spriNgfield marksmeN alumNi, Springfield, MA (1989).Photo from the collection of Drum Corps World.

marquis, Fond du Lac, WI (1985).Photo by Donald Mathis from the collection of Drum Corps World.

Nighthawks, Houston, TX (1988). Photo by Dale Eck from the collection of Drum Corps World.

As drum and bugle corps gained exposureand popularity from the mid-1970s on, anincreasing number of articles related to thedrum and bugle corps activity began to appearin music publications.

This bibliography is indicative of that. Mostof the citations have been taken from the MusicIndex. Some of the articles are on the drumand bugle corps activity, while others relate tomarching bands and the influence that drumand bugle corps have had on that activity.

Some of the articles are instructional innature. Readers will notice that many morearticles deal with percussion than with brass.

In preparing this bibliography, all of thearticles were read and the annotationssummarize the content. It should also be notedthat this is just a sampling of available articles.

Such publications as Modern Drummer andModern Percussionist also carry articles aboutthe drum and bugle corps activity -- these arenot included in this bibliography as I wasunable to personally inspect the issues.

Specific drum corps publications such asDrum Corps World, Drum Corps News andDrum Corps America are not covered in thisbibliography, but readers need to know thatthese publications cover specific corps andspecific events. They are invaluable resourcesfor those interested in drum corps from acurrent or historical standpoint.

Drum Corps World continues to be theactive publication of the field. Drum CorpsNews is defunct, but is available in microfilmfrom University Microfilms in Ann Arbor, MI.Drum Corps America is no longer published.

For information on all of the other drumand bugle corps publications that have existedsince the end of World War II, see chapter ___on page ___.

Citations

• Allen, John. “An Experience with Injury.”Percussive Notes 38, no. 4 (August 2000) : 50-51.

The author records his progressive injurythat ultimately led to arm surgery. He had tolearn to play drums all over again. This is animportant article for all drummers, especiallythose in intense environments such ascompetitive drum and bugle corps.

• Ancona, Jim. “Tips on Auditioning for aDCI Pit.” Percussive Notes 37, no. 4 (August1999) : 40-42.

This is “a how to do it” article that givesspecific instructions on applying andauditioning for seven of the top 12 DCI corps.The seven corps include: the Blue Devils, BlueKnights, Cadets of Bergen County, CarolinaCrown, Crossmen, Phantom Regiment and theSanta Clara Vanguard.

• Anderson, Robert. “Woodwind Crisis inCorps-Style Bands.” The Instrumentalist 37,no. 4 (November 1982) : 13.

Anderson writes about the weakening ofwoodwinds as bands emphasize power brass and

Drum & Bugle Corpsin music literature

A selective, annotated bibliography of drum and bugle corps articles

compiled by Sharon WalbridgeWashington State University Libraries

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blend work outdoors. He notes that drum and bugle corps and

bands have different roots and functions. Corpsare often the focus of events in which theyparticipate while people do not usually come toa stadium to see the band -- they come to see afootball game.

Bilik offers suggestions on what bands canlearn from drum and bugle corps, rememberingthat bands go on and on for years with the sameaudience. The Troopers are on the cover of thisissue.

• Bissell, Paul. “Tenor Madness – Crosses.”Percussive Notes 35, no. 2 (April 1997) : 25-27.

Tenor drum performers, especially incompetitive drum and bugle corps, are beingcalled upon to play more difficult material eachyear. Cross sticking is a major part of that andthe author provides tips and exercises to helpthe performer with technique. Ten musicalexamples accompany the text.

• ______. “Tenor Madness – Sweeps.”Percussive Notes 35, no. 3 (June 1997) : 28-30.

Part two in the author’s three-part set ofarticles helps the tenor drum player in movingfrom drum to drum. Text and musical exercisesare included to help with technique.

• ______. “Tenor Madness – Sweeps andCross Combinations.” Percussive Notes 35, no.4 (August 1997) : 26-28.

The final segment of Bissell’s trilogy ontenor drum technique is a natural extension ofthe first two articles, combining the two skillsto produce a sophisticated performance. Eightmusical examples accompany the text.

• “Blue Devils Win 4th Championship.”Percussive Notes 19, no. 1 (Fall 1980) : 20-22.

A review of the 1980 DCI Championshipsheld in Birmingham, AL, includes completerepertoires of the top 12 corps. Scores andcomments about the corps are included in aparagraph on each as the article traces thechampionship field from bottom to top.Winners of the individual and ensemblepercussion competitions are also given.

• Bocook, Jay. “Performing Corps-StyleMusic.” The Instrumentalist 32, no. 11 (June1978) : 32-3.

As the author notes, corps-style marching

The Bakers illustrate their point bydiscussing drum and bugle corps shows such asSuncoast Sound’s “Symphonic Dances for theContemporary Child.” How to reward suchcreativity in the competitive arena is achallenge that the activity may not yet havemet.

• Baldwin, John, ed. “News: Chapter Newsand Membership News (Poland - ChapterNews).” Percussive Notes 28, no. 3 (Spring1990) : 87.

News of the first-ever drum corps paradeheld in Poland is reported by StanislawSkoczynski. The parade was a part of the thirdannual “International Percussion Workshop”held in the city of Bydgoszcz. The parade wasseen as evidence of “political changes in Polandthat allowed this manifestation of freedom.”

• ______. “News.” Percussive Notes 24, no.2 (January 1986) : 10.

Two unrelated news items on drum andbugle corps appear on this page. The firstreports on winners of the 1985 DCI Solo andEnsemble percussion competition. The secondis a photograph of the U. S. Coast GuardAcademy Windjammers Drum and Bugle Corpsthat accompanies results of that organization’sannual marching band competition.

• Bands of America. “Ideas fromWhitewater.” BD Guide 5 (May/June 1991) :8-14.

This report pulls together highlights of the1990 summer workshop held by BOA inWhitewater, WI, annually. Familiar participantsinclude Michael Cesario, Rob Carson, TimLautzenheiser, George Parks and Ken Snoek.

Topics covered briefly include show design,choice of music, teaching techniques, drummajor commands and recruiting.

• Bilik, Jerry H. “The Corps Versus theBand.” The Instrumentalist 29, no. 11 (June1975) : 41-43.

Bilik discusses drum and bugle corps’precision and percussion expertise as the twoelements that make the activity so attractive.Time and money are key to successful drumand bugle corps.

It is his opinion that bands have a betterblend of sound, but many show designers andband directors do not know how to make that

marauders, Longview, WA (1988).Photo by Orlin Wagner from the collection of Drum Corps World.

ChiCago VaNguard, Chicago, IL (1988).Photo by Dale Eck from the collection of Drum Corps World.

demoiselles du que, Laval, QUE (approx. 1980).Photo by Dick DeGraaf from the collection of Drum Corps World.

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percussion in corps-style bands. Woodwind players frequently end up in

auxiliary units in corps style bands --weakening the individuals’ technique forconcert season and disturbing their identity asa section. Anderson suggests five alternativesregarding woodwind players and thedevelopment of corps-style auxiliary units.

• Arrowood, Chris. “Drums CorpsInternational Announces Winners of Solo andEnsemble Competition.” Percussive Notes 21,no. 2 (January 1983) : 8.

The solo and ensemble competition at theDCI Championships is a popular event forparticipants and spectators. Arrowood describesthe competition and introduces the percussionwinners for 1982. A brief biographyaccompanies a photo of the individual winners.

• Aungst, Thomas. “Rehearsal Techniquesfor Marching Percussion.” Percussive Notes 33,no. 1 (February 1995) : 24-25.

The rehearsal philosophy and regime of theGarfield Cadets is discussed, following thepercussion section through a typical day. Suchtopics as balance and blend, tempo, rhythmicinterpretation, sound quality, listening skillsand clarity are covered.

Although not much more than one to threeparagraphs each, the subjects are addressedclearly and substantially.

• Baggs, Bernard. “Self-Directed GraduateTraining for Judges.” Today’s Music Educator5, no. 1 (Spring 1992) : 24-26.

One of the most renowned judges in drumand bugle corps history shares his views onquality judging. He discusses attitudes andphilosophies and includes comments aboutcritiques. He offers practical advice as well asopinions on the judge’s role andresponsibilities.

• Baker, Keith and Baker, Kent.“Programming in the Pageantry Arts.” Today’sMusic Educator 5, no. 1 (Spring 1992) : 10-12.

Show design is communication and asdesign has become increasingly complex andsophisticated, communication has becomemore difficult. Finding meaning, definingsuccess, then rating a show becomes harder andharder as shows exhibit creativity andinnovation.

kiNsmeN kresCeNdos, Peterborough, ONT (1974).Photo by Peter McCusker from the collection of Drum Corps World.

maNdariNs, Sacramento, CA (1988).Photo by Orlin Wagner from the collection of Drum Corps World.

marioN Cadets, Marion, OH (1974).Photo from the collection of Drum Corps World.

and philosophy. The article makes the readerwant to obtain Buck’s book.

• Buecker, Glen A. “ContemporaryMarching Bass Drum Techniques.” PercussiveNotes 33, no. 3 (June 1995) : 22-23 .

Buecker is bass drum instructor for the BlueDevils. In this article he describes basic topicssuch as mallet grip, playing position, stroke,interpretation and technique. His text is basicand easy to understand.

• Bullock, Jack. “Is It Really Corps-StyleMusic?” The Instrumentalist 33, no. 11 (June1979) : 19.

Bullock believes that the differentiatingfactor with corps-style music is its unifiedapproach where the drill and the music becomea total show. He cautions that some musicalarrangements are being billed as corps-styleand they are no different from previous versionsof the music -- they just have a new cover.

These fraudulent packages purport to bepatterned after drum and bugle corpspresentations, but in reality they are not.Bullock believes that only an arrangement thatincludes choreography/drill can bring theessence of the drum corps approach.

There are several crucial elements inevaluating arrangements that represent corpsstyle -- high quality melodic lines, good voiceleading, effective climax points and variedmusical devices.

• Buyer, Paul. “An Evaluation of MarchingPercussion Stock Chart Arrangements.”Percussive Notes 35, no. 2 (April 1997) : 29-30,32,34.

Buyer presents five criteria to be used inselecting quality marching percussionarrangements. He also discusses difficultylevels as a key part in evaluating and selectingmusic.

• Cahill, Michael J . “A Capsule History ofthe Drum and Bugle Corps.” TheInstrumentalist 36, no. 11 (June 1982) : 6-9.

This brief history of the U.S. drum andbugle corps activity begins in the 1940s andtraces trends in the activity to the popularitythe activity now enjoys.

Pictures of the Troopers, Santa ClaraVanguard and Anaheim Kingsmen are included.The evolution of the bugle, percussion and the

author cites various uses of guard and theirequipment -- if the reader wants to actually seethe guards, he or she will need to find the DCIvideos.

It is unfortunate that the author or thepublisher did not devote several pages to thetopic. More photos to show guard costumesand equipment could make the article moreeffective for those who do not regularly seedrum and bugle corps shows.

• Buck, Robert. “An Introduction to DrumCorps International Percussion Judging.”Percussive Notes 20, no. 1 (Fall 1981) : 26-30.

