ADDRESS: The G Bugle; History and Identity Mr. Peter Bond The many posts about the "multi-key" question and the arguments (and misinformation underlying many of them) on RAMD have in the past compelled me to write in an effort to clarify some of the issues. On the basis of these previous posts, I was asked to contribute a "paper" on the topic for presentation to this symposium. The question is (as I interpret it) is: Should DCI allow competing corps to use brass instruments other than the currently sanctioned "bugles" pitched in G; i.e.: band instruments. Other questions naturally follow, but that is the root of the debate as I understand it. I will try to dispel misinformation, and provoke thought. The G Bugle: History and Identity Marching bands have adopted (copied) completely the marching style, visual vocabulary, percussion instrumentation and techniques, guard work, and in some cases even the uniforms pioneered and used by Drum and Bugle Corps. However, no band can match (or better) the thrilling signature sound and power of a DCI hornline. The reason is the unique instrumentation. The G "bugles". To understand what we have, how we got here, and some of the prejudices that may underlie different points of view, a thumbnail (admittedly subjective) historical sketch is in order. As many RAMD readers know, Drum and Bugle Corps began as an activity for veterans (WW I) and soon as a youth activity (junior corps) sponsored by veterans' organizations (American Legion and VFW), and later CYO, Boy Scouts, and other groups. The idea was to give kids something constructive (or at least diverting) to do and keep them off the streets. These were not college music students, but generally lower middle-class and sometimes disadvantaged kids. They signed up, and got a uniform, an instrument / drum / flag / side-arm, and rudimentary instruction in playing and marching; courtesy of the sponsoring organization. Then it was, "on the bus and off to the parade". Or field contest. The rudimental drumming was already quite sophisticated with a long tradition. Marching was military (of course), and the precision and execution in these captions was of a high caliber. The horn lines were another matter. The instruments (bugles) corps use have their roots in the same military tradition that even today, has guard personnel spinning imitation rifles and sabres to the music of Dvorak or Broadway shows (a peculiar juxtaposition to the first-time spectator). The original bugles were "mezzo-soprano"; pitched in G below C. With no valves, a bugle is limited to 6-8 notes (virtuosos notwithstanding). Valves were added to allow for more notes, but piecemeal, one-by-one, over many years; each modification meeting resistance from the fathers of the activity (VFW and American Legion) in the name of tradition. This resistance to change accounted for ridiculous instruments which by the late 60's (when the author joined a corps) featured a horizontally mounted piston valve operated by the right thumb, and a lever-actuated rotary valve (on the tuning slide!) operated by the left hand. These horns (by this time in mellophone, french horn, baritone, and contrabass configurations as well) had an incomplete scale and arrangers were required to write around these unavailable notes. Many of them took a kind of perverse pride in this, as did the players (a rapid chromatic scale was a real feat). They were members of a weird, exclusive, and fiercely proud musical subculture which had developed almost entirely outside of the band world. In the early days (40's-early 60's), corps' horn lines made for some pretty gruesome listening, owing both to the "bastardized" instruments and the unskilled nature of the kids corps attracted (and were intended for). Repertoire was limited because teaching was largely by rote (few kids read music). Bands and band directors looked down on corps for their primitive and sometimes destructive brass playing, and lack of musicianship. Corps returned the scorn; priding themselves on their crisp rudimental drumming, military bearing (no flip folders), precision marching and power (primitive or not, corps horn lines were LOUD). If I have offended many "old timers" I should note here that not all corps' hornlines were unlistenable. The Cavaliers of the early 60's, for instance, displayed excellent sound and ensemble; outstanding for that era. By the late 60's and early 70's, the brass sound of drum corps was improving dramatically. Instruments were improving (although still in the rotor-valve style), arrangements were better, and teaching improved. Most likely, musically trained alumni were responsible (an interesting potential research topic). More kids with some music skills