1. ARRANGING FOR ATHLETIC BANDS Music 675

2. 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! 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!

3. 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.

4. 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 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

5. 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

6. 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 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

7. 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 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

8. 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 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

9. 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. 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.

10. 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. 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.

11. 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. 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.

12. 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.

13. 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.

14. 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 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

15. 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 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

16. 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. 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.