Bakers illustrate their point by blend work outdoors. Woodwind players frequently end up in discussing drum and bugle corps shows such as He notes that drum and bugle corps and auxiliary units in corps style bands -- Suncoast Sound’s “Symphonic Dances for the bands have different roots and functions. Corps weakening the individuals’ technique for Contemporary Child.” How to reward such are often the focus of events in which they concert season and disturbing their identity as creativity in the competitive arena is a participate while people do not usually come to a section. Anderson suggests five alternatives challenge that the activity may not yet have a stadium to see the band -- they come to see a regarding woodwind players and the met. football game. development of corps-style auxiliary units. Bilik offers suggestions on what bands can • Baldwin, John, ed. “News: Chapter News learn from drum and bugle corps, remembering • Arrowood, Chris. “Drums Corps and Membership News (Poland - Chapter that bands go on and on for years with the same International Announces Winners of Solo and News).” Percussive Notes 28, no. 3 (Spring audience. The Troopers are on the cover of this Ensemble Competition.” Percussive Notes 21, 1990) : 87. issue. no. 2 (January 1983) : 8. News of the first-ever drum corps parade The solo and ensemble competition at the held in Poland is reported by Stanislaw • Bissell, Paul. “Tenor Madness – Crosses.” DCI Championships is a popular event for Skoczynski. The parade was a part of the third Percussive Notes 35, no. 2 (April 1997) : 25-27. participants and spectators. Arrowood describes annual “International Percussion Workshop” performers, especially in the competition and introduces the percussion held in the city of Bydgoszcz. The parade was competitive drum and bugle corps, are being winners for 1982. A brief biography seen as evidence of “political changes in Poland called upon to play more difficult material each accompanies a photo of the individual winners. that allowed this manifestation of freedom.” year. Cross sticking is a major part of that and the author provides tips and exercises to help • Aungst, Thomas. “Rehearsal Techniques • ______. “News.” Percussive Notes 24, no. the performer with technique. Ten musical for .” Percussive Notes 33, 2 (January 1986) : 10. examples accompany the text. no. 1 (February 1995) : 24-25. Two unrelated news items on drum and The rehearsal philosophy and regime of the bugle corps appear on this page. The first • ______. “Tenor Madness – Sweeps.” Garfield Cadets is discussed, following the reports on winners of the 1985 DCI Solo and Percussive Notes 35, no. 3 (June 1997) : 28-30. through a typical day. Such Ensemble percussion competition. The second Part two in the author’s three-part set of topics as balance and blend, tempo, rhythmic is a photograph of the U. S. Coast Guard articles helps the tenor drum player in moving interpretation, sound quality, listening skills Academy Windjammers Drum and Bugle Corps from drum to drum. Text and musical exercises and clarity are covered. that accompanies results of that organization’s are included to help with technique. Although not much more than one to three annual competition. paragraphs each, the subjects are addressed • ______. “Tenor Madness – Sweeps and clearly and substantially. • Bands of America. “Ideas from Cross Combinations.” Percussive Notes 35, no. Whitewater.” BD Guide 5 (May/June 1991) : 4 (August 1997) : 26-28. • Baggs, Bernard. “Self-Directed Graduate 8-14. The final segment of Bissell’s trilogy on Training for Judges.” Today’s Music Educator This report pulls together highlights of the tenor drum technique is a natural extension of 5, no. 1 (Spring 1992) : 24-26. 1990 summer workshop held by BOA in the first two articles, combining the two skills One of the most renowned judges in drum Whitewater, WI, annually. Familiar participants to produce a sophisticated performance. Eight and bugle corps history shares his views on include Michael Cesario, Rob Carson, Tim musical examples accompany the text. quality judging. He discusses attitudes and Lautzenheiser, George Parks and Ken Snoek. philosophies and includes comments about Topics covered briefly include show design, • “Blue Devils Win 4th Championship.” critiques. He offers practical advice as well as choice of music, teaching techniques, drum Percussive Notes 19, no. 1 (Fall 1980) : 20-22. opinions on the judge’s role and major commands and recruiting. A review of the 1980 DCI Championships responsibilities. held in Birmingham, AL, includes complete • Bilik, Jerry H. “The Corps Versus the repertoires of the top 12 corps. Scores and • Baker, Keith and Baker, Kent. Band.” The Instrumentalist 29, no. 11 (June comments about the corps are included in a “Programming in the Pageantry Arts.” Today’s 1975) : 41-43. paragraph on each as the article traces the Music Educator 5, no. 1 (Spring 1992) : 10-12. Bilik discusses drum and bugle corps’ championship field from bottom to top. Show design is communication and as precision and percussion expertise as the two Winners of the individual and ensemble design has become increasingly complex and elements that make the activity so attractive. percussion competitions are also given. sophisticated, communication has become Time and money are key to successful drum more difficult. Finding meaning, defining and bugle corps. • Bocook, Jay. “Performing Corps-Style success, then rating a show becomes harder and It is his opinion that bands have a better Music.” The Instrumentalist 32, no. 11 (June harder as shows exhibit creativity and blend of sound, but many show designers and 1978) : 32-3. innovation. band directors do not know how to make that As the author notes, corps-style marching 374

marauders, Longview, WA (1988). ChiCago VaNguard, Chicago, IL (1988). demoiselles du que, Laval, QUE (approx. 1980). Photo by Orlin Wagner from the collection of Drum Corps World. Photo by Dale Eck from the collection of Drum Corps World. Photo by Dick DeGraaf from the collection of Drum Corps World. came quickly to bands in the mid-’70s and he author cites various uses of guard and their and philosophy. The article makes the reader counsels a smooth transition rather than an equipment -- if the reader wants to actually see want to obtain Buck’s book. abrupt change that can be unpopular with band the guards, he or she will need to find the DCI members and audiences. videos. • Buecker, Glen A. “Contemporary Bocook gives sound advice on the adaptation It is unfortunate that the author or the Marching Techniques.” Percussive of the “designed for impact” style of publisher did not devote several pages to the Notes 33, no. 3 (June 1995) : 22-23 . arrangement and performance. The importance topic. More photos to show guard costumes Buecker is bass drum instructor for the Blue of staging -- integration of music and drill is and equipment could make the article more Devils. In this article he describes basic topics addressed. effective for those who do not regularly see such as , playing position, stroke, drum and bugle corps shows. interpretation and technique. His text is basic • Boo, Michael. “Marching Percussion at and easy to understand. PASIC ’92.” Percussive Notes 31, no. 5 (June • Buck, Robert. “An Introduction to Drum 1993) : 22-24. Corps International Percussion Judging.” • Bullock, Jack. “Is It Really Corps-Style Boo reports on the marching percussion Percussive Notes 20, no. 1 (Fall 1981) : 26-30. Music?” The Instrumentalist 33, no. 11 (June competition at the 1992 conference. The snare, This is a fairly extensive explanation of 1979) : 19. tenor and keyboard competition winners are all percussion judging in the DCI arena. The Bullock believes that the differentiating university students who are drum and bugle article includes a linear scale of execution, a factor with corps-style music is its unified corps members. The judging panels read like a sample DCI execution sheet and an excellent approach where the drill and the music become “who’s who” of drum and bugle corps. dictionary of terms. a total show. He cautions that some musical Subjects treated by the author include arrangements are being billed as corps-style • Bough, Thomas. “Corps Style Percussion execution, analysis, exposure to error/difficulty, and they are no different from previous versions Tips for High School Marching Bands.” The degree of musical excellence, general effect, of the music -- they just have a new cover. Instrumentalist 56, no. 3 (October 2001) : repertoire, performance and coordination. These fraudulent packages purport to be 52-55. patterned after drum and bugle corps This is an interview with Bret Kuhn, faculty • ______. “Percussion Judging Report.” presentations, but in reality they are not. member at Prospect High School, Mt Prospect, Percussive Notes 18, no. 3 (Spring/Summer Bullock believes that only an arrangement that IL, and staff member with the Cavaliers. The 1980) : 18. includes choreography/drill can bring the format is a highly informative question/answer Buck reports on the DCI Rules Congress essence of the drum corps approach. one which covers such topics as recurring held in conjunction with the DCI annual There are several crucial elements in problems with percussion sections, difficulty of meeting. He states the rules changes and evaluating arrangements that represent corps music, pit percussion and teaching philosophy. discusses the interpretation for the judge and style -- high quality melodic lines, good voice the corps. Rules are detailed and specific and it leading, effective climax points and varied • Britton, Mervin W. “Rudimental is important that they be understood by the musical devices. Families.” The Instrumentalist 25, no. 9 (April judge, the instructors and the corps members. 1971) : 63-65. • Buyer, Paul. “An Evaluation of Marching Britton discusses why and how • Buck, Robert. “Corps-Style Marching Percussion Stock Chart Arrangements.” students should be taught rudiments. He notes Percussion (includes excerpts from his book Percussive Notes 35, no. 2 (April 1997) : 29- that rudiments are actually used in all drum ‘Precision Marching , 30,32,34. areas -- drum and bugle corps, concert, jazz Corps Style’)” Woodwind World - Brass and Buyer presents five criteria to be used in and rock. He describes eight families of Percussion 18, no. 3 (May-June 1979) : 38-39. selecting quality marching percussion rudiments as opposed to 26 separate charts. This article quotes extensively from the arrangements. He also discusses difficulty Britton also believes that the teaching of author’s book, “Precision Marching Percussion levels as a key part in evaluating and selecting rudiments should come after the student has Ensemble, Corps-Style” (Alfred Publishers). music. learned grip control and basic rhythms. The The author states very clearly why drum and eight families covered in musical notation are bugle corps offer superior performance and • Cahill, Michael J . “A Capsule History of paradiddles, rolls, flam, flam taps, drag, drag musicianship compared to marching bands. the Drum and Bugle Corps.” The taps, ruffs and ruff taps. While the article could be perceived as a Instrumentalist 36, no. 11 (June 1982) : 6-9. promotion for his book, it does contain useful This brief history of the U.S. drum and • Brummett, John D. “Don’t Limit Your information for the band director seeking to bugle corps activity begins in the 1940s and Guard.” The Instrumentalist 39, no. 12 (July improve the quality of the band’s percussion traces trends in the activity to the popularity 1985) : 22. section. the activity now enjoys. This one-page article only begins to explore Buck notes the differences between Pictures of the Troopers, Santa Clara the visual enhancement that the modern-day orchestral, band and drum and bugle corps Vanguard and Anaheim Kingsmen are included. color guard can bring to band shows. The percussion sections in terms of composition The evolution of the bugle, percussion and the 375

