im kinda in between. im against it because id rather my kids learn to actualy play dynamics by changing heights, strength, ect. But if they can prove to me that they have that musical ability, then im all for them lowering thier bodies and such during a soft section. It totally adds to the visual repetoire of the pit, which is (sadly) lacking. I teach my kids that the music on the page are merely guidelines. Im here only to teach them the technique and skills for them to do what they want with those guidelines and if pit visuals are what they want to "get into it", then so be it.

No problem. Based off of your response, I'd say you and I are on the same boat. Glad to help.

I think it's important to implement visual dynamics as a way for an ensemble to emote to it's audience. However, there is a difference between group "A" who does it because they are instructed to and don't fully understand the purpose...and group "B" who understand that it is a way to allow for the ensemble to get "in" to what they are playing and convy the emotion of the piece to those listening/watching. I believe that the visual aspect of the performance should be brutally precise, as if it were notes written within the music. Different colors within the music can dictate the approach of the section, while different dynamics and phrasing dictates the visual dynamics. To be sucessful, you must find the happy medium and understand how to apply it.

The discussion does, however bring up the popular discussion on whether or not such a performance takes away from the overall experience. Does body movement distract or attract the audience? Again, if done poorly...it will obviously distract the audience. I think we've all seen a performer who's body movements border on the verge of falling out of their seats, but they are most often the exception and not the rule. I believe that it can be used effectively and within the boundaries before it becomes over-bearing and "corny". With everything, moderation must be used.

Someone asked me to comment on my thoughts of "visual dynamics" in the front ensemble. I've seen this post before, and purposefully avoided it for the fact that it is a very opinionated driven thread.

So at the request of this person, Im going to put my two cents in. Keep in mind, this is MY opinion...so don't bash me because you disagree. Even if you do, I really dont care. Its my opinion! HA HA

In a nutshell, I am against the notion of "visual dynamics". I dont say COMPLETELY, because of the natural tendency of body emotions that is generated from performing. Ive seen alot a lot of front ensembles, especially high school front ensembles, that just crack me up. Its like watching something so un-natural when it comes to playing. When I was in drumcorps, seeing things like that was rare. Granted that was more than 10 years ago, but even today amongst DCI front ensembles, it is still rarely seen.

My pit instructor, Cathering Float, had a great philosphy about visuals. Her belief was that visuals in the pit were too distracting to the music. "Its all smoke and mirrors" she would say. To learn some sort of visual movement to accompany the music was so unnatural. I agree completely. There are plenty of natural movements that come when you are playing something. Think about this: when you are listening to something on the radio, or youre at a concert do you notice how sometimes your head just starts to bob? or move a little to the beat/groove of the music? Thats natural. Now, imagine someone telling you to do that purposefully, at a specific time, and in unison with everyone else. Thats unnatural.

As a spectator, when I see an entire keyboard section drop down virtaully to their knees with their faces inches above their keyboards during a pianissimo passage..and then rise up DRAMATICALLY to forte, I get turned off. I lose interest. I dont care how good they are.

As a former performer in DCI and countless music ensembles, I was taught to just play the music. Whatever emotion was evoked from the performance was great and added to the individualism of the performance. Now Ill tell you, who you perform in and what kind of response you get is going to have a great impact on the "visual" emotions generated from your body. Performing in a small ensemble in front of 20 people might not generate a ton of emotion. However, performing in front of 35-40,000 people at night, under the bright lights-(while they are on their feet screaming for you)will generate a HUGE visual element and emotional response. You know what Im talking about right Divalish?
You get into it, your body moves....its NATURAL. Not rehearsed or put-in the show to be cool. Thats my opinion, someone asked for it, so there it is. Thank you.

Thanks for putting tears in my eyes, Bernie. However, I must say that it was hard sometimes to get into the music when you're staring at so many blank faces and had to generate your own excitement. But, that was part of the challenge!

I am totaly against it in a marching ensemble setting. I think it looks really dumb as Patty said. It drives me nuts because it looks so unatural when the whole front ens]ensemble is doing it. Now in a concert band setting I'm for it. Do what ever you want when your playing by yourself, because your going to add movements naturally where you want and it looks ok.

I think only a very select few movements in the pit should ever be choreographed. One example: Say the pit has sparsely placed unison chords--maybe one every four beats, on different notes every time. The shift from one chord to the other should be defined to be on a particular beat. Visual dynamics are not effective and IMO look quite bizarre.

I'm for visual dynamics. I think they look great. I mean look at the players in Blast. In Marimba Spiritual, which i guess u can consider their pit feature as opposed to battery battle. That marimba soloist and all of the other percussionist put their soul into the music. My favorite visual dynamics in it are at the end of Marimba Spiritual when then the soloist just start goin crazy with glissandos and at the end of Malaguena when they get a close up of Nick Angelis on timpani, man he's killin em. Visuals don't have to be forced. Just tell your ensemble, "Express what the music expresses" I played timpani and a piece called the Maelstrom in concert band. Robert W. Smith specifically notes that the timpanist should be a "Bombastic solo". I think it makes it look like the players love playing the music, but thats my opinion.

I agree that visual dynamics aren't very big out here in CO (i'm from Wheat Ridge). Our instructors are completly against it and understandably so. I really doesn't look very good. Much like keeping your mallets moving with the tempo. those 2 things alone annoy me to no end