up front - section 5: scoring and arranging for the pit

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UP FRONT - Section 5: Scoring and Arranging for the Pit

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Laying out the scoreLetʼs start with a blank slate. At this point, you need to know what type of equipment you are working with, the setup, how many players are in the ensemble and their ability levels. Now you can lay out the score page. While there are several ways to lay out the score, it will help you keep track of your players if you create one staff line per player. If you have 8 players in the pit, create 8 separate staves to accommodate them. Here are the two most obvious ways to do this:

Creating a personalized staff for each playerThis method is most appropriate if you rotate your players to different instruments throughout the show. It also works well if you have a strong knowledge of your playerʼs capabilities. By creating a personalized staff for each player, you are creating a “custom made” part for them. This will help you to write for the strengths and weaknesses of the ensemble. Also, anytime you want to address a certain player during rehearsal, youʼll know exactly where to locate their staff line on the score.

Check out fi gure 5-A, and youʼll see the staves named after each player in the pit. In order to keep track of who is playing on what instrument, itʼs important that you create labels in the music to indicate what instrument is being used.

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Figure 5-A: Pit score sample from SCV’s opener in the year 2000

s a m p l eof who is playing on what instrument, itʼs important that you create labels in the music to indicate what

s a m p l eof who is playing on what instrument, itʼs important that you create labels in the music to indicate what instrument is being used.

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To purchase “Up Front” please visit www.tapspace.com

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Having each staff line represent main instrumentsIn any front ensemble score, youʼll fi nd there are primary instruments which are used for the majority of the show. In arranging scores for the Vanguard, our main voices are: 3 vibraphones, 3 low-A marimbas, 5 timpani, glockenspiel, xylophone, and percussion. These nine staves comprise the front ensemble score. Of course, weʼll use other instruments throughout the show; these are simply our main voices.

When setting up your score in this manner, itʼs customary to list the high pitched instruments on top and the low pitched instruments on the bottom. This is fairly common in percussion ensemble literature and makes it easier to quickly locate a certain instrument in the score. Figure 5-B is an example of this page setup. Notice you still need to label any instrument changes that may occur along the way.

Figure 5-B: 2002 Pit score. Each staff represents a different “main” instrument.

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On pages 78-82, we discussed different ways that the pit can be set up. If you are using the “pod” style setup, each “pod” will need its own staff line on the score. Perhaps you have a marimba with a glockenspiel mounted on the front, plus a concert tom, temple blocks, two suspended cymbals, a china cymbal, and a splash cymbal. This is more of a “multi-percussion” setup. As long as you know what instruments are available to each player on their staff, you are armed with all the information you need to start writing. If you are using an antiphonal or split setup you will want to group together the instruments from each side in the score. For example, all of the instruments on side one of the pit will be in the top half of the score and all of the instruments on side two will be on the bottom half of the score.

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Formulating your ideasFormulating your ideas is perhaps the most important step in the arranging process. This is the time to think through all of your options. When writing for such a diverse instrumentation, itʼs easy to get carried away and overwrite. It can be equally tempting to simply mirror the parts of the wind players, resulting in a score that doesnʼt complement the overall package. The following pages will guide you in generating and organizing your ideas into score form. Now the fun begins!

The Phrase ChartThe fi rst step in the organization process is creating a phrase chart. This chart will include a general analysis of what the winds and battery percussion are playing during each phrase. This chart will allow you to see the bigger picture and fl ow of the entire chart. From here you can start to formulate ideas for the pitʼs role. Information in your chart may be as vague as “metal colors,” “harp effects,” “string parts from original,” “tacet,” or as specifi c as sketching in rhythms and pitches.

PhraseName

# of counts Tempo Meter Percussion Notes Wind Notes Original Recording Other Notes

1 32 QN=180

Low brass play trombone melody. String/fl ute counterpoint - trombone on melody

1st two bars, percussion sets up new tempo

1A 14 continue as above

2 16 continue as above

2A 18 build to impact of phrase 3 cover moving trumpet line

tromb still carrying melody, trumpet adding more motion underneath

3 12Add decending fl ourishes in keys and BD’s, otherwise full

Full out, all sectionsRich harmonies, musical “arrival point”

Halt - impact statement

4 20

Bring it back down a bit, cyms cresc lead into phrase 4A w/sizz run. Xylo/tenor 16th ost, 2 choirs of vibe/mar to simulate sop counterpoint

Sops cover 8th note counterpoint as ostinato to setup next phrase. mellos sustain horn part

Trumpet counterpoint ostinato, blended string 16ths with fl ute/clar fl ourishes

4A 24Timpani, bold w/low brass statement. ostinatos continue, while battery supports melodic accents

Low brass - tromb statement over the top of sop 8th note ostinato

Continues as above w/trombone adding BIG melodic statement over the top.

