Writing for Wind Band

For the second project this term, you have a choice between writing a piece for wind band or writing a piece for a reading by the Ora Ensemble.  Today's post has information about the wind band project (and is an edited re-post of my 27 Feb. 2009 entry).

Length: 5 minutes minimum

Difficulty level:  Grade 3-4, if submitting it to the Gower Community Band "Terra Nova" Competition.  For the purposes of this course it can be of higher difficulty, but be aware that doing so might disqualify your piece from consideration for the Gower competition, as well as for the CBA competition, if you plan on entering either of these.

What do those grade levels mean?  Good question!  After researching this on the Internet for the better part of an hour, I was unable to find an "official" explanation of grade levels, but PLEASE correct me if there is such a document, and I will post it to this blog immediately.  In the meantime, below are links that explain grade levels, but note that these explanations differ from one another.  The third has many recordings of pieces at different grade levels, which might help give you a sense of what particular grades of concert band music sound like:

• Grade Levels Explained (1)
• Grade Levels Explained (2)
• Recordings of Concert Band music by Grade Level

Chart of Band Instrument Ranges for levels III and IV, according to Saskatchewan Band Association:

• These are written ranges, meaning that transposing instruments (Cl., Sax., Tpt., Hn.) will not sound as written.
• Be aware that not all notes within the ranges of these instruments are equally easy to play.  The most comfortable notes for brass players are usually within the lowest octave above their fundamental note (for Bb tpt. it is Bb; for F hn. it is F, etc.); if they have to play notes in the highest portion of the ranges above for protracted periods they tend to experience lip fatigue.  
• Source:  http://www.saskband.org/Resources/6-9Guide.pdf, page 19.
• I created this chart myself; in cases of any discrepancies between my chart and the SBA ranges, go with their ranges.
• Thanks to Jason Caslor for drawing the SBA guidelines to my attention.
• Other band associations or publishers may have slightly different ranges for these levels, but this at least gives you something to go on.

SBA Available Dynamic Levels:  The same publication cited above lists (on page 15) six available dynamic levels for level IV:  pp, p, mp, mf, f, ff, along with cresc., decresc., morendo, sfz., fp.  Frankly, my feeling is that this range of dynamic levels should suffice for almost any kind of music you want to write.


Available Articulations:  The SBA publication cited above references articulations (with a code: FO#3), but does not appear to explain what the code means (it claims to do so on page 6, but I could find no explanation on that page).  In any event, I would suggest limiting yourself to the following articulations:  Staccato (.), Accent ( > ), Tenuto (—), Tongued (notes not under a slur are normally tongued individually), and Slurred (but use common sense in your slur patterns; irregular patterns are probably not feasible at this level).

SBA Available Meters:  2/4, 3/4, 4/4, 2/2, 3/8, 6/8, 9/8, 12/8, 5/8, 7/8.  I would guess that if 5/8 and 7/8 are available, 5/4 and 7/4 would also be meters that level IV bands could handle, but I could be wrong.  I would also guess that, while the listed meters are available, frequent meter changes could move your composition beyond levels III and IV.

SBA Available Note Values:  All note values from 16th to whole note, with dots on eighth notes or larger.  Triplet 8ths and triplet quarters also available.  As with everything else, common sense is necessary here; there are combinations of these values that can make for very tricky rhythms, and too many contrasting rhythmic patterns happening simultaneously can also be tricky, possibly raising the level of your composition beyond III and IV.  Syncopation and hemiola are listed as being available, again within common sense.


Instrumentation:  See information posted on the main School of Music bulletin board.  For that matter, read all posted information about the competition before you begin.

Deadline:  12 noon, 9 April, 2012 (this is both the course deadline and the Gower deadline).  Note that the deadline if you write for the Ora Ensemble is the same.

