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Arranging For Athletic Bands: Music 675

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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gizzy9dillespie
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282 views

Arranging For Athletic Bands: Music 675

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.

Uploaded by

gizzy9dillespie
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PPT, PDF, TXT or read online on Scribd
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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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