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Post by FaultLineBlues on Apr 17, 2022 15:33:54 GMT -6
I was thinking about things that I've been tired of seeing in show design, and I was wondering if anyone else had any pet peeves when it came to marching shows?
(note: this isn't intended to target specific programs or any of the students in them so please don't make this thread into something like that, I've intentionally made my wording broad and unspecific)
Anyways, I'll start with mine.
1. When a band has a beautiful uniform with stitching and dimensionality and replaces it with a dri-fit shirt with a very 2D looking design printed on. I just find it very cheap looking, even when it's done by high level programs.
2. When a group decides to do a show representing a non-American or European culture and uses source music primarily composed by American or European artists. I feel pretty strongly about this one, enough so that I typed up a whole thread to post about it, but I decided against it because I wasn't sure if it'd go over well. It just sucks to be excited to see something intended to represent you, then feeling like you just watched a caricature on field.
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Post by yayband914 on Apr 17, 2022 17:05:29 GMT -6
I was thinking about things that I've been tired of seeing in show design, and I was wondering if anyone else had any pet peeves when it came to marching shows? (note: this isn't intended to target specific programs or any of the students in them so please don't make this thread into something like that, I've intentionally made my wording broad and unspecific) Anyways, I'll start with mine. 1. When a band has a beautiful uniform with stitching and dimensionality and replaces it with a dri-fit shirt with a very 2D looking design printed on. I just find it very cheap looking, even when it's done by high level programs. 2. When a group decides to do a show representing a non-American or European culture and uses source music primarily composed by American or European artists. I feel pretty strongly about this one, enough so that I typed up a whole thread to post about it, but I decided against it because I wasn't sure if it'd go over well. It just sucks to be excited to see something intended to represent you, then feeling like you just watched a caricature on field. Number two is a big one. There is a very, very fine line in general between cultural appreciation and appropriation. Even if your tribal show has tribal music, or your Japanese cherry blossom tree show has Japanese music, and so on and so forth, it still can be uncomfortable and offensive depending on the context of the thematic content, especially if it is a majority-white band/school depicting these concepts and themes (which I find to be the case more often than not). When in doubt, if you even think it isn’t being appropriative, in my opinion it’s best just to not field a show about another culture, ethnic group or otherwise unless the majority of the band fits into those categories. Especially when everybody these days is looking for a controversy. Addendum: I understand that there is almost always no intent of malice or offense when designers program and bands field these kind of shows. But I do question the critical thinking skills. |
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Post by yayband914 on Apr 17, 2022 17:08:32 GMT -6
I’ll add a few more light-hearted ones.
3. When the music is just loud all the time. We need more valleys amongst the peaks sometimes!
4. Along the same lines as #3, I’m not a fan of when the ensemble plays the entire time. Give me solos, give me section features, give me all the colors and texture and timbre.
5. Overuse of rimshots.
6. When the visual designer does not keep the woodwinds and brass in separate choirs throughout the show (if they are orchestrated as such), or when instrument subgroups aren’t kept staged together (like when one trombone is an island in a sea of baritones)
7. Fly to Paradise.
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Post by principalagent on Apr 17, 2022 19:12:54 GMT -6
Funny, I actually hate it when woodwinds and brass sections are staged on separate sides of the field--especially if it's the entire show and they rarely cross the 50. I much prefer it when the sections are mixed in the drill. The performers have a much more challenging listening environment that way, and it creates a more visually interesting and dynamic show.
