The first is the more difficult, but I think more beneficial. I have a remedy for this, in fact, two remedies. And 17 on the drum line in a typical 5 snares, 3 tenors, 5 bass drums, 4 cymbals configuration. My college band has about 60 to 70 some odd winds. In their minds, they believe that they are the most important thing going on in the band’s performance and must play as loud as they can so they can be heard. Let’s face it drummers have a bigger ego than most other musicians. have one of two problems: Overpowering the band, or being overpowered (the latter being the case almost 90 percent of the time.) It essentially comes down to this: Ego. Eighty-five to ninety percent of the drum lines I run into and competitions, games, television, etc. The first and biggest concern I have with a drum line is this: volume. The band gives marching percussion a role and a place. A lot of the people I have marched with have considered them not a part of the band, that the drum line is its own entity, separate from any band organization. Too often I see this attitude taken too far. When one thinks of marching band, they think drum lines and tubas. It’s no coincidence that it is also the most recognizable to the average person.
Marching percussion for me has always been the epitome for the percussion world. Just want some feedback, any additions, etc. It's a hodge podge of different things I have done, seen done, etc. We talked about different things and it inspired me to write out the approach I use in my daily practice and ocassional teaching. Today in my percussion studio class, we got on the topic of marching percussion.
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