Well you don’t see this everyday when you take beginner band…
It’s slightly tricky to name what these chords are, so I broke the description up across the staves. Essentially there is an augmented triad over an open 5th bass. Ok, well that’s a little unusual for a beginner band. But wait, there’s more! Notice the minor 9th between the A and Bb! The minor 9th is the last great dissonant interval in western music – not what you typically write for beginners. However, Brian has been very sensible in the way he has orchestrated the chord to ensure that it is successful.
- The brass are playing open octaves and 5ths. Easy to pitch, easy to play in tune and they sound great on brass instruments
- The upper woodwinds are playing the augmented triad, which includes the dissonant Bb (minor 9th above the A). However, the flutes and oboes are in 6ths, the clarinets are in 3rds. The alto sax reinforces the flute Bb in the octave below.
Functionally, this opening chord is a dominant chord – setting up the G minor at bar 4. The half step shift up from D to Eb in the bass implies a phrygian imperfect (or half) cadence in G minor.
Just as there is a sophisticated approach to meter in this piece, there is also a sophisticated approach to key centers
This piece changes key 6 times. The breakdown of the key centers is:
- Bar 1 – G minor
- Bar 4 – G minor
- Bar 12 – C minor
- Bar 20 – C minor
- Bar 28 – F minor
- Bar 36 – F minor
- Bar 42 – G minor
- Bar 48 – Db major
- Bar 56 – G minor
The key changes Gm → Cm → Fm simply move around the cycle of 4ths. Not overly surprising harmonically, but a little unusual for a piece at this level.
Bar 36 is the first statement of the B theme. When this theme is repeated at bar 42, the piece modulates up a step, back to the home key of G minor. Although it is a return to the home key, it doesn’t feel like it. Rather it feels fresh and new.
The most dramatic key change happens at bar 48 here we are suddenly thrust into Db major. We change mode and move a tritone away to the opposite side of the cycle (G→ Db). Then Brian makes a clever use of chromatic harmony to get us back to a D chord, the dominant of G minor, for the return of the A section at bar 56.
The final section, as is typical, stays firmly in the home key of G minor. This grounds the piece harmonically and gives it a sense of finality.
Despite the number of key centers, all players have very playable parts. Here are some of the reasons why:
- Except for Db major, all the other key centers are the first keys students play in (concert 2 flats, 3 flats, 4 flats). By the end of most beginner method books, students know all these keys.
- By using the natural minor, the harmonic minor’s raised 7th is largely avoided, thereby avoiding more accidentals.
- The melodic material only uses a few notes, largely the first three notes of the scale. As a result at times when it changes key center, some players are not required to play any accidentals.
- At the most dramatic shift to Db major, most players are playing a rhythmic figure on a single pitch. This makes consolidation of new fingerings easier for players.
Making parts playable is the key at this level. Sophisticated compositional devices must be written in a way that is playable. Brian Balmages certainly succeeds in doing that in this piece.
Next time, I’ll take a closer look at how Brian uses orchestration and tessitura to create interest.
Structurally, Udala’m follows a typical pattern for beginner band works – a slow introduction followed by “the fast bit” (aka the part the students want to play and will endure the slow bit for). I looked at the fantastic polyphonic introduction to this piece in my previous post – now onto the fast bit!
From bar 15, the folk melody is played three times, each time preceded by a two bar introduction. Whilst the introduction is pentatonic, this section just uses the first 5 notes of Bb major. Although it hasn’t changed key as such, the subtle shift in the mode from major pentatonic to major still provides an element of contrast.
Each statement of the melody is in unison, with a simple rhythmic ostinato accompaniment. Interest is created primarily through orchestration, from small → medium → large.
- 1st time thru (bar 16-25, small orchestration) – the melody is played by the flutes and oboes in unison. The accompaniment is a rhythmic pedal point played by the clarinets
- 2nd time thru (bar 27- 34, medium orchestration) – the melody is played by the clarinets and trumpets in unison. The accompaniment is provided by the low WW/Br. mainly playing a pedal point type ostinato. The alto sax + tenor sax + horns play the same rhythmic pedal point previously played by the clarinets. The percussion loop a one bar rhythmic figure (shaker + tom-tom + bass drum)
Halfway though this section, the flutes and mallet percussion play a simple counter melody.
- 3rd time thru (bar 35 – 44, large orchestration) – the ensemble is divided in half with the upper WW/Br. playing the melody while the lower WW/Br. play the rhythmic ostinato accompaniment.
- Coda (bar 45-48) – the orchestration remains the same while the last phrase is repeated over a dominant pedal.
