A. Introduction and Thanks

1. Pearl, Zildjian, Vic Firth, AMEA (Tony Pike), University of Alabama Percussion (Jason Dyhouse), Neal Flum

B. Neal Flum's Paper

1. Questions and perspectives
2. The premise is "there will be disagreement"

C. The Traditions

1. Military Band and Show Band influences
   1. functional part writing
   2. pulse and tempo
   3. large phrase concepts/form
   4. rhythmic contribution
2. Transitional Phase
   1. less patterned
   2. technically driven
   3. variation
3. Corps Style and Contemporary Marching Band influences
   1. musically driven with an ensemble orchestration
   2. orchestral qualities
   3. melodic contributions (pit and battery)

D. Instrumentation

1. battery ensemble = SATB (choir)
2. pit ensemble = concert percussion ensemble
   1. keyboard choir
   2. timpani as bass voice
   3. bass drums, concert toms, concert snare, gongs, cymbals, chimes
   4. hand percussion and accessories

E. Hoedown (Copland)

1. Beginning-39...........musical devices
   1. imitation and voice leading
   2. melodic reinforcement
   3. texturing and timbre
   4. dynamic contour and contrast
   5. pit as the lead voice
2. Measures 39-79
   1. melodic punctuation
   2. melodic reinforcement/quads lead voice
   3. ostinato @ 47
   4. segmental features @ 55
   5. tutti @ 71 (tradeoff)

F. Orchestration

1. Percussion Orchestration Tips (handout)
2. Phrase Chart - creating a plan (Hoedown)
   1. identify phrases
   2. define their function
   3. tempi, dynamic shape
   4. establish the lead voice

G. Music for Strings, Percussion, and Celesta (Bartok)

1. scores & recording
   1. notation and detailing
2. where do we go from here?
3. use of electronics

H. Concluding Remarks

1. Question: Are your arrangements more musically driven, or technically motivated?
2. Goal: Create an arrangement which generates effect and emotion, while maintaining musical integrity.
3. Clarity is the key to effective communication!
4. To evaluate: Close your eyes and listen.....avoid visual distractions.