Visual Counter Point – Part II
By Scott Kurtzweil
In our last installment, we were beginning to explore contrapuntal drill writing as we move into the "march/B theme" section of "Lawrence". The "march/B theme" provides us with layers of strong musical statements each that can easily stand on its own. This section also acts musically as a transition device setting up the return of the "Lawrence" theme (with B theme overlaid) and the last unison push of the opener. When sketching this section of the drill, my intent was to create a visual theme (in this case a simple block form) that could be introduced with each musical layer, interact with similar yet distinct elements and develop each single element into a mass form for the final push.
The music statement of this section of the show is introduced by the flutes/piccs as well as a solo snare drum in the pit. To introduce the flutes visually, they are paired with a group of color guard and swung from a straight line into a block. The flute block is then left to develop further as the same type of movement (each with color guard integration) is introduced in the clarinets, the horns, the low brass and finally trumpets and saxophones.
Each of these individual block elements is manipulated via various techniques including morphing, contraction, rotation and merging with other blocks. The end result is each of our elements combines into a mass form for the unison statement that closes this particular section of the show and introduces the final push to the end of the opener.
Please note that when cleaning this type of drill (i.e. solid form manipulations), all paths taken by the wind and percussion performers should be a straight line. This ensures the integrity of the form development as well as makes it easier for the performers to see dress points.
Next Time – Mass Solid Form Development