Arranging Concepts [PDF]

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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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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.