{"id":7425,"date":"2023-05-15T14:47:29","date_gmt":"2023-05-15T14:47:29","guid":{"rendered":"http:\/\/dominatorfireworks.com\/blog\/?page_id=7425"},"modified":"2023-05-15T15:07:43","modified_gmt":"2023-05-15T15:07:43","slug":"pyromusical-choreography-101","status":"publish","type":"page","link":"http:\/\/dominatorfireworks.com\/blog\/pyromusical-choreography-101\/","title":{"rendered":"Pyromusical Choreography 101"},"content":{"rendered":"<p><strong>Pyrotechnic Choreography and Execution 101<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Introduction to pyrotechnic choreography by Edward Vasel.<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-large wp-image-7427\" src=\"http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/CHoreography-101-by-Edward-Vasel-1024x581.png\" alt=\"\" width=\"1024\" height=\"581\" srcset=\"http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/CHoreography-101-by-Edward-Vasel-1024x581.png 1024w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/CHoreography-101-by-Edward-Vasel-150x85.png 150w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/CHoreography-101-by-Edward-Vasel-600x340.png 600w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/CHoreography-101-by-Edward-Vasel-300x170.png 300w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/CHoreography-101-by-Edward-Vasel-768x436.png 768w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/CHoreography-101-by-Edward-Vasel.png 1416w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>Introduction:<\/p>\n<p>Founder of Pyromania \/ Pro-Am Pyro Competition<\/p>\n<p>Writer for PyroFan \/ Pyrotechnic Magazine<\/p>\n<p>Lead choreographer and shooter on 5 award winning pyromusicals.<\/p>\n<p>2011 Fargo, ND PGI \u2013 Best of Show.<\/p>\n<p>2012 LaPorte, IN PGI \u2013 Best of Show.<\/p>\n<p>2010 NFA Springfield MO &#8211; Pyromusical Champion.<\/p>\n<p>2012 NFA Stevens Point, WI &#8211; Pyromusical Champion.<\/p>\n<p>2013 Changsha, China &#8211; International Symposium on Fireworks.<\/p>\n<p>2015 Gillette Wyoming PGI Grand Public Display &#8211; Best of Show.<\/p>\n<p>Finale Fireworks Software, advanced user, beta tester, and simulation designer.<\/p>\n<p>APA UN0431 Articles Pyrotechnic Committee Member<\/p>\n<p>Technical Advisor for Dominator Fireworks, product development, and marketing.<\/p>\n<p>Vice President of National Fireworks Association 2020-<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-large wp-image-7428\" src=\"http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094348-1024x574.png\" alt=\"\" width=\"1024\" height=\"574\" srcset=\"http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094348-1024x574.png 1024w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094348-150x84.png 150w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094348-600x336.png 600w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094348-300x168.png 300w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094348-768x430.png 768w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094348.png 1415w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>On the following pages we will discuss the 5 main aspects of a successful display.<\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li>Sound track, music selection and editing.<\/li>\n<li>Venue \/ shoot site \/ audience \/ site map<\/li>\n<li>Product selection \/ Pairing effects to sounds.<\/li>\n<li>Choreography<\/li>\n<li>Preparation and execution.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>Definition:\u00a0 Pyromusical.\u00a0 Since there are no \u201chard\u201d requirements (other than music and fireworks) that qualify a display as a pyromusical let\u2019s agree on the following and understand the separation between shooting fireworks to music, and a pyromusical.\u00a0 <strong>A pyromusical should, at a minimum several times during the display and ideally at LEAST once per song contain a section of pyrotechnic devices that are precisely \u00a0timed to beats, or are mood matched to the music, creating relative emotion in the spectators.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>While we all love a highly technical display with thousands of single shots perfectly timed to beats, most budgets don\u2019t allow the massive cue counts required to maintain this pace.\u00a0 Even in large displays with unlimited budgets the fact that comets and mines commonly used to hit those beats are some of the biggest smoke producers means this must be considered when scripting any display and highlights the importance of knowing the three main types of choreography you can use to compose a display.\u00a0 The one thing we cannot control is the weather so learning to mix technical, emotional and visual choreography along with layering and well thought out song order is vital to increasing your chances of a successful show.