Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
i
Abstract
From 2000 2013 Drum Corps Internationals front ensembles have evolved in their
roles in the design process of a show, and composition/arranging styles due to the use
electronics and amplification. A front ensemble is the color and ornamentation of a drum
corps; but the different sounds that are available to composers and arrangers are greater now,
thanks to the use of synthesized and sampled sounds. Because of this the role of the front
ensemble has grown in the design process and in the demand for more talented players; both
of which allow for increasingly diverse and challenging music from the composer/arranger. This
paper examines the changes from 2000 - 2013 through: interviews with different arrangers
from Drum Corps Internationals top drum corps; front ensemble excerpts from different drum
corps shows from 2000 2013; articles on the implementation of amplification and electronics
in Drum Corps International; and books written about compositional techniques for front
ensembles.
ii
Acknowledgements
I want to say a special thank you to Dr. Brian Mason, Tom Rarick, and Mike McIntosh for
taking time out of their busy schedules and giving me the opportunity to interview them about
their experiences; and for providing their original scores for me to look over. Without their
iii
Table
of
Contents
Abstract ii
Acknowledgements iii
Table of Contents iv
List of Figures v
Introduction 1
Pre-Amplification 19
Adding Amplification 22
Conclusion 28
Bibliography 32
iv
List
of
Figures
Figure 3.2: Arrangement of Rite of Spring Santa for Clara Vanguard by Brian Mason 20
Figure 3.3: Arrangement of Rite of Spring Santa for Clara Vanguard by Brian Mason 21
Figure 3.4: Haji for the Bluecoats by Michael McIntosh and Tom Rarick 22
Figure 3.5: Moto Perpetuo for The Santa Clara Vanguard by Brian Mason 23
Figure 3.6: Moto Perpetuo for The Santa Clara Vanguard by Brian Mason 24
Figure 3.7: MVT III from eXtraordinarY for the Cavaliers by Michael McIntosh 25
Figure 3.8: MVT III from eXtraordinarY for the Cavaliers by Michael McIntosh 26
Figure
3.9:
MVT
III
from
eXtraordinarY
for
the
Cavaliers
by
Michael
McIntosh
26
v
Introduction
If you were to go back in time to 1972 and watch one of the first drum DCI shows, you
would find multiple differences between modern drum corps and its early predecessor. One of
the most glaring and obvious differences would be the lack of the front ensemble; the
stationary melodic percussion section that sits on the front sideline of every modern drum
corps show would be absent! Instead we would see five players marching around on the field
each carrying a, hand cranked, timpano and two players marching around the field with either a
Since 1972 the marching melodic percussion section has evolved into the modern front
ensemble, which plays full-sized stationary instruments. Aside from no longer carrying those
heavy instruments, almost all players are able to play with advanced techniques and a higher
level of musicianship than those men and women marching around on the field could have
achieved, because they were marching around with their instruments. Once the front
ensemble truly became the front ensemble, thanks to rule changes in the late 1970s and
early 1980s, the designers and writers help to mold the front ensemble into what it is today.
The 1990s helped standardize the size and instrumentation of the front ensemble, as well as
helped to develop techniques that allowed the acoustic instruments to be heard. The next
step in the evolution of the front ensemble came during the 2000s when amplification was
allowed in the front ensemble, and than when electronic instruments were allowed into the
instrumentation as well.
1
The
front
ensembles
of
Drum
Corps
International
(DCI)
have
grown
more
important
in
the design process due to the increased use of electronics from 2000 2013. The front
ensemble of today includes a unique blend of acoustic and electronic instruments; show
designers and writers use these instruments to create a soundscape that advances the intent of
a particular show. With this new technology at their fingertips, show designers had to change
their approach of how they used the front ensemble. The use of amplification and other
electronics has allowed front ensembles to be heard more clearly during performances;
because of this, and advancements in orchestration, more intricate and difficult music is being
written for the front ensemble. These advancements created a need for more talented
musicians to perform the ever increasingly challenging music. As talented musicians became
more readily available, composers/arrangers were able to write music that took advantage of
the high skill level of both the players of acoustic and electronic instruments; this ability to
create more intricate music has led to an increasingly important role for the front ensemble in
2
Chapter
1
When someone, who is familiar with Drum Corps International (DCI), thinks of a front
ensemble they are likely to think of a percussion section that includes: four marimbas, four
vibraphones; a xylophone, timpani, a drum set, numerous other drums, an ungodly amount of
cymbals, and at least one synthesizer. And this person would be correct by todays standards of
DCI. However, this has not always been the case! When DCI was founded in 19721 there was
no front ensemble; all instruments had to be carried on the field by the performers. This meant
that composers were limited to only using snare drums, tenor drums, bass drums, cymbals, and
timpani; but drill designers had to create drill around members marching with incredibly heavy
While todays marching percussion2 section still consists of snare drums, tenors, bass
drums, and occasionally cymbals; the idea of marching timpani is an antiquated and foreign
concept to the masses. Marching timpani was first put on the field in 1968 by the drum corps
circuit hosted by the American Legion3, and when DCI started in 1972 the field percussion
continued having players march with timpani. Marching timpani consisted of five players who
each carried an individual timpano; in order to tune the individual timpano, each instrument
1
Erin
Maher,
The
Amplification
Controversy
in
Drum
Corps
International:
Technology
Change
and
the
Meaning
of
2
The
terms
Marching
Percussion
and
Field
Percussion
can
be
used
interchangeably,
with
Field
Percussion
being
used
earlier
on
the
time
line
of
drum
corps.
3
Drum
Corps
International
was
created
in
1972
because
of
growth
of
drum
corps
on
the
national
level.
The
veteran
organizations
America
Legion
and
Veterans
of
Foreign
Wars
started
sponsoring
drum
corps
after
WWI.
This
was
the
start
of
competitive
drum
corps
and
where
DCI
got
its
start.
3
had
a
hand
crank
to
change
pitches4.
According
to
Michael
Boo,
who
marched
during
the
years of marching timpani, Corps timpanists spent as much time cranking as marching. Many
of them gauged how far they should crank by the number of turns rather than the actual
pitch5
The timpani were not the only instruments from todays front ensemble that could be
found on the field during the 1970s and into the early 1980s. In 1974 drum corps were
permitted to have marching bells and marching xylophone on field; again the instrument had to
be carried by the performer while being played. Soon the marimba and the vibraphone joined
the xylophone and bells out on the marching field, but not all at once. Each corps was limited
to two mallet players on the field at a time, and while this severally limited composers and
arrangers they were not to be deterred. In Spirit of Atlantas inaugural year of 1977, they put a
vibraphone back-to-back with a marimba to get a change of sound and color.6 The 27th Lancers
even found a way to mount a set of chimes and put them out on the field!7 8 In 1978 the rules
changed to allow each corps have up to four mallet players on the competition field, and this
led to most corps having a bell player, xylophone player, vibraphone player, and marimba
player.
