Drum Corps International 2006 Yearbook

Time is of the essence ... you 've got time on your hands ... it's time for a change .. . it's about time. You can 't see, hold or feel time, but if you th row the notion of motion into the potion, you get Continuum, exploring the idea that motion may be prolonged indefinitely once activated. • The passage of time is heard through the ringing of the famed Westminster Chimes, and constantly evolving and moving circles are a fluid and recurrent visual theme, akin to concentric pond ripples. One individual at the beginning of the program sets things in motion and the continuum builds in tempo and intensity during \"Time To Go! \" based on \"As Time Goes By. \" • Richard Saucedo's energetic \"Windsprints \" is full of dazzl ing flou ri shes , setting off a whirlwind of motion that propels time forward against a buffeting zephyr of musical flurries. Herman Hupfeld 's elegant and heartfelt ballad \"As Time Goes By\" was written for a 1931 musical and is best known for its role in the World War 11-era film , \"Casablanca. \" It explores movement in a ballroom setting while instill ing the continuum with a stylish elegance. • The program is rounded out by \"Ride ,\" a Samuel Hazo piece written to evoke memories of a top-speed car ride through the countryside while watching the scenery blur past through the windows. The continuum is pushed to the edge of lift off, jeopardizing ripping the fabric time apart at the seams.



Crossmen's Lanes features the emotions and perils of traveling in a and simultaneously considers evolution experienced on a journey. • The voyage begins with the events and sounds of the ignition in Departure, which leads to a picturesque ride during Cruisin ', a nod to Pat Metheny's \"The Way Up. \" Keep both eyes on the road so as to not miss the highway lanes, blinkers and traffic signals. And definitely don 't miss the traffic stopped ahead forcing application the brakes and an abru pt stop. • While sitting in traffic, flip on the Radio and begin scanning through the stations, passing over Mozart's \"Marriage of Figaro \" and Michel Camilo's \"Caribe,\" among other tunes. Hearing the long distance dedication prior to Linda Eder's ballad , \"If I Had My Way,\" there is the rea lization of being far from home, and Longing, as seen in the guard work, references the miles yet to be driven. • Experiencing homesickness, the corps takes a Shortcut Home to the hurrying strains of Emerson , Lake and Palmer's \"Tank,\" accelerating along the way in order to get to the comforts of home as quickly as possible. Though such road trips sometimes come with their own perils, pulling in the driveway seems to make it all worthwhile.



Stimulating the body through mental and physical interaction by utilizing vibrant colors and musical tones, Chakra explores the seven centers of spiritual energy spinning within the physical body. Music is extracted from a diverse collection of works ranging from the Romantic Period through the New Age, with an equally diverse assembly of composers. • The number \" 7\" plays an important role in the construction of the show. Much of the music is in 7/ 4 meter and elements such as the rainbow (comprised of seven colors), the seven-pathway labyrinth (associated with the seven Chakras) and yoga-type body movement visually enhance the production. • A collaborative effort by Ravi Shankar and Philip Glass titled \"Passages \" provides a Middle Eastern or Indian flavor to the show, enhancing the concept of the seven major Chakras. The first movement, Earth and Water is based on \"Meetings Along the Edge \" and the second movement Fire, Air and Sound features the Shankar and Glass piece \"Sadhanipa. \" • Rimsky-Korsakov's \"Song of India \" from the opera \"Sadko\" provides a glimpse into the culture of the Asian subcontinent in movement three, Light. Movement four, Thought, features \"Glass Palace\" by Sandhu , and rock with Middle Eastern instrumentation. The piece adds traditional Hindu raga melodies and brings the show to an exhilarating conclusion.