<\/p>\n<p>&nbsp;<\/p>\n<p>3 types of choreography:<\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li>Hitting the beats of the music with pyro, can be shell bursts, mines, comets, gerbs or flame pots perfectly timed to a beat.<\/li>\n<li>Matching effects to sounds.\u00a0 The simplest example is using long duration effects such as brocades, falling leaves, wind bells and others to slow songs, but on the flip side maybe a zipper cake could be used with a screaming fast guitar solo.<\/li>\n<li>Just as it sounds, a very common example would be shooting red comets to \u201crockets red glare\u201d during the National Anthem.\u00a0 Another example could be \u201cLucy in the Sky with Diamonds\u201d with white strobe shells.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>So we know what a pyromusical is, we understand 3 variations or types of choreography we can use so let\u2019s get down to business and break a display down from start to finish.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0\u00a0\u00a0 <\/strong><strong>Section 1:\u00a0\u00a0 Sound track, music selection, and editing.<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>What comes first, sound track or product list?<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Soundtrack!\u00a0 You WILL get much better results if you produce a sound track FIRST, and then secure the pyro to match the music vs forcing product you already have to match a soundtrack.\u00a0 Not to say that it cannot be done and create a nice show, but it is not the preferred method.\u00a0\u00a0 This means for a 4<sup>th<\/sup> of July display the fall and winter months should be spent producing soundtracks, followed by a product \u201cwish list\u201d that you can chase down come spring demo season if buying domestically.<\/p>\n<p>When creating a soundtrack, you must decide who you are shooting the show for.\u00a0 Is it for yourself?\u00a0 Is it for you\u2019re audience, maybe a town display?\u00a0 Is it a bride and or groom? A sporting event?\u00a0 If for yourself, no problem make yourself happy!\u00a0 Shoot to whatever music YOU like, and YOU are passionate about.\u00a0 If it is a paid display for a sponsor, get to know them and their expectations, as it is them you need to make happy, whether you\u2019re feeling the show or not.<\/p>\n<p>Almost every genre of music has a wealth of tracks that can work with pyro whether it be rock, country, classical, hip hop or instrumental \/ epic.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Music selection.<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>This can be one of the most crucial pieces of the planning, as choosing songs that sound good together or flow well can and will make editing and scripting decisions much easier.\u00a0 To keep things simple, we COULD stick with one genre of music, or choose cross genre songs that work well together and make a nice, safe display.\u00a0 Some of the most interesting shows in my opinion, have had a great soundtrack that crossed genre\u2019s and especially mixed vocal tracks with instrumentals, try to avoid being predictable. \u00a0Some songs that work well for an Independence Day display could be:<\/p>\n<p>&nbsp;<\/p>\n<p>Star Spangled Banner (Various Artists)<\/p>\n<p>Coming to America (Neil Diamond)<\/p>\n<p>Made in America (Toby Keith)<\/p>\n<p>Firework (Katie Perry)<\/p>\n<p>God Bless The USA (Lee Greenwood)<\/p>\n<p>&nbsp;<\/p>\n<p>(What order would you put these songs in?)<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Soundtrack editing.<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>\u00a0\u00a0 <\/strong>A great soundtrack can be RUINED by bad editing.\u00a0 There are several ways you can edit tracks into a smooth piece for scripting to, but there are no \u201chard\u201d rules to follow.\u00a0 It is greatly dependent on each individual track.\u00a0 I generally like to start a show fairly intense to set everyone back in their seats and send the message that they are in for something special. The rest of the show, depending on duration should have highs and lows and a thrilling finale. \u00a0I\u2019m not sure where I read it, but someone said that the human attention span for a firework display does not go much past 20 minutes, and after seeing hundreds of displays I would have to agree.\u00a0 Even as a fireworks lover, the 30 minute displays almost always have a section or three that seem forced, or were there to save cues or just kill time.<\/p>\n<p>My philosophy has been, <strong>You\u2019re better to leave them wanting more, than have them wishing it was over\u201d<\/strong> Below are the three basic tools I use for blending pieces in creating a soundtrack and notes on each.