kiNsmeN kresCeNdos, Peterborough, ONT (1974). maNdariNs, Sacramento, CA (1988). marioN Cadets, Marion, OH (1974). Photo by Peter McCusker from the collection of Drum Corps World. Photo by Orlin Wagner from the collection of Drum Corps World. Photo from the collection of Drum Corps World. color guard are traced. Notable names of corps He includes text and music as well as a Add Music and Drill.” The Instrumentalist 55, leaders and innovators are included. Mr. Cahill pre-arrangement chart used to define phrases no. 1 (August 2000) : 48-52. admits great admiration for the drum and bugle and ideas. The article includes extensive text This article is strengthened by the inclusion corps activity and this article is a celebration of for arrangers and for battery and pit specialists of details regarding several themes, written to that. who need to arrange for other units. stimulate the creative process. The various elements of show design are covered quickly, • Callahan, Brian. “Percussion Instructors • ______. “Santa Clara Vanguard Clinic.” but the article offers many important points of Guild (Judging During the 1980 Drum and Percussive Notes 35, no. 5 (October 1997) : information for the show designer. Bugle Corps Season)” Percussive Notes 19, no. 28-29. 1 (Fall 1980) : 52. Casella and his Santa Clara Vanguard • Combs, F. Michael. “Organize Your The 1980 competitive drum and bugle corps percussion section will present a sophisticated Marching Band Drum Section Early.” The season is the focus of this brief article. musical approach to marching percussion at Instrumentalist 27, no. 2 (September 1972) : Effectiveness of judging of percussion, the 1997 PASIC convention. The clinic will 58-60. interpretation and relationships between feature all sections of the SCV line and will Combs presents a step-by-step recipe for instructors and judges are covered. stress sound quality and timing. success for the marching season, with emphasis The author believes that this season saw an on early organization and preparation. improvement in all areas regarding these • ______. “Tuning Marching Bass Drums; Included are selection of a section leader, subjects, as problems of the past are receiving Articulation with Tone.” Percussive Notes 37, musical patterns, cadences and ensemble work. conscientious efforts toward resolution. no. 3 (June 1999) : 22. One point of interest -- Combs suggests that Judging is a subjective exercise and those Noted percussion caption head and arranger students write the cadences to be used. involved on both sides of the area need to be with the Santa Clara Vanguard, Casella offers mature about disagreements and tolerant of advice on effective tuning of the all-important • “Corps-Style Marches on With One Show differences of opinion. bass drums. He also answers frequently-asked Per Year.” The Instrumentalist 55, no. 4 questions. (November 2000) : 12-19. • Campbell, James. “A ‘Time Machine’ for This is an overview of trends in marching Your Drum Line.” Percussive Notes 35, no. 6 • Chinn, David. “An Interview with Marc bands. Well over 80% of bands are using the (December 1997) : 22-24. Sylvester on Competition and Performance.” single show, corps-style approach. Included in “Time Machine” is the title of a fully- Today’s Music Educator 5, no. 2 (Fall 1992) : the article are statistics on budgets, number of orchestrated percussion warm-up that is 22-24. shows/competitions entered and schedules. designed to challenge players. Detailed Marc Sylvester, drill designer for the Cadets There are numerous case study-type comments instructions and the musical score are included of Bergen County, discusses creativity within a from all over the U.S. that discuss trends, goals, in the article. rule-bound environment that is drum and practice, etc. bugle corps. While covering the philosophy of • Carpenter, Tad. “Contemporary Mallet the Cadets, Sylvester’s comments can be • Covert, Bob. “Easing the Transition from Exercises for the Pit.” Percussive Notes 33, no. generalized to the wider music education arena. Traditional to Corps-Style Marching.” The 4 (August 1995) : 29-33. The Cadets consider drum and bugle corps Instrumentalist 35, no. 11 (June 1981) : 8-9. Eight exercises are presented with some to be an art form and the issue of competition Advice on the transition from Big 10 or accompanying text. within art is problematic. Sylvester also traditional to drum and bugle corps-style discusses the corps’ color guard, noting the fact marching is given to band directors, show • ______. “USC Trojan Drum Line Clinic.” that the DCI judging system does not place designers, color guard instructors and students. Percussive Notes 35, no. 5 (October 1997) : 26. value on that unit. Preparation is the key to a successful transition. Two professional percussionists (Gregg The article includes three formation charts. Bissonette and Ndugu Chancler) will join the • Clements, Phillip. “Marching With a It is noted that summer parade work can begin University of Southern California drum line for Method.” The Instrumentalist 53, no. 11 (June to introduce corps-style concepts such as the a clinic at the 1997 PASIC convention. Many 1999) : 40-42. glide step, memorization of music, color guard styles of music will be featured using the While written for marching band directors, subtleties and more advanced and sophisticated soloists and the USC drum line. this article may also have value for drum and percussion work. bugle corps staff. The author addresses music • Casella, Jim. “Arranging for the Pit and and drill. He also stresses productivity in • Craig, Robert A. “Percussion on the Battery.” Percussive Notes 36, no. 4 (August rehearsal time and gives tips on how to increase March: the 1980 1998) : 29-34. it. He discusses the challenges of the outdoor Competition.” Percussive Notes 19, no. 1 (Fall Consolidating percussion arranging (battery environment and how it effects sound. 1980) : 42-44. and pit) may not be for every organization, but A detailed review of the 1980 DCI Casella makes a compelling point for doing so. • ______. “Start with a Show Theme then competitive season is presented in an 376

troubadours, Victoriaville, QUE (approx. 1980). froNtiersmeN, Overland Park, KS (approx. 1978). red aNd white airs, Calgary, ALB (approx. 1972). Photo by Francois Fournier from the collection of Drum Corps World. Photo by Jane Boulen from the collection of Drum Corps World. Photo by Andy Walker from the collection of Drum Corps World. enthusiastic and subjective article. If one indicates the importance of drum and bugle World - Brass and Percussion 19, no. 5 knows the major drum and bugle corps, the corps in the percussion world -- drum and (September-October 1980) : 22-25. article brings back fond memories of an bugle corps individuals, ensembles and The question posed by the title of this article excellent season of DCI contests. instructor names are paramount in the seems naive. The author, the band director at The article assumes the reader does know conference offerings. Oregon State University, advocates a middle these corps -- it might have less meaning for ground (soft corps) between the drum and anyone unfamiliar with drum and bugle corps. • Dawson, Cheryl. “Corps-Style Controversy bugle corps (hard corps) and the traditional A photo of the Blue Devils drum line is -- Fuzzy Flute Sounds, too.” The band show. included. Instrumentalist 38, no. 10 (May 1984) : 98. Even in 1979/80, perhaps 85% of Ms. Dawson, in the regular “Challenge” competitive high school bands were using • Crockarell, Chris. “A Chat with Dennis forum in The Instrumentalist, expresses corps-style shows. Douglass describes the basic DeLucia.” Percussive Notes 36, no. 2 (April agreement with the July 1983 “Challenge” marching styles (glide and high knee lift) in 1998) : 32-34. forum regarding the difficult transition from detail and suggests appropriate uses of both One of the legends of the drum and bugle marching season to concert season. She does styles within a show. corps activity, DeLucia has worked with not focus on corps-style specifically, but does He discusses the one show/different numerous champion corps and now provides repeat concern for woodwind technique (flute). audiences versus the different shows/one analysis on the PBS DCI broadcasts. In this audience debate. Also discussed are auxiliary, interview he addresses changes DCI has • “DCI Summer Schedule.” Percussive soloists, conductors, volume of sound and brought about in percussion, judging, writing, Notes 21, no. 5 (July 1983) : 59-61 . show design. equipment and the drum and bugle corps The 1983 DCI schedule for July and August While compromise in marching style is not experience. are presented in the “Percussion on the March” a negative, the author manages to sound column. Included are dates, places and defensive in his opinions, especially in relation • Davila, Julie. “Applying Rudiments to scheduled corps. As is true with other such to the traditional marching band. Tenors.” Percussive Notes 38, no. 1 (February schedules, it is interesting to note travel 2000) : 26-27. patterns as well as corps that no longer exist. • “Drum Corps Contests and Exhibitions: The author provides text and music to help 1980.” Percussive Notes 18, no. 3 students become proficient at playing tenor • De Journett, William N. “Big Ideas for (Spring/Summer 1980) : 19-23. drums. Music includes 5-stroke roll, flam tap Small Bands.” The Instrumentalist 51, no. 2 The complete 1980 DCI schedule appears and single paradiddle. (September 1996) : 65-68. with date, city and competing corps. One is Designing shows for small units creates struck by the names of corps no longer in • ______. “Marching Percussion at PASIC special challenges and De Journett offers some existence -- the Royal Crusaders, Bridgemen, ’99.” Percussive Notes 37, no. 5 (October 1999) ideas applicable to drum and bugle corps or North Star, Holy Family Defenders, Rivermen, : 34-35. bands with less than 50 members. He discusses L’Offensive Lions, Avant Garde, etc. This is the annual preview of the PASIC use of props, field coverage, placement of convention that includes clinics (Jim Casella, musicians and drill design. • Dunnigan, Patrick. “Field Perspectives in Lee Beddis), master classes (Lalo Davila, Brian The author cites division II and III drum Charting a Show.” The Instrumentalist 51, no. Mason), a panel discussion and competition. and bugle corps as examples of highly- 11 (June 1997) : 12-17. This preview is followed by two more brief entertaining units with small numbers of The challenges of translating drill designs articles by L. Davila and B. Mason with more performers. The final thought is that “charm” for marching band from paper to field are information on their sessions. is the unique quality that should be described in this article. Included are helpful capitalized on. instructions for linear forms, curvilinear forms, • ______. “PASIC ’98 Marching outline forms, solid forms, free forms and open Percussion.” Percussive Notes 36, no. 5 • ______. “Planning Marching Rehearsals.” and closed forms. How to deal with designing (October 1998) : 24-25. The Instrumentalist 51, no. 12 (July 1997) : for audience perspective is a recurring theme. This annual preview of the convention is full 38-41. of drum and bugle corps names as always. Bret Working with a marching unit from day one • Flor, Gloria. J. “Brass Workshop: The Kuhn of the Cavaliers and Neil Larrivee of the is the theme of this article that works well for Bugle Past and Present.” The School Musician Cadets of Bergen County have major roles in band or drum and bugle corps. (The author is 56, no. 9 (May 1985) : 30-31. this year’s convention. experienced in teaching both.) Marching This article is an example of just how much fundamentals, warm-ups and rehearsal information can be packed into two pages. The • ______. “PASIC 2000 Marching scheduling are topics covered. article includes photographs of bugles, Activities.” Percussive Notes 38, no. 5 (October examples of written ranges, a fingering chart 2000) : 18-19, 21. • Douglass, James. “Are Drum Corps for G-F/F# bugles, recommended This preview of the annual conference Influencing Our Marching Bands?” Woodwind instrumentation for drum and bugle corps and 377

