Arranging for Drum Corps Thesis

ASPECTS FOR ARRANGING FOR DRUM CORPS:

IT'S ALL ABOUT THE MUSIC!!!

by

JOHN A. LEGGETT, B.M.

A THESIS

IN

MUSIC THEORY

Submitted to the Graduate Faculty

of Texas Tech University in Partial Fulfillment of the Requirements for

the Degree of

MASTER OF MUSIC

Approved

Chairperson of the Committee

Accepted

Dean of the Graduate School

May, 2004

ACKNOWLEDGEMENTS

Thank You, LORD for granting me the strength to realize my

dreams, my destiny, and how I may serve others

Thank you Dr. Michael Stoune for your extreme patience, fatherly

advice and determination in the creation of this project. To Dr. Paul

Cutter, a professor that I admired ...I respect the both of you and will

always remember you with a smile on my face. There are no words to

express how the both of you influenced my life.

To Dr. Edward Pearsall, a music theorist with a Heart of Gold and

the passion of a true musician. Without your leadership and genuine

concern in my academic life, I would have never achieved my dream.

Thank You Drs. Peter Fischer and Thomas Hughes...for your

compassion, advice, and tutelage to help me "stay the course." I could

not ask for a better choice of advisors on this project.

To Joan Arlene Mueller (deceased) ...you taught me to believe in

and help others in a way that I will always treasure ...I will always miss

you.

To my daughter Tracy, you taught me to love and protect those

that are special to me and to go forth and make a difference. I will always

love you.

To my wife (deceased) Donna Jean ...as every day passes, I realize

how much you mean to me and what I meant to you. As my life goes on, I

patiently wait until we meet again under the arches of Vahalla.

To G-Angel....for showing me what is and what can be....I will

always love you and be your friend.

To those who participate (d) in the Summer Music Games, DCA and

Especially Syracuse Brigadiers....May the Contest Always Continue This

Project is for All of You.

Ill

TABLE OF CONTENTS

ACKNOWLEDGEMENTS ii

LIST OF TABLES vi

LIST OF MUSICAL EXAMPLES vii

CHAPTER

I. JUSTIFICATION 1

II. THE BIRTH OF DRUM CORPS INTERNATIONAL (DCI) 17

III. BRASS INSTRUMENTS USED IN DRUM AND BUGLE CORPS CIRCA 1976 38

IV. ASPECTS OF ARRANGING FOR A

DRUM CORPS HORNUNE 52

V. HOW THE CHANNEL ONE Sf/TE ARRANGEMENT WAS CREATED 72

VI. CH/4A//VEL0A/ESL//TE: MELODIC ANALYSIS 92

VII. BLUEPRINT OF CH/\/\//VEL0A/ESL//7E 118

VIII. HARMONIC ANALYSIS OF CHANNEL ONE SUITE 135

IX. SUMMARY AND CONCLUSION 146

SELECTED BIBLIOGRAPHY 150

IV

APPENDIX

A. PERMISSION LETTER FROM WARNER BROTHERS PUBLICATIONS 154

B. CHANNEL ONE SUITE SCORE ARRANGED BY JOHN A. LEGGETT 156

LIST OF TABLES

1: Distribution of Brass Instruments in DCI Sanctioned Corps 55

2: Distribution of the Battery

in DCI Sanctioned Corps 58

3: Channel One Suite Mvt. I 124




7: Channel One Suite MvL II 128

8: Channel One Suite MvL II 129

9: Channel One Suite Mvt. II 130

10: Channel One Suite Mvt. Ill 131

11: Channel One Suite M\n. Ill 132



VI

LIST OF MUSICAL EXAMPLES

1. Table of Octaves 45

2. Soprano Bugle Written and Sounding Ranges 46

3. French Horn Bugle Overtone Series 47

4. French Horn Bugle Written and Sounding Ranges 48

5. Mellophone Bugle Written and Sounding Ranges 50

6. Baritone/Euphonium Bugle Written and Sounding Ranges 52

7. Contra Bugle Written and Sounding Range 54

8. MM. 4-9: Channel One Suite, Mvt. Ill Arr. By John A. Leggett 62

9. MM. 31-36: Channel One Suite, Mvt. I Arr. By John A. Leggett 62

10. MM. 18-25: Channel One Suite Arr. By John A. Leggett 63


12. MM. 23-31: Channel One Suite, Mvt. II Arr. By John A. Leggett 64



vu



17. MM. 10-13: Channel One Suite, Mvt. I

Arr. By John A. Leggett 71

18. MM. 9-14: Original Com position, Channel One Suite 76


20. Bass Ostinato: MM. 15-16, Original Composition Channel One Suite 78

21. Bass Ostinato, Contra, MM. 14-15, Channel One Suite


22. Saxophone Section: MM. 41-49, Channel One Suite 79

23. Mellophone Section: MM. 41-49, Channel One Suite Arr. By John A. Leggett 79

24. 3/4, 3/8 and12/8 Time Alterations, MM. 79-85, Original Composition, Channel One Suite 81

25. 6/8 Time Alterations: MM. 87-93, Channel One Suite Arr. By John A. Leggett 82

26. MM. 8-15, Channel One Suite Arr. By John A. Leggett 83

27. Trumpet Section: MM. 119-127. Original Composition, Channel One Suite 84

vni

28. Soprano I and II: MM. 23-31, Channel One Suite Arr. By John A. Leggett 85

29. Flute Section: MM. 128-133, Original Composition, Channel One Suite 85


31. Bass Guitar: MM. 128-131, Channel One Suite 86

32. MM. 32-35, Contra, Channel One Suite


33. Bass Guitar: MM. 36-142, Channel One Suite 87

34. Rhythmic Alterations Contra, MM. 40-47, Channel One Suite Arr. By John A. Leggett 87

35. 1^' Tenor Sax Solo: MM. 143-151, Original Composition, Channel One Suite 88

36. Solo Mellophone: MM. 47-55, Channel One Suite Arr. By John A. Leggett 88

37. Saxophone Section: MM. 201-203, Original Composition, Channel One Suite 91


39. MM. 53-55, Contra, Channel One Suite Arr. By John A. Leggett 92

IX

40. Form: Mvt. I, Channel One Suite Arr. By John A. Leggett 94

41. Motive 1,MM. 2-3, MvL I, Channel One Suite 95

42. Motive 1, MM. 2-8, Mvt. I, Channel One Suite 95

43. Motive 2,MM. 10-13, Mvt I, Channel One Suite Arr. By John A. Leggett 96


45. Motive 3, MM. 14-15, MvL I, Channel One Suite 98

46. Theme A: MM. 18-21, Mvt. I Channel One Suite 99

47. Motive 4, MM. 27-28, Mvt. I, Channel One Suite 100

48. Motive 5, MM. 27-33, Mvt. I, Channel One Suite Arr. By John A. Leggett 101

49. Theme A1: MM. 40-49, Mvt. I Channel One Suite Arr. By John A. Leggett 102

50. MM. 57-58, MvL I Channel One Suite 103

51. Theme B: MM. 58-65, MvL I Channel One Suite 104

52. MM. 38-39, Mvt. I Channel One Suite 104

53. Theme C: MM. 79-82, Mvt. I Channel One Suite 104

54. Form: Mvt. II, Channel One Suite Arr. By John A. Leggett 105

55. Theme A: MM. 1-5, MvL II Channel One Suite 106

56. Theme A: MvL I Channel One Suite 106

57. Theme B: MM. 7-15, Mvt. II Channel One Suite 106

58. Theme C: MM. 15-23, Mvt. II Channel One Suite 107

59. Theme A1: MM. 23-31, MvL II C/7anne/One Suite 108

60. Section B: MM. 32-37, Mvt. II, Channel One Suite Arr. By John A. Leggett 108

61. Theme D: MM. 39-43, MvL II Channel One Suite 109

62. Theme B2: MM. 47-55, Mvt. II Channel One Suite 109

63. Theme CI : MM. 55-57, MvL II Channel One Suite 110

64. Ad. Lib. Soprano Solo, MM. 61-64, Mvt. II, Channel One Suite Arr. By John A. Leggett 110

65. Form: Mvt. Ill, Channel One Suite Arr. By John A. Leggett I l l

XI

66. Motive A: MM. 4-6, Mvt. Ill, Channel One Suite 111

67. Motive B: MM. 15-16, Mvt. Ill, Channel One Suite 112

68. Motive 4: MM. 27-28, Mvt. I, Channel One Suite 112

69. Theme A3: MM. 5-13, MvLIII, Channel One Suite 113

70. Motive B1: MM. 15-17, MvL III, Channel One Suite 114

71. Complex Call and Response: MM. 22-30, Mvt. Ill, Channel One Suite 115

72. Section A1: MM. 33-41. Brass Reduction, Mvt. Ill, Channel One Suite 116

73. Variant of Motive A: Motive A^ 117

74. Theme C: MM. 47-51, MvL III, Channel One Suite 117

75. Theme B1: MM. 62-67, Mvt. Ill, Channel One Suite 118

76. Section A3: MM. 69-72, Mvt. Ill, Channel One Suite 119

Xll

CHAPTER I

JUSTIFICATION

Within the past two decades, the drum corps movement in North

America (United States and Canada) has influenced its counterparts in the

United Kingdom Êngland, Scotland), Europe ^(Belgium, Germany,

Sweden, France, the Netherlands), South Africa^ (Eastern Gauteg

Province, Western Cape, and Kwazulu-Natel Province) and Southeast Asia

^(Philippine Islands, Republic of China, Japan and Indonesia). The majority

of the corps use music arranged specifically for the Individual corps by

American composers/arrangers. The aspects of arranging music for a

drum corps detailed in this project can be utilized by any corps worldwide

whether it is large or small.

^ Steven Hars, "United Kingdom." A History of Drum and Bugle Corps. Vol. 2 (Madison: Sights & Sounds, Inc., 2003) pp. 132-139.

2 Hans Kloppert, "Europe." A History of Drum and Bugle Corps. Vol. 2 (Madison: Sights & Sounds, Inc, 2003) pp. 120-125.

^Retha Cillers, "South African Field Band Foundation." A History of Drum and Bugle Corps. Vol. 2 (Madison: Sights & Sounds, Inc., 2003) pp. 126-125.

''Christopher Atkinson, "Southeast Asia." A History of Drum and Bugle Corps. Vol. 2 (Madison: Sights & Sounds, Inc., 2003) pp. 128-131.

This project is designed to offer a method of arranging for the

drum corps hornline based on a logical thought process, using

comprehensive methods and techniques that have never before been

presented in an organized manner.

Review of Literatiir^

Publicationss

Over the past six decades, many different periodicals have been

published on the subject of drum and bugle corps in the United States,

Canada and Europe. This section will focus on those periodicals published

in America after the 1971 change in the activity from military emphasis

to more creativity and pageantry.

Though the periodicals (and websites) are devoted to various

aspects of drum corps, the concepts of arranging music for a drum corps

hornline have not been part of the discussion.

5 Steve Vickers, "Drum Corps Periodicals." A History of Drum and Bugle Corps. Vol. 2 (Madison: Sights & Sounds, Inc., 2003) pp. 92-99.

The general contents of the major periodicals remained consistent

throughout their lifetime. These periodicals covered current news about

various drum corps circuits and associations. Other articles included

reviews of previous drum corps shows and show scores. The repertoire of

the corps was also included in the articles.

Drum Corps America began publication in April of 1971, by Drum

Corps America Enterprises of Racine, Wisconsin. Edward Porcaro, director

of the Racine Kilties was the publisher. The magazine was moved to

Pennsylvania and renamed The Marching Musician in May of 1976. It

ceased publication in 1977 after eight issues.

In January 1965, Drum Corps Digest Association of Glenview,

Illinois, published its first monthly issue of Drum Corps Digest. The

publication used unusual page designs, black type on black background, a

variety of large headline typefaces to call attention to features. The

magazine dropped from circulation in 1973.

Drum Corps News began publication in 1961 by Raymond Samora

of Lynn, Mass. It was the second-longest-running drum corps publication

in the history of the activity. It sponsored the World Open Drum Corps

Championships from the early 1960's to the mid-1970's. Drum Corps

News ceased publication in 1985.

Drum Corps World was originally published in Denver, Colorado in

October 1971 .This first issue was distributed at the American Legion

Uniformed Groups Congress (the first Drum Corps International meeting)

in Indianapolis, Indiana. One of the founders of the newspaper was Jim

Jones, founder and director of the Casper Troopers. Drum Corps World

has existed for over thirty-two years and is the longest running drum

corps publication. Its current publisher is Steve Vickers of Madison,

Wisconsin.

Drum Corps Today is the only publication ever produced by Drum

Corps International (DCI). It began publication in 1974 under the name

Contest Guild and was printed quarterly until 1977. In 1978, the

publication title was changed to its current name. The tabloid newspaper

produced issues six times a year until 1995 when DCI ceased publication.

In 1996, Sight & Sounds, Inc. began to resumed publication under the

title, DCI Today on a schedule of three times per year.

A History of Drum and Bugle Corps is a two-volume compilation set

written and published by Steve Vickers, editor and publisher of Drum

Corps World. Volume One contains seventeen chapters covering all

aspects (with the exception of brass and percussion composition and

arranging) of the drum corps activity from 1920s to 2001. Volume Two

covers a brief history of field musicians from the wars in Ancient Greece

to the War between the States. Examples of other chapters discuss

United States, and Canadian Senior Corps, ^ the history of senior corps,

and drum corps in the armed forces. The remainder of the volume

presents the history of various drum corps from Canada, Europe, South

Africa, Southeast Asia and the United Kingdom.

Though the compilation is the chief source general information for

this project, it does not contain any material or articles for the subject of

arranging for a drum corps hornline.

6 Senior corps minimum age limit is 14 years of age with unlimited maximum age requirement. Drum Corps Associates has elected to drop the name Senior from its titles.

Information Superhighway

Since the advent of Internet, drum corps periodicals have almost

ceased to exist in hardcopy form. Drum Corps International changed its

information format from hardcopy to its current website,

WWW.DCI.Org.7 in 1995.

This website provides information about current corps news, drum

corps scores, event calendar, online store, various articles, and a

directory to DCI member corps websites.

Various drum corps have created their own websites to provide

information about their organizations, repertoire, instructional staffs, and

corps history. The sites may also include members' only sections for the

corps members to discuss issues or topics that are related to the corps

or the activity.

Other websites include group or forum formats where drum fans

and members may discuss current issues of the activity. These sites

include www.drumcorpsplanet.com ^ ar\ti Recreational Arts: Marching Drum

Corps (RAM-D) ^ located through Google.com.

^ Drum Corps International Monday 08 Dec 2003 WWW.DCI.Org ' Drum Corpsplanet.com Monday 08 Dec 2003 www.drumcorpsplanet.com 5 Rec.Arts. Marching Drum Corps Monday 08 Dec 2003 WWW.google.com, Recants.

