A Visual Design Template for Pop Tune Openers?
If you are a director who casually designs your own show each year but struggle with coming up with ideas, this entry is for you!
Have you ever wondered if there is such a thing as a visual design template to follow for marching openers? I have and yes, I may have developed one. When you are responsible for designing somewhere between 10 and 20 marching shows a year, you start to see things differently. This is not to say I cut corners by reusing designs, (although I have designed the same music several times meaning the phrasing is largely the same from one iteration to another) but I have noticed similarities between designs at times. This usually happens because of designing to stock arrangements. These arrangements (usually settings of pop tunes) largely follow a template much like a Barry Manillow pop tune. See if this doesn’t ring true:
Introduction
Vamp (could be a texture change featuring percussion or a repeated pattern in a segment of the winds)
Verse 1 (sometimes split voicings. ie. Low Brass Melody and then High Voice Melody)
Chorus 1
Verse 2
If you’re lucky, some type of development or a bridge (what the Heck is a bridge?)
Chorus 2 (If you’re lucky in a new key with different voicings)
Tag ending (Again, if you’re lucky)
I mention the scoring in the above outline because one of the real challenges with stock arrangements is the lack of texture changes. They are by nature mostly tutti with the full wind section always playing. This lack of variety of texture makes it more difficult for us designers to provide variety in the visual design.
So let’s work our way through the template.
Introduction: There are usually 2 types of Introduction; A. Big full band tutti statement. B. Soft developing/growing phrase(s) reaching a loud impact point. If A, Standfast or Hold throughout in a form that looks stable like it could stand up if it had to and place the ensemble in the front of the field while still allowing some negative space between it and the front side line. If there is a concrete concept or idea the tune is communicating, the form could reflect that and be something that is recognizable to the observer rather than being an abstract collection of line/form. If B, start the ensemble in a less dense arrangement oriented between the hash marks. Use the opening soft/building phrases to move the ensemble into the “Power Zone” and forward arriving at a strong formation coordinating with the loud impact point. A stronger design will have a texture and/or density change from the opening set to the impact point. The impact point could also involve a form that is recognizable or more concrete similar to the idea in Introduction A.
Vamp: Use this section to segment the form and stage the first group who has the melodic material in Verse 1.
Verse 1: Winds who have the melody should Standfast while other winds/percussion are providing visual interest and being re-staged for their turn to play the melody (if it’s there). Auxiliary could all be staged in close proximity to those performing the melody or split so some are providing support to the melody while others are supporting background parts. If the voicing changes during the second half of the Verse, do the exact opposite. Have the winds who originally were playing background/moving Standfast and move the rest of the winds/percussion. Provide auxiliary support if personnel permits or stage so auxiliary is in close proximity to the melody. Use this phrase to re-stage those who are now playing background as to be able to combine elements for the upcoming statement of the Chorus.
Chorus 1: This is an opportunity to have a unified effort from all forces. The strongest presentation (IMHO) is to have the auxiliary integrated with the winds. Keep the auxiliary stationary if possible while moving the winds/percussion around them (be sure to allow enough distance for safety). The winds should be involved in something that exudes energy/velocity. Using the Follow The Leader is a way to get a lot of velocity bang for your buck. This can be in a curvilinear or in a block formation. If using the Follow The Leader in a curvilinear (see illustration #1), use as close to a 7-to-5 step size as possible. You can go 6-to-5, just know that is more difficult. It’s vastly important that as many of the musicians possible are able to produce their best sounds. The spacing of the winds should be at least 2.5for safety, but no more than 4 steps. Percussionists shouldn’t be involved in a Follow The Leader (especially at a 6-to-5). They can move, but in most situations, a Follow The Leader will cause issues for their listening environment. Keep in mind the more counts the Follow The Leader lasts, the more chance of separating sections. The design will likely need to put sections back together in the phrases following the Follow The Leader. If using the Follow The Leader in a block, make the block a 4 step interval front and back and keep the Follow The Leader at an 8-to-5 so the wind performers will be on the grid throughout the move. Integrating the Auxiliary using large equipment (flags) is a little tricky and will require leaving “open space” inside the block. See Illustration #2. Another option for the Chorus is to simply have the ensemble in the power zone with the auxiliary integrated and Standfast.
Verse 2: This time through the Verse, go ahead and move the entire ensemble. This should be a time to get sections regrouped and present a texture and/or contour change. If the prior Follow The Leader or Standfast form was a curvilinear, move to a more linear approach. The previous form can be segmented into smaller groups in order to make regrouping sections easier. If the prior Follow The Leader or Standfast was a block form, move to a curvilinear based form or segments. The phrasing should be such the Verse 2 is treated as 2 or more phrases.
Development or Bridge: Depending upon the dynamics, this could be an opportunity to move backfield (and create some negative space in the front of the field. Turning the winds away, even with a small band can be very effective. This can also give the auxiliary an opportunity to take the visual interest lead if they are in front as the winds/percussion move back and/or out away from the 50. This section of the tune should be treated as 2 or more phrases allowing for a change of direction and changes in facings if needed. By having multiple phrases, the designer has the option of changing density and/or before the return of the Chorus.
Chorus 2: Do the opposite of Chorus 1. If the ensemble used a Standfast in Chorus 1, be sure to move during Chorus 2 and if the ensemble moved during Chorus 1, use a Standfast this time.
Tag Ending: Use the Tag Ending for one last dose of velocity. Look for opportunities to have a couple of shorter phrases. If the phrasing thus far has mostly been 16 or more counts in a phrase, shift and use a series of 8s or even 4s to ramp up the pacing of the design. Allow the Auxiliary to be stationary in the front of the field at least by the final note of the tune and this will help with any potential equipment change. End the production with the ensemble in a wide, flat formation that communicates this is the ending. The form should appear to be at rest (see illustration #3). If a Tag Ending isn’t included in the arrangement, incorporate these ideas into Chorus 2.
There you have it, the DB Opener Template. Just like storytelling utilizing “Hero’s Journey” (departure, initiation, and return), this template will work with many of the stock pop tune arrangements available from publishers today.
Illustration #1: Curvillinear Follow The Leader
Illustration #2: Block Follow The Leader
Illustration #3: Last Set (at rest)
I love hearing from readers like you. Please leave a comment and let me now what you think.—DB