de la salle oaklaNds, Toronto, ONT (1973). Norwood park imperials, Norwood Park, IL (approx. 1967). florida waVe, Miami, FL (approx. 1982). Photo by Jane Boulen from the collection of Drum Corps World. Photo by Bob Scholl from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. specifications for bugles. The text includes for DCI. Musician 52, no. 9 (May 1981) : 12-14. both an historic look at the bugle and a look at The calendar includes who will be appearing Selection of music for the percussion the bugle today. As Flor points out, the bugle is where. Ticket price information is included and ensemble solo during the band show can the only brass instrument that is available in can be valuable for a historical perspective as make this segment an exciting highlight for more than one range. one sees the popularity of the activity driving performers and the audience. Musical up prices since 1981. technique is as important in the • Force, Kenneth R. “Freedom of Choice? percussion feature as it is for wind players in (Band That Doesn’t March Drum Corps-Style • Fuster, Brad. “Choreographed featured spots. Wide Open to Criticism).” The Instrumentalist Expressivity in the Pit.” Percussive Notes 36, Each member of the ensemble must be able 35, no. 11 (June 1981) : 80 . no. 6 (December 1998) : 19-21. to play the selection, but musicians should also Once again, The Instrumentalist In competition, each member of the be challenged to strive for higher goals. The “Challenge” forum brings concern regarding performing unit must project enthusiasm or authors offer detailed suggestions as to the corps-style marching band trend. Mr. Force “sell” the program. This is especially true for writing/scoring of the solo. indicates that band contest judges do not the pit as they are up front and in full view of reward different styles -- bands that are not the entire audience. • Grifa, Robert. “Solos for Snare using corps-style marching are “ostracized.” This article discusses the element of Drummers.” The Instrumentalist 52, no. 6 He does not condemn corps-style, but urges showmanship while ensuring that the pit (January 1998) : 50-56. that corps-style not be the only acceptable style. member’s percussion performance does not The author addresses common problems suffer. Movements should not detract from the that negatively affect performances -- tuning, • Ford, Mark. “: The organization’s performance, but can enhance it sticks, playing area, rolls, sticking, accents, Garfield Cadets (interview).” Percussive Notes with a little planning and practice. flams and dynamics. Also offered is a list of 24, no. 2 (January 1986) : 64-6 5. solos for grades 1-6. This interview with Thom Hannum gives an • Gelt, Andrew. “Corps Style: Will It excellent perspective on the benefits of the Determine Our Future Instrumentation?” The • Haley, Terri L. “Percussionists’ Common drum and bugle corps experience. Hannum is Instrumentalist 36, no. 8 (March 1982) : 136. Back Injuries.” Percussive Notes 38, no. 2 an articulate educator and a research and Each issue of The Instrumentalist includes a (April 2000) : 60-65. development person. page titled “Challenge; a forum for opinions and With text and photographs, the author The interview covers his drum and bugle ideas.” This opinion raises concern about the discusses spinal anatomy, spinal injuries, body corps and education backgrounds, his work future of woodwinds as bands move mechanics and flexibility. Included are with the Garfield Cadets and with Zildjian increasingly to corps-style. Alternatives for exercises to prevent injuries. The bottom line . woodwind players are proposed. The column is that percussionists need to take care of includes a photo of a Mummers string band and themselves to reduce the risk of injury. • Foster, Robert E. “The Modern Marching the text notes gratitude that this is not the Percussion Section.” Woodwind World and latest fad among bands. • Halls, Brad. “Developing Flam Brass 19, no. 3 (May-June 1980) : 25+. Coordination and Flexibility.” Percussive Notes The author points out the evolution of the • Girardi, J. L. “No Longer Football’s 31, no. 5 (June 1993) : 25-28. role of the marching percussion section from Stepchild.” The Instrumentalist 32, no. 11 While drum and bugle corps have changed that of keeping of time to being a major (June 1978) : 28-29. significantly over the past decade, their melodic and harmonic voice. Percussion Perhaps due to the popularity and exposure devotion to rudimental drumming stays instruments previously played indoors have of drum and bugle corps, marching bands have constant. Halls offers numerous exercises and been adapted and brought outside. The result come into their own as an activity. helpful text in this article to teach flam is sophistication of sound and sight, with an Musicianship and showmanship have improved rudiments. improved variety of tone and timbre. in quality -- indeed, quality is receiving Foster describes the various instruments, unprecedented attention. • Hannum, Thom. “Cymbals in comparing them to voices in a choir in terms of The new, improved image of marching Contemporary Marching Ensembles.” tone and purpose/role. bands has strengthened the band’s identity. Percussive Notes 24, no. 5 (July 1986) : 61-62. Band contests and festivals are gaining in Drawings and text focus on topics • “From Coast to Coast, Border to Border popularity and prestige. This is an upbeat, including grip, holding positions, circle and Then Some: DCI Announced Major 1981 positive look at marching bands that does not positions, physical conditioning, and sound Championships.” Percussive Notes 19, no. 3 question corps-style versus traditional style, but production techniques. As Hannum points out (Spring/Summer 1981) : 24-25 . simply celebrates the modern marching band. in his introduction, cymbals have become A detailed discussion of the coming 1981 increasingly important in both the sound and DCI season is given in an article that focuses on • Green, Gary and Curry, Donald E. “The visual presentation of modern marching the major events comprising the tenth season Percussion Session Field Solo.” School percussion sections. 378

CaValliers, Somerville, MA (1980). reNaissaNCe, St. Georges, QUE (approx. 1976). st. JohN’s girls, Brantford, ONT (approx. 1980). Photo from the collection of Drum Corps World. Photo from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. • ______. “Rhythmic Building Blocks.” the influence on modern playing is fascinating. Field Percussion: Part 2.” Percussive Notes 32, Percussive Notes 38, no. 1 (February 2000) : Photos of the panelists are included. no. 5 (October 1994) : 20-24. 28-31. This second part of a four-part series covers There is little text and a lot of music in this • ______. “PASIC ’93 Marching Percussion the Classical period (1750-1850) and the article. There is a check pattern followed by 14 Panel Discussion - Part II.” Percussive Notes Romantic period (1850-1900). As is true of the duple variations, then 14 more building blocks. 33, no. 3 (June 1995) : 26-33. other articles in this series, the tone is This is the second part of coverage of a semi-scholarly and there are ample footnotes. • ______. “The Role of Percussion in panel discussion among nine marching Marching Ensembles.” The Instrumentalist percussion authorities held at the PASIC ’93 • ______. “The Timeline of Marching and 40, no. 1 (August 1985) : 80-83. conference in Columbus, OH. The discussion Field Percussion: Part 3.” Percussive Notes 32, As one who has strong connections to the covers grip, technique, teaching, styles and the no. 6 (December 1994) : 30-32. university marching band world and drum and effect of new drum head materials on sound. Part three of a four-part series, the article bugle corps (Garfield Cadets), Hannum has the Panelists also talk about the evolution of covers 1900-1960. It traces the roots of modern credentials to write knowledgeably about drum and bugle corps competition, comparing drum and bugle corps, including how marching percussion. He discusses the VFW and American Legion rules with DCI. Also equipment has evolved, who the innovators percussion “pit” -- percussion stationary on the included in the discussion is a conversation on were, changes in drumming style and the front sideline -- and the marching percussion the future and effect of electronics on the history of marching percussionists. ensemble. activity. He discusses trends in marching percussion • ______. “The Timeline of Marching and and considers why and how they have come • Hartsough, Jeff and Logozzo, Derrick. Field Percussion: Part 4.” Percussive Notes 33, about. Percussion as an integrated package “Eric Perrilloux Memoirs.” Percussive Notes no. 1 (February 1995) : 26-35. with the corps or band is discussed, as is 33, no. 6 (December 1995) : 26-31. The fourth in a series of articles tracks the arranging. Hannum lists 10 important factors Highly respected percussionist and teacher evolution of percussion equipment from 1960 in arranging. The article ends with a brief list Eric Perrilloux saw the evolution of modern to the present. Among the topics covered are of important literature sources for marching drum and bugle corps from the 1930s through innovators, drumming styles, the competitive percussion. the 1980s and shares his memories via a long scene (American Legion, VFW and DCI) and letter written in October 1993. The personal the “pit.” • Harris, Shawn. “Summer Training for the reminiscences are charming and informative as A timeline chart runs across the top of each .” Percussive Notes 38, no. 2 Perrilloux talks about contests, equipment and page and tracks marching/field percussion from (April 2000) : 33-36. playing styles. ancient times (1600 BC) to medieval (100 AD - As the author notes, students may find 1350) to renaissance (1500-1588) to baroque themselves in the percussion pit who have no • ______. “Sixty Years of Drum Corps; an (1610-1660) to classical (1750-1837) to previous percussion training. This article offers Interview with Elderick Arsenault.” Percussive romantic (1860-1886) to the 20th Century basic strategies for teaching these folks. Notes 36, no. 1 (February 1998) : 18-23. (1912-1991). Included are sections on grip and stroke, as well This is a fascinating look at the history of as some basic musical exercises. rudimental drumming and ancient corps • Hawkins, Kate. “One Day with Two through the eyes of someone who has lived it. Bayonne Bridgemen (interview).” School • Hartsough, Jeff. “Marching & Field The Arsenault name is well-known in Musician 56, no. 1 (August-September 1984) : Percussion Panel Discussion - Part I.” rudimental drumming circles and beyond and 14-16+. Percussive Notes 33, no. 2 (April 1995) : 6-17. the interview is full of information and This interview was originally done for Coverage of a panel discussion which took entertaining anecdotes. Bluegrass Music News and was enhanced with place at the PASIC ’93 conference offers an photos for this version. Two Morehead State extensive and interesting look at marching • ______. “The Timeline of Marching and University students talk about their 1983 percussion -- history, techniques, styles and Field Percussion: Part 1.” Percussive Notes 32, summer tour experience with the Bayonne, NJ, equipment. no. 4 (August 1994) : 48-52. Bridgemen. Pat Petrillo (percussion) and Larry The panelists are James Campbell, George This is the first of four semi-scholarly Rebillot (drum major) convey the dedication Carroll, Dennis DeLucia, Tom Float, Thom articles based on the authors’ presentation at and fun of drum corps, reflecting the Hannum, Al LeMert, Bill Ludwig II, Fred the 1993 PASIC convention. The initial article entertaining style of the Bridgemen. If you Sanford and . The discussion covers the Ancient period (1600 B.C. – 400 want to know what drum corps is about, traces the evolution of modern drum and bugle A.D.), the Medieval period (400-1400 A.D.), the read this. corps as the activity spread across the nation Renaissance period (1400-1600 A.D.), and the from the traditional Eastern powerhouses to Baroque period (1600-1750 A.D.). • Hong, Sherman. “Common Sense in the Midwest and West Coast. Marching Percussion.” Percussive Notes 18, no. The history of drumming techniques and • ______. “The Timeline of Marching and 3 (Spring/Summer 1980) : 42-45. 379

