INSTRUMENTAL STUDY - REHEARSING & DIRECTING

Researched and Written by David Watters

never_blend_in@rocketmail.com

So Long and Thanks for all the Fish (The Hitchhiker’s Guide to the Galaxy)

Arranged for Oboe, Treble, Soprano, Alto and Bass

CHOICE OF REPERTOIRE

The song So Long and Thanks for all the Fish, from The Hitchhiker’s Guide to the Galaxy, was chosen for this assignment since it was perceived that it would have a general appeal to student’s regardless of age, gender or ethnicity. Being current, having only just been released in cinemas, it was felt that student’s at KS3 and KS4 (being a large percentage of the movies target audience) would be familiar and, hopefully, inspired to recreate the piece.

A further reason for this choice of repertoire was that, if used in a school setting, there could be obvious links to other areas of the curriculum; in particular to English, since the film is based on the books and radio series by Douglas Adams. The music is a homage to Broadway with elements of Grand Opera and neo-Romantic choral traditions which relate to Schemes of Work across all year groups. For example during KS3, at TP2, student’s learn about Atmosphere in music and, in particular, Programme Music; Song Writing, Theme and Variations, Musicals and Commercial Music, all of which would be enhanced by such an up-to-date resource (Appendix 1.6A). Further to this, Edexcel GCSE student’s would gain insight relating to Electronic and Experimental Music in Area of Study 2 and Musicals in Area of Study 3 (Appendix 1.6B). This point can be further explained with reference to an interview with the composer, Joby Talbot (Appendix 1.6C).

LEVEL OF TECHNICAL COMPETENCE FOR EACH PART

The score begins in 2/2 with the minim equal to 112 but the tempo dramatically changes throughout and the time signature moves to 4/4 then back again. Dynamics are constantly shifting, as are expressive markings, and there is also an element of syncopation which means a relatively high level of skill is needed to successfully perform this piece. Grade 5 or above would be the recommended level for all performers. However, if broken down into manageable sections it would be possible to rehearse and perform the piece with less able student’s.

The advantage of arranging a piece such as this is that parts can easily be shifted around or removed altogether, in some instances, to suit a particular group. In The Hitchhiker’s Guide to the Galaxy, we learn that dolphins are the most intelligent life form on Earth. So long and thanks for all the fish is their departing message to mankind as they leave Earth. Much of the vocal line is in unison and doubling the Soprano line with the oboe allowed the introduction of a descriptive colour pertinent to the character of the dolphin. Perhaps a clarinet may have worked better; the possibilities are limitless.

REHEARSAL PLAN

The rehearsal was divided into 12 distinct sections (Appendix 1.6D) starting with an introduction to the background of the piece, so that the music could be put into context. Student’s then listened to a skeleton demo, obtained from the studio, and followed through their individual parts. Questions were regularly asked to gauge any specific difficulties and the piece was broken down into sections before finally being run through in it’s entirety.

CHALLENGES & OPPORTUNITIES

This piece may have been perceived as challenging particularly in respect to the previously mentioned elements such as shifting time signature, syncopation and wide dynamic range but it was hoped that by the end of rehearsal student’s could play the piece rhythmically and melodically correctly with some emphasis on contrasting dynamics.

A second challenge was to bond with and get to know the ability of each player in a short period of time. There were enough singers to allow for doubling of parts so no-one felt conspicuous, although solos were later given when individuals illustrated this desire. This indicated that a relaxed environment had been achieved and student’s were comfortable enough to share and offer input into the rehearsal process.

REFINEMENTS FOLLOWING REHEARSAL

Although the student’s successfully rehearsed and performed the piece to a high standard, within a short period, I would in future see this as an introduction to the music. Further rehearsal would allow more time to be spent on individual bars of music, which may be challenging, and sectional rehearsals would be beneficial before bringing the entire ensemble together.

Separate Parts would be given, rather than a complete score, but again it was decided that, in this case, each player would benefit from a visual awareness of the other parts.

Finally, future work on this piece would ideally be with a larger ensemble so that parts could be written for a wider variety of instrumentalists. The addition of a piano part would be advantageous and here there are opportunities to develop differentiated keyboard parts. Percussion parts of varying levels may also allow younger or less able students to participate.