This is a fairly extensive explanation ofpercussion judging in the DCI arena. Thearticle includes a linear scale of execution, asample DCI execution sheet and an excellentdictionary of terms.

Subjects treated by the author includeexecution, analysis, exposure to error/difficulty,degree of musical excellence, general effect,repertoire, performance and coordination.

• ______. “Percussion Judging Report.”Percussive Notes 18, no. 3 (Spring/Summer1980) : 18.

Buck reports on the DCI Rules Congressheld in conjunction with the DCI annualmeeting. He states the rules changes anddiscusses the interpretation for the judge andthe corps. Rules are detailed and specific and itis important that they be understood by thejudge, the instructors and the corps members.

• Buck, Robert. “Corps-Style MarchingPercussion (includes excerpts from his book‘Precision Marching Percussion Ensemble,Corps Style’)” Woodwind World - Brass andPercussion 18, no. 3 (May-June 1979) : 38-39.

This article quotes extensively from theauthor’s book, “Precision Marching PercussionEnsemble, Corps-Style” (Alfred Publishers).The author states very clearly why drum andbugle corps offer superior performance andmusicianship compared to marching bands.

While the article could be perceived as apromotion for his book, it does contain usefulinformation for the band director seeking toimprove the quality of the band’s percussionsection.

Buck notes the differences betweenorchestral, band and drum and bugle corpspercussion sections in terms of composition

came quickly to bands in the mid-’70s and hecounsels a smooth transition rather than anabrupt change that can be unpopular with bandmembers and audiences.

Bocook gives sound advice on the adaptationof the “designed for impact” style ofarrangement and performance. The importanceof staging -- integration of music and drill isaddressed.

• Boo, Michael. “Marching Percussion atPASIC ’92.” Percussive Notes 31, no. 5 (June1993) : 22-24.

Boo reports on the marching percussioncompetition at the 1992 conference. The snare,tenor and keyboard competition winners are alluniversity students who are drum and buglecorps members. The judging panels read like a“who’s who” of drum and bugle corps.

• Bough, Thomas. “Corps Style PercussionTips for High School Marching Bands.” TheInstrumentalist 56, no. 3 (October 2001) :52-55.

This is an interview with Bret Kuhn, facultymember at Prospect High School, Mt Prospect,IL, and staff member with the Cavaliers. Theformat is a highly informative question/answerone which covers such topics as recurringproblems with percussion sections, difficulty ofmusic, pit percussion and teaching philosophy.

• Britton, Mervin W. “RudimentalFamilies.” The Instrumentalist 25, no. 9 (April1971) : 63-65.

Britton discusses why and how snare drumstudents should be taught rudiments. He notesthat rudiments are actually used in all drumareas -- drum and bugle corps, concert, jazzand rock. He describes eight families ofrudiments as opposed to 26 separate charts.

Britton also believes that the teaching ofrudiments should come after the student haslearned grip control and basic rhythms. Theeight families covered in musical notation areparadiddles, rolls, flam, flam taps, drag, dragtaps, ruffs and ruff taps.

• Brummett, John D. “Don’t Limit YourGuard.” The Instrumentalist 39, no. 12 (July1985) : 22.

This one-page article only begins to explorethe visual enhancement that the modern-daycolor guard can bring to band shows. The

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troubadours, Victoriaville, QUE (approx. 1980).Photo by Francois Fournier from the collection of Drum Corps World.

froNtiersmeN, Overland Park, KS (approx. 1978).Photo by Jane Boulen from the collection of Drum Corps World.

red aNd white airs, Calgary, ALB (approx. 1972).Photo by Andy Walker from the collection of Drum Corps World.

color guard are traced. Notable names of corpsleaders and innovators are included. Mr. Cahilladmits great admiration for the drum and buglecorps activity and this article is a celebration ofthat.

• Callahan, Brian. “Percussion InstructorsGuild (Judging During the 1980 Drum andBugle Corps Season)” Percussive Notes 19, no.1 (Fall 1980) : 52.

The 1980 competitive drum and bugle corpsseason is the focus of this brief article.Effectiveness of judging of percussion,interpretation and relationships betweeninstructors and judges are covered.

The author believes that this season saw animprovement in all areas regarding thesesubjects, as problems of the past are receivingconscientious efforts toward resolution.Judging is a subjective exercise and thoseinvolved on both sides of the area need to bemature about disagreements and tolerant ofdifferences of opinion.

• Campbell, James. “A ‘Time Machine’ forYour Drum Line.” Percussive Notes 35, no. 6(December 1997) : 22-24.

“Time Machine” is the title of a fully-orchestrated percussion warm-up that isdesigned to challenge players. Detailedinstructions and the musical score are includedin the article.

• Carpenter, Tad. “Contemporary MalletExercises for the Pit.” Percussive Notes 33, no.4 (August 1995) : 29-33.

Eight exercises are presented with someaccompanying text.

• ______. “USC Trojan Drum Line Clinic.”Percussive Notes 35, no. 5 (October 1997) : 26.

Two professional percussionists (GreggBissonette and Ndugu Chancler) will join theUniversity of Southern California drum line fora clinic at the 1997 PASIC convention. Manystyles of music will be featured using thesoloists and the USC drum line.

• Casella, Jim. “Arranging for the Pit andBattery.” Percussive Notes 36, no. 4 (August1998) : 29-34.

Consolidating percussion arranging (batteryand pit) may not be for every organization, butCasella makes a compelling point for doing so.

He includes text and music as well as apre-arrangement chart used to define phrasesand ideas. The article includes extensive textfor arrangers and for battery and pit specialistswho need to arrange for other units.

• ______. “Santa Clara Vanguard Clinic.”Percussive Notes 35, no. 5 (October 1997) :28-29.

Casella and his Santa Clara Vanguardpercussion section will present a sophisticatedmusical approach to marching percussion atthe 1997 PASIC convention. The clinic willfeature all sections of the SCV line and willstress sound quality and timing.

• ______. “Tuning Marching Bass Drums;Articulation with Tone.” Percussive Notes 37,no. 3 (June 1999) : 22.

Noted percussion caption head and arrangerwith the Santa Clara Vanguard, Casella offersadvice on effective tuning of the all-importantbass drums. He also answers frequently-askedquestions.

• Chinn, David. “An Interview with MarcSylvester on Competition and Performance.”Today’s Music Educator 5, no. 2 (Fall 1992) :22-24.

Marc Sylvester, drill designer for the Cadetsof Bergen County, discusses creativity within arule-bound environment that is drum andbugle corps. While covering the philosophy ofthe Cadets, Sylvester’s comments can begeneralized to the wider music education arena.

The Cadets consider drum and bugle corpsto be an art form and the issue of competitionwithin art is problematic. Sylvester alsodiscusses the corps’ color guard, noting the factthat the DCI judging system does not placevalue on that unit.

• Clements, Phillip. “Marching With aMethod.” The Instrumentalist 53, no. 11 (June1999) : 40-42.

While written for marching band directors,this article may also have value for drum andbugle corps staff. The author addresses musicand drill. He also stresses productivity inrehearsal time and gives tips on how to increaseit. He discusses the challenges of the outdoorenvironment and how it effects sound.

• ______. “Start with a Show Theme then

Add Music and Drill.” The Instrumentalist 55,no. 1 (August 2000) : 48-52.

This article is strengthened by the inclusionof details regarding several themes, written tostimulate the creative process. The variouselements of show design are covered quickly,but the article offers many important points ofinformation for the show designer.

• Combs, F. Michael. “Organize YourMarching Band Drum Section Early.” TheInstrumentalist 27, no. 2 (September 1972) :58-60.

Combs presents a step-by-step recipe forsuccess for the marching season, with emphasison early organization and preparation.Included are selection of a section leader,musical patterns, cadences and ensemble work.One point of interest -- Combs suggests thatstudents write the cadences to be used.

• “Corps-Style Marches on With One ShowPer Year.” The Instrumentalist 55, no. 4(November 2000) : 12-19.

This is an overview of trends in marchingbands. Well over 80% of bands are using thesingle show, corps-style approach. Included inthe article are statistics on budgets, number ofshows/competitions entered and schedules.There are numerous case study-type commentsfrom all over the U.S. that discuss trends, goals,practice, etc.

• Covert, Bob. “Easing the Transition fromTraditional to Corps-Style Marching.” TheInstrumentalist 35, no. 11 (June 1981) : 8-9.

Advice on the transition from Big 10 ortraditional to drum and bugle corps-stylemarching is given to band directors, showdesigners, color guard instructors and students.Preparation is the key to a successful transition.

The article includes three formation charts.It is noted that summer parade work can beginto introduce corps-style concepts such as theglide step, memorization of music, color guardsubtleties and more advanced and sophisticatedpercussion work.

• Craig, Robert A. “Percussion on theMarch: the 1980 Drum Corps InternationalCompetition.” Percussive Notes 19, no. 1 (Fall1980) : 42-44.

A detailed review of the 1980 DCIcompetitive season is presented in an

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de la salle oaklaNds, Toronto, ONT (1973).Photo by Jane Boulen from the collection of Drum Corps World.

Norwood park imperials, Norwood Park, IL (approx. 1967).Photo by Bob Scholl from the collection of Drum Corps World.

florida waVe, Miami, FL (approx. 1982). Photo by Art Luebke from the collection of Drum Corps World.

377

enthusiastic and subjective article. If oneknows the major drum and bugle corps, thearticle brings back fond memories of anexcellent season of DCI contests.

The article assumes the reader does knowthese corps -- it might have less meaning foranyone unfamiliar with drum and bugle corps.A photo of the Blue Devils drum line isincluded.

• Crockarell, Chris. “A Chat with DennisDeLucia.” Percussive Notes 36, no. 2 (April1998) : 32-34.

One of the legends of the drum and buglecorps activity, DeLucia has worked withnumerous champion corps and now providesanalysis on the PBS DCI broadcasts. In thisinterview he addresses changes DCI hasbrought about in percussion, judging, writing,equipment and the drum and bugle corpsexperience.

• Davila, Julie. “Applying Rudiments toTenors.” Percussive Notes 38, no. 1 (February2000) : 26-27.

The author provides text and music to helpstudents become proficient at playing tenordrums. Music includes 5-stroke roll, flam tapand single paradiddle.

• ______. “Marching Percussion at PASIC’99.” Percussive Notes 37, no. 5 (October 1999): 34-35.

This is the annual preview of the PASICconvention that includes clinics (Jim Casella,Lee Beddis), master classes (Lalo Davila, BrianMason), a panel discussion and competition.This preview is followed by two more briefarticles by L. Davila and B. Mason with moreinformation on their sessions.

• ______. “PASIC ’98 MarchingPercussion.” Percussive Notes 36, no. 5(October 1998) : 24-25.

This annual preview of the convention is fullof drum and bugle corps names as always. BretKuhn of the Cavaliers and Neil Larrivee of theCadets of Bergen County have major roles inthis year’s convention.

• ______. “PASIC 2000 MarchingActivities.” Percussive Notes 38, no. 5 (October2000) : 18-19, 21.

This preview of the annual conference

indicates the importance of drum and buglecorps in the percussion world -- drum andbugle corps individuals, ensembles andinstructor names are paramount in theconference offerings.

• Dawson, Cheryl. “Corps-Style Controversy-- Fuzzy Flute Sounds, too.” TheInstrumentalist 38, no. 10 (May 1984) : 98.

