Tag Archive | depth

Ogopogo

Ogopogo is a great piece for beginner band written by Robert Buckley. Here is my analysis of it…

Key: D Phrygian. Yay! It’s not in Bb Major or in C Dorian (which seems to be the new favorite beginner piece key)

Form: Intro (8) | A (8) | A (8) | B (2+2+2+2) | A (8+2) | A (8) | Intro (8) | Coda (6)

Subtle variations in the accompaniment and the the way the “A” melody is stated prevent the four “A” sections from feeling too repetitious.

Note Range: Concert Bb –> G (i.e. the first 6 notes)

Rhythm: Primarily 1/4 notes. Some use of half and whole notes. very limited use of 1/8th notes. He only ever uses two 1/8th notes at a time, and only one 1/8th note pair per bar maximum.

Dynamics: This piece has excellent dynamic range across sections and within phrases. The dynamics for each section are:

p cresc. f | mp | mf | mf | f | ff | p cresc. f | mf, mp, p

In addition to the marked dynamics, Robert also orchestrates each section to reflect the dynamic marking. He makes extensive use of one bar crescendo and one bar diminuendos, which in turn then becomes an important unifying device.

Motivic Material/Development: The introduction is based on an ascending scale fragment. This concept then becomes the basis for a 2 bar secondary motif that answers the main melody (bars 7-8, 15-16, 23-24, 39-42, 49-50, 57-58). This motif has the cresc./decres. device mentioned earlier. The introduction is then inverted for the coda.

The melody in the A section is 8 bars built as 2+2+4. The initial 2 bar idea is repeated and developed in the second 2 bar phrase. This is then answered in the final 4 bar phrase. (Yes, there is some great music theory terminology that describes this type of phrase construction, but right now I can’t remember what it is and can’t be bothered looking it up. I figure the important thing is that I recognize what’s going on.)

The B section is 8 bars built as 2+2+2+2. Essentially a pair of question/answer phrases.The final 2 bars is repeated creating a transitional passage leading us back to the “A” section. This is further reinforced by breaking the one bar cresc./decres. device and instead having a 4 bar crescendo.


Orchestration:

Intro: (m.1-8) 

Low WW’s/Br tutti,  then A.Sx/Tpt/(Fl/Ob 8va) and harmonized by Cl/T.Sx/Hn

Here’s what I find interesting…

  1. He doesn’t include Fl/Ob in m.2, but adds them in m.4. I reckon I would have just orchestrated both bars the same by default. (that’s not a good thing!)
  2. In m.7-8 he leaves out Fl/Ob/T.Sx/Hn. Again, I think I would have just defaulted “everyone in” in a unison tutti passage like this. Leaving out Fl/Ob seems like a colour choice. The Hn. is left out because it would just sit either awkwardly high or awkwardly low. The T.Sx is left out because…well I’m not quite sure why. Maybe because it is generally doubling the Hn. so it makes it more consistent for the students?
  3. In m.2, m.4, m.6 the harmony part is a dotted 1/2, the melody is three 1/4 notes. A simple and subtle way to create interest.

My takeaway: always think about every orchestration choice. Don’t just mindlessly (aka lazily) use the default settting.

Ogopogo Ex.1


A1 (m.9-16)

The melody is Cl/A.Sx. The accompaniment is a single 1/4 note on beat one of each measure, played by the low WW/Br.

A2 (m.17-24)

The melody is played by Fl/Ob in octaves with the Tpt. This is harmonised by the A.Sx/T.Sx/Hn playing a 4th or 3rd below the melody. Apart from creating an interesting harmony, this also puts these instruments in a great “easy” register.

The bassline is similar to A1, but now there is a 1/4 on beat three played by some of the low WW/Br.This is in contrast to beat one which is tutti.Again a simple and subtle way to create interest.

My takeaway: always think about every orchestration choice. Don’t just mindlessly (aka lazily) use the default settting.

Ogopogo Ex.2


B (m.25-32)

In the first phrase the melody is played by Fl/Ob in octaves with the Cl. The accompaniment is played by T.Sx/Hn in 5ths with Tbn/B.Sx /Tba (8vb)

In the second phrase the melody is played by A.Sx/Tpt. The accompaniment now in 4ths played by Cl and T.Sx/Hn./Fl.+Ob. (8va).