Arguably one of the most famous composers in history of Western music, Beethoven 's melodies reflect the joys of living - relaxing the neurons one moment and making one want to dance on the roof the next. To think that he composed some of his greatest masterpieces while deaf is beyond comprehension. And in the history of music, few composers have contributed a piece of music that was immediately identifiable by its Brass staff Frank Williams first four notes. • The father of the modern symphony is honored in Glassmen's Beethoven: Mastery and Madness, a contemporized dreamscape in four independent and unique movements that proves the music of this genius is as remarkable today as ever. • Movement I draws from the master's Symphonies Nos. 1-8. In Movement II, Beethoven 's vulnerability is laid bare with Sonata No. 14 in C# minor, Op. 27 , an expression of love passion popularly known as the \"Moonlight Sonata. \" Movement based on the innovative \"Diabelli Variations, Op. 120,\" transports us to Vienna, the musical city of Beethoven 's dreams, capturing the artistic geniality of the art's center. • Movement IV reflects both Beethoven 's triumphs as an artist and his struggles with his hearing impairment in his famed pinnacle of achievement, Symphony No. 9. The fears and rage he encountered as his ability to hear diminished are overcome by the majestic \"Ode to Joy,\" an ultimate triumph of the human soul and a work that fills the heart with undeniable happiness.



Passionate and powerful, Madison Scouts ' Primal Forces is fired by the power of warrior legend and myth. Using impressions of the Pre- Columbian Americas to anchor a program rich in tribal culture and indigenous rhythms, the show unites a strong melodic soul with the aggressive , high-energy precision of the corps. • From the first thunder of distant drums, Introduction - from Isaac Albeniz's \"Feast Day in Seville\" - captures the image of a lone hero complete with intense vision and savage strength. Highly percussive and with a furious emotional climax, this work reveals the show's musically muscular character and leads to The Hunt, a driving and violent piece grounded in Alberto Ginastera's \"Harp Concerto. \" • Animal fury gives way to introspection in Reflection, which includes themes from Ennio Morricone's haunting \"Gabriel 's Oboe\" from the film score \"The Mission. \" The intense moments of solitude, however, are jarringly broken by the returning sound of tribal drums. Calling to the heart of a warrior, Invocation speaks of fraternal courage. • declaration of triumph celebration , Ginastera 's exultant \"Danza Finale \" from \"Estancia \" resolves with a signature sound and the flash of a cherished trademark.



A plethora of ribbons and bracelets , each one with a different color and a different goal , raise awareness for a variety of causes. All have the same purpose: to make the world a better place for all , a world where all beings join together on a lifelong journey to preserve the most delicate aspects of human life through joy, love, hope and peace . • Imagine! visualizes such a world. But though the show is inspired by the visual elements of these ribbons and bracelets , the music is more about the journey toward a better world than the actual causes. • Variations on Bach 's \"Jesu , Joy of Man 's Desiring,\" Movement 1: Joy! contemporizes the theme and infuses it with an unexpectedly high level of energy. Movement 2: Love and Hope is based on the pop hit \"One Day I'll Fly Away,\" and is a romantic ballad overflowing with surging waves of expressive beauty. • Movement 3: Chaos demonstrates that the journey to a world at peace-un ited in thought and focused on a common good-is a journey that is often fraught with peril and setbacks . Set to Gavin Greenaway's \"Reflections on Earth ,\" this segment cha llenges all to wade through life 's disappointments so that one day the reward - Movement 4: Peace - might be achieved . All the concepts of the show are tied together musically as melodic themes overlap, creating a sense of optimism and developing the knowledge and attitudes attuned to facing any challenges that might arise.



For a musical element as basic as rhythm, it's surprising how many definitions there are for the word. In terms of music, it mostly refers to patterns - patterns that get under the skin, elevate blood pressure, provoke dancing, clapping, stomping feet, and perhaps a loss of inhibitions. • The patterns in Rhythm Nation accomplish all the above. The power, sway and propulsive forces of rhythm are just too much for one to sit by idly. • The show is composed of five unique rhythmic passages and percussive voices introduced amidst a flurry of loud tribal beats and pulsating colors that suggest rhythm is not so much merely a segment of music as much as it is a part of life. AI Di Meola's \"Egyptian Danza\" sends the show on its way with a contemporary hipness that demonstrates the timeliness of rhythm . • Nando Lauria's lyrical \"Back Home\" allows the drumming to cool off a bit to prepare for Steve Reich 's \"Clapping Music, \" a syncopated , bouncy work that interlocks rhythms as if they were pieces of a musical jigsaw puzzle. The choir-like \"Episode- Prelude \" by Lauria refreshes the eardrums prior to the full-steam- ahead launch of Pat Metheny's \"Tell It All ,\" a multiplicity of celebratory rhythms melodic passages.



