Transcript ARRANGING FOR ATHLETIC BANDS

ARRANGING FOR ATHLETIC
BANDS
Music 675
The Process
• Get creative and find the music that
makes sense
• Audience appeal is great but so is
player appeal
• My process is the same for writing
athletic band charts
• Tone colors and ranges still apply!
Things to think about…
• Tempo! Marching Band vs. Basketball
Band
• Complexity! Marching Band vs.
Basketball Band
• Endurance, Form, Repetition
• Make things interesting to play and
interesting to listen to.
INSTRUMENTATION
•
•
•
•
•
•
•
•
•
•
1 Flute/Picc part
1-2 Clarinet parts
2 Alto Sax parts
1 Tenor Sax part
2 Mellophone parts
3 Trumpet parts
2 - 3 Trombone parts
1 Euphonium part
1 Tuba part
Full Drumline and Front Ensemble
Purpose??
•
•
•
•
•
Opener, Production, Feature, or Closer
Stands or SPITS?
Basketball Band
Purpose of the music itself….
Keys - flat keys - Dark = Ab or Db,
Brighter = Bb or F
Sketching the Arrangement
•
•
•
•
•
•
•
•
•
Keys
Assignment of Melody
Form!!
Specific accompaniment rhythms
Numbers of harmonizations of the melody
Chord progressions
Location and creation of counterlines
Doublings and Orchestration
Length
Doublings
• Typical Doubling(smaller band):
• Melody in trumpet 1, Clarinets in unison,
flutes one octave higher
• Trumpet 2 harmonization doubled by alto sax
1 and mello 1
• Trumpet 3 harmonization doubled by alto 2
and mello 2
• All others on Bass/Rhyhm lines in octaves
Doublings
• Doubling for weaker trumpet/stronger
woodwind bands:
• Melody in trumpet 1 with flute and clarinet 1
and octave higher and clarinet 2 in unison
• Trumpet 2/3 not split
• Second harmonization of melody is played by
all horns and saxes.
• All others on Bass
Doublings
• Block Scoring System - average high school
band - most common
• Trumpet 1 doubled one octave higher in flute
and clarinet - clarinet 2 in unison
• Trumpet 2 doubled by mello 1
• Trumpet 3 doubled by mello 2
• Three independent trombone parts, doubled
in alto saxes and tenor sax.
• An independent Bass line on tuba doubled at
the octave by euphonium.
Doubling
• Advanced/Filmore System
• Trumpet 1 doubled one octave higher in flute
and alto in unison
• Trumpet 2 and 3 doubled one octave higher
in clarinet 1 and 2, and alto sax 2, tenor and
horns 1 and 2 in unison
• Trombones on 3 split parts
• Tuba doubled by Euphonium at the octave.
Doubling
Full Scoring System - Advanced, big bands
3 Trumpets in great range and undoubled
Countermelody in flute, clarinet, and horn
Trombones either split on melody or driving
rhythmic line/ accomp
• Euph either double tuba at octave or plays
horn line
• Tenor sax doubles third trombone or Tuba
• Altos either double trombones or strengthen
counterline.
•
•
•
•
Accompanimental Rhythm
• 3 part chordal accompaniments are often
more effective than sustained chords
• Your arrangement should have forward
motion in these lines and groove without
percussion.
• Accomp should be in the style of the melody
and move when the melody does not.
• Think syncopated patterns that repeat in one
or two bar patterns.
• Trombones work well for this purpose.
Harmonizations of the
Melody
• Two Harmonizations are not always
required
• Maybe state pure melody first, strong…
then repeat with one harmonization.
• Reserve 3 part harmonizations of the
melody for exciting moments in the
tune.
Adding Counterlines
• Can serve as tension and energy builders.
• You can create your original counterlines or
use material from another tune.
• Counterlines move at a speed opposite to
the melody and move against the melody
• Made up of chord tones not found in the
melody
• Should make sense when played alone
Intros and Endings
• Closer? Make sure coda is longer that the
introduction. Perhaps think the opposite for
an opener.
• Intro slower, ending/coda fast and in your
face
• Intros - make use and variation/segments of
the main theme
• Repeating rhythmic figures could serve as
building blocks for and intro as well.
• Ending ideas - block chords with massive
percussion, counterline over a single melody
note or tonic, Augmenting a segment of the
theme
Other thoughts
• I listen to a lot of music and study lots of
scores.
• I sing what I want while writing. The band in
my head is very good and super exciting
• I use the piano to sketch and I play trumpet
or sing to develop counterlines.
• Always think about what is interesting and
captivating.
• Your arrangements should have motion
without percussion and should make sense
from beginning to end.