As stated earlier, all instruments had to be carried onto the field by their performer.
This
was
because
of
rules
pulled
from
the
American
Legion,
and
then
from
1974
1977
the
4
Michael
Boo,
Pit
Stop:
A
Front
Ensemble
Primer,
Fanfare
(Wednesday,
April
28,
2004):
1,
accessed
February
16,
2014,
http://www.dci.org/news/view.cfm?news_id=44ef0078-3ace-4a55-b801-ce976eb04405.
5
Boo
2004,
1
6
Ibid
7
Ibid
8
Chimes
were
technically
not
allowed
on
the
field
but
since
there
was
no
specific
rule
stating
whether
or
not
they
could
be
used,
the
Lancers
attached
2
small
tom
drums
to
the
chimes
as
well,
so
the
instrument
could
be
classified
as
a
marching
drum.
4
rules
stated
that
all
performers
had
to
start
the
show
behind
the
starting
line
on
the
back
sideline of the field.9 In 1978 when the rules changed to allow corps to have up to four mallet
players; they also erased the rule that corps must start behind the starting line. This meant that
corps could now put their melodic percussion instruments anywhere on the field for the whole
show! This rule change would become the catalyst that helped create the front ensemble. The
only corps that took full advantage of putting these heavy instruments down on the field for the
entire show were the 27th Lancers; they put two sets of timpani on opposite 40 yard lines to
create an antiphonal sound.10 Even though the 27th Lancers were the first to experiment with
setting instruments down on the field for the full show, they did not continue the trend they
started. In 1979 only one DCI Finalist11 corps did not have a marching timpani line; The
Guardsmen, under the direction of Jim Campbell, had the timpani placed of the front side of
the field12 where the player played timpani, congas, chimes, and various other percussion
toys.13 This lone player was the first full-time pit14 player!
While the 27th Lancers and The Guardsmen were the first drum corps to put timpani on
the front side of the field for the full show, they were still using the hand cranked marching
timpani. In 1980 the first big and continuously successful drum corps to put concert timpani15
9
Tom
Scheffer,
The
First
pit
performer
and
the
birth
of
the
pit,
Fanfare,
May
13,
2005,
1,
accessed
February
17,
2014,
http://www.dci.org/news/view.cfm?news_id=7e8122fc-9a5c-4ce1-b5a2-53bf2d21f37a.
10
Scheffer
2005,
1
11
At
the
end
of
each
summer
DCI
hosts
a
final
competition
called
World
Championships.
The
competition
last
three
days:
quarterfinals,
semifinals,
and
finals.
It
is
the
goal
of
all
the
corps
to
make
it
to
the
third
day
and
earn
the
title
of
DCI
Finalist;
each
year
only
12
corps
make
finals,
therefore
making
it
a
title
of
honor
for
many
corps
members.
12
All
marching
members
had
to
stay
on
the
football
field
even
if
they
were
stationary
for
the
whole
show.
13
Scheffer
2005,
1
14
Pit
is
another
term
for
front
ensemble.
The
term
pit
is
used
in
reference
to
an
orchestra
pit.
15
Concert
timpani
differ
from
Marching
timpani
in
that
they
are
usually
made
of
copper
instead
of
fiberglass,
and
they
are
tuned
with
a
foot
pedal
instead
of
a
hand
crank.
5
on
the
front
of
the
field
was
the
Blue
Devils.16
Following
the
1980
drum
corps
season
most
other corps start to follow this new trend of placing their timpani on the front side of the field.
In 1981 the Garfield Cadets were not content to simply place their timpani on the front side of
the field; they placed their marching keyboards on stands for the entire show.17 With
stationary percussion ensembles now growing in size and taking up more and more of the field;
DCI passed a rule allowing the stationary percussionist a front box that was off the actually
field. This was done so the new front line percussion ensemble was not in the way of the drill
designers.18
1982 was the first year of the true front ensemble. Drum corps that were more affluent
started to provide full sized concert instruments for players to play on; while drum corps that
could not afford new concert instruments simply placed their old marching mallet instruments
on stands in the new front box. With the front ensemble no longer needing to play while
marching, the technique of the players became more of a priority to instructors and judges.
Drum corps started to add front ensemble instructors who were college trained mallet players
to instruct the front ensemble, rather than letting the drumline19 instructors teach the section.
With the influx of new instructors, who were teaching the new mallet players to play at a higher
level, composers and arrangers were no longer obligated to simply put the brass parts on the
16
Robert
Morrison,
The
Development
of
the
Front
Percussion
Ensemble,
Percussive
Notes
23,
no.
5
(July
1985):
32-34,
accessed
February
15,
2014,
http://publications.pas.org/Archive/pnv23n5/articles/pnv23n5.32-35.pdf.
17
Morrison
1985,
32
18
Morrison
1985,
32
19
I
have
not
found
a
reference
to
a
common
name
for
the
members
of
the
percussion
section
on
the
field.
I
assume
that
it
would
be
simply
called
the
drumline
at
this
point
in
time
because
there
were
no
longer
mallet
players
on
the
field.
Hence
in
1983
the
modern
version
of
the
drumline
was
born
as
well
as
the
front
ensemble.
6
keyboards
and
timpani.
They
were
able
to
create
new
textures
and
colors
to
add
to
the
design
of the show20 and help advance the design process of the shows.
The next big step for the front ensembles of DCI came in 1983 when the Garfield Cadets
front ensemble played with both Stevens and Burton grip.21 22 This was a big step in the world
of front ensembles because it brought the DCI front ensemble into a level a professionalism
that had yet to be achieved by any of its predecessors. Following the 1983 season other corps
tried to emulate the professional and musical approach that the Garfield Cadets had achieved.
Following 1984 the front ensemble has continued to grow. Initially the front box only
allowed for the front ensemble to be placed from the 40-yard line to the opposite 40-yard line.