Pacific Crest hails just 30 miles from Los Angeles, the City of Angels. It's a natural then that the corps feature the classic Cy Coleman musical that digs into the world of 1946 L.A., a stark reality where love and business and art, ambition and tangle together in a smoky backroom deal. • From the City of Angels exposes the dark and dangerous side of the city, contrasting L.A. 's seedy underbelly with the renowned glamour glittering Hollywood. The dark halls of a flophouse exist in tandem theatrical spotlights that turn night into high noon. In this production , the music covers a wide variety of styles and emotions, from show-biz pizzazz to jazz waltz and Afro-Cuban ritual funk. • \"Prelude and Main Theme \" conveys the optimism , energy and sparkle of a cinematic opening night at Hollywood and Vine, the floodlights and flashbulbs, starlets and red carpets, capturing everyone's attention. \"Double Talk Walk\" is a percussion feature that is all grit, nerve and attitude. • \"With Every Breath I Take \" captures the sounds of the great big bands of the era, straight from the nightclub on Sunset when it's 2 a.m. and one's world exists only as far as the bartender. The show closes with \"I'm Nothing Without You,\" a jazz club \"cutting\" battle where the trumpets and baritones show off until they finally realize that they're having much more fun together than they ever could have by themselves.



Classic literature is full of characters unsatisfied with what they have and wanting to have it all. The most famous of these is the cautionary good versus evil tale that forms the backbone of Phantom Regiment's Faust. • Even before the production begins , foreboding strains waft forth from the front ensemble , a musical glimpse of the pact the lead character is about to make with the devi l. Serge Prokofiev's \"Adoration of Vela \" from \"Scythian Suite \" then sets the stage for the raucous entry of the devil and his cohorts creating a swirling cauldron of sinister tension. The slow waltz-like section that follows introduces the calming presence of the heroine Marguerite. But will she be able to save Faust from the devil - and himself? • The driving percussion in \"Enemy God \" from \"Scythian Suite \" represents Marguerite 's interaction with the devil and his cronies , against her better wishes. A cacophony of clashing sounds paves the way for the striking contrast of Franz Biebl 's \"Ave Maria,\" a rich enchantment of spiritual bliss soon shattered by the crucial battle for the soul inherent in John Corigliano's \"Piano Concerto. \" • Grandiose and uplifting, Mahler's \"The Resurrection \" puts everything in its proper place and order, giving hope to all and 2006 I \\, ,- eper-;o,re looking to the future with a renewed sense that ' . Faust/ evil can- and will - Sfythia~ Suite by Sergei Prokofiev one day be struck .· Ave Maria by Franz Biebl from the face • Concertb for Piano and Orchestra by Johri Corigliano the earth. Symphon'y No. 2 in C Minor (The Resurrection) by Gustay Mahler · \\ \\



Ireland is a land of intense and dramatic beauty; the Cliffs of Mohr, the Wicklow Mountains and Glendough (the Valley of Two Lakes) types of places postcards were invented to promote. These sites and the equally colorful music of the Emerald Isle provide for a picturesque travelogue . • Pioneer's Emeraldscapes is inspired by the above locations and the music of the rugged people who inhabit the land. The show itself conjures up abstract images of the aforementioned Irish landmarks. The majority of the show is a series of original compositions by Rick Kirby that leave the listener with a clear Irish sensibility interpreted in a fresh context. • Woven throughout the show is \"Tarantella\" from \"The Blue Room and Other by Phil Kline, originally written for the string quartet Ethel. A haunted feeling permeates the opening and a sense of foreboding that comes to the forefront in the closer lurks in the background. • The Celtic \"Slane\" drives the ballad. Perhaps better known as \"Be Thou My Vision, \" the melody is woven throughout the show like a musical string of yarn. Just as landscapes vary in texture and dimension, this musical explores its diversity as it transverses the Irish countryside , providing the listener with a sense of Irish history and a perspective on the evolution of the colorful world of Celtic music.



