Colts Drum and Bugle Corps
 | |
| Location | Dubuque, Iowa |
|---|---|
| Division | World Class |
| Founded | 1963 |
| Director | Vicki MacFarlane |
| Uniform |
(2015) Red Fading to Purple frontal design White shoulder pads White gauntlets Black pants and shoes, White on front and black on Back shako w/silver bill, Triangle mirror badge, & White on front and Black on back plume |
The Colts Drum and Bugle Corps is a World Class (formerly Division I) competitive junior drum and bugle corps. Based in Dubuque, Iowa, the Colts is a member corps of Drum Corps International (DCI).[1]
History
Pre-DCI
The corps that is now the Colts began in 1963, when the Dubuque American Legion Post and its senior drum and bugle corps, the Dukes of Dubuque started the all-boy "Junior Dukes." With old, used instruments from the Dukes and a uniform of white shirt, black pants and shoes, and a black and white overseas cap with a red tassel, the first year corps entered parades with twenty-four buglers, ten drummers, and a four-member color guard. The instructional staff was Dick Davis, who taught horns, drums, and marching. The instructional staff doubled in size in 1964, as Clarence Hagge joined Davis in teaching horns and marching.[2][3][4]
When the Dukes ceased operations in 1965, Davis, Hagge, and corps manager Bob Buelow assumed the leadership and changed the corps' name to the Legionnaires and took the corps from being strictly a parade corps into field competition. When the majority of the 1964 members did not return, however, the age limit was lowered to thirteen, allowing the corps to field forty-eight members, and after the season, recruitment problems were somewhat eased by the decision to add girls and make the corps coed. On November 16, 1966, the Parents and Boosters Club was formed. The following fall, the Legionnaires B Corps (which is now the Colt Cadets) was founded as a "feeder" for the "A" corps, with Sonia Hickson as director and members of the "A" corps as instructional assistants. With two corps, the organization also took the step of incorporating as a not-for-profit youth organization. In 1968, the Legionnaires had a budget of $13,000, and the "A" corps undertook its first major tour. The eighty-three member corps traveled more than 4,000 miles, won eight first-place trophies, and earned official recognition as "Dubuque's Junior Ambassadors of Goodwill".[2][3][4]
The success of the 1968 corps fostered a desire to compete in more than American Legion sponsored shows and brought about a second name change for the corps. The renamed Colt .45 toured in new uniforms with a Western theme, "...because they were the cheapest" and adopted a Western theme for the music for their field show. The eighty-six member 1969 Colt .45 corps toured Iowa, Illinois, Wisconsin, and Michigan, competing in Class A at eighteen shows, winning most of them, including the Mid-American Drum Corps Circuit Championship and the Iowa VFW Junior State Championship. The corps' first "big" investment also took place in 1989, when the corps purchased its first equipment truck. In 1970, the corps became a drum corps ground-breaker when they performed the "Colt .45 Stomp" in their field show. The piece is believed to be the very first use of an arrangement written for a drum corps in a non-standard meter. "Colt .45 Stomp" was written in 7/4 time, and many judges gave them "ticks" (demerits) for marching out of step on the downbeat of every other measure. Nevertheless, the Colt .45 won the Iowa State American Legion title. In 1971, the Colt .45 spent approximately $6000 for all new horns and drums. With Harlow Haas replacing Bob Buelow as director, the corps toured Wisconsin and Kansas and attended the VFW Nationals Championship in Dallas, the corps' first "national" competition and its first time performing on artificial turf.[2][3][4]
The DCI Era
In 1972, the first of Eldon "Fritz" Biver's three years as Director, the corps traveled more than 6000 miles, placed twelfth place at the American Legion Nationals in Chicago and ninth at the VFW Nationals in Minneapolis but was not among the thirty-nine corps that competed in the inaugural Drum Corps International World Championships in Whitewater, Wisconsin that August. The 1973 Colt .45's, marching the largest corps to date (one hundred seven members, only a third of whom had more than a year's experience), placed fifth at VFW Nationals and first in the VFW Nationals parade. The corps performed the half-time show at a Chicago Bears game in front of 54,000 fans, and they attended their first DCI World Championships, finishing twenty-eighth of forty-eight corps at Whitewater. The corps did not return to DCI in 1974, but it did return to Soldier Field to play for another Bears game. The hundred member corps traveled to Kentucky, Pennsylvania, and Ohio and placed eighteenth of twenty-nine corps at the U.S. Open in Marion, Ohio.[2][3][4]
