Sound Prairie

This is a rough cut (originally sent as a text to a colleague). I'm now three years removed from writing, but during the heyday, it was good stuff.

• Determine the shape and rhythmic identity of the phrase. (Where am I feeling the punch or sustain like rolls, tutti accents, etc,)

• Choose a lead voice for the phrase (even if vertical or tutti) there should be a voice that leads the charge—more often than not its the bass line or tenors doing the “singing” (sorry snares).

• Fill out that lead voice in 8-beat chunks (or whatever feels good), then extract and disperse the check pattern(s) of the lead voice among the supporting voices.

• In moments that sound too dominant by the primary voice, layer the secondary and tertiary sections over it with either exact rhythms or slightly adjusted check patterns that are a gentle departure from the primary.

You’ll end up with an always-cohesive phrase structure with voices popping out of texture masking the overally simplicity (part-to-part) that shouldn't sound too” busy” because there’s a simple structure and form delivering the material. If it sounds busy, removing notes shouldn't disrupt the flow due to the nature of how you constructed each voice's phrase.

What’s fun is that the process will evolve as you go, and you’ll realize you’re passing rhythmic motives and melodic material around the battery because the relatively finite number of check combinations start to echo themselves. It’s a somewhat Thom Hannum-y approach.

As I go though, I toss Casella-y licks, McIntosh-y stickings, and Rennick-y phrase punctuations. I think of “composer-specific” material as like quotations within an improvisation. I don't let any one expert's “way” take over my writing.

Keep in mind this is how I write for “educational” purposes like marching band shows for developing groups. Groups beyond the developing level will certainly get a taste beyond simple check patterns.

A lot of credit goes to Thom Hannum and Tom Rarick; their PASIC presentations informed me beyond expectations—I applied their information immediately and for years thereafter. Notwithstanding my time with Thom at the Madison Scouts, I've listened extensively to Jim Casella's and Paul Rennick's work over the years and absorbed some of their “-ness” if you will. There are others, but those are the heavy influences.

Here are my clinic notes from a PASIC Marching Percussion Committee in 2019. Most of the bullet points are either statements, slide bullets, or hypothetical questions the panel members posed.

• Idiomatic nature must come first
• Give credence to the source
• What is the context of the show?
• What is the musical style?
• Will I make strong and effective idiomatic decisions?
• If you make the decision to depart from the excellence of an original you have to think it through.
• Do I understand how much time is the perfect formula for musical and general effect.
• Development…please use it! (Build up to a punch line)
• Variety is the key to everything (Dynamics, instrumentation)
• How I write to the winds will make or break the project
  • Is the battery melodic or a counter voice
  • Is it supportive is there a clarity of intention

“Even chaos should be clearly chaotic” —Thom Hannum

Is it my best writing? Will it make my kids better? Does it inspire me, them? Priority frequency and proximity… use a “Phrase Chart” It’s ALL ABOUT CLARITY Know your instruments Time invested at beginning pays off in the end Making decisions and using limitations to set parameters – musical and non musical Inputting on a midi keyboard is not a substitute for knowing the instrument you’re writing for – Try to HEAR what you want to hear rather than react to midi playback – TRY PENCIL FIRST!!

Good composition transcends bad performance... the inverse isn’t always true —Tom Rarick

Avoid trends – Strive for solid compositional technique (form etc) Avoid clutter

Don’t guess what others want to hear—have the confidence to do what you want —Paul Rennick

Structure and form – Try to express the FORM of the music If you want clarity you need a primary and support material – Balance register, range and timbre