Inventors have long been fascinated with the concept of perpetual motion, the idea that something can be activated and remain in motion indefinitely. Santa Clara Vanguard's Moto Perpetuo explores that illusive theory with original music by Key Poulan, Mike Jackson and Brian Mason. Set to the contemporary sounds of symphonic and idioms, Vanguard explores the look of continuous motion through movement and music by stretching the boundaries of space, time and sound. From the first person on to the last person off, someone, somewhere is always in motion. • In \"Chains of Reaction \" a \"big bang\" acts as a catalyst to that motion as it sets off an extended opening explosion. A multitude of simultaneous meters concludes with an exhaustive tempo at near warp speed. \"Newton 's Cradle\" continues the perpetual motion with a quirky jazz romp inspired by the kinetic transfers of energy in the title creation , which recalls the toy where one stringed- up ball slams into another causing the last ball to pop outward. • \"Echoes of Time \" is not your father's romantic brass ballad. With dueling brass and percussion motifs echoing throughout, the explores sound drifting through time doing to music what Salvador Dali did with paintings of drooping watches. • In \"Speed of Sight,\" vigorous and unrelenting motion ignites around a lone individual moving in a different dimension of time , one who continually marches forward into the realm of the future. But can time handle the dichotomy? In the final seconds , that question will be answered in a most unanticipated fash ion.



Redemption reflects personal journeys through dark times and deliverance from these travails, which ultimately lead to the joy of light. • Stephen McNeff's \"Ghosts\" and Bela Bart6k's \"Second String Quartet, Allegro Molto Capriccioso\" begin the journey with a startling portrayal of fear and anxiety. Observe the corps on the left front side of the field and watch as the performers gradually shift the visual focus to the right side. On a micro level, pushing and pulling takes place throughout the transformation. This duality is depicted in moments ranging from subtle internal strife to outright conflict . • As the music progresses, a color shift from black to white utilizes a spectrum of deep reds to lead from darkness to light. In \"Dance Movement No. 1\" by Russ Newbury, the corps sees its first moments of light as it opens its eyes toward brighter shades of red. • In the ballad , \"Lux Aurumque \" by Eric Whitacre, the field explodes with glorious pinks as the quest for redemption takes hold. An up-tempo finish races into the percussion feature of \"Ra! \" by David Dzubay, embroiling conflict as darkness resurges and attempts to pull the corps back. The flowing melodies of \"Lux Aurumque \" return triumphantly to relieve from the turmoil , pushing the corps to the end of its migration the shimmering white light of redemption.



A duality suggests two complementary or opposing parts. Through Duality, Southwind explores complements and oppositions including side vs. side, front vs . back, white vs. black, highs vs . lows, classical vs. contemporary, woods vs. metals, forward vs. reverse , flags vs. weapons, brass vs. percussion, sound vs. silence, and musical ensemble vs. visual ensemble. • There is no story line to the show; it is an exploration of duality in color, sound , space and time , enhancing the effects with the high brass wearing one color scheme and the ~-=--- brass and percussion wearing a contrasting one. The contributes to presentation with a costume that morphs throughout, with flag designs exploring a vibrant color spectrum. • The program is composed of three movements: Movement 1: Spatial Duality includes \"Firebird Suite \" by Igor Stravinsky, \"In the Spring at the Time When Kings Go Off to War\" by David Holsinger, \" Lost in the Darkness \" from \"Jekyll and Hyde,\" \"Pie Jesu \" by Andrew Lloyd Webber, \"Incantations \" from Cirque du Soleil and original music by Steve Vento. de Lune \" by Claude Debussy is the sole work in Movement II: Stylistic Duality. Movement Ill Temporal Duality includes \"Profanation\" by Leonard Bernstein, melodies inspired by Shostakovich 's \"Tenth Symphony\" and original compositions by Steve Vento.



