Show information courtesy of corpsreps.com
The show opens with the horns spread out in a large open block rectangle. The guard is spread out in front of the block in a wing shape. Drums are up front and start the show with the pit. Snares and tenors trade off and march around each other while playing tom drums on the front side line, a gimmick from earlier in the 2000s. Horns start backfield, then turn front with dischordant stabs. Pit plays tons of runs before all of this resolves into the Pegasus statement and a major park and blow, which gets the crowd going. Horns turn backfield again while the pit plays a riff before the next segment of the opener, the Space Chord. Horns are in a diagonal line across the field, which the drums march in, around, and through. After the drums pass through, the horns in that segment of the line start making the line wave. The space chord resolves into a major statement, but the crowd barely has time to recover before the drums begin their feature. A lot of body movement is incorporated into the feature, which a portion of the hornline joins. Sixteenth note runs from the horns lead into a major pit accelarando. The guard is all on rifles at this point and is tossing all over the place. Horns turn backfield again and restate the Pegasus theme before turning back front and finishing the piece in a similar manner to “Day Danse” from the ’94 show, complete with the drums high sticking in different patterns to add visual flair. Guard changes uniforms, going from very dark to white in the female section, with more shades of blue on the males.
Second piece opens with the pit, while the horns scatter and form up in pairs before they enter. This piece is very much like a chorale, slow with quiet dignity, although the pit has more runs in the background. The guard spends a lot of time in a group doing dance, but the second half features flags, while one of the women has blue shaded wings (’80s BD) and one of the men has a streamer (also ’80s BD). One last Pegasus quote from the tubas before transitioning to the third section of the show. The horns play backfield, still in chorale mode, while the drums, double-timing across the back of the field, play a lot of notes subtly. Horns turn back forward and play a fanfare before moving into the meat of the third section. Volume comes back down and, with tasteful playing by the pit, slowly builds to a hit. Drums are up front again, moving across the field and preparing to return to the tom rack. The toms lead into the final segment of the show, The Kiss, which the corps milks for all it’s worth. The horns arc around the field, forming a block rectangle as they prepare for the main statement of the piece, then peel off from the formation from front to back, forming giant wings on the field as the guard wears large double flags of white wings. Horns collapse into a pod on the 50 and crank out the ending, complete with an Amen chord progression.
Final impressions – I have a confession: I spent most of 2007 HATING this show. I thought the book was not meaty enough for the scores the corps received and, anytime I downloaded an APD, I would just listen to the show once and move on.
Then I got the Quarters APD, the studio recording made close to the end of the season, and the Finals CDs. Now, when I look at my iTunes play count, this show is at or near the top of the list. I don’t know what changed my mind, but the sound the horns put out is one of the most balanced and in-tune sounds I’ve heard from a drum corps. The energy, even during the soft sections of the show, is intense and never lets up from beginning to end. Nobody under BD was able to step up and match them during Championship week and I have no argument with the 1st place results.