Sooner rather than later, the rule was changed to allow the front ensemble to be placed from
the 35-yard line to the opposite 35-yard line. Again this was soon changed; composers and
arrangers wanted more instruments and sounds out of the front ensemble, and instructors
wanted more instruments for players to be heard so they did not have to play with improper
20
Show
design
of
early
DCI
shows
usually
just
meant
picking
3
-4
songs
that
were
popular
at
the
time;
the
shows
of
this
era
were
not
thematic.
21
Stevens
and
Burton
grips
are
different
technique
giving
the
user
the
ability
to
hold
two
mallets
in
each
hand,
giving
the
player
a
total
of
four
mallets.
22
Morrison
1985,
32
23
Morrison
1985,
32
7
technique.
Eventually
the
rule
was
changed
to
allow
the
front
ensemble
to
be
placed
along
the
But
the
important
thing
is
that
percussion
arrangers
were
now
not
limited
by
the
confines
of
a
smaller
pit,
and
they
cut
themselves
loose
to
their
hearts
abandon,
requiring
corps
to
buy
ever
bigger
equipment
trucks,
and
golf
carts,
and
tractors
(for
when
there
became
so
much
equipment
the
puny
little
golf
carts
couldnt
pull
it
anymore),
and
make
little
trains
out
of
their
equipment,
and
see
who
could
fill
up
a
pit
with
the
most
instruments.25
Front ensembles started to become standardized in their instrumentation now that they
no longer had to worry about size constraints. With only having the acoustic sound of each
instrument available to the designers it soon became apparent that multiples of the same
keyboard instruments would be necessary if they wished to be heard. From the late 1990s to
the mid-2000s the standard set up of the front ensemble became four marimbas, four
sometimes a drum set player. The number of players in the front ensemble not is not only
determined by the orchestration of the composer but also by the number of players allowed in
the drum corps. Most recently the rules were changed for the 2007 season allowing each corps
to go from 135 marching members up to 150 marching members. With this latest number
increase, the size of most front ensembles; front ensembles were now able to have two
auxiliary percussionists and a drum set player instead of having to chose between the two.
24
Boo
1994,
1
25
Boo
1994,
1
26
Another
name
for
Bells
27
Auxiliary
percussionists
mount
most
of
their
instruments
on
metal
racks
with
wheels,
leading
them
to
be
called
rack
players.
Auxiliary
players
play
everything
from
suspended
cymbals
to
the
concert
bass
drum
to
wood
block
and
everything
in
between.
8
In
2004
one
of
the
biggest
rule
changes
in
the
history
of
DCI
occurred;
passing
through
DCIs Rules Congress, with a vote of 12-6, DCI allowed the amplification of the human voice and
front ensemble. This had no affect on the size of the pit but it opened up many opportunities
for both designers and composers (See Chapter 2 for the effects on Designers. See Chapter 3
for effects on Composers and Designers.) The summer of 2009 saw the first electronic
instruments in the front ensembles across DCI. This added more members to the front
ensemble and added to the sounds composers and arrangers could write for. The decision to
add amplification and electronics to drum corps was a long hard battle headed by George
Hopkins, director of the Cadets.28 Interestingly it was Robert Morrison, percussion instructor
and arranger for the 1985 Garfield Cadets, who said, possible change in the future of the
front ensemble will be the addition of electronics.29 It took over 20 years but the idea of
28
Formally
known
as
the
Garfield
Cadets
29
Morrison
1985,
35
9
Chapter
2
As July draws to a close and August comes into full swing, each and every DCI corps has
the final version of their show on the field. The designers and writers have listened to the
judges and the crowds and have placed their final product into the hands of the performers.
Now all that is left for the designers to do is watch their students perform and then await the
numbers the judges decide they have earned. For the common DCI fan this is the best time of
the year; the corps are in a groove and every show is better than the last. But for the designers
of the show this is the moment they have been working towards all year, this is the summation
of all of their hard work and headaches. The work that they started almost 10 months earlier30
has reached its climatic end, and they are eager to hear the final results just like the fans.
The designers for each corps meet at different times and different places around the
country; thanks to technology sometimes they are all in different parts of the country while
they decide on a show.31 The design process is a long a tedious process at times, with each
person on the design team (as well as the administration team) having their own ideas about
what would be best for the group for the up coming year. When picking a show the designers
take into account many different things: they think about the strengths and weakness of the
group; the corps signature style of playing; the instrumentation; the tour around the country
30
Mason,
Brian.
Interview
with
the
Author,
(17
April
2014.)
31
Ibid
10
and
how
long
it
will
take
or
how
much
money
it
will
cost
the
group.32
For
this
paper
however,
we will focus on after a show has already been chosen and how it affects the front ensemble.
After discussing with some of DCIs top percussion designers33 I have split the
responsibilities of the front ensemble into three different categories: Color, Solo, or
Transitional. If the designers choose to use the front ensemble as a Color this means that the
front ensemble keyboards are playing parts that reinforce what the horn line is playing
harmonically. When the designers use the front ensemble as a Solo category this means that
either the entire section of the front ensemble is featured or a specific section of the front
ensemble is featured while the rest of the corps does not play. A Transitional use of the front
ensemble is one of the most common ways a front ensemble to be used; the front ensemble
plays something that helps move the production along. Each category is not always separate
from the others; it isnt uncommon for a Transitional section to also include a very challenging
Solo moment for the group; sometimes Color moments blend into Transitional moments so
well that it is hard to define where one section ends and the other begins; the least likely of the
two categories to overlap is Color and Solo moments, but this does happen.34 With these three
categories we can take a deeper look into the design process of how the front ensemble can be
The next separation that we have to make is the three general types of shows the DCI
groups perform: Shows that are based on Classical music; shows are based on more Popular
32
These
are
just
a
few
examples
that
are
too
numerous
to
list.
Also
many
of
these
things
are
determined
by
an
administration
team,
which
I
have
not
interviewed.
33
Mike
McIntosh
(Bluecoats
&
Cavaliers),
Master
Sergeant
Tom
Rarick
(Bluecoats),
and
Dr.
Brian
Mason
(Cavaliers,
Phantom
Regiment,
and
The
Santa
Clara
Vanguard.)
34
See
Chapter
3
for
examples.
11
music;
and
shows
that
have
Original
music
written
for
them.
Each
type
of
show
has
different
source material, which is very important in the writing/arranging process of designing a show.
Once the source material for a show has been determined than the Brass Arranger and the
Percussion Arranger get together and figure out the best way to perform the decided upon
The next big factor in the design process, that impacts the front ensemble, are the rules
that are in place stating whether or not amplification and electronics can be used in the show.