Dick "Sarge" Feipel was director of the 1975 corps that toured New York, Pennsylvania, and Delaware. The corps also visited Washington, D.C. and returned to the DCI World Championships, starting an unbroken string of appearances that has continued to the present time. The corps made its third and final name change in 1976. Citing the negative association with both firearms and beer and the lack of sufficient appropriate "Western" music, the corps dropped the ".45" and became known simply as the Colts Drum and Bugle Corps. Under the leadership of Tom Faulkner, the corps, which fluctuated between eighty-two and one hundred and five members, the Colts placed sixteenth of thirty-two corps at the U.S. Open prelims, twenty-first of forty prelims corps at VFW Nationals, and twenty-fifth of forty-seven in DCI prelims, earning the corps "Top Twenty-Five" Associate Membership in DCI for the first time.[2][3][4] (Note: The wide fluctuation in marching numbers throughout the season would almost become a Colts signature between 1976 and the early 1990s. This was due to the corps' willingness to allow members to miss some early and mid-season shows while working jobs at home in Dubuque. When it was time to depart on the corps' final tour of the season, which ended at the DCI World Championships, the "holes" in the corps' field show would suddenly all be filled.)
Jim Mason became Corps Director in 1977, with Jim Killoran serving as Executive Director. The corps debuted the orange riverboat gambler uniforms that would remain in use either entirely or in part during Mason's tenure. The one hundred twenty member corps finished twenty-sixth at DCI, but, when the third-place Bridgemen were disqualified, the Colts were elevated back into the "Top Twenty-Five", a status that would not recur until 1982. In 1978, the corps bought 63 new bugles, with a brass lacquer finish for $21,354, but due in part to a large membership turnover, the Colts fell to twenty-seventh place and out of the "Top Twenty-Five." It was at that time that the corps rededicated itself to a concept of family and self-satisfaction derived from mutual hard work toward a common goal. 1979 saw another huge membership turnover, and, although the corps played for President Jimmy Carter, who was traveling down the Mississippi River on the Delta Queen and told Drum Major Dave Kapp that the corps, "...sounded great...", the Colts limited their touring in order to save money. They did attend DCI in Birmingham, Alabama, but placed only thirty-fifth among forty-three corps. In 1980, to honor Robert M. Buelow for his 17 years of service to the corps, the Colts established an award bearing his name that is awarded each year to the person who, "...contributed leadership, loyalty and personal commitment to the Colts Drum and Bugle Corps during the preceding years."[2][3][4]
1981 saw the Colts make a major move into public relations and high-level fund-raising. They sponsored the premier of the motion picture, "Take This Job And Shove It" and the local appearance of the Carson and Barnes Circus. These efforts were successful, despite 32,000 flyers being mailed out that stated the circus was sponsored by the "Colts Drug and Bugle Corps". The corps was able to buy three used motor coaches (christened by the members as Poseidon, Lusitania, and Titanic) before embarking on two tours for the first time. The first tour took them through the South, where they heard that the corps had lost its lease in the Colts Building. On the second, northern tour, the Colts earned Finals slots at the U.S. Open and the DCI North and DCI Canada regional competitions, although they would once more finish in twenty-eighth place at the World Championships in Montreal, Quebec, Canada. In August, the corps signed a new lease in Dubuque's Fischer Arcade building, which would be home to the corps' the bingo hall for almost twenty years.[2][3][4]
In 1982 current director Greg Orwoll joined the staff and the Colts returned to memberships in DCI by finishing in twenty-fourth place at Montreal;, the corps has never since fallen from ranks of DCI member corps. In 1983, the Colts once more broke new ground in the Drum Corps activity, as they became the first corps to perform a show designed with a single theme and design concept; the "Mississippi Suite" told a musical story on a football field. The audience so bought into the idea that, at the Columbia, Tennessee show where the Colts finished in second place, the crowd booed the decision, insisting that the Colts should have won. At the DCI World Championships in Miami, the Colts placed twenty-second. The 1984 Colts were the "Kings of Swing", complete with a "trap set line" (four trap drum sets lined up) as part of the front ensemble. They purchased the horns of the defunct Memphis Brass Blues Band Drum and Bugle Corps, giving them a complete set of "modern" two-valve bugles. The corps finished in twenty-third place at DCI in Atlanta, but, at the end of the season, Jim Mason departed, having been named director of the brand new Star of Indiana Drum and Bugle Corps.[2][3][4]