were also attracted to corps. By the mid-70's (under DCI now), the field shows of the top corps were so entertaining and professionally executed that bands began to emulate them. The top hornlines now combined tremendous acoustic power with improved intonation, technique, and skillful arrangements to become the envy of "corps style" bands. Personally, I find the irony of this somewhat satisfying. Today's best marching bands can and do every thing that a DCI corps can do except make that SOUND. The G "bugle" makes this powerful sound possible. What is it and how does it differ from a Bb instrument? I will confine my comparison to the soprano bugle in G and the Bb trumpet. Because it has come up on RAMD, I will touch on brass nomenclature. There are theoretically two families of brasswinds (excluding saxophones): 1) Bugles (conical or tapering bore); including the french horn, flugelhorn, cornet, (true) bugle, tuba, etc., are characterized by a "mellow" sound, which blends easily. 2) Trumpets (cylindrical bore); trumpet and trombone, have a more brilliant, penetrating sound with greater projection. Modern instruments (except the slide trombone) are actually a blend or compromise of conical and cylindrical tubing in proportions which will give each instrument it's characteristic sound (or approximation thereof) with the best possible pitch tendencies. For example, a true cylindrical trumpet would be out of tune to our "well-tempered" ears (see J.S. Bach; "The Well tempered Clavier"), so a percentage of the tubing is tapered like a cornet, to bring it (closer) in tune. Enough of this. The soprano is actually an alto trumpet in G. The proportion of cylindrical to conical tubing is about the same as the modern Bb trumpet. The term "bugle" as it relates to DCI corps today is simply a nod to tradition. It's a big trumpet. I will explore the issue by responding to (summarized) comments I have read on RAMD. * "The key of the instrument doesn't make a difference." Wrong. The key is determined by the length of tubing (and proportionally larger bell). You can play the same pitch on different length instruments, but the longer instrument will have a "deeper", "richer" sound (due to more overtones and a lower fundamental). This difference is subtle at the space of a « step (Bb to A trumpet, D to Eb), more obvious at the whole step to Bb trumpet), and at a minor third (G to Bb), anybody can tell. The sonority and (potential) power is markedly different. I have conducted playing tests with some of my colleagues in the MET Orchestra and it's "no contest"; a trumpet in low G can acoustically obliterate a professional Bb trumpet with ease. This difference x 30 players is enormous. * "Bb trumpets are better instruments." A useful metaphor is that of a Ferrari Grand Prix racing machine and a Honda Civic. Which is the better car? They are designed for completely different purposes. The Civic won't fare well at the track in Monte Carlo, and the Ferrari is useless in stop-and-go traffic. The Bb trumpet is the superior instrument indoors, where there is an acoustic resonance. The G bugle played in the same register indoors is unwieldy, and at a fortissimo sounds positively apocalyptic. Outdoors, where there is little or no reinforcing acoustic, and tremendous volume is required to reach the audience, the G bugle-although not of the same quality construction as a professional Bb trumpet-projects a robust sound to the stands (in the hands of a well trained player), and the Bb trumpet sounds nasal and puny by comparison. * "Bb trumpets are better in tune (thereby potentially louder, and of course, in tune)." Yes. A professional model Bb trumpet played correctly has superior pitch tendencies. A student instrument; less so. Some G sopranos (3-valve) I have played are appalling, others; no problem. Bugles are not built with the same quality control or care as top-of-the-line Bb trumpets. There are more "lemons". In my experience, the player's technique and "ears" are by far the bigger intonation variable. A player who plays the one out of tune is no better on the other instrument. Likewise, a player with good pitch can play both instruments well. I don't mean to minimize the frustrating effects of poor instruments- some of them are truly awful- and every horn should be tested by a competent player before purchase, just as you would a personal Bb trumpet. An in-tune horn line is louder than an out-of-tune line, but the G instruments will always win the volume contest, and they can be played with splendid intonation. That's where teaching comes in. I should also mention that marching band trumpeters very often create a distorted and out-of-tune sound on their Bb's in an effort to "fill