From 2000-2003 all shows were unamplified but then in 2004 10 (out of 24) drum corps used
amplification in the front ensemble.36 By 2008, the last year of only allowing the use of
amplification, all of DCIs World Class corps were using amplification.37 For the summer of 2009
4.8.1 Terminology:
35
The
manor
in
which
writers
and
arrangers
showcase
the
differences
shall
be
examined
in
more
detail
in
Chapter
3.
36
Maher
2011,
63
37
Ibid
12
4.8.2
Music
from
Electronic
Instruments
is
allowed
given
that
the
Music
is
being
performed
live,
in
real
time
during
the
performance.
While these set of rules took almost over a decade to pass39 once the use of these instruments
were allowed to be used by the designers they were immediately put to use. From 2009 to
2013 drum corps have been using electronic instruments in all manor of ways, from
To break down the design process we will look at one show from each of the eras,41
each show will be from a different drum corps to help illustrate the differences. For the Pre-
Amplification era we will look at The Phantom Regiment Drum and Bugle Corps42 2000 show
titled The Masters of Mystique: The Dawn of Modern Music.43 Brian Mason, the percussion
caption head44 and arranger, was on the design team that helped create the show. When asked
about the process for this show he talked about using the front ensemble in different
capacities.45 The 2000 Phantom Regiment consisted of eight players: 4 marimba players, 3
38
Drum
Corps
International.
2009
Contest
Rules
(Drum
Corps
International,
Indianapolis)
2009,
7.
39
Maher
2011,
29
40
Again
this
will
be
looked
more
closely
in
Chapter
3.
41
The
three
eras
are
separated
into:
Pre-Amplification
(2000-2004),
Amplification
(2005-2008),
and
Electronics
(2009-2013).
42
Also
known
as
Phantom
Regiment
or
just
Regiment
43
Christopher
Maher,
The
Drum
Corps
Repertoire
Database,
The
Drum
Corps
Repertoire
Database,
www.corpsreps.com.
44
Caption
heads
are
in
charge
of
their
section
and
helping
make
the
performers
perform
to
the
best
of
their
ability.
45
(Mason
Interview,
2014)
13
vibraphone
players,
and
a
timpanist.46
All
of
the
keyboard
players47
also
have
multiple
other
instruments attached to the keyboard in order to create the other sounds that the designers
have in mind.48 The use of the pod percussion set up was developed by Mason as a way to
have all of the sounds and colors wanted in a show without having too many players, or when
not able to have enough players.49 When designing a show based on Classical music, and
without amplification, the front ensemble takes on the role of the woodwinds and the string
sections.50 This means that the moments must be picked carefully when the front ensemble
will be used in different capacities. When choosing a Solo moment for the front ensemble the
rest of the corps must be either silent or playing backfield;51 when the horn line and drumline
are playing very loudly the front ensemble must be at a Color moment of their show.52 This
Color moment would normally lead into a Transitional for the front ensemble or sometimes
into a Solo moment also used for Transition. The main thing Mason emphasized was that when
writing and designing for an un-amplified front ensemble: was that writers had to very careful
about when they wanted the front ensemble to play certain parts, because no matter how loud
they played they could not play louder than the horn line and drumline.53
46
Brian Mason, The Rite of Spring: 2000 Phantom Regiment (Morehead: Brian S. Mason, 2000), 1.
47
Common
term
that
covers
all
melodic
percussion
or
percussion
players
used
in
drum
corps
48
(Mason,
2000
49
Brian
Mason,
Incorporating
Muti-Percussion
Into
the
Front
Ensemble,
Percussive
Notes
32,
no.
7
(April
1994):
25-26,
accessed
February
13,
2014,
http://publications.pas.org/Archive/apr94/articles/9404.25-26.pdf.
50
Mason
Interview,
2014
51
Playing
backfield
means
have
the
drum
corps
turn
around
and
play
towards
the
back
sideline
where
there
are
no
spectators
in
order
to
create
a
softer
sound
or
different
timbre.
52
Mason
Interview,
2014
53
Ibid.
14
The
next
design
process
we
will
look
at
will
be
for
The
Bluecoats
Drum
and
Bugle
Corps54
2005 show titled Caravan.55 This show used amplification of both the keyboard line and the
human voice in its quest to portray the journey across the Middle East. In talking with Michael
McIntosh about how, if at all, the use of amplification made the design process different when
it involved the front ensemble;56 we discussed how the three main uses of the front ensemble
stayed the same even with the addition of amplification. The front ensemble was still to be
used for Color, Solo, and Transition and the use of electronics did not really affect the amount
of times designers used the front ensemble for any of these. For McIntosh the biggest change
was getting the Brass and Visual designers on board with using the amplification of human
voices.57 With the show concept using Indian percussion McIntosh wanted to use the long-
standing oral tradition Indian percussion has to achieve a level of authenticity to the program.
With the ability to amplify voices this was no a possibility; but this was the Bluecoats first year
using amplification58 and the rest of the design team was a little hesitant about venturing into
an unknown realm.59 In the end the design team agreed and pushed forward with using the
The final era to be talked about is the Electronic era. We will take a look at the design
process of the 2011 Cavaliers Drum and Bugle Corps61 show, titled eXtraordinarY. Michael
McIntosh
ended
his
time
with
the
Bluecoats
in
2008
and
in
2010
took
over
the
percussion
54
Also
known
as
The
Bluecoats
or
Coats
55
C.
Maher,
2014
56
McIntosh,
Michael.
Interview
with
the
Author,
(17
April
2014.)
57
McIntosh,
2014
58
Maher
2011,
64
59
McIntosh,
2014
60
And
I
think
that
without
the
voices
the
Indian
feel
would
not
have
been
complete
and
the
design
would
have
been
lacking
as
a
whole
product.
Kudos
2005
Bluecoats
design
team!
61
The
Cavaliers
or
Cavies
for
short.
