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Marching Band Show Design

SHOW SELECTION
Using the music ideas/concepts we have discussed in class, please choose a show them/
music selection for your marching band show. In the space below, please indicate the
music selection(s) you will be using and complete the rubric for each piece or segment of
our show.

DIRECTOR NAME: ______Lindsey Showalter_______________________________

SHOW THEME/NAME: ______”What Goes Bump”___________________________

BRIEF DESCRIPTION OF YOUR SHOW CONCEPT – WHY DID YOU CHOOSE THIS:
This show features selections from Michael Jackson, Warren Zevon, Radiohead, and Ray
Parker, Jr. I chose this show because the theme provides many creative opportunities for
drill design, color guard and band movement, and prop/flag design. Most, if not all of the
music is well known and I believe it will appeal to all types of audiences that my program
will encounter. One thing in particular that I had to think about was the “marchability” of
the music. When I was deciding between this show and another, I realized that some of
the music selections in the other show were at awkward tempos- too slow to march in
single time, yet too fast to march double time. The music in this show will provide good
marching tempos. The show will start with a dramatic opening from Bach’s Toccata and
Fuge in D minor, which will transition into the Ghostbuster’s theme. Then it will move on
to the Warren Zevon classic, “Werewolves of London” (shoutout to my dad on this one).
The ballad portion of the show will feature “Creep” by Radiohead, and then the show will
finish with “Thriller” by Michael Jackson.

KEY
Style/Description: discuss the style of the piece in brief detail, notating any tempo issues
or changes in style within the piece, i.e. fanfare-like opening, medium tempo, faster end
section.

Solo/Section features: indicate the solo opportunities or sections that may carry the
melody or be featured.

Musical Concepts: indicate the musical concepts that can be or should be addressed
when teaching each selection, i.e. chromatic scales, lyrical playing and air support, bi-
tonality or atonality, double tonguing, etc.

Visual Concepts: indicate the visual concepts that can be implemented with the music.
This will include: drill design ideas (shapes, movement), staging (solos, sections with
melody), color guard ideas, choreography, colors (flags), props, etc.
- SEGMENT #1 -

TITLE
Toccata and Fuge in D Minor
ARRANGER/COMPOSER
J. S. Bach
Estimated Segment LENGTH
0:26
This piece is meant to start off the show in an
ominous way. It should start out in a stately way,
STYLE/DESCRIPTION but not too big yet. As it progresses, it builds until
• Genre the whole band is playing the strong final chords.
• Musical Style There may be issues with timing/conducting.
• Tempi

If there is a piano in the front ensemble, it could


start out with the melody and then sections of the
SOLO/SECTION FEATURES band could respond in the later phrases. If no
• Solo/Soli piano, one higher pitched instrument (piccolo/
• Features trumpet, but preferably soprano sax) or section
• Melody could start out with the melody, and then sections
• Countermelody could gradually join in.

The biggest musical concept in this piece is


imitating the sound of an organ. The sustained and
connected phrasing will be an important part of the
MUSICAL CONCEPTS execution.
• Dynamics
• Phrasing
• Rhythm/Pulse
• Intonation/Balance
• Articulation
The band starts facing backfield, and whatever
section or soloist is playing the opening phrase
turns dramatically when they enter. The band does
some sort of visual (turn and lunge?) at each chord
VISUAL CONCEPTS change, creating a rippling effect. The same
• Drill Design/Pictures concepts apply to the color guard for this opening
• Movement sequence.
• Colors
• Guard Ideas
• Props

- SEGMENT #2 -

TITLE Ghostbusters
ARRANGER/COMPOSER Ray Parker, Jr.
Estimated Segment LENGTH 1:38
The style and articulation are very important in this
piece as it is very well known. While it isn’t a very
STYLE/DESCRIPTION fast piece, the tempo must be kept from dragging.
• Genre
• Musical Style
• Tempi