Those who remember hearing the remarkable Jim Ott horn line of a second-year corps (that was due to place in the top six at the DCI World Championships) might be stunned to realize that Spirit is enjoying a year-long celebration culminating with the 30th anniversary of its founding in the winter of 1976. In celebration of the corps ' storied past and its recent resurgence as one of the activity's top units, Spirit presents Old, New, Borrowed and Blue, a show that offers exactly what its title suggests. • An \"old\" Spirit favorite is \"01' Man River, \" from the corps' heralded 1980 season when , despite end ing in fourth • place, the corps scored only .8 from the winning score. The work is juxtaposed on top of another great jazz standard, \"That Old Black Magic.\" The \"new\" is represented by music from the Aaron Zigman soundtrack to \"The Notebook, \" a lovely ballad of expressive harmonies that puts the listener in a sonic landscape of a southern postcard. • \"The Waltz of the Mushroom Hunters\" is \"borrowed\" from the Buddy Rich big band library, its \"nuevo-jazz\" styling highlights a variety of brass and percussion musical vignettes that flow past the ears as if one is walking past the culinary offerings of a contemporary jazz buffet. • \"Blues in the Night\" and Frank Ticheli 's wind score of \"Blue Shades\" offer up the \"blue,\" with multiple visual and musical layers blue that drive home theme.



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VJ/v/J-/on ff & /IT :J!dvirorg eommit't'ee Chairman Executive director George Brown Vanguard Cadets Dan Acheson Vice chairman Division II & Ill Edward Martin Yamato coordinator JW Koester Delegates at large Tom Chopelas East Coast Jazz Charlie Groh Impulse Robert Jacobs Jersey Surf Peter LaFlamme Spartans Vicki Shaffer Colt Cadets



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The defending DCI Division II Champions bring the sounds of one of America 's great jazz communities to the field with Harlem Suite, based on Duke Ell ington 's musical masterpiece, \"A Tone Parallel to Harlem. \" • Through its soulful strains, picturesque melodies and throbbing rhythms , the tour de force captures the essence of the proud community that has fostered the talent of many jazz legends. It is partnered with the Ellington Band 's wildly popular \"Take the 'A' Train, \" written by Billy Strayhorn . • The music at first evokes images of New York in the 1950s with a range of styles from classic swing to blues to gospel. Then the corps hops in a time machine and journeys across the decades to walk streets of today's Harlem, the modern of techno rock and Latin jazz dance



In Distant Hope, Progressive Destiny, Fever flashes forward to the future with selections from the movies \"Paycheck, \" \"Time Machine\" and \"First Contact. \" This is a journey of humanity striving to travel the eternal path toward peace. As the idea of peace gets closer to realization, however, a new realization arises: the distance we are from our appointed destiny. • The journey begins with a reflective dawning of the sounds of discovery. \"Hog Chase, Part 2\" from \"Paycheck\" creates a dynamic tempo of urgency that captures the sensation of pursuit. Hope is provided during a ballad to a warm theme from \"First Contact. \" • The last segment begins with \"Hog Chase, Part 1,\" with some jazzy influences that develop into a sense of struggle. After the battle , another theme representing the peace within arises to give all a feeling that hope is still present and our search for humanity is not in

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Though the Impulse show revolves around Danny Elfman 's soundtrack to \"Charlie and the Chocolate Factory, \" Me, Myself, and ! is no trip to the candy store. There is nothing sweet or childlike about this production , despite the exclamation mark in the title reflecting the huge \"Zot\" on the corps ' uniforms. • Rather, like the movie, the show is dark, funky and rocking - three personalities each represented by corps' brass, percussion and guard but acting as one entertaining unit. • \"Main Title \" lets us know right away that this is dark (and mysterious) chocolate and not the sweet variety, and \"Augustus Gloop\" is dance-like in a funky, rock manner. Playing off the aggressiveness of the percussion, \"Mike Teevee \" is dark and angry, Beauregard \" is a rocking rhythmic ride that inspires



