2016 DCI Rules Change Proposals

2016 Drum Corps International Rules Change Proposals Use of Electronic Equipment and Amplification....................................................................2 Use of Metronome and Speaker in Warmup...........................................................................5 Percussion 1 Sheet Modification.................................................................................................8 Percussion 2 Modifications......................................................................................................... 14 Convert Percussion 2 to Music Analysis 2.............................................................................. 20 Percussion 2 on the Track/Front Field..................................................................................... 22 Field Judges Moved to the Front Sideline............................................................................. 24 Allowing Half-Tenths for Judges............................................................................................... 26 Musical Ensemble........................................................................................................................... 28

Proposal: Use of Electronic Equipment and Amplification Submitted By: Kevin Shah (Blue Knights), David Glasgow (Bluecoats)

2016 Rules Proposal - Combined by Kevin Shah (Blue Knights) and David Glasgow (Bluecoats) - 12.02.15 Replace the Current Rules 4.3 and 4.8 with the following: USE OF ELECTRONIC EQUIPMENT AND AMPLIFICATION Use of Electronic Equipment: • An “Electronic Instrument” shall be defined as any electronic component that produces/ amplifies sound. • • A “Sample” is defined as any captured sound that is performed with one trigger on an Electronic Instrument. • “Tempo-Specific” can be defined as any sample from which tempo, through rhythmic intent, can be derived relative to the moment. This includes sequenced music, looping, and delay effects with rhythmic intent. • “Non Tempo-Specific” samples can be defined as any sample without rhythmic intent. • Tempo-Specific samples are NOT allowed.  • Non Tempo-Specific samples are allowed. • Sampled or Amplified Human Voice is allowed • Tempo-Specific human voice, lyrical or spoken, shall be sampled per word while allowing for melismatic and syllabic intent. • Non Tempo-Specific human voice is allowed in lyrical or spoken word form. • Permission must be obtained for any and all copyrighted material. • Penalties are issued at the discretion of the contest director - up to and including disqualification Amplification: • Any equipment that is allowed for performance on the competitive field may be amplified. • A soundboard may be placed on the field of competition or in between any sideline and wall of the stadium. A soundboard cannot be placed in the stands.   • The soundboard may be adjusted by a corps member if on the competitive field. The soundboard may be adjusted by member of the corps’ staff if outside of the field of competition.   • The soundboard operator (if outside the field of competition) may speak to a corps representative in the stadium and/or in the stands via mobile device. Additionally, a soundboard operator may adjust the soundboard wirelessly from a designated area as close to the judges as possible.



















A SMAX :   100 •C EENXCS•••EEML   L  BMRSE LO HN U EYUC S CTEN I  CHODAIM AH   SPNIECRISTSOICHVRDL I EEPA U NLRA C EI TT TSEIYSOSANTN O  D  : PRE  CIS  ION   U UNIFORMITY ••••P EXPRESSION BLEND AND BALANCE T ______________                63                            69      70                          75                              83                            89      90                          92                                97                        100 ALLY CONSISTENTLY ALWAYS 70  -  89 90  -  100 -  69 ©  2015  D  C  I

M  —  P D  C  I C • WORhCaHtE  SisT R tAhTeIO  bNr-eTahde tthho  uagnhtdfu  ldaendptthho r ooufg  ihnpdlainvniidnguoafl m aunsidca  l sveholeacmare•ebndtus  lriCaneRfrusEyspAe?Tdo I  Vi nnItsToYibth-ieTlihpeeerocsrui gs rsienioalnlaitcyto,emudnpi q otusoiet in otenhs.se, a mnduimsiacgainla  tion Wha•t  isV  tAhReIE  TdYe-pTthhe  daivnedrs i tryaonf ginest r oumf e tnetacthionn,icoalol r a, tnexdtu  mre,usical   skills?     timbre, intensity, detail, and nuance utilized in the percussion To  w•hatRc o AdmNepGgoEsrietOioeFn  .CdOoN  tThEeN T p-eTrhfeosrcompeeorfst  hdeeemxporensssivteraantde   simultatnecehoniucasl  roepre  lratoyiree raenddd  reeptshpoof vnosciabbuillairyeinst  hoefp  prolgaraymin. g   • aCnLA  iRnIsTtYrOuFmINeTnEtN, T m- Tohveipnrges  einnt a atinondo  tf hcormopuogsihtio  fnoalremlems,e  nts in a lcisletaer nanidncgo  nacnisde m raensnpero. nding  to  others,  and  manipula ng   • bSoIMdUyL T pAoNsEiOUoSnR?ESPONSIBILITY - The layering of responsibilities on the performers; especially within the context of physicality, performance, and Wenhviraotn m ise n tthaled e rmaanngd.e  of  musical,  physical,  and   environmental  challenges? How  do  each  of  these  factors,  collec vely  and  individually,  c        0                              9                                  19                            29    30                          35                                43                            49    50                            55                 RARELY SOMETIMES USUA 1  -  29 30  -  49 50  - #  JS  008—L  R  —  03  M  2014