With Jim Mason's departure, current Corps Director Greg Orwell took over in 1985. The corps continued its swinging, crowd-pleasing shows, surprising many with their sixteenth-place finish at DCI in Madison and being named "Iowa's Ambassadors of Music" by then-Governor Terry Branstad (who is again the Iowa Governor). The 1986 Colts came out with a "New look, new sound, new direction," wearing new uniforms provided by Star of Indiana founder Bill Cook. The jazzily swinging corps finished in twenty-first place at Madison, Wisconsin. For the corps' 25th Anniversary in 1987, the Colts kept up the jazz, dropped the trap drum line after three seasons, and, under the baton of the corps' first female drum major, Julie Yanda, finished in twentieth place at the DCI Championships, held once more in Madison. The 1988 Colts were still playing jazz, but, with new arrangers, it was jazz of a more mature form. Volunteers chrome plated the corps horns at a local auto body shop, ending the corps' history of performing on brass lacquer horns. 1988 also saw the end of the corps' always losing to the rival Troopers; after trailing the Troopers' scores by a wide margin early in the season, the Colts defeated the "Troop" for the first time on August 3 in Morgantown, West Virginia. At DCI Championships in Kansas City, the Colts were in twenty-first place after quarterfinal. but moved up in semifinals to an eighteenth-place finish. 1989 was notable for "Music in the Mud", when a rainstorm struck ninety minutes into the Colts' "Music on the March" home show; the sudden down pouring of three quarters of an inch of rain bogged down fifteen buses where they had been parked, and it required five tow trucks working until 3:00 AM to free them. The corps finished in twenty-first place at DCI in Kansas City.[2][3][4]
1990 saw the Colts rebuilding, as there was major staff turnover and a change of musical direction. The new style was jazzy interpretations of classical and new-age music that the corps called, "New Age-Classical". Additionally, a five-year-plan was put in place developing the corps' program, staff, and membership, with a priority of marching, "...only the members who wanted to be a Colt." The corps finished the season in twenty-third place at the DCI World Championships in Buffalo. In 1991, the Colts continued to build on the previous year, restructuring rehearsal procedures and redefining members' responsibilities, while continuing to emphasize entertaining the audience and maintaining the corps' family atmosphere. At DCI in Dallas, the Colts finished in twenty-second place. While continuing their developmental plan, the 1992 Colts recruited heavily within Iowa and took twentieth place at DCI in Madison.[2][3][4]
The 1993 Colts celebrated the corps' 30th Anniversary. They co-sponsored a parade with a local theater group that was producing Meredith Willson's musical, "The Music Man" with Mr. Wilson as Grand Marshal and the other corps performing at Music on the March also participating in the parade which drew a crowd that the Dubuque Police Department called the largest in modern times. The corps also initiated both the Colts Alumni Association and the Colts Hall of Fame. Additionally, the Colts began transitioning to three valve bugles, with the mellophone section receiving the corps first brand new horns since 1977. The highlight of the year, however, was the one hundred and five member corps' surprising finish at the DCI World Championships in incredibly hot and humid Jackson, Mississippi. Having set a pre-season goal of a seventeenth place (semi-finals) finish, the corps surprised almost everybody by taking thirteenth place in quarter-finals, then vaulting into eleventh place in semifinals, assuring the corps of its first-ever DCI World Championship Finals spot. The Colts' final placement of twelfth was not a disappointment.[2][3][4]
1993 was the Colts' first time in DCI Finals but not the last; the corps finished in twelfth in 1994, ninth in 1995, eleventh in 1996, twelfth again in 1998, 1999 and 2001, and tenth in 2007. In the years since that first Finals, the corps has changed its look and musical direction several times, but it has been consistent in maintaining its family atmosphere, dedication to entertaining the audience, and the commitment to being "Iowa's Corps."[2][3][4]
Sponsorship
The Colts Drum and Bugle Corps is sponsored by the Colts Youth Organization, a 501(c)(3) musical organization that has a Board of Directors, corps director, and staff assigned to carry out the organization's mission. The Executive Director is Jeff MacFarlane and the corps director is Vicki Schaffer MacFarlane.[5] The Colts Youth Organization also sponsors the Colt Cadets Drum and Bugle Corps; Vocal Fusion, a singing group for students in grades 3 through 8; PanrhythmiX and Pandemonium, steel drum performance groups for elementary and middle school students; and the Colts Summer Band for students in grades 4 through 8.[6]
Show Summary (1972–2016)
Source:[7]
Gold background indicates DCI Championship; Pale shaded background indicates DCI Top 12 Finalist.
