Hey guys. If you haven't read my first and second posts, please go an check them out here: http://www.bandhead.org/forum/topics/the-writers-block?xg_source=activity
http://www.bandhead.org/forum/topics/the-writers-block-ii?xg_source=activity
The staff of Block Band had another meeting last night (July 7th). During this meeting, we further discussed the concept of "spiffs" and how we can work together as a team to get things done right and on time. During our first two meetings, Prunejuice would mainly take the floor during our discussions, but this time, he asked for the other staff members to speak out. This gave some of the staff the opportunity to express how they felt regarding team work and how we can actually work together without really seeing each other in person. Some really good ideas came up, such as letting the arrangers hear each others' arrangements and giving their opinions about it.
Later in the meeting, Prune set a goal for us to accomplish: to get 300 likes on our Facebook page within two weeks. We briefly discussed some ways on how we can do that and I personally talked about how I was trying to get some "likes" earlier this week. Getting "likes" is tougher than I thought...I've been "advertising" (without trying to spam) on Facebook about our page all week and only managed to get around 20 or so likes. Although I find the goal a bit challenging, I believe that it can be done. I've been putting a lot of my time into doing so after the meeting.
Then earlier today, I had my second (face to face) meeting with Prune. This time, he thoroughly explained the Butler Method that I mentioned in my first post. The method is very, VERY unique. It's really hard to describe just by typing, but it puts a huge emphasis on each particular beat rather than seeing a measure as a "whole" if that makes any sense. For example, Prune taught me that the method treats a 4/4 measure as 1-1-1-1 instead of 1-2-3-4 and that helps beginning musicians read music easier as they begin to learn the more difficult rhythms involving eighth and sixteenth notes. It's definitely a method that's really foreign to me and I'm curious to find how it fares compared to the method in which I was taught how to read music. It felt like I was in a music education class with Prof. Prune, haha.
After that, we discussed my arrangements. Now last time, Prune told me what was wrong with my notations and what I could do to make my arrangements better and gave me an assignment to "fix" the two pieces that I sent him. We covered those today. He pointed out the changes that he liked and some more tips on how I could improve my arrangements. I originally had a woodwind run hat involved eight consecutive sixteenth notes, but Prune suggested that I take two notes out and make it a sextuplet run. He also pointed out that some of the parts I've written for trombone were a bit too low. Afterwards, he let me look at some of the other arrangers' arrangements to compare to mine.
One thing that really stuck with me was how Prune said that the tubas are the "foundation" of any song. He suggested that the other lower brass parts shouldn't be written too much higher from the tuba parts because by keeping the lower brass parts "closer together" it creates a "thicker" sound (i.e, If the tubas are playing a B flat and the trombones are playing a B flat but an octave higher, the sound wouldn't be as "thick" than if the trombones were playing a lower note, like a G). Really interesting concept...because you can't really hear these things on Finale or Sibelius.
Prune seems to really know how to utilize woodwinds. He gave me another memorable tip today: "Get the woodwinds out of the way. Double them on the important things." Again, he said that he sees a lot of arrangements where alto saxes double the mellophones and tenor saxes doubling the baritones or trombones. That doesn't add any power or color to the piece! The saxophones are VERY versatile instruments so they should be used to their fullest potential.
We then ended our meeting with a short discussion about "The Bag of Tricks" which are simply "sprinkles" on top of your arrangement (the ice cream), such as:
-Horn calls
-Trombone glisses
-Chromatic runs
-Harmonized chromatic runs
-Grand pauses
-Have your strongest sections on the melody while all the other sections drop out.
-Woodwind chords. (Drop trumpets/horns out and have woodwinds play the chords)
-Have trumpets “drive” into the melody (building up to it)
-Double trombones w/ tubas at certain parts (because trombones are more brassy and adds a "scary tone" to the sound)
Overall, this was another very educational meeting. I haven't arranged anything new as of late because I wanted to absorb all this new knowledge before I start a new one so I won't have to go back and change a lot of stuff like I am now. I do feel like I've learned enough to see a drastic difference between a new arrangement of mine compared to one of my old ones.
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At my session with Prune, we continued our discussion on arranging. This time, he talked about instrumental voices. One thing he pointed out that really stuck with me is that we should think about what "voice" we want to put on a part instead what "instrument" we want on it. What he means is that instead of putting a single instrument on a part, we should organize a group of instruments to form a "voice" for that part, which has a particular range. That adds more color and "flavor" to the arrangement, in my opinion.
