First Arranging Project - Update 3
Welcome back everyone to update 3 of my 8 part blog series! If you are new this week, welcome! I’ll be going over what has happened so far to get you caught up.
For those that are unaware or need a refresher, I am currently in the process of arranging the Halo theme and other tracks from its OST for flute choir. It has been a somewhat difficult process to figure out how to continue from where I stop at, but it has not been impossible. Last week, if you remember, was all about the idea of taking the time to refresh the current arrangement, and by refresh, I mean scrap the intro and redo it. Now that you’re caught up, let’s get into this week’s update.
This week had more progress made than last. For starters, I decided that what I had finished from last week was a good spot to end the arrangement section of the “Opening Suite” from the OST. I then began work on the part of “Truth and Reconciliation Suite”. This involves the bass voice constantly contributing to the harmony while the alto flute gets the extended technique with “ch k ch” articulation. It creates an airy, percussive sound that provides an adequate substitute for a drum.
Having the knowledge of what ensemble will be performing your work is key to knowing how technical you can make each part. Because I know the members of Flutefinity very well, I know that their parts can be trickier. For example, the piccolo has a constant running triplet figure at a fast tempo throughout this new section. It requires steady fingers and clean articulation at the top and bottom of the arpeggios.
I do find it interesting how there are times I wish I had more flutes in this arrangement to fill out the sections. Then I remember that the solution is very simple. I need to add dynamic markings when they are all finished. The bass flute will rarely drop to a piano, as it would not be needed in the texture, same with the alto. Piccolo will only ever have a dynamic ff written as an ensemble. The piccolo itself should realistically stay between p/mp to mf/f. Anything louder would overpower the ensemble.
Pic of new section with piccolo triplets.
Now that we’ve reached the end, what are the biggest points from this week that will be carried throughout the rest of the project? For one thing, I am ready to finally add the extended techniques of the instrument into the score, even if the midi won’t make the sound. It’s better to keep my ideas in the score so I don’t forget them. Next is the technical and musical abilities of the ensemble. When writing a piece, arrangement or new composition, it seems best to have an idea of what ensemble you are writing it for so certain parts can be geared to certain musicians’ strengths. For example, I know that the bass and alto flutes of Flutefinity will be able to play a wide array of different ways, including tongue rams, but we’ll get to that at a later stage.
Finally, dynamics and phrasing/slurs will be added towards the end of the entire arrangement process. They don’t serve much purpose for the midi I am using, and it feels best to get the notes and harmonies figured out without worrying about where a phrase goes.
Although this whole process feels like it’s trial by fire, I think that’s the best way to learn something you really want to know. Be sure to look out for my next post in roughly two weeks!