Exploring Visual Counter Point
Scott Kurtzweil
Sounds of the Desert
Music: Lawrence of Arabia, Sandstorm from Hidalgo & Caravan
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It was my intent this installment to discuss methods of designing visual counterpoint into the marching program and how, just like in music, the designer is able to introduce various elements simultaneously that are both independent and coordinated. Unfortunately, my computer is not cooperating with me this evening found it necessary to un-save 7 ½ pages and the last three hours of my life. After kicking the wall several times, I realized that this might not be so bad after all. This embarrassingly incomplete document may give me an opportunity to perhaps better discuss the way in which I was working this section of the show.
As you will remember, page 17 represents a rest point, both musically and visually, as the show's consumer is prepared for the next section of this overture. The purpose of the first 8 counts of this new section (page 18) is to reset the majority of the band proper into simple linears. This is done to create a lot of “green space” on the stage, which will allow more clarity for the simple solid form manipulation to come.
Page 19 sees the flutes and a compliment of guard lock into a simple linear form that develops into a simple solid block. This same, simple introduction of a solid form with embedded guard performers is repeated (pages 21 – 22) as different sections are introduced musically. The concept of counterpoint comes in as I try to treat each of these solid elements as an independent theme with its own sense of visual interest. Each of these elements, however not being performed in a vacuum. Though they remain independent, they both affect other elements and are affected by them. At some points, elements combine to form completely new visual ideas.
As I mentioned above, this drill is incomplete as is. The form you are viewing today is more of a draft. You should notice that some elements are introduced in a visually supportive role and then abandoned. This is of course only temporary. The major focus of my writing in this section is the thematic elements. As each new block is introduced, I try to find ways by which it can influence the movement of the elements around it. If a particular element or section is not directly involved, I will let it remain sidelined until I have worked through the development at hand. I do this in an effort to take what the drill is giving me and not allow myself to force the action.
I hope these concepts will be more evident in the design as I am able to post the completed drill for this section.
Next Time: (The rest of this drill)
The Next, Next Time: Solid form manipulation.