Apart from the obvious shift in timbre between the two phrases, there is also a shift in tessitura. (I just wanted show show off a few music theory words…I do remember a few at least!)

In m.29-30 the secondary motif is scored for Cl./A.Sx/Tpt with Fl.8va, the repetition in m.31-32 is full band tutti.

Ogopogo Ex.3.jpg


A3 (m.33-42)

Here the melody shifts to the low WWs/Br. This is punctuated by 1/4 note chords from the rest of the band, again voiced in 4ths/5ths with Cl/A.Sx/Tpt and T.Sx/Hn. The Fl/Ob. double Cl 8va.

Ogopogo Ex.4.jpg


A4 (m.43-50)

In m.43, m.45, m.47 there is a unison statement of the melody by the ensemble. However the note value has changed from a short 1/4 note (+a rest) to being a full length 1/2 note.

There is a similar shift in tessitura in m.44 as occurs in the B section.

My takeaway: This tessitura shift is a great device that I plan on stealing as some point in the future

Ogopogo Ex.5.jpg


Intro (m.51-58)

This is identical to m.1-8


Coda (m.59-64)

The orchestration approach here is the same as for the intro.

Other takeways:

  1. I like his use of the A.Sx , T.Sx in reinforcing the horns. The horns are never left alone. Sometimes it’s reinforced by one sax or the other and sometimes by both.
  2. There are a lot of subtle orchestration shifts and different instrument combinations, yet at the same time it is rock solid orchestration that will withstand the beating that a beginner band gives every piece!

No, I haven’t talked about percussion at all…I’ll do that next time. So just hold off with the beaters for just bit longer…

 

 

Bach to the Future

Firstly, sorry about the terrible musical pun in the title, but sometimes you just can’t help yourself.

I was at a new music reading day at the end of last year where a bunch of music teachers smashed our way through about 30 new concert band pieces. A couple of things struck me about the music we played:

  1. Good pop charts are hard to find. I won’t name and shame, but we played a few truly awful arrangements of some classic rock/pop tunes. Some of which left me mystified as to how you could mess up an arrangement of a piece that had so many great riffs…but that’s a rant for another day.
  2. So many charts sound the same. Even at harder levels, much of what we played just smooched into one inoffensive, well-crafted piece of vanilla. Given the sheer volume of new music produced every year, this is a bit unsurprising. My take away lesson though: as a comparatively unknown writer, in a country half the world struggle to find on map, I figure there is no future in me producing music like this. As a teacher, I don’t want my students to play music like this because there is not much to learn from it: musically, artistically, or technically.

As a result, I’ve been thinking a lot over the Christmas/New Year break about how I can continue to find something original to say as a writer, and to write music that has musical depth, whilst still being accessible for students to play. Enter J.S. Bach and the awful pun.

In 2013, in one of those moments all band directors have where you look through the filing cabinet of charts with a slight air of desperation trying to find something for the band to play, I stumbled across an arrangement of J.S. Bach’s Bist Du Bei Mir by Anne McGinty (published by Queenwood). My band ended up playing this piece as part of our final concert for that year. These holidays I brought the score home to look at the arrangement a bit closer and see what I could learn from it (yes, I know, I should have completed a Ph.D analysing the work before I started rehearsing it with my band, but sometimes you just don’t have the time or energy).

Armed with my new found insights into the oboe, I immediately noticed that the range of the oboe part is from a low D up to Eb (the one an octave above, not the semitone above…otherwise it would be a pretty boring part!). No need for the oboe player to do contortions trying to get up to the F and beyond.

As is common in beginner level pieces, the low brass and woodwind are grouped together on one stave and just play the bass line. But because this is Bach, the bass part is as melodic and demanding as any of the other parts. No 16 bars of nothing but Bb here. I should warn you at this point that I’m about to get on my soapbox. Feel free to skip ahead, I’ll let you know when I’ve climbed down.