<\/p>\n<p>&nbsp;<\/p>\n<p>Fading in \/ Fading out: Great tool, I commonly use this for transitioning from one genre of music to another or transitioning different paces in music such as slow to fast or vice versa where silence is needed between pieces.<\/p>\n<p>&nbsp;<\/p>\n<p>Hard cut:\u00a0 (Switching songs with NO break) Powerful in the right places, such as hip hop songs with a similar beat.\u00a0 I like to catch the audience off guard and switch songs without them realizing it until after it has happened.<\/p>\n<p>&nbsp;<\/p>\n<p>Blending: (Could also be called overlapping) When two songs are similar enough you can overlap the end of one with the beginning of another.\u00a0 Fading can also be useful here. Again, this is extremely dependent on the tracks, and the timing and cuts must be perfect, do not try to blend Hallelujah with Heavy Metal!\u00a0 This is where you would use silence in between.<\/p>\n<p>Song writers are artists themselves, when they create a song, they are telling a story.\u00a0 Almost every song has an intro, 1-2 mid sections, 2-3 chorus and an ending.\u00a0 Often the intro and the ending will work well for pyro as is, if you need to cut sometimes the best place is cut from the mid sections and chorus.<\/p>\n<p>&nbsp;<\/p>\n<p>In closing for the soundtrack and editing section, I would add that most songs should be edited down to anywhere from 1-1\/2 to 2-1\/2 minutes.\u00a0 Don\u2019t try to force 8 songs into a 10-minute show.\u00a0 On the flip side, don\u2019t drag out 2 songs into a 10-minute show.\u00a0 Very few songs can be played from start to finish to carry the highs and lows needed to take the audience on the ride you\u2019re wanting to achieve.\u00a0 There are exceptions for shorter shows, in 2010 we scripted a 6-7-minute show to Meatloaf\u2019s \u201cI would do anything for love\u201d and it worked well as it has great highs and lows and switches from fast to slow several times.\u00a0 Another example might be Queen\u2019s \u201cBohemian Rhapsody\u201d a very long song with several highs and lows.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-7429\" src=\"http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094420.png\" alt=\"\" width=\"750\" height=\"647\" srcset=\"http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094420.png 750w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094420-150x129.png 150w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094420-600x518.png 600w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094420-300x259.png 300w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>For editing software, I use the free program Audacity, it does all I need and does it well with not much of a learning curve.\u00a0 A great soundtrack starts with high quality music files, buy them from Amazon, don\u2019t try ripping them off of YouTube or some black market MP3 download site unless you are 100% confident of its quality.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Section 2:\u00a0 Venue<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Whether it\u2019s your backyard or the Palms at Dubai, the venue MUST be considered next as it controls SO many factors about your display. \u00a0I think for pyro to be used in any expression in synch with music you need a minimum of 3 positions for frontage, 1 position could work for shells, if you can angle them. \u00a0Ideally you would have at least 5 frontage positions and 2-3 shell positions.\u00a0 In larger competitions or PGI type displays we have used 21 frontage positions and 7 shell positions with some shows having up to 47 total positions.\u00a0 We also like to use proximate positions, a row placed in front of the front positions for smaller effects such as gerbs, fountains, strobes, flames etc.\u00a0\u00a0 Let\u2019s go right to the below information on spacing guidelines and you will see how much the venue affects your display and planning.<\/p>\n<p>&nbsp;<\/p>\n<p>I like to start with the LARGEST effect in my line (lines are, front to back &#8211; proximate, frontage, and shells) to determine spacing.\u00a0 If I have 3 shell positions, and my largest shell is 6\u201d and a 6\u201d shell on average breaks about 500\u2019 in diameter.\u00a0 This says that I would need 1,000\u2019 from my left position to my right position to avoid overlap in shell breaks if shooting form all 3 positions at the same time. (500\u2019 for the center break, and 250\u2019 of the left and right breaks) This kind is space is ALMOST never available for common displays.\u00a0 It is ok to overlap shells at times such as a fast song or a finale, but you never want to \u201cstep\u201d on showcase shells such as beautiful brocades or willows by covering them with basic peonies or brighter shells like chrysanthemums.