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PASIC Marching Percussion Festival by Lauren Vogel Weiss

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PASIC Marching Percussion Festival by Lauren Vogel Weiss PASIC Marching Percussion Festival By Lauren Vogel Weiss When PAS was organized in 1961, marching per- cussion was quite rudimentary (pardon the pun!). Drum lines of the ’60s consisted of three or four snare drums, a matching number of tenor drums, one or two bass drums, and a pair of cymbals—a far cry from the 30- to 40-member ensembles of today. And there was no such thing as marching xylophones, let alone 5.0-octave marimbas “grounded” in the pit. PASIC ’85 marching festival percuSSive noteS 16 SepteMBer 2011 ust as PAS evolved, so did marching percussion. The for- the following November. mation of Drum Corps International (DCI) in 1972 show- Thanks to the additional cased the expanding drum lines. By the end of that decade, and persistent efforts of timp-tom trios had morphed into quads. Bass drum lines Bob Schietroma [host Jhad three to four “tonal” pitches. The development and widespread of that convention and use of carriers allowed drum sections to move more. And many percussion instructor at drum lines had at least a set of marching bells and a 2.5-octave North Texas State], we marching xylophone, if not a 2.0-octave marching marimba and a ‘sold’ the idea to PAS 2.5-octave marching vibe! and held the first national As marching bands across the country emulated the innovative contest later that year.” drum lines of DCI, marching percussion soon became an important part of the ensemble. But unlike DCI—where the drum section had PASICS ’82–’87 its own scoring category in competitions—most marching bands The first PAS “March- judged these drum lines under the music caption, along with wood- ing Competition” was winds and brass. There was little or no standard of comparison held at PASIC ’82 in Dal- between different drum lines, nor any specific feedback to assist in las on Sunday afternoon, their improvement. Nov. 21. (This was back when the convention con- THE FIRST DRUM LINE CONTEST tinued through Sunday; When Ward Durrett moved to the Chicago area in the late 1970s, even the exhibits were he began teaching marching percussion at several high schools, open until noon that day.) Fred Sanford including the well-known Glenbrook North High School in North- Durrett, who was the brook, Illinois. “At that time, the thought process was that percus- Marching Percussion Coordinator for Slingerland at that time, was sion sections weren’t getting much workable, usable info from the official “Competition Director,” and Fred Sanford served as the marching band,” Durrett recalls. “So Peter Herr, director of bands first Master of Ceremonies, a position he would fill for the next 17 at Glenbrook North, and I were trying to think of something where years. The contest was held in Stemmons Auditorium at the Loews percussion students could get a more valid input. Because the high Anatole Hotel, an excellent venue for performers and audience school had recently opened a new state-of-the-art auditorium, we members alike. came up with the idea of putting marching drum lines on the new Twelve college drum lines from six states converged on Dallas stage and offering them the opportunity to perform and be assessed that weekend. “One of my favorite memories from all the festivals on their own merits. This new contest would give percussionists a was from that one,” Durrett recalls. “Western Illinois University chance to find out what other schools were doing, as well as be able doing a halftime show at their ballgame on Saturday, getting on a to learn from them. bus, driving all night, getting off the bus—no sleep!—performing, “Our first contest, in December of 1980, had only “two colleges coming in second, and getting back on the bus and driving back to and five high schools,” he continues, “but it turned out to be a very Macomb for class.” positive experience for everybody. The shows were the culmination The University of Southwestern Louisiana (now the University of of marching season. Thanks to effective word of mouth, the next Louisiana at Lafayette) won that first contest with a score of 89.75. year we had seven colleges and 13 high schools. We owe a great deal Judges for the first contest were Rob Carson, Dennis DeLucia (his to the Glenbrook North band parent organization for taking the risk Bridgemen drum line gave a demonstration at the convention the to support such an event, even though they didn’t make any money day before), Marty Hurley, Carl Ruocco, Dan Spalding, and George the first year. But they stuck with it and, as they say, ‘The rest is his- Tuthill. Lauren Vogel, who would assist Durrett with the contest for tory!’” the next five years, served as the