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Answer: The effect captions are
probably the most misunderstood captions that are judged today.
Very frequently you will hear folks leaving a contest saying "Band A
was so entertaining . . . I can't believe they didn't win".
However, the most entertaining band may not always have the program
that is the most effective, especially when you carefully examine
the sheets and what makes up the caption. When you talk about
performance, it's easy (even to people who have never participated
in marching band) to see people out of step, formations that aren't
aligned quite right, or feet moving in different tempos when they
should be together. It's also easy to hear wrong notes, incorrect
attacks or releases, and ensemble blends that are less than ideal.
Effect, however, takes into account the "whole". Essentially, there
are three types of effect: Emotional, Intellectual, and Aesthetic.
An easy example of emotional effect
might be when you have the entire band in a large front or "power
wedge" coming at you playing at forte.
Intellectual effect is created when
the design team "programs" a desired response, but it may not be as
apparent as the emotional effect. A great example that I've already
seen this year is the second movement from Dixie Heights' program.
It's all based on a traffic signal. Sounds easy, right? Well, make
sure you catch the fact that they have 1/3 of the guard on red
flags, 1/3 on yellow flags, and 1/3 on green flags. Also pay
attention to how they stage the ending of the movement with the
winds and the guard in almost a "human traffic signal". That
definitely wasn't "luck" that those elements came together that way
- the design team had a definite plan.
Aesthetic effect is probably the
most difficult to define. When I designed for groups in the past, I
always had a vision that parts of the program (or possibly the whole
program) should be both so musically and so visually detailed in
order to "take the viewer to another place".
Also keep in mind that the effect
judge looks at both the design of the program as well as how well
the band is performing and communicating their efforts. To achieve
at the highest level, much of the responsibility lies with the
performers to bring the program to life. I've seen countless shows
with excellent design qualities, but they are performed without an
ounce of emotion and tend to come off a little on the flat or boring
side. I've also adjudicated groups with very basic programs whose
performance level has been so compelling you can't help but get
excited about their efforts. The judge can (and should) credit each
facet appropriately on his or her sheet. Quite a few years ago I
sat at BOA prelims watching Marian Catholic perform Andrew Lloyd
Webber's "Pie Jesu". At the end of the piece I had tears running
down the side of my face. Their design coupled with their ability
to communicate this very delicate piece of music just absolutely
moved me from an emotional standpoint. And this was 3 minutes after
they took Stravinsky's 'Rite of Spring' and literally "shoved it
down my throat" with a level of intensity that I've very rarely seen
matched on the marching field. Now THAT'S effect.
As far as specific positives . . .
Almost every sheet I've used always looks and credits variety,
coordination from all elements (winds, percussion, and guard),
musicality, and creativity. Personally, I always enjoy seeing how
some groups will take a piece of music that's been done countless
times in the past and put their own creative spin on it. And as I
mentioned above, the performer's ability to emotionally connect with
the audience is critical to the success of any program. |
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