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Post by yayband914 on Apr 17, 2022 19:51:10 GMT -6
Funny, I actually hate it when woodwinds and brass sections are staged on separate sides of the field--especially if it's the entire show and they rarely cross the 50. I much prefer it when the sections are mixed in the drill. The performers have a much more challenging listening environment that way, and it creates a more visually interesting and dynamic show. No one said listening environments had to be that challenging. There is no criteria or brownie points on the judges’ sheet for “challenging listening environments.” Plus, to me, it just looks super messy visually when all of the instruments are just scrambled up with no sense of order or purpose. It’s any decent visual designer’s nightmare. More often than not, bands and designers that utilize this orchestration and staging technique have a higher success rate of landing in finals or placing higher at contests. This is because of easier listening environments and as a result, more interesting and specific colors can be utilized, etc. |
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Post by statechamp1239 on Apr 17, 2022 20:44:30 GMT -6
I was thinking about things that I've been tired of seeing in show design, and I was wondering if anyone else had any pet peeves when it came to marching shows? When in doubt, if you even think it isn’t being appropriative, in my opinion it’s best just to not field a show about another culture, ethnic group or otherwise unless the majority of the band fits into those categories. Especially when everybody these days is looking for a controversy. Elizabeth's Band director capitalize on Elizabeth's huge Latino/a population, we're famous for our spicy Spanish shows. I believe more than 70% of the student body is Hispanic in EPS. In total we have 6 Spanish shows since our current director started in 2006. For Example, 2006- "España," 2007- "Danza Latina," 2011 - "Santana," 2012-"Tango," 2013- "Descarga Cubana (my favorite btw)," 2018- "Celebra La Vida" (It was originally was going to be "Dia de los Muertos" but their was an huge controversy because the parents so it was changed (Insert Angry face)). We always had good luck and fun times with Spanish shows during States or Nationals not including "Celebra La Vida". It's great way to celebration our community. |
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Post by statechamp1239 on Apr 17, 2022 20:47:24 GMT -6
I’ll add a few more light-hearted ones. 7. Fly to Paradise. LOL. What's wrong with Fly to Paradise. |
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Post by yayband914 on Apr 17, 2022 21:21:19 GMT -6
I’ll add a few more light-hearted ones. 7. Fly to Paradise. LOL. What's wrong with Fly to Paradise. If you played a drinking game at literally any band contest in any city in America where you took a shot (discreetly out of your hidden flask, of course [just kidding, don’t drink at a high school]) every time a band played Fly to Paradise (also includes Lux Aurumque), you’d be smashed. |
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Post by LeanderMomma on Apr 19, 2022 7:57:55 GMT -6
Sort of the same topic only DCI, but I would love to see the uniforms come back to DCI instead of the new unitard craze that’s taken over drum corp. 🤮
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Post by boahistorybuff on Apr 19, 2022 19:58:21 GMT -6
Many of us ol schoolers would like:
To bring back the traditional military uniforms of the band.
Less jazz running, dancing and moving all around and more marching.
Less electronics.
Less spending a bunch of time on a performance stage and more marching on the field.
Yes I know for those us who participated in the 70s, 80s, and 90s, many of us are like "bring back the good ol days".
I know you youngsters are probably thinking "let go of the past grandpa". LOL
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Post by bandaid on Apr 20, 2022 2:45:38 GMT -6
I don't like uniform designs (usually color choices) that cause band member to look like they are not in line when in reality they are. I usually see this when a uniform has one white sleeve and the rest of the uniform is a darker color. I notice this with flute players only because of the way they have to hold their instrument.
Or when show designers try to design shows as if every part of the band is at the same level experience wise whether that be staff's experience or band member's experience.
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Post by es203 on Apr 20, 2022 5:19:40 GMT -6
LOL. What's wrong with Fly to Paradise. If you played a drinking game at literally any band contest in any city in America where you took a shot (discreetly out of your hidden flask, of course [just kidding, don’t drink at a high school]) every time a band played Fly to Paradise (also includes Lux Aurumque), you’d be smashed. Add movement two of Shosty’s 10th, and Medea’s Dance of Vengeance, and Appalachian Spring, and… |
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Post by philodemus on Apr 20, 2022 7:37:55 GMT -6
As an old guy, I fell in love with what seems now like a fairly traditional version of the activity: the mid-1990s was still a time of limited electronics and amplification, military style uniforms, only the color guard tasked with acting or communicating emotionally... and yet even at that time, old-heads were very upset about how far we had strayed from the activity of their youth. And I, as a young one at the time, could look back at the corps and bands of the 1970s and appreciate what they were doing, but would have been really upset had my directors said, "Hey, we're going to do a 1970s style throwback show." I wanted to be where the activity was at my time.
