DOCSLIB.ORG

Musical Identity and Arranging Styles of Drum Corps Front Ensembles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Identity and Arranging Styles of Drum Corps Front Ensembles MUSICAL IDENTITY AND ARRANGING STYLES OF DRUM CORPS FRONT ENSEMBLES Musical Identity and Arranging Styles of Drum Corps Front Ensembles by Leah Meredith Dunbar A thesis presented for the B.A. Degree with Honors in Music Kenyon College March 2020 ii ACKNOWLEDGEMENTS First and foremost, I thank Mark Sachetta, who has seen this project grow from the very beginning: starting with my first corps rehearsals, and later from the many conversations that helped formulate this idea over a year ago. Without his encouragement and suggestions, this project would have never been started or completed. I am incredibly grateful to the arrangers and staff (James Ancona, Omar Carmenates, Brian Dinkel, Matthew Jordan, Iain Moyer and Tom Rarick) who generously gave of their time, knowledge, and scores. I am so thankful to have had the chance to learn directly from those who have made such an impact in DCI. Thanks also to Emma Carpenter, Sarah Culbertson, and Nina Smith for sharing their experiences, and Matthew McGuire for writing pit books that sparked my love and interest in the pit and arranging. It goes without saying how thankful I am to the Spartans organization and for the many friends I have met through drum corps. Thanks especially to those who have supported this project in numerous ways: Lindsey Augustine, Sam Bodo, Shay Brooks, Matt Duguay, Ryan Enos, Gabe Klavans, Gabe Labell, Austin McKinlay, Coleman Moore, Danny Nguyen, Sean O’Rourke, Matt Pantanella, and KT Taylor. Thank you to my amazing parents who have encouraged my interest and love for all things music from the beginning, even when it involves adding a marimba to our living room or understanding when I spend far too many hours driving to/arranging for/writing about band. Your love and support mean the world to me. Finally and most significantly, thank you to the Kenyon College Music Department for encouraging my ideas and giving me the words, knowledge and support to achieve them. I am so grateful for everything I have learned at Kenyon. Thanks most especially to my honors advisors, Prof. Buehrer and Prof. Mendonça, for their wisdom in discussing and shaping ideas, and for their dedicated patience in editing pages of this long project over the course of the year. iii ABSTRACT Drum corps is a competitive music activity that has evolved from its militaristic origins into a theatrical activity that uses brass and percussion instruments in exciting musical performances. Through focusing on the percussion subsection of the front ensemble, I examine the practices, traditions, and controversies of drum corps, studying the ways which individual corps develop a musical identity that balances tradition and innovation. Part of this involves researching the structure of drum corps shows, incorporating Turner’s theory of communitas and Csikszentmihalyi’s concept of flow to describe how this structure interacts with the development of the activity and the creation of corps identity. Using this understanding of corps traditions, and incorporating ethnographic interviews with arrangers, I then analyze the arranging styles of five World Class front ensembles (Bluecoats, Blue Devils, Boston Crusaders, Cadets, and Santa Clara Vanguard), illustrating how the front ensemble contributes to corps identity and becomes an integral part of the modern drum corps. Finally, I reflect on a drum corps arrangement of my own and the techniques and arranging styles which influenced it. iv TABLE OF CONTENTS Section I: INTRODUCTION Introduction…….……………………………………………………………….……..1 History………….………………………………………………………….……….….2 The Front Ensemble…………………………………………………………….……..3 Basics of Front Ensemble Arranging………..…………………………….……….….5 Section II: TRADITION AND IDENTITY Drum Corps Traditions……..…………………………………………………………8 Instrumentation………………..………………………………………………..……10 The Amplification Controversy………..…………………………………………….12 Shared Flow, Communitas, and Drum Corps…..……………………………………14 Show Structure………….………….……………….……………………………..…16 Openers, Closers, Ballads, Production Numbers, Percussion Features….…………..17 Drum Corps “Moments” and the Importance of Flow……..……..…………………19 Evaluating Shared Flow: General Effect…….……….…..………………………….24 Corps Identity…………………………………………………………………….….25 Programming…………………….….….……………………………………………29 Corps Songs……….….….…….…………………………………………………….29 Arrangers, Identity, and Intentionality…….….….….……………………………….33 Section III: FRONT ENSEMBLE CASE STUDIES v Introduction……….