Higher voices will carry most of the melody with a


few opportunities for low brass feature.
SOLO/SECTION FEATURES
• Solo/Soli
• Features
• Melody
• Countermelody
The main issues in this piece are the articulation
and style. While it is possible to single-tongue the
melody, it may be a good opportunity to teach
MUSICAL CONCEPTS double-tonguing on the sixteenth notes in the
• Dynamics melody.
• Phrasing
• Rhythm/Pulse
• Intonation/Balance
• Articulation

The band starts with a scatter that goes along with


the opening of the piece. The guard will use props/
costumes similar to the Ghostbusters. Some
members will be dressed as ghosts while others
VISUAL CONCEPTS chase them around the field.
• Drill Design/Pictures
• Movement
• Colors
• Guard Ideas
• Props

- SEGMENT #3 -

TITLE
Werewolves of London
ARRANGER/COMPOSER
Warren Zevon
Estimated Segment LENGTH
2:30
This piece has a moderate tempo and classic rock
feel. Possible opportunity for improvised solo.
STYLE/DESCRIPTION
• Genre
• Musical Style
• Tempi
There is an opportunity for a rockin’ solo by
potentially a guitar, drums, etc.
SOLO/SECTION FEATURES
• Solo/Soli
• Features
• Melody
• Countermelody

Musical concepts that will be addressed in this


selection include articulation, octave jumps, and
rhythm. Additionally, it will be important to give
MUSICAL CONCEPTS the melody phrasing and energy, as it is not
• Dynamics actually very melodic. A singer could be effective
• Phrasing for this piece.
• Rhythm/Pulse
• Intonation/Balance
• Articulation

Each movement represents a different monster, this


one being the werewolf. These monsters are
represented in the color guard.

VISUAL CONCEPTS
• Drill Design/Pictures
• Movement
• Colors
• Guard Ideas
• Props

- SEGMENT #4 -

TITLE Creep
ARRANGER/COMPOSER Radiohead
Estimated Segment LENGTH 1:30
This selection will serve as the ballad of the show.
It started off somewhat soft, but grows until the
STYLE/DESCRIPTION chorus, which will be a big impact point.
• Genre
• Musical Style
• Tempi

Mellophone solo at the very end (yep, just like the


Bluecoats).
SOLO/SECTION FEATURES
• Solo/Soli
• Features
• Melody
• Countermelody

Key aspects of this ballad include sustaining notes,


and keeping rhythmic accuracy. Most of the
rhythmic issues are with the difference in eighth
MUSICAL CONCEPTS notes and eighth note triplets.
• Dynamics
• Phrasing
• Rhythm/Pulse
• Intonation/Balance
• Articulation

This selection will feature Frankenstein’s monster.


The monster tries to interact with the band/guard,
but always gets rejected. The band will be
somewhat spread out across the field, but will
VISUAL CONCEPTS come together in a company front of sorts at the
• Drill Design/Pictures impact point.
• Movement
• Colors
• Guard Ideas
• Props

- SEGMENT #5 -
TITLE
Thriller
ARRANGER/COMPOSER
Michael Jackson
Estimated Segment LENGTH
2:30
This selection consists of a groovy rock style.
Consistent tempo and style throughout.
STYLE/DESCRIPTION
• Genre
• Musical Style
• Tempi

For this piece, the band will be playing together,


but there is an opportunity for a short drum feature
SOLO/SECTION FEATURES or low brass feature.
• Solo/Soli
• Features
• Melody
• Countermelody

An important part of this piece is keeping the


groove going, even at softer parts. Rhythm and
articulation will also be addressed to help keep up
MUSICAL CONCEPTS the tempo. Phrasing and dynamics will also come
• Dynamics into play so that the piece isn’t just loud all of the
• Phrasing time. Even in the first two notes of the song there is
• Rhythm/Pulse an opportunity to hit the note, decsrescendo, and
• Intonation/Balance then build back up again.
• Articulation

This selection will feature zombies for the most part


and then in the end all of the monsters will come
together (in character as well as musical themes).
Little by little the band turns into zombies and
VISUAL CONCEPTS individuals start doing the Thriller dance.
• Drill Design/Pictures
• Movement
• Colors
• Guard Ideas
• Props

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