4B 16Full ensemble. Unison impacts in rhythm w/brass

Full ensemble. Rhythm impacts. Modulate key for better bugle range.

Arrival point of tension build

5 57 3/4Bass brush texture for new feel, Sn w/mids, Tenor w/baris, bass w/brass reenter, all add into build

Sop trio (9 cts), Mid-horn trio (9 cts), Baritone trio (9 cts)

Horns hand theme off to muted trp, then hand off to upper ww, hand off to string. 3 MEAS. PHRASES

9+9+9+9+9+12Build/fabricate impact at end of phrase

6 31 Snare break tacet - perc feature N/A

Figure 5-C: Phrase chart from a portion of Barber’s Symphony No. 1 and No. 2 production from 1999.

s a m p l es a m p l es a m p l eQN=180s a m p l eQN=180 4/4s a m p l e4/4Bass ostinato, snare/tenor colors. Vibe/

s a m p l eBass ostinato, snare/tenor colors. Vibe/Mar supplement ostinato feel w/8thss a m p l eMar supplement ostinato feel w/8ths

Low brass play trombone melody.

s a m p l eLow brass play trombone melody. Mellos play split ostinato

s a m p l eMellos play split ostinato counterpoint fi gure. Low Brass s a m p l ecounterpoint fi gure. Low Brass main melody.s a m p l emain melody.

String/fl ute counterpoint

s a m p l eString/fl ute counterpoint - trombone on melodys a m p l e- trombone on melody

Continue feel, lead into next phrase with s a m p l eContinue feel, lead into next phrase with growths a m p l egrowth

continue as aboves a m p l econtinue as above continue as aboves a m p l econtinue as above

Melodic accents distributed throughout s a m p l eMelodic accents distributed throughout battery ens.s a m p l ebattery ens.

Mellos take over tromb. melodys a m p l eMellos take over tromb. melody continue as aboves a m p l econtinue as above

2 against 3 feel for variety, then melodic

s a m p l e2 against 3 feel for variety, then melodic build to impact of phrase 3

s a m p l ebuild to impact of phrase 3

Sops take over melody, mellos

s a m p l eSops take over melody, mellos cover moving trumpet line

s a m p l ecover moving trumpet line

tromb still carrying melody, s a m p l e

tromb still carrying melody, trumpet adding more motion

s a m p l etrumpet adding more motion


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To add a melodic voice or counterpoint to the musical ensembleThis arrangement from the 2003 SCV show is from a chamber piece for 15 string players. The brass parts (as seen here) used all of the material from the original score; leaving nothing for the pit. For our needs on the fi eld, this was a bit boring. So the vibes took the lead on top of this material by playing an augmented melodic theme. Notice the battery playing a very supportive, accompanimental role so as to not get in the way. This is a case where the pit is scored to take the lead, however itʼs blended into the overall ensemble for a more holistic sound. Oftentimes, itʼs just as easy to have the other sections simply tacet for these types of phrases. This was an instance however, where we needed the energy of a more fully orchestrated feel. For this reason, the melody is limited to metallic keyboards while accompanimental elements still exist in the marimbas, timpani, and percussion.

Figure 5-G: Pit takes the lead over brass in this example from the 2003 closer.

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198


199


Composing RunsWhat would drum corps be without some high speed runs on the keyboards? Practicing all summer long, today’s pit performers can fi nish the season with an ungodly amount of chops. While there are much more diffi cult techniques to display in four-mallet independence, runs are ironically the sections where audiences and judges like to “oooh and aahh.” There is probably no harm to this; runs are fl ashy, and people like to hear them. Nothing wrong with that...

Writing runs is usually the sole responsibility of the pit arranger. Often, the original scores don’t contain this musical embellishment. To create runs from scratch, use the same process you used to create counter melodies in the previous section. Start with a harmonic analysis of the wind parts, experiment with the rhythm and what chord tones you want to start on, create a shape for the line, then start to experiment with pitches. Finally, decide how it should be scored (thick texture, thin texture, etc.)

Here’s an example from the 1998 SCV Opener. You’ll see the sequence in the brass parts modulating up a minor-third every two bars. These are simple, major-chord harmonies (with a minor 7th adding tension on the downbeat of each two-bar sequence). The trick is to fi nd a scale mode which fi ts into this harmonic structure. Also, since the run is made up of a series of quick 16th notes, it’s important for it to “fi t” on the instrument so the players can navigate through the bars without awkward interval jumps.