| Year | Theme | Repertoire | Score | Placement |
|---|---|---|---|---|
| 1972 | (Ghost) Riders in the Sky: A Cowboy Legend by Stan Jones / Paint Your Wagon Medley- Gospel of No Name City, I Still See Elisa & There's a Coach Coming In By Frederick Loewe and Alan Jay Lerner | 72.35 | 9th (VFW) | |
| 1973 | The Big Country by Jerome Moross / There's a Coach Coming In by Frederick Loewe and Alan Jay Lerner / Music from Cades County by Henry Mancini / How the West Was Won by Alfred Newman / When Johnny Comes Marching Home by Louis Lambert (Patrick Sarsfield Gilmore) / Battle Hymn of the Republic by William Steffe and Julia Ward Howe / United We Stand by Tony Hiller and Peter Simmons | 62.80 | 28th | |
| 1974 | Fanfare for the Common Man & Billy the Kid by Aaron Copland / Oklahoma Crude by Henry Mancini / The Sting by Scott Joplin and Marvin Hamlisch / Ironsides (Unknown) / How the West Was Won by Alfred Newman | |||
| 1975 | Wild, Wild West by Richard Markowitz / Ghost Riders in the Sky by Stan Jones / How the West Was Won by Alfred Newman / Scalphunters by Elmer Bernstein / Left Bank Express by Maynard Ferguson / Ironsides (Unknown) / California Dreamin' by John Phillips and Michelle Phillips | 66.40 | 30th | |
| 1976 | Emperata Overture by Claude T. Smith / Just You and Me / Left Bank Express by Maynard Ferguson / Tower of Power Medley by Emilio Castillo, Stephen Kupka, Others? / Soul and Inspiration by Barry Mann and Cynthia Weil | 71.25 | 25th | |
| 1977 | Gershwin's Three Piano Preludes by George Gershwin / Suncatchers by Butch Nordahl / Evergreen (from A Star is Born) by Barbra Streisand and Paul Williams / Watch Closely Now & With One More Look at You by Paul Williams and Kenneth Ascher | 73.10 | 26th | |
| 1978 | Showboat Scenario by Jerome Kern / The Birth of the Blues by Ray Henderson, Buddy G. DeSylva, and Lew Brown / Take Five by Paul Desmond / A Star is Born by Paul Williams | 68.65 | 27th | |
| 1979 | Starburst by Jeremy Wall / The Birth of the Blues by Ray Henderson, Buddy G. DeSylva, and Lew Brown / Showboat by Jerome Kern / Star Gazer by Neil Diamond / Tara's Theme by Max Steiner | 63.30 | 35th | |
| 1980 | Everything's Coming Up Roses (from Gypsy) by Stephen Sondheim and Jule Styne / Summertime, It Ain't Necessarily So & There's a Boat Dat's Leavin' Soon for New York (from Porgy and Bess) by George Gershwin / Turkey in the Straw (Traditional) / Smile by Charlie Chaplin, John Turner, and Geoffrey Parsons | 60.10 | 28th | |
| 1981 | There's a Boat Dat's Leavin' Soon for New York & Summertime (from Porgy and Bess) by George Gershwin / Swanee by George Gershwin and Irving Caesar / Crosswinds by Billy Cobham / Come Sail Away by Dennis DeYoung | 64.05 | 28th | |
| 1982 | Swing, Swing, Swing (from 1941) by John Williams / Summertime (from Porgy and Bess) by George Gershwin / Prelude to An Angry Young Man by Billy Joel / Come in from the Rain by Melissa Manchester and Carole Bayer Sager | 67.20 | 24th | |
| 1983 | Mississippi Suite by Ferde Grofe / Luck Be A Lady & Sit Down You're Rockin' the Boat (from Guys and Dolls) by Frank Loesser / Dill Pickles (Traditional) / Mr. Bojangles by Jerry Jeff Walker / Old Man River (From Showboat) by Jerome Kern | 60.60 | 22nd | |