I find it extremely frustrating when the lower brass and woodwind players get charts where they basically play Bb, Eb and F the whole time, and barely get out of whole notes. Is it any wonder that players quit and/or in later years seem incapable of playing anything harder? In my experience it’s hard enough as it is getting students onto the larger instruments, without punishing them with boredom for doing so.

Ok, it’s safe to come back, I’m off my soapbox now.

Rhythmically this piece is quite accessible. It’s in 3/4 with an 1/8 note as the smallest rhythmic element – mainly in pairs. There are only two instances of 1/8th notes not in pairs, but each is used multiple times.

BistDuBirMir2

 

There is some nice variation in tonal colour throughout the piece. Most of the time the entire band is playing, but within that tutti instrumentation, there is still good use of tonal variation to create interest for the listener. The melody is played by the following combinations:

  • Flute+Oboe+Trumpet+Bells
  • Flute+Oboe+Clarinets+Alto Sax+Bells
  • Flute+Oboe+Clarinet 1+Bells

Notice that the melody is always strongly supported (always a good thing for beginning ensembles).

The one use of a non-tutti orchestration is when the trumpet 1 has the melody, low brass and wood winds drop out and the accompaniment is played by:

  • Fl/Ob+Cl1+Cl2+AS/TS/FHn.

Whilst providing a nice lighter texture, it also only lasts for 5 beats so the band shouldn’t completely fall apart in that time.

Perhaps the most interesting aspect of this piece is the use of tonality and harmony. Key wise the piece moves through the following key centres:

  • Bb major
  • F major
  • G minor

Harmonically there is an extensive use of 1st inversion, inverted dominant 7ths, secondary dominantly and even the odd half diminished chord. In other words, quite a sophisticated harmonic vocabulary (Bach seems to know what he was doing!) yet it remains quite accessible for the players.

All in all it makes me reflect on the fact that simple and easy are not the same thing. Beginning bands need repertoire that is ‘easy’ to play, but that doesn’t mean that our writing has to be simple or shallow. I doubt I will ever be considered in even vaguely the same league as Bach, but I wonder whether he provides an example of what I need to aim for in the future.

Ancient Voices – Take #2

Ancient Voices – Take #2

This is a continuation of my previous post where I began looking at Michael Sweeney’s piece Ancient Voices. In this post I’ll look at some of the harmony and orchestration approaches that Michael uses.

Harmony

The first harmonic element in this piece is a 5 note cluster! In a grade 1 piece!!!!!! Yes, I think it needs that many “!”s. This is not what you would typically expect to see in a piece at this level. But, just like the tempo changes I discussed in the previous post, Michael is clever with how he writes the cluster in order to make sure that it is successful.

AncientVoicesScoreExcerpt#7

  1. The cluster is scored for alto sax (2 parts)  and clarinet (3 parts). Let’s be honest, pitching on a woodwind instrument at this level is much more accurate on woodwinds than on brass. Brass tend to play clusters by accident rather than design in the early years of learning.
  2. It starts with all 5 parts in unison, then moves out to the 5 notes…slowly! This gives the players an easy starting point and enables them to hear the chord develop, rather than just trying to land on a cluster out of the blue.
  3. The cluster is repeated for 5 bars, before being repeated a minor 3rd higher for 2 bars and then returning to the original cluster for one bar. The relatively static nature of the cluster enables students to adjust to the sound of the cluster and for the chord to “settle”.
  4. 1st clarinet outlines the entire chord. Getting pyramid structures/entries to work in an ensemble can be tricky. For some reason, students struggle with having to enter one after another and someone always misses their entry. By having everyone start together and then some players just stop “early” works much better. Having the 1st clarinet play the entire cluster entry means that every entry/note will be heard, every time. I used a variation on this approach at the end of my piece Race to the Moon.
  5. Race to the Moon pyramid chord example
  6. Notice also that in bar 7, the trumpets add another new pitch to the cluster for a total of 6 different pitches sounding at once! BUT the trumpets are scored in 3rds –  a much easier interval to hear and play together for the trumpets. Notice also that the trumpet part could not having been played by the clarinets without crossing the break. So, if you swapped the clarinet and trumpet parts around, this chord would not be as successfully realised by a junior ensemble.
  7. Having a consonant interval at the top of the chord voicing opens it up a little and gives some clarity to the chord.
  8. In bar 9, the flute line includes an eighth pitch (Db) to the sound! What other piece have you played where 8 pitches are sounded simultaneously and successfully…by a junior band? I’m willing to bet that unless you actually analyse the score, neither you as a director or the students have any idea that there are that many pitches being sounded. Some reasons why this works are as follows:
  9. The entries are staggered (WW cluster, then tpts, then flute melody) which gives the listener’s ear time to adjust and shift focus.
  10. Successive entries are lighter/ /more open than the previous entry (cluster, then a 3rd, then a unison line)
  11. Clarity in orchestration. Each entry is in a clearly defined tone color, in a clearly defined register, with good rhythmic separation between the melody (foreground) and the sustained chord (background). This is what gets you good marks in orchestration 101 🙂