15
program
at
the
Cavaliers.62
He
was
instrumental
in
the
design
process
for
this
show,
and
when
asked about how the use of amplification and now electronics affected the role of the front
ensemble in the design process he again said it was affected minimally if at all.63 The front
ensembles roll as still to be used as Color, Solo, and Transition and again the newly allowed use
of electronics did not change the roll the front ensemble played in the show design. The
biggest change for the designers was now that electronics were allowed; the designers had a
whole new pallet of colors to chose from to help them get their ideas understood by the
audience. In the Cavaliers show in particular McIntosh felt that since the show was titled
eXtraodinarY that the use of as much electronics was necessary (as long as done tastefully,)
In all three eras that we have examined, the role of the front ensemble in the design
process stayed relatively the same despite the changes in the use of electronics and
amplification. The main roles of the front ensemble in the design of a show are to provide
Color, to have Solo moments, and to help Transition from one point to another in the show to
help achieve a linearly cohesive show. The use of amplification allowed for more colors to be
added to the front ensemble by the allowing some percussion instruments and human voice to
be amplified and be heard over the sound of the brass and drums. With the addition of
electronic instruments, designers added even more colors that they could use to help get their
show across to the audience and the judges; but even with these additions the designers of
DCIs shows have continued to use the front ensemble in the same capacity. Despite the rule
62
McIntosh,
2014
63
Ibid
64
Ibid
16
changes
allowing
amplification
and
electronics
the
role
the
front
ensemble
has
stayed
the
same.
17
Chapter
3
With the addition of amplification and electronics the writers of DCI were able to flex
their writing chops a little more and help create a more interesting part for the players to play.
No longer were they forced to use the front ensemble for only cymbal work or concert bass
drum hits during the biggest and loudest parts of a drum corps show! Now they were able to
write moving lings underneath these big moments; or they were able to write a technically
challenging part that might not have been able to be heard without amplification or electronics.
We will take a look at one example of writing from each of the three eras previously talked
65
See
Chapter
2
18
Pre-Amplification
Now we will exam the writing from Phantom Regiments 2000 show of using a Front
Ensemble for a show that has a Classical influence. The front ensemble takes the role of the
instrumental sections of the orchestra that are not allowed in DCI; this means that the front
ensemble will cover the woodwind and strings parts.66 This remains true even with the use of
amplification or electronics. The front ensemble is able to create the sounds and textures that
Figure 3.167
66
Mason,
2014
67
Igor
Stravinsky,
Rite
of
Spring
(New
York:
Dover
Publications,
Inc.,
1989),
12-13.
19
The
The
section
wRite of
e
are
2000 Phantom
Spring
going
Regiment to
focus
on
is
the
4
measures
in
the
middle
of
Figure
3.1.
Only
3
> > - - >
! ^
J1 J2
z
z
z
voices
are
plying
in
the
entire
orchestra:
English
68
69
horn,
Bassoon,
and
Cello. f
W ithout
70
multi 1 f
f r l r r l
f
z^
electronics
it
is
impossible
to
get
the
true
sound
that
these
instruments
make,
so
the
^ ^
9
swizzle-tip
multi 2
writer/arranger
for
Phantom
Regiment
had
to
find
a
way
to
recreate
r these
sounds
and
timbres.
. . f . f
. . >
r
. . . . . . . .
9
bd
excerpt
we
shall
In
the
following
see
Mason
did
exactly
that.
how
Brian
F f >
>
9
vibes #
vibe 1 & # # # #
#
# #
S S
> >
9
# # #
? # # # j j
&
xylo
marimba 1
F 9 S S
? # # # #
b b b b
# # #
#
marimba 2
F f
. . . . . . . .
9
bells
. . . . . . . .
vibe 2 &
F
vibes 9
?
timpani b b
9 f
? # # # #
marimba 3
# # # # # # # #
9
F f
# # #
# # # # #
&
? xylo
marimba 4 # &
f
3
9
F
vibes
vibe 3 &
9
f3
Figure
3.271
68
Corno
inglese
69
Fagotti
70
The
bass
clef
part
is
second
from
the
bottom
in
the
violin
family,
meaning
it
is
the
cello
part
and
not
the
bass
part.
71
Brian
Mason,
Rite
of
Spring
(Morehead:
Brian
S
Mason,
2000),
meas.
9-13.
20
In
Masons
arrangement
of
the
original
we
can
see
how
he
uses
the
different
voices
found
in
the front ensemble to recreate the sounds found in the original. The staccato English horn solo
is found in a solo vibraphone voice. To help recreate the staccato sound Mason has the
vibraphone player playing with the vibraphone dampener up and playing the solo on a set of
The
bells
Rite
at
the
same
of Spring
time.
The
bassoon
part
is
covered
by
the
four
marimba
players;
like
in
the
2000 Phantom Regiment
> > - - >
! register
Because
of
^
J1 J2
original
the
pzlay
players
z split
z notes
in
the
sixteenth
low
of
their
instrument.
f
multi 1 f
famplification
the
lack
9 of
r l Mason
also
rput
one
of
the
marimba
players
r in
an
upper
register
l of
f
^ z^
^
to
make
sure
that
the
clarity
swizzle-tip
their
instrument
was
heard
by
the
judges
and
audience.
multi 2
. . f .
r r
f>
. . . . . . . .
9
. .
bd
F f >
>
9
vibes #
1 & # # #
#
Figure
vibe 3.372
# # #
S S >
>
9
. . . .
bells
. . . .
vibe 2 &
F
vibes
9
?
timpani b b
9 f
? # # # #
marimba 3
# # # # # # # #
9
F f
# # #
? # # # #
&
xylo
4
marimba # # &
9
F
vib
72
&
Mason
2000,
2
vibe 3
9
21
Adding
Amplification
Bluecoats 2005 show Caravan was the first year that Bluecoats used electronics73 and
is a great example of writing for a front ensemble with only amplification. Mike McIntosh
chose to use amplified voice to help create a show about the far east; this meant that front
ensemble
players
were
not
only
playing
on
keyboards
that
were
amplified
but
also
their
voices
Hajj
were
a2005
mplified.
Bluecoats The 2005 Bluecoats Drum and Bugle Corps
Brass Arr. Doug Thrower
5/16/20051:52 AM Perc Arr. Michael McIntosh
Tom Rarick
A
Wind Chimes
Rack
rattles - shaker
Vibraphone 1
6 6 6 6 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Vibraphone 2
6 6 6 6 3 3 3 3 3 3 3 3 3 3 3 3 3 3
6 6 6 6 6 6 6 6 6 6
Marimba 1
6 6 6 6 6 6 6 6 6 6 6 6 6 6 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Marimba 2
6 6 6 6 3 3 3 3 3 3 3 3 3 3 3 3 3 3
6 6 6 6 6 6 6 6 6 6
Marimba 3
6 6 6 6 6 6 6 6 6 6 6 6 6 6 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Marimba 4
Glock 3
Voice
Glock / Xylo
ta din ka di meta? din ta? din ta ka dime?