| 1984 | Stardust by Hoagy Carmichael and Mitchell Parish / Swing, Swing, Swing (from 1941) by John Williams / A Night in Tunisia by John Birks Gillespie / Peninsula by Oscar Castro-Neves and Sergio Mendes / What's New? by Bob Haggart and Johnny Burke / Come in from the Rain by Melissa Manchester and Carole Bayer Sager | 70.40 | 23rd | |
| 1985 | Star Dust by Hoagy Carmichael and Mitchell Parish / Love for Sale (from The New Yorkers) by Cole Porter / A Night in Tunisiaby John Birks Gillespie / Peninsula by Oscar Castro-Neves and Sergio Mendes / Skylark by Hoagy Carmichael and Johnny Mercer / Sing Sing Sing by Louie Prima | 80.90 | 16th | |
| 1986 | Johnny One Note (from Babes in Arms) by Richard Rodgers and Lorenz Hart / I Got Rhythm by George Gershwin and Ira Gershwin / Smile Again by Bill Champlin, David Foster, Jay Graydon, and Alan Paul / The Heat's On by Sammy Nestico | 74.40 | 20th | |
| 1987 | Honeymoon Suite / Love for Sale (from The New Yorkers) by Cole Porter / Up the Ladder to the Roof by Frank Wilson and Vincent Dimirco / Mardi Gras March by Paul Webster and Sammy Fain / Somewhere Out There by James Horner, Barry Mann, and Cynthia Weil / Feival's Reprise (from An American Tail: Feival Goes West) by James Horner | 76.50 | 20th | |
| 1988 | Seems Like Old Times by Carmen Lombardo and John Jacob Loeb / Mountain Greenery by Richard Rodgers and Lorenz Hart / Just in Time (from Bells Are Ringing) by Jule Styne, Betty Comden, and Adolph Green / Mardi Gras March by Paul Webster and Sammy Fain / My Funny Valentine (from Babes in Arms) by Richard Rodgers and Lorenz Hart | 78.50 | 18th | |
| 1989 | Matchpoint by Jed Levy / Willowcrest by Bob Florence / Ballad for a Rough Year by Frank Mantooth / Reprise (Uncertain) | 73.60 | 21st | |
| 1990 | Santorini by Yiannis Hrysomallis (Yanni) / Ludwig by Ludwig van Beethoven adapted by Bob James / On a Hymnsong of Philip Bliss by David Holsinger / Farandole by Georges Bizet | 72.80 | 23rd | |
| 1991 | Santorini by Yiannis Hrysomallis (Yanni) / On a Hymnsong of Philip Bliss by David Holsinger / Shock by John Tesh / Earthrise by Chip Davis/ In the Spring, When Kings Go Off to War by David Holsinger | 72.10 | 22nd | |
| 1992 | Morning to Morning by David Foster and David Paich / A Thousand Summers & Brain Dead Weasel by John Tesh / The Heart Is A Lonely Hunter by Dave Grusin and Peggy Lee / Reprise by Chuck Naffier | 75.50 | 20th | |
| 1993 | Iowa's Four Seasons | Winter by Chuck Naffier / A Thousand Summers by John Tesh / Summertime (from Porgy and Bess) by George Gershwin / The Heart Is A Lonely Hunter by Dave Grusin and Peggy Lee / Reprise by Chuck Naffier | 81.60 | 12th |
| 1994 | Relations and Romance | Smile by Charlie Chaplin, John Turner, and Geoffrey Parsons / Almost Like Being in Love (from Brigadoon) by Frederick Loewe and Alan Jay Lerner / Lover Man by Jimmy Davis, Jimmy Sherman, Roger "Ram" Ramirez / Higher and Higher by Billy Davis, Raynard Miner, Gary Jackson, and Carl Smith / As Time Goes By (from Casablanca) by Herman Hupfeld / Reprise 1994 by Chuck Naffier | 80.10 | 12th |
