Visual Appeal

The infamous DAB in Olympic Closer (The Snareline); check it out on College Marching; Source: Duncan Murphy

Every musician has that moment when they ask themselves, “What else can I do?”  When considering how to rehearse a particular piece differently, the options are virtually limitless: add musicality to points a, b, c, …; insert a solo or layer a polyrhythm; play it at a faster tempo; trill this note; etc.

But which is the most fun?

Both on the field and in the stands you can see the “else” that we add to the music.

The visual is what makes a show more than a concert.  When we Spread and Wail™, we do so to punctuate the piece, to yell nonverbally, “this is my moment!”  Horn pops, stick flips, cymbal moves—all used to give original nuance to the otherwise familiar music.  Some songs take this to the nth degree, featuring visuals from almost every section, such as the bop “Bom Bom.”  Aspects of visuals are especially notable, be it for the drama, the difficulty, or the undeniable attention-grabbing effect.

Other than the fun that is the Hokie Pokie, the Winds have their own visuals.  A universal instance across the mega-section is the Horn Pop, where, as the name suggests, every individual presents their instrument in a flashy manner.  Other more specific visuals include the legendary Trombone Suicides, a rigorous exercise to say the least.  

Trombone Suicides (The ‘Bone Section); Source: Atlas Wass

Drumline not only keeps tempo for the entire band, but also keeps the audience’s attention throughout the show, having a host of high-drama visuals that we love to insert wherever we can.  The spectrum changes for each instrument; for example, drums can flip their sticks, while cymbals flip our plates. Different grips allow for different moves, such as the Hi Mom and Thumb Roll on snare with traditional grip, while tenors and basses have simple stick flips.  

A Bass Mallet Flip (Daniel Agunias); Source: Sam Lightfoot

A Tenor/Quad Stick Flip (Jack Perkins [left] and Ethan Carroll [right]); Source: Alana Hassett

Cymbals have much flashier visuals.  Bucket Dips, Cat Daddies, Infinities, Lassos, Wad Burners—we actually Flip Up to play.  The biggest kicker is Cymbal Fusion, a complex visual involving two people, handstands, piggybacks, and good ol’ crashing.   

So why do them?

Here are the thoughts of some Marching Virginians:

“Sure you could just play the music… but if it sounds good and looks good, it gives off a really good effect.”  — Duncan Murphy

The Hi Mom (Duncan Murphy)

Source: Sam Lightfoot

“Sometimes it’s pretty loud and people can’t hear what you’re playing, especially in Lane, but everyone will be able to see your visuals.”  — Trajan Caines

The Thumb Roll (Trajan Caines); Source: Sam Lightfoot

“To add some spice *fire emoji*”  — Marianne Esche

A Double-Inverted Stick Flip (Marianne Esche; ft. Alex Springer in the back); Source: Sam Lightfoot

“It’s fun, it challenges me, it makes me a better cymbal player/performer.”  — Celie Anderson

The Wad Burner (Celie Anderson): Source: Sam Lightfoot

As a marching band, we do more than just play music: We are there to literally breathe life into the score, to animate the bars into movements on the field.  When we play, the rush of adrenaline as thousands of eyes bore into us is exhilarating, yet we remain unfazed. We blow and we drum and we crash until the drum major signals the end of the show.  The fun is what happens between the count off and the final release.

Nate Clark ("base") and Noah Clark ("hands") performing the Cymbal Fusion visual; Source: Sam Lightfoot

We cymbals get on each other’s shoulders because we aim to entertain, to drive the crowd wild, to rock the stadium into a fugue akin to that which is prompted by “Enter Sandman.”  This sentiment is not unique to cymbalists nor percussionists, but is the impetus for all musicians who partake in visuals. The visual component makes each performance transcend simply being a “show,” elevating it into a spectacle, something that reflects the passion and work put into every step on the field.  To put it as a musician: I know about Glenn Gould, but why not be Liberace instead? Why just end the day with an “Instruments Down?” Why not be flashy about it?

The Cymbal Ripple (The Cymbaline); Source: Alana Hassett