Apart from the cluster chords (which I’ve just spent 600+ words droning on about), Michael also uses some straight triads, min7 chords and some sus type chords as seen here in this section at bar 18

AncientVoicesScoreExcerpt#4

This is scored for 2 clarinets, alto sax, tenor sax, french horn, and low WW’s/Brass which gives it a nice warm, lush sound. One interesting thing to note is the way the first chord is orchestrated. The 3 notes in the bass stave (A, E, A) are given to the french horn, trombone (aka Euphonium/low WW’s) and tuba. How would you distribute the notes? The default (and slightly unthinking option) would be to just “go down the score”. F.Hn = A, Tbn = E, Tba = A. Instead, the F.Hn is given the E. This keeps the tbns and tba in octaves for this passage. Once again Michael sets the band up for success because this is easier for the players to pitch (the trombones being beside the tuba, whilst the french horns are usually on the other side of the band). This kind of attention to detail in orchestration is what you also find in the great writing for symphony orchestra.

AncientVoicesScoreExcerpt#5

Repetition/Orchestration

Repetition is great in beginning level pieces because there is less material for the students to learn. As a composer, you will create a much stronger work if you try to exploit the possibilities found in a small amount of material rather than just jumping from new idea to new idea. But simple, mindless cut ‘n paste repetition is almost always boring at the very least and leads to a weaker piece. Ancient Voices uses orchestration as a means to create 16 bars of material from one simple 2 bar motif.

AncientVoicesScoreExcerpt#6

First it’s played by the lower WW’s/Brass, then it is immediately repeated with the addition of the trumpets. Then there is a two bar percussion interlude (based on the opening of the piece), before the motif is played by the trumpets, then with the addition of the flute+oboe+glockenspiel. A one bar variation in 1/4 notes is then played by the trumpets, then trumpets + flute + oboe + clarinet, then by the entire band in unison/octaves (bar 56-57).

I think I still have more things to rave about in this piece, by I’ll leave them for next time…

Ancient Voices – Take #1

Ancient Voices

Instead of my usual self-absorbed, ego-driven analysis of my own works, I thought I talk about someone else’s work for a change – Michael Sweeney’s piece Ancient Voices

You can find a recording of Ancient Voices here.

I am currently rehearsing this piece with my Yr.8 band (~27 students. the majority of whom have been learning for approximately 18 months). This will be about the 4th time I have done this piece with a band. I keep coming back to it because as a conductor I find that:

  • I think it’s a great piece of music
  • It explores sounds, textures and techniques that I don’t find in other works
  • It has depth. This means that there is stuff in there to rehearse beyond getting the right note with the right rhythm. It enables me to teach music, not just notes.

As I composer, I like it because it’s a great illustration of what I’ve been banging on about in previous posts and I’ve learnt a lot from studying it.

It turns out that I’ve learnt so much, that it won’t all fit into one post, so I’ll break it up into at least two posts. So, in no particular order, things I have learnt from this piece are:

Easy ways to achieve new tone colors:

Michael writes for what he wants, but provides options in case it’s not possible. In the opening bars trumpets are in straight mutes, flutes double on recorder. Both of these options are easy to do and relatively cheap to accomplish ( a recorder ~$9, a straight mute $16).Both options provide an interesting new tonal color. In marketing speak, it helps create a point of difference .