Arranging music opens a door of flexibility which can engage and inspire a greater number of students perhaps better than something which is more prescribed. The pertinent point when music making, in any context, is that all participants feel a sense of worth, that their involvement is meaningful and their contribution is of a technical level within their grasp.

1.6 BIBLIOGRAPHY

Reading
Burt, G (1996) The Art of Film Music Northeastern University Press; Reissue edition Corozine, V (2002) Arranging Music for the Real World: Classical and Commercial Aspects Alfred Publishing Company

Davis, R (2000) Complete Guide to Film Scoring Berklee Press Publications

Forsyth, C (1982) Orchestration Dover Publications

Feltz, R (2002) Reharmonization Techniques Berklee Press Publications

Mancini, H (1999) Sounds and Scores : A Practical Guide to Professional Orchestration Warner Bros

Morgan, D (2005) Knowing The Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing for Cinema HarperEntertainment

Pease, T and Pullig, K (2001) Modern Jazz Voicings: Arranging for Small and Medium Ensembles Berklee Press Publications

Prendergast, R.M (1992) Film Music: A Neglected Art : A Critical Study of Music in Films W. W. Norton & Company; 2nd edition

Rona, J (2000) The Reel World: Scoring for Pictures Backbeat Books

Russo, W (1973) Composing for the Jazz Orchestra University Of Chicago Press

Schelle, M (1999) The Score: Interviews With Film Composers Silman-James Press Thomas, T (1997) Music for the Movies Silman-James Press

Williams, J (2004) On the Track Routledge; 2nd edition

APPENDIX 1.6

1.6A

The Curriculum at TP2 – KS3

YEAR 7  1. CONTRASTS. KEYWORDS: PITCH, DYNAMICS, TEMPO, DURATION, STRUCTURE, STYLE AND TEXTURE 2. ATMOSPHERES. KEYWORDS: MOOD, PROGRAMME MUSIC, EFFECTS, SPECIAL OCCASION 3. MINIMALISM. KEYWORDS: OSTINATO, PULSE, PENTATONIC, INTERLOCKING PATTERNS 4. SOUND AND SILENCE. KEYWORDS: EXPERIMENTAL, GRAPHIC SCORE, DURATION, PAUSE 5. CALYPSO. KEYWORDS: SYNCOPATION, STEEL PANS, RIFF AND CARNIVAL 6. RUBBISH RHYTHMS. KEYWORDS: TIMBRE, IMPROVISATION, POLYRHYTHMS AND TEXTURES

YEAR 8  1. MELODY AND RHYTHM. KEYWORDS: SEQUENCE, SCALE, INTERVAL AND PITCH 2. SONGWRITING. KEYWORDS: STRUCTURE, HOOK, CHORD PROGRESSION AND STYLE 3. SAMBA. KEYWORDS: RHYTHMS, POLYRHYTHMS, SYNCOPATION, CARNIVAL, SOUTH AMERICA 4. THEME AND VARIATIONS. KEYWORDS: INVERSION, MELODIC DECORATION, DRONE, ACCOMPANIMENT, COUNTERMELODY, MAJOR/ MINOR 5. MUSICALS. KEYWORDS: CHARACTER, STORYLINE, LYRICS, SOLO, DUET AND CHORUS

YEAR 9  1. ROCK ‘N’ ROLL. KEYWORDS: 12 BAR BLUES, IMPROVISATION 2. POP AND HIP-HOP. KEYWORDS: R ‘n’ B, STYLE, RECORDING, MIXING 3. REGGAE. KEYWORDS: OFF BEAT, RIFF, SKA, ROCKSTEADY , JAMAICA 4. CLUB DANCE. KEYWORDS: ECHO, REVERB, LOOP , LAYERS, CHORUS, SAMPLES, BREAK, CLUB, TECHNOLOGY 5. COMMERCIAL MUSIC. KEYWORDS: INDUSTRY, ADVERT, PRODUCT, THEME

1.6B

Areas of Study – Edexcel GCSE in Music

The specification content is defined by the lists of forms and styles for each Area of Study. Candidates will study the way sound is organised through relevant musical elements, devices, instrumental resources, tonalities, structures, notations and contextual influences.

