| A | B | C | D | E | F | G | H | |
|---|---|---|---|---|---|---|---|---|
1 | Vincent Pt. 1 | |||||||
2 | Letter | Measure# | Counts | Lead | Winds | Percussion | Guard | Visual |
3 | Intro | |||||||
4 | 1-6 | 24 | Flute/Clarinet Duet | Flute/Clarinet Duet should be staged in the pit. This duet will be wired mics. Due to a limitation in mic's, the mello soloist will be on a wireless mic. Please place this performer center 50 just behind the pit. | Stationary Movement in staggered form | The set up for the show will be front drops on either side of the pit, a staggered line of 19 backdrops across the back of the field, and a large rectangular prop pitched at a 45 degree angle located in the center of the field. The prop will have a character painting during the show. We will have a chair, his jacket, and an painting easel. The character and his easel will be placed on a 45 degree angle so from the audience's perspective you will see him painting; however, you won't see that the painting is already complete. Each movement will have a painting except for the closer. At the end of each movement we'll need to focus to the stage for the character to present the painting to the audience. Each painting will be digitally printed and will represent the time of Vincent's life each piece is about. There will be a ballad effect that I will comment on in the ballad sheet with the character and the guard, and during the closer the character will disappear to reference that Vincent is no longer with us. The show is a telling of Vincent Van Gogh's life/journey through his art. It happens chronologically, and ends with a celebration of his life (rather than a down ending). When possible I'd like to always tie the painting or art or something specific to Vincent in drill forms (for example, paintbrushes, isles, his painting palette (which is the center prop), swirls in the ballad like the starry night painting etc. These moments should enhance the production, add a layer of depth to the design, and score us points for connecting to the theme throughout. The first set of the show, I'd like to highlight the central prop. I see the band framing the props (rectangles). The guard is younger and still very much in development. So please try to take that into account when staging them. The difference between the bands ability and rangre and the guards is great. So we'll have to be diligent of how to smoke and mirror when possible. I see the guard at the beginning in staggered lines across the field horizontally. (See Production sheet folder for rough sketch) Since the piece begins very playful and upbeat, I want to have some velocity off the bat. I'd like to see the band expand out from the prop over time. Now, the mid/low brass play at letter A so for them, I'd like for you to stage them in front of the prop when setting the first set so they can be a half time or stationary idea while the rest of the ensemble expands out in double time. This will set the lows/mids right where you want their sound, allow for velocity off the bat from the rest of the ensemble, and set the guard up to be successful with limited drill responsibilities since the band is providing the motion. | ||
5 | A | 7-13 | 28 | Flute/Clarinet Duet + Mid/Low Brass Accompaniment | The guard development into the hit would just be taking the horizontal lines and gating them into diagonals to frame the band form for the arrival. Everything else is stationary. I think the guard will need to start with their flags by them and then pick them up to dance with them stripped before the arrival moment. I'm worried that having them preset with the band taking up so much space would cause people to trip. | The band keeps moving single time with the low brass moving half time or stationary up until the build at C into the hit. Then the band should compress into a large filled in geometric form that includes the center prop in its design with the guard framing them for the opening impact. | ||
6 | B | 14-17 | 16 | Clarinet/Horn Duet | Dance | |||
7 | 18-20 | 12 | Clarinet/Horn Duet | Dance | ||||
8 | 21-22 | 8 | Clarinet/Horn Duet | Start traveling her plus the compression 16 of the band | ||||
9 | C | 23-30 | 16 + Hold 16 | Mids Build + Tutti | Contract winds center focus for projection | Percussion enters on the build into the hit. Stage for ensemble timing. | Hold for arrival color | Compression from the band during the first 16 the hold for the arrival moment for simple band body. Guard holds for arrival for large color. These flags are 8' long each so feel free to spread this out. Guard can definitely be more expansive. Opening Arrival Drill Sketch How Opening Arrival Drill Actualized |
10 | Opener | |||||||
11 | 31-34 | 16 | Percussion | Restage moment. Strip choreography | Please treat the first two sets of the opener as if we were still in the intro. During this 16 counts the band should restage into a sunflower set to reference the painting and the flag, and the guard should move so one flag is in each petal of the sunflower. Note: keep in mind the Flute, Clarinet, Bass Clarinet, and Tenor Sax that come in at mm.48 The flute and the clarinet are already at the mic; however, we will need to pull the other two down at some point to play. | |||
12 | D | 35-39 | Hold 20 | Tutti Accents | Hold for impact. | Hold band for band body opportunities in the sun flower set. Guard full color on swings Tutti Arrival Drill Sketch How Tutti Arrival Drill Actualized | ||