3
6 6 6 6 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Vibraphone 3
Timpani
1 2 3 4 5 6 7 8
A
S on S
Snare
R L R R L R R L R R R L L ... R L R R L RL R R L R L R L R L
28 4 12 16
Tenors
Figure
3.474
Bass
1 2 3 4 5 6 7 8
73
Maher
2011,
64
74
Michael McIntosh and Tom Rarick, Haji (Canton: Bluecoats, 2005), 1.
22
In
Figure
3.4
you
can
see
the
amplified
voice
part
being
played
by
the
Glock/Xylo75
player
in
measures 7-8. His vocal part is being copied and enhanced by the snare line; this is a common
trait of Indian music, where one player sings a rhythm and that player of another player players
that part with embellishments. The marimba players are playing sextuplet rhythms at the
slower tempo of 88 bpm,76 which become the triplet at the tempo change. The ability to play
low static parts like this is enabled by the use of amplifications. The vibraphones start off
playing a snippet of a melody from earlier in the show77 then either add into the static part with
the marimbas or play rattle-shakers to help give an Indian color to what is being played. The
rack and timpani player are both helping to fill in the colors that help the Indian feel to this
movement.
Another example of a show written with only for amplification and an Original show
concept, this means that there can be no comparison between the source material and the
arrangement,
is
2006
Santa
Clara
Vanguards
show
Moto
Perpetuo.
However
by
looking
at
a,
Chains of Reaction 8/21/06
9
excerpt
can
see
that
92 the
marimbas
are
used
to
help
push
the
96 motion
of
the
piece
along,
while
V1
the
metal
voices
are
used
to
create
melody
and
counter-melody.
V2
M1(e)
M2(c)
78
Figure
3.5
V3
Timp.
75 mf
Glock/Xylo
is
a
xylophone
with
a
glockenspiel
mounted
on
top.
76
BPM
=
Beats
per
minute
Heavy Chains
onto metal
77 M3(e)
McIntosh
2014
sf sf
78
Brain
Mason,
Moto
Pertetuo:
Chains
of
Motion
(Morehead:
Brian
Mason,
2006),
92-96.
Concert BD
w/whip (2x4)
V4
sf sf
23
Gated China
3
Concert Toms 3
Perc.
f sf mf f sf mp
In
the
above
example
we
see
the
marimbas,
M1(e)79
and
M2(c),80
they
are
providing
a
motor
Vibraphone 2
R
L R mf f R R
ff ff
Crotales
Marimba 1(e)
R
L mf f
ff ff
Hand Cym.
Marimba 2(c)
ff R R
Vibraphone 3
R R
L mf f R R
ff ff
3.681
Figure
Timpani
ff mp ff
In
the
above
example
we
see
the
metallic
voice
providing
melody
and
counter
melody.
The
Concert BD
Marimba 3(e)
M1(e)
player
even
ffswitches
from
his
marimba
instrument
to
the
crotales
to
help
provide
more
ff
Mini China
Percussion
ff sf mp ff mp
79
M1(e)
means
that
the
lowest
note
on
the
marimba
was
an
E
below
the
bass
staff
line
80
M1(c)
means
that
the
lowest
note
on
the
marimba
was
a
C
below
the
bass
staff
line
81
Mason
2006
24
^. ^. ^. ^. ^. ^.
q=172
#4
Trumpet 1 & #4 46 44
ff 3 ff 3
#4 ^. ^. ^. ^. ^. ^. 4
Trumpet 2 & #4 46 4
ff 3 ff 3
#4 ^. ^. ^. ^. ^. ^. 4
Trumpet 3 & #4 46 4
ff 3 ff 3
#4 ^. ^. ^. ^. ^. ^. 4
& 4 46 4
Mello 1
Synthesizers
and
Samples
ff 3 ff 3
Mello 2
#
& 44 #^. ^. ^. 46 #^. ^. ^. 44
3^ ^ 3^ ^
The
era
of
electronics
has
given
writers
more
sounds
and
colors
to
use
then
ever
^. . # . ^. . # .
ff ff
? 4 6 44
Bari 1 4 4
^ ^ ^ ^
^. . # . ^. . # .
ff 3 ff 3
? 4 6 ^ 3^ ^
4 j j 44
b > 4 b
> # >
Tuba
f > #
> # # ff . . .
DTX Accordion
> >
4 46 44
Sweep Sample
w
DTX - Vibraslap
/ 4
Synth 1
? 4
4 46 44
b b ^ ^ ^
j # # j # 46 # . . . 44 j #
Piano
? 44
f ff 3 f
^ ^ ^ ^ ^ ^
Synth 2
? 4 j b j # # b . 3. . ? j # # b j # 46 # b . . . 44 j #
Acoustic Bass
4 # #
3o +>
6 3 >
ff > f > > > > >3 3 3 > >
> >33 > > > >
f 3 3 ff f
/ 44 4 7 44
Drumset
ff mf Top of marimba 1 ff mp f f
. . 3. Marimba4
/ 44 46
IP 1003
J J J & 4
SusCym
3
Top of marimba 2 ff f
. . 3. Marimba IP 1003
4
/ 4 46 J J J & 44
SusCym
IP1003 ff 3 f
Marimba
4
& 4 # 46 # 44
ff 3 ff 3
IP1003
4 # #
Marimba & 4 46 44
3 ff 3
ff
IP1003
IP 1003
Marimba & 44
#
46 44
ff 3 ff 3 f
. 44 Y
4
46
Tam Tam
SusCym / 4 J
ff IP1003
f
4 # #
Marimba & 4 46 44
ff 3 ff 3
4
46 4
IP1003
Marimba & 4 # # 4
Top of marimba 4 ff
. . 3. 4
IP 1003
ff 3 3
4 46
Marimba
SusCym / 4 J J J & 4
3
Top of marimba 5 ff f
. . 3.
/ 44 46 J J J & 44
Marimba IP 1003
SusCym
? 4
ff 3 f
Timpani
4
46 44
110 111 HOLD 111A GO
108 109
Figure
43.782
7 46 44 g g
- - 3 -3 - 3 > -3 - 3 >3 3 3 - >>3 3 - >3 > - - - - -- - -
Guts To Center Viz...
Guts Cross-shot
q=172
7
AS-MM's
SnareLine / 4
Lrl R L R L R L R L R L R Lrl R R R R L R L RLR L R L R L R L RLR L R L R L R R R R R RR L RR L RR
p f mf ff mp
TenorLine
4
/ 4 46 44
> - . . . . . 3 - 6 >.