………………………………………………….38 BLUECOATS……….….…….………………………………………………….….42 Auxiliary Instruments & Layering……………………………………46 Vibraphones…….…………………………….………………………50 Electronics……….…….………….………………………………….52 Setup & Pod Orchestration………..………………………………….54 BLUE DEVILS……………………….…………………………………………….60 Drums & Hand Percussion….……..………………………………….62 Keyboards……….…………………………….………………………65 Runs…………………….………….………………………………….66 Density & Space…………..……..…..……………………………….71 BOSTON CRUSADERS………………………..….………………………………77 Percussive Approach…………….….…………………………………78 Technique…….………………………….…….………………………83 Ballads………………….………….………………………………….84 Featured Instruments & Storytelling……….…………………………88 CADETS…………………..……..……………..…………………..………..…….91 Cadets 2009-2016: Iain Moyer……….……………..…………………93 Instrumentation & Sound Palette…….…….……………………..……95 Cadets 2017-2019: Omar Carmenates….…………………………….96 vi Instrumentation……….…….……………..……………………………97 Electronics & Live Delay…..……………….………………………..…98 Keyboards…….…………..….………………..………………………..99 SANTA CLARA VANGUARD……………………….…………..………..…….105 Percussion Foundation…………..…………………..…………………106 Instrumentation…………………………….……………………..……108 Keyboards……………………….……….…………………………….109 Runs……………….……………..…….………………………………111 Octave Grip……….……………….….……………………………..…114 CONCLUSION…………..……..…………………..……………………………117 AREAS OF FUTURE RESEARCH……………..………………………………119 Section IV: ARRANGING "Sky Above”……….……………….……………………………..…120 GLOSSARY………….…………………………………………………………………………129 BIBLIOGRAPHY………………………………………………………………………………135 INTERVIEWS.…………………………………………………………………………………139 1 INTRODUCTION During hot summer nights on football fields across the country, thousands watch excitedly as America’s drum and bugle corps take the field for thrilling musical competition. The thunder of drums and the blast of the hornline can be heard from blocks away, while sitting in the stands brings the performers and fans face-to-face. The music is irresistible, building to climactic moments that bring the audience to their feet, captivating them with the outpouring of expression, musicality and talent. Drum corps looks similar to marching band, but it is often referred to as the “NFL” or “Major Leagues” of the marching arts.1 The members, who are all under the age of 22, are expressive performers and athletes, and above all, excellent musicians. They balance emotional and theatrical expression, technical precision, and musical skill to perform eleven-minute shows that entertain, excite, and strive to raise the competitive standard. The marching members play brass instruments (hornline), marching drums (drumline, also called the battery) or dance while spinning flags, rifles, sabres, or other props (color guard). At the front of the field are players who perform as part of a stationary ensemble of percussion and electronic instruments, called the front ensemble or the “pit." History Drum and bugle corps began within veterans organizations following World War I. These early ensembles used traditional drums and bugles to continue a connection to the military 1 “About Drum Corps International," accessed March 6, 2020, https://www.dci.org/static/about-drum- corps-international 2 history that was important to their adult, military veteran members. It was not uncommon for small communities to have their own drum corps, with thousands existing around the country.2 As these local corps became more common, there was an increased attention on competition as well as forming junior corps to "keep kids off the streets.”3 Competitions were offered by numerous groups including the American Legion and the Veterans of Foreign Wars.4 In 1972, Drum Corps International (DCI) was formed with the intent of creating a unified governing body for junior corps across the country and the world. Due to an increased focus on a competitive touring schedule by DCI, there was a large decrease in local corps as groups merged to form more economically stable groups who could afford to travel. There are currently forty- five competing drum corps registered with DCI, each fielding a membership of up to 154 players between the ages of 13 and 22.5 In recent years, corps from Ireland, Indonesia, and the Netherlands have come to the United States to compete in the International division.6 The corps are now split into Open and World Class, somewhat comparable to the minor and major leagues of baseball, respectively. The twenty-four Open Class corps attract a membership of mostly high school students and accommodate school schedules, traveling for around a month, while the twenty-two World Class corps attract a membership of mostly college students and spend 85 consecutive days rehearsing, competing, and touring with the corps. Both 2 Lane Summerlin, “The History and Development of the Front Ensemble in Drum Corps International," PhD diss, Ohio State University, 2016, 10 3 Summerlin, “The History and Development of the Front Ensemble," 9 4 Dennis E. Cole, “What is a Drum and Bugle Corps? Reinterpreting Tradition Inside the Musical Community," PhD diss, Kent State University, 2009, 8 5 5 “About Drum Corps International," accessed March 6, 2020, https://www.dci.org/static/about-drum-
