CARNEGIE MELLON UNIVERSITY College of Fine Arts School of Music. Band & Choral Arranging & Repertoire (57-333) Spring 2011

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1 CARNEGIE MELLON UNIVERSITY College of Fine Arts School of Music Band & Choral Arranging & Repertoire (57-333) Spring 2011 Instructor: Lewis H. Strouse, D.A.; Office: CFA 160 (inner office), x8-1432; Office Hours: By appointment. Course Texts White, G. (1992). Instrumental Arranging. Dubuque, IA: Wm. C. Brown Strouse. Course packet for Band & Choral Arranging. Recommended Texts Ades, Hawley (1966 or 1983 expanded edition), Choral Arranging, Delaware Water Gap, PA: Shawnee Press. [MT70.5.A3 1983] Erickson, F. (1983). Arranging for the Concert Band. A very concise view of arranging issues for concert band. Sebesky, Don. (1994). The Contemporary Arranger. Van Nuys, CA: Alfred Publishing [Oversize MT70.S4 1994] Prerequisite Skill Ability to use Finale, Sibelius, or other notation software that will notate full scores. Materials Sketch pads of staff paper pad (8.5x11). (Choral or instrumental score paper can be printed using notation software.) Description: This course presents basic scoring techniques for band & choral music at ensemble grading levels III & IV (middle school & high school). Detailed Statement of Intent (Objectives): The main purpose of the course is to enable students to compose arrangements suitable for public performance for a cappella choir, instrumental chamber groups, and concert band. By the end of the course, students should achieve a satisfactory level of competence in regard to: 1. Effective writing through knowledge of instrument & voice performance techniques. 2. Writing homophonic & polyphonic line textures required for effective ensemble sound. 3. Identifying & creating effective orchestration for instrumental & vocal ensembles. 4. Identifying expected music knowledge, performance ability, and attitudes of middle & high school music ensemble students. Applications of Skill in Arranging for the Music Educator Ability to compose needed parts for missing or additional instruments & voices. Identify ways in which choral students can find pitches for cold entrances. Compose solutions for playing & singing problems by re-writing parts. Compose a cappella and accompanied SATB choral arrangements. Score analysis& preparation for the conductor through an understanding of orchestrations & voicings. Ability to anticipate instrumental and vocal difficulties with school music ensemble scores by understanding students music reading & performance abilities Evaluation: The final evaluation estimate will comprise of the total points earned for 6 projects (50 points each).

2 Evaluation Description: Projects lose points for three types of errors, i.e., major (-8%), moderate (-4%), and minor (-2%). Each project submitted on time may be resubmitted, once, for re-evaluation. Projects must be resubmitted at or before the class following the original return date. The final grade for a resubmitted project will be the average of the original grade and the resubmission grade. Certification students are also evaluated on an ongoing basis in terms of the Standards of Professional Behavior rubric found in the Certification Booklet. Grading Scheme: A = pts, B = pts, C = pts, D = pts, R = Below 180. Grades are not curved. Your grade for this course reflects a level of professional self-discipline as well as an understanding of course information and skill. Attendance variations and late work will be reflected in grading (see below). Statement of Professional Standards 1. Instruction Instruction is based primarily on lecture, class discussion, demonstration, in-class performance of arrangements, and review of student projects. It is important that projects be submitted on time. When projects are performed in class, evaluative comments will be solicited from the guest players. These comments are invaluable in helping to shape your approach to arranging for specific instruments. Late Work Because all assignments & projects are used as a part of class discussion, and guest performers perform some projects in class, submitting work late is a serious matter. If projects slated for in-class performance are late, the projects will earn a top grade of B. If you anticipate a class absence, you may send your work to Dr. Strouse and class members, electronically, BEFORE the class. Performer comments about your work will be noted and shared with you. 2. Attendance It is impossible to make-up the content of classes missed. Regular and prompt attendance is expected. One (1) absence due to sickness will not affect your course grade. One additional absence for reason approved by the School head will also not affect your course grade. Each absence beyond these conditions will reduce your final course grade by 6% (18 pts). If you anticipate absences that would impact your course grade, it may be best to delay taking the course to a future semester. Tardies. Being tardy is defined as arriving after roll has been taken or leaving the class early. Each tardy beyond a limit of 2 will lower your final grade by 3% (9 pts) of the total points possible. When you are late to class, you are marked absent. See Dr. Strouse BEFORE leaving the class to be certain your absence is changed to a late. 3. Project Preparation a. All projects are to be completed using computer software, unless otherwise noted. b. All project manuscripts must meet publishing standards. Sloppy work characterized by crossouts, write-ins, or obvious erasures will be penalized. Project Grading Process Arranging models and guidelines are provided for each type of project studied, however, following these models and guidelines does not guarantee a student an "A". The student interprets these models and guidelines in order to produce an original product and the instructor cannot control the student s interpretation. The 'quality' of errors that are made depend on the individual student. In a class like arranging, the best a teacher can do is to provide the students with examples and guidelines for how to arrange. We then teach "by correction", just as in studio. That is, I would not provide studio students with a comprehensive list of all possible playing errors that they might make, however, I would certainly be discussing minor, moderate, and major errors as they occur during a lesson. Here are samples of what might constitute minor, moderate, and major errors for a measure project: Minor error (incorrectly transposing 2 notes), moderate error (not carrying over the