Marching Drum Corps.

http://WWW.DCI.Org.7

http://www.drumcorpsplanet.com

http://Google.com

http://WWW.DCI.Org

http://Corpsplanet.com


http://WWW.google.com

The search engines, Google, First Search, WorldCat, and keywords:

Drum Corps-Music-arranging produced no articles for drum corps brass

arranging.

Scores

The arrangements used by drum corps are the property of the

writer and are used by the corps. No copies of any arrangement are

available for study unless the requesting individual(s) is on staff with the

said corps and their position entitles them access to any scores.

There are no models or requirements for arranging for a drum corps

hornline.

Aspects of Arranging

Though the drum corps media has evolved with the activity, the

author has been unable to find articles published on the subject of

arranging music for the drum corps horn line.

Arrangers learn their craft through observation, score study,

experimentation with voicing, and information passed on from one

arranger to another. Since corps arrangements have become more highly

valued by school music teachers, a discussion of the techniques is needed

which is the principal purpose of this project.

Sample Arrangement

The arrangement to be used is William Reddle's Channel One Suite.

The piece is in three movements: Fast-Slow-Fast. The arrangement will be

analyzed using traditional and contemporary techniques.

Graphic illustrations will be used to demonstrate the effects of

texture, dynamics, and tessitura of the arrangement. Samples of various

tonal colors will also be presented in support of the arrangement.

Analvsis of the Three Movements

The analysis of the movements of the arranged score will include

harmonic analysis and chord functions. In addition, any ostinatos,

polyphony, and any unique harmonic devices (i.e., chord planning) will be

discussed. Any motives, motivic fragments, themes and variants of

themes will be identified and discussed.

Blueprint of Channel One^ .q/f/f

The writer may elect to create a flowchart of the composition

before the start of the arrangement. The flowchart or blueprint serves

several functions:

1. It can be used as a guide in the analysis of the

composition to determine the composer's intent.

2. It may be used to map out the arrangement in graphic

form, which makes it easier to assemble or rearrange

various sections in the arrangement.

3. It may be used as a musical storyboard for the percussion,

visual and auxiliary designers. It is a tool that other

designers may use to support the musical program

through their medium.

4. In order to use the flowchart, the writer must understand

its makeup. There are seven (7) basic components of the

flow chart^°:

^° Robert Garofalo. Blueprint for Band. (Ft. Lauderdale: Meredith Music, c.1983) pp. 32-38.

A. Form Scheme-

i. Used to determine if the composition

belongs to a standard form (i.e., sectional,

variational, developmental, imitative, dance,

free, multi-movement or a combination

(hybrid) of the aforementioned forms).

ii. Used to determine sections, periods and

phrases in relationship to melodic and

harmonic materials.

ill. Other considerations within form are balance,

continuity, variety, number and relationship

of movements, and total length of movements

and sections.

B. Melodic Design-Used to indicate, identify, and

locate main themes, subordinate themes and

counter-melodies.

10

C. Rhythmic Elements-Used to indicate tempo as a

factor for general moods (Slow- tragic, majestic,

heavy), identify and locate various meters, special

rhythmic devices (ostinatos, hemiolias, polyrhythms,

syncopation, etc.).

D. Bandstration(*)-used to indicate instrumentation of

thematic materials and harmonic accompaniment

materials.

E. Harmonic Structure-Indicates tonal (key) or pitch

centers, and important cadences, modulations and

chord progressions.

F. Texture-lf desired, indicate the basic textures of

sections and subsections.

G. Dynamic Curve-Indicate important dynamics,

especially climaxes. It may be helpful to include a

graphic curve illustration of the overall dynamic

scheme.

*Term developed by Garofalo.

11

The writer may construct a flowchart using any additional

components that she (or he) feels necessary. For this project, the author

has modified Garofalo's flowchart for the bugle instrumentation. Tempo

markings and meters are located in the form section where they occur in

the music. Bandstration has been replaced by Primary Contrapuntal

Instrumentation (which is defined in the next section). Harmonic Structure

has also been replaced by Harmony and is defined in the next section. The

identification of the types and styles texture replaces the basic texture

format. The format for the Dynamic Curve has been re-defined and is

discussed in the next section.

This modified format allows musicians and non-musicians the

opportunity to intimately study the arrangement and work toward

coordination of all elements (brass, percussion, visual, and auxiliary) with

the aural presentation of the program.

12

Interpreting the Flowchart

The author suggests reading the flowchart as follows:

1. Form-The double bars mark the movements. The vertical

bars of shorter lengths mark the sections. The

horizontal brackets and numbers indicate in the

number of measure within the section. The

sections are identified with a capital letter at the

beginning of the brackets.

2. Melody-Indicates the location of the main themes,

subordinate themes and countermelodies in

correlation of the measures.

3. Rhythmic Elements-Primary rhythmic/special devices

or ideas of the melody are located in this area in

(correlation of the measures).

4. Primary Contrapuntal Instrumentation—Primary

rhythmic/special devices or ideas of the

accompaniment located in this area (in correlation

of the measures).

13

5.Harmonic Structure-(Though chord progressions would be

listed in this section, for this project they will be

discussed in the next chapter). The various types of

voicing and rhythms used in correlation of the

measures are presented in this location.

6.Texture-The various styles and types of texture are

presented in correlation of the measures and

instrument(s) it affects.

7. Dynamic Curve-Graphic illustration indicating dynamic

markings, texture density and aural shaping of the

arrangement in correlation of the measures.

Graphics will illustrate the density of texture (thick, thin; bottom, middle

or top heavy); volume (loudness, softness) and instrumentation (soprano,

mellophone, baritone, euphonium, contra or combination there of) used in

the arrangement. These graphics are based upon Robert Garofalo's book

entitled, Blueprint For Band.^^

^^ Robert Garofalo, Blueprint for Band. (Ft. Lauderdale: Meredith Music, c. 1983).

14

Creation of the Arrangement

There are several methods an arranger may choose to become

familiar with a composition before she (or he) begins to put "ink to

paper." The arranger may:

1. Listen to a recording of the original composition. This will

establish a base for tonal colors, type of textures, and

the variety of styles (if any) the composer may have

used.

2. Listen to various arrangements of the composition to

determine how the arrangement(s) differ from the original

composition. Some factors to consider might be tone

color, texture, rhythm, style, interpretation and

instrumentation.

3. Obtain a copy of the original composition to compare

and/or contrast various arrangements. In addition to

determining chord structure and function, the arranger

may begin to formulate ideas about the arrangement of

his (or her) own score.

15

4. The author suggests a combination of the above-

mentioned methods.

The arranger will usually elect to make changes to the original

composition in the arrangement. Because of time constraints, the

arranger/writer must determine the following:

1. What sections can be omitted from the score (i.e.,

repeats with multiple endings, incidental phrases). This is

based upon their artistic value and interpretation.

2. What additions to the harmonies and/or melodic lines

would enhance the arrangement. What additions to tone

color, texture and instrumentation strength or reduce the

character of the score.

3. What way(s) can changing the meter and/or rhythm(s) of

the composition enhance the performance of the

arranged score.

4. Since omissions and additions to the arranged score are

ongoing, the arranger must be prepared to have

subsequent changes in mind.

16

CHAPTER II

THE BIRTH OF DRUM CORPS INTERNATIONAL (DCI)

The history of Drum Corps International (DCI) began the summer of

1970 at a locally sponsored drum corps show in Delevan, Wisconsin. The

Chicago Cavaliers, the Midwest powerhouse, were in competition with the

Casper Troopers, the western powerhouse. The Cavaliers' 1960s record

included 192 state and local 1^' place awards out of 240 contests. They

also earned six Veterans of Foreign War (VFW) National Titles, three

American Legion (AL) National Titles between 1948 and 1960. The

Troopers 1960s record was six VFW National Titles and three AL National

Titles, three World Open Titles, three Catholic Youth Organization (CYO)

National Titles, and two North American Open National Titles (NAO). This

meeting of the two corps would forever change the history of drum

corps.

Don W. Warren, founder and director of the Chicago Cavaliers and

Jim Jones, founder and director of the Troopers from Casper, Wyoming,

leaders of these two icons of the drum and bugle corps activity-

happened to be standing next to each other in the men's restroom. Both

men discussed problems facing even the most successful and powerdrum

17

corps in the activity. They quickly realized that no drum corps was the

master of its own destiny.^

They realized that the inherent power of drum corps, its

entertainment value, was in the control of the veterans (VFW and AL)

organizations and major show sponsors (CYO and NAO).

Problems with the Activity

Among the problems that Warren and Jones wanted to overcome

were the numerous inconsistencies throughout the drum corps activity

administered by the VFW and the AL Drum Corps Committees. Some

examples of these inconsistencies were:

1. The VFW Drum Corps Committee required corps to march

128-132 beats per minute; the AL Drum Corps Committee

had no such requirement.

^^William Howard, "Masters of Their Destiny—DCI is Established," A History of Drum and Bugle Corps, Vol.1 (Madison: Sights & Sounds, Inc., 2003) 319.

18

2. The AL allowed the use of marching tympanis while the

VFW did not. This meant the corps had to change their

programs to accommodate the veteran-organization-

sponsored VFW or AL event in which they were

competing.

3. There was no agreement on any rules between the VFW

and the AL.

4. The corps that placed first and second were offered

substantial prize money donated by local sponsors while

third place and lower corps received miniscule payments.

5. The contest organizers kept most of the money

generated from ticket sales and application fees, while the

corps saw very little revenue.

6. Corps made no money from the sale of "live" vinyl

recordings sold to fans.

7. The Drum Corps Committees of the AL, VFW, CYO, and

other major show sponsors made no effort to ease or

eliminate scheduling conflicts of the corps.

19

8. At AL and VFW National contests, drum corps were

required to go through haircut and uniform inspections as

part of the military aspect of the activity. Since most

competitions were in the summer while corps members

wore wool battle jackets, the exercise was very stressful.

9. Each AL and VFW National contest required corps to carry

the respective VFW or AL flag and the name of the

sponsoring post painted on one of calfskin head of one of

the bass drums. The insignia would crack or peel if the

bass drum head was played, rendering it unusable.

10. The VFW National contest mandated a 13 to 15 minute

time limit. The AL National contest mandated an 11 to 13

minute time limit. There was a required minimum amount of

time that the entire corps had to be moving and a

maximum time that the corps was not in motion. A required

maximum time limit of five minutes was used to enter the

football field and stand on the starting line (left end zone

line) as well as a maximum of one minute for the entire

20

corps to cross the finish line (right end zone) once any

corps member stepped over this line.

11. The required format for a show was rigidly adhered to: an

opening tune, American Flag presentation, concert tune

(standstill), out-of-concert or production tune, a drum solo,

and an exit piece.

12. Both organizations required a color presentation with the

American Flag. All color guard sections of the corps were

susceptible to American Flag Code violations. These

regulations prohibited certain drill moves causing major flag

code violations.

13. All corps members were strictly forbidden to "ground

equipment" or place any piece of equipment on the ground.

All equipment had to be carried onto the football field and

used by the corps members.

14. There were restrictions on what constituted legal drum

equipment placed upon the percussion sections. The uses

of accessory percussive instruments was not permitted

such as temple blocks, maracas, shakers, gurus, etc.

21

15. All performers were assessed a penalty for any dropped

pieces of equipment. The penalized performer would

continue the show without the equipment.

16. There were mandatory VFW and AL requirements on the

state and national level, i.e. every VFW or AL sponsored

corps would participate in state and national convention

parades. The state parades were typically 6-7 miles in

length and lasted about four hours; however, the national

parades average 12 miles of stop-and-go movement and

last for a minimum of five hours.

Anton Schlechta and the All-American Judges Association

The major obstacles to the growth of drum corps were the actions

of Anton Schlechta. Schlechta, a World War I veteran, was the

administrative "bandmaster" of the Chicago Fire and Police Band. Though

he was not a trained musician, Schlechta was one of the founders of the

All-American Judges Association whose principal duty was to adjudicate

drum corps contests. World War I veterans dominated the All-American

22

Judges Association and placed emphasis on the military aspect of drum

corps.

By the late 1940s, Schlechta had become chair of the VFW

National Drum Corps Committee and had absolute control of all parades,

competitions, and contests. He was the dominant figure in the world of

competitive drum corps judging before he retired in 1972.

Bob Bray, (VFW chair contest committee 1973-1984) stated^^

The All-American [Judges Association] supplied all

the judges for everything and Schlechta selected all the judges in All-American. He was a dictator and nobody dared to cross him. He really set the tone for competitive drum corps from World War I era onward and he exerted tremendous power, both in the All-American and in his role as chairman of the contest committee of the VFW. (p.47)

The All-American Judges Association refused to acknowledge that

the activity needed change. The Association upheld the idea that old

drills (movements), company fronts, American Flag presentations,

military haircuts, and other items of the past were still important. In

essence, Schlechta controlled all aspects of the drum corps venue.

" Raphael Osheroff and Robert Zinko, "The Big Parade-The Veterans Organizations and the Drum and Bugle Corps Movement," A History of Drum and Bugle Corps^ô\.^ (Madison: Sights & Sounds, Inc., 2003) 46.

23

According to former Drum Corps Associate Senior Corps President Mickey

Petrone, "If Schlechta didn't like you, you were in trouble."^^

Military appearance was Schlechta's philosophy of judging, not

musicality or drill design. You could judge linear forms only; musical

expressions were far less important than military bearing. "Uniformity" of

movement, timing, angles of equipment, were the order of the day. The

lack of consistent rules between VFW and AL was another issue. The VFW

and the AL Drum Corps Committees were run by individuals who never

marched in a drum corps within these organizations and were deciding

how the corps would judged.^

1" Steve Vickers, "The Big Parade -The Veterans of World War I form a Unique Organization," A History of Drum and Bugle Corps, Vol.1 (Madison: Sights & Sounds, Inc.

2003) 47. 15 Rick Beckham, "The Birth, Growth, and Metamorphosis of Competitive

Rudimental Drumming," A History of Drum and Bugle Corps, Vol.2 (Madison: Sights & Sounds, Inc. 2003) 57.

24

Another issue was the corps' instructional staffs wanted to expand

the creative envelope; from the military judged system where execution,

inspection, and precision marching were the deciding factors, to one that

allowed more creativity and expression.^^ Schlechta, the All-American

Judges Association, and the lack of consistency between the VFW and

the AL Drum Corps Committees, plus more creativity and expression were

the main reasons that Warren and Jones felt drum corps needed to go in

a new direction.

The Development of the Combine

Jim Jones and Don Warren sought other corps directors from the

midwest and western regions who had the same management qualities

they themselves possessed. Jones founded his own construction

company in Casper, Wyoming as well as founding the Troopers. Warren

was the Vice President of Finance for Kemper Insurance Company in

Chicago. They believed the ideal corps director should have the ability and

16 Rick Beckham, "The Birth, Growth, and Metamorphosis of Competitive Rudimental Drumming,"/\ History of Drum and Bugle Corps, Vol. 2 (Madison: Sights & Sounds, Inc., 2003) 57.

