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.
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Permission must be obtained for any and all copyrighted material.
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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.
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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.
Power Requirements: •
A dedicated electrical outlet providing 110 volts, with at least 15 amps of current to be within 50 ft of center of the field on both front and back sidelines, and within 50 ft of the center of each end zone.
•
Whoever reviews and approves a performance site should confirm that the power outlets are dedicated and not to be used with other equipment. This should also be communicated in any conversations with the venue before the actual performance date. If possible, and at the very minimum, technical personnel should be available on the day of the actual performance to ensure all needs are met.
•
While power supplies will be provided at all performance venues (front, back, and in both end zones), the ultimate responsibility for the supply of power for any use of amplification rests with the performing unit. Adaptation to the environment of individual competitions is the responsibility of the corps.
Proposal: Use of Metronome and Speaker in Warmup Submitted By: Kevin Shah (Blue Knights)
Proposal: Percussion 1 Sheet Modification Submitted By: Kevin Shah (Blue Knights)
8
M
P
S
MAX 100
C D • D S R • •
:
ORCHESTRATION • CREATIVITY • VARIETY , , OF CONTENT • RANGE CLARITY OF INTENT SIMULTANEOUS RESPONSIBILITY
MAX 100
A C •
U •P • • •
S
:
EXCELLENCE AS IT RELATES TO: • SOUND PRODUCTION • MUSICIANSHIP CLARITY AND PRECISION • RHYTHMIC COHESIVENESS ENSEMBLE UNIFORMITY EXPRESSION BLEND AND BALANCE
T
JUDGE : ____________________
0 9 19 29 30 35 43 49 50 55 63 69 70 75 83 89 90 92 97 100
RARELY 1 - 29 # JS 008—L
R
SOMETIMES 30 - 49 — 04 M 2014
USUALLY 50 - 69
CONSISTENTLY 70 - 89 © 2015 D
ALWAYS 90 - 100 C
I
M
D
C
— P I
C
A
ORCHESTRATION - The thoughtful and thorough planning of musical • What is the breadth and depth of individual and elements
shared responsibili es related to the musical • CREATIVITY - The originality, uniqueness, and imagination vocabulary? infused into the percussion composition. What is the depth and range of technical and musical • VARIETY - The diversity of instrumentation, color, texture, skills? timbre, intensity, detail, and nuance utilized in the percussion composition. To what degree do the performers demonstrate • RANGE OF CONTENT - The scope of the expressive and simultaneous or layered responsibili technical repertoire and depth of vocabularyes of playing in the program. CLARITY OF INTENT The presentation of compositional elements in a an instrument, moving in and through forms, • clear and concise manner. listening and responding to others, and manipula ng SIMULTANEOUS RESPONSIBILITY - The layering of responsibilities on the • body posi on? performers; especially within the context of physicality, performance, and What is the range of musical, physical, and environmental demand. environmental challenges?
EXCELLENCE AS IT RELATES TO: • Do the performers consistently demonstrate clarity - The ability of the performers to clearly • SOUND PRODUCTION of rhythmic ar cula ons? present the composition through the masterful creation of
Is appropriate balance and blend demonstrated? characteristic sounds. MUSICIANSHIP - The ability of performers to convey • Do the performers consistently demonstrate compositional intent and expressive qualities. expressive quali es and musicianship? • CLARITY AND PRECISION - The ability of the performers to Is clarity and uniformity of style, interpreta on, and accurately present rhythmic content. ENSEMBLE COHESIVENESS - The ability of the ensemble to establish • ar cula on consistently demonstrated? and maintain pulse control and rhythmic stability, both vertically and Considering all challenges, do the performers horizontally. UNIFORMITY - The consistent presentation of style, technique, phrasing, • demonstrate musicality, precision, and accuracy? • •
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.
How do each of these factors, collec vely and individually, compare to each and all the other units in the compe
on?
