Maine Motif Issue 2, Vol. II (Winter, 2018) | Page 15

4. Get further outside the box : No trombones but a ton of altos? A 1st trombone part in a reasonably high register transposes well for alto and perfectly for tenor sax (see above for world parts). No, you don’t get the dark Midwest sound of the complete brass section but you gain a part covered. 5. Many band programs (ours too) have an imbalance of winds - lots of high and little low. Sometimes the issue is that key parts are being played by less experienced players. I “drafted” a top alto player in one section and re-wrote some challenging clarinet parts. In the end, it gave the clarinet player someone to lean on AND it covered the part more effectively. 6. Use the timpani more: Many band composers write timpani parts that are overly simple. A busier timpani part that beefs up the low wind section not only helps the band but it also keeps the percussion section more engaged (productivity for the win!!). The general rule of thumb in re-scoring or cueing is that it not change the nature of the piece. We as directors need to weigh where the line is versus giving the kids a more complete experience musically. The only price to be had in this process is time. Depending on your level of comfort with Finale, the actual act of inputting parts can be tedious. The good news is once you do it, you become considerably quicker and more efficient. Please feel free to reach out if you have questions regarding the above. Craig Skeffington is the Director of Bands at South Portland High School and a Composer/ Arranger for KJOS and Alfred/Belwin Publications. You can contact Craig at [email protected].