Load more

Recommended publications
  • A Percussionist's Guide to Check Patterns Section Leader Program
    350.00 The Mobile Percussion Seminar is designed to develop the A Percussionist’s Guide Tuition Only Balance Due COMMUTER mental and physical aspects of percussion performance and to Check Patterns leadership skills. Students will have a chance to work with Thom Hannum and his staff of specialists in the areas of From beginner to advanced marching percussion and mallet percussion. (PLEASE CHECK ONE) skill levels, Thom’s new book A Percussionist’s Guide to Thom Hannum, a Drum Corps International Hall of Fame Check Patterns, is designed member, is the Associate Band Director for the University of to help percussionists at Fee includes tee shirt and sticks / mallets Amount Enclosed Massachusetts Amherst Minuteman Marching Band and 550.00 any level perfect their craft. Sign up for our expanded SECTION LEADER TRACK Director of the Marimba Ensembles program. Thom is a RESIDENT worldv renowned percussion clinician and teacher and has Written for non-pitched percussion, Tuition/Room/Meals worked with the Cadets, the Star of Indiana and the Tony keyboard and drumset, the book provides a Award winning production Blast! Thom is currently the systematic approach to sticking rhythm patterns - ideal percussion arranger for Carolina Crown. for developing reading skills, coordination and syncopation control. The book is accompanied by a CD for rehearsal Features of the Seminar and individual practice and also includes a Vic Firth Check Patterns poster. M F • All battery percussion students will be assigned to a Students will work from both A Percussionist’s Guide to Sex group of their ability level Check Patterns and Thom’s other book, Championship ZIP ZIP • The Seminar offers a Leadership Training Track, Concepts for Marching Percussion, throughout the Seminar.
    [Show full text]
  • The Percussion Family 1 Table of Contents
    THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine).
    [Show full text]
  • December 1992
    VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F.
    [Show full text]
  • The PAS Educators' Companion
    The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr.
    [Show full text]
  • PASIC 2010 Program
    201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
    [Show full text]
  • Drum Corps International and the Cavaliers
    TOUR HOUSING Drum Corps International and The Cavaliers Drum Corps International (DCI) is a non-profit organization that offers a competitive circuit for independent non-profit youth performing arts organizations from around the world. These ensembles, known as drum and bugle corps, attract members from across the country and around the world and make up what is widely recognized as Marching Music’s Major League ™. The average age of membership in these ensembles is approximately 20 years old. The nature of their performances is similar to a college marching band format but they do not perform at sporting events. Programs are more sophisticated, with much more time and expertise given to perfecting shows that are as athletic as they are artistic. DCI competitions attract tens of thousands of people in live audience settings and live feed cinema viewings every year. The members of corps such as The Cavaliers spend the entire summer touring the United States, Canada and in some cases overseas. Each member pays dues for this experience, which are used to hire staff and cover food and travel expenses. Staff members range from professional educators to Broadway designers and are significant contributors to the educational experience the members receive. Corps raise additional funds through private industry and municipalities to meet the immense cost of travel. Corps members routinely sleep on buses and in school gymnasiums while on the road. On rare occasions, they enjoy the luxury of dorm room accommodations. The drum corps activity is a national treasure that can only exist because of partnerships with sponsoring schools who furnish rehearsal and housing facilities.