| 1995 | Sunday in the Park with George | Sunday in the Park, Children and Art, Color and Light & Sunday (from Sunday in the Park with George) by Stephen Sondheim | 86.30 | 9th |
| 1996 | The Magnificat | Magnificat anima me; Of a Rose, A Lovely Rose; Fecit Potentium; Esurientes & Gloria Patri (from Magnificat) by John Rutter | 81.30 | 11th |
| 1997 | The Music of Blood, Sweat and Tears | Symphony for the Devil by Dick Halligan / God Bless the Child by Billie Holiday and Arthur Herzog, Jr. / Lucretia McEvil by David Clayton-Thomas / Hi-De-Ho (That Ole Sweet Role) by Gerry Goffin and Carole King / 40,000 Headsmen by Steve Winwood and Jim Capaldi | 84.10 | 13th |
| 1998 | A Cappella Celebration | Crown Him With Many Crowns by Charles H. Gabriel and Matthew Bridges / Searching for You by Wayne Shorter and Paul Stiller / Reza by Jaco Pastorius / Morning by Paul Stiller and Lisa Keily Stiller / Vox Finale by Chuck Naffier and Jerry Carpenter | 85.30 | 12th |
| 1999 | Voices | Dies Irae (from Verdi's Requiem) by Giuseppe Verdi / Flamma Flamma, Corpus Inimici & In Corpore (from Flamma Flamma, the Fire Requiem) by Nicholas Lens / I Believe by Eric Levi / Scherzo (from Fire Water Paper: The Vietnam Oratorio) by Elliot Goldenthal | 86.00 | 12th |
| 2000 | The Wait of the World | Godspeed, Speech of Angels, The Wait of the World, Now the Children Lead, The Chosen by Stephen Melillo | 82.30 | 14th |
| 2001 | Chivalry | Sinfonia Voci by David Holsinger / Allemande (from Courtly Airs and Dances) by Ron Nelson / Non Nobis Domine (from Henry V) by Patrick Doyle / Battle Scene by Michael Klesch / Once More Unto the Breach by Patrick Doyle | 84.90 | 12th |
| 2002 | Revelations | Dawn (from 5 Miniatures) by Joaquin Turina / Concerto for 4 Percussion, Be Thou My Vision & New Century Dawn by David Gillingham | 83.90 | 15th |
| 2003 | Symphonic Visions: Ritual, Song, and Dance | Cantus Laetus by David Gillingham / Harrison's Dream by Peter Graham / Blue Sapphire (from Colours) by Roger Cichy | 80.50 | 16th |
| 2004 | From the Heartland | American Overture by Joseph Willcox Jenkins / John Henry & Threshing Machines by Aaron Copland / Old Man River (From Showboat) by Jerome Kern / Celebration by Robert Russell Bennett | 81.325 | 16th |
| 2005 | Postcards From Home | The Promise of Living (from Tender Land) & The Red Pony by Aaron Copland / The Landworkers (From Estancia Ballet) by Alberto Ginastera / Till There Was You (from The Music Man) by Meredith Willson / Stomp Your Foot by Aaron Copland / Jubilee by Morton Gould | 84.075 | 13th |
| 2006 | Continuum | Windsprints by Richard Saucedo / As Time Goes By (from Casablanca) by Herman Hupfeld / Ride by Samuel Hazo | 83.05 | 13th |
| 2007 | Equinox | With One Look (from Sunset Boulevard) by Andrew Lloyd Webber, Christopher Hampton, and Don Black / Coronation of Boris Gudonov by Modest Moussorgsky / Troika (from Lieutenant Kije Suite) by Sergei Prokofiev /String Quartet No. 4, mvt 5 Allegro Molto by Béla Bartók / As If We Never Said Goodbye (from Sunset Boulevard) by Andrew Lloyd Webber, Christopher Hampton, and Don Black | 86.15 | 10th |
| 2008 | Night and Day | Night and Day by Cole Porter / Bernstein Medley by Leonard Bernstein / Unexpected Song by Andrew Lloyd Webber / Spellbound Concerto by Miklos Rosza | 85.175 | 14th |
