Designing for Small Bands
This is something that comes up frequently and rightly so. Small bands have challenges that big bands don’t have…..But big bands have challenges that small bands never have to think about. So, what’s the big deal? In fact, rather than viewing the challenges of designing for a small band as challenges….Why not look at them as being advantages or opportunities?! Over the years, I have seen many small bands who out performed much larger ensembles. The secret is maximizing the strengths of not only the ensemble, but every single individual performer. Here are a couple of small band strengths.
A. The use of velocity can be a strength of a small band. There are fewer performers on the field meaning there is likely more negative space with which to work. This is an opportunity for the designer.
B. Small bands have the ability to change staging more quickly than a large band. A visual designer can completely flip the placement of the instrumentation in just a few counts with a small band whereas it could take several phrases to accomplish the same with a larger band.
Now here is a quick list of designing tips for small bands.
Define the stage with props/boundaries. A football field is a huge stage. If your football stadium is out in the country somewhere and you don’t have visitor stands on the back sideline, guess what…..It’s an even bigger stage. By using props or other devices, the designer can limit the size of the stage and provide focus. It also allows the ensemble to “fill” the defined performance area. This is NOT a new idea. Check out the 1993 Jackson Academy HS Band in this video Now, I will say that I believe props present their own challenges. They have to look professionally done, they have to be easy to transport, they have to withstand outdoor elements (read wind), and they should be something with which the performers interact regularly throughout the program.
Keep the Winds and Percussion in the “Power Zone”. The Power Zone is usually defined as between the 30s and the front half of the field. A good design will make ample use of the space available, but a bad design for a small band may make use of space the band has no business occupying.
Keep the elements of the band together (Winds, Percussion, Guard, etc.). Split the groups sparingly (like NEVER). It will help with variety to allow some space between elements from time to time (when it makes sense to do so), but again a little goes a long way for a small band.
Integrate the Guard often. This will mean the Winds may have to be at a more open interval to allow the Guard members to integrate and account for equipment, but the dividends are high for putting this into practice several times during a design.
Keep Guard members together if you have fewer than 12. Oh, how many times have I seen a Guard of 6 split 3 and 3 on either side of the band proper. This completely diminishes the Guard’s contribution to the overall visual element of the show (which is their main purpose). Keep them together and maximize their contribution of color/motion.
Spacing of Winds: Use 3-4 step intervals for curvilinear forms and 2 step intervals for fronts and geometric shapes.
Use counter-motion to give the illusion of velocity. You can create a lot of visual energy moving at an 8 to 5 at 140 clicks if there is enough counter-motion.
Beware of having too many Wind players moving at step sizes over a 7 to 5 while playing. The goal is to keep as many Wind players possible producing sound at any given time. Think about the physical exertion larger steps and playing puts them through.
Use “Windows” in Blocks. Rather than having everyone in a 4 step block, move every other line 2 steps laterally so you can see the full body of each performer. It makes the ensemble fill up more space and it gives them each an 8 step distance in front so their sound isn’t masked by the person in front of them. See the image below. Instead of the Block on the Left, go with Block on the Right.
Be extra careful about placement of performers who have the pulse center. This is in addition to #8 above. You will want to have everyone feeling confident and playing with their best sound. If performers are having trouble finding pulse, guess what? It’s much easier as performer to feel confident when the pulse is coming from behind you. It doesn’t mean that a side to side situation couldn’t work, but you may want that to be the exception rather than the rule.
Group sections based on role in the score rather than strictly Brass—-Woodwinds. Look for cross-scoring and how the composer/arranger has treated the orchestration. This may change throughout the program. Remember, B above is a strength of small bands. A designer who has really spent time with the music will make those groupings happen.
Don’t move everyone all of the time. Unless all of the individuals are strong performers, park players who have melodic or technical passages while moving others who may be playing a supportive role in the music book. Again, the goal is everyone playing with their most confident/best sound anytime they produce on their instrument.
That’s my 12 tips. For more, check out this video done by 2 clinicians discussing small bands at Music For All Symposium in 2012. Great ideas here
As always, I love hearing from readers like you. Please leave me a comment. If you have enjoyed reading this entry, please share it with a friend. — DB