0 9 19 29 30 35 43 49 50 55 63 69 70 75 83 89 90 92 97 100
RARELY 1 - 29 # JS 008—L
R
SOMETIMES 30 - 49 — 03 M 2014
USUALLY 50 - 69
CONSISTENTLY 70 - 89 © 2015 D
ALWAYS 90 - 100 C
I
Proposal: Percussion 2 Modifications Submitted By: Kevin Shah (Blue Knights)
8
M
P MAX 100
C
S
:
B D • ORCHESTRATION S CREATIVITY R • VARIETY P • RANGE OF CONTENT - TECHNICAL AND • R EXPRESSIVE • USE OF ELECTRONICS CLARITY OF INTENT • RELATIONSHIP OF MUSICAL ELEMENTS • BLEND AND BALANCE WITHIN THE MUSIC ENSEMBLE SIMULTANEOUS RESPONSIBILITY
• •
2 S
:
Q
A
MAX 100
•
EXCELLENCE AS IT RELATES TO: P • SOUND PRODUCTION MUSICIANSHIP • C R A RHYTHMIC CLARITY AND PRECISION • B ENSEMBLE COHESIVENESS UNIFORMITY EXPRESSION BLEND AND BALANCE WITHIN THE PERCUSSION VOICES
• • • •
E
T
JUDGE : ____________________
0 9 19 29 30 35 43 49 50 55 63 69 70 75 83 89 90 92 97 100
RARELY 1 - 29 # JS 008A—L
R
INFREQUENTLY 30 - 49 — 05 MAY 2014
SOMETIMES 50 - 69
USUALLY 70 - 89 © 2015 D
ALWAYS 90 - 100 C
I
M D
— P
C
2
I
C •
A
ORCHESTRATION - The thoughtful and thorough planning of musical elements
What is the breadth and depth of individual and shared - The originality, uniqueness, and imagination infused into the • CREATIVITY responsibili es related to the musical vocabulary percussion composition. including acous c and electronic orchestra on? • VARIETY - The diversity of instrumentation, color, texture, timbre, intensity, detail, and nuance utilized in the percussion composition. To what degree do the performers demonstrate RANGE OF CONTENT - TECHNICAL AND EXPRESSIVE - The scope of • simultaneous or layered responsibili es of playing an the musical and technical repertoire and vocabulary in the program. instrument, moving in and through forms, and • USE OF ELECTRONICS - The seamless blend of acoustic sound manipula ng body posi on? reinforcement and synthetic sound creation to create an elevated percussion texture. What is the range of musical challenges presented by the OF INTENT - The presentation of compositional elements in a clear and • CLARITY percussion totality? concise manner. What is the range of technical and expressive • RELATIONSHIP OF MUSICAL ELEMENTS - The arranging and composing of percussion and electronics as it relates to the brass in a musically components? • •
appropriate manner as to maximize expression. BLEND AND BALANCE WITHIN THE MUSIC ENSEMBLE - The
EXCELLENCE AS IT RELATES TO: • Do the performers demonstrate excellence as it relates to PRODUCTION - The ability of the performers to clearly present • SOUND the quali es of musicianship? the composition through the masterful creation of characteristic sounds.
Considering all challenges, do the performers demonstrate • MUSICIANSHIP - The ability of performers to convey compositional intent and expressive qualities. musicality, precision, and accuracy? • RHYTHMIC CLARITY AND PRECISION - The ability of the performers to Do the performers demonstrate clarity and uniformity of accurately present rhythmic content. rhythmic ar cula on, style, and interpreta on? and - The ability of the ensemble to establish • ENSEMBLE COHESIVENESS maintain pulse control and rhythmic stability, both vertically and horizontally. Is balance and blend demonstrated player to player and UNIFORMITY - The consistent presentation of technique, phrasing, and quality of • throughout the percussion totality? • •
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.
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, compare to each and all the other units in the compe
on?
0 9 19 29 30 35 43 49 50 55 63 69 70 75 83 89 90 92 97 100
RARELY 1 - 29 # JS 008A—L
R
INFREQUENTLY 30 - 49 — 05 MAY 2014
SOMETIMES 50 - 69
USUALLY 70 - 89 © 2015 D
ALWAYS 90 - 100 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 Chsomething?) 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 Â