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    Arranging For Athletic Bands: Music 675

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    gizzy9dillespie
    This document provides guidance for arranging music for athletic bands. It discusses various aspects to consider such as tempo, instrumentation, purpose, form, accompaniment rhythms, counterlines, introductions and endings. The key points covered are choosing appropriate music based on the ensemble and event, considering endurance and complexity, and making the music interesting to both play and listen to. It also offers suggestions for different doubling approaches based on the band's ability and examples of accompaniment rhythms. The overall goal is to create arrangements with forward motion that make musical sense from start to finish.

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    © All Rights Reserved
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    Arranging For Athletic Bands: Music 675

    Uploaded by

    gizzy9dillespie
    228 views16 pages
    This document provides guidance for arranging music for athletic bands. It discusses various aspects to consider such as tempo, instrumentation, purpose, form, accompaniment rhythms, counterlines, introductions and endings. The key points covered are choosing appropriate music based on the ensemble and event, considering endurance and complexity, and making the music interesting to both play and listen to. It also offers suggestions for different doubling approaches based on the band's ability and examples of accompaniment rhythms. The overall goal is to create arrangements with forward motion that make musical sense from start to finish.

    Original Description:

    Athletic Bands

    Original Title

    Athletic Bands

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    © © All Rights Reserved

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    This document provides guidance for arranging music for athletic bands. It discusses various aspects to consider such as tempo, instrumentation, purpose, form, accompaniment rhythms, counterlines, introductions and endings. The key points covered are choosing appropriate music based on the ensemble and event, considering endurance and complexity, and making the music interesting to both play and listen to. It also offers suggestions for different doubling approaches based on the band's ability and examples of accompaniment rhythms. The overall goal is to create arrangements with forward motion that make musical sense from start to finish.

    Copyright:

    © All Rights Reserved
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    228 views16 pages

    Arranging For Athletic Bands: Music 675

    Uploaded by

    gizzy9dillespie
    This document provides guidance for arranging music for athletic bands. It discusses various aspects to consider such as tempo, instrumentation, purpose, form, accompaniment rhythms, counterlines, introductions and endings. The key points covered are choosing appropriate music based on the ensemble and event, considering endurance and complexity, and making the music interesting to both play and listen to. It also offers suggestions for different doubling approaches based on the band's ability and examples of accompaniment rhythms. The overall goal is to create arrangements with forward motion that make musical sense from start to finish.

    Copyright:

    © All Rights Reserved
    Download as PPT, PDF, TXT or read online from Scribd
    Download as ppt, pdf, or txt
    of 16
    At a glance
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    The key takeaways are to focus on player and audience appeal when choosing music, and to consider tempo, complexity, endurance and making the music interesting to play and listen to.

    When choosing instrumentation, some factors to consider include the number of parts for each instrument, balancing stronger and weaker sections, and typical doubling approaches for different sized bands.

    Some techniques for writing accompanimental rhythms include using 3 part chordal patterns instead of sustained chords, giving the lines forward motion and groove without percussion through syncopated repeating patterns, and using trombones for driving rhythmic lines.

    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.

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