tabulator, complete with calculator Following the success of the Spartan Marching Percussion Fes- and carbon paper (to provide “instant” recaps without the availabil- tivals in Northbrook, ity of a copy machine). Illinois, Durrett—as- “We used the same general format as the Spartan Festival,” Dur- sisted by well-known rett explains, “except that we experimented with different judging. marching percussion We tried the Olympic system—throwing out the highest and low- specialist Fred San- est score and averaging the rest—but that was a dismal failure. We ford—hoped to bring ended up going back to the system we used at the Spartan Festival this new concept to a the following year in Knoxville.” national level. “Dur- To emphasize the educational aspect of the new contest, PAS ing the Texas Music renamed it the “PAS Marching Forum” in 1983, a title that would Educators Association be used for the next decade. The contest continued to be held on convention in February Sunday afternoon for three more years: at the Knoxville Convention of 1982,” remembers Center (PASIC ’83), at the Power Center on the campus of the Uni- Durrett, “Fred, Bob versity of Michigan (PASIC ’84), and outdoors on the top level of Houston [percussion the Getty Parking Lot Structure at the Sheraton Universal Hotel in instructor at East Los Angeles (PASIC ’85). Texas State], Jay “It was always an interesting adventure going from site to site,” Wanamaker [Chair Durrett remembers. “At the Anatole it was easy because it was on of the PAS March- a stage in that marvelous auditorium. But we did it outside in L.A. ing Committee at the on Sunday morning, and one of the local residents called the police! time], and I wanted to Fortunately, we only had five lines that year, so we finished before it include it into the PAS became too much of a problem.” Ward Durrett convention in Dallas The rules for the contest also evolved over the years. For ex- percuSSive noteS 17 SepteMBer 2011 ample, PASIC ’85 was the second year in a row that North Texas State University (now the Uni- versity of North Texas) won the PAS title (on their way to a total of 14 national championships), but it may be remem- bered as the year of the “UCLA belly dancers.” So the following year, the rules were revised to state that each performer in the ensemble—includ- ing dancers—must play a percussion instrument. “The drum lines evolved very quickly from ’82, when there was very little, if any, movement, to Dennis DeLucia the point where the col- lege groups, and eventually the more advanced high school groups, were doing a lot of movement,” says Dennis DeLucia, who judged the first two contests at PASIC. “The quality of playing improved rather dramatically, especially at the university level and with so many of the Texas groups. When we were in a location with a lot of Texas schools, the general level was extremely high.” As PAS celebrated its 25th anniversary at PASIC ’86 in Washing- ton, D.C., the Marching Forum moved from Sunday to Friday. (It was not practical to hold the event on Saturday, as that was the day most colleges played their football games and the drum lines were part of the halftime shows.) The Friday schedule has remained in effect ever since. It was also the first year that PASIC appointed a local marching coordinator, Marshall Maley. The PASIC ’86 march- ing event was held at Lisner Auditorium, on the campus of George Washington University. “It wasn’t a problem for the people who were involved to get there,” explains Durrett, “but it was difficult getting the non-marching people to attend. That was always an is- sue when we selected the venues.” In the spirit of education, PASIC tried to expose attendees to all types of percussion, including march- ing, but the distance between venues sometimes made that a difficult proposition. The following statement was printed in the PASIC ’86 program (including the boldface type): “Note! This is the fifth annual PAS National Marching Percussion Forum. Competition open for ob- servation to PASIC ’86 registrants, parents and friends. Please, no noise or applause!” For anyone who has ever attended a PAS marching event, this statement draws a chuckle, as audience re- sponse is an important part of the marching activity. The competition in Washington was also the first time that two previous champions competed against each other: North Texas State’s use of lighted drumsticks during its finale—along with dim- ming the lights in the auditorium—brought the house down as they won their third consecutive title and bested the University of South- western Louisiana by less than a point. NTSU’s show was also the impetus for another rule change: “Use of auditorium/stage lighting will be prohibited.” “The next year was originally supposed to be at the [St.
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