3 articulations of the original into a 4 measure segment of the project), a major error (incorrectly transposing an entire instrument line). Graded projects that are submitted on time may be corrected and submitted for re-evaluation, however, not all project errors qualify for re-evaluation, e.g., failure to number measures as requested, instruments scored out of range. It is important to check your work against the reference material and project guidelines. Each project s guideline sheet is used as the rubric to evaluate that project. 4. Score Study For best score study results, always listen to or visually analyze a score with a particular focus in mind, i.e., What do I want to learn from this score? Listen to band & choral scores and visit band & choral rehearsals to get the sounds of band and choral music in your ears! Always be on the lookout for a good instrumental combination (scoring recipe!). Observing rehearsals will also reveal performance problems faced by large ensembles some resulting from arranging techniques. 5. Arrangement Portfolio It is useful to maintain a portfolio of your projects. Portfolios are especially important to prospective employers for whom your arranging ability may be an important factor. Certification students should include selected arrangements in their Teaching Portfolio the orchestrator should never forget: One does not write for instruments; one writes for performers who play instruments. A common problem among young arrangers is that some parts are not playable, or, are too difficult to be played with confidence. Alfred Blatter (1980), Instrumentation/Orchestration, p In sum, when composing or arranging music for school and community ensembles, we must be sensitive to the views of the performer, listener, and conductor the consumers of your work! Tapping into Creative Play We learn to arrange by playing with foreground, middleground, and background components of a score, and notation software enables us to experiment with these various aspects of a score s soundscape so we can approximate the sounds and colors that work for us. As you compose & arrange, allow ample time for this type of creative process to occur. Develop Listening Skills Always be on the lookout for good harmonic progressions and orchestration recipes, and make note of them! Rev. 12/10

4 BAND & CHORAL ARRANGING & REPERTOIRE (57-333) Tentative Course Schedule Spring 2011 Letters/numbers in parentheses refer to course packet pages. Topics identified under Extensions & References are considered corollary to class objectives and will be addressed as time permits. Textbook reading: Assigned reading pages (pp.) are from White, G. (1992), Instrumental Arranging. 1-1/10 Course Introduction & Choral I: Arranging SATB A Cappella Project #1 SATB Chorale Arrangement of Piano-Vocal (B ) Creating SATB A Cappella Style example (B ) Creating SATB A Cappella Style: Guidelines & Process (B7) Concept: SATB Score as Core Score Arranging SATB A Cappella for Winds (B6.3) Extensions & References o Rhythm Layering (see Scoring for Large Ensembles, Section I 3-6) o Choral Score Analysis for the Beginning Arranger (B4) o Basic Choral Arranging Techniques (B3) o Preference Survey (A3) 2-1/17 Choral II: Writing Duet, Countermelody, and Descant (11:30-12:20) Reading Due: Chapters 1; Appendix B; Score Manuscript Preparation (A1-2), Chapters 14 (pp ) Due: Project #1 - SATB Chorale Arrangement of Piano-Vocal Project #2: Tune & Countermelody or Descant (B13-15) SA Duet sample (B8) Descant & Countermelody samples (B9-10) Device for Creating Countermelody/Descant (B11) Writing Countermelody: Definition, Guidelines, and Process (B12) 3-1/24 Choral III (Individual appointments to review Projects #1 & #2) Due: Project #2 Tune & Descant Review of Project #1 and Project #2 4-1/31 Choral IV: Performers Views of Choral Arranging Street Smarts: Vocalist guests Review of Selected Choral Scores Choral Wrap-up (B1-3) 5-2/7 Percussion Technique & Scoring I Reading Due: Chapter 6 Listening & Discussion Due: Percussion Listening examples on reserve In general, how would you describe percussion scoring?

