Marching Band Percussion Quotes

High school marching band was its own little microcosm of the world. More a study in sociology than in woodwinds and brass: There were the band geeks, pimply and a tad too greasy, making out with one another every chance they got. There were the no-nonsense go-getters, eager to fill a line on their college applications, marching without rhythm or passion. There was the percussion section, hipsters-to-be whose arms would be full of tattoos in a few years’ time. And there were the tuba players, chunky and asexual, as if they were slowly morphing into their instrument of choice.

In America, straightforward talk about class inequality is all but impossible, indeed taboo. Political appeals to the economic self-interest of ordinary voters, as distinct from their wealthy compatriots, court instant branding and disfigurement in the press as divisive “economic populism” or even “class warfare.”39 On the other hand, divisive political appeals composed in a different register, sometimes called “cultural populism,” enlist voters’ self-concept in place of their self-interest; appealing, in other words, to who they are and are not, rather than to what they require and why. Thus, the policies of the 1980s radically redistributed income upward. Then, with “economic populism” shooed from the public arena, “cultural populism” fielded something akin to a marching band. It had a simple melody about the need to enrich the “investing” classes (said to “create jobs”), and an encoded percussion: “culture wars”; “welfare mothers”; “underclass”; “race-and-IQ”; “black-on-black crime”; “criminal gene”; on and on.40 Halfway through the decade, as the band played on, a huge economic revolution from above had got well under way. The poorest 40 percent of American families were sharing 15.5 percent of household income, while the share of the richest 20 percent of families had risen to a record 43.7 percent, and the trend appeared to be (and has turned out to be) more and more of the same.41 The

At their invitation we crowded into the spacious control cabin of the great airship, where scientific gear occupied every available cubic—perhaps hypercubic—inch. Among the fantastical glass envelopes and knottings of gold wire as unreadable to us as the ebonite control panels scrupulously polished and reflecting the Arctic sky, we were able here and there to recognize more mundane items—here Manganin resistance-boxes and Tesla coils, there Leclanché cells and solenoidal magnets, with electrical cables sheathed in commercial-grade Gutta Percha running everywhere. Inside, the overhead was much higher than expected, and the bulkheads could scarcely be made out in the muted light through three hanging Fresnel lenses, the mantle behind each glowing a different primary color, from sensitive-flames which hissed at different frequencies. Strange sounds, complex harmonies and dissonances, resonant, sibilant, and percussive at once, being monitored from someplace far Exterior to this, issued from a large brass speaking-trumpet, with brass tubing and valvework elaborate as any to be found in an American marching band running back from it and into an extensive control panel on which various metering gauges were ranked, their pointers, with exquisite Breguet-style arrowheads, trembling in their rise and fall along the arcs of italic numerals. The glow of electrical coils seeped beyond the glass cylinders which enclosed them, and anyone’s hands that came near seemed dipped in blue chalk-dust. A Poulsen’s Telegraphone, recording the data being received, moved constantly to and fro along a length of shining steel wire which periodically was removed and replaced. “Ætheric impulses,” Dr. Counterfly was explaining. “For vortex stabilization we need a membrane sensitive enough to respond to the slightest eddies. We use a human caul—a ‘veil,’ as some say.” “Isn’t a child born with a veil believed to have powers of second sight?” Dr. Vormance inquired. “Correct. And a ship with a veil aboard it will never sink—or, in our case, crash.” “Things have been done to obtain a veil,” darkly added a junior officer, Mr. Suckling, “that may not even be talked about.

Denny and McDaniel go into the percussion room and grab a bizarre metal contraption. Denny lifts it over his head and I give him a strange look, to which he responds like I’m a five year old, “Carr-i-er.

Rule number one, in general visual design, is to create an exceptional listening environment.

The on-field warmup should invoke confidence in the members, don’t have them play something that isn’t ready, or above their level here. Remind them to listen to the environment while playing to understand as much as they can about the overall listening situation. You might try ending the field warmup session with a very loud single note from everyone in order to listen specifically to the reverb and echo of the stadium.

The on-field warmup should invoke confidence in the members, don’t have them play something that isn’t ready, or above their level here. Remind them to listen to the environment while playing to understand as much as they can about the overall listening situation. You might try ending the field warmup session with a very loud single note from everyone in order to listen specifically to the reverb and echo of the stadium.

Learn with your group. Take as much information away from this season as possible to start the next one with momentum.