Really good 2 sections or OKAY 3 Sections?

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germmeetsworld Offline
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Really good 2 sections or OKAY 3 Sections?

Posted: Fri Jun 05, 2009 11:04 am



Alright what's your style of placing new people. My school puts all new people on bass basically, so we start out slow and are okay near the end. The veterans are on snare and tenor and those two sections are pretty good. Some schools put freshmen on snare and tenor though, and I just wanted to know which one you would choose and why.
Last edited by germmeetsworld on Fri Jun 05, 2009 12:04 pm, edited 1 time in total.
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Fri Jun 05, 2009 11:08 am



I would hold auditions and make every spot available. Choose from what you see as the best for such instrument. If a kid has really good timing and can subdivide, put him on bass, if he has good hands, snare or tenor. If that's really not an option, I would spread the wealth a little and put some rooks on each instrament and start them off strong.
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Sat Jun 06, 2009 1:10 pm



My school usually puts new people on bass, but if they can hack it and we have a spot, they get snare. The most seasoned usually go to tenors. There are a few who like bass and stick with it the whole time, but one or two usually move off bass every year to snare/tenors.

As for me, I'd rather have good three decent sections. The drumlines in high schools that stick out the most to me are the ones with good basslines.
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Tue Jun 30, 2009 4:01 pm



i agree with Panasonic.

Having a well balanced, but not a great line sounds a whole lot better to me. Rather than having a snare and tenor section throwin down some crazy beats and the basses playing idk...8th split patterns. The high school i taught last year was ok, nothing challenging. We got alot of compliments on how well the drumline blended. but idk. i think i just started rambling.

But yes. 3 OK sections are better.
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pr0k Offline
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Fri Jul 31, 2009 3:48 pm



the thing about that is, if you only have maybe three good players on a bassline and two freshman who kinda suck, you can still throw down some sick splits
just not between the freshman, you know
you can put bad players on basslines because you can usually work harder splits around them, making the music possibly even more fun for the seasoned players
but if you put a weak player on a snareline or quadline, you might have to water down their(and everyone else's) music, eliminating the beefylicks


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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Fri Jul 31, 2009 3:52 pm



I also agree with panasonic. Lots of schools have good tenor and snare lines, but it takes skill to have a good high school base line.

We usually audition for snare and bass, and vets who are beast go on tenors, most of the time. Our line is full this fall though, so all the frosh have to be in pit for the fall season.
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kettlekorn Offline
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Sat Aug 01, 2009 8:11 pm



I agree with panasonic as well, a good bass line is the best to me its not hard to get a good snare line, kind of hard for tenors. But we have auditions for all sections, very rarley do freshman make snare, if theres an open spot they normally make bass, no freshmen have made tenors at my school mostly because its the beasts that play it :D and we have to keep at least one returning tenor player on the line so they can teach the new tenor player if there is an open spot.
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Sun Aug 02, 2009 4:54 pm



Dixie has gotten really lucky over the past few years because everyone in the 05-07 drumlines were like 14 years old, so this year we've been able to have a big drumline which, for the most part, contains players with three years of experience, minimum.

The audition concept is this- at the beginning of the season, the percussion director will set a size for the line. Say we want five snare spots and we have three snare veterans, this means that two snare spots are open. And anyone is welcome to audition for any spot(or all three spots). Once the auditions for snare, tenor, and bass are finalized, they take the next four best kids and put them on cymbals. The rest then have the option of going to pit, marching a wind instrument, or sitting out a year.

The goal has been to get as many kids marching as possible because, before I left, we had two kids from each battery instrument graduating. Now, we're not totally screwed.
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sxetnrdrmr Offline
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Fri Aug 14, 2009 7:15 pm



the ancient, and still completely true rule is that your ENTIRE BAND is only as good as your bass drum line and tuba section.

At my school, age has no bearing on placement. It is attitude, practice habits away from school, and dedication to the line and activity in general. I try to put the most organized counters in the bass lines. Kids who will go home and memorize the music that night. The thing that kills most bass lines is missing parts. This effects the whole entire interpretation of the musical package when their are holes in the bass parts.

I firmly believe that a top quality, cooking bass line can make an awefull snare line sound great. The opposite is not true b/c the basses are the rhythmic and melodic foundation of the battery/band. They determine the groove, phrasing, melodic up and down etc. A great snare line will sound completely "undone" with ticking and chunkage in the bass line. This is very obvious at the HS level bc most directors think that the bets players all need to be on snare, and that bass is "easy" b/c it does not have linear chops demand. If you think about the bass line is the most demanding b/c:

1. they are all soloists. Bass drums play a solo the ENTIRE SHOW so player confidence has to be high and comfortable
2. they have to have musical intuition. this does not mean chops. This means flexibility, communication skills, knowledge of style, immersion in different musical situations
3. their parts are not "linear", meaning that they start, go in a line, and stop. They are points in time. Bass drummers have the hardest job because they are playing space, not notes.
4. they have a large shell right in their face, that does not allow them to see the playing surface, and they are fighting gravity with their chops. So in essence, they can not see how they are playing, or where they are supposed to hit the drum, they are totaly playing by feel
5. they cannot see or hear the otehr people in their section that they are supposed to play with, so they have a huge isssue of trust in ther other people in the section to be doing the right thing. You can't "follow" in the bass line
6. they have to have a perfect sense of time, expressed by muscle memory from consistent practice with a meteronome
7. they must have physical strength

..there are many more things I could list, but if you think about these alone, are any of them elements that the "freshmen", or oboe player from orchestra probably has? Usualy the answer is "no". These are all qualities that an experienced drummer/musician would have.