Imaginative Percussion Writing:

Look at the percussion in the first 4 bars:

  • a bass drum roll
  • hit rim of BD
  • hit center of head (as opposed to normal spot…how does this sound different, do you as a composer know? If not, you can’t use a color you don’t know or can’t imagine!)
  • snares off (as opposed to on)
  • stick on dome of cymbal
  • castanets
  • soft mallets on a cymbal roll
  • wind chimes
  • medium/low tom
  • triangle

Notice that none of these (expect perhaps the roll) are hard. Hitting the centre of the bass drum head, or the dome of the cymbal is no harder than hitting it anywhere else. It does require the percussionist to read the instruction, think about what they are doing, and actively consider the tone color they are producing. Hey, maybe percussion is a serious instrument. Maybe, just maybe we shouldn’t just get any old person to “fill in” on percussion if they forget their clarinet one week. After all, we expect/demand the woodwind and brass players to engage seriously with their part and we never get one of the percussion players to just “fill in” on clarinet. On clarinet it matters whether it’s an F or F#, even for beginners, so why shouldn’t in matter where you hit the bass drum or cymbal? (there endeth the rant about taking percussion seriously and demanding more from our percussion players).

Leveraging what students CAN do

Continuing on the tone color theme, Michael effectively leverages what students CAN do at this level to create unique sounds and textures. In bar 34-45, virtually the whole band plays percussion via a pencil striking the music stand. Again this is cheap! It’s a good excuse to ensure everyone in the band has a pencil. It also enables you to rehearse a percussion rhythm with the whole band. As a conductor I love this because I can afford to spend time with the percussion section to really nail the rhythm and accents, without the rest of the band going bananas and setting the building on fire (trust me, leave brass players alone for 2 minutes and you’ll need a sheepdog to help you herd them back into line!*) (* this may be a slight exaggeration)

In bar 13-16 and bar 46-49 he asks the students to sing a sustained open 5ths. One note only, the only syllable is “Ahh”. Need I say that this a cheap way to generate a new tonal color? And what’s not to like about getting your students to sing?

Changing tempo is not hard!

Changing tempo with in a piece is not hard, even for beginners provided that:

  • the tempo changes are easily understood (e.g. twice as fast/half as fast)
  • only 2 tempos are involved (i.e. there is a “slow tempo” and a “fast” tempo)
  • they don’t happen to often (every two bars is unlikely to work)
  • The transitions are well thought out

Does Mr Sweeney do this? You bet your Grandma’s apple strudel he does!* (*Today is the last day of term…if you are a teacher you’ll understand that I’m a little “punchy” today). The piece starts with a slow tempo (76bpm). At bar 34 it doubles tempo (152bpm). If you look at the transition from bar 33 into bar 34 you’ll notice no-one has to actually “make” the tempo change – i.e. no-one plays a specific rhythm on both sides of the tempo change. In bar 33, there is a sustained note in the brass and the percussion only has a bass drum roll and a wind chime gliss. This means that the conductor can use bar 33 to set up the band for the new tempo at b.34. Smooth!

AncientVoicesScoreExcerpt#1

In bar 69, the tempo reverts to the original slow tempo (76bpm). If you look at this transition, again no-one has to “make” the tempo shift straight away. The woodwinds and brass have a sustained note (they only need to watch the conductor for a bar!). The percussion play on beat 1 (easy), BUT they rest on beat 2. This is the crucial beat for the conductor to “show” the new tempo and therefore for the players to adjust to the new tempo and in this case, all players have to do is watch beat 2, they don’t have to play beat 2. The only movement on beats 3 and 4 is in the percussion, so the conductor can focus entirely on ensuring that they have adjusted to the new tempo. Nice!

