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.