Reading opportunity:  Dr. Jason Caslor has agreed to schedule readings of your concert band compositions on 28 March, 2012.  I am guessing he would like score and parts at least a couple of days in advance of that reading, but I strongly encourage you to aim for this deadline; this will allow you time to make changes/improvements before you hand in the final version.

Copies:  The GCB Terra Nova Program requires four bound copies; I require one.

Other information:

• Scores should be printed on both sides of the page.   
• The following information should be included in the score (usually on the left hand page opposite page one of the music):  
• Duration;
• Instrumentation (instrument list in score order, including number of divisi required, such as "Flutes 1, Flutes 2, Flutes 3," etc.);
• Notes to the conductor and performers (if applicable); and 
• Program notes.  Note that the GCB Terra Nova Program requires program notes.
• The GCB Terra Nova program also requires that the composer's name not appear anywhere on the score (this information, along with contact information, should be submitted in a sealed envelope accompanying your submission).  
• The copy you submit to me should have your name on it.

Here are my suggestions:

1. Compose using "short score" format. Essentially, this means writing something that looks like it could be piano music (i.e., written on treble and bass clefs), or possibly 3-5 staves per system, possibly assigning different staves to different groups within the band. This gives you better control of the composing process. It's much easier to get a sense of the form and create longer lines when you can see more of your music on a single page (such as 4-5 systems of music on one page), as opposed to one humungous system per page.


2. Write annotations on on your short score indicating instrumentation for particular sections or lines of music if you have something specific in mind. For example, you could write "clarinets and flutes in octaves" over a line, or "brass" over a chorale-like chord progression.  If you don't have specific instruments in mind, no need to do this; just figure it out later when you are orchestrating.


3. I've had teachers insist that it is best to begin 'orchestrating' ('bandating?' 'bandifying?') your score after you have completed the previous two steps, but there is no rule about this; there are advantages to orchestrating as you go as well (i.e., composing a few pages in short score, then scoring them for band, then continuing the short score version for a few more pages, then orchestrating, etc.).


4. Try to avoid the temptation to "overscore" (which means to use thick textures by default). There is nothing wrong with having sections of your band piece with rests in the majority of the instruments.  Overscoring — writing a dense and confused score — is a mark of an inexperienced/insecure orchestrator, so try to be bold and consider including at least some transparently-scored sections, so that tutti textures will have greater impact when they occur.  On the other hand, thinly scored band music can sound less effective than we had imagined because it is more challenging to play, especially for less accomplished players; weaknesses within sections are more exposed, something that is a consideration when the performers are at an intermediate, amateur level. 


5. Since you have a wide variety of instruments at your disposal, consider using colour, texture, or density as organizing principles.


6. Bear in mind that most music fits into foreground-background (prominent-supportive) roles, or foreground-middleground-background roles. Work hard at not confusing the listener as to what they are meant to be hearing most prominently.


7. Are there some techniques or styles you've heard (or heard of) that you'd like to try? Minimalism, world music, fusion, klangfarbenmelodie, etc.? Sometimes a good way to begin is just to pick a style or technique that interests/excites you, and then run with it.


8. How do you feel about a plan?  The longer the work, the more a plan comes in handy, so consider formulating one.  Remember that you can always change your plan as you go.

Must Read:  

• Jessica's Tips for Writing for Wind Band (helpful information from Jess Blenis, a former student who wrote two prize-winning pieces for the Gower band).

Other posts that you may find interesting and useful:

• A Sampling of Ideas and Techniques for Composing; See Anything You Like?
• Fun With Scales and Modes
• Thematic Growth (1)
• Thematic Growth (2)
• On Musical Detail (1)
• On Musical Detail (2)
• On Musical Detail (3)
• What is a "Fair Copy?"
• Creating an Attractive Chord Progression that Just Happens to be Non-Tonal
• Non-Tonal Chord Progression - More Details
• Using Musical Clichés in Composing
• Using a Musical Style or Gesture as a Point of Departure
• Recontextualizing and Atonality