arranging for athletic bands music 675. the process get creative and find the music that makes sense...
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ARRANGING FOR ATHLETIC BANDSARRANGING FOR ATHLETIC BANDS
Music 675Music 675
The ProcessThe 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!
• 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…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.
• 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.
INSTRUMENTATIONINSTRUMENTATION• 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
• 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??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
• 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 ArrangementSketching 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
• 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
DoublingsDoublings
• 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
• 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
DoublingsDoublings
• 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
• 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
DoublingsDoublings
• 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.
• 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.
DoublingDoubling
• 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.
• 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.
DoublingDoubling
• 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.
• 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
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.
• 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
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.
• 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 CounterlinesAdding 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
• 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 EndingsIntros 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
• 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 thoughtsOther 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.
• 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.