5-Minute Read: Re-Write!
As we prepare for our bands' assessment later this semester, we continually seek ways to improve the sound our ensemble is making. Most of the time, that means improving the accuracy and ability level of our performers. The right notes, rhythms, style, tone quality, and more.
But sometimes it's the music itself we need to tweak to get the best sounds from our ensemble. As much as we know we need to educate our players to be able to play higher, faster, and better in tune, sometimes the written musical chips are stacked impossibly against us. When that happens, there's no shame in rewriting your music to give your ensemble a helping hand. Here are a few examples of rewrites that can really improve your band's sound.
Revoice a Chord to Improve Balance, Intonation, and Tone Quality
Splitting high-tessitura parts, and then pushing lower chord tones into secondary and tertiary voices, can help to warm and balance chords.
Take a look at this chord in the flutes and clarinets. That's an F-major chord, and probably looking at that chord you're thinking one thing: "man, that's going to sound shrill and out of tune." And it will be shrill and out of tune unless you have very mature players across the board. If you've got 6+ flute performers, 1 oboe, and 6+ clarinets, the chord will not balance as written. Try rewriting some of the weaker players to lower chord tones that in a more comfortable range. This increases the chances they can play their chord tone in tune, while reducing the number of higher voices overwhelming your ensemble's balance. Try the changes as shown right of the arrow instead. This process can be used with sustained any block chord, within any wind section of your ensemble. Simply analyze the chord, and shift some players down to a lower chord tone. In fact, any passage where you have many players in the upper range can be improved by shifting some weaker performers to lower chord tones or down an octave. This applies to both woodwinds and your higher-part trumpets, horns, and trombones.
I suggest you strongly consider this technique for any large chord (at the end of marches for instance) that will be the last ringing sonority a judge hears!
Rewrite Rhythms to Tidy Up a Technical Passage
I know the feeling. It's our job to drive our students to greater and greater levels of performance. So rewriting a difficult technical passage feels like cheating. But the truth is, some of our younger and weaker players are going to need more time and years to access those skills. So, when all else fails, rewrite. Take this example. If you have a younger, weaker, or just too large a trumpet section to play such a passage precisely, then try simplifying the rhythms for some players. It certainly beats just cutting those players out and having them sit tacit!
Removing some notes from a technical passage for your weaker and younger performers can help to clarify a passage.
Cue an Important Line in Another Instrument
Often, we don't have a full instrumentation, and we have to rewrite parts into other sections to cover them. This is especially prevalent with double reed and horn parts. But even when we have the players to cover every part, weaker performers or just plain unbalanced writing can prevent those lines from being heard clearly and effectively. Some less confident players just need someone else playing along with them to give them the self-assurance to play out with an important motive. Don't be afraid to give them a helping hand with rewrites. Included below is a chart of instruments you can use to cue while maintaining appropriate range and timbre.
I hope that some of these rewrite ideas are helpful for you as you continue to refine your band's sound. Try some of them this week to improve your ensemble's warmth and balance. And feel free to contact me if you have questions about specific musical passages. With practice and experimentation, you'll find that you develop the confidence to easily and comfortably make such progressive rewrites. Best of luck, everyone!