25

authority to commit his corps to managerial and financial changes. He had

to be able to make hard decisions and stick to them. He had to contribute

to the philosophy that the center of power should be the unity of all the

corps organizations.

Warren and Jones selected three such directors to help further

their concept: David Kampschroer, Director of The First Federal Blue

Stars of LaCrosse, Wisconsin, Assistant Superintendent of Schools for the

city of LaCrosse, William Howard, Director of the Madison Scouts from

Madison, Wisconsin. Howard was part owner and vice president of a

construction company and Gail Royer, a music educator from Sunnyvale

School District of Santa Clara County, California. Royer was the director of

The Santa Clara Vanguard. The Blue Stars, Drum Corps wasformed in

1965, and was relatively new to the drum corps activity. Under

Kampschroer's leadership, they were financially sound and highly

competitive. The Madison Scouts was rescued from peril by Howard after

the death of its founder, C. H. Beebe. Howard, an alumnus of the corps,

successfully reconstructed the Scouts organization and restored it to its

popular status. Jones chose Gail Royer because he was a former

marching member of the Troopers and the majority of his instructional

26

staff were former members or instructors of the Troopers. Kampschroer,

Howard, and Royer agreed to join Warren and Jones under the group

name, "The Combine." The group chose the name Combine to disguise

any negative connotations of their activities to any outsiders. The

Combine's overall plan was to market the five highly competitive corps as

one package directly to the show sponsors.

The plan had six tenets:

1. The sponsors would be required to take all five corps or

none at all.

2. The allocation of prize money would be on an appearance

schedule.

3. This schedule would be in $100 increments from first

place to fifth place.

4. The Combine established a set price to the sponsors for

all five corps. This fee would cover fuel and mileage from

the previous show site to the current site for the corps'

convoy.

27

5. The Combine agreed to cancel certain dates if the

sponsors tried to bully any of the five corps in the

combine or contact any of the corps privately.

6. They also agreed to sponsor their own shows. The first

Combine Show was held on July 7 1971 in Michigan City,

Indiana. The Santa Clara Vanguard wor\ the event.

The plan had a very high risk. Should the sponsors not go for such a

plan. Troopers, Cavaliers and Scouts could cease to exist. The three corps

could lose their VFW and AL post sponsorships. This meant the loss of

renvue for the corps. The corps could be severely penalized by their

respective drum corps associations. Penalties might include being invited

to fewer shows.. Without sustained income, the corps could lose their line

of credit with their financial institutions. The corps would be forced to

shut down and sell their inventory to satisfy the banks. Blue Stars and

Santa Clara being new would be able to sun/ive such a disaster.

The impact of the plan on show sponsors proved to be favorable.

At a set cost, a sponsor receives a package of five highly competitive

corps at a slightly higher cost than one highly competitive corps and four

mid-range corps. The additional cost was to be passed to the drum corps

28

fans. This meant more revenue of ticket sales, commissary and town

profits supporting the shows.

An example of town profits was food. There were no food trucks

during this time. Each corps consisted of 128 hungry teenagers,

approximately 12 people on the instructional staff, drivers for three

buses, and an equipment truck all had to have three meals a day for each

day in town. Laundry service for personal clothes and corps uniforms was

needed as well as bus or truck repair, and recreational opportunities. This

meant additional money for the small town retailers. In addition, the drum

corps fans spent additional money on hotel rooms, meals, sightseeing,

besides the admission fee to attend a show where any of the five corps

could win on any given night.

The East Coast Version of the Combine

The corps on the east coast formed their own alliance after hearing

of the Combine. The top five corps aligned themselves as the United

Organization of Junior Corps (UOJC). The founding members were George

Bonfiglio, Director of the 2 7"" Lancers oi Revere, Massachusetts, and

Hugh Mahon, Director of the Garfield Cadets from Garfield, New Jersey.

29

The remaining three east coast corps directors to join were Joe Dowling,

Director of the Crusaders from Boston, Massachusetts; Dominic Sciarra,

Director of Blue Rock from Wilmington, Delaware, and Fred Dooley,

Director of the Blessed Sacrament Golden Knights from Newark, New

Jersey. The drum corps community now had two organizations united

under the same philosophy.

Protests against the Combine

Even though the competition season progressed smoothly for the

both organizations, this was not the case for the cigar smoking Warren.

Warren became the focal point of hostility for the Illinois Drum and Bugle

Corps Association (IBDCA). The IBDCA was one of the strongest circuits

within the community with over 60 member corps in Illinois alone. The

members felt threatened that the Combine could replace them at any

show site causing a loss of what little revenue the corps earned. Since

Jones was in Wyoming and Kampschroer, Royer, and Howard were new to

the activity, Warren was therefore the likely focal point of the frustration

in regards to the Combine. In one incident, Warren was trying to explain

the reasons and motivation of the combine to the other members of

30

IBDCA; he was ushered out of the meeting. Another incident was the

cartoon of a grain combine operator with a cigar in his mouth crushing a

corps member. The caption read, "Drum Corps is dead."

The Theme and Total Show Concept is Created

The 1971 season for the Combine was the beginning of "theme"

and "total show" concepts. A central idea was the basis of the theme

show, while entertainment was the concept of the total show program.

The 1971 Madison Scout program was the first theme show ever

presented. It was entitled, "Scouts in Fantasyland." The central theme

was Alice in Wonderland meets the white rabbit, Pinocchio, and the seven

dwarfs. This was the only time a girl marched in the corps. Bonnie, William

Howard's daughter, portrayed "Alice." Other examples of this show

included the presentation of the American Flag with rifle line acting as toy

soldiers while the corps played March of the Toys by Victor Herbert. The

closing number was Ding, Dong, the Witch is Dead by Harold Arlen and

E.Y. Harburg along with a dancing color guard.

The 1971 Cai a//er program was the unofficially entitled, "The

Circus Show" as a total show concept.

31

The original definition of the total show concept was a program

that had no related themes in its production. Each selection was an

independent theme within itself. The philosophy was to perfectly

integrate all elements (brass, percussion, marching & maneuvering, and

colorguard) so each element enhanced the others to such a degree that

the whole equaled more than the sum of it parts.^^ (Dr. Sward defines the

total show concept as "implying that the entire show was created to

convey a single story or set of related ideas,thus marking the beginning

of a trend toward a musical and visual theme show that allowed the

production to be tied together by a single idea or concept rather than a

program of totally unrelated music selections."^^) It was initiated in the

latter half of the 1970 season by percussion instructor Larry McCormick.

McCormick studied Madison's 1970 performance which included Ding,

Dong, the Witch is Dead as the closer. He presented his idea to Warren

and the staff at the end of the 1970 season.

i^Dr. Rosalie Sward, "The Evolution of Musical and Visual Design," A History of Drum and Bugle Corps, Vol.1 (Madison: Sights & Sounds, Inc., 2003) 115.

18 Dr. Rosalie Sward, "The Evolution of Musical and Visual Design," A History of Drum and Bugle Corps, Vol.1 (Madison: Sights & Sounds, Inc., 2003) 118.

32

The opening number was a series of Irish tunes entitled, A Salute to the

Green arranged by Ray Baumgradt, the Madison Scout's brass arranger.

The high point of the opener was the Guard Sergeant dancing a solo Irish

Jig followed by the rifle line also dancing.

The flag presentation was the march, Americans We by Millard

Fillmore. Between the musical "dogfight" or interlude before the final

section, a soprano/snare drum duet played Yankee Doodle while the

hornline ran to a company front set by the flag line.

The corps stepped off the front to a ritardando to the final strain.

In the concert set, the corps played Eleanor Rigbyby the Beatles, while

the performers for the next production changed into costumes. The rest

of the program was the actual circus show. The out-of-concert

production. The Greatest Show on Earth introduced a three-ring circus, a

ringmaster and acts of a juggler, an acrobat, and a clown. During the

circus acts, the corps played the songs Man on a Flying Trapeze by

George Leybourne and Alfred Lee and There's No Business like

ShowBbusiness by Walter Lang. The drum solo featured the four marching

tympanis playing the Theme to Peter Gunn by Henry Mancini. The closer

was I'm Always Chasing Rainbows by Howard E. Johnson and Somewhere

33

Over the Rainbow by Harold Arlen. The visual strong pointof this tune was

four expanding arcs of the hornline and guard representing a rainbow. The

clown in a sea of green, white, and black paneled flags as the corps left

the field heightened the impact. The bass drum line played the piece Gym

Shoes in a Dryer by Jim Russell (the Cavalier street beat) underneath the

horns. Russell wrote this piece after listening to a pair of gym shoes

tumbling in a dryer at the corps hall above Ferrera's Laundromat. The

Cavaliers members had tee shirts made with the caricature of the clown

dancing next to a headstone with the inscription, "Drum Corps, R.I.P."

Underneath the by-line read, "1971: The Year Drum Corps Died." It was

their response to the cartoon criticizers.

The Madison Scouts and the Chicago Cavaliers had several

characteristics in common while performing these shows:

1. They were all male corps.

2. The strong reputation of their male rifle lines enhanced their

performances.

3. They were the only corps performing these types of programs.

4. Both shows were extremely successful.

34

1971 VFW Nationals. Dallas. Texas

The stage was now set for the conflict between VFW Drum Corps

Rule Committee (Schlechta), the Combine and United Organization of

Junior Corps (UOJC) to come to a head at VFW Nationals held at the end

of the 1971 drum corps season. Madison had elected to participate in the

VFW Nationals in Dallas, Texas. The Cavaliers opted to go further south to

AL Nationals in Houston. Schlechta remained in Dallas at the VFW

Nationals. Every contest is preceded by a drum corps manager's meeting

to discuss the field condition, the judges' assignments or changes, and to

field any questions. Neither the VFW nor the AL National Drum Corps Rule

Committees had strict rules on the definition of a uniform. Schlechta was

in charge of the meeting at Dallas, and since he viewed costumes as non-

military wardrobe, he announced that no corps would be permitted to use

costumes. If any costumes were used, a two-point penalty for each

costume was to be assessed by the timing and penalty judge. This meant

that if Madison were to perform with costumes, they would lose 20 points

in penalties. The corps directors viewed this edict as an affront and an

attack on the drum corps activity. Madison opted to go on without the

costume changes than to lose 20 points before the contest began.

35

The Combine and UOJC directors immediately held an impromptu

meeting and determined that the time was right to abandon the VFW and

the AL and start their own organization. They also agreed to invite three

additional corps directors to join the newly formed alliance of Combine

and UOJC. The final three corps were: Robert Cobham, Director of the De

La Salle Oaklands from Toronto, Ontario, Canada; Glen Opie, Director of

the Argonne Rebels from Great Bend, Kansas, and Donald Porter, Sr.

Director the Anaheim Kingsmen of Anaheim California.

DCI 1$ Created

The next meeting was held in November at the AL Uniformed Group

Congress in Indianapolis, Indiana. As the alliance instructors met in the

rules sessions, the directors met in secret to work up the details to

establish the new organization. The first item was to create a name for

the organization. Within a short amount of time, someone suggested

"Drum Corps Nationals" but before congratulations were in order, Cobham

asked, where did that leave De La Salle? Since the Oaklands were the only

Canadian corps invited to join, the name "National" did not seem

36

appropriate. The name "International" replaced National. Drum Corps

International (DCI) was born.

37

CHAPTER III

BRASS INSTRUMENTS USED IN DRUM AND BUGLE CORPS CIRCA 1976

Two-Valve Ri ig l f i -1976 to 1989

In 1975, l/anguarof Director Gale Royer and Madison Scouts Director

Bill Howard submitted a proposal entitled. No. 1035, to the Drum Corps

International (DCI) Brass Caucus^^to allow the use of a two-valve vertical

piston bugle. The proposal stated:

Each bugle shall be pitched in the key of G and may have two piston valves or one piston valve and one rotary or two rotary valves used freely to play in two additional keys (Keys not mentioned). Any other variation of these types of instruments and all other types of instruments are illegal. No two -piston soprano bugles may be utilized before the 1977 season. No two-piston bass baritones may be utilized before the 1978 season. No two-piston mellophone, French horns, flugles (no longer used, sic), or contra bass bugles may be utilized before the 1979 season. Note: DCI would like to go on record as being permanently opposed to any three-valve instruments. ^°

13 The Brass Caucus is a panel of brass instructors and composer/arrangers elected by the DCI member corps directors and brass instructors to set policy for the brass caption. Other caucuses include percussion and visual for their policy-making agendas.

^°Drum Corps News, 26 November 1975, p. 13.

38

As brass instrument manufacturers began retooling their assembly

lines for the vertical two-valve piston bugle, instrument designers such as

Ziggy KanstuI, Jr. (of the E.F. Olds Music Company) and David Peterson

(of the Dynasty Bugle Corporation) submitted two and three-valve piston

design amendments to the proposal for the Brass Caucus to consider. The

manufacturers felt that a three-valve instrument would eliminate the two-

valve phase and would be more in line with common bell-front brass

instruments. This concept gained approval from local band directors and

small corps directors. This was countered by opponents of the three-

valve instrument amendment and the lack of finances of smaller corps to

afford such instruments.21 The DCI Brass Caucus pushed the proposal

through fearing that the three-valve amendment would fail. In 1977, DCI

authorized the use of the two-valve soprano. Each following year, DCI

permitted a new two-valve voice to be used.

21 Zigmant KanstuI, Letter to Steve Vickers. 20 March 1996.

39

Three-Valve Bugle-1990 to Present

In 1990, DCI legalized the use of three-valve bugles. European drum

corps had been using three-valve bugles shipped from the United States

since 1979. A new proposal (name unknown) for the legalization of three-

valve instruments was submitted to the DCI Rules Congress in 1985. An

additional amendment attached proposed the use of electronic equipment

such as electronic keyboards/synthesizers and amplification equipment

(these devices were successfully used by some high-school bands in the

California Band Circuit). The proposal was soundly defeated and returned

to the Brass Caucus. Since the Rules Congress met every two years, the

1985 proposal was amended in the fall of 1989 for three-valve

instruments only. This gained gradual acceptance by the corps directors.

The corps that were ready to upgrade their brass instrument inventory

had to decide whether to purchase two-valve instruments or wait for DCI

to legalize three-valve instruments. This caused the manufacturers to be

put in an unstable climate. Purchases of new instruments would have to

be made in early fall in order for the corps to have instruments for the

winter rehearsal. Again, DCI allowed the corps to upgrade their instrument

stock by adding a new three-valve voice every year.

40

The Switch to Any Keyed Three Valve Instrument(s)

The DCI Brass Caucus approved the switch to any keyed three-valve

brass wind instrument in 2001. By permitting instruments of different

keys, the middle horns could be lowered to the key of "D" or "C" and

according to some, be permitted to truly bridge the gap between the

soprano and baritone voice. 2

Modern Day Instruments

The Table of Octaves s shows the range of octaves the

instruments to be discussed will play (as shown in Example 1).