Ms. Dawson, in the regular “Challenge”forum in The Instrumentalist, expressesagreement with the July 1983 “Challenge”forum regarding the difficult transition frommarching season to concert season. She doesnot focus on corps-style specifically, but doesrepeat concern for woodwind technique (flute).

• “DCI Summer Schedule.” PercussiveNotes 21, no. 5 (July 1983) : 59-61 .

The 1983 DCI schedule for July and Augustare presented in the “Percussion on the March”column. Included are dates, places andscheduled corps. As is true with other suchschedules, it is interesting to note travelpatterns as well as corps that no longer exist.

• De Journett, William N. “Big Ideas forSmall Bands.” The Instrumentalist 51, no. 2(September 1996) : 65-68.

Designing shows for small units createsspecial challenges and De Journett offers someideas applicable to drum and bugle corps orbands with less than 50 members. He discussesuse of props, field coverage, placement ofmusicians and drill design.

The author cites division II and III drumand bugle corps as examples of highly-entertaining units with small numbers ofperformers. The final thought is that “charm”is the unique quality that should becapitalized on.

• ______. “Planning Marching Rehearsals.”The Instrumentalist 51, no. 12 (July 1997) :38-41.

Working with a marching unit from day oneis the theme of this article that works well forband or drum and bugle corps. (The author isexperienced in teaching both.) Marchingfundamentals, warm-ups and rehearsalscheduling are topics covered.

• Douglass, James. “Are Drum CorpsInfluencing Our Marching Bands?” Woodwind

World - Brass and Percussion 19, no. 5(September-October 1980) : 22-25.

The question posed by the title of this articleseems naive. The author, the band director atOregon State University, advocates a middleground (soft corps) between the drum andbugle corps (hard corps) and the traditionalband show.

Even in 1979/80, perhaps 85% ofcompetitive high school bands were usingcorps-style shows. Douglass describes the basicmarching styles (glide and high knee lift) indetail and suggests appropriate uses of bothstyles within a show.

He discusses the one show/differentaudiences versus the different shows/oneaudience debate. Also discussed are auxiliary,soloists, conductors, volume of sound andshow design.

While compromise in marching style is nota negative, the author manages to sounddefensive in his opinions, especially in relationto the traditional marching band.

• “Drum Corps Contests and Exhibitions:1980.” Percussive Notes 18, no. 3(Spring/Summer 1980) : 19-23.

The complete 1980 DCI schedule appearswith date, city and competing corps. One isstruck by the names of corps no longer inexistence -- the Royal Crusaders, Bridgemen,North Star, Holy Family Defenders, Rivermen,L’Offensive Lions, Avant Garde, etc.

• Dunnigan, Patrick. “Field Perspectives inCharting a Show.” The Instrumentalist 51, no.11 (June 1997) : 12-17.

The challenges of translating drill designsfor marching band from paper to field aredescribed in this article. Included are helpfulinstructions for linear forms, curvilinear forms,outline forms, solid forms, free forms and openand closed forms. How to deal with designingfor audience perspective is a recurring theme.

• Flor, Gloria. J. “Brass Workshop: TheBugle Past and Present.” The School Musician56, no. 9 (May 1985) : 30-31.

This article is an example of just how muchinformation can be packed into two pages. Thearticle includes photographs of bugles,examples of written ranges, a fingering chartfor G-F/F# bugles, recommendedinstrumentation for drum and bugle corps and

CaValliers, Somerville, MA (1980).Photo from the collection of Drum Corps World.

reNaissaNCe, St. Georges, QUE (approx. 1976).Photo from the collection of Drum Corps World.

st. JohN’s girls, Brantford, ONT (approx. 1980).Photo by Art Luebke from the collection of Drum Corps World.

specifications for bugles. The text includesboth an historic look at the bugle and a look atthe bugle today. As Flor points out, the bugle isthe only brass instrument that is available inmore than one range.

• Force, Kenneth R. “Freedom of Choice?(Band That Doesn’t March Drum Corps-StyleWide Open to Criticism).” The Instrumentalist35, no. 11 (June 1981) : 80 .

Once again, The Instrumentalist“Challenge” forum brings concern regardingthe corps-style marching band trend. Mr. Forceindicates that band contest judges do notreward different styles -- bands that are notusing corps-style marching are “ostracized.”He does not condemn corps-style, but urgesthat corps-style not be the only acceptable style.

• Ford, Mark. “Thom Hannum: TheGarfield Cadets (interview).” Percussive Notes24, no. 2 (January 1986) : 64-6 5.

This interview with Thom Hannum gives anexcellent perspective on the benefits of thedrum and bugle corps experience. Hannum isan articulate educator and a research anddevelopment person.

The interview covers his drum and buglecorps and education backgrounds, his workwith the Garfield Cadets and with ZildjianCymbals.

• Foster, Robert E. “The Modern MarchingPercussion Section.” Woodwind World andBrass 19, no. 3 (May-June 1980) : 25+.

The author points out the evolution of therole of the marching percussion section fromthat of keeping of time to being a majormelodic and harmonic voice. Percussioninstruments previously played indoors havebeen adapted and brought outside. The resultis sophistication of sound and sight, with animproved variety of tone and timbre.

Foster describes the various instruments,comparing them to voices in a choir in terms oftone and purpose/role.

• “From Coast to Coast, Border to Borderand Then Some: DCI Announced Major 1981Championships.” Percussive Notes 19, no. 3(Spring/Summer 1981) : 24-25 .

A detailed discussion of the coming 1981DCI season is given in an article that focuses onthe major events comprising the tenth season

for DCI. The calendar includes who will be appearing

where. Ticket price information is included andcan be valuable for a historical perspective asone sees the popularity of the activity drivingup prices since 1981.

• Fuster, Brad. “ChoreographedExpressivity in the Pit.” Percussive Notes 36,no. 6 (December 1998) : 19-21.

In competition, each member of theperforming unit must project enthusiasm or“sell” the program. This is especially true forthe pit as they are up front and in full view ofthe entire audience.

This article discusses the element ofshowmanship while ensuring that the pitmember’s percussion performance does notsuffer. Movements should not detract from theorganization’s performance, but can enhance itwith a little planning and practice.

• Gelt, Andrew. “Corps Style: Will ItDetermine Our Future Instrumentation?” TheInstrumentalist 36, no. 8 (March 1982) : 136.

Each issue of The Instrumentalist includes apage titled “Challenge; a forum for opinions andideas.” This opinion raises concern about thefuture of woodwinds as bands moveincreasingly to corps-style. Alternatives forwoodwind players are proposed. The columnincludes a photo of a Mummers string band andthe text notes gratitude that this is not thelatest fad among bands.

• Girardi, J. L. “No Longer Football’sStepchild.” The Instrumentalist 32, no. 11(June 1978) : 28-29.

Perhaps due to the popularity and exposureof drum and bugle corps, marching bands havecome into their own as an activity.Musicianship and showmanship have improvedin quality -- indeed, quality is receivingunprecedented attention.

The new, improved image of marchingbands has strengthened the band’s identity.Band contests and festivals are gaining inpopularity and prestige. This is an upbeat,positive look at marching bands that does notquestion corps-style versus traditional style, butsimply celebrates the modern marching band.

• Green, Gary and Curry, Donald E. “ThePercussion Session Field Solo.” School

Musician 52, no. 9 (May 1981) : 12-14.Selection of music for the percussion

ensemble solo during the band show canmake this segment an exciting highlight forperformers and the audience. Musicaltechnique is as important in thepercussion feature as it is for wind players infeatured spots.

Each member of the ensemble must be ableto play the selection, but musicians should alsobe challenged to strive for higher goals. Theauthors offer detailed suggestions as towriting/scoring of the solo.

• Grifa, Robert. “Solos for SnareDrummers.” The Instrumentalist 52, no. 6(January 1998) : 50-56.

The author addresses common problemsthat negatively affect performances -- tuning,sticks, playing area, rolls, sticking, accents,flams and dynamics. Also offered is a list ofsolos for grades 1-6.

• Haley, Terri L. “Percussionists’ CommonBack Injuries.” Percussive Notes 38, no. 2(April 2000) : 60-65.

With text and photographs, the authordiscusses spinal anatomy, spinal injuries, bodymechanics and flexibility. Included areexercises to prevent injuries. The bottom lineis that percussionists need to take care ofthemselves to reduce the risk of injury.

• Halls, Brad. “Developing FlamCoordination and Flexibility.” Percussive Notes31, no. 5 (June 1993) : 25-28.

While drum and bugle corps have changedsignificantly over the past decade, theirdevotion to rudimental drumming staysconstant. Halls offers numerous exercises andhelpful text in this article to teach flamrudiments.

• Hannum, Thom. “Cymbals inContemporary Marching Ensembles.”Percussive Notes 24, no. 5 (July 1986) : 61-62.

Drawings and text focus on cymbal topicsincluding grip, holding positions, circlepositions, physical conditioning, and soundproduction techniques. As Hannum points outin his introduction, cymbals have becomeincreasingly important in both the sound andvisual presentation of modern marchingpercussion sections.

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the influence on modern playing is fascinating.Photos of the panelists are included.

• ______. “PASIC ’93 Marching PercussionPanel Discussion - Part II.” Percussive Notes33, no. 3 (June 1995) : 26-33.

This is the second part of coverage of apanel discussion among nine marchingpercussion authorities held at the PASIC ’93conference in Columbus, OH. The discussioncovers grip, technique, teaching, styles and theeffect of new drum head materials on sound.

Panelists also talk about the evolution ofdrum and bugle corps competition, comparingVFW and American Legion rules with DCI. Alsoincluded in the discussion is a conversation onthe future and effect of electronics on theactivity.

• Hartsough, Jeff and Logozzo, Derrick.“Eric Perrilloux Memoirs.” Percussive Notes33, no. 6 (December 1995) : 26-31.

Highly respected percussionist and teacherEric Perrilloux saw the evolution of moderndrum and bugle corps from the 1930s throughthe 1980s and shares his memories via a longletter written in October 1993. The personalreminiscences are charming and informative asPerrilloux talks about contests, equipment andplaying styles.

• ______. “Sixty Years of Drum Corps; anInterview with Elderick Arsenault.” PercussiveNotes 36, no. 1 (February 1998) : 18-23.

This is a fascinating look at the history ofrudimental drumming and ancient corpsthrough the eyes of someone who has lived it.The Arsenault name is well-known inrudimental drumming circles and beyond andthe interview is full of information andentertaining anecdotes.

• ______. “The Timeline of Marching andField Percussion: Part 1.” Percussive Notes 32,no. 4 (August 1994) : 48-52.

This is the first of four semi-scholarlyarticles based on the authors’ presentation atthe 1993 PASIC convention. The initial articlecovers the Ancient period (1600 B.C. – 400A.D.), the Medieval period (400-1400 A.D.), theRenaissance period (1400-1600 A.D.), and theBaroque period (1600-1750 A.D.).

• ______. “The Timeline of Marching and

sagiNaire eagles, Saginaw, MI (1986). Photo by Roger Ellis from the collection of Drum Corps World.

dreadNauts , Seattle, WA (approx. 1975). Photo by Jane Boulen from the collection of Drum Corps World.

braiNtree braVes, Braintree, MA (1990).Photo by the Kingsleys from the collection of Drum Corps World.

