On Friday I went to Drum Corps International's Open Class Semifinals at Lucas Oil Stadium in the morning with my high school students. We saw the top 17 open class corps perform their second-to-last show of the season. My favorite shows were Colt Cadets, Revolution, and Capital Regiment. These corps didn't get the best scores, but they played the best music and had the best drill design.
On Friday night, my Dad took me and Jen to World Class Semifinals as an early birthday present. We got there a bit late after dinner and watched the top 12 corps in the world, the same 12 that actually made finals the next day. The Boston Crusaders had one of their best shows in history, and their brass was LOUD! The Bluecoats had an awesome percussion ensemble. Their show "Imagine" had the drumline, then the rest of the band, take off their jackets near the end and transition from marching movement to smooth, dancelike movement. It was a very cool effect and must have been so much fun to perform. Santa Clara Vanguard did a tribute to Aaron Copland that was just beautiful. We gave them a standing ovation before they even played their last tune. The Blue Devils had the best percussion and the most difficult drill and visual work, which led them to an undefeated season. However, my favorite corps was the Carolina, Crown (pictured above with the green bass drums), who hung just 1-2 points behind the Blue Devils all season and had one of the best designed and best executed shows I have ever seen. Crown has done this many times before without having what it takes to satisfy the judges and earn the world championship. What's great about DCI is that it's not all about who wins. People will talk about Crown's "The Grass Is Greener" and Bluecoats' "Imagine" for years to come. They were powerful performances that will inspire many new innovations in the world of music and movement."The Battle and Defeat of Napoleon" is a movement from the orchestral suite based on the opera Háry János by Zoltán Kodály (1882-1967). Kodály is most famous for his contributions to music education. He also was a collector of folk music and advocated for its importance in music and music education. He composed Háry János to help found a Hungarian operatic tradition create a dialog between folk music and serious art music.
The hero of the opera, Háry, is a peasant and veteran soldier. In this movement we see his imagined victory in battle over Napoleon.The reason I find this movement to be interesting is that it is composed for winds and percussion. The strings take a break for this four minute movement. It is orchestrated exclusively for the winds, so I feel it should be looked at in the context of wind band history. Further, the saxophone is featured as a solo instrument. It is rare for the saxophone to be included in orchestral music. I wonder if a modern band arrangement could be playable by a high school group. If I get the time, I'll write it, unless someone already as or you steal my idea and write it first. The trick to making a good arrangement would be to come up with a more conclusive ending, or to follow the movement with arrangements of the Intermeezzo and Entrance of the Emperor and his Court, movements which might also work in wind arrangements.| OUR band is few but true and tried, | |
| Our leader frank and bold; | |
| The British soldier trembles | |
| When Marion's name is told. | |
| Our fortress is the good greenwood, | 5 |
| Our tent the cypress-tree; | |
| We know the forest round us, | |
| As seamen know the sea. | |
| We know its walls of thorny vines, | |
| Its glades of reedy grass, | 10 |
| Its safe and silent islands | |
| Within the dark morass. | |
| Woe to the English soldiery | |
| That little dread us near! | |
| On them shall light at midnight | 15 |
| A strange and sudden fear: | |
| When, waking to their tents on fire, | |
| They grasp their arms in vain, | |
| And they who stand to face us | |
| Are beat to earth again; | 20 |
| And they who fly in terror deem | |
| A mighty host behind, | |
| And hear the tramp of thousands | |
| Upon the hollow wind. | |
| Then sweet the hour that brings release | 25 |
| From danger and from toil; | |
| We talk the battle over, | |
| And share the battle's spoil. | |
| The woodland rings with laugh and shout, | |
| As if a hunt were up, | 30 |
| And woodland flowers are gathered | |
| To crown the soldier's cup. | |
| With merry songs we mock the wind | |
| That in the pine-top grieves, | |
| And slumber long and sweetly | 35 |
| On beds of oaken leaves. | |
| Well knows the fair and friendly moon | |
| The band that Marion leads— | |
| The glitter of their rifles, | |
| The scampering of their steeds. | 40 |
| 'T is life to guide the fiery barb | |
| Across the moonlit plain; | |
| 'T is life to feel the night-wind | |
| That lifts his tossing mane. | |
| A moment in the British camp— | 45 |
| A moment—and away | |
| Back to the pathless forest, | |
| Before the peep of day. | |
| Grave men there are by broad Santee, | |
| Grave men with hoary hairs; | 50 |
| Their hearts are all with Marion, | |
| For Marion are their prayers. | |
| And lovely ladies greet our band | |
| With kindliest welcoming, | |
| With smiles like those of summer, | 55 |
| And tears like those of spring. | |
| For them we wear these trusty arms, | |
| And lay them down no more | |
| Till we have driven the Briton, | |
| Forever, from our shore. | 60 |
Zoom in. There are some interesting statements in here.
This is what happens when you don't take care of your yard and you live under a maple tree. If the apartment maintenance crew didn't come around with weed-whackers this week, we would be restoring Indiana's forests. Tree killers!
Using a candle should be more humane than a bug zapper, but there is only so much you can do when bugs are this stupid.
I bought Fred a big box of nightcrawlers. He loves to chow down on these. Amazingly, he was still hungry after eating one today, and dug into the bottom-feeder fish food. Omnivores are so weird!