It is common belief that when a band does poorly in the GE
caption, it is because the judge "just didn't like our show." "We played jazz and he's a classical guy."
"Our small band can't compete with the larger one. The "dirty little secret" of General Effect is that none of
that really matters. Judges are not trying to compare apples to oranges. They're just judging fruit. The GE sheet can be thought of qualities
common to "good fruit". In other words,
qualities of effective shows (regardless of size, source material, etc...)
Take a look at the BOA GE Visual sheet as an example, and
pay particular attention to those underlined words. http://www.musicforall.org/Resources/Adjudication/
What are some ways in which we can address those underlined
items? Some hints...
Proficiency
Really cool drill moves performed poorly
rarely get people excited. However...those
which are intentionally designed to be "squeaky" clean at an opportune moment
may elicit a favorable response.
Identity
Is there an identity in your show you can
portray? What is your show about? Is there a theme? A role?
Surprise
Just like a good movie cliffhanger...the element of
surprise always provides intrigue.
Believability
Can your awkward 14 year olds convince me
that they understand the roles of Tony and Maria in a West Side Story
show? Are your bands visuals convincing
enough to portray robots in a Machine-themed show?
Consistency
Is there a common idea that can be brought
back again? Or perhaps another way...did
you waste all your ideas in the opener, and now the closer seems like it's a
different show?
Visual Musicality
Keep your ears open! Do you see what you hear? Don't keep the two in isolation.
Contrasts
Opposition can open up avenues for variety.
This just scratches the surface. The point is this: It's not about Classical
or Jazz. New or Old. Apples or Oranges. Don't choose a show just because you really
like Apples. Choose a show that allows
you to describe a good fruit.
Author
Brandon Cochenour
Bio
Brandon Cochenour specializes in marching instruction, visual design, and visual adjudication. He is an engineer with the U.S. Navy, and is currently pursuing a PhD in Electrical Engineering from NC State University. His teaching techniques represent a diverse mix of experiences as a performer (BOA and DCI), a designer, and adjudicator. His articles and teaching style centers around the idea that HOW students learn marching and movement fundamentals are just as, if not more, important as WHAT the fundamentals are.