sagiNaire eagles, Saginaw, MI (1986). dreadNauts , Seattle, WA (approx. 1975). braiNtree braVes, Braintree, MA (1990). Photo by Roger Ellis from the collection of Drum Corps World. Photo by Jane Boulen from the collection of Drum Corps World. Photo by the Kingsleys from the collection of Drum Corps World. Hong discusses the reasons why drum and Annual updates are available. Packages • Janners, Erik N. “Just Four Basic bugle corps have improved the overall quality of such as this can save directors time in Strokes.” The Instrumentalist 55, no. 8 (March percussion sections -- proper techniques, designing shows. 2001) : 36-41. writing and common sense. He goes into detail Drum and bugle corps percussion has about technique, using photos of grip and • Hosler, Mark. “Adding Variety to Halftime “pushed the envelope” of difficulty to the point stroking. He talks about the role of each drum Shows.” The Instrumentalist 51, no. 1 (August where beginning percussionists are lost. The and the balance that is necessary. He notes that 1996) : 34+. author simplifies rudimentary drumming to well-written percussion parts are vital to the This is not really a re-hash of the corps- encourage the novice. Detailed instructions band or drum and bugle corps performance. style, one-show-a-season versus traditional a- and notations are included. show-a-game, but Hosler does point out that • Hopkins, George. “Cadets of Bergen the danger of lessened audience enthusiasm for • Kastens, L. Kevin. “Adding Variety to County’s Marching Band Cooperative.” Today’s band shows that are repeated all season. Create More Interesting Shows.” The Music Educator 4, no. 2 (April 1991) : 14. Even if the one show is performed well, Instrumentalist 55, no. 11 (June 2001) : 45-48+ One of the nation’s most outstanding drum many fans are bored with seeing the same show While written for marching bands, this and bugle corps finds that support from their four or five times. Hosler suggests that the article could be of help to novice show area’s band programs is a key to their own competition show does not need to be designers with its detailed drawings that could success. One of the ways the Cadets have performed in its entirety for every football game inspire creativity. There is also helpful text chosen to generate and maintain that support is -- it can be split into sections and performed regarding placement of auxiliary and through a highly-successful annual band over several shows. The competition show can movement. competition. also be performed for away games. The article The Cadets organization is adept at offers other helpful suggestions for designing • ______. “From Paper to Field Drills; Clear organizing contests, recruiting participating appealing shows. Instructions Improve Marching Band bands, promoting the events and supplying Rehearsals.” The Instrumentalist 53, no. 12 highly-qualified judges. The Cadets are • Howarth, Gifford. “Front Ensemble (July 1999) : 34-40. committed to music education and are offering Keyboard and Rehearsal Techniques.” In text and charts, the author offers a broad-based program of instruction beyond Percussive Notes 38, no. 2 (April 2000) : 28-31. suggestions to enhance the effectiveness of their drum and bugle corps -- the band contest This is a basic article for those who are marching rehearsals. The importance of clear is only one of their programs. teaching non-drumming students who might drill instructions is discussed extensively. play non-marching instruments or are overflow Examples are included to illustrate the author’s • ______. “It’s Not About Winning, It’s from other band sections. The author covers points of emphasis. About Personal Growth.” Today’s Music two-mallet technique, four-mallet technique, Educator 5, no. 1 (Spring 1992) : 30-34. mallet choice and rehearsal topics. • Kinney, Tom. “Dynamic Fund-Raising.” In psychological and social terms, there is Today’s Music Educator 1, no. 1 (Winter 1988) : higher value in cooperation than in • Huber, James P. “Bands That March: 1-32 competition. Can this theory be applied to Putting the Subject Into Perspective.” The The entire content of the first issue of this drum and bugle corps? Hopkins thinks so and Instrumentalist 39, no. 12 (July 1985) : 80+. publication is devoted to fund-raising. As the he has brought this philosophy to the Cadets of While many band directors view the publisher says, the new magazine is intended to Bergen County. symphonic/concert band as the main musical be a textbook and this is the first chapter. The This article discusses the book titled “No effort in their school, it is the marching band articles give general information on the topic as Contest” by Alfie Kohn. How does winning that is the public image of the instrumental well as specific success stories from drum and relate to success? Who decides whether a drum program. bugle corps and marching bands. and bugle corps season or a performance is a Any “damage” attributed to drum and bugle Projects such as “jails,” mini-car races and success? In the Cadets, the answers are simple corps-style bands occurs because it is allowed to coupon book sales are described. The -- the corps, not judges or spectators, do. For occur, according to Mr. Huber. information does not appear to be dated and the Cadets “winning is a state of mind.” His message is, excel in marching season, would serve organizations well today. but when it is done, it is the concert band • Hopper, Dale. “Multi-Dimensional (Corps season that really provides musical education to • Kirkland, Anthony B. “Historical Roots of Style) Show Design Software.” The the student. the Modern Drum Major.” BD Guide 5 Instrumentalist 40, no. 12 (July 1986) : 46. (May/June 1991) : 2-5. Advice on the selection of software packages • Hurley, Marty. “Finger Control for This historical look at the role of the drum to aid in band drill design is offered in this Marching Percussion.” Percussive Notes 33, no. major not only covers the responsibilities of the review of a specific piece of software. The 4 (August 1995) : 34-36. position, but also looks at topics such as the use software from Music Education Incentives This article is comprised of one page of text of the mace/staff and uniform trends. While includes 150 programmed shapes. and two of exercises. not focusing on drum and bugle corps, the 380

diplomats, Lynwood, CA (approx. 1972). CheValiers, Waterloo, IA (1972) paCifiC blue, Surrey, B.C. (1985). Photo from the collection of Drum Corps World. Photo by Paul Jensen from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. article does note that today’s drum and bugle problems are covered in easy-to-understand • Ludwig, William F. “Is Your Drum Section corps drum major is not in the military style of text. a Pussy Cat, a Problem, or a Tiger?” Music the past. Journal 30 (March 1972) : 44-45+. The author notes that drum and bugle corps • Larrick, Geary. “Which Marching Band Ludwig, president of Ludwig Industries, drum majors have more time to develop their Drumming Style Do You Prefer?” The gives tips on turning a mediocre percussion conducting and showmanship skills due to the Instrumentalist 26, no. 11 (June 1972) : 50-52. section into an effective one. The key is using large administrative and teaching staffs The author describes four styles of equipment and scoring that uses a wide range connected with many corps. A photo of a drumming for marching bands -- Scottish, of pitch. Madison Scouts’ drum major is included in the drum and bugle corps, military and fast-step. article. In each section, Larrick discusses equipment • McGrath, William A. “The Contribution of and technique. He ends the article with Senior Drum and Bugle Corps to Marching • Koter, Scott. “Design Tips for Marching additional comments relative to selection of a Percussion (Prize-Winning Groups).” Percussion - A Judge’s Perspective.” Percussive style, noting the consequences of complexity. Percussionist 17, no. 3 (1980) : 152-153. Notes 34, no. 1 (February 1996) : 18+. McGrath writes a fairly extensive history of Judging of percussion is changing and • Lautzenheiser, Tim. “Sailing the 7 Cs of the senior corps in the U.S., describing writers, arrangers and show designers must Success.” BD Guide 4 (May/June 1990) : 8-11. American Legion, VFW and Drum Corps take this into account as they point toward Although written for band directors, this Associates (DCA) competitions. He also traces drum and bugle corps and band competitions. article would translate well for drum and bugle percussion development in the senior corps. Integration of percussion in the overall corps directors or anyone in a leadership The article includes a compilation of results musical production must be the fundamental position with a musical marching unit. of national championship competitions for the view. Koter covers practice, arranging and Lautzenheiser discusses competence, three sponsoring bodies -- tables which include staging and stresses intelligence, balance and commitment, communication, confidence, percussion instructor, contest site, etc. The sensitivity regarding percussion’s role in the consideration and cooperation. While not a DCA table includes the winning score. band or corps. virtual map to success, Lautzenheiser’s The article is full of references to the top comments would certainly provide a positive names in senior corps as well as historical • Laib, J. Russell. “The Relationship foundation for moving down that path. information on all of the big names in the Between Competition, Show Style, and Number activity -- Lt. Norman Prince, Reilly Raiders, of Shows Performed by North Georgia High • ______. “Today’s Marching Band Westshoremen, Archer-Epler Musketeers, School Marching Bands.” Journal of Band Percussion Section.” School Musician 52, no. 1 Skokie Indians, Reading Buccaneers, Research 19, no. 2 (1984) : 51-61. (August/September 1980) : 14-15. Connecticut Yankees, Connecticut Hurricanes, This research attempts to get beyond the The visual aspect of modern marching New York Skyliners, Hawthorne Caballeros, popular debate about corps-style bands and percussion sections is not always valued as Long Island Sunrisers, Yankee Rebels, gather some real data about band-style and show designers focus on sound. Lautzenheiser Rochester Crusaders, Grey Knights and Les competition. In order to determine whether argues that the percussion section should be a Diplomats. corps-style has been good or bad for bands, one part of the “visual harmony” in drill design. He needs to study band marching styles, advises against simply stacking the section with • McGuire, Kristen Shiner. “Exercises for competitions and the number of shows learned bass drums in the back and snares and Mallet Percussionists; Training Students to Play by the bands. keyboards in the front of the section. Without Watching Their Hands.” The The author begins that research by studying A concert arc formation would be preferred. Instrumentalist 51, no. 7 (February 1997) : bands in northern Georgia. He finds that many Framing the percussion within an auxiliary 74-76. are corps-style, they enter more than one picture is one way to highlight the section. According to McGuire, competition each year and the number of shows Diagrams illustrate the author’s points. students tend to look at their instrument rather learned declines as more contests are entered. than the conductor because they do not have He acknowledges that this is just the beginning • Lepper, Kevin. “Sound Reinforcement for direct contact with the instrument as do other of the research needed to begin to postulate the Marching Percussion.” Percussive Notes 33, no. musicians (pianists, violinists, brass players). effects of corps-style. 6 (December 1995) : 23-24. They want to make sure they are playing in Sound reinforcement can help enhance the the center of the bar. The author offers tips on • Lambert, James W. and Grifa, Robert. quality of percussion instruments that were not how to build confidence and better technique. “Beginning Percussionists with Good designed for outdoor use. Volume is not the Fundamentals.” The Instrumentalist 51, no. 11 issue -- better blend and balance and better • “Marching Percussion Sources.” (June 1997) : 26-28. integration of the instruments is the goal. How Percussive Notes 20, no. 3 (June 1982) : 58. The basic skills in teaching percussionists one band did this by adding microphones to This is a short bibliography of drum and are presented, including rhythm skills, hand , vibe and and chimes is bugle corps magazines, marching percussion position and grip, and hand motion. Common described here. publications and marching percussion handouts 381