My point is that I suspect the same is true for current performers. They can look back on my era, or even earlier, and appreciate what we were doing, but they want to be where the activity is at in their own time. They want to feel contemporary.
Shrug.
And to make a bigger, potentially more controversial point...
We've likely all been raised in this activity, and when you are a part of a culture you absorb it's assumptions. This can make for a more satisfying experience in some cases... Seeing Vanguard build into a company front with the lone performer 'raising a toast' is definitely a moving moment if you already know the traditions, history, and design language of the activity. But on the other hand, being a part of a culture means you've also probably developed blind spots for it's quirks and just take for granted things that, to an outsider, seem bizarre.
Which brings me to military style uniforms.
Suppose you brought an open-minded friend to a show who was totally ignorant of our activity. Suppose they're from, I don't know, Bhutan or someplace else with no tradition of the pageantry arts. On the drive there, you explain that how it works is, "Musicians play on a huge stage, and they also visually interpret the music that they're playing. There are also other performers who are not musicians but contribute to the visual interpretation of the music. The shows are usually structured around a story or concept." That's what we do, right? Well, after the show, would it not be a perfectly reasonable question that our friend from Bhutan to ask:
"That was cool... but why was everyone dressed like a European soldier from the early 19th century?"
In short, I think that the military style uniforms are an interesting artifact of the history of our activity, but one which makes little sense if you take a step back and look at what we're actually trying to do artistically. I kinda miss them, too, but I think evolving to full-group costuming makes artistic sense.
Some humble thoughts.
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Post by mk72 on Apr 20, 2022 8:03:21 GMT -6
As an old guy, I fell in love with what seems now like a fairly traditional version of the activity: the mid-1990s was still a time of limited electronics and amplification, military style uniforms, only the color guard tasked with acting or communicating emotionally... and yet even at that time, old-heads were very upset about how far we had strayed from the activity of their youth. And I, as a young one at the time, could look back at the corps and bands of the 1970s and appreciate what they were doing, but would have been really upset had my directors said, "Hey, we're going to do a 1970s style throwback show." I wanted to be where the activity was at my time. My point is that I suspect the same is true for current performers. They can look back on my era, or even earlier, and appreciate what we were doing, but they want to be where the activity is at in their own time. They want to feel contemporary. Shrug. And to make a bigger, potentially more controversial point... We've likely all been raised in this activity, and when you are a part of a culture you absorb it's assumptions. This can make for a more satisfying experience in some cases... Seeing Vanguard build into a company front with the lone performer 'raising a toast' is definitely a moving moment if you already know the traditions, history, and design language of the activity. But on the other hand, being a part of a culture means you've also probably developed blind spots for it's quirks and just take for granted things that, to an outsider, seem bizarre. Which brings me to military style uniforms. Suppose you brought an open-minded friend to a show who was totally ignorant of our activity. Suppose they're from, I don't know, Bhutan or someplace else with no tradition of the pageantry arts. On the drive there, you explain that how it works is, "Musicians play on a huge stage, and they also visually interpret the music that they're playing. There are also other performers who are not musicians but contribute to the visual interpretation of the music. The shows are usually structured around a story or concept." That's what we do, right? Well, after the show, would it not be a perfectly reasonable question that our friend from Bhutan to ask: "That was cool... but why was everyone dressed like a European soldier from the early 19th century?" In short, I think that the military style uniforms are an interesting artifact of the history of our activity, but one which makes little sense if you take a step back and look at what we're actually trying to do artistically. I kinda miss them, too, but I think evolving to full-group costuming makes artistic sense. Some humble thoughts. Couldn't have said this more beautifully myself. Change is inevitable and so are changing opinions. I'm personally a fan of the new, colorful unis every year trend since to me, it just makes the entire production seem more whole (especially with the growing trend of artistic show designs). I can't imagine a show like FloMo '17 in a basic marching band uniform lol. However, I do completely understand the nostalgia of having the same unis every year. The iconography of a group's consistent uniform is boosted by the history behind it, and it's a feeling quite like no other. |
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Post by marimba11 on Apr 20, 2022 13:40:33 GMT -6
What a great topic.