22 Bobby Pirtle, "An Interview with Mike Dennis," Tfie Middle Horn Leader (March,

1993) 5. 23 Stephen D. Burton, Orchestration (Englewood Cliffs, NJ: Prentice-Hall, Inc.,

1982) 567.

41

Example 1. Octave Register Notation

Table of Octaves

cc c CO c1 c1 c2 c3 c4

Same R ch

Soprano Voice

The Soprano

The modern day soprano bugle is similar in design to the trumpet;

however, there are several differences between the two instruments:

1. The soprano is two inches shorter than the trumpet.

2. It has a slightly larger lead pipe and tubing than the

trumpet.

3. The bore size of the pistons and tones holes is

bigger than the trumpet.

4. The soprano sounds a minor third lower than

concert pitch.

42

The soprano has three and one-half octave written/sounding range from

f# to c' (as shown in Example 2).

Example 2. Soprano Bugle Written and Sounding Ranges

Sopiano ^

m Written Range Soundhg Range

The timbre of the instrument in the low register is rich in overtones

but the sound will not travel as far as in the upper register. The middle

register is bright and full of overtones with the sound cutting through any

other instrument(s). In the altissimo register, the soprano tone quality is

more focused yet, with fewer overtones.

Alto Voice

The French Horn

Before 1957, there was no need for alto voicing in the drum corps

horn line. The soprano voicing consisted of the soprano, tenor soprano,

and baritone soprano horns.

43

Though the French Horn bugle has mainly been replaced by the

mellophone, some east coast corps still use them.^"

In 1941, Whaley Royce Company Limited (Ltd.) of Toronto,

Ontario, Canada began manufacturing French Horn Bugles. The French

horn was the first alto or "middle voice" instrument used in drum corps.

The French horn quickly became popular for its ability to sound

more notes than any other bugle using the lower portion of the overtone

series s (as shown in Example 3).

This allowed composers/arrangers an additional voice in which to

write and create a more realistic four-part harmony.

Example 3. French Horn Bugle Overtone Series

2'* Larry Kerchner, Arranger Hawthorne Muchachos Drum Corps. Conversation with Author. 29 Dec 03.

25 Bobby Pirtle, "The Evolution of the Bugle," A History of Drum and Bugle Corps. Vol.1 (Madison: Sights & Sounds, Inc., 2003) 75.

44

By the 1990s, when DCI announced the legalization of the three-

piston bugle, the French horn was phased out of the alto voice setting in

the majority of the corps; however, it is still in the horn line of some east

coast corps.

The French horn sounds an octave lower than written pitch and has

a written range from f# to e (as shown in Example 4).

Example 4. French Horn Bugle Written and Sounding Ranges

French Horn ^

Unwritten Range Sounding Range

Its timbre is like the concert horn: fairly even throughout the range

of the instrument. Below g the notes become weak dynamically and

unfocused. The altissimo range can be played effectively at forte. The

best tone quality occurs between g and g . The main reason for the

demise of the French horn was that it was difficult to control the partials

in the mid to upper registers.

45

The Mellnphnnp

In 1957, C. G. Conn Ltd. of Elkhart, Indiana, produced the first bell-

front mellophone called the Mellophonium. The body of the instrument

was a circular design like the French horn but the instrument is played

using a trumpet mouthpiece. This design was similar to the custom-made

bell-front instrument used by jazz artist Don Elliott. The Stan Kenton

Orchestra used the Mellophoniums both in 1960 and 1963. However,

Kenton and his arranger Johnny Richards were not involved in the initial

design of the instrument. The Mellophonium received such great success

in marching bands that it was inevitable that the concept would be

utilized by drum corps.^^

In 1963, Whaley Royce Ltd. introduced the forerunner of the

modern day mellophone. The Imperial Mellophone was developed and

designed by Dominic Delray, the music director of the Interstatemen

Drum and Bugle Corps of Pittsfield, Massachusetts. Delray created the

prototype and had Whaley Royce manufacture it in the fall of 1963."

26 Bobby Pirtle, "The Stan Kenton Mellophonium," The Middle Horn Leader May 1993.

27 Whaley Royce Co. Ltd. Drum and Bugle Corps Accessories Catalog, January 1967.

46

The Imperial Mellophone design was similar to that of the flugel

horn without the tuneable leadpipe. It was one and half times the size of

the soprano. The instrument used a straight bell front as the French horn.

In comparison with the French horn bugle, the mellophone is an easier

instrument to play. Though the instrument is played with a trumpet

mouthpiece, later models of the instrument could be played with a French

horn or cornet mouthpiece and a mouthpiece adapter. The modern day

mellophone is considered the workhorse of the horn line. It is used as a

color instrument, a middle voice solo instrument, and a supporting

instrument for lower soprano or middle baritone parts. The register of the

Mellophone is the same as the soprano. It sounds a perfect fourth below

as the written pitch. It has a three-octave written/sounding range

extending from f# to e (as shown in Example 5).

Example 5. Mellophone Bugle Written and Sounding Ranges

Melophone

^ r 1* Written Range Sounding Range

47

The timbre of the instrument is rich in the low range but not very loud.

The best quality of tonal color occurs in the middle register. The upper

register produces a bright sound with fewer overtones.

Tenor Voice

The Bass Baritone

In the mid 1950s, the Frank Helton Company of Elkhorn, Wisconsin

is said to have produced the first bass baritone bugle.28 The bass baritone

bugle (now referred as the baritone bugle), is three times the size of the

soprano. The design of the modern day baritone bugle is similar to the

baritone horn used in concert band. The main difference between the two

instruments is that the valve casing is mounted vertically between the

lead pipe and the bell crook. The instrument is played from behind the bell

crook like a trumpet. The mouthpiece receiver accepts any trombone or

baritone mouthpiece. The baritone sounds one-octave below written

pitch. Its written range is three octaves from f# to e and a sounding

range from F# to e (as shown in Example 6).

28 "A History of the G Bugle," WWW. Anchormen.org.uk/

48

http://Anchormen.org.uk/

Example 6. Baritone/Euphonium Bugle Written and Sounding Ranges

Baritone/Euphonum

m f VWitten Range Soundhg Range

The baritone can be written in bass or treble clef. The timbre of the

baritone is a dark tenor sound in the low and middle register. The tone

quality is bright and full in the upper range and becomes lighter and

focused in the altissimo range.

Bass Voice

The Euphonium

The euphonium bugle specifically designed for drum corps use was

invented by Whaley Royce, Ltd. in 1964. Its intended purpose was to add

a darker tone quality to the low brass section of the hornline. It is three

and half times the size of the soprano.

The euphonium (like the baritone) sounds one-octave below written

pitch. Its written/sounding range is that of the baritone.

49

Contra Bass

The contra bass bugle was first fabricated in 1959 by Whaley

Royce, Ltd. was similar to concert Eb or BBb tuba. The difference

between the two instruments was that the contra bass bugle used the

piston/rotor system with a lead pipe designed to play the instrument over

the shoulder. The concert tuba is designed to be played upright while

sitting. The left hand operated the piston on the contra bass while the

right hand operated the rotor and provided additional support to hold the

instrument in place. The modern day contra bass (sometimes referred as

"Contra") uses a three-valve system (some models have an optional

fourth valve) and is pitched two octaves below written pitch. Like the

baritone and euphonium, the contra can be written in treble or bass clefs.

The written range of the contra is three-octaves from f# to e while its

sounding range is from F F# to e (as shown in Example 7).

50

Example 7. Contra Bugle Written and Sounding Ranges

Contra

m ixr

Written Range Soundhg Range

The timbre of the contra is very dark and rich in the low register.

As the instrument moves up the scale, the tone quality becomes lighter.

51

CHAPTER IV

ASPECTS OF ARRANGING FOR A DRUM CORPS HORN LINE

Before the composer/arranger (referred as the writer), can begin to

write music for the horn line, several factors must be determined:

1. The style of music to played by the drum corps (i.e., jazz,

swing, contemporary, or orchestral) and the selection of

appropriate musical piece(s). These are determined by the

design team of the instructional staff.

2. The writer must know how many horn players the

composition going to composed or arranged for and

distribution of horns within each section. To prevent the

sound of an overbalanced hornline, the author

recommends a one to two ratio of mellophones to

sopranos, one to one ratio of baritones to sopranos, and a

one to two ratio of contras to sopranos (refer to Tablel.).

3. The capabilities of the lead soprano and lead baritone

players are a factor in arranging. If the notes are out of

the playing range, then re-writes are in order. The writer

52

must decide if split lead (altissimo /upper lead and lower

lead) soprano and baritone parts are warranted. Other

considerations are the technical ability of the horn players.

Are the horn players familiar with all the major scales? Do

they have an understanding of the pitch tendencies of their

instrument?

4. The writer must decide on the texture(s) of the piece to

be written. The choices are a thick texture, thin texture, or

a combination of both where the melody may be one

texture and the harmony another.

5. The complexity of the arrangement is another

consideration of arranging. The writer must consider the

choices between composing easy, medium-easy, medium,

medium-advanced, or advanced arrangements in terms of

rhythm, chordal, and metrical factors.

6. Other choices include various tonal colors to be displayed

in the composition, any horn doubling(s) and special

effects (i.e., composing a choir within a choir).

Examples will be provided of each texture identified in #4 above.

53

How Manv Horn Playprs

The writer needs to know the composition of the group before

beginning. This is to insure that the music written is size appropriate for

the corps. Overwriting a score for a horn line would cause over-blowing,

distortion, and over-taxing the musicians to make up for additional

players. Underwriting a piece entertains ideas that the music is too easy,

boring, and has no challenge to its content.

The writer also needs to know the approximate breakdown of horn

players. Each of the three divisions of Drum Corps International has

different size classifications. Division III has a size limit of 8 to 60 total

marching members (Drum majors, front line ensemble, battery, horn line

and colorguard). The Division II limit is 61 to 89 total marching members.

Division I limit is 90 to 135 total marching members. The hornline

constitutes one-half to three-quarters of the total marching members of

the corps). The following is an average distribution of horns in each

division based upon the observation and teaching experience of the

author Table 1. Distribution of Horns in DCI Sanctioned Corps.

54

Table 1: Distribution of Brass Instruments in DCI Sanctioned Corps

Min Ave fntai d Horns

Sopranos (Total)

Lead

Altissimo

Lower Lead

2"'* Soprano

3'^ Soprano

Mellophones Total

1='Mello

2nd Mello

Baritones Total

Lead

Altissimo

Lower Lead

2"" Baritone

3'"* Baritone

Euphonium

Contra

Division III

30

10

4

N/A

N/A

3

3

6

3

3

10

4

N/A

N/A

3

3

N/A

4

Division II

54

16

6

3

3

5

5

12

6

6

16

4

3

3

4

4

4

6

Division 1

64-72

24

7

3

4

8

9

12

6

6

24

7

3

4

8

N/A

9

12

55

Capabilities of Lead Players

The range and strength of the lead soprano and lead baritone

players is the next concern of the writer. How high can these individuals

play and at what strength? This will determine if parts can be doubled at

the octave, lead parts above C can written and sustained, or altissimo

solo work can be written.

Most writers lean toward composing "split lead" parts for lead

soprano and baritones. The lead players have the opportunity to trade off

duties in the high or altissimo range. This allows the players to rest and

recuperate. It also allows the lower lead players the opportunity to play

upper lead parts with more frequency this also places less mental,

psychological, and physical stress on lead players.

Distribution of Percussion (Batterv)

Though composing for the battery is not the focus of this project,

it is an intergal part of the total music compostion/arrangment process.

The specification of the battery is important to the writer in order to

achieve balance within the battery and horn line. The distribution of the

56

battery is based upon the DCI sanctioned total size requirements of all

the marching members in three divisions of DCI.

The battery constitutes one-eighth to one-quarter of the total

marching members of the corps. The following is an average distribution

of battery personnel in each division based upon the observation and

teaching experience of the author. The author recommends the following

battery instrumentation for the aforementioned horn lines (Table 2,

Distribution of the Battery in DCI Sanctioned Corps).

The size of the battery is dependent upon not only on the size of

the horn line, but also on the overall strength of volume of the horn line.

A 30-member horn line can overbalance one snare drum if sound

projection is not apparent. The ratio of multiple drums to snare drums is

one to two. Anything more would constitute an imbalance in the

percussion section. The number of bass drums is also dependent on the

depth of the snare and multiple drums. An excessive number of bass

drums will cause the percussion to become bottom heavy in sound

projection causing entire musical ensemble to be bottom heavy causing

an overbalance issue.

57

Table 2. Distribution of the Battery in DCI Sanctioned Corps

Min Ave Tntal nf

Battery

Snare Drums

Multiple Drums (*) Bass Drums

Marching Cymbals {+)

Division III

8-1 1

3-4

2-3

3-4

2-3

Division II

12-15

5-6

3-4

4-5

2-3

Division 1

16-21

8-10

4-5

4-6

4-5

(*) Multiple drums or tenor drums is defined as a series of three-seven multi-dimensional drums on a carrier played by one percussionist.

(+) The number of marching cymbal players is usually dependent upon the number of snare drummers. The ratio of cymbal players to snares is one to two.

58

Texture

The writer must be creative in terms of devising different

techniques to make use of the various textures available with five or six

voices in a composition. There are four differentJypes of texture within

the three styles of texture that a writer may use.

Stvles of Texture

The writer may choose from three styles of textures in the

arrangement. The styles are arranged in order of most common usage to

least common usage:

1. Combination style: Thick/thin texture is where the

harmonic line may be of thick texture while the melodic

line is a thin texture. In addition, thick/thin texture is

where the melodic line may be of thick texture while the

harmonic line is a thin texture.

2. Thick texture: The harmonies include three or more voices.

3. Thin texture: The harmonic/ melodic lines covers one or

two voices only.

59

As in normal part writing, all harmonic structures may be open or

closed.

Tvpes of Texture

The author has developed four types of textures a writer may use

with the styles of textures in a composition.

1. Top Heavy- A thick or thin texture in which the soprano

voice mainly carries the harmonic or melodic lines as in

Example 8 shows soprano top-heavy-thin texture and

Example 9 shows soprano top-heavy-thick texture.

60

Example 8. MM.4-9: Channel One Suite, Mvt. Ill Arr. By John A. Leggett

Sop I

SopU

SopUI

Reprinted with Permission by Warner Bros., Inc.

Example 9. MM.31-36: Channel One Suite, Mvt. I Arr. By John A. Leggett

A > > > t * " ' ^ _ > ^ > i & Lih, MPff^î I ^

^ ^ ^m Sop I

Sop II

Sop III

^^fr \>—o ~~^ " ^ *-> ^ .» ^ .» ^ ^

> > - - * ^ m»»» »m

^ ^ ^ a

^ B

A > > > > A >

^ ^ ^ S ^ ^S ^ ^ ^ ^

s • ^ ^ — ' > - ' > / - • >

Reprinted with Permission by Warner Bros., Inc.