buCCaNeers, Dayton, KY (approx. 1974) keNosha kiNgsmeN, Kenosha, WI (approx. 1965) hollywood kNights, Hollywood, CA (1983). Photo from the collection of Drum Corps World. Photo by the Guido Studio from the collection of Drum Corps World. Photo by Paul Rodino from the collection of Drum Corps World. (available from Ludwig). Also included is a list professional drummer. • Moore, Jeff. “The Marching Percussionist of marching percussion clinicians, along with as a Total Percussionist.” Percussive Notes 35, their fees. •Metcalf, Thomas E. “Corps-style Kills no. 5 (October 1997) : 32-34. Concert Bands.” The Instrumentalist 37, no. 12 Moore previews the clinic that he will give • Mason, Brian S. “Developing the Front (July 1983) : 52. at the 1997 PASIC convention. This preview Line Percussion Ensemble.” Percussive Notes In a “Challenge” forum that precipitated and clinic are probably not for the novice as the 30, no. 3 (February 1992) : 43-45. several more forum opinions over the next year, terminology and ideas require knowledge and The evolution of the “pit” or front line Metcalf charges that corps-style marching band sophistication. percussion ensemble brings new challenges and is poorly serving music education programs. potential to the marching unit. No longer are He states “no other single factor . . . has done • ______. “Survey of Contemporary Tenor keyboards and timpani being carried and played more to degrade music and musical ability than Features.” Percussive Notes 36, no. 3 (June by marchers. Choice of mallet, scoring and corps-style bands”. 1998) : 26-29,32. balance and technique are discussed. The narrow focus does not encourage The tenor drum section is becoming students to delve into basic concern musical increasingly creative and sophisticated. Moore • Masoner, Betty. “Color Guard Protocol.” literature, he charges. Students can no longer presents examples of new approaches from the The Instrumentalist 33, no. 11 (June 1979) : sight read, they focus only on volume and they Madison Scouts, Cadets of Bergen County, Blue 64-65. have no technical proficiency. Devils, Santa Clara Vanguard, Cavaliers and Flag etiquette basics are presented in this Metcalf says that everyone is to blame -- Phantom Regiment. The four pages include article which should be read by anyone who band directors, parents, contest judges, uniform text and music. includes a national flag in their marching unit. and instrument manufacturers -- everyone but While color guard has evolved in its definition the student who is the innocent victim. • Moore, Jeffrey. “Designing an Effective and no longer includes the national colors on Warm-up Program for the Marching Percussion the field or floor of competition, the national • Mitchell, Dave. “Corps vs. Traditional: a Section.” Percussive Notes 33, no. 2 (April flag is used by drum and bugle corps for retreat Comparison of Marching Styles and Values.” 1995) : 26-31. ceremonies and in parades. School Musician 52, no. 1 (Aug-Sept 1980) : Snare, tenor and bass drum exercises This two-page article gives the basic 6-7. comprise the majority of this article. They are fundamentals of flag protocol that should be Mitchell gives a balanced view rather than separated by “hands separate” and “hands followed when handling the American flag. supporting either side of the corps-style band together.” Moore also includes basic goals and versus the traditional-style debate. Regardless principles of the warm-up. • Masoner, Betty L. “The Guard -- with of preference, he argues that the student and He notes that the warm-up should fit the Color (Its Evolution and Variety).” School his/her educational experience should be the show. He also recommends that warm-ups Musician 52, no. 9 (May 1981) : 18-20. most important factor. Taking the best from focus on both technique and fundamentals and Tracing the origins of color guards from the styles can yield positive results. should move from basics to advanced concepts. heraldry through U.S. history to the modern day drum corps and band guard, Masoner • Mitrani, Hilda S. and Sullivan, • Morrison, Robert. “The Development of brings the reader up-to-date on the popular Christopher M. “DCI’s Marching Music the Front Percussion Ensemble.” Percussive activity. Convention.” The Instrumentalist 37, no. 1[11] Notes 23, no. 5 (July 1985) : 32+. The modern guard is part dancer, part (June 1983) : 18+. One of the most controversial of recent equipment handler, but the goal remains the The authors have reported highlights of six drum and bugle corps innovations is the “pit” -- same -- to enhance the visual effect of the drum sessions from the first annual DCI Marching formally called the front percussion ensemble. and bugle corps or band. Numerous photos of Music Convention held in Miami, FL. Leaders The pit is an area on the front sideline where band and drum and bugle corps guards from the worlds of jazz, drum and bugle non-marching percussion is stationed. Many compliment advice on equipment. corps, symphony , Broadway and drum and bugle corps fans believe that all music research covered diverse topics with instruments should be marched -- hence a basic • Mazur, Ken. “Advanced Rudimental practical advice. conflict over the pit. Training Technique.” Percussive Notes 18, no. The highlights make you wish that DCI had The front percussion pit is also an 3 (Spring/Summer 1980) : 45-49. published the full presentations. One tidbit -- obstruction for photographers in the stands and Mazur, a former DCI snare champion, writes researchers at the University of Connecticut on the field. Morrison does an excellent job of about rudimental drumming for the marcher, discovered that DCI adjudicators more tracing the history of the pit, highlighting for the solo competitor and for set drummers. accurately recalled performances than those innovations as they have occurred He gives training methods and detailed who evaluated contestants in the Tchaikovsky chronologically and by corps. descriptions and advice. Some musical Piano Competition. notation is included. The Garfield Cadets are on the cover of this • Murray, Allan. “Field Bands and Drum There is much here for the student and the issue. Corps -- South African Style.” Percussive Notes 382