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• ______. “Rhythmic Building Blocks.”Percussive Notes 38, no. 1 (February 2000) :28-31.

There is little text and a lot of music in thisarticle. There is a check pattern followed by 14duple variations, then 14 more building blocks.

• ______. “The Role of Percussion inMarching Ensembles.” The Instrumentalist40, no. 1 (August 1985) : 80-83.

As one who has strong connections to theuniversity marching band world and drum andbugle corps (Garfield Cadets), Hannum has thecredentials to write knowledgeably aboutmarching percussion. He discusses thepercussion “pit” -- percussion stationary on thefront sideline -- and the marching percussionensemble.

He discusses trends in marching percussionand considers why and how they have comeabout. Percussion as an integrated packagewith the corps or band is discussed, as isarranging. Hannum lists 10 important factorsin arranging. The article ends with a brief listof important literature sources for marchingpercussion.

• Harris, Shawn. “Summer Training for theFront Ensemble.” Percussive Notes 38, no. 2(April 2000) : 33-36.

As the author notes, students may findthemselves in the percussion pit who have noprevious percussion training. This article offersbasic strategies for teaching these folks.Included are sections on grip and stroke, as wellas some basic musical exercises.

• Hartsough, Jeff. “Marching & FieldPercussion Panel Discussion - Part I.”Percussive Notes 33, no. 2 (April 1995) : 6-17.

Coverage of a panel discussion which tookplace at the PASIC ’93 conference offers anextensive and interesting look at marchingpercussion -- history, techniques, styles andequipment.

The panelists are James Campbell, GeorgeCarroll, Dennis DeLucia, Tom Float, ThomHannum, Al LeMert, Bill Ludwig II, FredSanford and Jay Wanamaker. The discussiontraces the evolution of modern drum and buglecorps as the activity spread across the nationfrom the traditional Eastern powerhouses tothe Midwest and West Coast.

The history of drumming techniques and

Field Percussion: Part 2.” Percussive Notes 32,no. 5 (October 1994) : 20-24.

This second part of a four-part series coversthe Classical period (1750-1850) and theRomantic period (1850-1900). As is true of theother articles in this series, the tone issemi-scholarly and there are ample footnotes.

• ______. “The Timeline of Marching andField Percussion: Part 3.” Percussive Notes 32,no. 6 (December 1994) : 30-32.

Part three of a four-part series, the articlecovers 1900-1960. It traces the roots of moderndrum and bugle corps, including howequipment has evolved, who the innovatorswere, changes in drumming style and thehistory of marching percussionists.

• ______. “The Timeline of Marching andField Percussion: Part 4.” Percussive Notes 33,no. 1 (February 1995) : 26-35.

The fourth in a series of articles tracks theevolution of percussion equipment from 1960to the present. Among the topics covered areinnovators, drumming styles, the competitivescene (American Legion, VFW and DCI) andthe “pit.”

A timeline chart runs across the top of eachpage and tracks marching/field percussion fromancient times (1600 BC) to medieval (100 AD -1350) to renaissance (1500-1588) to baroque(1610-1660) to classical (1750-1837) toromantic (1860-1886) to the 20th Century(1912-1991).

• Hawkins, Kate. “One Day with TwoBayonne Bridgemen (interview).” SchoolMusician 56, no. 1 (August-September 1984) :14-16+.

This interview was originally done forBluegrass Music News and was enhanced withphotos for this version. Two Morehead StateUniversity students talk about their 1983summer tour experience with the Bayonne, NJ,Bridgemen. Pat Petrillo (percussion) and LarryRebillot (drum major) convey the dedicationand fun of drum corps, reflecting theentertaining style of the Bridgemen. If youwant to know what drum corps is about,read this.

• Hong, Sherman. “Common Sense inMarching Percussion.” Percussive Notes 18, no.3 (Spring/Summer 1980) : 42-45.

diplomats, Lynwood, CA (approx. 1972).Photo from the collection of Drum Corps World.

CheValiers, Waterloo, IA (1972)Photo by Paul Jensen from the collection of Drum Corps World.

paCifiC blue, Surrey, B.C. (1985).Photo by Art Luebke from the collection of Drum Corps World.

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Hong discusses the reasons why drum andbugle corps have improved the overall quality ofpercussion sections -- proper techniques,writing and common sense. He goes into detailabout technique, using photos of grip andstroking. He talks about the role of each drumand the balance that is necessary. He notes thatwell-written percussion parts are vital to theband or drum and bugle corps performance.

• Hopkins, George. “Cadets of BergenCounty’s Marching Band Cooperative.” Today’sMusic Educator 4, no. 2 (April 1991) : 14.

One of the nation’s most outstanding drumand bugle corps finds that support from theirarea’s band programs is a key to their ownsuccess. One of the ways the Cadets havechosen to generate and maintain that support isthrough a highly-successful annual bandcompetition.

The Cadets organization is adept atorganizing contests, recruiting participatingbands, promoting the events and supplyinghighly-qualified judges. The Cadets arecommitted to music education and are offeringa broad-based program of instruction beyondtheir drum and bugle corps -- the band contestis only one of their programs.

• _______. “It’s Not About Winning, It’sAbout Personal Growth.” Today’s MusicEducator 5, no. 1 (Spring 1992) : 30-34.

In psychological and social terms, there ishigher value in cooperation than incompetition. Can this theory be applied todrum and bugle corps? Hopkins thinks so andhe has brought this philosophy to the Cadets ofBergen County.

This article discusses the book titled “NoContest” by Alfie Kohn. How does winningrelate to success? Who decides whether a drumand bugle corps season or a performance is asuccess? In the Cadets, the answers are simple-- the corps, not judges or spectators, do. Forthe Cadets “winning is a state of mind.”

• Hopper, Dale. “Multi-Dimensional (CorpsStyle) Show Design Software.” TheInstrumentalist 40, no. 12 (July 1986) : 46.

Advice on the selection of software packagesto aid in band drill design is offered in thisreview of a specific piece of software. Thesoftware from Music Education Incentivesincludes 150 programmed shapes.

Annual updates are available. Packagessuch as this can save directors time indesigning shows.

• Hosler, Mark. “Adding Variety to HalftimeShows.” The Instrumentalist 51, no. 1 (August1996) : 34+.

This is not really a re-hash of the corps-style, one-show-a-season versus traditional a-show-a-game, but Hosler does point out thatthe danger of lessened audience enthusiasm forband shows that are repeated all season.

Even if the one show is performed well,many fans are bored with seeing the same showfour or five times. Hosler suggests that thecompetition show does not need to beperformed in its entirety for every football game-- it can be split into sections and performedover several shows. The competition show canalso be performed for away games. The articleoffers other helpful suggestions for designingappealing shows.

• Howarth, Gifford. “Front EnsembleKeyboard and Rehearsal Techniques.”Percussive Notes 38, no. 2 (April 2000) : 28-31.

This is a basic article for those who areteaching non-drumming students who mightplay non-marching instruments or are overflowfrom other band sections. The author coverstwo-mallet technique, four-mallet technique,mallet choice and rehearsal topics.

• Huber, James P. “Bands That March:Putting the Subject Into Perspective.” TheInstrumentalist 39, no. 12 (July 1985) : 80+.

While many band directors view thesymphonic/concert band as the main musicaleffort in their school, it is the marching bandthat is the public image of the instrumentalprogram.

Any “damage” attributed to drum and buglecorps-style bands occurs because it is allowed tooccur, according to Mr. Huber.

His message is, excel in marching season,but when it is done, it is the concert bandseason that really provides musical education tothe student.

• Hurley, Marty. “Finger Control forMarching Percussion.” Percussive Notes 33, no.4 (August 1995) : 34-36.

This article is comprised of one page of textand two of exercises.

• Janners, Erik N. “Just Four BasicStrokes.” The Instrumentalist 55, no. 8 (March2001) : 36-41.

Drum and bugle corps percussion has“pushed the envelope” of difficulty to the pointwhere beginning percussionists are lost. Theauthor simplifies rudimentary drumming toencourage the novice. Detailed instructionsand notations are included.

• Kastens, L. Kevin. “Adding Variety toCreate More Interesting Shows.” TheInstrumentalist 55, no. 11 (June 2001) : 45-48+

While written for marching bands, thisarticle could be of help to novice showdesigners with its detailed drawings that couldinspire creativity. There is also helpful textregarding placement of auxiliary andmovement.

• ______. “From Paper to Field Drills; ClearInstructions Improve Marching BandRehearsals.” The Instrumentalist 53, no. 12(July 1999) : 34-40.

In text and charts, the author offerssuggestions to enhance the effectiveness ofmarching rehearsals. The importance of cleardrill instructions is discussed extensively.Examples are included to illustrate the author’spoints of emphasis.

• Kinney, Tom. “Dynamic Fund-Raising.”Today’s Music Educator 1, no. 1 (Winter 1988) :1-32

The entire content of the first issue of thispublication is devoted to fund-raising. As thepublisher says, the new magazine is intended tobe a textbook and this is the first chapter. Thearticles give general information on the topic aswell as specific success stories from drum andbugle corps and marching bands.

Projects such as “jails,” mini-car races andcoupon book sales are described. Theinformation does not appear to be dated andwould serve organizations well today.

• Kirkland, Anthony B. “Historical Roots ofthe Modern Drum Major.” BD Guide 5(May/June 1991) : 2-5.

This historical look at the role of the drummajor not only covers the responsibilities of theposition, but also looks at topics such as the useof the mace/staff and uniform trends. Whilenot focusing on drum and bugle corps, the

buCCaNeers, Dayton, KY (approx. 1974)Photo from the collection of Drum Corps World.

keNosha kiNgsmeN, Kenosha, WI (approx. 1965)Photo by the Guido Studio from the collection of Drum Corps World.

hollywood kNights, Hollywood, CA (1983).Photo by Paul Rodino from the collection of Drum Corps World.

• Ludwig, William F. “Is Your Drum Sectiona Pussy Cat, a Problem, or a Tiger?” MusicJournal 30 (March 1972) : 44-45+.

Ludwig, president of Ludwig Industries,gives tips on turning a mediocre percussionsection into an effective one. The key is usingequipment and scoring that uses a wide rangeof pitch.

• McGrath, William A. “The Contribution ofSenior Drum and Bugle Corps to MarchingPercussion (Prize-Winning Groups).”Percussionist 17, no. 3 (1980) : 152-153.

McGrath writes a fairly extensive history ofthe senior corps in the U.S., describingAmerican Legion, VFW and Drum CorpsAssociates (DCA) competitions. He also tracespercussion development in the senior corps.

The article includes a compilation of resultsof national championship competitions for thethree sponsoring bodies -- tables which includepercussion instructor, contest site, etc. TheDCA table includes the winning score.

The article is full of references to the topnames in senior corps as well as historicalinformation on all of the big names in theactivity -- Lt. Norman Prince, Reilly Raiders,Westshoremen, Archer-Epler Musketeers,Skokie Indians, Reading Buccaneers,Connecticut Yankees, Connecticut Hurricanes,New York Skyliners, Hawthorne Caballeros,Long Island Sunrisers, Yankee Rebels,Rochester Crusaders, Grey Knights and LesDiplomats.