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204


205


Orchestration concepts

Writing Harmonic Mallet linesSometimes itʼs more appropriate to take a single melodic line and have it played in harmony with another line. It can create a thicker texture and add more interest. Since this technique may slightly reduce the amount of keyboard projection, itʼs not something you want to rely on for a majority of your show. Harmonizing keyboard lines is usually best appreciated in situations where the keyboards can be heard clearly. Often itʼs easiest to write the main (top) melodic line, then harmonize with a second line by writing in thirds or fourths below the main line. Here are a few examples of some keyboard lines that have been used in past arrangements.

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Figure 5-O: This excerpt, from the 1999 SCV opener uses “quartal” harmonies. These are harmonic lines that are parallel in motion, but separated by an interval of a fourth.

Figure 5-P: In this excerpt from the 2000 SCV intro production, you’ll see the sixtuplet lines are actually arpeggiated chords. Rather than being played in unison, they are performed in inversions. The harmonies are the

same, but the starting point within the arpeggios is different.

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204


205


Using the instrument’s best rangeDonʼt be afraid to spend a fair amount of time experimenting with the ranges of keyboard lines. When writing, itʼs good to have each instrumentʼs characteristic sound in your head, so you can write the parts in a range that blends well and projects. Just for fun, imagine what a medium soft marimba mallet will sound like in the upper-most range of the instrument. Itʼll sound kind of fl uffy, right? Now imagine using that same mallet in the lower range of the instrument. You can probably imagine a more resonant sound, and more pure fundamental tone from the bar simply because the mallet is more appropriate for the range. These are things you need to think about when writing. Have an idea of what timbre will result from writing too high, or too low.

You might also fi nd it helpful to consider the instrumentʼs transposing qualities to determine in what range it will sound best. For example, since a xylophone sounds one octave higher than written, this phrase (which appears as a unison line between xylophone and marimba), would actually sound in octaves. This is a handy scoring technique to get more projection. If you want more sound out of a singular line, youʼll fi nd it helpful to have the keyboard lines spread out among an octave or two.

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Figure 5-Q: To add more fullness and warmth to this line, marimba 2 is written down an octave from marimba 3. Between the xylophone’s natural transposition (one octave higher than written), the marimba

1 line (sounds as written), and the marimba 2 part written an octave lower, you’ll have three keyboard players performing the same line in three different octaves. This will create a very full sounding phrase.

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208


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Overwriting continued...Hereʼs another example where overwriting cluttered the ensemble. This is an excerpt from the 1996 SCV production of “La Mer.” Observing the pit score, it doesnʼt necessarily appear to be overwritten. However, this is a case where itʼs important to note the pitʼs role in relation to the rest of the ensemble. In our brass arrangement, these four bars were designed to sound bold and triumphant; an impact! The running triplet to 8th note part in the xylophone was taken from the strings in Debussyʼs original score, as well as the timpani part and the quarter note triplet melody seen in the Marimba 2 part. The problem isnʼt that these parts are inappropriate. Itʼs just that during an impact moment on the marching fi eld, sometimes the intent is more clearly heard by eliminating musical ideas that arenʼt as prominent in the original. Itʼs merely a matter of identifying the main musical priorities, and letting them do the work.

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210


211


Considering how the setup will affect the overall soundItʼs pretty safe to say that no two front ensembles have exactly the same setup. When writing, youʼll fi nd it very helpful to keep a “map” of the pit nearby so you know where the music is going to come from. Simply draw a rough sketch of the pit, and label each instrument with the playerʼs name.

Hereʼs one consideration. Itʼs often helpful to have people who are playing similar parts stand next to each other so they can more effectively listen. We refer to these as choirs or “teams.” By positioning players closer to each other, their musical material will be weighted more heavily in that general area of the pit. If you want a “full pit” sound, be sure that the entire pit is contributing to the material being played. Otherwise you might fi nd that certain phrases have a lop-sided balance in relation to others.

Figure 5-U: Pit map. This scrap of paper is never far away during the arrangement process.s a m p l es a m p l es a m p l es a m p l es a m p l eHereʼs one consideration. Itʼs often helpful to have people who are playing similar parts stand next to s a m p l eHereʼs one consideration. Itʼs often helpful to have people who are playing similar parts stand next to each other so they can more effectively listen. We refer to these as

s a m p l eeach other so they can more effectively listen. We refer to these as choirs or “teams.”

s a m p l echoirs or “teams.”

players closer to each other, their musical material will be weighted more heavily in that general area

s a m p l eplayers closer to each other, their musical material will be weighted more heavily in that general area

Figure 5-U: Pit map. This scrap of paper is never far away during the arrangement process.s a m p l eFigure 5-U: Pit map. This scrap of paper is never far away during the arrangement process.


up front - section 5: scoring and arranging for the pit

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