"Weird FLEX, but OK - Making Flexible Arrangements WORK for your ensemble"

MMC Flex Session

1. Introductions
   
   1. Quick Bios
      
   2. Quick story of how Shoulders came to be (JM)
      

1. Why do FLEX arrangements exist? To solve problems… What are the problems?
   
   1. Utilitarian reasons for FLEX: (AP)
      
      1. Incomplete/Unbalanced instrumentation, small schools, COVID, etc.
         
      2. “Alternate” parts, limited cues for Oboe, Bassoon, Horn, etc. Euph T.C., Piano
         
   2. Musical & Pedagogical reasons for FLEX: (JM)
      
      1. Incomplete/Unbalanced instrumentation or weak players
         
      2. More people get melody, bass line, inside harmonies, etc.
         
      3. Differentiation, range considerations, skill sets, 9-12 band, player centered
         
   3. FLEX arrangements are NOT: (AP)
      
      1. A Fix-All solution (If you have NO bass instruments, what can you do?)
         
      2. The composer’s exact intention (many refuse to make FLEX arrangements)
         
      3. “Easier” for anyone. “Manual Transmission vs. Automatic Transmission”
         

    

1. FLEX in action: Musical & Pedagogical reasons & solutions:
   
   1. Play Shoulders FLEX arr., full instrumentation (JM)
      
      1. This is the ideal for large ensemble use of FLEX, very tailored to ensemble
         
   2. Play Shoulders FLEX arr., full inst., but use additive/subtractive dynamics
      
      1. m.30-52, Strings only, add WW m.38, add Brass m.44/45
         
         1. Audience responses during personnel transition
            
   3. Play Shoulders m.30-52 (AP)
      
      1. Clunky chamber winds (Clar, Flt, Tpt, tpt, Tsx, BSx (or tuba))
         
         1. Fix: Flt+Cl, Cl, Tpt, tpt, Hn, Tuba
            
      2. 6 Chamber Winds A (Flute, Clarinet, Trp, Trp, Horn, Bassoon)
         
         1. Audience responses during personnel transition
            
      3. 6 Chamber Winds B (Clarinet, Clarinet, Alto, Trp, Tenor, Tuba) 
         
         1. Audience responses during personnel transition
            
      4. 7 Chamber Strings (V1, V2, V3, Va, Cello5, Cello6, Bass6)
         
      5. 7 Chamber Strings in Dmaj instead… FLEX weakness…
         
         1. Audience responses during personnel transition
            

1. Expand & Reinforce concepts:
   
   1. Play Escher FLEX arr., full instrumentation (AP)
      
      1. With a large ensemble accompaniment, Balance becomes an issue FAST
         
      2. Better Examples: m.109-125
         
         1. Bssn or Bass Cl. w/ all strings, w/ chamber winds 
            
         2. Contrabass w/ chamber winds, strings, brass
            
         3. Tuba w/Full orchestra or chamber winds
            
         4. Soloist w/ mallet ensemble (on the spot!)
            
         5. 141-157, Bass cl & Contra w/ brass, woodwinds
            
         6. Tuba with full orch, big finish with 4 soloists to end