AncientVoicesScoreExcerpt#2

At bar 79, the tempo doubles to 156bpm again. This is the trickiest tempo change because percussion and low brass do play across this change. But, by this point they should be pretty aware of what the fast tempo will be having played it before. Because the tempo is doubling, for the percussion it is no harder than moving from 1/8 notes to 1/16th notes, despite how it looks on the page. Notice also that the percussion accents line up with the low WW/Br rhythm and that the rhythmic pattern continues in subsequent bars.

AncientVoicesScoreExcerpt#3

There are a bunch of other great things going on harmonically and orchestration wise in this piece as well, but I’ll look at them next time.

Have Something to Say, Say It With Respect!

Whenever people talk about an artist “having something to say”, my mind immediately goes to a stereotypical angst ridden artist pontificating at great length in a boring voice about how their latest work is a juxtaposition of a basket weaving and a post modern interpretation of the life of cats…this is not what I mean. In fact, I’m not 100% sure what I mean by that phrase (no, please hang in there, it gets better I promise!), but “have something to say” is about the best way I can think of to express the concept I’m trying to get at. A related concept is one that Aretha Franklin said quite well – R.E.S.P.E.C.T. – respect for yourself as a composer and respect for the students who will play your piece. Great, but what does that mean? Here are some thoughts:

  1. Write something you are proud to put your name to
  2. Have a reason for writing the piece. I find it useful to be able to complete the sentence I wrote this piece because…
  3. Write something that has some depth. Even if it’s a supposedly “fluffy” genre like pop. After all, there is some pop music that says something and some pop music that says nothing (compare perhaps Superstition and What Does the Fox Say?).

A story might help illustrate…

I am a brass player/teacher which means that if I’m assisting at a concert band rehearsal, I often spend most of my time up the back of the room helping out the trumpets, low brass and percussion. Early on in my teaching career I found a couple of things extremely frustrating and I vowed to never write a piece that did either of these things – write percussion parts for only snare drum/bass drum, and to write boring low brass parts. Both of these things, in my opinion, led to a lack of skill development and/or students not wanting to play in band anymore. How on earth can you get trombone players to get excited about music and to improve as players if you write music like this –

Boring Brass ExampleI might be exaggerating the flute line a little, but I’ve seen way too many pieces where the low brass play literally that for the WHOLE PIECE! It is just not fair to write that for players. As a band director you also shouldn’t be surprised to you find that your low brass players quit and/or seem incapable of remembering any slide positions or valve combinations if that is what you ask them to play.

Beginner bands tend to have quite a few percussionists. What are you supposed to do when the piece only has a snare drum and a bass drum part and you have 7 percussionists? Triple the parts? I’ve found myself in situations like this where you are trying to get multiple percussionists involved and excited when there are very few parts for them to play – and it’s very difficult. There is a vast array of percussion colors out there – we as composers should use them. It is much easier (in my teaching experience) to have lots of parts but only a few percussionists, or to have lots of percussion instruments required, but you only have a limited number of instruments in your band. As a director, I then just encourage students to find ways to use the gear we have to get as close as possible to the sound the composer was after.

If you are sensing that poor writing for low brass and percussion is something that drives me crackers, you would be right. While I’m listing things that I find frustrating as a band director (and that I try to avoid as a composer) here are two more:

  1. Boring harmony. Just because you are writing for beginner students does not mean that you can only write straight primary triads in a major key. Personally, I find it very hard to write a piece that sounds fresh and original with just straight (major) primary triads fully voiced. One composer that I love that I think manages to write lots of major triads in an interesting way is Aaron Copland – check out Appalachian Spring
  2. Boring Form/Mindless Repetition. Repetition is good – compositionally it is one of the ways to tie a piece together and for beginner bands, it gives them less material to learn. But blanket copy and paste is generally boring and (dare I say it) a bit lazy. Re-voice, re-harmonise, re-orchestrate material when it is repeated and you will create a much more interesting work. I played a great piece with my band yesterday that illustrates this idea quite well – The Forbidden City by Michael Story. The same melody is presented 4 different ways, which creates a simple yet interesting piece.

Next time, I will post about a bunch of pieces I’ve written and what I was trying to say. It’s bound to be the most anticipated blog post of the year!

Remember – if you liked this post and found it helpful, tell your friends, if not, tell your enemies. 😉