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.