We first talked about the "alto voice." First, we talked about the mellow alto voice, which is when baritones play at the top of their range with the mellophones to create a full, mellow sound. Then we talked about the brilliant alto voice which is where you can add the first trombones to the mellophones or swap the baritones with trombones completely, adding more "edge" to the sound because while mellophones produce a full, rich sound, they don't have that brilliance that the human ear tends to pick up more easily so adding the trombones gives that voice that brilliance. Then, Prune talked about the power alto/tenor voice, which is comprised of mellophones, baritones, trombones, alto saxes, and tenor saxes all on the same part which creates a huge wave of sound. Prune mentioned that this should be used when appropriate, because it's hard for another voice to follow such a loud part in an arrangement.
Then came our discussion on the soprano voice which is made up of trumpets, clarinets, and flutes/piccolos. Prune again mentioned a more distinct soprano voice by adding the alto saxes to the group as they add richness to a trumpet’s sound. He also mentioned that a powerful clarinet section can take away the brilliancy of a trumpet's sound, which I found really interesting. After that, we discussed the power soprano voice which doubles trumpets with mellophones in octaves. The mellophones are usually playing outside their normal range/tone in this voice. The baritone soprano voice is comprised of the baritones doubling with the trumpets. The baritone is more powerful than trumpet, but combining them with the trumpets, the baritone sound “supports” the brilliant trumpet voice. Prune notes that they blend really well together. A really interesting voice combination Prune mentioned was the trumpets with trombones. He says that the instruments' sounds “disappear” within each other because they have similar “sounds" and it sounds like the whole band is playing. He showed an example of this by showing me a Dynamic Steppers clip
Prune also mentioned using obliggato: the part(s) that are “above” everything else (i.e the piccolo part in Stars and Stripes Forever) as they can "energize" a piece.
Sometimes chords are implied. Sometimes all you need is a good alto, tenor, and bass sound. For example, if the tubas are cranking and trumpets are doin’ their own thing, it will sound empty where as an arrangement where the tubas and trumpets are weak, but the "middle parts" are heard, it won't sound empty at all.
After that, we discussed the lower voices. The combination of baritones and tubas tubas creates a fuller sounding bass line or tuba part. Another voice that we discussed in an earlier meeting was doubling trombones and tubas as it adds brilliance and "edge" to the sound. Prune said that it can use it to create an “explosion” and that having the trombones play pedal tones in addition to the tuba part is great for fanfares and endings. It can be added to our "Bag Of Tricks." Prune also mentioned that in some parts in the music where you want the bass line to be softer, dropping the tubas and having the baritones play the part with trombones is a good idea because the part will be heard without the "boom" of a tuba. The trombones can also be combined with the baritones to play the melody because like the baritone soprano voice, the baritone will be adding a "fullness" to the brilliant sound. The tenor saxes can also be included, as they are a really flexible instrument.
We ended our discussion with chord voices where we talked about how we can "stack" instruments together on chords to create different sounds.
Trombones + mellophones - The mellophones add a richness to the brilliancy coming from the trombones.
Baritones + trombones - As mentioned before, it will be a rich, full sounding backing up a brilliant sound.
Baritones + mellophones - Creates a REALLY dark, filthy rich sound. Prune mentions that DCI bands are known for this because they do not march trombones on the field.
Prunejuice also mentioned some sidenotes: Trombones are the "funkiest" instrument in the band because of their slide, they can do a lot more than valved and keyed instruments. He also mentions that some arrangers don't use trombones to their fullest potential because they just use them to stack chords instead of giving them the opportunity add "funk" to other parts. He also said that trumpets playing in the lower range can create a tenor voice. This not only can add to the arrangement, but it gives the trumpet players a break from playing in the "stratosphere."
Afterwards, the staff had a conference meeting. George and Prune laid out their visions for Block Band as the season begins to "kick off" and discussed their experiences with working with McCormick High School's band in South Carolina at their band camp last week. Then, Prune continued to discuss arranging with our other arrangers.
Overall, today was another very educating day. I continue to learn more and more really helpful arranging ideas from Prune at every meeting that I know I will actually use. Sometimes, (especially in college in those dreaded math and science courses) you think you are "learning" things that you will never use, but I've already put many of the ideas that Prune has taught me to use in some of my more recent arrangements. I'm looking forward to the day where I hear my arrangements being played by other bands!