<\/p>\n<p>&nbsp;<\/p>\n<p>One work around for smaller sites I use, that works well is to use layers and create a pyramid with my positions.\u00a0 If you\u2019re working with 3 positions shoot a 6\u201d shell up the center and shoot a 4\u201d on each side for an interesting effect.\u00a0 The shells do not have to match, but should be related somehow in effect or color. A 6\u201d Gold Brocade with blue pistil centered looks great with 4\u201d blue to brocades on each side for example. If a 4\u201d shells average break size is 350\u2019, then allowing for some overlap and that 6\u201d shell\u2019s additional height with a 4\u201d lower burst height and location to the sides can now create a full sky with only about 700\u2019 total width.<\/p>\n<p>This pyramid can be expanded exponentially, if you have a \u00bd mile wide shoot site and 9 shell positions, figure your separation for your largest shells and work down in caliber from there.\u00a0 If firing all at once you might be able to shoot an 8\u201d shell from the center position, 5\u201d shells from 4 of the positions and 3\u201d shells on bottom across all 9 positions effectively filling a large canvas without too much overlap, or stepping on other shells.<\/p>\n<p>(See chart of average break sizes, break heights and lift times)<\/p>\n<p>&nbsp;<\/p>\n<p>Another important consideration for venue is line of site.\u00a0 The perfect shoot site is wide open with no viewing obstructions from the ground up with the spectators slightly elevated from the launch site for a sense of depth in your lines and viewing of ground effects. \u00a0Unfortunately, on earth, we have things called trees.\u00a0 Trees can be an inhibiting enemy on some shoot sites as they can greatly limit visibility of low-level effects and a sponsor might not be too happy if 25% of the budgeted product wasn\u2019t seen by most people watching.\u00a0 \u00a0Consider where the majority of spectators will be viewing the show from and select an ideal visual center line, then build your lines out from there.\u00a0 If at all possible visit the venue ahead of time, stand near the center line at spectator distance and just take it in, you just might see something you can use for creativity and eliminate certain effects that might be wasted.<\/p>\n<p>&nbsp;<\/p>\n<p>Armed with the above information about your venue, create simple site map or layout \u00a0showing spectators lines, proximate line, frontage line, shell line and any other notables about the display site.\u00a0 In this site map include all positions in each line, you may want to use 5 proximate positions, 7 frontage positions and 3 shell positions and name each of them.\u00a0 Naming frontage positions is as simple as F1, F2 and so on but is crucial for scripting and especially during set-up and execution.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-large wp-image-7430\" src=\"http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094450-1024x487.png\" alt=\"\" width=\"1024\" height=\"487\" srcset=\"http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094450-1024x487.png 1024w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094450-150x71.png 150w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094450-600x285.png 600w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094450-300x143.png 300w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094450-768x365.png 768w, http:\/\/dominatorfireworks.com\/blog\/wp-content\/uploads\/2023\/05\/Screenshot-2023-05-15-094450.png 1100w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Section 3:\u00a0 Product Selection \/ Pairing effects to sounds.<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Now that we have a soundtrack and have thought out the venue, positions, and a general idea of how we want the show laid out it\u2019s time to work on product selection.\u00a0 Knowing your product is a MUST, you can\u2019t create a musical without knowing what each item effect is, its duration or its color.\u00a0 Other factors are burst heights and size and lift times.\u00a0 Most of us have a limited list of suppliers from which we must select product for a display.\u00a0 There simply are no shortcuts here you must do your homework.<\/p>\n<p>&nbsp;<\/p>\n<p>This is also where your individual creativity comes into play.\u00a0 We are all wired differently and although 2 good choreographers may use similar product through a display with the same soundtrack, their shows WILL ultimately be very different.\u00a0 Go back to your soundtrack and listen to it start to finish.\u00a0 Identify the sections of the songs you want to focus your choreography on.