• McGuire, Kristen Shiner. “Exercises forMallet Percussionists; Training Students to PlayWithout Watching Their Hands.” TheInstrumentalist 51, no. 7 (February 1997) :74-76.

According to McGuire, mallet percussionstudents tend to look at their instrument ratherthan the conductor because they do not havedirect contact with the instrument as do othermusicians (pianists, violinists, brass players).

They want to make sure they are playing inthe center of the bar. The author offers tips onhow to build confidence and better technique.

• “Marching Percussion Sources.”Percussive Notes 20, no. 3 (June 1982) : 58.

This is a short bibliography of drum andbugle corps magazines, marching percussionpublications and marching percussion handouts

problems are covered in easy-to-understandtext.

• Larrick, Geary. “Which Marching BandDrumming Style Do You Prefer?” TheInstrumentalist 26, no. 11 (June 1972) : 50-52.

The author describes four styles ofdrumming for marching bands -- Scottish,drum and bugle corps, military and fast-step.In each section, Larrick discusses equipmentand technique. He ends the article withadditional comments relative to selection of astyle, noting the consequences of complexity.

• Lautzenheiser, Tim. “Sailing the 7 Cs ofSuccess.” BD Guide 4 (May/June 1990) : 8-11.

Although written for band directors, thisarticle would translate well for drum and buglecorps directors or anyone in a leadershipposition with a musical marching unit.

Lautzenheiser discusses competence,commitment, communication, confidence,consideration and cooperation. While not avirtual map to success, Lautzenheiser’scomments would certainly provide a positivefoundation for moving down that path.

• ______. “Today’s Marching BandPercussion Section.” School Musician 52, no. 1(August/September 1980) : 14-15.

The visual aspect of modern marchingpercussion sections is not always valued asshow designers focus on sound. Lautzenheiserargues that the percussion section should be apart of the “visual harmony” in drill design. Headvises against simply stacking the section withbass drums in the back and snares andkeyboards in the front of the section.

A concert arc formation would be preferred.Framing the percussion within an auxiliarypicture is one way to highlight the section.Diagrams illustrate the author’s points.

• Lepper, Kevin. “Sound Reinforcement forMarching Percussion.” Percussive Notes 33, no.6 (December 1995) : 23-24.

Sound reinforcement can help enhance thequality of percussion instruments that were notdesigned for outdoor use. Volume is not theissue -- better blend and balance and betterintegration of the instruments is the goal. Howone band did this by adding microphones totimpani, vibe and marimbas and chimes isdescribed here.

article does note that today’s drum and buglecorps drum major is not in the military style ofthe past.

The author notes that drum and bugle corpsdrum majors have more time to develop theirconducting and showmanship skills due to thelarge administrative and teaching staffsconnected with many corps. A photo of aMadison Scouts’ drum major is included in thearticle.

• Koter, Scott. “Design Tips for MarchingPercussion - A Judge’s Perspective.” PercussiveNotes 34, no. 1 (February 1996) : 18+.

Judging of percussion is changing andwriters, arrangers and show designers musttake this into account as they point towarddrum and bugle corps and band competitions.

Integration of percussion in the overallmusical production must be the fundamentalview. Koter covers practice, arranging andstaging and stresses intelligence, balance andsensitivity regarding percussion’s role in theband or corps.

• Laib, J. Russell. “The RelationshipBetween Competition, Show Style, and Numberof Shows Performed by North Georgia HighSchool Marching Bands.” Journal of BandResearch 19, no. 2 (1984) : 51-61.

This research attempts to get beyond thepopular debate about corps-style bands andgather some real data about band-style andcompetition. In order to determine whethercorps-style has been good or bad for bands, oneneeds to study band marching styles,competitions and the number of shows learnedby the bands.

The author begins that research by studyingbands in northern Georgia. He finds that manyare corps-style, they enter more than onecompetition each year and the number of showslearned declines as more contests are entered.He acknowledges that this is just the beginningof the research needed to begin to postulate theeffects of corps-style.

• Lambert, James W. and Grifa, Robert.“Beginning Percussionists with GoodFundamentals.” The Instrumentalist 51, no. 11(June 1997) : 26-28.

The basic skills in teaching percussionistsare presented, including rhythm skills, handposition and grip, and hand motion. Common

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troopers, Bridgeport, CT (1954).Photo by from the collection of Ron DaSilva.

matadors, Marieville, QUE (approx. 1978).Photo from the collection of Drum Corps World.

imperial regimeNt, Cheektowaga, NY (1977).Photo by Art Luebke from the collection of Drum Corps World.

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(available from Ludwig). Also included is a listof marching percussion clinicians, along withtheir fees.

• Mason, Brian S. “Developing the FrontLine Percussion Ensemble.” Percussive Notes30, no. 3 (February 1992) : 43-45.

The evolution of the “pit” or front linepercussion ensemble brings new challenges andpotential to the marching unit. No longer arekeyboards and timpani being carried and playedby marchers. Choice of mallet, scoring andbalance and technique are discussed.

• Masoner, Betty. “Color Guard Protocol.”The Instrumentalist 33, no. 11 (June 1979) :64-65.

Flag etiquette basics are presented in thisarticle which should be read by anyone whoincludes a national flag in their marching unit.While color guard has evolved in its definitionand no longer includes the national colors onthe field or floor of competition, the nationalflag is used by drum and bugle corps for retreatceremonies and in parades.

This two-page article gives the basicfundamentals of flag protocol that should befollowed when handling the American flag.

• Masoner, Betty L. “The Guard -- withColor (Its Evolution and Variety).” SchoolMusician 52, no. 9 (May 1981) : 18-20.

Tracing the origins of color guards fromheraldry through U.S. history to the modernday drum corps and band guard, Masonerbrings the reader up-to-date on the popularactivity.

The modern guard is part dancer, partequipment handler, but the goal remains thesame -- to enhance the visual effect of the drumand bugle corps or band. Numerous photos ofband and drum and bugle corps guardscompliment advice on equipment.

• Mazur, Ken. “Advanced RudimentalTraining Technique.” Percussive Notes 18, no.3 (Spring/Summer 1980) : 45-49.

Mazur, a former DCI snare champion, writesabout rudimental drumming for the marcher,for the solo competitor and for set drummers.He gives training methods and detaileddescriptions and advice. Some musicalnotation is included.

There is much here for the student and the

professional drummer.

•Metcalf, Thomas E. “Corps-style KillsConcert Bands.” The Instrumentalist 37, no. 12(July 1983) : 52.

In a “Challenge” forum that precipitatedseveral more forum opinions over the next year,Metcalf charges that corps-style marching bandis poorly serving music education programs.He states “no other single factor . . . has donemore to degrade music and musical ability thancorps-style bands”.

The narrow focus does not encouragestudents to delve into basic concern musicalliterature, he charges. Students can no longersight read, they focus only on volume and theyhave no technical proficiency.

Metcalf says that everyone is to blame --band directors, parents, contest judges, uniformand instrument manufacturers -- everyone butthe student who is the innocent victim.

• Mitchell, Dave. “Corps vs. Traditional: aComparison of Marching Styles and Values.”School Musician 52, no. 1 (Aug-Sept 1980) :6-7.

Mitchell gives a balanced view rather thansupporting either side of the corps-style bandversus the traditional-style debate. Regardlessof preference, he argues that the student andhis/her educational experience should be themost important factor. Taking the best fromthe styles can yield positive results.

• Mitrani, Hilda S. and Sullivan,Christopher M. “DCI’s Marching MusicConvention.” The Instrumentalist 37, no. 1[11](June 1983) : 18+.

The authors have reported highlights of sixsessions from the first annual DCI MarchingMusic Convention held in Miami, FL. Leadersfrom the worlds of jazz, drum and buglecorps, symphony orchestra, Broadway andmusic research covered diverse topics withpractical advice.

The highlights make you wish that DCI hadpublished the full presentations. One tidbit --researchers at the University of Connecticutdiscovered that DCI adjudicators moreaccurately recalled performances than thosewho evaluated contestants in the TchaikovskyPiano Competition.

The Garfield Cadets are on the cover of thisissue.

• Moore, Jeff. “The Marching Percussionistas a Total Percussionist.” Percussive Notes 35,no. 5 (October 1997) : 32-34.

Moore previews the clinic that he will giveat the 1997 PASIC convention. This previewand clinic are probably not for the novice as theterminology and ideas require knowledge andsophistication.

• ______. “Survey of Contemporary TenorFeatures.” Percussive Notes 36, no. 3 (June1998) : 26-29,32.

The tenor drum section is becomingincreasingly creative and sophisticated. Moorepresents examples of new approaches from theMadison Scouts, Cadets of Bergen County, BlueDevils, Santa Clara Vanguard, Cavaliers andPhantom Regiment. The four pages includetext and music.

• Moore, Jeffrey. “Designing an EffectiveWarm-up Program for the Marching PercussionSection.” Percussive Notes 33, no. 2 (April1995) : 26-31.

Snare, tenor and bass drum exercisescomprise the majority of this article. They areseparated by “hands separate” and “handstogether.” Moore also includes basic goals andprinciples of the warm-up.

He notes that the warm-up should fit theshow. He also recommends that warm-upsfocus on both technique and fundamentals andshould move from basics to advanced concepts.

• Morrison, Robert. “The Development ofthe Front Percussion Ensemble.” PercussiveNotes 23, no. 5 (July 1985) : 32+.

One of the most controversial of recentdrum and bugle corps innovations is the “pit” --formally called the front percussion ensemble.The pit is an area on the front sideline wherenon-marching percussion is stationed. Manydrum and bugle corps fans believe that allinstruments should be marched -- hence a basicconflict over the pit.

The front percussion pit is also anobstruction for photographers in the stands andon the field. Morrison does an excellent job oftracing the history of the pit, highlightinginnovations as they have occurredchronologically and by corps.

• Murray, Allan. “Field Bands and DrumCorps -- South African Style.” Percussive Notes

Norwood park imperial Cadets, Chicago, IL (1977).Photo by Dennis Nichols from the collection of Drum Corps World.

madisoN JuNior sCouts, Madison, WI (1985).Photo by Donald Mathis from the collection of Drum Corps World.

seattle imperials., Seattle, WA (approx. 1986).Photo by Art Luebke from the collection of Drum Corps World.

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36, no. 3 (June 1998) : 33-35.The author had the unique and exciting

experience of introducing South Africans toAmerican-style marching bands and drum andbugle corps. The intent is to build a fieldband/drum and bugle corps activity in thecountry, one that will be able to competeinternationally in a few years.

This is a fascinating look at Murray’s firsttrip to South Africa and what he learned aboutthe people and their reaction to their firstglimpses of videos of U.S. marching bands anddrum and bugle corps.

• Neidig, Kenneth L. “Bands of AmericaSummer Workshop.” BD Guide 4 (May/June1990) : 2-5.

The Bands of America organization has hadstrong ties to drum and bugle corps asevidenced by the faculty of this workshop andthe topics covered. Robert W. Smith, MichaelCesario, Thom Hannum, George Parks andothers were on the 1989 program.

This article includes summaries of theirsessions. Topics include arranging, showdesign, percussion (field and pit) andleadership.

