Joe Reichert - Former Cadets Bass Tech
1) What did your past percussion training consist of prior to accepting
the bass drum technician position with the Cadets? Were you a member of
the
corps?
My first exposure to drum corps was to the Bayonne Bridgmen in the
very late 70s to the early 80s. Growing up in Bayonne, NJ, I was able to
watch them
numerous times. My first marching experience was with the feeder-corps for
the Bridgmen called the Bayonne Kidets. I joined them in 1982. During my
time with the corps, I first played cymbals then made the snare line. Then
during the mid eighties, I didn't do too much drum corps. Then I went on
to
high school marching band at Bayonne H.S. where I played snare for four
years. Then in 1990, I marched in a small corps from Morristown called
Maquerade. Then I auditioned for the snare line at Cadets in '91 but
unfortunately was cut. Then I went back in 1992 and marched in the snare
line
until sidelined by tendonidise in 1994. Unfortunately, I had to leave
right
before Memorial Day weekend. Then I came back in 1995 to become drum
major. Also during that year, I was also able to play drumset.
2) How did you become the bass tech for the Cadets of Bergen
County?
The way in which I was offered to help out with the bass line was being
at the right place at the right time. Tom [Aungst] had asked me to help
out for the Thanksgiving camp but I couldn't. Being in the area, I stopped
up at camp
a few times. One of those times, Steve Keiffer asked me if I would be
interested in helping out that summer. We talked about the situation and
I
agreed to help out while Steve was unable to be on certain parts of tour.
I was/am very fortunate to have been asked to work with the bass line at
the
Cadets.
3) Would you say that your teaching style is more relaxed or more
intense?
My teaching style, just like many other people's own, has changed in the
past few years. The main situation you, as an instructor, need to check
out
is the enviornment in which you are teaching. When I teach marching band,
I am normally a bit more intense. Reason being is that, sometimes I might
be alone teaching and approaching the situation this way, in my opinion,
it is helpful. By being a bit more intense, the students understand what
is
expected of them. In drum corps, the people are there because they want to
be there. They really do not need the motivation that a high school
student
might need. In my teaching with the Cadets bass line, my approach is more
relaxed to a degree. With that situation, the guys in the line are some of
the best bass drummers in the country. Steve and myself have been able to
get numerous amounts of things done with this relaxed atmosphere. These
guys
are at such a level that you really do not have to "spoon-feed" them. This
makes the teaching experience easier.
4) Do you need to practice in order to teach the music at winter camps?
Normally the things that I practice in between camps are the pieces for
my lessons at school. I really do not have anything I have/need to
practice
between camps. Also the music in usually given out at the camp, so
basically
everyone is sight-reading the stuff.
5) What was the biggest problem the bass line had throughout the 1997
season, and how was it fixed?
One of the situations that the bass line experienced was the addition of
myself to the percussion staff and as bass tech. Steve Keiffer, for those
of you who do not know, has been the bass tech since 1984. Steve HAS set
the standard for bass drumming in the country!! Like I mentioned
previously
in one of the answers to a question before hand, the atmophere is more
relaxed than that of the snare line. My problem was I was trying to
approach the situation as if I was teaching the snare line. WRONG!!!!!!!
This took some undertsanding on their part and some figuring out on my
part.
I was new to "their" way of doing things. I had to totally change the way
I went about things. There were times when we exactly didn't see "eye to
eye"
Through talking and communicating we fixed this problem. I cannot begin to
explain how much I learned from those five guys that year.
6) The Cadets bass line has been known for the quality of unison notes,
how does a bass line become so 'clean' on the unison passages?
The quality of the unisons is not too hard to figure out. Many people
for some strange reason believe drumming and the art of marching
percussion
to be as complicated as brain surgery. I don't understand!?!?!? At the
Cadets we design the technique program by defining the dynamics by the use
of the height system. For example, something that is played at Forte would
be played at 9". We extend this throughout the entire drumline so things
line up dynamically. For example, my interpretation of forte is different
than someone else's forte. By using the heights, we can make sure that
everyone is playing the same dynamic. This applies to unisons. If a unison
is played at Forte, then we make sure that everyone is playing 9". This is
the first way to tell if a unison is going to be clean. Another way is by
the type of stroke used. We play unison accents staccato or snapping the
stick. By doing this, along with the height, everyone will arrive at the
drum head at the same time.
7) Can you describe the tuning process for the bass line and how the
type
of sound the Cadets desire is achieved?
The tuning of the bass drums is a FAQ. Many times over the course of the
summer people ask what do we tune the drums to. Again, this is not rocket
science. In my belief, you should tune them to whatever sound you desire
or that the music dictates. We tune the top three bass drums starting from
the third drum up from @G to C to E. The tune that we use is Benjamin
Britten's "Young Person's Guide to the Orchestra." If you listen to the
piece, this is the motif that the timpani plays. Then we tune to a perfect
fourth to #4 from #3. And #5 is kind of by ear. We try to get a low sound
but not too low. Enough to feel the bottom. Again, I would suggest tuning
to what YOU, as the percussion instructor, hear or feel.
8) What was the most innovative thing the Cadets bass line achieved
this
past summer and how long did it take to perfect it?
There are many times over the course of the season that there are many
different things tried by the bass line. This past year was just kind of
run your butt off and play your butt off. With things such as "innovative"
ideas, in my opinion, these things happen. It is sometimes not thought
out. Many times, something totally cool comes about from something else
not by saying,"I want to do something innovative." Let things
happen.
9) What was the biggest problem the bass line ran into with the visual
program in 1997 and how was it corrected?
Every year there are always problems with visual situations. What I mean
by problems is, not that the drill stinks (because it doesn't), is there
are
times the snare line is on the 20 yard line and we are on the back hash on
the ten and the tenors are somewhere in the middle. This always creates a
situation for us as instructors to figure out how to make it work. This
always makes the season fun. One spot in particular in last years show was
the part when the drumline did free-form before we turned back field. The
snares and tenors were playing up to their eyeballs and the bass drums
were
playing FFF double-stops!! Try doing this standing still, then move it in
free-form. Look Out!!! Then with a situation such as this, we had to
figure
out to watch or what have you. Eventually they watched. This helped out
tons if you have everyone trying to be the pulse.
10) What percussive goals do you have for the future?
My percussive goals for the future are to graduate in the spring of '99
from Jersey City State College with my degree in Music Education. I intend
to teach music at the lower Jr. H.S. level. I also look forward to
performing
my senior recital this semester. I look forward to another great year with
the Cadets of Bergen County this summer. Hope you enjoyed the answers to
the questions above. Thanks a lot. If you have any questions feel free to
mail me at:
JREICHER@JCS1.JCSTATE.EDU
Thanks.
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