Area of Study 1	Area of Study 2	Area of Study 3	Area of Study 4
Structure in Western classical music 1600-1899	Changing directions in Western classical music from 1900	Popular music in context	Indian raga, African music and fusions
Through the study of: • ground bass and variations • ternary form • rondo.	Through the study of: • expressionism and serialism • minimalism • experimental and electronic music.	Through the study of: • dance music 1985 — present day • songs from musicals • Britpop and its influences.	Through the study of: • Indian raga • African music • fusions.

UG017100 – Specification – Edexcel GCSE in Music – Issue 2 – February 2006

1.6C

SoundtrackNet Interview:

Joby Talbot by Dan Goldwasser (dsg@soundtrack.net) on May 4th, 2005

British composer Joby Talbot might not be a name many people recognize, but he’s responsible for the music on the hit British television comedy “League of Gentlemen”, and has just burst forth on the big screen here in the United States, with the theatrical version of the globally popular comedy book, The Hitchhiker’s Guide to the Galaxy. SoundtrackNet talked with Joby about his work on this film.  Some of the music is electronic – is that an homage to the original radio show? Well the last two tracks on the album – they’re bonus tracks really – one’s a campaign song for Zaphod Beeblebrox’s presidential campaign which I wrote and recorded with members of The Divine Comedy and Travis as an iTunes exclusive download, and the other is a rap song about Marvin that I had nothing to do with. Neither of these is in the movie. The other electronic parts are for when we go into the Hitchhiker’s Guide itself. Obviously the guide entries are such an important part of Hitchhiker’s, with all of the existential rambling and thought-provoking stuff happening there – so it was clear they had an important role to play in the film. The problem with them though was that they were invented by Douglas Adams as a technique for telling you things you couldn’t see in a radio play, really. It was a really neat way of justifying a voiceover. But when it comes to the big screen, you can see – you can see what a Vogon looks like. So what now is the point of a guide entry, if it’s telling you something you can see with your own eyes? From the beginning we decided that we wanted timeless sounding orchestral music – like John Williams ‘ score to Star Wars – not something with beats in that would date the film to 2005.But the trailers are using those very beats to market the film… I know, but trailers are a whole different culture unto themselves. Whatever gets people in to see the film. But beats with orchestra, it’s very commonplace in scores now. Every action scene has full orchestra with programmed drums, and it does make a fantastic effect, but it pins it down to this particular era. If it’s done well, that’s one thing…. But Garth’s film heroes are Steven Spielberg and Billy Wilder, and we wanted to make a soundtrack that could live and after plenty of time, sound just as fresh as it does now. How did the musical number “So Long, and Thanks For All the Fish” come about? That was originally Garth’s idea. His reasoning: Douglas Adams spent 20 years trying to get this film made, the least we can do is give him a big song and dance number! Garth wrote the words, and Chris Austin and I did the music. The tune became the main theme for the film – luckily it turned out to be pretty versatile! How does the material translate to the big screen? Well, it’s only based on the first book – and that first book is based on the first four episodes of the radio show. So in theory, you’re trying to cut a 2-hour radio series down to a 100-minute movie. But it’s not as simple as that, because the radio show was really constructed as a series of 3-minute sketches. Douglas Adams had started out writing sketch shows onstage at university and that’s where Hitchhiker’s started life. But you can’t just show lots and lots of 3-minute sketches in a row and then call it a feature. That would be like watching two hours of a sitcom in a row – halfway through the second episode, you’d be sick of it!

1.6D

REHEARSAL PLAN  So Long and Thanks for all the Fish (The Hitchhiker’s Guide to the Galaxy) Arranged for Oboe, Treble, Soprano, Alto and Bass 1. INTRODUDUCTIONS – PERFORMERS & PIECE (CONTEXT) 2. LISTEN TO DEMO AND RELATE TO PARTS 3. QUESTIONS 4. SIGHTREAD WHOLE PIECE 5. QUESTIONS 6. BREAKDOWN INTO SECTIONS 3 TO 5: ALTO & BARITONE 5 TO 6: SOPRANO, TREBLE & OBOE (A & B MARKING) 3 TO 6: ALL 7. QUESTIONS 8. 6 TO 8: ALL 9. 8 TO 10 NOTES. SECTION 9 TO BE SUNG IN UNISON 10. SECTION 10: DON’T SING (LOOK AT IF TIME ALLOWS) 11. RUN 3 TO 10. CARRY ON TO THE END IF NO OBVIOUS PROBLEMS 12. RUN WHOLE PIECE

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