5 From whence do percussion rhythm and pitched lines derive? General Approach to Percussion Scoring (D5-5.1) Score Review for Percussion Scoring (D ) Percussion Notation & Technique I (D3-4) Scoring Technique I: Timpani, Xylophone, Triangle, Snare Dr., Bass Dr. (Chapter 6) Project #3: Percussion Writing Worksheet (D6-6.1) 6-2/14 Percussion Technique & Scoring II Due: Project #3 -- Percussion Writing Worksheet (D6) (First hour only) Project #4 Percussion Score (D7-10) Percussion Notation & Technique II (D3-4) Scoring Technique II: Marimba, Chimes, Orchestra Bells, Indefinite-pitch Percussion (staff options), Tambourine, Wood Block, Temple Blocks, Claves, Maraca, Tom-toms, Cowbells, Crash Cymbals, Suspended Cymbals, Tam-tam (Chapter 6) Extensions & References o Rhythm Layers: Complementary Rhythms and Perceiving Complexity in Percussion Scoring (D1-2) 7-2/21 Percussion III (Class in Percussion Studio, CFA ground floor) Due: Project #4 -- Percussion Score Street Smarts: Percussion guests 8-2/28 Wind Chord Scoring Reading Due: Chapter 1 (pp ); Chapter 11 (pp ) Due: Transposition Worksheets (E3-4) Project #4 Return & Discussion Chord Scoring for Brass & Woodwinds: Juxtaposition, Overlap, Interlock, Enclosure (C16-19) o Voicing Chords: Expanding to accommodate instrument parts o Orchestrating Chords: Determining chord tones to overlap o Bass Staff Chord Scoring (C20) o Horn Scoring (H3) Extensions & References Expanding 4-part Texture (C21) 3/7 No Class Spring Break 9-3/14 Woodwind Technique & Scoring I Reading Due: Chapter 4; Woodwind Scoring (F1-3) Creating An Arrangement for Instrumental Ensemble (C9-14.1) Listening Due: Full Band Listening (on reserve) with attention to woodwind scoring: Ticheli, Shenandoah. Discussion of Project #5 -- Woodwind Score (F6-7) Woodwind Technique & Scoring Issues (F1-3) Woodwind Instrument Section Voicings (related to SATB ranges) (C15) Woodwind Scoring sample, Andantino (F4-5.1) Making Orchestration Changes (C13) Score Review for Woodwind Scoring (C2) Extension & References o Score Analysis for Unique Arranging Techniques (C1)

6 o Rhythm Layers & Type of Composition, e.g, ballad, march, vocal jazz, waltz (I3-19) 10-3/21 Woodwinds Technique & Scoring II Continue: Woodwind Technique & Scoring Issues (F1-3) Cueing & Doubling (C23; White pp ) Arranging Process for Winds I (C5-7) Characteristics of Grade III-IV Band Literature (I1-1.1) Compositional elements General attitude & ability of players (C8) Extension & References o Basic Arranging Techniques (C4) 11-3/28 Woodwinds Technique & Scoring III Due: Project #5 -- Woodwind Score (performance & discussion) Street Smarts: Woodwind guest performers 12-4/4 Piano Transcription: Accommodating Ensemble & Brass Player Technique Reading Due: Chapter 14 (transcription portion, pp ) Project #5 Return & Discussion Piano Transcription for Band (G1-2) Transcription Worksheet (H6) Transcription samples (Chapter 14, pp ) 13-4/11 Brass Technique & Scoring I Reading Due: Chapter 5 Listening Due: Full Band Listening (reserve) with attention to brass scoring Discussion of Final Exam Content Discussion of Project #6 Brass Score (H4-5) Brass Technique & Scoring Issues (H1-2) Brass Section Chord Voicings (related to SATB ranges) (C15) Score Review for Brass Scoring (C2) Horn Scoring: Consecutive vs Interlocking (H3) Pre-Brass Project Transcription Worksheet (H6) 14-4/18 Brass Technique & Scoring II Due: Pre-Brass Project Transcription Worksheet (H6) Continue: Brass Scoring (H1-2) (as needed) Arranging Process for Winds II (C5-7) Reminder: Bass Staff Scoring Principle 15-4/25 Brass Technique & Scoring III Due: Project #6 -- Brass Score (performance & discussion) Street Smarts: Brass guest performers Rev