A • DoEXfo  Cr  tEh•hLyLetE h NSpOmCeEUriNcfAo DS arIPmrTRROecEDruLsUAl aT CcEToSIOnoTNsnOis:s- ?tTehenatblyili t dy oefmtheopnesrtforramteers  ctolacrleiatryly   present the composition through the masterful creation of Is  approchparraiactteeri s bticasloaunndcse.  and  blend  demonstrated? Do  t•he  MpeUrSfICoIrAmNSeHrIPs  -cTohne saibsiltiteynoftplye r dfoermmeros tnosctornavteey   expr•esscCioLvmAepR  oqITsuYitiaoAnlNiaDl inePtsRe nE atCnaISndIdO  emNxp-urTeshsiseciviaeabqinliutsyahloitifieptsh?.e  p   erformers to Is  clarityac  caunradte  luy npriefsoernmt rhiyttyh m oicf  csotnytelent,.  interpreta on,  and   • aErNSEcMulBaLE oCOnH  cEoSnIVsEiNstEeSSn-tlTyh e daebmilityoonf sthteraentseedm?bl  e   to establish Cahnoodrinzmosnaiidtnatellayri.ninpugl s ae lclo  cnthroallalnednrghyethsm,  idcost a tbhiliety  ,pbeotrhfoverrmticaellrysa n  d • dUeNmIFOoRnMsItTrYa-tTeh  emcounssiiscteanltitpyre, s penrteatcioisnioofnst,y  lae,ntedc  hanciqcuue,rpahcrays?in  g, and quality of sound from player to player. • EXPRESSION - The ability of the performers to bring the composition to life through their musicality and expressive efforts. • BLEND AND BALANCE - The quality production of sound between individuals and sections to present an effective ensemble or segmental presentation. compare  to  each  and  all  the  other  units  in  the  compe on?                63                            69      70                          75                              83                            89      90                          92                                97                        100 ALLY CONSISTENTLY ALWAYS 70  -  89 90  -  100 -  69 ©  2015  D  C  I

Proposal: Percussion 2 Modifications Submitted By: Kevin Shah (Blue Knights)







8 M P C SMAX :   100 • ORBSRRC•••HESEVRC T  XAARRPERN A RAI GE  TETTIEISO VY  SONI IT DVF Y ECON   T  E  NT      P       T  ECHNICAL - A   ND • • USE OF ELECTRONICS CLARITY OF INTENT •• RELATIONSHIP OF MUSICAL ELEMENTS BLEND AND BALANCE WITHIN THE MUSIC ENSEMBLE • SIMULTANEOUS RESPONSIBILITY JUDGE  : _______        0                              9                                  19                            29    30                          35                                43                            49    50                            55                 RARELY INFREQUENTLY SOMET 1  -  29 30  -  49 50  - #  JS  008A—L  R    —  05  MAY  2014

   2 A SMAX :   100 • EEXCELLENCE A   S I T  R  ELATES TO   :  Q     •••• ECPBNS•••EMBRSMLOHU E YUS  CTNI CH O D IRMAHPNIE   CRSSOICHVDLIEPAUNRCEI T TSIY SO A  ANND       P   REC I SION   UNIFORMITY EXPRESSION BLEND AND BALANCE WITHIN THE PERCUSSION VOICES T ______________                63                            69      70                          75                              83                            89      90                          92                                97                        100 TIMES USUALLY ALWAYS 70  -  89 90  -  100 -  69 ©  2015  D  C  I

M  —  P D  C  I C • OWRChHaEtS  iTsR  AthTIeO N b-reThaedthtohu  gahntfdul  adnedpthtohro  ougfh  ipnladninvinidg uofaml u asincadl e  slehmaernetsd   resp•onCsRibEiAlTiIVeITsY  r-eTlhaetoeridgi n taolit  yt,huneiq  mueunessisc, aanld  vimoacgainbautiolan rinyfu  sed into the incl•udinVpeAgrRc  auIEscTsoiYoun- scTohmecpd  oaivsenitridsoitn  ye. olfeicnsttrruomneinct a otiornc,hcoelsort,rtaextuoren, ?tim    bre, intensity, To  whadte  tdaiel,ganrdeneu  adnoce  tuhtieliz e pdeinrfthoerpmerecursssi  odnecmomoponssittiorna. te   sim•ultaRnANeoGEuOs  FoCrO  laNyTEeNrTe-dT  ErCeHsNpIoCnALsiAbNilDi EXePsR  oESfS  pIVlEa-yTinhegs c aopne   of minsatn•riupmurUtehleSaienEnfmoOtnru,cFs eg imcEm a bLleoEanoCvntddTianRnytdeOg  cp Ns hiyonnInCistc  Shaaiel-ntrTioecdhpnse e ot?rsuhteonraidrmoecluraeensgasdthbivo lo enfcnotadorbomcurflaeasracy,toe i anuasntnthicdeels ep ovruoantgedrdam. What  isp e trhcuess  iroanntegxetu r oe.f  musical  challenges  presented  by  the   • CpLeArRcITuYsOsiFoInN T tEoNtTa-liTthye?presentation of compositional elements in a clear and concise manner. Wh•at  isR E tLhAeTI  OraNnSHgIeP  OoFf  MteUcShICnAiLcEaLlE  aMnEdN T eSx-pTrhee sarsriavngei n  g and composing compoonfepnertcsus?sion and electronics as it relates to the brass in a musically appropriate manner as to maximize expression. • BLEND AND BALANCE WITHIN THE MUSIC ENSEMBLE - The thoughtful arrangement of sonic relationships between all of the musical elements combined to present an effective audio presentation. • SIMULTANEOUS RESPONSIBILITY - The layering of responsibilities on the performers. How  do  each  of  these  factors,  collec vely  and  individually,  c        0                              9                                  19                            29    30                          35                                43                            49    50                            55                 RARELY INFREQUENTLY SOME 1  -  29 30  -  49 50  - #  JS  008A—L  R    —  05  MAY  2014