The Jersey Surf Visits the Moulin Rouge goes to the center of European glitz and glamour, the fabled Montmartre, Paris entertainment venue that has influenced Broadway and Vegas shows. • Soon after opening in 1889, the revues featured a bevy of famed gorgeous showgirls. The operetta was born on the stage in 1903, often with the music of Offenbach. Yet today, a troupe of 100 artists performs nightly amidst sumptuous costumes of bedazzling feathers , rhinestones and sequins. • The soundtrack from the visually stunning Baz Luhrmann motion picture, \"Moulin Rouge, \" is the musical inspiration for the show. Selections include \"Nature Boy\" by Eden Ahbez, \"EI Tango de Roxanne,\" Elton John's \"Your Song,\" \"Diamond 's are a Girl's Best Friend,\" and the ever-popular French dance musical icon, Offenbach 's peppy \"Can-Can. \"

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Memphis Sound hails from a city renowned for being one of the major incubators of blues music and one which often serves as a stopping point for blues musicians heading up the Mississippi River. • \"The blues\" is just one of the Shades of Blue in a cool production that includes a variety of music with the word \"blue\" in the title. Each piece evokes the melancholy sensation of feeling blue and draws out the visual theme of various shades of the color blue. • The show gets underway with the hip \" Basically Blues/ Things Ain 't What They Used to Be.\" A number of contrasting blues grooves further wash the field with shades of the primary color in \"Rondo Blue \" (comprised of \"Blue Rondo \" Blues in the Night\" Blue \"). The production concludes with David Holsinger's soulfully contemporary \"Scootin'

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uses the stadium as its very own echo chamber. Utilizing the audio phenomena echoes as a continual musical theme , the repetition of sound is found throughout the program with many visual implications: a design infused with repetition, reflection and a sense of vertical and horizontal symmetry. • Unearthly sounds saturate \"Echo\" by Lewis Norfleet, a piece that continually introduces new material mirroring the opening moments of the show. \"Snow Caps\" by Richard Saucedo is next, based on a layering of sounds produced through echoes. • A Norfleet ballad features a canon of brass soloists generating a soothing mood through lush harmonies. The program concludes by combining all the previous effects during Eric Whitacre 's \"Equus,\" a piece fu II of driving, repetitive rhythms, with a high- velocity frenzy of echoes that charge

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If you want to see the United States, it's easy to fantasize about hitting the long ribbon of pavement that stretches from California to the New York Island, from the redwood forest to the Gulf Stream waters. The defending DCI Division Ill World Champion Raiders take us on such a journey in Coast to Coast. • Heading from east to west, the journey starts in New York City amidst the busy sounds of the great metropolis, heard in the brash and spirited \"Awayday\" by Adam Gorb. Pulling out of the city, the pace lessens as we head toward the Great Plains to Pat Metheny's \"Letter from Home, \" its strains flowing as freely as the wheat one might see in the fields on the side of the road. • \"Strawberry Soup,\" the beloved jazz classic by Don Ellis, has a flamboyant panache that welcomes us to the West Coast like a giant Hollywood neon sign overlooking Sunset Boulevard.

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In Greek mythology, the Muses are the nine daughters of Zeus and Mnemosyne, the goddess memory. The Muses oversee the creative arts, and here provide the inspiration for Spartans as the corps' program explores the artistry and power within everyone. • Advent Rising is developed from excerpts of Tommy Tallarico 's soundtrack for a video game based on a legend about a powerful, ancient race of humans that hold the powers to one day unite the universe. Individuals, represented by solo musicians, search for a higher purpose and the pursuit of excellence while a Muse, expressed by solo dancers, encourages the release of the dormant artistry and powers. • Selections include \" Muse, \"-the primary theme and of the presentation- \" Poet a,\" \" Greater Lights,\" \" Stolen Transport\" and \"Bounty