61

2. Middle Heavy- A thick or thin texture in which the

mellophone (and/or French horn) voice mainly carries the

harmonic or melodic lines. Examples 10 show mellophone-

middle-heavy-thin texture with mellophones in unison and

lead baritone sounding one octave below.

Example 10. MM.18-25: Channel One Suite Arr. By John A. Leggett

Mdlo

Reprinted with Permission by Warner Bros., Inc

3. Bottom Heavy—A thick or thin texture in which the lower

brass (baritone, euphonium, and/or contra) voice(s)

mainly carries the harmonic or melodic lines. Example 11

shows lower voice bottom-heavy-thick texture of

baritones in a triadic open harmony, and Example12 shows

lower voice bottom-heavy-thin texture with voices in

thirds.

62


Bar! I

Bari II

Euph Y^' i I'gU- [J 11 I I hg^. ^ |i|J IJ |7g.^^-^| r r i h g g - ^ ^ 2 8 29 30 31 32 33


Example 12. MM.23-31: Channel One Suite, Mvt.ll Arr. By John A. Leggett

Lead

Bari II

Euph


4. Unison/Octave Equivalent-A thick or thin texture in which

any combination of voice(s) in unison or octaves may

carry the harmonic or melodic lines. Example 13 shows

soprano top-octave equivalent-thin texture.

63


" > ^ - > 5 . ,l\KJ/pJ..m I Sop I

Sop II

7 I M ff 7 > p ^ ^ ^ p

(|> ^K ( p 7 J M p 7 i ' 7 7 J'7 K7 I ^ ^

( , 'l ( P 7 J' 7 p 7 i ' 7 7 J'7 K7 ^ Sop III r^y r}' 99 >

100


5. Choir within a choir-Usually a moving thick textured

voicing of a specific instrument within thick or thin

textured voicing of other instruments. It is usually in

prolongation of chord intervals or counter-melody.

Example 14 shows a four-part-moving mellophone voicing

in thirds surrounded by intervals of an E chord.

64


Split Lead Sop

Mello

Split Lead

Contra


Complexitv of Arrangement

As in the types and styles of textures, the writer has five different

levels or grades of difficulty to compose an arrangement/composition.

The level chosen must not be over or under the level of musicianship for

the players. It must be attainable and set a new standard of musicianship

in the long run. These levels from most complex to least complex are:

65

1. Advanced level: will include complex advanced

rhythms, complex meters, various keys, and an overall

range of three octaves.

2. Medium advanced level: incorporates a combination of

compound and simple meters, poly-rhythms, along with

items from the medium level.

3. Medium level: includes compound meters, major/

minor keys, semi-complex rhythms, i.e.:

J. ^J iJXJ^DJJJ

and a range of two half octaves.

4. Medium-easy level: includes simple (4/4, 3/4, 2/4) and

simple-compound (9/8, 6/8) meters, major and minor

scales, modes, simple dotted rhythms and an overall range

of 1-2 octaves.

5. Easy level: contain simple meters, basic major keys/scales

and basic rhythms. An octave and a half may be the

overall octave range.

66

Tonal Colors

Voice Cnmbinatinn.ti

The writer has several tonal color options at his disposal to create

various tonal colors.

The soprano/mellophone would be useful in generating a mellow

lyrical color in the middle to upper register for a melodic line in ballads,

because the mellophone voice tends to temper the bright tone quality of

the soprano.

The mellophone/baritone is good for melodic lines in ballads in the

lower register, because the mellophone voice brightens the dark tonal

quality of the baritone.

The baritone/soprano combination is extremely powerful for impact

phrases (especially when the lead baritones are at octaves with the lead

sopranos) as the euphonium/baritone combination presents a very dark

color for the lower brass line.

The contra/baritone/euphonium combination can be used to create

darker contrast of the lower voice line.

67

Part Writing

The writer may use various part-writing techniques, such as four,

five, or six voice parts. One example is the four-voice-top-heavy

technique. This technique uses the split lead soprano, 2"'' soprano, third

soprano, 1^' mellophone (doubling the lower split lead soprano), and the

2"- mellophone (doubling the 3" soprano) as shown in Example 15.

Example 15. MM.55-61: Channel One Suite, Mvt. II Arr. By John A. Leggett

-]—. >

Sop I

Sop II

SopUI

Mello I


68

Another example is the four-voice-bottom-heavy technique, where

the split-lead baritone, 2" baritone and 3" baritone with contra providing

counter-melody as shown in Example 16.

Example 16. MM.3-7: Channel One Suite, Mvt. II Arr. By John A. Leggett

Split Lead Bari

Bari II

Euph

Contra

' " I * r

^ ^

I! u '

i s ^

ig

^ ^ ^

sS 3 ^ 2 33=


Choir within a Choir

Creating a "choir within a choir" is another tonal combination that is

used by some writers. It is used to thicken musical arrangements by

chord extensions or chord tones of one instrumental voicing creating a

moving mini-choir with the horn line. The distinction between choir within

a choir and melody-countermelody is the supporting voices of the choir

are usually sustained.

69

This technique is used sparingly to: (1) introduce a theme and (2) to

heighten the effect of an impact point. An example of this technique is

shown in the mellophone parts 1 and 2 in Example 17.

Example 17. MM.10-13: Channel One Suite, Mvt.l Arr. By John A. Leggett

Split Lead

Mellon

Split Lead

Contra


Playing Time of Arrangement

The writer is usually expected to compose/arrange music that is

eight to ten minutes in length within a required show format. The format

70

of modern day drum corps shows usually consists of an opener, a

production piece (usually a ballad with percussion being tacit), a

percussion feature, another ballad and a closing production. While this

format is not mandated by DCI, it has become the standard design. It is

up to each corps to develop a format for their program and to determine

how to present the music to the audience. Some may choose to present

a ballad immediately after the opening production, while others may elect

to combine the ballad with the opening piece, or choose not to present a

ballad at all.

The average playing time for the opening production is 1:30

-2:30(minutes) the average performance time for a ballad is 2:00

minutes, while the closing production may be 1:00 to 2:00 minutes.

71

CHAPTER V

HOW THE CHANNEL ONE SUITE ARRANGEMENT WAS CREATED

The arrangement selected for this project is William Reddie's big

band straightahead (or mainstream^^) jazz composition, Channel One

Suite. (Circa 1966-1968). 3° (This piece, made famous by Buddy Rich and

His Orchestra, appears on the "previously un-issued live recording" of

their Europe '77 tour on compact disc (DAWE60-Produced in 1995).

Various drum corps have performed arrangements of this piece since

1971 (De La Salle Oaklands (Toronto, Ontario) 1971-74; Argonne Rebels

(Great Bend, Kansas) 1976; Blue Devils (Concord, California) 1976, 1977,

1986, and 2002, Capitalaires (all girl corps: Madison, Wisconsin.) 1992,

and Tarheel Sun (Phoenix, Arizona) 2000. ^

29 Sadie, Stanley. The New Grove Dictionary of Music and Musicians. V.12, 2"" Edition (London: MacMillan Publishers, Limited.2001) P917.

Straightahead or mainstream jazz is a genre of jazz based upon improvised solos over cyclical, repeating chorus forms, using popular songs, blues or short original compositions with a swing feeling as the basic units of structure. It is reliant on functional harmony within a tonal system with emphasis on individual improvisation than on pre-set composed material)

3° Bill Reddie. "Channel One Suite," Warner Brothers Publications. (Miami: Warner Music Group Copyright 1969).

3 De La Salle Oaklands, Argonne Rebels, Capitalaires and Tarheel Sun failed to make the cutoff position of 12 place in order make any DCI recording s during the years the piece was played. This information is on the website, www.corpsreps.com.

72

http://www.corpsreps.com

The original instrumentation is for 1=' and 2"- Alto Sax, 1^' and 2"" Tenor

Sax, Eb Baritone Sax, 1^', 2"^ 3rd & 4" Trumpet, 1=', 2"^ 3 ^ g^ 4th

Trombone, and Rhythm section (guitar, bass guitar, piano and trapset

drums).

The piece in its entirety is 25:15 and arranged in three sections in a

fast-slow-fast form. The level of difficulty for jazz band performance is

advanced.

For the purpose of this project, the focus will be the first draft of this

piece.

There several methods an arranger may choose to become familiar

with a composition before she (or he) begins to put "ink to paper." The

arranger may:

1. Listen to recording of the original composition. This will

establish a base for tonal colors, type of textures, and

the variety of styles (if any) the composer may have

used.

2. Listen to various arrangements of the composition to determine

how the arrangement(s) differ from the original composition.

73

The factors to consider would be tone color, texture, rhythm,

style, interpretation and instrumentation.

3. Obtain a copy of the original composition to compare

and/or contrast various arrangements. In addition to

determining chord structure and function, the arranger may

begin to formulate ideas to the arrangement of his (or her) own

score.

4. The author suggests using a combination of all the above-

mentioned methods.

The following is a comparison of Reddie's original three-movement jazz

band composition and the author's drum corps hornline arrangement. This

comparison is based upon the author's changes and additions of the

original composition to the arranged score.

74

Movement I

MM. 1-8 is arranged in a pyramid sequence from contra/lower brass

(baritones/euphonium), mellophones to sopranos. MM.9-14 of the original

composition has been changed to a one-measure rest followed by a

mellophone choir within the brass choir at mm. 10-13 of arranged score

(as shown in Examples 18 and 19).

Example 18. MM. 9-14: Original Composition, Channel One Suite

AltoSscophone 1

AltoS9[ophone2

Tmor S acophone 1

Toior S iKophone 2

Baitone Saxophone

TninpetinBtl

TnjnpetinBk2

Trumpet inSkS

TnjnpetinBt4

Reprinted with Permission By Warner Bros., Inc.

75


Split Lead Sop

Sop II

Sop III

Mello I

Mello II

Split Lead Bari

4'''"!, jJ-O'gj ^ m 6 a • II

Euph

Contra


The two-measure rest at mm.13-14 of the original composition has been

omitted and replaced by the bass ostinato of m.15 of the composition

(m.14 of the score. Examples 20 and 21).

76

Example 20. Bass Ostinato: MM. 15-16, Original Composition Channel One Suite

Guitar

Bass


Example 21. Bass Ostinato, Contra, MM. 14-15, Channel One Suite Arr. By John A. Leggett

Contra I i ^ ^ t ; = ^ 14

^ m > i i

15


The bass ostinato played by the contra (mm.14-17), is the

introduction to saxophone section of mm. 19-26 played by the

mellophones and lead baritone (mm. 18-26). MM.27-35 of the score is the

same as the original composition with the exception of the saxophone

section, which is played in thirds by the mellophones at mm.29-35 of the

arranged score. The section ends on the first beat of m.36 while the bass

ostinato is elided to the ending.

MM.36-49 of the arranged score is similar to the original

composition (mm.36-49). The major difference is that the saxophone

77

section at mm.41-49 (original composition) has been re-written for

mellophone to include a four-part harmony on the sustained passages at

mm.41-49 of the score (as shown in Examples 22 and 23).

Example 22. Saxophone Section: MM.41-49, Channel One Suite


Example 23. Mello phone Section: MM.41-49, Channel One Suite Arr. By John A. Leggett

Mello I

Mello

42 43 44 45 48 49


The percussion break of both manuscripts remains in the same

location (mm.52) however in the arranged score, the break ends one

measure earlier (m.56) than the original composition (m. 57).

78

The meter of 12/8 at mm. 58-70 of the original composition is

changed to 6/8 in the arranged score (mm. 57-78). The author believes

it is easier to read in this meter. MM. 79-86 returns to 4/4 time in the

arranged score as well as mm.71-78 of the original composition.

MM. 79-83 of the original composition is an alternation of 3/4 and

3/8 time signatures with m. 84 as a12/8 time signature that has been

changed to 6/8 time signature in the corresponding measures of 87-93

in the arranged score (refer to Examples 24 and 25).

79

Example 24. 3/4, 3/8 and12/8 Time Alterations, MM.79-85, Original Composition, Channel One Suite


80

Example 25. 6/8 Time Alterations: MM.87-93, Channel One Suite Arr. By John A. Leggett


Again, readability is the major factor for this change. This section

also ends on the first beat of m. 93 of the score, while the bass ostinato

of mm. 93-105 is elided to the ending.

MM. 93-105 of the score is the final similarity of the movement to

the original composition (mm. 85-96) the pyramid returns in the same

sequence as the beginning. In mm. 99-105 of the score, the instruments

play eighth notes instead of the staccato quarter notes as written in the

original composition (mm. 85-96).

81

Movement II

MM. 1-7 of the arranged score is the same as the original

composition (mm. 97-103).

The tenor saxophone solo at mm. 103-119 is played by solo

soprano at mm. 7-23. The intervals played by the piano comping

(harmonic improvisation by chord symbols) from mm. 104-111 are

written in random arpeggiation in the lower sopranos, mellophones and

lower brass voices from mm. 8-10 in the score (see Example 26).

Example 26. MM. 8-15, Channel One Suite Arr. By John A. Leggett

Solo

Contra

10 11 12 13 14 15


82

MM. 11-15 returns to the formal chord structure in the

aforementioned supporting voices. The flute part is omitted at mm. 112-

119, while the lower brass plays the trombone parts (mm. 16-23 of

arranged score).

The pick-up sixteenth notes at mm. 119-127 of the composition

(the trumpet parts) have been reduced to a lead and second soprano

sectional duet at mm. 23-31 in the arranged score. MM. 124 and 127 of

the composition has been re-arranged to an altered rhythm of mm. 28

and 31 of the score (as shown in Examples 27 and 28).

Example 27. Trumpet Section: MM. 119-127, Original Composition, Channel One Suite

Tnunpetin & IV

Trptl&n

Trpim&rv


83

Example 28. Soprano I and II: MM. 23-31, Channel One Suite Arr. By John A. Leggett

Sop I

Sop

Sop I

Sop I

Alered Rhythm


The continuing tenor saxophone solo at mm. 128-135 is omitted

from the arranged score while the mellophone section (mm.32-37 of

arranged score) plays the flute melodic line in fifths (of mm. 128-133 of

the composition, see Examples 29 and 30).

Example 29. Flute Section: MM. 128-133, Original Composition, Channel One Suite

FlutEl

Flute II


84

Example 30. Mellophone Section: MM. 32-37, Channel One Suite Arr. By John A. Leggett

Melo I

Mello


The bass part at m. 128 has been altered to reflect a slight

counter-melody in the contra part at m. 32 of the arranged score

(Examples 31 and 32).

Example 31. Bass Guitar: MM. 128-131, Channel One Suite

Bass Guitar V ' J^ {3- ^ M 0.

^ ^


Example 32. MM. 32-35, Contra, Channel One Suite Arr. By John A. Leggett

Cont B

Change fom original


8 5

The arranged score continues with the original composition at mm.