a stadium" or emulate a corps sound. * "G bugles are harder to play." Playing the G bugle presents the same challenges as a Bb, but with a little bigger sound to control, and a minor third pitch difference. Some players find the bigger size and reduced acoustic resistance liberating, and others perceive it as a loss of control, and find it uncomfortably "open". It's an adjustment to be sure, but one a good teacher can help with (telling them what to expect, forgiving early errors). It requires a slightly modified technique because of the idiom in which it is used and what it was designed to do; project a "big" sound at very high dynamic levels outdoors. Playing with accuracy in the upper register is more difficult. That is the major trade-off for the tone. I find that proper technique on the bugle compliments trumpet playing. Generally, the pitch difference gives Bb players the biggest problem at first; particularly when reading music. The player sees a note on the page and expects it to sound three half-steps higher than is correct on the bugle. It usually takes a couple of days to adjust. Again, good teaching can make all the difference. * "Can't they design a big Bb trumpet with the same tone?" No. There's no getting around the acoustics of that longer tubing. Furthermore, mouthpieces, tubing, bores, tapers and bells only work together within a limited range of sizes and proportions. For instance, American Bb trumpet bore sizes only range from .459 to .470. Beyond that, it doesn't work any more for the notes we need to play. An extreme example is that of a trumpet player buzzing his or her mouthpiece in a baritone or trombone as many of us did in middle school band. Funny sound. * "Bb trumpets and multi-key brasses would be less expensive." Here's the Kanstul price list for G bugles as of 12/04/97: Soprano $500 "Powerbore" sop 550 Mellophone 625 Baritone 825 Baritone "Grande" 875 Euphonium 1995 5/4 Contra (no case)4995 A top-of-the-line Bb trumpet will start around $1200 and go up. The "Marching Brass" middle-voice instruments seem comparably priced with their bugle counterparts. I don't have the convertible tuba prices in front of me right now, but they are easy to obtain. Work it out. Keep in mind that to be competitive, no corps (with the money) is going to buy student model instruments if something better is available. What is now one of the remaining areas of competition with a "level playing field" for the both the major powers and the lesser corps-hornline instrumentation-will tilt toward the guys with the cash. Judging critiques would become a nightmare. * "Multi-key DCI competition wouldn't bar those that wish to remain with the G horns." G bugles are manufactured by only two companies that I am aware of; DEG and Kanstul. With fewer corps playing these specialty instruments, how much longer will they be available? I'm frankly surprised that they are still made now, but we should appreciate how beautifully suited the activity they are. Once they go out of production (as I suspect they would), would we ever be able to return to them should it be determined that "yes, that's the sound we wanted all along"? I doubt it. This is admittedly sheer speculation on my part. There are other arguments, but I am finding this as tedious to write as it must be to read. Allow me to forward a thought: Is it possible that all of the aforementioned arguments are just so much smoke? A distraction, as it were. Is there another reason that some major players in DCI advocate allowing band instruments into competition? What would it be worth to a major manufacturer of band instruments, in terms of national sales, to be able produce magazine ads, complimentary posters, calendars, etc., with color photos of the top DCI corps-the ideal (and idols) of hundreds of corps-style marching bands from coast to coast-playing the manufacturer's instruments above say, the corporate logo? How about wearing the logo? Several complete sets of instruments, surely. Perhaps much more. Pure speculation of course, but not that far out, given the potential market involved, and the example of the marching percussion scene. To summarize: I maintain that the G "bugles" constitute the only area in which Drum and Bugle Corps can be discerned from an all-brass marching band. Outdoors, where corps perform, G "bugles" are superior to trumpets, "marching trombones" and the like-having been designed (albeit slowly) for just that purpose-and are responsible for the thrilling, powerful "corps sound" or "sonic identity" which fans have come to expect. Whatever happens, discussion should proceed from facts and decisions be made on the basis of what is in the best interest of the activity as a whole.