troopers, Bridgeport, CT (1954). matadors, Marieville, QUE (approx. 1978). imperial regimeNt, Cheektowaga, NY (1977). Photo by from the collection of Ron DaSilva. Photo from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. 36, no. 3 (June 1998) : 33-35. drummers better understand their music. He The author notes that “rudiments are the The author had the unique and exciting has developed syllables to represent particular heart of drumming.” experience of introducing South Africans to notes. The article includes a page of examples. American-style marching bands and drum and In the text, Float’s detailing of the benefits of • Rapp, Willis. “The Evolution of bugle corps. The intent is to build a field this approach is well-articulated and persuasive. Multi-toms.” Percussionist 17, no. 3 (1980) : band/drum and bugle corps activity in the 32-39. country, one that will be able to compete • “Percussion on the March.” (new The history of multi-toms is traced from its internationally in a few years. department) Percussive Notes 18, no. 3 drum and bugle corps origins as the rapid This is a fascinating look at Murray’s first (Spring/Summer 1980) : 40-42. evolution in drum and bugle corps has been trip to South Africa and what he learned about This announces a new regular feature to widely embraced by marching bands. Photos of the people and their reaction to their first appear in Percussion Notes, articles that will drum and bugle corps drum lines are effectively glimpses of videos of U.S. marching bands and focus on marching percussion. The high- used to depict the development of multi-toms. drum and bugle corps. powered editorial staff is introduced with brief Pictures of the Bridgemen, Kilties, Blue biographies and photos of Brian Callahan, Jim Devils, Santa Clara Vanguard, Spirit of Atlanta, • Neidig, Kenneth L. “Bands of America Campbell, , Steven Mayer, Fred Phantom Regiment, Cavaliers and the 27th Summer Workshop.” BD Guide 4 (May/June Sanford and Jay Wanamaker. Lancers appear. The article includes “technical” 1990) : 2-5. information on tuning and placement of the The Bands of America organization has had • Prentice-Lambrecht, Barbara. “Preparing multi-toms. strong ties to drum and bugle corps as for Marching Competition.” The evidenced by the faculty of this workshop and Instrumentalist 51, no. 1 (August 1996) : • Ratliff, David. “Better Bass Drum the topics covered. Robert W. Smith, Michael 76-77+. Interpretation.” Percussive Notes 36, no. 6 Cesario, Thom Hannum, George Parks and The value of advance planning, consistency (December 1998) : 23-24. others were on the 1989 program. and focus are themes in this article. The last With two exercises (one from the Phantom This article includes summaries of their practice/rehearsal before competition should be Regiment), Ratliff provides a number of sessions. Topics include arranging, show calm and organized, preparing for mental valuable tips for improving bass drum section design, percussion (field and pit) and readiness. It should be a natural extension of a performance. leadership. steady progression of preparation, not a last- minute drawing together of the program. • Rennick, Paul. “The Importance of • Nevin, Mike. “Creating a Successful The smart band or corps director is well- Timing Exercises.” Percussive Notes 38, no. 4 Indoor Drum Line.” Percussive Notes 36, no. 2 prepared, knowing the stadium layout and (August 2000) : 28-29, 32-33. (April 1998) : 32-34. idiosyncrasies as well as the event schedule. Playing together with a unified pulse is the With the recent growth of indoor drum line Performers should be physically ready so proper true test of excellence in percussion ensembles competition in conjunction with Winter Guard nutrition and exercise need attention. and timing is the key. The author stresses the International events, there are more groups importance of exercise programs dealing with interested in this type of activity. The author • Prosperie, Jeff. “Becoming an Effective timing. Nine musical exercises are included covers subjects such as whether or not to start Marching Percussion Adjudicator.” Percussive with the author’s text. an ensemble, choice of music, sound quality, Notes 38, no. 5 (October 2000) : 24. drill/props/costumes and support for the unit. This short article is a preview to the author’s • Robbins, Melanie. “Corps Style - the master class on judging to be held at the 2000 Controversy Continues.” The Instrumentalist • Older, Jane. “The Lady Bugler.” School International 38, no. 11 (June 1984) : 72. Musician 52, no. 2 (October 1980) : 10-11+. Convention. Even with that, one can learn a More reaction to T. E. Metcalf’s article are This is an historical look at a woman, Peggy fair amount about the environment and found in this “Challenge” forum opinion. The Drake, who has had a life-long love affair with challenges of judging percussion in this article. plea is for balance in school music programs -- the bugle. The article traces her playing not obsession over the marching band program. experience, then talks about her hobby of • Pullis, Joe M. “Developing the Rudimental The complaint is made of narrow focus for collecting bugles. The article includes photos Snare Drum Grip.” The Instrumentalist 26, no. those corps-style marching bands that perform and discusses her collection in detail. 3 (October 1971) : 47-48. only one basic show all marching season, then The importance of grip in producing a carry the music from that show into concert • Parks, Walter. “Tom Float: the clean, crisp sound is stressed by Pullis. A season. Instructional Use of Percussive Singing with proper grip should lead to proper wrist action the Marching Percussion Ensemble.” and control. Without such, the student cannot • Rockefeller, David R. “Rifles, Pompoms, Percussive Notes 24, no. 5 (July 1986) : 58-59. develop to any appreciable degree according to Flags and Music?” Music Educators Journal 69, Noted drum and bugle corps percussion the author. Photos are used to demonstrate no. 4 (December 1982) : 31-32. instructor Tom Float advocates singing to help various grips. Noting that “the greatest influence on the 383

Norwood park imperial Cadets, Chicago, IL (1977). madisoN JuNior sCouts, Madison, WI (1985). seattle imperials., Seattle, WA (approx. 1986). Photo by Dennis Nichols from the collection of Drum Corps World. Photo by Donald Mathis from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. marching band movement of the 1970s has completely new week to week. instruction with text and photos. She offers been the professional drum and bugle corps,” tips on practice, body position, field placement, Rockefeller gives a well-balanced view of the • Sanford, Fred. “Today’s Field Percussion.” equipment changes, routine and drill design subject of corps-style bands. He cites both The Instrumentalist 29, no. 11 (June 1975) : and uniform choice. positives and negatives and gives some sound 50-53. advice regarding the philosophy of music This article is adapted from a Remo • Simon, Jack L. “A Symphony Orchestra education. He notes that corps style and publication “New Developments in Today’s Field and Drum and Bugle Corps Perform Together competitions are expensive in terms of dollars, Percussion.” Sanford discusses in Concert.” The Instrumentalist 37, no. 9 time and effort. However, they can yield instrumentation and personnel, then goes into (April 1983) : 25. wonderful benefits if approached correctly. some detail on selecting snares, timp-toms, Mr. Simon, conductor of the Rockford, IL, basses, cymbals and timpani. Also discussed are Area Youth Symphony, discusses the unique • Rohrer, Thomas P. “Marching Handbook mallet selection, instrument condition and concert performed by the orchestra and the for Students.” The Instrumentalist 49, no. 1 adjustments, field shows and scoring/arranging. Phantom Regiment Drum and Bugle Corps of (August 1994) : 78-79. There is much useful information in these Rockford. A year-long planning effort This excerpt from the Bowling Green State three pages, although some of it may be dated culminated in a concert attended by nearly University Marching Band Student Leadership now (especially marching timpani). 2,000 people who rewarded the effort with an handbook would translate well to any musical “instantaneous standing ovation.” marching unit. Topics include student • Sell, Catherine. “Tracking the Trends of The concert concluded with a joint playing leadership responsibilities in marching, music, Marching Bands.” The Instrumentalist 49, no. of the Regiment classic, Elsa’s Procession to the performance day, teaching drill, preparing 2 (September 1994) : 10-17+. Cathedral (Wagner). The concert was an charts, executing charts, etc. Trends reported include the number of excellent collaboration, with another planned different shows used per season, instruments for the future. • Rose, Riley. “400 Plus Performances a used, budget sources and sources of music. Year.” Percussive Notes 31, no. 1 (October Also included is advice to new band directors. • Smith, Gary E. “Drum Major Auditions.” 1992) : 31-40. The article includes questions and a wide The Instrumentalist 35, no. 12 (July 1981) : This is an interesting profile of the United and extensive range of responses collected from 14-15. States Marine Drum and Bugle Corps. The a survey that was conducted in 1990. Color This article is of help to musical directors article includes information on how to apply photos accompany the text. planning to hold drum major auditions and to and audition, various audiences, preparation those who want to participate in auditions. and travel schedules and the member’s duties • ______. “Tracking the Trends of Marching Smith notes that the effective leader and as Marines. Among the points of interest -- Bands - part 2.” The Instrumentalist 49, no. 3 performer should be creative, aggressive, members of the drum section write their (October 1994) : 18-29+. perceptive and musical. He also indicates that own arrangements to accompany the bugle Part 2 continues to explore important issues the drum major should understand the charts. with numerous quotes that make it clear how director’s philosophy and goals and share the diverse opinions are on marching band topics. responsibility for achieving those goals. • Roznoy, Richard T. “The Drum Corps It is clear that the value of competition, balance In many ways, the effective drum major International Championships.” The of instrumentation and the effect of drum and serves as an assistant director. Leadership skills Instrumentalist 32, no. 11 (June 1978) : 24-27. bugle corps continue to be controversial topics. are paramount. In covering the 1977 DCI championships Comments relative to drum and bugle corps are held in Denver, CO, and won by the Blue Devils, sprinkled throughout the statements. • Snapp, Kenneth. “Corps-Style Marching: Roznoy describes drum corps as “the most a Blessing or a Curse?” School Musician 51, exciting thing happening on the marching • Sherry, Heather Rakauskas. “Colorguard no. 9 (May 1980) : 6+. field.” (The quote actually comes from Jack Designs for Maximum Effect.” The Although Ken Snapp is a corps-style Foote of the University of Colorado.) Instrumentalist 55, no. 1 (August 2000) : 26-30. enthusiast, he points out the problems of Roznoy suggests that bands can learn a Color illustrations enhance this article embracing corps-style without thinking about great deal from drum corps -- not just visual which covers equipment, training and the the philosophy of the concept as compared to effects, but musical elements also. Effective use basics of color guard. Especially helpful is a the band’s philosophy and the welfare of the of changing tempos, use of soloists and playing section on making flags on a limited budget. students. Band directors are counseled to adapt softly are explored. The superiority of corps those elements of corps-style which make sense percussion over band percussion also receives • ______. “Fundamental Colorguard for their programs rather than blindly copying comment. Techniques; Adding Flair to the Marching drum and bugle corps. The author comments on the one show Band.” The Instrumentalist 54, no. 2 versus many shows comparison of corps and (September 1999) : 30-33+ • Snider, Larry B. “Marching Tonal bands, noting that band shows need not be The author offers basic color guard flag Percussion.” The Instrumentalist 28, no. 2 384

