Arranging Concepts Tips and Techniques Vince Gassi
The Process Example: Code of Honor Assignment/Discussion
Outline
Concept
Revise
Reflect
The Process
Experiment/ Improvise
Create/ Develop
The Subconscious Cauldron
rhythms motifs
ideas
conscious mind
The Process
Concept
• Story, Idea, Musical Style • A Chesapeake Bay Adventure • (History of the Chesapeake Bay. Revolutionary Battles, Blackbeard, Underground Railroad, Civil War Naval Battles) Who am I writing for?
• Grade Level, Ranges, • Limitations
Form/ Roadmap
The Process
• Melody, Counter M. • Accompaniment • Intro, Transitions, Ending
Legends of the Yucatan Exotic, Mysterious
Concept
Cape Breton Lullaby Lyrical Calm
Stay Cool Hip, Jazz
La Choraline choral, slow, rich harmony, some counterpoint
Michael Mitchell
Gassi
Rhythmic, faster tempo
Reverent, building in intensity throughout
More pulse
What do I want to say? (standard arrangement or new twist)
Point of View
What can I say? (limitations of band or project [opening of school or football game])
Decisions
• Stage 1 – sketch, top melodies, form • Stage 2 – back ground lines, fill out rhythms, harmonies • Stage 3 – intros, endings, parts
Code of Honor
• Oboe w/flutes at pitch or down the octave • Alto sax w/horn (occasionally tenor sax) • Bassoon, BCL, Bari Sax w/Tuba • Instruments small in number need reinforcement • As always, consider ranges
Doubling
Guidelines
http://www.alfred.com/img/pdf/BOP/2011BelwinBand.pdf
WWD.
BRASS
Sketch Pad
PERC.
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① ② ③ ④ ⑤
The Technique of Orchestration - Kent Kennan (Prentice Hall) Arranging Concepts Complete - Dick Grove (Alfred) Music Arranging and Orchestration – John Cacavas (Belwin Mills) Arranging for the Concert Band - Frank Erickson (Belwin Mills) Arranged by Nelson Riddle – Nelson Riddle (Alfred)
⑥ Composers on composing for band - GIA
Recommended Reading
I strongly consider… • Individual parts strive to be linear: Each part like a solo line, flows musically and logically. • Everyone gets the melody, or at least a motif: This is extremely important for the developing musician. • Cross curricular opportunities are examined carefully: Integrating music into other school curricula is a positive way to encourage connections with other academic subjects. • Provide a musical ʻhookʼ to excite the players: Especially with beginners. Strong unison lines that establish a piece and re-occur during the performance seem to engage even the shyest of students. • Create a piece that provides materials for concept reinforcements, i.e. the ʻreal worldʼ application of concepts from the method book(s). • Create a piece that is fun to play: music that motivates practice and continued involvement in music.
Ralph Ford
Does the Music Possess/Contain • • • • • •
A well conceived formal structure? Creative melodies and counter-lines? Harmonic imagination? Rhythmic vitality? Contrast in all musical elements? Scoring which best represents the full potential for beautiful tone and timbre? • An emotional impact? What Comprises Music of Artistic Merit? Esteemed conductor and educator Ray Cramer once made a list that attempts to answer this question.