 2 A • DEoXC  tEhLeLE  pNeCErfAoSrImT ReErLsA  TdEeSmTOo: nstrate  excellence  as  it  relates  to   the  q•uaSlOi UeNsD  oPfR  OmDuUCsiTcIOiaNn-sThheipab?ility of the performers to clearly present the composition through the masterful creation of characteristic sounds. Cons•ideMriUnSgIC  aIAlNl  cSHhIaPl-leThnegaebisli,t y doof p  tehrfoer m peersrtfoocromnveeyrsco  dmepomsitoionnasltinrtaetnet   musicalaitnyd,e  pxprrescsivseioquna,l i taiens.d  accuracy? Do  t•he  paRcHecYrurTfaoHteMrlmyICperCerLsseA n RdtIreThYmytAhoNmnDicscPtoRrnEatCetnIeSt.I  OcNla-riTthye  aabnilidty  uofnthifeopremrfoirtmye  ros fto   • rEhNyStEhMmBLicE  CaOrHEcSuIVlaENEoSnS,-  sTthyelaeb,il  iatynodf t  hine teensrepmrbeletato eostnab?lish and Ism  abinatalainnpcuelse  acnondtr  obl laendnrdh y dthemmic sotanbsiltitry,abtoethdv  eprltaicaylleyra n tdoh  oprlizaoynetarll y a. nd   • tUhNroIFuOgRMhoITuY t-  Tthheec o pnesisrtcenutspsreiosennt  attoiotnaolfittyec?hnique, phrasing, and quality of sound from player to player. • EXPRESSION - The ability of the performers to bring the composition to life through their musicality and expressive efforts. • BLEND AND BALANCE WITHIN THE PERCUSSION VOICES - The nuanced arrangement of percussion voices between individuals and sections to present an effective ensemble presentation. compare  to  each  and  all  the  other  units  in  the  compe on?                63                            69      70                          75                              83                            89      90                          92                                97                        100 ETIMES USUALLY ALWAYS 70  -  89 90  -  100 -  69 ©  2015  D  C  I

Proposal: Convert Percussion 2 to Music Analysis 2 Submitted By: Kevin Shah (Blue Knights)



Proposal: Percussion 2 on the Track/Front Field Submitted By: Bret Kuhn (Phantom Regiment)



Proposal: Field Judges Moved to the Front Sideline Submitted By: Fred Morrison (Crossmen)



Proposal: Allowing Half-Tenths for Judges Submitted By: Ron Hardin (Carolina Crown)



Proposal: Musical Ensemble Submitted By: Jeff Fiedler (Santa Clara Vanguard)





PERCUSSION ENSEMBLE SHEET CONTENT - Maximum 100 Breadth and Depth of Musical Vocabulary Simultaneous Musical Responsibilities Range of Musical Challenges Presented by the Percussion Totality and the Entire Music Ensemble Range of Expressive and Technical Components ACHIEVEMENT - Maximum 100 Excellence as it Relates to Qualities of Musicianship Timing as it Relates to Environmental and Spacial Challenges Clarity of Rhythmic Articulation Balance and Blend within the Percussion Totality Appropriate Balance and Blend Between Acoustic and Electronic Elements

BRASS ENSEMBLE SHEET CONTENT - Maximum 100 Range of Musical Vocabulary and (something I couldn't read...looks like Ch- something?) Depth and Breadth of Orchestration Range of Expressive Components Range of Appropriateness of Musical Devices Range of Musical Challenges (for Brass alone and with consideration of the various challenges presented in the program by the visual and entire music ensemble) Simultaneous Responsibilities ACHIEVEMENT - Maximum 100 Consistency of Ensemble Intonation Clarity and Uniformity of Style and Interpretation Appropriateness of Balance, Blend and Sonority Ensemble Cohesion (was Precision of Vertical Alignment) Mastery of Musical, Physical and Environmental Challenges Mastery of Expressive Responsibilities Appropriate Balance and Blend Between Acoustic and Electronic Elements