heart of the hudsoN Valley, Poughkeepsie, NY (1996). los aNgeles ChiNese imperial dragoNs, Los Angeles, CA haNoVer laNCers, Hanover, PA (1974). Photo by David Schwartz from the collection of Drum Corps World. (1974). Photo by Jane Boulen from the collection of Drum Corps World. Photo by Ron DaSilva from the collection of Drum Corps World. (September 1973) : 59-62. over some of the show while introducing new three articles are sprinkled with numerous With the advent of timp-toms, marching parts to each show. The North Texas State anecdotes from drum and bugle corps, timpani and tuned bass drums, marching University band uses this concept with comfort especially the Star of Indiana (networking in percussion sections add a whole new dimension and success. the community) and the Phantom Regiment to the band or drum and bugle corps. Using (burnout of a corps director). these instruments to their fullest requires • Sward, Rosalie. “The Continuing understanding of each and the need for balance. Controversy Concerning the ‘C-Words’ the ‘E- • Teleky, Ed. “Ten Steps to Designing a Each part is equally important rather than Words’ and the ‘R-Words.’ ” Today’s Music Competitive Marching Show.” Percussive Notes the traditionally dominant snare drum. In Educator 5, no. 1 (Spring 1992) : 4. 34, no. 4 (August 1996) : 44-45. addition to an introduction to each instrument, Evaluation, education, expression, This short article contains a wealth of Snider provides an overview of tonal percussion entertainment; competition, conflict, critique, information for show designers. As the title including tuning, and sticks, criticism, controversy; ranking, rating, rivalry -- indicates, 10 fundamental points are briefly marching, composing and scoring. all find a place in this piece that focuses on discussed. The article is a true short course or adjudication in drum and bugle corps. checklist as the design process begins. It offers • Snoeck, Kenneth M. and Blackford, R. Why is the activity so preoccupied by all of both practical and theoretical advice of value to Winston. “Corps Style and the Marching this? Because there is a growing body of designers with bands, drum and bugle corps, Band.” The Instrumentalist 29, no. 11 (June thought that believes drum and bugle corps color guards, and ensembles. Subjects covered 1975) : 49. have stopped caring about entertaining and include adjudication, resources, talent level, Two band directors offer their views on the only care about winning. Sward concludes with theme, charting, etc. impact of drum corps style on marching bands. a thought provoking comment -- They discuss “graphical” representation of “Entertainment, like beauty, is in the eyes and • Telesco, Joseph. “Marching Styles -- the music -- the need for integration and ears of the beholder.” Words That Cause Debate.” The choreography. Instrumentalist 39, no. 2 (September 1984) : • ______. “A Look at Adjudication: an 120. • Spalding, D. C. “The Evolution of Drum Interview with Michael Kumer.” Today’s Music Telesco offers another opinion in the Corps Drumming: a Brief History of Educator 4, no. 3 (September 1991) : 38-42. “Challenge” forum, taking a broader view rather Rudimental Drumming in America from the Changes in the DCI judging system are than focusing on corps-style or any other style Music of the Continental Army to the Modern necessary for the recruitment of judges and for of marching band. He believes that all manner Junior Drum and Bugle Corps.” Percussionist the education of young people involved in of bands -- marching, concert, jazz, whatever, 17, no. 3 (1980) : 116-131. competitive drum and bugle corps, according to all have one goal -- the student’s musical Not only is this an excellent history of Kumer. He criticizes the ranking/rating education. All should work for the rudimental drumming, it is also a history of judging system and the infamous “critiques” improvement of musicianship. The style of drum and bugle corps. Spalding traces the that follow drum corps competitions. marching band matters little if the goals are history of rudimental drumming in Europe and With drum and bugle corps moving beyond clear. through U.S. history. The article is footnoted their military heritage to a more artistic and includes a bibliography. Included are approach, a new judging system needs to evolve • Thompson, Chris. “On Marching innovations in percussion brought forward by -- one where there are winners, but not losers. Percussion & Jazz.” Percussive Notes 24, no. 5 modern day drum and bugle corps. (Think of the Academy Awards . . .) (July 1986) : 60. How to deal with the improvisational nature • Stansbury, John C. “Soft Corps (an • ______. “Recruitment and Motivation.” of the jazz idiom is a special challenge to those Alternative to Hard Corps).” The Today’s Music Educator 1, no. 2 (Fall 1988) : writing for modern marching percussion Instrumentalist 34, no. 3 (October 1979) : 21- 5-38. sections. The key is to strive for a feeling of 22. There are three separate articles in the spontaneity even though performers are not Rather than a strict adoption of the drum issue, all of which have been written by Dr. really improvising. and bugle corps style, Stansbury prefers an Sward and all cover various aspects of Thompson offers some opinions and poses approach that incorporates the best of all styles recruitment and motivation. The first article, some questions to be considered in approaching of marching. One of the basic elements “How Does Your Garden Grow,” discusses the the subject for those who want to pursue the involves using four-member squads rather than topics as keys to the survival of the challenge. charting each band member individually. organization. The importance of visual effect and musical The second, “Recruitment: Planting Your • Thulien, James W. “So Now You Want to function are stressed. The 8 to 5 stride step is Garden,” talks about retention as well as March Corps Style.” School Musician 51, no. 9 used. Rather than the corps-style, one-show recruitment. (May 1980) : 10-11. concept, Stansbury uses a “build on” where The third, “Burnout: Get Out of the Sun and Thulien offers practical advice to those who each show builds on the previous one, carrying Into the Shade,” explores the topic of stress. All want to embrace corps-style for their bands. He 385

mariNiers, Bic, QUE ((approx. 1978). JeaNettes, Lynn, MA (1977). seattle marksmeN, Seattle, WA (1976). Photo from the collection of Drum Corps World. Photo by Art Luebke from the collection of Drum Corps World. Photo by Jane Boulen from the collection of Drum Corps World. points out the various elements that are • ______. “Drum Corps Moves into the 1982.” The Instrumentalist 36, no. 11 (June normally included in corps-style -- the stride ’80s.” The Instrumentalist 34, no. 11 (June 1982) : 10-11. step, the complex percussion role, integrated 1980) : 18-19. Vickers annual examination of the drum and music selection and presentation/drill and Vickers describes the success of the drum bugle corps activity includes coverage of visual coordination. and bugle corps activity, citing the PBS budget and management issues, drum and broadcast, growth in spectator ranks, the bugle corps in Europe and a calendar of events • Van Vorst, Charles E. “Corps Style Bands: success of the activity in Europe and the in the U.S. This is a two-page overview that is the Best of Both Worlds.” The Instrumentalist marked effect on school marching bands. brief and aimed at those who are not avid drum 37, no. 9 (April 1983) : 6-7. Although the U.S. economy can have a and bugle corps followers. In this opinion piece, the author believes serious effect on drum and bugle corps, that corps and bands are not as far apart, organizations seem to find new ways to • Vickers, Steve and Hilton, Linda. “Drum separate and distinct as they once were. Corps generate funding. As a new decade approaches, Corps World in 1983.” The Instrumentalist 37, have become more musical and bands have the outlook for competitive drum and bugle no. 1[11] (June 1983) : 16-18. borrowed fluidity, staging and execution corps, color guard and marching bands is most Any article that begins with “Quality -- not from corps. encouraging. quantity -- is the byword for the American Band directors are encouraged to attend drum corps scene in the 1980s” is bound to drum and bugle corps competitions to see the • ______. “Drum Corps 1976.” The catch the attention of readers of drum corps elite corps perform. Van Vorst believes that Instrumentalist 30, no. 11 (June 1976) : 38-42. literature. The Garfield Cadets grace the cover competition motivates and the group effort Vickers stresses the variety of music played of this issue. fosters camaraderie and respect. The pressures by the nations’ top corps and notes the effect Economic factors have cost the activity and economics of competition are also drum and bugle corps are having on marching numbers, but the top competitive level has discussed. bands. Three pages of photographs depict the improved in quality. The authors note that 1975 DCI season and the top corps each receive realistic and responsible management are the • Vickers, Steve. “The Drum and Bugle a paragraph review of the 1975 highlights. keys to survival, especially for smaller corps. Corps Movement; Into the 1990s and Beyond.” There is also a directory of 1976 events. The costs of touring nationally can be BD Guide 4 (May/June 1990) : 12-14. devastating to corps and it is likely that the As we enter a new decade, there are signs of • ______. “The Drum Corps Scene -- 1991.” number of large corps (128 members) will not growth after years of decline in the number of BD Guide 5 (May/June 1991) : 6-7. increase substantially in the future. drum corps. Vickers briefly discusses new brass Growth of the activity cited in Vickers Vickers has long believed that local- and instruments (3-valve bugle), small corps (A and annual review of drum corps in 1990 continues. regional-based competitions may be the key to A/60), international activity, the U.S. service Also increasing is the cooperation between survival of drum and bugle corps. Regional academy corps, musical variety and the future drum and bugle corps and marching bands as circuits such as Drum Corps Midwest are of drum corps. evidenced by crossover of staff members and of experiencing great success. The article includes A schedule of major regional and DCI events equipment. details on the major competitive events for the for the summer of 1990 is included. In the The state of the activities in Europe and Asia summer. section of the future, Vickers talks about the are described as are such topics as all-star all-star corps that are appearing in major corps, musical repertoires for 1991 and the • ______. “The Drum Corps World in holiday parades. Included in the article are summer contest schedule highlights. Photos 1986.” The Instrumentalist 40, no. 11 (June photos of the Cadets of Bergen County, Boston include Dutch Boy, Star of Indiana, Cadets of 1986) : 10-13. Crusaders, Princemen Chorus and Pepe Notaro. Bergen County and the Blue Knights. The state of drum and bugle corps and competitive color guard are discussed in this • ______. “The Drum Corps Movement -- a • ______. “The Drum Corps World in version of Vicker’s annual “state of the art” Look at Today’s Top Corps.” The 1979.” The Instrumentalist 33, no. 11 (June report. This article focuses on the strong Instrumentalist 29, no. 11 (June 1975) : 44-48. 1979) : 22-23. Midwest and international arenas. This is a photo essay that includes pictures Vickers comments on the state of the drum The author notes that the drum and bugle and brief comments on the outstanding corps and bugle corps activity in this illustrated corps activity has come a long way musically of the day. Included are the 27th Lancers, article that includes information on the “from when marches were the norm.” Garfield Cadets, Madison Scouts, Troopers (who economics, international activity, regionalism The major events calendar for the coming appear in full color on the cover of this issue), and speculation on the future of the activity. A year is included along with photos of the Cavaliers, Blue Devils, Santa Clara Vanguard, major competition schedule is included. Boston Crusaders, Imperial Knights Blue Stars, Argonne Rebels and Anaheim Photos include North Star, Garfield Cadets and (Brighton, England), Star of Indiana, Beatrix Kingsmen. Vickers also offers brief comments Santa Clara Vanguard. (Hilversum, Holland), Santa Clara Vanguard on the history of drum corps as well as Drum and Spirit of Atlanta. Corps International. • ______. “The Drum Corps World in 386