You can see where the mistake in placement is made, and it is usualy these same directors/instructors who are complaining about not having a good bass line, when it is truly their fault for ticking the placement...

in the end, there only needs to be one Box 5 section...the bass line
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germmeetsworld Offline
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Fri Aug 14, 2009 9:57 pm



sxetnrdrmr wrote:the ancient, and still completely true rule is that your ENTIRE BAND is only as good as your bass drum line and tuba section.

At my school, age has no bearing on placement. It is attitude, practice habits away from school, and dedication to the line and activity in general. I try to put the most organized counters in the bass lines. Kids who will go home and memorize the music that night. The thing that kills most bass lines is missing parts. This effects the whole entire interpretation of the musical package when their are holes in the bass parts.

I firmly believe that a top quality, cooking bass line can make an awefull snare line sound great. The opposite is not true b/c the basses are the rhythmic and melodic foundation of the battery/band. They determine the groove, phrasing, melodic up and down etc. A great snare line will sound completely "undone" with ticking and chunkage in the bass line. This is very obvious at the HS level bc most directors think that the bets players all need to be on snare, and that bass is "easy" b/c it does not have linear chops demand. If you think about the bass line is the most demanding b/c:

1. they are all soloists. Bass drums play a solo the ENTIRE SHOW so player confidence has to be high and comfortable
2. they have to have musical intuition. this does not mean chops. This means flexibility, communication skills, knowledge of style, immersion in different musical situations
3. their parts are not "linear", meaning that they start, go in a line, and stop. They are points in time. Bass drummers have the hardest job because they are playing space, not notes.
4. they have a large shell right in their face, that does not allow them to see the playing surface, and they are fighting gravity with their chops. So in essence, they can not see how they are playing, or where they are supposed to hit the drum, they are totaly playing by feel
5. they cannot see or hear the otehr people in their section that they are supposed to play with, so they have a huge isssue of trust in ther other people in the section to be doing the right thing. You can't "follow" in the bass line
6. they have to have a perfect sense of time, expressed by muscle memory from consistent practice with a meteronome
7. they must have physical strength

..there are many more things I could list, but if you think about these alone, are any of them elements that the "freshmen", or oboe player from orchestra probably has? Usualy the answer is "no". These are all qualities that an experienced drummer/musician would have.

You can see where the mistake in placement is made, and it is usualy these same directors/instructors who are complaining about not having a good bass line, when it is truly their fault for ticking the placement...

in the end, there only needs to be one Box 5 section...the bass line
perfectly stated. :)
_________
Image
and like that, it's gone...
rudlka89 wrote:The ones who are good enough will find a way. The ones who aren't will find excuses.
Kings HS 2009 - 2011
Tates Creek Indoor - Bass 3 - 2012
Rhythm X - Bass 3 - 2013
Rhythm X - Rack City - 2014


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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Fri Aug 14, 2009 10:05 pm



sxetnrdrmr wrote:the ancient, and still completely true rule is that your ENTIRE BAND is only as good as your bass drum line and tuba section.

At my school, age has no bearing on placement. It is attitude, practice habits away from school, and dedication to the line and activity in general. I try to put the most organized counters in the bass lines. Kids who will go home and memorize the music that night. The thing that kills most bass lines is missing parts. This effects the whole entire interpretation of the musical package when their are holes in the bass parts.

I firmly believe that a top quality, cooking bass line can make an awefull snare line sound great. The opposite is not true b/c the basses are the rhythmic and melodic foundation of the battery/band. They determine the groove, phrasing, melodic up and down etc. A great snare line will sound completely "undone" with ticking and chunkage in the bass line. This is very obvious at the HS level bc most directors think that the bets players all need to be on snare, and that bass is "easy" b/c it does not have linear chops demand. If you think about the bass line is the most demanding b/c:

1. they are all soloists. Bass drums play a solo the ENTIRE SHOW so player confidence has to be high and comfortable
2. they have to have musical intuition. this does not mean chops. This means flexibility, communication skills, knowledge of style, immersion in different musical situations
3. their parts are not "linear", meaning that they start, go in a line, and stop. They are points in time. Bass drummers have the hardest job because they are playing space, not notes.
4. they have a large shell right in their face, that does not allow them to see the playing surface, and they are fighting gravity with their chops. So in essence, they can not see how they are playing, or where they are supposed to hit the drum, they are totaly playing by feel
5. they cannot see or hear the otehr people in their section that they are supposed to play with, so they have a huge isssue of trust in ther other people in the section to be doing the right thing. You can't "follow" in the bass line
6. they have to have a perfect sense of time, expressed by muscle memory from consistent practice with a meteronome
7. they must have physical strength

..there are many more things I could list, but if you think about these alone, are any of them elements that the "freshmen", or oboe player from orchestra probably has? Usualy the answer is "no". These are all qualities that an experienced drummer/musician would have.