Design pet peeves music:
- Too many snippets of music: (looking at you CTJ) (and Kind of Flower Mound, I think that is why their MGE suffered at GN some weird starts and stops), lets use great source music to build the effect naturally, pls and thank you.
Design pet peeve visual:
- When the drill is too much: sorry homestead 2021 you are not Avon.
- When the uniform becomes the show: Looking at you Jenison.
But honestly this past year I think was one of the most balanced years for show design in a long time. Maybe because they had two years to create.
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Post by ilikeguard on Apr 20, 2022 23:32:47 GMT -6
It’s too late for me to be eloquent about this, but I just can’t get behind props that restrict part of the field for the entire show. I get that it creates a unique shape and encourages creative drill design. But it’s so distracting to me! At least make them move or something. I won’t write off a show with it, but if a good fifth of the field is obscured by immobile props it’s going to have to be a darn good show to make up for it in my mind.
But I used to hate sampling before I saw shows that used it tastefully, so I’ll probably change my mind on this 😅
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Post by FaultLineBlues on Apr 21, 2022 3:06:11 GMT -6
It’s too late for me to be eloquent about this, but I just can’t get behind props that restrict part of the field for the entire show. I get that it creates a unique shape and encourages creative drill design. But it’s so distracting to me! At least make them move or something. I won’t write off a show with it, but if a good fifth of the field is obscured by immobile props it’s going to have to be a darn good show to make up for it in my mind. But I used to hate sampling before I saw shows that used it tastefully, so I’ll probably change my mind on this 😅 I can get behind the usage when the band is smaller, and the props are used to frame the field in a way that make the small size less of a distraction, but when a mid to large size program does it, that's when I find it unnecessary. |
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charredbrown
Senior Member
Morton Alum, currently teaching band at Lutheran North High School in MI
Posts: 87
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Post by charredbrown on Apr 21, 2022 9:53:51 GMT -6
This is a fun one! I'll throw my hat in the mix: - When the ballad flags are blue (my personal favorite BOA/DCI drinking game - water shots, of course  ) - A lot of the bigger BOA bands have gotten in the habit of mimicking the show design of DCI shows - opener, drum feature, ballad, closer. This is fine in DCI where the shows are generally longer, but it leads to a problem in BOA where oftentimes the closers and especially the ballads of shows feel rushed and/or tacked-on. It makes the show lose cohesion for me. - This one's so obvious I probably don't need to say it, but park & bark. - Might be controversial, but I'm not a huge fan of swing flags. They look nice, and they're an easy way to fill a lot of field, but I oftentimes find the work to be... kinda boring? I certainly think the work on standard flags has the potential to be much more engaging, technical, and beautiful - and not just because you can do tosses. |
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Post by FaultLineBlues on Apr 21, 2022 16:24:39 GMT -6
A lot of the bigger BOA bands have gotten in the habit of mimicking the show design of DCI shows - opener, drum feature, ballad, closer. This is fine in DCI where the shows are generally longer, but it leads to a problem in BOA where oftentimes the closers and especially the ballads of shows feel rushed and/or tacked-on. It makes the show lose cohesion for Another thing is ballads being put into shows in places where the band has lost a crazy amount of stamina, and they're used as recovery points instead of the big beautiful passages we should be seeing. |
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Post by paddy on Apr 21, 2022 20:41:57 GMT -6
I will register my opposition to likeguard’s post about dancing bands as my pet peeve.
Some tasteful movement that augments the music or a feature during a drum break isn’t bad. However, extended dancing are just another way to skate on good marching and clean drill. Real easy to learn “drill” when you just run to a spot and dance.
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Post by philodemus on Apr 22, 2022 7:36:59 GMT -6
I've been trying to think of a pet peeve, and honestly don't have too many... but how about a design trend that I find kind of... baffling?