135-143 as mm. 39-47 of arranged score with rhythmic alterations in the

bass line at mm. 138 and 141 of the original composition (mm. 42 and

45 of the score Examples 33 and 34).

Example 33. Bass Guitar: MM. 136-142, Channel One Suite

Bass Guitar *J' L ' {* \ f I E

137 140 141 142


Example 34. Rhythmic Alterations Contra, MM. 40-47, Channel One Suite Arr. By John A. Leggett

Contra i ^ 40

^ P ,42 . 4 3

Change from original

z=z

45 ^ W Z C

46



The second tenor saxophone solo at mm. 143-151 is played by

solo mellophone at mm. 47-55. The eighth to sixteenth note rhythms on

beats three and four at m. 147 of the composition is replaced by the

quarter note triplets in the corresponding measure of the arranged score

(m. 51) (see Examples 35 and 36).

86

Example 35.1«» Tenor Sax Solo: MM. 143-151, Original Composition, Channel One Suite

1st Tenor Sax


Example 36. Solo Mellophone: MM. 47-55, Channel One Suite Arr. By John A. Leggett

•J 47 ^ ^ 3 4S 49 50

Solo Mello


Both manuscripts retain the shout chorus or the main section of

the movement. In the original composition, this begins with the pick-ups

to mm. 152 to the downbeat of m. 157 (in the score, this is the pick-ups

to m. 56 to the downbeat of m. 61).

87

The final tenor saxophone solo (mm. 157-162) of the original

composition is omitted from the arranged score. A four-measure ad lib.

soprano solo replaces the tenor saxophone cadenza (mm. 61-64 of

arranged score). Finally, mm. 163-165 (as mm. 65-67 of the arranged

score) completes the movement as written.

Movement III

The last measure of movement II (the ballad) is elided to the

tympani break at the beginning of movement III. MM. 1-14 of the

arranged score is the same as mm. 165-168 of the original composition

without the repeat. MM. 15-22 of the arranged score are the same as

mm. 187-194 of the composition. MM. 195-207 is presented later in the

movement while mm. 208-218 is omitted from the arranged score.

However, mm. 219-227 is used in the arrangement but is displaced in the

score. The arrangement continues with the pick-ups to m. 230-237 of

the composition and is labeled as mm. 24-30 in the arrangement. This is

followed by the first of two optional percussion breaks.

88

There are two options for the placement of an extended percussion

break within movement III. The percussion break serves several functions:

1. It allows the brass players a break from playing.

2. The battery and front line ensemble have the opportunity to

perform in a solo environment.

3. The audience has the opportunity to observe and listen to the

percussion section.

The first optional percussion break (Option A) occurs after m. 30

and is approximately twenty-five measures in length. The second optional

percussion break (Option B) occurs at m. 46 and is also approximately

twenty-five measures in length. The design team has the option of

determining which percussion break would best serve the audio/visual

program.

MM. 195-200 of the original composition is presented in the

arranged score as mm. 33-38. MM. 201-207 is the next segment

presented in the score as mm. 39-45. This section contains a rhythmic

change in the mellophone part from the original composition as beat one

has been changed from two eighth notes to a quarter rest in mm. 201-

203 (mm. 39-41; arranged score as in Examples 37 and 38).

89

Example 37. Saxophone Section: MM. 201-203, Original Composition, Channel One Suite

1 St Alto Sax

2nd Alto Sax

1st Tenor Sax

2nd Tenor Sax

Baritone Sax


Example 38. Mellophone Section: MM. 38-41, Channel One Suite Arr. By John A. Leggett

Mellophone I & 11= 4 ''i M n^ff^rju J^^rjffl^|l fr ''i'r'' ri': • 39 ^ ^ J^ > I — ' — I — I J\


As previously stated, the second optional percussion break (Option

B) occurs at m. 46 and extends for twenty-five measures.

The arranged score continues with the pick-ups to mm. 47-55

(mm. 220-227 of composition) as the shout chorus or main tutti section

of the movement.

9 0

The contra part at m. 55 includes an octave doubling on beats

three and four to increase the depth of the bass line at m. 55 (Example

39).

Example 39. MM. 53-55, Contra, Channel One Suite Arr. By John A. Leggett

$ Contra fM f r

53 J'jj,jj^^



MM. 195-200 returns as mm. 56-61 of the arrangement and

mm.256, 257 and 259-264 (as mm. 61-69 of the score) completes the

penultimate segment of the movement. MM. 265-270 (mm. 70-75) of

the original composition is the final segment of composition and ends the

composition and the score.

91

CHAPTER VI

CHANNEL ONE SUITE. MELODIC ANALYSIS

Movement I

Each movement analysis begins with a form structure diagram to

illustrate the author's intent on constructing the movement for the

arrangement. Example 40 is the form for Movement I.

Example 40. Form: Mvt. I, Channel One Suite Arr By John A.

Leggett

Tempo: J=120

4^ Intro

Motive 1 MM. 2-3 Motive 2 MM.10-13

J=164

Motive 3 Theme A Motive 4 rain.27-28 Motive 5 mm 27-3 3

Measure:

Key: C Minor

1-13 14-26 27 36

A Al

Motive 3 mm.36-52

Theme A mm. 40-49

Call/Response

Motive Frag 3 mm 57-58

ThemeB. mm. 58-65

D Motive 6 itmi 81-82

Theme C ram.79-82

51 57-75 79-86

I Development of i k C Motive 6mm.87-92

A2

Motive 3 nmi.93-105

87 93 93-105

The first movement is based upon a blues scale of 1-''3-4-''5-5-7 (C-

B-F-F'-G-B"). This is introduced in quadruple time as a part of motive 1 in

92

the lower brass from m. 2 to the first beat of m. 3 as shown in

Example 41.

Example 41. Motive 1, MM. 2-3, Mvt. I, Channel One Suite

Contra f.'H'frrrirrno Reprinted with Permission By Warner Bros., Inc.

The motive is completed with the eighth-note triplet to the G half note.

Motive 1 is imitated in the middle voice and upper voices, respectively, to

complete a pyramid sequence as shown in mm. 2-8 in Example 42.

Example 42. Motive 1, MM.2-8, Mvt. I, Channel One Suite

Lower Voices


93

The melodic line continues in mm. 10-13 with a development of

motivel in the mellophone parts. Though the parts are written in thirds,

the upper-split mellophone I part is the development of motive I.This

motive is labeled motive 2 (Example 43).

Example 43. Motive 2, MM. 10-13, Mvt. I, Channel One Suite Arr. By John A. Leggett

Motive 2

Split Mello I V ;jfffli'^

10 LJ "^

^

^

m f S:

12 13


The triadic harmony of the mellophones functions as the choir within

a choir of the other voices and serves to introduce this new motive as

shown in Example 44.

94

Example 44. MM. 10-13: Channel One Suite Arr. By John A. Leggett

Split Lead Sop

Contra

Reprinted with Permission By Warner Bros., Inc

Section A (mm. 14-26) begins with a two-measure bass ostinato in

the contra, developed from motive 1 in the form of a blues scale. This

ostinato (now referred as motive 3 see Example 45) functions as a bridge

to connect all the sections in the first movement.

95


-f-H^ ^-t-i Contra /g^ b I, I* *-Zrz - \ f f l a—5-:

p^^P ptff r 1^ P P ^ f pi |^y 1

15


Theme A is presented in MM. 18-25 using the mellophones and lead

baritones in octaves for a middle-voice-heavy texture (as shown in

Example 46). This is played over the bass ostinato.

Example 46. Theme A: MM. 18-21, Mvt. I Channel One Suite

' f H > ^ Mello I

Mello II

Bari I

Contra

i-"i. n i : V Lcr ^ ^

:' u Lf''-^' m ^

_> m. ^ i- [> ( \

^ m ^

> ^ > ^ j >

^ > . ] > s


96

Section B (mm. 27-36) is in simple triple meter and introduces

two new motives. The baritone/euphonium sections established a two-

measure motive (labeled motive 4) over a recurring contra F/C pedal as

shown in Example 47.


Motive 4

- A > . . > >

Bari I

Bari II

Euph

Contra

^'uhfrrrrr

^

— — A

*j I* I* I* ["O*

i ^

A >

't^yLT LS

^ 27 ^

^

£ ?^r ^

> > >

iP 28

Reprinted with Permission By Warner Bros., Inc ,

97

Motive 3 is imitated in the sopranos at mm. 31-33. The

mellophones play an ornamentation section written in minor thirds to the

conclusion of section B, where the entire ensemble plays the

ornamentation.

Motive 5 is new counter-melody material played by the mellophones

at mm. 27-33. Though, originally written as unison, it has been re

arranged at m. 29 into minor thirds as shown in Example 48.

Example 48. Motive 5, MM. 27-33, Mvt. I, Channel One Suite Arr. By John A. Leggett

Motive 5

Mello I

Mello II


Section A (mm. 36-51) marks the return of motive 3 in the contra

and Theme A (at mm. 40-49) in a soprano call and an altered response in

the mellophones as shown in Example 49.

98

Example 49. Theme A l : MM. 40-49, Mvt. I Channel One Suite Arr. By John A. Leggett

Mello II

Contra

Sop III

Mello I

Contra


99

Section C (mm. 57-78) originally in 12/8 time has been re

written in 6/8 for readability for the players. While fragments of motive 3

(Partial Motive 3-Example 45) are played by the upper and lower brass,

the mellophones play theme B in a middle voice thin texture (Example 50).

100

Example 50. MM. 57-58, Mvt. I Channel One Suite

Partial Motive 3

> >

Split Lead ^ i ^ „ 7 J ] J ^ S o p l ^ ^ ^ ^ ^

Sop II

Sop III

Mello I

Mello II

Bari I

Bari II

Euph

i) ^ wÛh^ ^ ' • ' i ' ^1 rrr^

Theme B

i ^

te Partial Motive 3

^

- - > f > m^^ m^ -rf ^ rrr # ^ — > >

*J 57 i ^

j . - ^ TT

^

^

fe£

^

>

±± f ' •> ?

^

>

^ ^

> > > 58


101


Example 51. Theme B: MM. 58-65, Mvt. I Channel One Suite


Section D (mm. 79-92) is a combination of the rhythmic idea of

m. 38 (Example 52) of the baritone/euphonium and new material (labeled

motive 6) presents Theme C (Example 53).

Example 52. MM. 38-39, Mvt. I Channel One Suite

$

i > > > > l ^ l, (* ^ ft ^ Bari II r P r ': F - M

38


Example 53. Theme C: MM. 79-82, Mvt. I Channel One Suite

Motive 6

Rhythmic ideafrotti M.38

Mello I


102

MM. 87-92 is a short development of the new material in 6/8time.

MM. 93-105 marks the final return of motive 3 in a pyramid sequence

similar to mm. 2-8 in form only.

Movement II

The following illustrates the form structure diagram of the author's

intent in constructing the second movement of this arrangement. Example

54 is the form for Movement II.

Example 54. Form: Mvt. II, Channel One Suite Arr. By John A. Leggett

Tempo: J, 76

Intro A Al R L' ff Theme A | Theme B mm 7-14 Theme C mm 15-23 | Theme Al mm 23-31 | Motive 7 mm 32-33 ] Theme D mm. 39-43

"^Meas"ê : 1-7 I 8-23 I 23-31 I 32 - 38 , 39-47

Key: F Major

A2 D Theme B2 mm 47-55 | Theme CI mm 55-66 i 47-55 I 55-66

The introduction to movement II (labeled Theme A, Mvt. II), is the

re-statement of Theme A of movement I with several distinct differences

(as shown in Examples 55 and 56, respectively):

103

1. It is written a major second higher to establish the key of F

Major.

2. Theme A, Movement II is based upon triplets.

3. Theme A is used as a bridge to the second movement.

Example 55. Theme A: MM. 1-5, Mvt. II Channel One Suite

> •»

Sop I (Solo) ^ ^

ZE:


Example 56. Theme A: Mvt. I Channel One Suite

^-, r rVl^ ^ a ^ j i r L i j - i J ^ Mello I ^ I>"|, r, ^


104

Section A is based upon two combined themes. Theme B is a

new eight-measure material from mm. 7-15 (as shown in Example 57).

Example 57. Theme B: MM. 7-15, Mvt. II Channel One Suite


Theme C begins in the second half of m. 15 to m. 23 and is eight

measures in length (shown in Example 58).

Example 58. Theme C: MM. 15-23, Mvt. II Channel One Suite

M±fz h î^n-^b. fP^^ ,5- r r ,_ffPPf Mello I A.^" it i ' 16

*

LiT TtTr r


105

Section Al contains Theme Al a variant of Theme A. The

second soprano part is written entirely in major thirds to the lead soprano

as a sectional duet (shown in Example 59).

Example 59. Theme A l : MM. 23-31, Mvt. II Channel One Suite

Euph


Section B is new material (labeled Motive 7) in which the mellophone

section duet plays the melodic line of in response to the sectional duet of

the sopranos (see Example 60).

Example 60. Section B: MM. 32-37, Mvt. II, Channel One Suite Arr. By John A. Leggett


106

Section C (mm. 39-47) contains new material (labeled Theme

D, mm. 39-43) in response to theme B and is repeated an octave higher

(see Example 61).

Example 61. Theme D: MM. 39-43, Mvt. II Channel One Suite

fc ^m t=^kî: Sopi /LV ji ^ \

^ * 39 40

8r-

^ ^ ^ ^

^ P 45


Section A^ (mm. 47-55) is a mellophone solo in a slight variation of

theme B. Labeled as Theme B , it is similar to theme B without harmony

(as shown in Example 62).

Example 62. Theme B2: MM. 47-55, Mvt. II Channel One Suite

Mello Solo


107

Section D (mm. 55-61) is the shout chorus or the main section

of movement II. It is based upon theme C of this movement. This variant

of theme C is labeled Theme C (as in Example 63).

Example 63. Theme CI : MM. 55-57, Mvt. II Channel One Suite

I MM 55 56 57


The movement concludes with an ad lib. soprano solo (mm. 61-64,

Example 4).

Example 64. Ad. Lib. Soprano Solo, MM. 61-64, Mvt. II, Channel One Suite Arr. By John A. Leggett

Ad. Lib. -.-.

Sole Sop: ;^^^t^ friCa-toJ^jiJ]j%h-

* 61 T2 63

rit.

#-^<s^

64


108

Movement III

This analysis begins with a form structure diagram of movement

three. It is based upon the author's reconstruction of the movement for

the arrangement. Example 65 is the form for Movement III.