. . . . 6 --- . -. >>3 3> >
. .
In
figure
3.7
we
can
see
that
s ynthesizer
the
players
can
now
can
now
play
different
sounds
3 >
. .
6 6
>>
6 3
j
3
6 4
6 6
4
3
/ 4 4 4
Bass
ff pp mp f mf f L RLR
f
that the other front ensemble players cannot or no longer have to play. In measure 4 the
synthesizer 1 player plays an Accordion sound, which could not be played by another player
because
it
is
against
the
rules,
and
then
in
measure
5
they
make
a
vibraslap
sound
by
playing
on
82
Michael
McIntosh,
eXtraordinarY
(Rosemont:
Cavaliers,
2011),
1.
25
13"
112 16"
113 18"
114 21"
14" 17" 20"
#
10
T1 & #
#
T2 & #
#
T3 & #
#
M1 &
83
the
&DTX .
The
next
two
M2
#
figures
show
how
the
writing
of
the
front
ensemble
has
increased
in
B1
?
difficulty
and
B2
is
more
enjoyable
?
to
play
and
listen
too.
Eu
?
?
>
>
> >
Tba.
>
Marimba
/ &
R R R R etc. R R R R
VSlaps
?
bybMichael b w w b # n # n
?
Last edited
# j # on 8/4/11
McIntosh #23:39
& b # n
w w
A. Bass
? b j # # b
Piano
# &
> > > > > >> > > >>>> > > > >> >
>
Dr.Set /
115 >
> >
> > 116 117 HOLD 117A GO
f
Mar. & 25"
24" 31"
^
. ^ . ^
.
23" 27" 28" 29"
^. ^
. ^
.R
>
^
. ^.R ^
. etc. ^
. ^. ^
.
>
# R # > >
17
>
4 4
& #
R R R R R
4 4
T1
Mar. & 3 3
ff ^ ^ ^
. .R .
3 3
mf
^
. R^ .R ^
. etc. ^
.
^
. ^
. #^. ^
.
^
.R R R
#
& #
b 4 4
R R
# n # n
4 b # n 4
T2
Mar. & 3 3 3 R 3R
mf
^
. ^. RR R^
.R etc. ^
. ^. ^
. ^
. ^
. R R
^
. R R etc. ^
.
ff
^
. ^
.
f
## b 44 4
& # n # n
b # n 4
Mar. &
T3
3 3 R 3R
. .
etc.
. . ^ b #n#n
3
^.
ff
^ ^ ^ ^ ^ ^ ^ ^ ^ ^
mf
# . . . . . . . b #n 4
R R R R etc. R R R R
4
f
& 3 3 R 3R 4 4
Mar. &
M1
3
mf ff
# ^ ^ ^ ^ ^ ^ ^ ^ ^> > ^ ^ > ^ >
R R R R etc. R R R R etc.
#. . .
# . . . .
.
. # >
.
. . b 4
# n # n 4
& 4 b # n 4
Xylo
M2
/
mf ^ ^ ^
Tam
. .3 . ^
. ^ ^ . . . . b #n#n b
. . ^
. ^ ^ ^ ^ ^
.
ff
3 3 3
#n 4
? 4 #
Mar. &
B1 R R 4 4 J #
mf ^ ^ R^
. . RR .R etc. ^ ^ ^
3 3 3 3
.
. . ^. ^
.
R R
^
.
R R
^
ff
.
etc.
^ . ^
.
mf
f
?
R R b 4 4 b # n 4
# n # n 4 # #
Mar. & J
R R > ff >
B2
? 4 4
Pad 2 (Warm)
112 ? 4 4 w
w
w
w
- - - - Cross-shot
-
L=Butt
- - - - - -- - - - - - - Cross-shot
- - 113
^
. ^
. 114
7 g g g g 7 g ^ g
L=Butt
in c e n t e r
b b
mf
4
Accordion
/ # n
.
3
ww
Snare
& L R R R R R R L R R L R 4 # # 4 4 w
w
> ^ ^ ^ ^ ^ > ^ ^ ^ ^ 3^ ^ # # w
3 3 3 3
>3 > >3> > > 3 > ^
R R R R R R L R R L R R L R R R R R R L R R L R Upside down!
^
3 3
^ ^ ^ ^ mf
?^ ^ ^ ^ ^ ^ ^
Pno.
/
3
3
4 4
# n
# n L 4 4
Tenors
&
.
R L R R L
.3
R L
.
R L
R L R R
.
L
R L R L L R R L
. .
R L
R L
.
.
R L
.
R L R L R L R L R
L R L R R L R L L R R L L
f ff . . . mf
> > > > >
3 3 3
/ 4 4
Bass Dr
/ 4 4
Dr.Set
mf
# n
3
& # n
5
4
4 4
4
# b b
Mar.
5 3
# n b
4 4
& # n
# 4 4
Mar.
b
5 3
# b b
3
# n
5 IP 3003
4 4
& 4 4
Mar.
5 5 3 3 1 2 2 3/4 1 2 3/4 2
# n # IP 3003
4 4
mf
Mar. & 4 4
# n b
#
5 3 3
5 1 2 2 3/4 1 2 3/4 2
mf IP 3003
& 4
4 4
4
Mar.
5 5 3 3
# n mf
b
4 4
Glockenspiel 1 2 2 3/4 1 2 3/4 2
#
5
/ # n 4 4
# n # 5
Xylo
5
5 3
3
IP 3003
& 4
4 4
4
Mar.
b
5 5 3 3
# b b
1 2 2 3/4 1 2 3/4 2
# n IP 3003
4 4
mf
& 4 4
Mar.
#n
5 5 3 3
# n # mf
4 4
1 2 2 3/4 1
2 3/4 2
Mar. & 4 4
5 5 3 3
# n b
3
& # n #
b
b
4
4 4
4
Mar.
?
5 3
5
4 4
Timp.
4 4
Figure
3.985
115 116 117 HOLD
4
117A GO
4
-
Tasty-modern-relaxed
Guts
3
Snare / 4 4
R L R L R L RL R
pp
^
^ > - 5 - 5 - 5 -- -> 3 3 3 3
5
/ 4
4 4
4
Tenors
R R L L R R L L R R L L R R L L R R L L R L R L L R R L R R L L R L L R R L R R L L R L R L R L R L R L R
f mf f ff
Bass Dr / 4
4 4
4
83
DTX
stands
for
Discontinuous
Transmission.
