install theme

Currently mixing Everybody Talks with Shake It Off.



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WHAT. (makes confrontational gesture)

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Buying insurance… $450

Finding rehearsal space and complying with district standards to use aforementioned rehearsal space: $120

Actually being able to start an independent guard to compete in WGAZ this winter: PRICELESS

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Peeing my pants because I just spent lots of money ordering 250 brochures for Ardor Independent. 

I think this means I’m visiting many, many schools in the next week!

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(Source: future-beyonce)

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hectorhaikogarcia:

To Build A Home teaser? Lol

It’s a little eh… I’ll do the full thing on Monday.
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WE HAVE ABDUCTED A BARITONE. MUAHAHAHAHAHA.

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kristiniewennie:

Sometimes I do this thing that helps me express myself like nothing else can. It’s my love and I couldn’t picture my life without it. It’s colorguard.

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bandaboveall:

Don’t do drugs, kids. Do band. It’s just as addictive and fun to do with friends. It will still ruin your life, but in the best ways possible.

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losangelescasualty:

Zak Sadir, the Superman of the Bluecoats

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Okay. Need your help, guys.

I joined guard because my best friend was a clarinet…

Actually, I joined without intending to commit because my best friend wouldn’t leave me alone about joining guard. I thought there would be too many expectations, and my parents would never allow it—because it cost money to do. But after being quite literally embraced (seriously, the captain that year ran up to me after I took a STEP into the band room and said, in as excited a tone her sweet little voice could muster, “Yay! Freshman!”) and being fitted for a uniform THE DAY I learned how to do a dropspin, I decided I wanted them as much as they wanted me.

What I need help with, is YOUR reason for joining guard.

Why did you join guard?

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team780:

So here I am, I’m right back at it again.

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theveggiesaurusrexx:

For every perfect toss I’ve thrown there’s a million drops that come before

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thecolorguardinstructor:

Gilbert High School Black 2014 - Stirling

Show Motifs

Okay, so one of my absolute favorite things to watch for are the motifs that are evident within a show. What I mean by this is, I love watching for moments that foreshadow future features or moves. A GREAT demonstration of this is in Gilbert Black’s 2014 show—with which I happen to be slightly obsessed.

Certain flag moves and body movements are done by the performers that show up later in the show— things like one-handed cartwheel at :10 (again at :35 and 2:26), the stylized kick at :23 (again at :48 and 3:57… and 4:07), and the flag movement at 1:34 (…again at 3:10), sabre-leg involvement at 2:02 (3:40), and the circular movement of the same element around soloists at 1:05 (1:11 & 2:36).

As a spectator, these little cues give me insight to what the director wanted me to watch, and it gives me an ‘inside scoop’ akin to an inside joke that triggers those fuzzy, happy feels as I watch.

As a judge, seeing different performers achieve the same movements at different times, I am able to see development through the guard of similar skills (a sense of training), BUT, I don’t have the privilege of comparing these skills side-to-side… advantage: guard!

Not to mention, this makes sense! Throughout a piece there are moments that sound similar, and others that are structured the same. While doing the same thing over and over again is not the smartest thing as a designer, doing the same things with varying degrees of intensity (which can be changed by body emphasis, number of people doing the action, location on the floor) aids in building your DA score.

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