Since about 2018 or so [Vanguard pops to mind that year] corps and bands seem to be spreading the stage from endzone to endzone, but staying largely in front of the center X or even the front hash. The stage seems to have become wide, but not deep.
Like I said, I don't hate it, but I just don't really get it.
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Post by ilikeguard on Apr 22, 2022 10:01:42 GMT -6
I will register my opposition to likeguard’s post about dancing bands as my pet peeve. Some tasteful movement that augments the music or a feature during a drum break isn’t bad. However, extended dancing are just another way to skate on good marching and clean drill. Real easy to learn “drill” when you just run to a spot and dance. This is a really great point! A balance is nice. I certainly wouldn’t want a band to be dancing the entire time to cover up poor marching technique. It’s definitely more of a “I like this when it’s done well” gold star and not a “this is how it should always be done” gold star. Though I suppose that also goes for all of our pet peeves 😆 |
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Post by ilikeguard on Apr 22, 2022 10:04:34 GMT -6
I've been trying to think of a pet peeve, and honestly don't have too many... but how about a design trend that I find kind of... baffling? Since about 2018 or so [Vanguard pops to mind that year] corps and bands seem to be spreading the stage from endzone to endzone, but staying largely in front of the center X or even the front hash. The stage seems to have become wide, but not deep. Like I said, I don't hate it, but I just don't really get it. I think this goes hand in hand with the discussion about props cutting off part of the field- if it’s being used to allow small groups the illusion of covering the playing field, I think it’s fine. However, when big groups restrict or ignore part of the field for no reason, it just feels like wasted potential. |
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Post by Shroom on Apr 23, 2022 23:21:41 GMT -6
I've been trying to think of a pet peeve, and honestly don't have too many... but how about a design trend that I find kind of... baffling? Since about 2018 or so [Vanguard pops to mind that year] corps and bands seem to be spreading the stage from endzone to endzone, but staying largely in front of the center X or even the front hash. The stage seems to have become wide, but not deep. Like I said, I don't hate it, but I just don't really get it. I think this goes hand in hand with the discussion about props cutting off part of the field- if it’s being used to allow small groups the illusion of covering the playing field, I think it’s fine. However, when big groups restrict or ignore part of the field for no reason, it just feels like wasted potential. Yea I think the best example of this from this past season is how a tiny band like Murray was able to use those massive prop things to make their band seems twice the size that it did, I saw them live at Nats and it definitely made the field feel much fuller than it was in comparison with other bands of their size. On the opposite side of things I think those massive doors Wando had all over the field made the entire thing look extremely crowded Something else entirely that I despise though is when bands... A) Mic up their band up and blast synthetic noise to the point where they're louder than a drum corps B) Have soloists play the entire show. It's especially horrible when ballads are just like a clarinet choir or something and then they just just have everyone else crank an out of tune chord at the end C) March trombones. I love Texas loud but we're getting to the point where the ATF is going to have to start regulating trombones because those things are weapons for your ears at this point. They play like 3x louder than a normal baritone and there are probably at max like 5-7 bands that can pull them off and not make them sound like the audio equivalent of trying to pass a kidney stone |
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Post by marimba11 on Apr 24, 2022 9:58:14 GMT -6
I think this goes hand in hand with the discussion about props cutting off part of the field- if it’s being used to allow small groups the illusion of covering the playing field, I think it’s fine. However, when big groups restrict or ignore part of the field for no reason, it just feels like wasted potential. Yea I think the best example of this from this past season is how a tiny band like Murray was able to use those massive prop things to make their band seems twice the size that it did, I saw them live at Nats and it definitely made the field feel much fuller than it was in comparison with other bands of their size. On the opposite side of things I think those massive doors Wando had all over the field made the entire thing look extremely crowded Something else entirely that I despise though is when bands... A) Mic up their band up and blast synthetic noise to the point where they're louder than a drum corps B) Have soloists play the entire show. It's especially horrible when ballads are just like a clarinet choir or something and then they just just have everyone else crank an out of tune chord at the end C) March trombones. I love Texas loud but we're getting to the point where the ATF is going to have to start regulating trombones because those things are weapons for your ears at this point. They play like 3x louder than a normal baritone and there are probably at max like 5-7 bands that can pull them off and not make them sound like the audio equivalent of trying to pass a kidney stone I don't think Wando's props did a lot for them this year. Rather have them than not I suppose but if you are going to have props that just sit there and not move, at least make them like DB 2017. |
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Post by vidal28rdg on Apr 24, 2022 12:28:39 GMT -6