Example 65. Form: Mvt. Ill, Channel One Suite Arr. By John A. Leggett

Tempo: 144

Intro

JF I P I n ^^ Tympani Ostmato

Theme A mm, 5- 13

Motive Amm 5 - 6 Motive B mm 12-13 Bass Ostinato mm 5-14

B ThemeB mm 15- 22

Motives m 15 MotiveB mm 15-16 Walking Bass Lme mm 15-22

Measure: 1-4

Key: F Minor

5- 13

Al

i Call/Response Motives mm 23-30

I I Call. Motive A mm. 23-24 Call Motive A2 mm 27 - 28 I,**! P Res Motive A mm 25-26 Response Motives mm 27-30

15-22

A2

Theme A mm 33-38 Theme B2 mm 39-41 Motive BI mm 39-41

23 -30 33-44

Theme C mm.47 - 51 ShoutChorus mm 47-55

L I Motive A3 mm 47-48 Motive 9mm 49-51 Ln P Walk] ns Bass Line mm 48 - 55

A3

ThemeAmm,56-61 Motive 32 mm 62-66

47-55 56-68

J- 88 Codetta

i t ^ Theme Al mm.70-72

Sequntial Dotted quarter notes mm 70 - 72

69-75

109

This movement is in f minor and is based upon two motives.

The first motive (labeled motive A) is the foundation of this movement

(see Example 66).

Example 66. Motive A: MM. 4-6, Mvt. Ill, Channel One Suite

$

^ > >

(* - ^ ^ # 0 mP

^\[^^y pi p


The second motive (labeled Motive B, Example 67), is derived from

motive 4 of movement I as shown in Example 68.

Example 67. Motive B: MM. 15-16, Mvt. Ill, Channel One Suite

Mellophones m ^ ^ ^m Reprinted with Permission By Warner Bros., Inc.

110

Example 68. Motive 4: MM. 27-28, Mvt. I, Channel One Suite

Mellophones • 'I''.','' i liuTJ Reprinted with Permission By Warner Bros., Inc.

Section A (mm. 5-13) is composed of Theme A inwhich motive A is

repeated and ends with motive B. This section is played by the sopranos

and mellophones while the contra plays an Fm7 arpeggiation (see Example

69). This theme re-occurs throughout the movement.

Example 69. Theme A3: MM. 5-13, Mvt. Ill, Channel One Suite

Motive A


11 1

Section B (mm. 15-22) is composed of Theme B. The first half

of the measure consists of new material while the second half of the

measure is motive B and is repeated at mm. 19-21. The walking bass line

of the contra completes section B as shown in Example 70.

Example 70. Motive B1: MM. 15-17, Mvt. Ill, Channel One Suite

Motive 8 I —

_ j a l_i m

Sops

Mellos

Motive B

fe^^ ^ ^ = ^ ^ ^ KS:

Contra fL h-|," ( i k^ » • r 5 ^ a=«: Walking Bass Lne


Section A (mm. 23-30) consists of two call and response motives.

In the first motive, the mellophones call with motive A and the sopranos

respond, in strict imitation of motive A to this two-measure phrase. Motive

A^ is immediately followed by a complex call-and-response passage (mm.

27-30). The baritones call to a series of ordered responses, mellophones,

sopranos, mellophones and sopranos/baritones (as shown in Example 71).

112

Example 71. Complex Call and Response: MM. 22-30, Mvt. Ill, Channel One Suite

Ftesponse Molh/e A Response »2 Response *4

> Split Lead

Sop


Section A2(mm. 33-44) marks the return of section A with lower

voice harmony and a slight variation of Theme B (labeled Theme B ). The

first half of theme B is now shortened to only the eighth-note figures

which is played by the. The second half of the motive is extended to

include eighth-note figures before and after the sixteenth-note figure.

Example 72 shows a horn line reduction of section A^from mm. 33- 41.

113

Example 72. Section A l : MM. 33-41. Brass Reduction, Mvt. Ill, Channel One Suite


Section C (mm. 47-55) is the shout chorus or the main section of

the movement. It is based upon a variant of motive A labeled Motive A

(Example 73) when combined with new material (labeled Motive 9), it

forms theme C (Example 74). Theme C is played tutti over a walking bass

line of the contra from mm. 48-55.

114

Example 73. Variant of Motive A: Motive A

Sop I

*J 7l ^ 48


Example 74. Theme C: MM. 47-51, Mvt. Ill, Channel One Suite

Motive 9

Split Lead Jf [,P| [• Sop (tT) " 1 * ^

Motive A3

> >.—. > > i\> M^\ip- ^ ^ f^ ^ ^ 1 k''^ ^ •


MM. 56-68 constitutes Section A where Theme A returns in the

mellophone with no harmony other than the Fm7 arpeggiated chord in the

contra part.

Another variant of motive B (labeled motive Bâs in Example 75) is

presented as a displaced call by the sopranos and baritones/euphoniums

against the extended response of the mellophones over a syncopated

quarter note pedal point in the contra.

115

Suite Example 75. Theme B1: MM. 62-67, Mvt. Ill, Channel One

Pedal Point

S o p R e d u c t i o n

Me l lo I

M e l l o II

Bar i / Eupin F teduot ion

C o n t B

^m

^"''•' -1.1 J J P^r^r p: ^

# t?fe= ^m ^^m m

^ ^ J' J-' J ^

"(LTir't ^


Section A3 (mm.69-75) concludes the movement. Theme A (mm.

69-72) is presented a final time (in augmentation-labeled theme Al)

within the soprano line.

116

This is supported by the sequential dotted quarter notes of

the mellophone, baritone, euphonium and contra as shown in Example 76.

Example 76. Section A3: MM. 69-72, Mvt. Ill, Channel One Suite

Theme Al


117

CHAPTER VII

BLUEPRINT OF CHANNEL ONE SUITE

The writers/arrangers are increasingly electing to create a

flowchart of the composition before the start of the arrangement. The

flowchart or blueprint serves several functions:

1. It can be used as a guide in the analysis of the

composition to determine the composer's intent.

2. It may be used to map out the arrangement in graphic

form, which makes it easier to assemble or rearrange

various sections in the arrangement.

3. It may be used as a musical storyboard for the percussion,

visual and auxiliary designers. It is a tool that other

designers may use to support the musical program

through their medium.

In order to use the flowchart, the writer must understand its

makeup. There are seven (7) basic components of the flow chart^^;

32 Robert Garofalo. Blueprint for Band. (Ft. Lauderdale: Meredith Music, c.1983) 32-38.

118

1. Form Scheme-

A. Used to determine if the composition

belongs to a standard form (i.e., sectional,

variational, developmental, imitative, dance,

free, multimovement or a combination

[hybrid] of the aforementioned forms).

B. Used to determine sections, periods and

phrases in relationship to melodic and

harmonic materials.

C. Other considerations within form are balance,

continuity, variety, number and relationship

of movements, and total length of movements

and sections.

2. Melodic Design-Used to indicate, identify, and

locate main themes, subordinate themes and

counter-melodies.

119

3. Rhythmic Elements-Used to indicate tempo as a

factor for general moods (Slow-tragic, majestic,

heavy), identify and locate various meters, special

rhythmic devices (ostinatos, hemiolias, polyrhythms,

syncopation, etc.).

4. Bandstration (*)-Used to indicate instrumentation

of thematic materials and harmonic accompaniment

materials

5. Harmonic Structure-Indicates tonal (key) or pitch

centers, and important cadences, modulations and

chord progressions.

6. Texture-lf desired, to indicate the basic textures of

sections and subsections.

7. Dynamic Curve-To indicate important dynamics,

especially climaxes. It may be helpful to include a

graphic curve illustration of the overall dynamic

scheme.

(*) Term coined by Garofalo.

120

The writer may construct a flowchart using any additional

components that she (or he) feels necessary. For this project, the author

has modified Garofalo's flowchart for the bugle instrumentation. Tempo

markings and meters are located in the form section where they occur in

the music. Bandstration has been replaced by Primary Contrapuntal

Instrumentation (which is defined in the next section). Harmonic Structure

has also been replaced by Harmony and is defined in the next section. The

identification of the types and styles texture replaces the basic texture

format. The format for the Dynamic Curve has been re-defined and is

discussed in the next section.

This modified format allows musicians and non-musicians the

opportunity to intimately study the arrangement and work toward

coordination of all elements (brass, percussion, visual and auxiliary) to the

aural presentation of the program.

121

Interpretinn The Flowchart

The author suggests reading the flowchart as follows:

1. Form-The double bars mark the movements. The vertical

bars of shorter lengths to mark the sections. The

horizontal brackets and numbers indicate in the

number of measure within the section. The

sections are identified the capital letter at the

beginning of the brackets.

2. Melody-Indicates the location of the main themes,

subordinate themes and countermelodies in

correlation of the measures.

3. Rhythmic Elements-Primary rhythmic/special devices

(e.g., ormentation, asymmetrical rhythms, special

effects) or ideas of the melody are located in this

area (in correlation of the measures).

4. Primary Contrapuntal Instrumentation-Primary

rhythmic/special devices or ideas of the

accompaniment located in this area (in correlation

of the measures).

122

5. Harmonic Structure-(Though chord progressions would

be listed in this section, for this project they will be

discussed in the next chapter). The various types of

voicing and rhythms used in correlation of the

measures are presented in this location.

6. Texture-The various styles and types of texture are

presented in correlation of the measures and

instrument(s) it affects.

7. Dynamic Curve-Graphic illustration indicating dynamic

markings, texture density and aural shaping of the

arrangement in correlation of the measures.

123

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134

CHAPTER VIII

HARMONIC ANALYSIS OF CHANNEL ONE SUITE

Movement I

The key of the first movement is B'' major though it is played in C

minor (the Dorian scale or minor ii of B" major). By using the C Dorian

Mode, the composer has outlined the traditional jazz harmony of B": ii-V-

Fm: i as the keys of the three movements in the composition. The formal

structure of this movement is the Introduction-A-B-A^-C-D-A^.

The Introduction is thirteen measures in length and is based upon a

Cm triad (or ii). Motive 1 is introduced in pyramid form (mm. 2-8) over a

chordal structure of Cm-Gm-F^-Eb9-B''-Gm^-A^-Gm^-B'' -A'' It concludes

with the presentation of motive 2 as a "Choir with in a choir" chord

planning device in the mellophones over a sustained C#°^ played by the

rest of the ensemble [Cm -Fm -Gm -B -A^ -Gm -Fm -E' -Cm -Fm -

Bm^|C#°^

135

Section A introduces the walking bass line as melodic material

(motive 3) in mm. 14-17. This motive outlines the blues scale of 1-^3-4-

#4-5-(''7)-1 on Cm. MM.18-26 introduces the parallel period of theme A

over motive 3.

Section B, though only nine measures in length and in simple triple

time, is the first contrasting section presented over the bass pedal. The

section contains E ' -Dm^ {D^-Cm''-F)-E^^-F^ (F-E' -F) E' s-Dm (D7-F^ -F"7)

B^-F over an F pedal in the contra. The parenthetical chords indicate the

use of passing and/or neighboring chords within this parallel period ending

with an F (added4) chord. The section uses motive 4 and motive 5 as part of

the polyphonic form.

Section A returns to quadruple time with motive 3 supporting

theme A in a call/response structure over the lower brass

accompaniment. The call/response sub-form is presented in the soprano

/mellophone lines with the concept repeated in movement III. The chordal

structure is basically Cm -F-Cm^ with phrase endings on B ^ (i^-V/VII-i^-

Vl|3) with VIP as a substitute dominant.

136

Section C is played in compound duple time in a polyphonic chord

structure over a fragmentary motive 3 F pedal within the contra part

while theme B (mm. 57-64) is played by the mellophones being

supported by the immediate outer voices (sopranos/baritones) in a

syncopated accompanying line. This occurs as part of a four-measure

sequential phrase as part of a sequential parallel period. The latter half of

this period (mm. 65-69) occurs over an A'' pedal of the contra with a

chord structure of E^m -Fms-D' -E' m -D^ -E 'm -Emtt -Fm^

MM. 72-74 introduces several hybrid scales that resolve to an E" ^

chord that ends the section. The first hybrid scale is located in the

mellophone part at m. 72 and is based on an F whole-tone scale with

minor 2" ^ between the notes B-C and D-E" (F-G-A-B-C-D-E' -F-G). The

preceding two scales of mm. 74-75 are in outer contrasting motion of

each other. The upper scale (played by sopranos) is another whole-tone

pattern centered on F with minor 3 = between B-D, E-G and major 3=

between G-B (F-G-A-B-D-E-G-B). The lower scale pattern (played by the

lower voice line) is a layered harmonic hybrid octatonic scale with a whole

step between A' -Ftt (F-E-D-D^-B-B' -A^-Ftt-F).

137

Section D is the "shout chorus" or main tutti section of the

movement. The rhythmic lines are linear with homophonic content over

the walking bass line of the contra. Each phrase of the first parallel period

consists of chord planing.under a hint of tonality and little overall tonal

progression. The following short three-phrase period is the elaboration of

the previous chord stream and elides the ending to the next section.

Section A2 (mm. 93-98) marks the return of original motive 3 in

pyramid form throughout the ensemble. A reverse pyramid form of

motive 3 (mm. 99-105) is based upon the sequential movement of fifths

(C-G), to end the section and the movement.

Movement II

The second movement is based upon F major (or the V of B'' major)

of the overall key structure of ii-V-i. The formal structure of this

movement is A-A(i)-B-C-A(2)-D.

The solo soprano plays theme A at the introduction of this

movement, which is motive 3 of movement, I transposed up a major

second.

The supporting material of the first three measures of theme B

section A (mm. 8-10) is a polyphonic random appreggiation of the chords

138

Gm7-C9-F(6/9) (or IP-V^-P.the first presentation of the basic traditional

jazz harmony). M.11 consists of two-chord turnabout (Am^-Ab°^)

designed to lead back to part of the previous chord progression [Gm -C^

(ii^-V^)]. This is followed by a downward chromatic chord progression (B^-

B'' - Am^- A^ (*9)) modulating to the key of A^ The second half of section

A (mm. 16-23) is homophonic in nature with a progression of ii -V^-ii -IV-

l-IV'S-Vr (or W =F:V) with the VI chord modulating back to the key of F

Major.

Section Al (mm. 24-31) is a variant of the first half of section A

(mm. 8-16). MM. 27-30 includes a linear chromatic progression with

common tones (A, E, G within the first two chords and G, F for m. 28)

Am -A-Aô -Gm-Gm^ ("s) _C9 (ttiD-B -B^ -Am -A^Mhis progression also

includes turnabouts with the first four chords (Am^-A-A''°^-Gm) and the

last five chords (C^ (*")-B -B'' -Am -A^ ) to return to Am^that is

modulatory to A*" Major.

Section B (mm. 32-39) is in the key of A" Major exhibits the second

occurrence of the traditional ii-V-l jazz harmony at mm. 32-34.

Section C (mm. 39-46) continues in Ab major and is polyphonic

with four distinct lines played simultaneously. The three harmonic lines

139

are a repeated progression of ii-V within mm. 40-43 to set up the

dominant chord at mm. 44-45 before resolving to an augmented IV ^ on

D".