• Nevin, Mike. “Creating a SuccessfulIndoor Drum Line.” Percussive Notes 36, no. 2(April 1998) : 32-34.

With the recent growth of indoor drum linecompetition in conjunction with Winter GuardInternational events, there are more groupsinterested in this type of activity. The authorcovers subjects such as whether or not to startan ensemble, choice of music, sound quality,drill/props/costumes and support for the unit.

• Older, Jane. “The Lady Bugler.” SchoolMusician 52, no. 2 (October 1980) : 10-11+.

This is an historical look at a woman, PeggyDrake, who has had a life-long love affair withthe bugle. The article traces her playingexperience, then talks about her hobby ofcollecting bugles. The article includes photosand discusses her collection in detail.

• Parks, Walter. “Tom Float: theInstructional Use of Percussive Singing withthe Marching Percussion Ensemble.”Percussive Notes 24, no. 5 (July 1986) : 58-59.

Noted drum and bugle corps percussioninstructor Tom Float advocates singing to help

drummers better understand their music. Hehas developed syllables to represent particularnotes. The article includes a page of examples.In the text, Float’s detailing of the benefits ofthis approach is well-articulated and persuasive.

• “Percussion on the March.” (newdepartment) Percussive Notes 18, no. 3(Spring/Summer 1980) : 40-42.

This announces a new regular feature toappear in Percussion Notes, articles that willfocus on marching percussion. The high-powered editorial staff is introduced with briefbiographies and photos of Brian Callahan, JimCampbell, Marty Hurley, Steven Mayer, FredSanford and Jay Wanamaker.

• Prentice-Lambrecht, Barbara. “Preparingfor Marching Competition.” TheInstrumentalist 51, no. 1 (August 1996) :76-77+.

The value of advance planning, consistencyand focus are themes in this article. The lastpractice/rehearsal before competition should becalm and organized, preparing for mentalreadiness. It should be a natural extension of asteady progression of preparation, not a last-minute drawing together of the program.

The smart band or corps director is well-prepared, knowing the stadium layout andidiosyncrasies as well as the event schedule.Performers should be physically ready so propernutrition and exercise need attention.

• Prosperie, Jeff. “Becoming an EffectiveMarching Percussion Adjudicator.” PercussiveNotes 38, no. 5 (October 2000) : 24.

This short article is a preview to the author’smaster class on judging to be held at the 2000Percussive Arts Society InternationalConvention. Even with that, one can learn afair amount about the environment andchallenges of judging percussion in this article.

• Pullis, Joe M. “Developing the RudimentalSnare Drum Grip.” The Instrumentalist 26, no.3 (October 1971) : 47-48.

The importance of grip in producing aclean, crisp sound is stressed by Pullis. Aproper grip should lead to proper wrist actionand control. Without such, the student cannotdevelop to any appreciable degree according tothe author. Photos are used to demonstratevarious grips.

The author notes that “rudiments are theheart of drumming.”

• Rapp, Willis. “The Evolution ofMulti-toms.” Percussionist 17, no. 3 (1980) :32-39.

The history of multi-toms is traced from itsdrum and bugle corps origins as the rapidevolution in drum and bugle corps has beenwidely embraced by marching bands. Photos ofdrum and bugle corps drum lines are effectivelyused to depict the development of multi-toms.

Pictures of the Bridgemen, Kilties, BlueDevils, Santa Clara Vanguard, Spirit of Atlanta,Phantom Regiment, Cavaliers and the 27thLancers appear. The article includes “technical”information on tuning and placement of themulti-toms.

• Ratliff, David. “Better Bass DrumInterpretation.” Percussive Notes 36, no. 6(December 1998) : 23-24.

With two exercises (one from the PhantomRegiment), Ratliff provides a number ofvaluable tips for improving bass drum sectionperformance.

• Rennick, Paul. “The Importance ofTiming Exercises.” Percussive Notes 38, no. 4(August 2000) : 28-29, 32-33.

Playing together with a unified pulse is thetrue test of excellence in percussion ensemblesand timing is the key. The author stresses theimportance of exercise programs dealing withtiming. Nine musical exercises are includedwith the author’s text.

• Robbins, Melanie. “Corps Style - theControversy Continues.” The Instrumentalist38, no. 11 (June 1984) : 72.

More reaction to T. E. Metcalf’s article arefound in this “Challenge” forum opinion. Theplea is for balance in school music programs --not obsession over the marching band program.The complaint is made of narrow focus forthose corps-style marching bands that performonly one basic show all marching season, thencarry the music from that show into concertseason.

• Rockefeller, David R. “Rifles, Pompoms,Flags and Music?” Music Educators Journal 69,no. 4 (December 1982) : 31-32.

Noting that “the greatest influence on the

heart of the hudsoN Valley, Poughkeepsie, NY (1996).Photo by David Schwartz from the collection of Drum Corps World.

los aNgeles ChiNese imperial dragoNs, Los Angeles, CA(1974). Photo by Jane Boulen from the collection of Drum Corps World.

haNoVer laNCers, Hanover, PA (1974).Photo by Ron DaSilva from the collection of Drum Corps World.

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marching band movement of the 1970s hasbeen the professional drum and bugle corps,”

Rockefeller gives a well-balanced view of thesubject of corps-style bands. He cites bothpositives and negatives and gives some soundadvice regarding the philosophy of musiceducation. He notes that corps style andcompetitions are expensive in terms of dollars,time and effort. However, they can yieldwonderful benefits if approached correctly.

• Rohrer, Thomas P. “Marching Handbookfor Students.” The Instrumentalist 49, no. 1(August 1994) : 78-79.

This excerpt from the Bowling Green StateUniversity Marching Band Student Leadershiphandbook would translate well to any musicalmarching unit. Topics include studentleadership responsibilities in marching, music,performance day, teaching drill, preparingcharts, executing charts, etc.

• Rose, Riley. “400 Plus Performances aYear.” Percussive Notes 31, no. 1 (October1992) : 31-40.

This is an interesting profile of the UnitedStates Marine Drum and Bugle Corps. Thearticle includes information on how to applyand audition, various audiences, preparationand travel schedules and the member’s dutiesas Marines. Among the points of interest --members of the drum section write theirown arrangements to accompany the buglecharts.

• Roznoy, Richard T. “The Drum CorpsInternational Championships.” TheInstrumentalist 32, no. 11 (June 1978) : 24-27.

In covering the 1977 DCI championshipsheld in Denver, CO, and won by the Blue Devils,Roznoy describes drum corps as “the mostexciting thing happening on the marchingfield.” (The quote actually comes from JackFoote of the University of Colorado.)

Roznoy suggests that bands can learn agreat deal from drum corps -- not just visualeffects, but musical elements also. Effective useof changing tempos, use of soloists and playingsoftly are explored. The superiority of corpspercussion over band percussion also receivescomment.

The author comments on the one showversus many shows comparison of corps andbands, noting that band shows need not be

completely new week to week.

• Sanford, Fred. “Today’s Field Percussion.”The Instrumentalist 29, no. 11 (June 1975) :50-53.

This article is adapted from a Remopublication “New Developments in Today’s FieldPercussion.” Sanford discussesinstrumentation and personnel, then goes intosome detail on selecting snares, timp-toms,basses, cymbals and timpani. Also discussed aremallet selection, instrument condition andadjustments, field shows and scoring/arranging.There is much useful information in thesethree pages, although some of it may be datednow (especially marching timpani).

• Sell, Catherine. “Tracking the Trends ofMarching Bands.” The Instrumentalist 49, no.2 (September 1994) : 10-17+.

Trends reported include the number ofdifferent shows used per season, instrumentsused, budget sources and sources of music.Also included is advice to new band directors.

The article includes questions and a wideand extensive range of responses collected froma survey that was conducted in 1990. Colorphotos accompany the text.

• ______. “Tracking the Trends of MarchingBands - part 2.” The Instrumentalist 49, no. 3(October 1994) : 18-29+.

Part 2 continues to explore important issueswith numerous quotes that make it clear howdiverse opinions are on marching band topics.It is clear that the value of competition, balanceof instrumentation and the effect of drum andbugle corps continue to be controversial topics.Comments relative to drum and bugle corps aresprinkled throughout the statements.

• Sherry, Heather Rakauskas. “ColorguardDesigns for Maximum Effect.” TheInstrumentalist 55, no. 1 (August 2000) : 26-30.

Color illustrations enhance this articlewhich covers equipment, training and thebasics of color guard. Especially helpful is asection on making flags on a limited budget.

• ______. “Fundamental ColorguardTechniques; Adding Flair to the MarchingBand.” The Instrumentalist 54, no. 2(September 1999) : 30-33+

The author offers basic color guard flag

instruction with text and photos. She offerstips on practice, body position, field placement,equipment changes, routine and drill designand uniform choice.

• Simon, Jack L. “A Symphony Orchestraand Drum and Bugle Corps Perform Togetherin Concert.” The Instrumentalist 37, no. 9(April 1983) : 25.

Mr. Simon, conductor of the Rockford, IL,Area Youth Symphony, discusses the uniqueconcert performed by the orchestra and thePhantom Regiment Drum and Bugle Corps ofRockford. A year-long planning effortculminated in a concert attended by nearly2,000 people who rewarded the effort with an“instantaneous standing ovation.”

The concert concluded with a joint playingof the Regiment classic, Elsa’s Procession to theCathedral (Wagner). The concert was anexcellent collaboration, with another plannedfor the future.

• Smith, Gary E. “Drum Major Auditions.”The Instrumentalist 35, no. 12 (July 1981) :14-15.

This article is of help to musical directorsplanning to hold drum major auditions and tothose who want to participate in auditions.Smith notes that the effective leader andperformer should be creative, aggressive,perceptive and musical. He also indicates thatthe drum major should understand thedirector’s philosophy and goals and share theresponsibility for achieving those goals.

In many ways, the effective drum majorserves as an assistant director. Leadership skillsare paramount.

• Snapp, Kenneth. “Corps-Style Marching:a Blessing or a Curse?” School Musician 51,no. 9 (May 1980) : 6+.

Although Ken Snapp is a corps-styleenthusiast, he points out the problems ofembracing corps-style without thinking aboutthe philosophy of the concept as compared tothe band’s philosophy and the welfare of thestudents. Band directors are counseled to adaptthose elements of corps-style which make sensefor their programs rather than blindly copyingdrum and bugle corps.

• Snider, Larry B. “Marching TonalPercussion.” The Instrumentalist 28, no. 2

mariNiers, Bic, QUE ((approx. 1978). Photo from the collection of Drum Corps World.

JeaNettes, Lynn, MA (1977).Photo by Art Luebke from the collection of Drum Corps World.

seattle marksmeN, Seattle, WA (1976).Photo by Jane Boulen from the collection of Drum Corps World.

over some of the show while introducing newparts to each show. The North Texas StateUniversity band uses this concept with comfortand success.

• Sward, Rosalie. “The ContinuingControversy Concerning the ‘C-Words’ the ‘E-Words’ and the ‘R-Words.’ ” Today’s MusicEducator 5, no. 1 (Spring 1992) : 4.

Evaluation, education, expression,entertainment; competition, conflict, critique,criticism, controversy; ranking, rating, rivalry --all find a place in this piece that focuses onadjudication in drum and bugle corps.

