How Composers and Arrangers Can Meet a Band Director’s Hopes
To set the stage, here’s another personal story:
When I was in college, I was asked to do an arrangement of The Star Spangled Banner for brass quintet. Using the melody and the basic set of traditional chords, I wrote it for two trumpets, French horn, trombone and tuba, It had some extra motion to it, a couple of alternate chords that I though added some color, and a descending run for the tuba that countered the ascending trumpet part.
When we played it for the first time, some people liked it, but the director didn’t. It needed to be “just a little simpler.” So I took out the color chords and most of the tuba run. That was still too much for the director.
This all had to be done by hand – paper and pencil. And I had other studies to attend to. I got angry, but not demonstrably. I wrote a version that could be played by any mediocre middle school band. The director loved it. I did not volunteer to arrange anything else for that director.
Introduction to the Article
Music has the incredible power to stir emotions, convey stories, and unite people through its writing and performance. It’s all around us, in the airwaves and on the internet, in recordings and in live performances. In the world of concert bands, composers and arrangers play a crucial role in shaping the musical experience for both musicians and audiences. But what do concert band directors hope that these professional creative minds can do for them? In this article, we will examine the key aspects of meeting the expectations of concert band directors.
1. Understanding the Ensemble:
First and foremost, a composer or arranger must have a deep understanding of the concert band ensemble. This includes knowing the instruments, their ranges, and the capabilities of each. It's essential to grasp the balance between different sections of the band, ensuring that no instrument overpowers the others. A composer or arranger who comprehends the nuances of a concert band can craft music that highlights the strengths of the ensemble.
If possible, it’s always good if a composer/arranger knows the particular make-up of the ensemble with which he is working. This is especially true if a Band Director has commissioned a work.
The absolute best way to understand an ensemble is to visit it, provided it’s close enough, or perhaps near another place where you have an appointment. It may be that the only way to do this is by text, email or letter. However, in these days of internet and other digital communication, it may be possible to see and hear the band play via Zoom or some other “face-to-face” electronic method. In any case, it helps of the composer / arranger has some notes, either directly from the director or from observations and interviews with the musicians, to refer to when writing for a particular group. If the piece is not a truly commissioned piece, that is, if it will be sold on the open market once the band that requested it has presented it in concert, then these notes can act as guidelines to create a piece that will fit a wider scope of bands.
2. Musicality and Creativity:
Concert band directors appreciate composers and arrangers who bring creativity to the table. While it's essential to understand the rules of music theory, there's also room for innovation. Directors look for composers who can create melodies and harmonies that are both engaging and unique. This creativity can breathe life into the band's performances and captivate the audience.
There is what could be called a standard set of music theory “rules”. However, if the composer/arranger has knowledge of the use of modes, the variety of ways that different cultures write and play music, even Gregorian chant, he can introduce fresh elements into the music with a little skill in knowing how to integrate it with modern methods.
When arranging a piece by another composer, it’s always possible to use alternate chords to add some variety, color and spice to a well-known piece. This is where a good arranger has to know what types of chords to use, and where, when and how to use them. If a piece is a march, it probably wouldn’t do well to use a modal insertion. However, a secondary dominant, or even a pair of secondary dominant chords, would add just the right kind of color to the piece. On the flip side, a quiet ballad would not lend itself to a secondary dominant, but, rather, possibly to a modal insertion of some sort, or even a mild jazz progression.
Some pieces might lend themselves to some polyphony, or even some fugal treatment. For a high school age concert band, this couldn’t be too complicated, but even presented as a simple cannon such overlapping melodies could result in a fresh sound for a piece.
Salt Cellar Creations has a number of pieces that insert fresh variety into standard pieces. Minuet in Four is a great example.
3. Accessibility
Your writing should be clear and accessible. Directors expect composers and arrangers to create music that is suitable for the skill level of the musicians. This means avoiding overly complex compositions that might be beyond the band's capabilities. Striking the right balance between challenge and achievability is crucial. Remember that the music should be enjoyable for the performers and the audience alike.
Part of the skill of writing music clearly involves writing as if it would only be played during a sight reading. The music should look as “friendly” as possible. Rhythms, especially, need to be clear. In a piece in 4/4 time, the downbeats on One and Three need to be easily identified.
In Example A, below, the first measure is technically correct, but could be difficult to lay correctly the first time through. The third beat is lumped together with the upbeat of the second beat. The third measure clearly defines the third beat as being tied to the end of the second. If a musician were tapping his foot to keep time, the up and down motion would exactly match the notation, making it much easier to read and play the first time.
In Example B, below, the first measure depicts a compound problem. Not only is the third beat undetectable, but the stems of the last three notes aren’t following standard practice; they should all be pointing up. The third measure clearly defines the third beat and also has all the stems in the right direction.