hill JaCks Caballeros, Turtle Creek, PA (1964). empire state express, Elmira, NY (1978). Photo from the collection of Drum Corps World. Photo by Jim DeWitt from the collection of Drum Corps World. • ______. “The Drum Corps World in alumni corps and all-star corps. Phantom Regiment.” Percussive Notes 20, no. 1992.” BD Guide 6 (May/June 1992) : 26-27. Highlights of the summer competitive 3 (June 1982) : 56-58. The 20th anniversary of DCI and the 25th schedule appear. Vickers also reports on the A look at what it is like to be a member of a anniversary of the Santa Clara Vanguard are ebb and flow of the activity as some corps take a top-flight competitive drum and bugle corps is noted. As usual, Vickers reports on the top year off or cease operations while others return presented by a member of the corps. Included corps repertoires, highlights of the coming after a hiatus. The financial challenges to the are several pictures of the popular Phantom summer season and international activity. activity are obvious. Photos include Santa Regiment from Rockford, IL. The rigorous Also noted is the DCI selection of five Clara Vanguard, Empire Statesmen, rehearsal schedule with emphasis on sectional rotating sites for the DCI championships (a CapitalAires, Americanos, Madison Scouts and and full-corps activities is especially interesting. concept that was abandoned quite quickly). Beatrix. Life on the road is captured as the writer Photos include the Cavaliers, Velvet Knights, takes the reader through a 24-hour period. Southwind and Empire Statesmen. • ______. “1984 Report: Drum Corps This article would be good for prospective corps World.” The Instrumentalist 38, no. 11 (June members and their parents to obtain a real feel • ______. “The Drum Corps World in 1984) : 9-11. for what the drum and bugle corps experience 1993.” BD Guide 7 (May/June 1993) : 2-4. This is the tenth annual article written by entails. In his annual review of drum corps, Vickers Vickers on the state of the drum and bugle reports on the new emphasis on cooperation in corps activity. He continues to track trends • Vogel Weiss, Lauren. “.” scheduling between regional organizations and reflected in the activity. His annual articles Percussive Notes 38, no. 4 (August 2000) : DCI. Also covered are the summer competitive could serve as a historical monitor of drum and 14-17. schedule, top corps repertoires, drum and bugle bugle corps. Drum corps legend Fred Sanford died on corps around the world and the DCI planning This year he notes growth in the Pacific January 28, 2000. This tribute talks about his effort aimed at seeing the activity to the year Northwest and the South, as well as drum and bugle corps background, his 2000. Photos include Glassmen, Blue Devils, international arenas. Other topics include a education, his business career and his Spirit of Atlanta, Freelancers, Northern Aurora, color guard update and comments on relations experience as a teacher and arranger, especially Troopers, Cadets of Bergen County and Blue between drum and bugle corps and marching his association with the Santa Clara Vanguard. Knights. bands. Photos include Spirit of Atlanta, Santa Coming through clearly in the text is the Clara Vanguard, Garfield Cadets, Colts and the respect and affection that so many had for • ______. “The Drum Corps World in Skylarks Color Guard. Sanford. 1994.” BD Guide 8 (May/June 1994) : 2-4. Vickers discusses the growing controversy • ______. “1985 Report: Drum Corps and • ______. “PASIC ’95 Marching Preview.” over “entertainment,” noting that 1994 Color Guard News.” The Instrumentalist 39, Percussive Notes 33, no. 5 (October 1995) : repertoires seem to reflect the fact that show no. 12 (July 1985) : 14-16. 20-21. designers have heard fan frustration. A good balance of text and photos make this This is a preview of clinics to be staged by Vickers also covers new DCI rules, summer eleventh annual report on the state of the drum Fred Sanford and Thom Hannum at the schedule highlights, alumni corps and and bugle corps activity effective and leaving upcoming Phoenix conference. Sanford’s will international activity. The concluding section the reader with a sense that the three pages focus on the potential of electronics, while reports on Star of Indiana’s plans to perform could easily have been doubled. Hannum’s will be on sound quality and with Canadian Brass during the summer of Drum corps and color guard competitions arranging for indoor and outdoor 1994 under the title “Brass Theater.” share the coverage. The article includes DCI environments. Photos of the two clinicians Photos include Glassmen, Freelancers, schedules and should serve to whet the appetite accompany the text. Cadets of Bergen County, Blue Devils, Santa of readers. Vickers notes trends that see color Clara Vanguard, Empire Statesmen, Madison guard growing and drum corps shrinking in • Wanamaker, Jay A. “Administering the Scouts and Star of Indiana. The cover of this numbers. Marching Percussion Section.” The issue also has photos of Phantom Regiment and Instrumentalist 33, no. 4 (November 1978) : the Cadets of Bergen County. • ______. “Summer Corps Contests.” The 58+. Instrumentalist 35, no. 11 (June 1981) : 78-79. Wanamaker offers tips to marching band • ______. “The Drum Corps World in The DCI summer schedule for 1981 (DCI’s directors on how to deal with the increasingly 1995.” BD Guide 9 (May/June 1995) : 2-4. tenth anniversary year) is included with an important percussion sections. Topics include This annual report includes information on outstanding photo collage that includes the Sky responsibility for equipment, maintenance and DCI’s change of leadership and the financial Ryders, Guardsmen, Troopers, Spirit of Atlanta, storage of equipment and management of the problems of the organization. In addition to Bridgemen, Ventures and the U.S. Air Force section. DCI, there is extensive information on the Academy corps. regional organizations, the international scene • ______. “Corps-Style Clinic Column.” (the United Kingdom and the Netherlands), • Vogel, Lauren. “A Day on Tour with the Percussive Notes (regular column) (1979-1980). 387

rhode islaNd matadors, Providence, RI (1979). phoeNix, Sarnia, ONT (1986) muChaChos, Hawthorne, NJ (1972). Photo by Bill Dixon from the collection of Drum Corps World. Photo by Roger Ellis from the collection of Drum Corps World. Photo by Jane Boulen from the collection of Drum Corps World. Wanamaker devotes each column to some include rehearsals, instructors and audiences. encouraged by the author. aspect of corps-style percussion. Among the Newton is very articulate and this article monthly column titles are corps-style warm-up, presents an excellent perspective on the band • Willie, Eric. “The Logic of an Exercise visual effects and an untitled column on grip, and drum and bugle corps experiences. He has Routine for Your Drum Line.” Percussive Notes stroke and drum position. These are helpful no patience with the corps vs. band debate, 38, no. 7 (December 2000) : 26-28. little columns, some of which include photos. feeling that both have a place and that more Going through a set of exercises each day people should experience both types of will keep percussion lines at a high level. It will • ______. “Developing the Marching marching activities. keep little mistakes and poor habits from Percussion Section: Timp-tom Trios, Marching creeping in. The author details such an Timpani, and Tuned Bass Drums.” Percussive • ______. “New Trends in Rudimental exercise program with text and music. Notes 16, no. 2 (Winter 1978) : 55. Snare Drumming.” The Instrumentalist 39, A well-balanced percussion section to no. 3 (October 1984) : 62-65. • Wooten, John. “Creating a Rudimental enhance the appearance and sound of a Several pages of music annotation are Drum Solo.” Percussive Notes 38, no. 3 (June marching band should be the goal and interspersed with textual instruction that 2000) : 26-29. Wanamaker offers suggestions on how to focuses on new trends in snare drumming. The According to the author, most snare and achieve that. Tuning of timp-toms (the alto popularity of rudimentary drumming is another tenor competition solos are written by the percussion voice), angle of the drum head and benefit of the popularity of drum and bugle performers themselves. He offers advice on mallet choice are discussed. corps. Wanamaker addresses rudiments, rolls getting started with a composition, styles, The section on marching timpani is of and visual effects. The article concludes with a rudiments, transitions and creativity as well as historical note as timpani and keyboard list of solos for advanced high school performance suggestions. instruments are generally no longer marched. percussionists. Rather than the traditional role of time beater, • ______. “The Problems of Sound Delay bass drums are now melodic and Wanamaker • ______. “1979 DCI Championship on a Football Field.” Percussive Notes 29, no. 2 discusses tuning, muffling, placement and (rankings).” Percussive Notes 18, no. 2 (Winter (December 1990) : 35-37. mallets. 1980) : 39. Wooten proposes two rules to deal with the Note: This article originally appeared in A brief recap of the 1979 DCI championships problem of sound delays -- 1) whoever is Woodwind World - Brass and Percussion in is given, with scores of the top 12 corps and furthest back should cue off the drum major, spring 1977. comments on the percussion winner (Santa not the sound; and 2) players in the front Clara Vanguard) and percussion news from the should not cue off the drum major, but off the • ______. “George H. Tuthill: a Pioneer in event. sound coming from behind when possible. Marching Percussion.” School Musician 53, This is critical to overcome the phasing no. 1 (Aug-Sept 1981) : 22-23. • Wells, David. “For Hire: One Complete problems caused by sound delays. Wooten This interview covers a lot of ground -- Corps-Style Concert Band Director.” The includes four formation “pictures” to illustrate drum and bugle corps history as witnessed by Instrumentalist 35, no. 11 (June 1981) : 80+. the point and tells how the design of the 1989 Tuthill, judging of percussion sections, A somewhat satirical opinion piece is Phantom Regiment show was done with these percussion innovation, thoughts on DCI and presented as another issue of The principals in mind. corps-style bands. Tuthill is a highly-respected Instrumentalist’s “Challenge” forum. The leader in both drum and bugle corps and bands transition from fall marching season to concert • Wyman, Chad. “An Interview with Thom and this is an interesting look at the man, his season is discussed, with satire about the effects Hannum.” Percussive Notes 37, no. 1 experience and his ideas. of corps-style. While the author professes (February 1999) : 20-28. respect for the corps-style marching band, he In a question/answer format, Hannum • ______. “Marching Band vs. Drum Corps: wants his readers to pay equal attention to the discusses topics such as changing trends in One Marching Member’s Opinion (interview concert band. The bottom line is quality marching percussion, percussion equipment, with Jeff Newton).” School Musician 55, no. 7 musical education. the effect of the pit, writing for marching (March 1984) : 8-9. Also Percussive Notes 21, percussion, the effect of drill, etc. no. 5 (1983) : 56-57. • White, Jack W. “Corps-Style Rehearsals.” This is an interview with Jeff Newton, a The Instrumentalist 32, no. 11 (June 1978) : • ______. “Teaching Compound Rudiments timp-tom player with the University of 30-31. Through Basics.” Percussive Notes 35, no. 6 Southern California Marching Band and with White proposes a modified drum and bugle (December 1997) : 26-28. the Freelancers Drum and Bugle Corps. corps approach to scheduling and organizing Rudiments can be combined to become Pictures of Jeff in his USC and Freelancers band rehearsals to take advantage of the mental “compound rudiments” or variations. Several uniforms are included. focus achieved by drum and bugle corps. of the compound rudiments are described in The text is very interesting as Jeff speaks of Adapting similar attitudes and experimenting text and score with a goal of making them more the benefits of each organization. Topics with drum and bugle corps methods are easily understood by students. 388

kiNgstoN greNadiers, Kingston, ONT (2001). outlaws, Belleville, NJ (1981). moNarChs, Wayne, NJ (1974) Photo by Dan Scafidi from the collection of Drum Corps World. Photo by Ron DaSilva from the collection of Drum Corps World. Photo by Moe Knox from the collection of Drum Corps World.