    [Show full text]
  • Bringing the Spirit
    Linfield Magazine Volume 16 Number 1 Fall 2019 Article 15 Fall 2019 Bringing the Spirit Travis McGuire Linfield College Follow this and additional works at: https://digitalcommons.linfield.edu/linfield_magazine Recommended Citation McGuire, Travis (2019) "Bringing the Spirit," Linfield Magazine: Vol. 16 : No. 1 , Article 15. Available at: https://digitalcommons.linfield.edu/linfield_magazine/vol16/iss1/15 This article is brought to you for free via open access, courtesy of DigitalCommons@Linfield. orF more information, please contact [email protected]. Bringing the spirit From the trill of a piccolo to the ate director of bands at the University would pay for itself relatively quickly. He chose popular songs that students booming bass drum, marching bands of Kansas, who has led the Marching “To do this right, we needed a plan, and crowds recognized, such as Bruno Mars’ are galvanizing communities and rekin- Jayhawks since 2011. He acknowledges and we had to hire someone who knew Uptown Funk, and incorporated movements dling pride among students and alumni. that when the band plays the fight song, what they’re doing,” recalls Hopp. into their routines based on the choreography On an overcast fall Friday night, 26 it rekindles a sense of pride and belong- Enter Wollam, who became Linfield’s from the music video. students gather on the Maxwell Field ing for alumni. But, Smith concedes, first marching band director since Clifford Now in year two, word is spreading about sideline. They begin their three-hour marching bands tend to be associated Elliott led the band beginning in 1933. the Linfield program. In October, Linfield rehearsal with a light jog followed by with large universities and massive Wollam hit the ground running in the hosted the Sherwood Show, a marching band stretching.
    [Show full text]
  • Drum Major Audition Information 15
    2015-2016 Drum Major Audition Information *Auditions held after school the week of April 27-May 1, 2015* Role and Responsibilities of a Drum Major The drum major is the leader of the marching band during rehearsals and in performance. His/her job is to carry- out the instructions of the band director and other instructional staff regarding what needs to be done with the band. Some examples of what the drum major does include: • Getting the band out to the rehearsal area, into the proper formation and ready to begin rehearsal. • Taking the band through warm-up exercises • Leading the band through practice runs • Helping rehearsals run smoothly and productively • Leading the band in performance • Adding to the overall showmanship of the band during performance with their own performance as the drum major • Setting the standard for discipline, bearing, and conduct for the members of the band to follow • Assisting in teaching marching to other members of the band • Conducting Pep tunes at the behest of the band director at football games • Leading the band in parade formation by marching in front of the first rank of instrumentalists. • Signaling percussion section to roll-off to play during a parade • Acting as the band’s representative at award ceremonies and special functions Characteristics of a Successful Drum Major Effective drum majors have a number of things in common: • They have a good understanding of music • They are skilled as a field conductor • They have developed a high level of skill with a drum major baton or mace • They have exceptional marching technique • Their vocal commands are loud and easily understood • They are highly responsible and reliable • They are dedicated to having the band succeed • They work well with both the band director and the membership of the band • They know how to teach and assist other members of the band • They have the ability to inspire the band in performance Term of Service Drum Majors are selected for one school year.