Why is the activity so preoccupied by all ofthis? Because there is a growing body ofthought that believes drum and bugle corpshave stopped caring about entertaining andonly care about winning. Sward concludes witha thought provoking comment --“Entertainment, like beauty, is in the eyes andears of the beholder.”

• ______. “A Look at Adjudication: anInterview with Michael Kumer.” Today’s MusicEducator 4, no. 3 (September 1991) : 38-42.

Changes in the DCI judging system arenecessary for the recruitment of judges and forthe education of young people involved incompetitive drum and bugle corps, according toKumer. He criticizes the ranking/ratingjudging system and the infamous “critiques”that follow drum corps competitions.

With drum and bugle corps moving beyondtheir military heritage to a more artisticapproach, a new judging system needs to evolve-- one where there are winners, but not losers.(Think of the Academy Awards . . .)

• ______. “Recruitment and Motivation.”Today’s Music Educator 1, no. 2 (Fall 1988) :5-38.

There are three separate articles in theissue, all of which have been written by Dr.Sward and all cover various aspects ofrecruitment and motivation. The first article,“How Does Your Garden Grow,” discusses thetopics as keys to the survival of theorganization.

The second, “Recruitment: Planting YourGarden,” talks about retention as well asrecruitment.

The third, “Burnout: Get Out of the Sun andInto the Shade,” explores the topic of stress. All

three articles are sprinkled with numerousanecdotes from drum and bugle corps,especially the Star of Indiana (networking inthe community) and the Phantom Regiment(burnout of a corps director).

• Teleky, Ed. “Ten Steps to Designing aCompetitive Marching Show.” Percussive Notes34, no. 4 (August 1996) : 44-45.

This short article contains a wealth ofinformation for show designers. As the titleindicates, 10 fundamental points are brieflydiscussed. The article is a true short course orchecklist as the design process begins. It offersboth practical and theoretical advice of value todesigners with bands, drum and bugle corps,color guards, and ensembles. Subjects coveredinclude adjudication, resources, talent level,theme, charting, etc.

• Telesco, Joseph. “Marching Styles -- theWords That Cause Debate.” TheInstrumentalist 39, no. 2 (September 1984) :120.

Telesco offers another opinion in the“Challenge” forum, taking a broader view ratherthan focusing on corps-style or any other styleof marching band. He believes that all mannerof bands -- marching, concert, jazz, whatever,all have one goal -- the student’s musicaleducation. All should work for theimprovement of musicianship. The style ofmarching band matters little if the goals areclear.

• Thompson, Chris. “On MarchingPercussion & Jazz.” Percussive Notes 24, no. 5(July 1986) : 60.

How to deal with the improvisational natureof the jazz idiom is a special challenge to thosewriting for modern marching percussionsections. The key is to strive for a feeling ofspontaneity even though performers are notreally improvising.

Thompson offers some opinions and posessome questions to be considered in approachingthe subject for those who want to pursue thechallenge.

• Thulien, James W. “So Now You Want toMarch Corps Style.” School Musician 51, no. 9(May 1980) : 10-11.

Thulien offers practical advice to those whowant to embrace corps-style for their bands. He

(September 1973) : 59-62.With the advent of timp-toms, marching

timpani and tuned bass drums, marchingpercussion sections add a whole new dimensionto the band or drum and bugle corps. Usingthese instruments to their fullest requiresunderstanding of each and the need for balance.

Each part is equally important rather thanthe traditionally dominant snare drum. Inaddition to an introduction to each instrument,Snider provides an overview of tonal percussionincluding tuning, mallets and sticks,marching, composing and scoring.

• Snoeck, Kenneth M. and Blackford, R.Winston. “Corps Style and the MarchingBand.” The Instrumentalist 29, no. 11 (June1975) : 49.

Two band directors offer their views on theimpact of drum corps style on marching bands.They discuss “graphical” representation ofmusic -- the need for integration andchoreography.

• Spalding, D. C. “The Evolution of DrumCorps Drumming: a Brief History ofRudimental Drumming in America from theMusic of the Continental Army to the ModernJunior Drum and Bugle Corps.” Percussionist17, no. 3 (1980) : 116-131.

Not only is this an excellent history ofrudimental drumming, it is also a history ofdrum and bugle corps. Spalding traces thehistory of rudimental drumming in Europe andthrough U.S. history. The article is footnotedand includes a bibliography. Included areinnovations in percussion brought forward bymodern day drum and bugle corps.

• Stansbury, John C. “Soft Corps (anAlternative to Hard Corps).” TheInstrumentalist 34, no. 3 (October 1979) : 21-22.

Rather than a strict adoption of the drumand bugle corps style, Stansbury prefers anapproach that incorporates the best of all stylesof marching. One of the basic elementsinvolves using four-member squads rather thancharting each band member individually.

The importance of visual effect and musicalfunction are stressed. The 8 to 5 stride step isused. Rather than the corps-style, one-showconcept, Stansbury uses a “build on” whereeach show builds on the previous one, carrying

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hill JaCks Caballeros, Turtle Creek, PA (1964).Photo from the collection of Drum Corps World.

empire state express, Elmira, NY (1978).Photo by Jim DeWitt from the collection of Drum Corps World.

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points out the various elements that arenormally included in corps-style -- the stridestep, the complex percussion role, integratedmusic selection and presentation/drill andvisual coordination.

• Van Vorst, Charles E. “Corps Style Bands:the Best of Both Worlds.” The Instrumentalist37, no. 9 (April 1983) : 6-7.

In this opinion piece, the author believesthat corps and bands are not as far apart,separate and distinct as they once were. Corpshave become more musical and bands haveborrowed fluidity, staging and executionfrom corps.

Band directors are encouraged to attenddrum and bugle corps competitions to see theelite corps perform. Van Vorst believes thatcompetition motivates and the group effortfosters camaraderie and respect. The pressuresand economics of competition are alsodiscussed.

• Vickers, Steve. “The Drum and BugleCorps Movement; Into the 1990s and Beyond.”BD Guide 4 (May/June 1990) : 12-14.

As we enter a new decade, there are signs ofgrowth after years of decline in the number ofdrum corps. Vickers briefly discusses new brassinstruments (3-valve bugle), small corps (A andA/60), international activity, the U.S. serviceacademy corps, musical variety and the futureof drum corps.

A schedule of major regional and DCI eventsfor the summer of 1990 is included. In thesection of the future, Vickers talks about theall-star corps that are appearing in majorholiday parades. Included in the article arephotos of the Cadets of Bergen County, BostonCrusaders, Princemen Chorus and Pepe Notaro.

• ______. “The Drum Corps Movement -- aLook at Today’s Top Corps.” TheInstrumentalist 29, no. 11 (June 1975) : 44-48.

This is a photo essay that includes picturesand brief comments on the outstanding corpsof the day. Included are the 27th Lancers,Garfield Cadets, Madison Scouts, Troopers (whoappear in full color on the cover of this issue),Cavaliers, Blue Devils, Santa Clara Vanguard,Blue Stars, Argonne Rebels and AnaheimKingsmen. Vickers also offers brief commentson the history of drum corps as well as DrumCorps International.

• ______. “Drum Corps Moves into the’80s.” The Instrumentalist 34, no. 11 (June1980) : 18-19.

Vickers describes the success of the drumand bugle corps activity, citing the PBSbroadcast, growth in spectator ranks, thesuccess of the activity in Europe and themarked effect on school marching bands.

Although the U.S. economy can have aserious effect on drum and bugle corps,organizations seem to find new ways togenerate funding. As a new decade approaches,the outlook for competitive drum and buglecorps, color guard and marching bands is mostencouraging.

• ______. “Drum Corps 1976.” TheInstrumentalist 30, no. 11 (June 1976) : 38-42.

Vickers stresses the variety of music playedby the nations’ top corps and notes the effectdrum and bugle corps are having on marchingbands. Three pages of photographs depict the1975 DCI season and the top corps each receivea paragraph review of the 1975 highlights.There is also a directory of 1976 events.

• ______. “The Drum Corps Scene -- 1991.”BD Guide 5 (May/June 1991) : 6-7.

Growth of the activity cited in Vickersannual review of drum corps in 1990 continues.Also increasing is the cooperation betweendrum and bugle corps and marching bands asevidenced by crossover of staff members and ofequipment.

The state of the activities in Europe and Asiaare described as are such topics as all-starcorps, musical repertoires for 1991 and thesummer contest schedule highlights. Photosinclude Dutch Boy, Star of Indiana, Cadets ofBergen County and the Blue Knights.

• ______. “The Drum Corps World in1979.” The Instrumentalist 33, no. 11 (June1979) : 22-23.

Vickers comments on the state of the drumand bugle corps activity in this illustratedarticle that includes information on theeconomics, international activity, regionalismand speculation on the future of the activity. Amajor competition schedule is included.Photos include North Star, Garfield Cadets andSanta Clara Vanguard.

• ______. “The Drum Corps World in

1982.” The Instrumentalist 36, no. 11 (June1982) : 10-11.

Vickers annual examination of the drum andbugle corps activity includes coverage ofbudget and management issues, drum andbugle corps in Europe and a calendar of eventsin the U.S. This is a two-page overview that isbrief and aimed at those who are not avid drumand bugle corps followers.

• Vickers, Steve and Hilton, Linda. “DrumCorps World in 1983.” The Instrumentalist 37,no. 1[11] (June 1983) : 16-18.

Any article that begins with “Quality -- notquantity -- is the byword for the Americandrum corps scene in the 1980s” is bound tocatch the attention of readers of drum corpsliterature. The Garfield Cadets grace the coverof this issue.

Economic factors have cost the activitynumbers, but the top competitive level hasimproved in quality. The authors note thatrealistic and responsible management are thekeys to survival, especially for smaller corps.The costs of touring nationally can bedevastating to corps and it is likely that thenumber of large corps (128 members) will notincrease substantially in the future.

Vickers has long believed that local- andregional-based competitions may be the key tosurvival of drum and bugle corps. Regionalcircuits such as Drum Corps Midwest areexperiencing great success. The article includesdetails on the major competitive events for thesummer.

• ______. “The Drum Corps World in1986.” The Instrumentalist 40, no. 11 (June1986) : 10-13.

The state of drum and bugle corps andcompetitive color guard are discussed in thisversion of Vicker’s annual “state of the art”report. This article focuses on the strongMidwest and international arenas.

The author notes that the drum and buglecorps activity has come a long way musically“from when marches were the norm.”

The major events calendar for the comingyear is included along with photos of theBoston Crusaders, Imperial Knights(Brighton, England), Star of Indiana, Beatrix(Hilversum, Holland), Santa Clara Vanguardand Spirit of Atlanta.

rhode islaNd matadors, Providence, RI (1979).Photo by Bill Dixon from the collection of Drum Corps World.

muChaChos, Hawthorne, NJ (1972).Photo by Jane Boulen from the collection of Drum Corps World.

Phantom Regiment.” Percussive Notes 20, no.3 (June 1982) : 56-58.

A look at what it is like to be a member of atop-flight competitive drum and bugle corps ispresented by a member of the corps. Includedare several pictures of the popular PhantomRegiment from Rockford, IL. The rigorousrehearsal schedule with emphasis on sectionaland full-corps activities is especially interesting.