The final A section returns as A^with theme B (in slight variation

of the melodic line of sections A and A ) in the key of F major and is

played by solo Mellophone. This melodic line occurs over the same bass

line as in Sections A and A [ii^-V^-P'^/s'-iii^ (subV^)-[P"*]-ii7 ^'^^^-y^-W/y-

IV7-iii7(sub V^)].

Section D is a short shout chorus of the movement. The first six

measures are polyphonic yet, homo-rhythmic in the structure. The section

also modulates back to A" Major from F Major. M. 4 includes an A'' major

scale in the contra supporting a sustained Fm^ chord played in the other

voices. M. 59 contains bitonality within the latter part of the quarter note

triplet to the resolution in the dotted quarter-note (C''|A''-A''m|A''-E''").

* P=Passing chord. In this case, passing diminished seventh chord.

140

IVM. 61-64 is the final solo (played by soprano) in this movement

and is a loosely structured form of the previous solos presented eariier in

the movement. This phrase is the final modulation of this movement

returning to F major. The final two measures of the movement are based

upon dual sequential movements of the bass notes in the contra

(sequence 1: in downward fifths: F-B^ E'' -A^ D -G^ sequence 2: in upward

fourths: B''-E^ A -D* ). This idea was taken from the sequential movement

ending of movement I.

Movement III

The third movement is based upon F minor to complete the overall

key structure of ii-V-i. The formal structure of this movement is a hybrid

seven-part rondo form ending with a codetta (A-B-A( )-A(2)-C-A(3)-

Codetta).

The introduction (mm. 1-4) of the movement is played by a 4-piece

tympani set outlining the Fm^ bass ostinato of the contra.

The first A section (mm. 5-14) consists of the phrase group A-A -B

in which Theme A and Motive A dominate the section. The harmonic

progression (supported only by the contra) is Fm^ for each of the two

measure periods A and A\ Period A ends on a iv-l [Plagal Cadence (PC)]

141

while period A ends on an inverted PC. The four-measure B period though

contrasting material has a harmonic progression based upon Fm^ and

continues with an incomplete Cm ^ progression for the last two measures

before concluding with the Fm^ bass ostinato of the contra.

Section B (mm. 15-22) is made up of a single period of two three-

measure phrases separated by a one-measure bridge and ending with a

one-measure tag in support of theme B, motive 8 and motive B.

The downward progression of the first phrase is as follows: Fm-E" -

D''^ Within each measure of the first phrase is a related chord to this

progression: Fm-Gm, E ^ -Dm^ and D'' -E'' (with the E'' as a chord

substitute of a V^ chord). The bridge consists of A'• B"", A ^ and B ^ and

links the next phrase by a half-step downward progression. The second

phrase is similar to phrase one in rhythmic form and tonal quality however

with different the chord progressions. This phrase uses B'' -E'' A'' -D''m^

and B^m -Go^

Section A (mm. 23-30) is an eight-measure phrase based upon

motive A in a call and response form from the idea of section A,

movement I. This chord progression is also consistent with the traditional

jazz harmony of i-ii-v-i.

142

The A motive deviates from the original composition with the addition of

an implied Cm^ chord at the motive's end over the chord structure of

Fm -C -Fm-Gm -Cm^ (i7.v7.j.ii7.v9).

Section A2(mm. 33-45) is a repeat (the third time) of the melody

(played by the mellophones) of section A. The phrase group for this

section is differs slightly from the original A section: A-A^-B-C. Though

the bass ostinato remains the same as the original A section it is joined

with a sequential rhythm played by the lower brass thus changing the

chord structure to primarily outline a B^ -Cm^ deceptive move. Again the

period A ends on with iv-i and period Abends on an inverted lAC.

The initial two-measure melodic line of period B is also the same as

its counterpart in section A. It is also supported by a lower brass

accompaniment outling a progression of B^ -Fm -B^m^ E^^-A^^-E^m^\ The

last four measures of period B are based on the mellophone theme as

FM/C (V/IV|v). The B section concludes with a linear chromatic scale

(from B' -E) played by the sopranos with the second sopranos in

contrasting motion to the tonic Fm^ chord.

Section C (mm. 48-55) is an immediate departure from the key of

Fm up a half step to the key of B m and is also the shout chorus or main

143

tutti section of this movement. The highlight of this section is the two

four-measure phrases of a parallel period based upon chromatic chord-

planning over a walking bass line in the contra.

The chord streaming in the A phrase begins on an A" or VViii while the

chord streaming of the A phrase starts a major second higher on 6"^

Section A^ (mm. 56-69) marks the return of phrase group A-A -B-C

of section A ' in the key of F minor with the original Fm bass ostinato of

section A while melodic line is again played by the mellophones. The major

difference of phrase C of this section as compared to phrase C of section

A^ is the mellophone theme is an inverted form of section A^ over a

syncopated quarter-note pedal rhythm within the lower brass line. The

harmonic structure of these seven measures outlines an Ab -Cm-C°"A'' -

GPm progression.

The codetta (mm. 70-75) begins with a chromatic eighth-note

triplet played by the contra to present theme A (played by the sopranos).

This motive serves as the original compositional form for which the third

movement is based upon. This is supported by a dotted quarter-note

sequence of descending fifths within the bass line of the contra under a

144

chord progression of (Dm-B -Do -D" ^ C^ -G^m). The movement concludes

on an F Major chord.

145

CHAPTER IX

SUMMARY AND CONCLUSION

The North American drum corps movement has made its mark on

other continents of the worid. The majority of music used by these corps

are mainly composed or arranged by American writers.

Techniques for arranging music for drum corps is traditionally based

upon the writers' word of mouth, apprenticeship, or by trial and error

method. Thoughout the past sixty years, drum corps publications have

recorded changes in the activity from a military emphasis to its current

state of creativity and pageantry. However, there have been no articles

written on arranging for a drum corps hornline.

The purpose of this project is to offer a variety of comprehensive

methods and techniques on arranging for a hornline.

In order to understand how to arrange for a drum corps hornline, a

brief history of the birth of Drum Corps International (DCI) and the brass

instruments (circa 1976) used within a drum corps has been presented in

Chapters II and III.

146

The aspects of arranging specifically for this unique family of

instruments is based upon several factors as outlined in Chapter IV:

1. Style of Music,

2. Number of horn players,

3. Distribution of the horn players within the sections,

4. Musical strength of the horn players,

5. Texture and complexity of the composition to be arranged.

To demonstrate how this comprehensive method is applied, the

author has chosen William Reddie's Jazz Band composition, Channel One

Suite as a sample arrangement. In Chapter V, the author describes how

the drum corps arrangement was made from the jazz band composition.

In Chapter VI, the author introduces the melodic analysis of the

three-movement composition. This is presented in the form of a

structural diagram followed a comparison of motives between the

original composition and the arrangement.

Chapter VII is an introduction of a blueprint or flowchart based upon

Robert Garofalo's Blueprint for Band. The seven basic concepts of

Garofalo's flowchart have been modified to reflect a visual representation

of the arrangement.

147

The project concludes with Chapter IX as the harmonic analysis

section of the arrangement. Though the harmonic structure of the original

composition and the arrangement are complex, the formal analysis

consists of the primary chordal structure and its function as it relates to

the traditional ii-V-i jazz harmony.

Conclusion

The method of arranging for the hornline of a drum corps presented

in this project is one of several that may be used by any

composer/arranger. In the medium of drum corps arranging, it is one of

the most approaches to the arrangement of the music.

The author's intent in this project is to present a logical approach

to composition and arrangement for the instructor and student of music

for the drum corps. The hoped for outcome is to present a unified

method or "sketch pad" technique, that can be retained as a technique

arranging or compositional ideas to be used in future musical selections.

In no way is the author advocating any standardization of music

arranging within drum corps. To do so would undermine the musical

creativity of the activity. It is the author's desire to recognize the

148

approach to arranging any musical composition to the five major voices of

drum corps brass instrumentation and the creative genius of those who

write for them.

149

SELECTED BIBLIOGRAPHY

Atkinson, Chris. "The Drum Corps Activity takes to the Ainwaves." A History of Drum and Bugle Corps. Vol.1. Madison: Sights & Sounds, Inc., 2003.

"Southeast Asia." A History of Drum and Bugle Corps. Vol. 2 Madison: Sights & Sounds, Inc., 2003.

Beckham, Rick. "The Birth, Growth, and Metamorphosis of Competitive Rudimental Drumming." A History of Drum and Bugle Corps, Vol. 2. Madison: Sights & Sounds, Inc., 2003.

Bilik, Jerry H. "The Corps Versus The Band." The Instrumentalist 29, No.11 June 1975:41-43.

Burton,Stephen D. Orchestration, Englewood Cliffs, NJ: Prentice-Hall, Inc. 1982

Cillers, Retha. "South African Field Band Foundation." A History of Drum and Bugle Corps. Vol. 2 Madison: Sights & Sounds, Inc., 2003.

Duganne, W.T. The Army Bugler. W. D. No. 1019. Washington D. C: War Department, Government Printing Office. 1920.

Garofalo, Robert. Blueprint for Band. Ft. Lauderdale: Meredith Music c.1983.

Hars,Steven."United Kingdom." A History of Drum and Bugle Corps. Vol. 2 Madison: Sights & Sounds, Inc., 2003.

Howard, William. "Masters of Their Destiny—DCI is Established," A History of Drum and Bugle Corps. Vol.1. Madison: Sights & Sounds, Inc., 2003.

150

http://No.11

Kerchner, Larry. Arranger Hawthorne Muchachos Drum Corps. Conversation with Author. 29 Dec 03.

Kloppert, Hans. "Europe." A History of Drum and Bugle Corps. Vol. 2 Madison: Sights & Sounds, Inc., 2003.

Ludwig, Jr., William. Letter to Steve Vickers. 05 December 1995.

Neidig, Kenneth L. "Bands of America Summer Workshop." Band Director's Guide No. [sic]4 (May/June 1990):2-5.

Norman, Kenneth. Arranger ([email protected]) E-mail with author. January 2004.

Pirtle, Bobby. "The Evolution of the Bugle." A History of Drum and Bugle Corps. Vol. 1. Madison: Sights & Sounds, Inc., 2003.

. "The Stan Kenton Mellophoniums." T/ie M/c/of/e Horn Leader. May 1993.

Osheroff, Raphael and Robert Zinko. "The Big Parade-The Veterans Organizations and the Drum and Bugle Corps Movement." A History of Drum and Bugle Corps. Vol.1. Madison: Sights & Sounds, Inc., 2003.

Reddie, Bill. "Channel One Suite." Warner Brothers Publications. Warner Music Group, Miami. Copyright 1969.

Sadie, Stanley. " The New Grove Dictionary of Music and Musicians." London: MacMillan Publishers, Ltd. 1980.

. " The New Grove Dictionary of Music and Musicians."2"'' Edition London: MacMillan Publishers, Ltd.2001.

Sward, Rosalie Dr. "The Evolution of Musical and Visual Design."_/\ History of Drum and Bugle Corps. Vol.1. Madison: Sights & Sounds, Inc., 2003.

151

mailto:[email protected]

Tarr, Edward. TheTrumpet. (Portland: Amadeus Press. 1988. p.20).

Vickers, Steve. "The Big Parade -The Veterans of Worid War I Form a Unique Organization."/\ History of Drum and Bugle Corps. Vol.1. Madison: Sights & Sounds, Inc., 2003.

"Drum Corps Periodicals." A History of Drum and Bugle Corps. Vol. 2. Madison: Sights & Sounds, Inc., 2003

Whaley Royce Co. Ltd. Drum and Bugle Corps Accessories Catalog. January 1967.

United States Marine Corps. Manual for Field Music. Washington, D.C.: 1935.

Websites

A History of the G Bugle. WWW. Anchormen.org.uk/

Drum Corps International 08 Dec 2003 WWW.DCI.Org.

Drum Corpsplanet.com Monday 08 Dec 2003 www.drumcorpsplanet.com

Madison Scouts Monday 08 Dec 2003 http://madisonscouts.org/

Phantom Regiment Monday 08 Dec 2003 www.regiment.org

Rec.Arts. Marching Drum Corps Monday 08 Dec 2003 WWW.google.com, Rec.Arts. Marching Drum Corps

Santa Clara Vanguard Monday 08 Dec 2003 WWW.scvanguard.org/community_programs/index.php

Spirit from JSU Monday 08 Dec 2003 www.spiritdrumcorps.org/

The Cadets Monday 08 Dec 2003 www.yea.org/cadets

152

http://Anchormen.org.uk/

http://WWW.DCI.Org

http://Corpsplanet.com


http://madisonscouts.org/

http://www.regiment.org

http://WWW.google.com

http://WWW.scvanguard.org/community_programs/index.php

http://www.spiritdrumcorps.org/

http://www.yea.org/cadets

Discography

Reddie, Bill. "Channel One Suite" Rich, Buddy. Europe 77. DAWE60 Magic Compact Disc. Middlesex, England: Submarine 1995).

153

APPENDIX A

PERMISSION LETTER FROM

WARNER BROTHERS PUBLICATIONS

154

WARNER BROS. PUBLICATIONS U.S. INC. 15800 Northwest 48* Avenue

Miami, Florida 33014

January 13, 2004

John A. Leggett 1001 University Avenue #348 Lubbock, TX 79401

Dear Mr. Leggett:

This letter serves as your permission to reprint musical excerpts from CHANNEL ONE SUITE, by Bill Reddie, published by United Artists Music Co., Inc/EMI U Catalog Inc., within the Master's thesis you are writing, at Texas Tech University in Lubbock, Texas, entitled ""ARRANGING FOR DR UM CORPS: IT'S ALL ABOUT THE MUSIC!!T.

This permission is limited to the terms of your request dated January 6, 2004, and does not authorize the inclusion of the material in any other form for distribution, free or for charge, excluding microfilming. It is, however, understood by us that University Microfilms may supply single copies on demand.

This permission is granted on a non-exclusive basis, and you shall afford all credits as they appear on the source material. The fee for this permission shall be $25.00 payable in U.S. funds.

The Copyright Notice should appear on your copies, along with the words "Duplicated by Permission".

Please acknowledge acceptance of the permissions by affixing your signature, on BOTH copies, in the space provided below. Please retain one copy, returning the second to this office.

Thank you for your interest in our publications. We wish you well with this project.

Sincerely, WARNER BROS. PUBLICATIONS U.S., INC.

Juliette Perez, Coordinator Copyright/Licensing Administration

Accepted and Agreed to:

155

APPENDIX B

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PERMISSION TO COPY

In presenting this thesis in partial fulfillment of the requirements for a master's

degree at Texas Tech University or Texas Tech University Health Sciences Center, I

agree that the Library and my major department shall make it freely available for

research purposes. Permission to copy this thesis for scholarly purposes may be

granted by the Director of the Library or my major professor. It is understood that any

copying or publication of this thesis for financial gain shall not be allowed without my

further written permission and that any user may be liable for copyright infringement.

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Documents

Arranging for Drum Corps Thesis