    [Show full text]
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • Basic Snare Drum Tuning
    Basic Snare Drum Tuning by Tom Freer Please follow these simple and basic instructions for tuning and adjusting your Pearl snare drum. In order for you to get and maintain the best possible sound out of your instrument, it will be important to save this sheet so that you can "tune up" the drum as the heads become broken in, and replace heads when necessary. YOU WILL NEED THE FOLLOWING TOOLS TO PROCEED: 1. DRUM KEY 2. RULER STEP ONE: Loosen the top head completely. Place the drum on a flat surface and unscrew all the tension rods so that there is no tension on the top head. You don't need to take them out, just loosen them all the way. Next, begin to tighten down each rod just until they touch the counter hoop (or rim) WITHOUT PULLING IT DOWN. Just screw the tension rod down until it just touches. Go across the drum and do the same to the opposite tension rod and repeat, always working across the drum head in opposites, this keeps the head very even. When all the tension rods are seated and just touching the counter hoop, take your ruler and beginning with the tension rod directly beside the strainer, measure the distance from underneath the counter hoop to the top of the lug. Repeat this process with the lug directly across the drum and repeat until all measurements are the same. Remember we are not concerned with how tight the head is right now, just how even the tension is. Now that the head is evenly tensioned, bring the top head up to pitch.
    [Show full text]
  • Participation in Winter Guard International As Experienced by Ten Stakeholders: a Phenomenological Study
    The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2018 Participation in Winter Guard International as Experienced by Ten Stakeholders: A Phenomenological Study Jeremy Morgan University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Education Commons Recommended Citation Morgan, Jeremy, "Participation in Winter Guard International as Experienced by Ten Stakeholders: A Phenomenological Study" (2018). Dissertations. 1587. https://aquila.usm.edu/dissertations/1587 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. Participation in Winter Guard International as Experienced by Ten Stakeholders: A Phenomenological Study by Jeremy Paul Morgan A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Approved by: Dr. Edward Hafer, Committee Chair Dr. Mark Waymire Dr. Amanda Schlegel Dr. Webb Parker ____________________ ____________________ ____________________ Dr. Edward Hafer Dr. Richard Kravchak Dr. Karen S. Coats Committee Chair Director of School of Dean of the Graduate School Music December 2018 COPYRIGHT BY Jeremy Paul Morgan 2018 Published by the Graduate School ABSTRACT The purpose of this phenomenological study was to describe the essence of Winter Guard International (WGI) as lived by ten stakeholders, invested individuals currently serving in leadership roles within the percussion and winds divisions of the WGI organization.
    [Show full text]
  • CBA Drum Tuning
    Hello band directors! I know you’re in the throw of marching band season and I wanted to help you with an easy task to improve the overall sound of your ENTIRE ENSEMBLE! I’ve seen a few groups this year and wanted to share some information about tuning the marching percussion section. First: consider the size of your ensemble. If your group is smaller, choose smaller bass drum sizes. The bigger drums will drown our your wind section and affect the balance of your group. Second: Tune the drums on a regular basis! I know you tune your wind section every day. Same should go for the percussion section. Third: Tips and tricks -I’ve included a link to the Evans Drumheads tuning guide which has great information! http://www.evansdrumheads.com/upload/ EVBR_MPSG07_Marching_Percussion_Survival_Guide_12562.pdf -A few things to add to the link -I tune bass drums to a major triad ex. 28” C, 24” G, 22” C, 20” E and 18” G -This might differ slightly depending on your drum sizes, head combination etc. -Tuning a major triad makes split playing more melodic and unison stronger -Most groups I’ve seen this year had bass drums with TOO LOW of a tuning scheme. This creates a low rumble which lacks clarity and over balances the wind section. -Also make sure your bass drums have proper dampening. Too much “boom” will again over balance the winds and create a lack of clarity. The Evans MX series heads are a great start! Fourth: Front Ensemble -Tune for articulation, balance and sound quality -I tune concert bass drums to the same root pitch as the triad in the marching basses -Keep timpani in tune DAILY! Weather changes will affect the tuning drastically -give your student/staff time in the lot on show days to “clear” timpani heads Happy tuning and good luck with your season! Shilo Stroman www.shilostroman.com www.percussionloft.com.
    [Show full text]