Life on the road is captured as the writertakes the reader through a 24-hour period.This article would be good for prospective corpsmembers and their parents to obtain a real feelfor what the drum and bugle corps experienceentails.

• Vogel Weiss, Lauren. “Fred Sanford.”Percussive Notes 38, no. 4 (August 2000) :14-17.

Drum corps legend Fred Sanford died onJanuary 28, 2000. This tribute talks about hisdrum and bugle corps background, hiseducation, his business career and hisexperience as a teacher and arranger, especiallyhis association with the Santa Clara Vanguard.Coming through clearly in the text is therespect and affection that so many had forSanford.

• ______. “PASIC ’95 Marching Preview.”Percussive Notes 33, no. 5 (October 1995) :20-21.

This is a preview of clinics to be staged byFred Sanford and Thom Hannum at theupcoming Phoenix conference. Sanford’s willfocus on the potential of electronics, whileHannum’s will be on sound quality andarranging for indoor and outdoorenvironments. Photos of the two cliniciansaccompany the text.

• Wanamaker, Jay A. “Administering theMarching Percussion Section.” TheInstrumentalist 33, no. 4 (November 1978) :58+.

Wanamaker offers tips to marching banddirectors on how to deal with the increasinglyimportant percussion sections. Topics includeresponsibility for equipment, maintenance andstorage of equipment and management of thesection.

• ______. “Corps-Style Clinic Column.”Percussive Notes (regular column) (1979-1980).

alumni corps and all-star corps. Highlights of the summer competitive

schedule appear. Vickers also reports on theebb and flow of the activity as some corps take ayear off or cease operations while others returnafter a hiatus. The financial challenges to theactivity are obvious. Photos include SantaClara Vanguard, Empire Statesmen,CapitalAires, Americanos, Madison Scouts andBeatrix.

• ______. “1984 Report: Drum CorpsWorld.” The Instrumentalist 38, no. 11 (June1984) : 9-11.

This is the tenth annual article written byVickers on the state of the drum and buglecorps activity. He continues to track trendsreflected in the activity. His annual articlescould serve as a historical monitor of drum andbugle corps.

This year he notes growth in the PacificNorthwest and the South, as well asinternational arenas. Other topics include acolor guard update and comments on relationsbetween drum and bugle corps and marchingbands. Photos include Spirit of Atlanta, SantaClara Vanguard, Garfield Cadets, Colts and theSkylarks Color Guard.

• ______. “1985 Report: Drum Corps andColor Guard News.” The Instrumentalist 39,no. 12 (July 1985) : 14-16.

A good balance of text and photos make thiseleventh annual report on the state of the drumand bugle corps activity effective and leavingthe reader with a sense that the three pagescould easily have been doubled.

Drum corps and color guard competitionsshare the coverage. The article includes DCIschedules and should serve to whet the appetiteof readers. Vickers notes trends that see colorguard growing and drum corps shrinking innumbers.

• ______. “Summer Corps Contests.” TheInstrumentalist 35, no. 11 (June 1981) : 78-79.

The DCI summer schedule for 1981 (DCI’stenth anniversary year) is included with anoutstanding photo collage that includes the SkyRyders, Guardsmen, Troopers, Spirit of Atlanta,Bridgemen, Ventures and the U.S. Air ForceAcademy corps.

• Vogel, Lauren. “A Day on Tour with the

• ______. “The Drum Corps World in1992.” BD Guide 6 (May/June 1992) : 26-27.

The 20th anniversary of DCI and the 25thanniversary of the Santa Clara Vanguard arenoted. As usual, Vickers reports on the topcorps repertoires, highlights of the comingsummer season and international activity.

Also noted is the DCI selection of fiverotating sites for the DCI championships (aconcept that was abandoned quite quickly).Photos include the Cavaliers, Velvet Knights,Southwind and Empire Statesmen.

• ______. “The Drum Corps World in1993.” BD Guide 7 (May/June 1993) : 2-4.

In his annual review of drum corps, Vickersreports on the new emphasis on cooperation inscheduling between regional organizations andDCI. Also covered are the summer competitiveschedule, top corps repertoires, drum and buglecorps around the world and the DCI planningeffort aimed at seeing the activity to the year2000. Photos include Glassmen, Blue Devils,Spirit of Atlanta, Freelancers, Northern Aurora,Troopers, Cadets of Bergen County and BlueKnights.

• ______. “The Drum Corps World in1994.” BD Guide 8 (May/June 1994) : 2-4.

Vickers discusses the growing controversyover “entertainment,” noting that 1994repertoires seem to reflect the fact that showdesigners have heard fan frustration.

Vickers also covers new DCI rules, summerschedule highlights, alumni corps andinternational activity. The concluding sectionreports on Star of Indiana’s plans to performwith Canadian Brass during the summer of1994 under the title “Brass Theater.”

Photos include Glassmen, Freelancers,Cadets of Bergen County, Blue Devils, SantaClara Vanguard, Empire Statesmen, MadisonScouts and Star of Indiana. The cover of thisissue also has photos of Phantom Regiment andthe Cadets of Bergen County.

• ______. “The Drum Corps World in1995.” BD Guide 9 (May/June 1995) : 2-4.

This annual report includes information onDCI’s change of leadership and the financialproblems of the organization. In addition toDCI, there is extensive information on theregional organizations, the international scene(the United Kingdom and the Netherlands),

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phoeNix, Sarnia, ONT (1986)Photo by Roger Ellis from the collection of Drum Corps World.

kiNgstoN greNadiers, Kingston, ONT (2001).Photo by Dan Scafidi from the collection of Drum Corps World.

outlaws, Belleville, NJ (1981).Photo by Ron DaSilva from the collection of Drum Corps World.

moNarChs, Wayne, NJ (1974)Photo by Moe Knox from the collection of Drum Corps World.

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Wanamaker devotes each column to someaspect of corps-style percussion. Among themonthly column titles are corps-style warm-up,visual effects and an untitled column on grip,stroke and drum position. These are helpfullittle columns, some of which include photos.

• ______. “Developing the MarchingPercussion Section: Timp-tom Trios, MarchingTimpani, and Tuned Bass Drums.” PercussiveNotes 16, no. 2 (Winter 1978) : 55.

A well-balanced percussion section toenhance the appearance and sound of amarching band should be the goal andWanamaker offers suggestions on how toachieve that. Tuning of timp-toms (the altopercussion voice), angle of the drum head andmallet choice are discussed.

The section on marching timpani is ofhistorical note as timpani and keyboardinstruments are generally no longer marched.Rather than the traditional role of time beater,bass drums are now melodic and Wanamakerdiscusses tuning, muffling, placement andmallets.

Note: This article originally appeared inWoodwind World - Brass and Percussion inspring 1977.

• ______. “George H. Tuthill: a Pioneer inMarching Percussion.” School Musician 53,no. 1 (Aug-Sept 1981) : 22-23.

This interview covers a lot of ground --drum and bugle corps history as witnessed byTuthill, judging of percussion sections,percussion innovation, thoughts on DCI andcorps-style bands. Tuthill is a highly-respectedleader in both drum and bugle corps and bandsand this is an interesting look at the man, hisexperience and his ideas.

• ______. “Marching Band vs. Drum Corps:One Marching Member’s Opinion (interviewwith Jeff Newton).” School Musician 55, no. 7(March 1984) : 8-9. Also Percussive Notes 21,no. 5 (1983) : 56-57.

This is an interview with Jeff Newton, atimp-tom player with the University ofSouthern California Marching Band and withthe Freelancers Drum and Bugle Corps.Pictures of Jeff in his USC and Freelancersuniforms are included.

The text is very interesting as Jeff speaks ofthe benefits of each organization. Topics

encouraged by the author.

• Willie, Eric. “The Logic of an ExerciseRoutine for Your Drum Line.” Percussive Notes38, no. 7 (December 2000) : 26-28.

Going through a set of exercises each daywill keep percussion lines at a high level. It willkeep little mistakes and poor habits fromcreeping in. The author details such anexercise program with text and music.

• Wooten, John. “Creating a RudimentalDrum Solo.” Percussive Notes 38, no. 3 (June2000) : 26-29.

According to the author, most snare andtenor competition solos are written by theperformers themselves. He offers advice ongetting started with a composition, styles,rudiments, transitions and creativity as well asperformance suggestions.

• ______. “The Problems of Sound Delayon a Football Field.” Percussive Notes 29, no. 2(December 1990) : 35-37.

Wooten proposes two rules to deal with theproblem of sound delays -- 1) whoever isfurthest back should cue off the drum major,not the sound; and 2) players in the frontshould not cue off the drum major, but off thesound coming from behind when possible.

This is critical to overcome the phasingproblems caused by sound delays. Wootenincludes four formation “pictures” to illustratethe point and tells how the design of the 1989Phantom Regiment show was done with theseprincipals in mind.

• Wyman, Chad. “An Interview with ThomHannum.” Percussive Notes 37, no. 1(February 1999) : 20-28.

In a question/answer format, Hannumdiscusses topics such as changing trends inmarching percussion, percussion equipment,the effect of the pit, writing for marchingpercussion, the effect of drill, etc.

• ______. “Teaching Compound RudimentsThrough Basics.” Percussive Notes 35, no. 6(December 1997) : 26-28.

Rudiments can be combined to become“compound rudiments” or variations. Severalof the compound rudiments are described intext and score with a goal of making them moreeasily understood by students.

include rehearsals, instructors and audiences.Newton is very articulate and this articlepresents an excellent perspective on the bandand drum and bugle corps experiences. He hasno patience with the corps vs. band debate,feeling that both have a place and that morepeople should experience both types ofmarching activities.

• ______. “New Trends in RudimentalSnare Drumming.” The Instrumentalist 39,no. 3 (October 1984) : 62-65.

Several pages of music annotation areinterspersed with textual instruction thatfocuses on new trends in snare drumming. Thepopularity of rudimentary drumming is anotherbenefit of the popularity of drum and buglecorps. Wanamaker addresses rudiments, rollsand visual effects. The article concludes with alist of solos for advanced high schoolpercussionists.

• ______. “1979 DCI Championship(rankings).” Percussive Notes 18, no. 2 (Winter1980) : 39.

A brief recap of the 1979 DCI championshipsis given, with scores of the top 12 corps andcomments on the percussion winner (SantaClara Vanguard) and percussion news from theevent.

• Wells, David. “For Hire: One CompleteCorps-Style Concert Band Director.” TheInstrumentalist 35, no. 11 (June 1981) : 80+.

A somewhat satirical opinion piece ispresented as another issue of TheInstrumentalist’s “Challenge” forum. Thetransition from fall marching season to concertseason is discussed, with satire about the effectsof corps-style. While the author professesrespect for the corps-style marching band, hewants his readers to pay equal attention to theconcert band. The bottom line is qualitymusical education.

• White, Jack W. “Corps-Style Rehearsals.”The Instrumentalist 32, no. 11 (June 1978) :30-31.

White proposes a modified drum and buglecorps approach to scheduling and organizingband rehearsals to take advantage of the mentalfocus achieved by drum and bugle corps.Adapting similar attitudes and experimentingwith drum and bugle corps methods are