It is worth noting that the biggest sound is achieved from the ensemble with only two unison lines being played. One of the mistakes people often make when composing and orchestrating for the first time is to try and create a big sound with big chords and many different parts. In fact, the opposite generally works much better. Fewer parts, less complexity equals a bigger sound.
How many independent parts can a beginner band handle? Two, maybe three at the most (established melody + bass line + counter melody). Surely not five! Yet that is exactly what Michael Story has achieved in his piece Udala’m – an arrangement of a Nigerian folk song. (You can view the full score here and find a recording here.)
How does he do it?
- Pentatonic scale. This piece uses the Bb major pentatonic scale. The nice thing about a pentatonic scale is that there are no sharp dissonances. If fact, if you play all the scale degrees simultaneously as a cluster, you get a dense but consonant sound. This means that any note will basically work against any note, which in turn gives you a great deal of freedom when writing contrapuntal lines.
- Simple melodies. All instruments are playing in an easy range with no awkward or large leaps. Being pentatonic, the melodies are easily understood by the students. (Check out this video to see how easily people can understand a pentatonic scale.)
- Repetition. Each melodic figure is repeated. Once students have mastered their short phrase they can focus on playing that phrase, despite the distraction of the other independent lines.
- Staggered entries. He starts with the single melodic line (played by the flutes) and then adds a new melody every two bars (bar 3, 5, 7 and 9). This helps students to be able to understand what is going on and how the pieces “works”.
- Phrase Variation. If all the melodies were the same length and started on beat one of the bar, 5 independent layers would just turn into mush. Michael Story avoids this by varying the phrases length and the starting point as follows:
- Melody 1 – 2 bars, beginning on beat 1
- Melody 2 – 3 bars, beginning with a pickup note on beat 4
- Melody 3 – 2 bars, beginning on beat 2. Therefore, this melody crosses the bar line
- Melody 4 – 3 bars, beginning on beat 1
- Melody 5 – 3 bars, beginning and ending with a quarter rest. This melody doesn’t cross the bar line
- Effective orchestration. Each melodic line is given to a section that can play independently, regardless of the size of the band. There is nothing ground breaking about this orchestration, but is simple and effective.
- Flutes (+Oboes at bar 9)
- Low Woodwinds and Brass
- Alto Saxes + Horns
Once again, counterpoint is your friend – especially when writing for young bands. It can be a great way to create interest and complexity from simple elements that are easy to play and understand.
Scorpion! is a piece by Richard L. Saucedo. It is a loud, energetic, driving piece (tempo is 138bpm) that is all about the vibe it creates rather than beautiful melodies and harmonies. My students enjoyed playing it and stylistically it’s not something I would typically write so I thought it would be useful to look a little more closely at it. You can find the recording and score here.
The piece is 74 bars long and is based on a 4 bar harmonic unit. My outline looks like this:
A(8) | buildup 1 (8+2) |A(8) | A(8) | B(4) | buildup 2 (8+2) | C(9) | A(8) | Tag(8) | unison A(4)
The form doesn’t neatly fit into any predetermined shape, but is probably closest to a kind of rondo form.
One of the first things to notice about this piece is that nearly everyone is playing nearly all the time. This helps to make it loud and also creates a kind of wall of energetic sound effect. It is scored for:
- Clarinet 1,2/Bass Clarinet
- Alto Sax 1,2/Tenor Sax/Baritone Sax
- Trumpet 1, 2/Horn
- 3 percussionists
- Oboe, Horn and Timpani are listed as optional.
With the a few brief exceptions (the most notable being the 4 bar “B” section) the percussion play continuous ostinato figures all the way through.
The brass and saxes are typically playing rhythmic chordal figures. Triads are assigned to Trumpet 1, 2 and Horn and are often a doubled by Alto Sax 1, 2 & Tenor Sax.
The low brass and woodwinds play single note rhythmic ostinatos, most often on a pedal G. They do get the melody for 16 bars on the second “A” section.
The upper woodwinds and mallets (Flute, Oboe, Clarinets, Xylophone, Bells) play a mix of unison/octave ostinatos (typically on a pedal G), or unison/octave melodic lines. In the “C” section, the upper winds are also strengthened by the Alto Saxes.
I’ve found Saucedo’s orchestration approach for a triads and rhythmic ostinato line a useful addition my my bag of tricks.
One of the ways to get better as a composer is to study the works of other composers. So, I’ve started looking at pieces that I have conducted/rehearsed/performed that I really like. Rather than offer a complete, formal analysis I plan on just highlighting things that I find interesting or can learn from.