13 | E | 40-43 | 16 | Percussion | Pull quartet up to the pit for their entrance during transition. | Note: there are 7 rifles; however, the ability of the line is very green. So vertical effects will consist of mainly triples. The rifles will need to be utilized in different ways to create effect that involve introductory choreography. We will probably have to use the stage prop somehow to transition rifles onto flags based on proximity to the front of the stage at the end of the arrival moment. Please transition weapons out first, and then follow by swings transitioning onto 6' flag. | Flutter step transition out to create some speed into this next development. Develop into ww idea and brass idea. WW's should be in a paintbrush on a 45, side 1. Brass during this next section can serve as paint flowing out of the brush. So they support the concept with their secondary visual idea. Reference picture for this idea located in the production sheet tab. | |
14 | 44-47 | 16 | Percussion | Rifles come out to support the WW idea. | ||||
15 | F | 48-51 | 16 | Flute/Clarinets + Tenor Sax/Bass Clarinet | Flags start adding out onto the field, stripped. Keep half of flags out on swing for low brass | Float at half time in paintbrush form (band body). Brass continue to move in a wave/flowy type form resembling paint. | ||
16 | 52-55 | 16 | Flute/Clarinets + Tenor Sax/Bass Clarinet | Con't | ||||
17 | G | 56-60 | 20 | WW's | Stage forward for projection. Ideally close to where the quartet is placed. | Stage battery to keep timing for ww feature. Soften writing to not overpower ww's. Hold battery in place. | Flags start opening color for secondary support of ww idea. Rifles still primary support. | Change up paintbrush in some way. Add velocity, and arrive back at slightly different version of the paintbrush. Brass section should move to form an easel set on side 2. This and the next set are all about the brass referencing art/painting in some way specific to support the concept while the WW's play. WW Feature Drill Sketch WW Feature Drill Sketch Actualized |
18 | H | 61-66 | 24 | WW Feature | Unison color to resolve ww moment. | WW's hold for feature Easel collapses down into block form. | ||
19 | 67-68 | 8 | Percussion | Split flags up to pick up call and answer idea. Rifles can transition over towards trumpets. | Brass block breaks up/ Trumpets head to the stage prop for their feature. Low brass and mellos break a part into micro versions of the palette stage prop to reference the stage. WW's restage | |||
20 | I | 69-76 | 32 | Low Brass/ Mid Brass Call & Answer | Split flag line to pick up call and answer. | The two palettes (please reference the aesthetics folder for the shape of those...stage prop art) can be stationary for band body. Trumpets use this set to finish set up in feature set at the stage. Ww's continue to restage | ||
21 | J | 77-80 | 16 | Trumpet Feature | Stage trumpet center focus on stage. Hold for feature | Rifles primary on trumpet feature. Other 10 flags come out for this around back of the palette, and the trumpets are in the front. | Trumpets Staged around the Pallette. Utilize prop. Remainder of brass move over to connect to trumpet idea for resolve of brass idea. | |
22 | 81-82 | 8 | Brass Feature | Unison color for the resolve of this moment plus the tutti arrival afterwards | Brass holds for resolve of feature. WW's finish restaging into arrival moment. | |||
23 | K | 83-88 | 24 | Tutti Arrival | Bring winds forward for end of opener | I want to connect this arrival moment to the concept. Is there a way to make the brass form petals of Van Gogh's Iris painting? Then the ww's can join on to complete the picture? If not, how can we make this set work both for the arrival and for development/exploration of the concept? Perhaps this set is a giant paint drop center field coming off the easel. Hold for band body opportunity. | ||
24 | L | 89-92 | 16 | Chromatic Build WW's | Centralize percussion for ensemble timing | Transition guns down front to pick up flag. | Add on, constant changing within form. | |
25 | 93-96 | 16 | Chromatic Build WW's | Continue transition | Con't idea | |||
26 | 97-101 | 20 | Tutti Accents | Rifles come out one flag through the band. Join flags backfield. | This set should set s up for the beginning of the end of the song. Keeping the band more forward. Transitioning the guard back field. Build the band into a geometric form up front. Allow the rifles and opportunity to pass through the band as they make their way back field to join the flags. It should feel like this pushes forward as it builds. | |||
27 | M | 102-103 | Hold 8 | Tutti | Hold | Hold for band body. | ||
28 | 104-107 | 16 | Tutti Accents | Continue development backfield | Follow the leader motion | |||
29 | N | 108-111 | 16 | Tutti Build | Over this and the next set, blow the block out into final arrival set of the opener. Something that reads like the texture of a van gogh painting or draws inspiration from some of his earlier paintings. (see folder for examples to draw from). | |||
30 | O | 112-119 | 16 + Hold 12 | Tutti Accents + Tutti | Big color from the guard in the back. A form that uses the stage as a focal point. Perhaps geometirc rays? | The opener ends with the artist on the stage standing up to reveal the painting he has painted. Is there a way to open up negative space during this set for him to come into the form off the stage slightly? He will need to go back to the stage for the ballad to begin painting again, but something in the drill to bring focus to him so this is a character ending. How Ending Opener Arrival Actualized | ||