Mid-Size Ensemble
Whenever I think about writing for a big band again I remind myself that, at this point in my life, I am no longer interested in writing for saxophone, trumpet, and trombone sections. Instead, I am taking a different path with a smaller and more flexible ensemble with nine to twelve players.
The vision that I have for a mid-size ensemble uses a woodwind quintet as a role model – that is, with each instrument having a distinct tone color – instead of thinking of it as a smaller version of a big band. This concept can be explored with either conventional or unconventional combinations of instruments.
Flexible instrumentation is used in my scores. The scores are concert pitch with the wind instruments labeled as line I, line II, etc. A set of transposed parts is provided for an assortment of instruments within the range of each line. This enables the music to be performed by many combinations of instruments. An ensemble can use a specific instrumentation, experiment with instruments to create different ensemble sounds, or base the instrumentation on available players.
While I have several scores for five horns, I think of six horns as being the optimal number for my writing. My six-horn scores are written for a featured soloist, five wind instruments, and rhythm section. The soloist has both solo and ensemble roles. For the rhythm section, piano (and/or guitar), bass, and drums are the foundation. To add more colors and textures to an ensemble, the rhythm section can be expanded with instruments such as accordion, percussion, electronics, vibes, etc.
With six horns and each having an individual tone color, the six lines are blended, juxtaposed, crossed, and voiced in creative ways horizontally and vertically. This creates an ensemble sound that is based upon an interplay of colors and, importantly, an emphasis on the individuality -- bringing out the musical personality -- of each player. This approach to an ensemble is fundamentally different from the defining features of a conventional big band with saxophone, trumpet, trombone sections and each player merging his sound into the collective sound of a section (usually four or five players).
Another aspect of how I envision a mid-size ensemble is it can have a level of flexibility and creative freedom that is usually associated with a small group. This approach, using the notated music in a score as a point of departure, enables a piece to change, evolve, and be a fresh experience for the musicians and audience each time it is performed.
The vision that I have for a mid-size ensemble uses a woodwind quintet as a role model – that is, with each instrument having a distinct tone color – instead of thinking of it as a smaller version of a big band. This concept can be explored with either conventional or unconventional combinations of instruments.
Flexible instrumentation is used in my scores. The scores are concert pitch with the wind instruments labeled as line I, line II, etc. A set of transposed parts is provided for an assortment of instruments within the range of each line. This enables the music to be performed by many combinations of instruments. An ensemble can use a specific instrumentation, experiment with instruments to create different ensemble sounds, or base the instrumentation on available players.
While I have several scores for five horns, I think of six horns as being the optimal number for my writing. My six-horn scores are written for a featured soloist, five wind instruments, and rhythm section. The soloist has both solo and ensemble roles. For the rhythm section, piano (and/or guitar), bass, and drums are the foundation. To add more colors and textures to an ensemble, the rhythm section can be expanded with instruments such as accordion, percussion, electronics, vibes, etc.
With six horns and each having an individual tone color, the six lines are blended, juxtaposed, crossed, and voiced in creative ways horizontally and vertically. This creates an ensemble sound that is based upon an interplay of colors and, importantly, an emphasis on the individuality -- bringing out the musical personality -- of each player. This approach to an ensemble is fundamentally different from the defining features of a conventional big band with saxophone, trumpet, trombone sections and each player merging his sound into the collective sound of a section (usually four or five players).
Another aspect of how I envision a mid-size ensemble is it can have a level of flexibility and creative freedom that is usually associated with a small group. This approach, using the notated music in a score as a point of departure, enables a piece to change, evolve, and be a fresh experience for the musicians and audience each time it is performed.
A sample of my writing for mid-size ensemble:
The pieces completed so far are Blues For Lester, Baltimore Rowhouse, Sleepy Creek Samba, Appalachian Awakening, Salt Marsh Rag, New Tango No. 1, Connecticut Avenue SUVs, Smaller Ups And Downs, and Fanfare. Stylistically, the music covers a wide range from American roots music to avant-garde.
Note: My scores can be played by larger ensembles by having two (or more) musicians on each wind instrument part. Doubled parts -- with either same or different instruments on a part -- is an easy way for big bands to perform this music. A Big Band Misconception has more about this option.
Note: My scores can be played by larger ensembles by having two (or more) musicians on each wind instrument part. Doubled parts -- with either same or different instruments on a part -- is an easy way for big bands to perform this music. A Big Band Misconception has more about this option.