The first piece I’ll be looking at is Black Is The Color… by Robert Sheldon. You can find a recording and score here:
The piece is in D minor. However rather than an obvious triad to support the opening melody, Sheldon uses a series of 4-note clusters as shown here:
Close harmonies are tricky for young players to hear and are more sensitive to poor intonation than a straight triad, so orchestration choices are critical. Here the cluster is played by clarinets and alto saxes – probably the best choice in this register, at this level. Range wise these clusters could have been played by the upper brass, but intonation is likely to be much worse. Low D for trumpets is sharp (without using the 3rd valve slide), pitching for horns is hard enough without adding a note a tone away. Similarly trombones will have trouble playing notes a tone apart accurately.
Clusters continue to be used throughout the piece by adding a note to a triad. The added note is typically placed in the clarinets or the alto saxes, generally not in the brass.
Rather, the brass play lush triadic voicings:
Notice the use of chord extensions. This is a further example of how Sheldon finds ways to expand the tonal palette beyond simple triads in ways that are playable for students at this level. He also expands out of the basic D minor tonality. In bars 36-39 the progression is Eb → Cm7 → Abmaj7, Abmaj6 → Dbmaj7.
The final chord is a tierce de picardie. The brass are voiced with a straight D major triad, but the woodwinds have an added 2, again placed as a cluster in the clarinets and alto saxes.
Rather than just play the melody straight through, several phrases are extended by a bar in order to allow the upper winds to play a motivic response (bars 11-12 and bars 16-17). A further phrases extension happens in bars 37-39.
Overall this treatment of the melody creates a sense of space and tranquility, which is highly appropriate given the dedication “In memory of Mark Williams”.
By largely avoiding a simple static chord accompaniment, Sheldon creates a subtle sense of movement and generates interest with a mix of simple rhythmic counterpoint and passing notes.
Percussion is used skilfully throughout the piece to add color, interest and to “glue” sections together. All together he uses:
- Suspended Cymbal, Snare Drum (snares off), Mark Tree, Triangle
Bells are used to subtly reinforce a single melodic note (b.2, b.43, b.49) or a high woodwind line (b11-12, b16-17). Only once are the used on a strong melodic figure which is also the climax of the piece (b.35-38)
Timpani is used to emphasise key cadence points (b.4-5, b.33-34, b.42-43) and to provide a sustained tonic pedal (b.13-15, b.20-23, b.26-32, b.43-45)
What is interesting is how much the percussion don’t play. But not simply lathering the whole piece with bass drum, snare drum tambourine etc etc it makes the percussion parts much more meaningful. Conversely it makes the percussion even more vital. Every suspended cymbal roll now really matters, it becomes a crucial part of the texture at that point in the music.
I know for me, this is an important lesson to learn. My tendency is to throw lots of percussion at pieces. However if you aren’t careful it becomes the equivalent of the kindergarten painting that has turned brown due to using all of the colors everywhere!
I love they way Sheldon finds ways to use the flutes in their lowest register (b.27-30). How many junior band pieces do you play where the flutes play down to their low D? It works in this piece because they accompany and unison melodic statement by the low brass/woodwinds. The clarinets and alto sax hold 4th in a similar register to the flute line, but the total rhythmic separation (moving line vs sustained note) and tonal separation ensure clarity.
Clarinets also use their lowest register with all clarinets written down to a low E in b.31.
So, not a complete formal analysis of this great piece, but hopefully there’s something in there that you can learn from – I know I have.
This is one of my favourite chords:
Personally, I think about it as an Ab(add2)/C rather than the Cm7(b6), but whatever floats your boat. The important thing is what it sounds like.
I love the mix of warmth (generated by the 6th between the lower voices and the 10th between the outer voices), bite (generated by the 2nd between the inner voices and the 7th between alto and bass) and ambiguity/openness (generated by the 4th between the upper voices and the 5th between the soprano and tenor).
A closely related chord that is also a favourite is this one:
I hear this as a minor chord with the added b6, rather than as a major 7 chord. This is similar to the previous chord, but the semitone on the inside rather than a tone gives is a little more bite. It’s interesting that the same 3 notes (C, Ab, Eb) can be heard in 2 different ways depending on the added tone (Bb or G).
Why do you care what my favourite chord is? Well you don’t, except that they might become yours. More importantly for me though is that this is another interesting place to start writing from. The question of “how can I write “X” for young bands and get away with it” has been a fruitful one for me in the past. Here’s hoping that one of these chords will do the same job in the future.
Now it’s time to listen to Appalacian Spring by Aaron Copland. I love what Copland does with major chords!
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:
- 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.
- 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.
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+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:
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.