Gold Stars in Show Design

[charredbrown]

A sister thread to FaultLineBlues 's Pet Peeves thread where we can celebrate aspects of show design that we love! What can a band put in their show that'll get them an automatic Gold Star from you?

I'll get things started!

- When musical motives are interwoven throughout the entire show. When a closer calls back to the opener, I get goosebumps every time. *chef's kiss

- When the flags have a design element that ties them together (pattern, color scheme, etc.) it really helps to pull the whole program together for me. A good example would be Avon's use of the Yin Yang symbol in their flags in 2010 - peak design imo.

- When the drumline, tubas, and guard are integrated into the drill with the band! Obviously not achievable all the time (I know it's especially difficult for guard), but I've seen so many shows where the guard & drumline just avoid the rest of the band like the plague and it gives me pause every time.

[50fly]

100% agree on when the guard is integrated into the drill and not staged as a separate entity. Avon is so good at doing this every year.

Gold star for when a program presents a wholly unique or different take on an obvious theme. PCEP ‘98 is a masterpiece in this. Patriotic shows are often so glossy and void of meaning (looking at you BA), but PCEP absolutely nailed the complexity and compassion of the American foundation. How they managed to keep that burning cross in the show is a testament to how well the show was designed and the cohesive narrative structure of the America they were presenting, warts and all. They even spelled it out right for you.. Liberty & Justice For All.

Also Marian Catholic 2008, who took a Space show and used it as a framework to tell the story of man from origin to enlightenment, and didn’t play Holst or Star Wars to do it.

[FaultLineBlues]

When a show is designed to fit with the uniform rather than the other way around. It's hard to come up with examples, but one from my old school is Cedar Ridge 2013, Goodnight Moon. It really feels like the uniforms that they already had were really taken into account for the overall pallette and concept.

I also LOVE big, lush woodwind choirs.

Also having high brass play lower range in solos and features is very underused and creates a really unique sound I think. In a lot of high schools, lower range is just where they throw the newer marchers, so the range never really shines.

[thestraightestlegs]

My gold star is when props change and evolve throughout the show. Tarpon Springs 2016 “Pandora” always comes to mind for how to change the stage with props.

One more for musical choreography in the wind section. As a person that keeps trying to find new ways to get wind players to do new things in that area, it’s something I’m always looking for in other groups.

[ilikeguard]

When the guard and hornline blend together so well visually that they look like one entity rather than two separate groups. Obviously this isn’t the best design choice for every show, but it’s something I LOVED about Blue Springs this past year. When the hornline can move as well as the guard members, it shows not only a mastery over choreography but also over how well that choreography is taught. I don’t like it when the band and the guard look like they’re fighting to tell two different stories. Let the band dance!!

Someone in the pet peeves thread said swing flags and while I can see the reasoning behind that, I just think they’re so darn pretty. There’s nothing like a big musical swell and the reveal of graceful swing flags covering the field. Maybe it’s predictable, but I eat it up every time! And most of the crowd at a competition aren’t concerned about things being repetitive, because they don’t watch the amount of shows that us crazy people do. It gets the job done and it looks so pretty doing it!

[marimba11]

I agree with so much of what has been said! One thing I really like a moment in a show where things are quiet, a la LD bell 2011

[es203]

HUGE +1 for guard, drumline, and tubas being integrated into the drill. I hate seeing a big line of tuba players stuck behind drumline for the entire show, and seeing groups like Avon and VR integrate tubas into their drill makes me a happy low brass player.

[charredbrown]

Apr 21, 2022 16:21:02 GMT -6 FaultLineBlues said:

When a show is designed to fit with the uniform rather than the other way around. It's hard to come up with examples, but one from my old school is Cedar Ridge 2013, Goodnight Moon. It really feels like the uniforms that they already had were really taken into account for the overall pallette and concept.

I also LOVE big, lush woodwind choirs.

Also having high brass play lower range in solos and features is very underused and creates a really unique sound I think. In a lot of high schools, lower range is just where they throw the newer marchers, so the range never really shines.

YES to the woodwind choirs (clarinetist, so I have my biases lol)!

I also totally agree with the notion of lower-range solos. I think there's this idea that solos should promote virtuosity over musicality, which I don't think necessarily should always be the case. I love when a solo/duet/some other featured small ensemble is given the chance to really be expressive - it adds a level of intimacy and musicality to the bombast that usually is most marching band shows.

[hewhowaits]

Reading through this thread and the "Pet Peeves in Design" thread just provides proof of the varied likes/dislikes amongst us.

Some people's favorite things are others' greatest dislikes. That's part of the beauty of the marching arts - there's something for everyone.

[paddy]

Apr 25, 2022 12:18:43 GMT -6 hewhowaits said:

Reading through this thread and the "Pet Peeves in Design" thread just provides proof of the varied likes/dislikes amongst us.

Some people's favorite things are others' greatest dislikes. That's part of the beauty of the marching arts - there's something for everyone.

Very true. There are lots of things to like about the pageantry arts and I am happy that lots of people can experience it.