You can see where the mistake in placement is made, and it is usualy these same directors/instructors who are complaining about not having a good bass line, when it is truly their fault for ticking the placement...

in the end, there only needs to be one Box 5 section...the bass line
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Sat Aug 15, 2009 9:39 am



germmeetsworld wrote:
sxetnrdrmr wrote:the ancient, and still completely true rule is that your ENTIRE BAND is only as good as your bass drum line and tuba section.

At my school, age has no bearing on placement. It is attitude, practice habits away from school, and dedication to the line and activity in general. I try to put the most organized counters in the bass lines. Kids who will go home and memorize the music that night. The thing that kills most bass lines is missing parts. This effects the whole entire interpretation of the musical package when their are holes in the bass parts.

I firmly believe that a top quality, cooking bass line can make an awefull snare line sound great. The opposite is not true b/c the basses are the rhythmic and melodic foundation of the battery/band. They determine the groove, phrasing, melodic up and down etc. A great snare line will sound completely "undone" with ticking and chunkage in the bass line. This is very obvious at the HS level bc most directors think that the bets players all need to be on snare, and that bass is "easy" b/c it does not have linear chops demand. If you think about the bass line is the most demanding b/c:

1. they are all soloists. Bass drums play a solo the ENTIRE SHOW so player confidence has to be high and comfortable
2. they have to have musical intuition. this does not mean chops. This means flexibility, communication skills, knowledge of style, immersion in different musical situations
3. their parts are not "linear", meaning that they start, go in a line, and stop. They are points in time. Bass drummers have the hardest job because they are playing space, not notes.
4. they have a large shell right in their face, that does not allow them to see the playing surface, and they are fighting gravity with their chops. So in essence, they can not see how they are playing, or where they are supposed to hit the drum, they are totaly playing by feel
5. they cannot see or hear the otehr people in their section that they are supposed to play with, so they have a huge isssue of trust in ther other people in the section to be doing the right thing. You can't "follow" in the bass line
6. they have to have a perfect sense of time, expressed by muscle memory from consistent practice with a meteronome
7. they must have physical strength

..there are many more things I could list, but if you think about these alone, are any of them elements that the "freshmen", or oboe player from orchestra probably has? Usualy the answer is "no". These are all qualities that an experienced drummer/musician would have.

You can see where the mistake in placement is made, and it is usualy these same directors/instructors who are complaining about not having a good bass line, when it is truly their fault for ticking the placement...

in the end, there only needs to be one Box 5 section...the bass line
perfectly stated. :)
yeah he hit it perfectly
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PanasonicYouth Offline
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Tue Aug 18, 2009 6:55 pm



Postwin.

Which reminds me of how unreliable my bass two is. >.< It's really true that the bassline has to be the strongest section, so I need a way to fix that next year.
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Thu Aug 20, 2009 8:49 am



so far our bass line is...poop...our snares cant agree on the beat (center plays the back side the others dont) and me and my other tenor were ok
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Sat Aug 22, 2009 4:48 pm



didnt feel like reading the previous posts but heres what we mainly do

anybody can try out for whatever they want, and if your good you make it.

so basically you could be in any grade and be on any line you want. we dont do seniority so if you are better then somebody older then you, then you could be on the inside if you are better. if there aren't enough spots in one section and the guy who tried is good enough to be in the section then we offer him a spot in another section if there is one and the next year the person will audition again.

so everything is fair with our auditions...none of that seniority crap.
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Sat Aug 22, 2009 4:54 pm



putting freshman on bass is a bad idea cause there barely getting there feet going marching and stuff plus adding in the splitting with 4 other people that equals to a horrible bassline
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Sat Aug 22, 2009 5:00 pm



BlueDevilsTowelBoy wrote:putting freshman on bass is a bad idea cause there barely getting there feet going marching and stuff plus adding in the splitting with 4 other people that equals to a horrible bassline
yeah, pretty much. It was a bad marching band season
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and like that, it's gone...
rudlka89 wrote:The ones who are good enough will find a way. The ones who aren't will find excuses.
Kings HS 2009 - 2011
Tates Creek Indoor - Bass 3 - 2012
Rhythm X - Bass 3 - 2013
Rhythm X - Rack City - 2014


pr0k Offline
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Re: Really good 2 sections or OKAY 3 Sections?

Posted: Sat Sep 05, 2009 9:12 pm



putting freshmen on snare and tenor lines could be a good idea if you want to build
because after a year or two of practice those sophomores or juniors will make one beast line


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