Yea I think the best example of this from this past season is how a tiny band like Murray was able to use those massive prop things to make their band seems twice the size that it did, I saw them live at Nats and it definitely made the field feel much fuller than it was in comparison with other bands of their size. On the opposite side of things I think those massive doors Wando had all over the field made the entire thing look extremely crowded Something else entirely that I despise though is when bands... A) Mic up their band up and blast synthetic noise to the point where they're louder than a drum corps B) Have soloists play the entire show. It's especially horrible when ballads are just like a clarinet choir or something and then they just just have everyone else crank an out of tune chord at the end C) March trombones. I love Texas loud but we're getting to the point where the ATF is going to have to start regulating trombones because those things are weapons for your ears at this point. They play like 3x louder than a normal baritone and there are probably at max like 5-7 bands that can pull them off and not make them sound like the audio equivalent of trying to pass a kidney stone I don't think Wando's props did a lot for them this year. Rather have them than not I suppose but if you are going to have props that just sit there and not move, at least make them like DB 2017. Oh man, I wholeheartedly disagree with point C, I love hearing Trombones on the field. and yes not all trombone sections are made equal, but if my memory serves right, not many bands elect to use them, and I usually have no complaints with a band I’ve seen so far that uses them. Although I’m in Texas so the Texas loud is a given. Especially when I heard Hebron this year, but you know that trombone section made that excellent sound have even more depth and punch to it, Hebron low brass in general was amazing, and a lot of their loud punch also came from their trumpet section as well, as can be said for other bands that use trombones as well, they don’t rely on them to boost their volume in my view. They have it in their baritones and trumpet section as well. |
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Post by nategriffin on Apr 24, 2022 13:11:24 GMT -6
I don't think Wando's props did a lot for them this year. Rather have them than not I suppose but if you are going to have props that just sit there and not move, at least make them like DB 2017. Oh man, I wholeheartedly disagree with point C, I love hearing Trombones on the field. and yes not all trombone sections are made equal, but if my memory serves right, not many bands elect to use them, and I usually have no complaints with a band I’ve seen so far that uses them. Although I’m in Texas so the Texas loud is a given. Especially when I heard Hebron this year, but you know that trombone section made that excellent sound have even more depth and punch to it, Hebron low brass in general was amazing, and a lot of their loud punch also came from their trumpet section as well, as can be said for other bands that use trombones as well, they don’t rely on them to boost their volume in my view. They have it in their baritones and trumpet section as well. Plus, having to get every single trombone to learn Baritone and spend less time on their own instrument would be counter intuitive from a teaching standpoint and money wise, having to buy all the instruments for every single trombone, and having to spend all the time teaching them to play well would be brutal for both large band and small bands for multiple reasons (large quantity/storage, money, ever so fleeting time in season). Aside from that though, this would definitely complicate judging for competitions, especially BOA and UIL if schools tried to phase out trombones, would having no trombones kill any bands shot at state (because UIL)? would going for DCI like runs (which definitely wouldn't be as good) rather than the volume and tone trombones bring lower GE? would there have to be different tracks for bands that decide to use them or not?/If its optional, would there be bias from judges one way or another? It makes sense why DCI doesn't use trombones with the much higher minimum skill and ceiling making volume a non issue, and being able to push their members to absolute limits in speed and range with techniques that are usually just learned in high school (double tonguing, high range, and certain marching and choreo techniques), kind of making trombones redundant (despite how much I like trombone), aside from possible features or solos obviously, but since high schools rarely have all of those things consistently, along with the obscene amount of complications to judging and competitions it would bring, especially now with 7A projections, yearly state, and expansion of BOA competitions, would make phasing out trombones at the very least a migraine inducing process. (But I can see the POV with DCI probably pushing the idea that trombone isn't really needed.) Also not trying to make an argument thread, cause I respect the idea which does have some merit with preferences and DCI, and I'm probably way overthinking this, but I've heard a lot of people talk about this and thought this would be a good platform and opportunity to state my opinion on something I've been hearing from even before my time in marching band scene with my older sibling. But basically trombone good. |
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Post by srv1084 on Apr 24, 2022 13:25:03 GMT -6
I was curious if trombones were going to come up. I have a love/hate relationship with trombones in this activity. They bring a lot of great texture and capabilities that other low brass instruments can't (CTJ 2013's performance of Equus, for example) and have provided some very memorable solos over the years (Vista Ridge 2018 anyone?), but where I start to cringe is when they're used in those awful "blast your brains out" slide features. Give me some more of that beautiful tone and less of 20+ blasty bois and I'm happy.