DTX
is
an
electronic
trigger
pad
sold
by
Yamaha
that
you
can
load
almost
any
sound
onto.
84
McIntosh
2011
85
McIntosh
2011
26
In
the
above
two
excerpts
we
see
all
of
the
keyboard
players
playing
split
parts
on
the
marimbas. This means that the vibraphone and the xylophone players all left their instruments
and played on the marimbas in the front row. With the parts being split this meant that only
half of the front ensemble was playing at a time but because they keyboards were all amplified
the players did not need to worry about playing extremely hard, they only had to worry about
playing correct notes and rhythms. The synthesizers also help the front ensemble achieve great
sound quality because they were playing the sixteenth note run as well. So while the mallet
keyboard players were being the visually interesting part, and playing extremely well also, the
writers had the synthesizers playing the same run on a piano voice to make sure it sounded
good as well.
This style of writing, as seen above from the 2011 Cavaliers, is becoming the norm in
front ensemble writing. They are both challenging and interesting to play, and give the
audiences and judges something interesting and technically challenging to listen to. These
parts are helping push the level of musicianship in the front ensemble, because players want to
play that well and writers want to write something that the players want to play well.
27
Conclusion
When I started this paper I was certain that I knew how electronics and amplification
had affected the front ensemble in DCI. I assumed that I knew the origins of how the modern
front ensemble and the different rules that affected its creation. After doing the research I
quickly learned that I was incorrect on both accounts! I approached both the history of the
front ensemble and the evolution of electronics and amplification from a performers point of
view.
As a performer I learned about the front ensemble only in the time from of my
experience with the activity (from 2006 to the present) and I assumed that the main reason the
front ensemble was created was because of injuries to the performers who had to march with
those heavy instruments. While Im sure that this reasoning was used to help make the final
decision, the real reason evolution of the activity of drum corps and marching percussion as a
whole. When The Guardsmen put the timpani on the front side of the field for the first time, it
was because of low numbers in the corps, and because one percussionist tuning five timpani is
going to sound much better than five percussionists tuning five individual timpano. This idea
soon took hold in every other corps and marching timpani were a thing of the past.
Once timpani were stationary it only made sense for the mallet instruments to become
stationary too! Now that the stationary percussionists were becoming more and more
numerous, they started taking up too much of the field. Hence the rule change that put them
in the front box and off the field; this allowed the drill writers on the design team as much
freedom as they had before. Soon the allotted space in the front box had to be enlarged
28
because
the
front
ensembles
needed
more
room
for
all
of
their
equipment
because
the
music
writers were finding more and more colors that they wanted to hear in the show.
As time passed the size and instrumentation of the front ensemble became relatively
both), an auxiliary percussionist or two, and sometimes even a drum set player. As these things
became the norm across DCI, the design and writing process became pretty standard too. In
the design process the front ensemble could fill three main rolls: transitional, color, and solo.
When used as a transitional section the front ensemble was used to start or end a thought; the
writing was not always challenging for the players but it wasnt always easy either. When the
front ensemble was used as a color it normally meant that they were being asked to play
instruments other than their keyboards; this could include cymbals, drums, whistles, and
anything that made the sound the designers wanted to hear in that moment. When the front
ensemble was used as a soloist or featured section, it normally meant one of two things: 1 lots
of fast notes played by as many people as possible or 2 something that was technically
challenging that required a higher level of skill and demand than the rest of the writing. The
second option was normally used in the ballad movement of the show when the tempos
With the introduction of amplification I assumed that everything was going to change. I
assumed that designers and writers would all sorts of tricks that they were going to pull out of a
hat and employ as soon as possible. On the design level I was pretty far off the mark. The front
ensembles roll did not change in the design process at all. They still filled those three rolls:
29
transition,
color,
and
solo.
From
the
writers
point
of
view
a
few
more
avenues
were
opened
to
them however. With amplification it meant that during big loud moments for the horn line, the
front ensemble was no longer forced to play cymbals or drums. It meant that if a writer wanted
to he/she could craft a driving sixteenth note run underneath the loud horn moment to help
give it a little extra pop. Amplification meant that the front ensemble didnt have to wait for
the soft ballad to do the technically challenging parts any more. Writers could now have a
challenging permutation part push the opener along, and now it could be heard with
amplification. With amplification more sounds were available to the designers and writers;
sounds that would have had to be made at a quite moment of show because it was hard to
hear (like a human voice) could now be amplified and be heard over top of the entire corps
In 2009 with the addition of electronics into the pit, design teams were able to add
more and more sounds and colors to help get their show across. Writers of the front
ensembles found that with someone playing a synthesizer or playing an electronic instrument
that triggered special sounds; it actually freed up the keyboard players to play more on the
keyboards and less on the color and effect instruments. This helped push writers to create
more challenging and exciting parts for the keyboard players. As the writers wrote more
exciting and challenging parts the front ensemble became an exciting and fun place to be. Their
parts were fast and flashy and impressive to watch; the front ensemble started to become
really cool to be a part of. With this new realization for younger players (that being in the front
ensemble is cool) they pushed themselves to become better so they could play these new
exciting parts. Because they pushed themselves to be better, and they started getting into DCI
30
drum
corps,
the
writers
were
pushed
to
write
more
challenging
and
more
exciting
parts.
This
is
the current cycle that is happening in DCIs front ensembles today. Talented players pushing
writers to write more challenging and exciting parts, which in turn helps create new talented
players, which push writers, which in turn creates a beautiful cycle that will help push the
With the use of amplification and electronics the writers have been able to help create
music that is challenging, exciting, and (most importantly) fun to play. With these stronger
more music front ensembles the designers have been able to feature them more, because now
they can be heard no matter what they are playing. With the help of both designers and
writers the front ensemble has evolved into a musical identity that the first timpanist/front
ensemble member could ever have imagined possible. The front ensemble is integral in every
second of the modern drum corps show; each drum corps has their own distinct sound, which
could not be found without their front ensemble. It is an exciting time to be in the front
ensemble; no longer is the front ensemble home to the players who want to be in the group
but cannot march; no longer is it home to the kids who got cut from the drumline; no longer is
it the home of the people no one wants. The front ensemble is the home of some of the most
talented musicians in the entire ensemble; and with the help of talented writers and designers
the front ensemble will continue on its upward trajectory of talented players and exciting
writing. The front ensemble has evolved so much in the past ten years of amplification and
electronics, and it is with baited breath and much anticipation that we look forward to what the
31
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