| 2009 | Fathoms | Song of the High Seas (from Victory at Sea) by Richard Rodgers / The Sea Treaders by W. Francis McBeth / The Voyage by Chris Tomsa and Max Mullinix / Ebb Tide by Robert Maxwell and Carl Sigman / SOS by Max Mullinix / The Journey Home by Chris Tomsa and Max Mullinix | 85.60 | 13th |
| 2010 | True Colors | Green by Michael Torke / Alone in the Crowd & One Man Show (from Pollock) by Jeff Beal / True Colors by Billy Steinberg and Tom Kelly / Appalachian Morning by Paul Halley | 84.65 | 13th |
| 2011 | Deception: The Jagged Edge | Swan Lake by Peter Ilyich Tchaikovsky / Danza de los Duendes by Nancy Galbraith / The Swan (from Carnival of the Animals) by Camille Saint-Saëns / Mind Heist by Zack Hemsey | 82.25 | 16th |
| 2012 | Boundaries | August's Rhapsody (from August Rush) by Mark Mancina / Boundaries by David Nelson / Piano Concerto No. 2, Second Movement by Sergei Rachmaninov / All By Myself by Eric Carmen | 79.20 | 17th |
| 2013 | Field of Dreams | Can't Help Falling In Love by Hugo Peretti, Luigi Creatore, and George David Weiss / At Last by Mack Gordon and Harry Warren / American Graffiti, an arrangement by Aaron Guidry / The Place Where Dreams Come True (from Field of Dreams), by James Horner / Chorale & Fugue In Jazz by Morton Gould | 82.45 | 15th |
| 2014 | Dark Side of The Rainbow | Breathe by Roger Waters, David Gilmour, and Richard Wright / On the Run by David Gilmour and Roger Waters / Time by Nick Mason, Roger Waters, Richard Wright, and David Gilmour / Powerhouse by Raymond Scott / The Great Gig in the Sky by Richard Wright and Clare Torry / Everything in Its Right Place by Thom Yorke, Jonny Greenwood, Colin Greenwood, Ed O'Brien, and Philip Selway (Radiohead) / Brain Damage & Eclipse by Roger Waters | 85.350 | 13th |
| 2015 | ...And A Shot Rings Out: A Johnny Staccato Murder Mystery | Man With The Golden Arm by Elmer Bernstein / Lex (from Metropolis Symphony) by Michael Daugherty / Audrey's Dance (from Twin Peaks) by Angelo Badalamenti / Science Fiction by Christian McBride / Moanin' by Charles Mingus / Lay Me Down by Sam Smith, James Napier, and Elvin Smith / Scherzo (from Fire, Water, Paper: The Vietnam Oratorio) by Elliot Goldenthal / Original music by Chuck Naffier and David Nelson | 83.025 | 14th |
| 2016 | Nachtmusik | Eine Klein Nachtmusik by Wolfgang Amadeus Mozart, The Music of the Night by Andrew Lloyd Webber | TBD | TBD |
References
- ↑ "Corps". Drum Corps International. Retrieved May 7, 2012.
- 1 2 3 4 5 6 7 8 9 10 11 12 A History of Drum & Bugle Corps, Vol. 2; Steve Vickers, ed.; Drum Corps World, pub.; 2003
- 1 2 3 4 5 6 7 8 9 10 11 12 "History for Colts". Maher Associates, Inc. Retrieved May 7, 2012.
- 1 2 3 4 5 6 7 8 9 10 11 12 "History". Colts Drum & Bugle Corps. Retrieved May 7, 2012.
- ↑ "Staff Contacts". Colts Drum & Bugle Corps. Retrieved May 7, 2012.
- ↑ "Colt s Youth Organization". Colts Drum & Bugle Corps. Retrieved May 7, 2012.
- ↑ corpsreps.com "Song History for Colts" Check
|url=value (help). Maher Associates, Inc. Retrieved July 21, 2015.
External links
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