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Post by neop on Apr 24, 2022 17:12:28 GMT -6
I was curious if trombones were going to come up. I have a love/hate relationship with trombones in this activity. They bring a lot of great texture and capabilities that other low brass instruments can't (CTJ 2013's performance of Equus, for example) and have provided some very memorable solos over the years (Vista Ridge 2018 anyone?), but where I start to cringe is when they're used in those awful "blast your brains out" slide features. Give me some more of that beautiful tone and less of 20+ blasty bois and I'm happy. I love to be shown what a trombone can do. I already know they can do glissandos. I want to see more! (This applies to both BOA and DCI) |
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Post by vidal28rdg on Apr 25, 2022 0:11:07 GMT -6
Oh man, I wholeheartedly disagree with point C, I love hearing Trombones on the field. and yes not all trombone sections are made equal, but if my memory serves right, not many bands elect to use them, and I usually have no complaints with a band I’ve seen so far that uses them. Although I’m in Texas so the Texas loud is a given. Especially when I heard Hebron this year, but you know that trombone section made that excellent sound have even more depth and punch to it, Hebron low brass in general was amazing, and a lot of their loud punch also came from their trumpet section as well, as can be said for other bands that use trombones as well, they don’t rely on them to boost their volume in my view. They have it in their baritones and trumpet section as well. Plus, having to get every single trombone to learn Baritone and spend less time on their own instrument would be counter intuitive from a teaching standpoint and money wise, having to buy all the instruments for every single trombone, and having to spend all the time teaching them to play well would be brutal for both large band and small bands for multiple reasons (large quantity/storage, money, ever so fleeting time in season). Aside from that though, this would definitely complicate judging for competitions, especially BOA and UIL if schools tried to phase out trombones, would having no trombones kill any bands shot at state (because UIL)? would going for DCI like runs (which definitely wouldn't be as good) rather than the volume and tone trombones bring lower GE? would there have to be different tracks for bands that decide to use them or not?/If its optional, would there be bias from judges one way or another? It makes sense why DCI doesn't use trombones with the much higher minimum skill and ceiling making volume a non issue, and being able to push their members to absolute limits in speed and range with techniques that are usually just learned in high school (double tonguing, high range, and certain marching and choreo techniques), kind of making trombones redundant (despite how much I like trombone), aside from possible features or solos obviously, but since high schools rarely have all of those things consistently, along with the obscene amount of complications to judging and competitions it would bring, especially now with 7A projections, yearly state, and expansion of BOA competitions, would make phasing out trombones at the very least a migraine inducing process. (But I can see the POV with DCI probably pushing the idea that trombone isn't really needed.) Also not trying to make an argument thread, cause I respect the idea which does have some merit with preferences and DCI, and I'm probably way overthinking this, but I've heard a lot of people talk about this and thought this would be a good platform and opportunity to state my opinion on something I've been hearing from even before my time in marching band scene with my older sibling. But basically trombone good. Trombone is gud Very gud🔥🔥🔥 |
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