Example C, below, deals with stem direction and beaming. In the first measure, the first two notes should be beamed together since they make up one beat. Also, the stems should be going in the same direction. The same is true for the third beat. The third measure depicts them properly beamed with the stems going in the proper direction. Although it goes against standard practice, the first beat of the third measure could reasonable have its stems going down as well; it might make the jumps look a little less extreme.
A composer/arranger can also use the Pygmalion Effect, a technique whereby higher expectations lead to an increase in performance. Band directors will try to match new music that they are considering purchasing to the current skill level of their band. While that is good for the band to be able to play comfortably, sometimes a composer/arranger can create a piece that is slightly more difficult than the ensemble can currently play. With the proper eager exposition and reinforcement, the band director can help their band improve their performance and confidence through the use of this process.
4. Effective Communication:
Collaboration is key in the world of concert bands. Directors expect composers and arrangers to be open to feedback and willing to make adjustments based on the needs of the ensemble. Composers and arrangers also expect band directors to respect the experience and knowledge that they bring to the project. Effective communication is vital for ensuring that the final performance meets everyone's expectations. Composers and arrangers should be approachable and willing to work closely with the director and musicians.
For the most part, the best scenario for a highly successful project, whether new composition or arrangement of an established work, would follow these steps:
- A band director develops a good general idea of what the composition or arrangement should sound like.
- The director communicates the idea well to the composer / arranger.
- The composer / arranger understands the ensemble as well as possible.
- The director “gives the composer / arranger his or her head” and lets the creative process take its course.
This is the ideal scenario. Occasionally, there will be a need to modify the project some. This should not include rewriting entire sections. At Salt Cellar Creations, we use a step-by-step approach in which each step of the project is singed off by the band director; once the step is approved, it cannot be changed without incurring more cost, sometimes substantial.
5. Versatility and Adaptability:
Concert bands often explore a wide range of musical genres and styles. Composers and arrangers who can adapt to different genres and create diverse pieces are highly valued. Whether it's classical, jazz, contemporary, or world music, being versatile in your compositions opens up more opportunities for collaboration with different bands.
Most composers and arrangers have knowledge and experience in a variety of styles and genres, but honest ones will admit that there are limitations to their skills in certain areas.
6. Attention to Detail:
Details matter in music composition and arrangement. Directors expect composers and arrangers to pay close attention to dynamics, articulations, tempo markings, and other musical expressions. These details not only enhance the musicality of a piece but also help convey the intended emotions and atmosphere.
Here is another area where the composer/arranger’s familiarity with the abilities of an ensemble that is at a particular difficulty level. Beginning bands can only achieve two dynamic levels – loud and soft. Whereas, more advanced bands can play five or more distinct dynamic levels. The same thing applies to tempos. A beginning band may have a challenge keeping the same tempo throughout a song, while an advance group can change tempos within a piece.
7. Accessibility and Availability:
Directors often work on tight schedules, so composers and arrangers who are responsive and can meet deadlines are highly sought after. Being reliable and accessible for questions or clarifications can make the collaboration process smoother and more efficient.
Directors, of course, must realize that if a composer/arranger is not given enough time to truly create something worth listening to, they have wasted their money, especially if it’s a commissioned work. When pressured by severe time constraints, a composer/arranger may be able to produce an acceptable piece of music, but it may not be as original as it could have been.
The band director and the composer/arranger should discuss time needed to complete a work thoroughly before any agreement is made or the work begun. One thing to remember is a saying common among service professionals – “Cheap Ain’t Easy and Easy Ain’t Cheap”. The corollary is “Quick Work Isn’t Quality Work and Quality Work Isn’t Quick”.
8. Passion for Music Education:
Lastly, concert band directors appreciate composers and arrangers who share their passion for music education. It's not just about creating music but also about nurturing the next generation of musicians. Composers and arrangers who actively engage with students and educators can have a lasting impact on the world of music education.
Here, the band director can help the composer / arranger employ the Pygmalion Effect mentioned earlier.
In conclusion, meeting the expectations of concert band directors as a composer or arranger requires a combination of musical expertise, creativity, collaboration, and a deep understanding of the ensemble and its audience. By embracing these qualities, composers and arrangers can create music that not only meets but exceeds the expectations of directors and enriches the world of concert bands.
Salt Cellar Creations understands all too well the need for a composer/arranger to work well with a variety of band directors. SCC can compose an original piece for you or do a custom arrangement for you to allow you to showcase your group. There are two ways that this can be done; one is much more affordable than the other. CONTACT US for more information. And SCC is always looking for ideas of pieces to arrange or suggestions for original pieces.
SCC and has a growing library of original works and arrangements to help meet the needs of concert band teachers and directors Find out more about what Salt Cellar Creations has to offer for Concert Band HERE. Explore the available music HERE.
We have sold music not only in the US but in Canada, the United Kingdom, France, Australia, and New Zealand, Austria, and Germany. Please visit the WEBSITE or CONTACT US to let us know what we can do for you!