\u00a0 Make notes on what effects you know you have access to that you think will go well with those songs and sections you identified.<\/p>\n<p>Again, consider the 3 basic types of choreography discussed earlier.\u00a0 Try not to use too much of any one effect or color.\u00a0 It is ok to repeat effects or colors in the show, actually it\u2019s almost inevitable so be sure to switch it up somehow when it happens, to avoid the spectators from feeling they are seeing a repeat of an earlier segment, to different music.\u00a0 Variations can be created by product combos, angles, and pace.<\/p>\n<p>&nbsp;<\/p>\n<p>It is almost impossible to create a complete product order ready to be placed until the show is 100% scripted, but we need this product base to even begin scripting.\u00a0 Once you have gone through and identified your technical sections, visual sections and emotional sections and dropped those cues you can now go back and start filling in the empty space in your timeline to complete an actual order.<\/p>\n<p>&nbsp;<\/p>\n<p>Here are some basic guidelines for common effects and types of music they can work well with.<\/p>\n<p>&nbsp;<\/p>\n<p>Soft, slow or emotional music:\u00a0 Long duration shells such as willows, brocades, crossettes, strobing shells, horsetails and showcase shells.\u00a0 Long duration ground effects such as comets, mines, flame pots and gerbs.<\/p>\n<p>&nbsp;<\/p>\n<p>Faster music:\u00a0 Shorter duration shells such as peonies, chrysanthemums, diadems, crossettes, strobing shells (note the last two could be used for both?)\u00a0 Ground effects such as shorter duration mines and comets, ground strobes and flash pots.<\/p>\n<p>&nbsp;<\/p>\n<p>Aside from bursting shells to beats, we know that comets or meteors work great with guitar chords and mines work well with drumbeats.\u00a0 These three things alone can turn a display from a standard firework display into a basic pyro musical.\u00a0 It is up to you to create something more, that I am aware of there is not now and likely never will be a detailed guide on how to script the perfect musical.\u00a0 You need to feel music and know fireworks\u2026if that doesn\u2019t make sense to you, you may already be handicapped for our purposes here!.\u00a0 Most great artists did not excel in their craft because someone told them how to do it or because they had a degree in the art.\u00a0 To choreograph a pyro musical you must feel the music and you must have a vision and passion for the art.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Section 4:\u00a0\u00a0 Choreography<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Timing.\u00a0 It is imperative you know your products \u201cappear\u201d time, which is different than lift time.\u00a0 We could call it burst time but it doesn\u2019t only apply to shells. There are times when I will lift shells with tails as the effect I want related to the music, other times we can use the actual shell burst.\u00a0 Several effects such as a brocade to blue tip mine or a crossette break may develop seconds after the actual lift and these small details should be considered when dropping cues into a script, don\u2019t limit yourself to lift and break times only.\u00a0 Timing your effects, you are always better to be .25 second early than late with an appear time, unless you are using pyrotechnic sound as an effect.<\/p>\n<p>&nbsp;<\/p>\n<p>Using sound as an effect.\u00a0 Sound alone can be dramatic, and we are not always talking salutes.\u00a0 I will never forget watching a barge display in Portugal where a display company shot a sequence of beautiful color changing meteors.\u00a0 The meteors, the sequence and the light in the sky was NOT what caught my attention, it was the cadence they created with the lift charges, it was amazing how well it matched the music playing.\u00a0 While visual timing can have as much as a \u00bd second margin for error, sound timing needs to be more presice.<\/p>\n<p>&nbsp;<\/p>\n<p>Sensory reactions: colors, lights and sounds.\u00a0 Three more tools we can use to expand on the 3 types of choreography.\u00a0 We discussed, technical, visual and emotional choreography now you have to decide which of the 3 sensory reactions created by pyrotechnics you want to use to create the emotion your looking for in your audience.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0\u00a0\u00a0\u00a0 <\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Black sky.\u00a0 <\/strong>Is not always a bad thing!\u00a0 It can actually be pretty powerful when used correctly and is a great tool to use for building suspense.\u00a0 It works really well and is a must if using a false finale, to do it right you must end the music and let the sky go black for that great \u201cencore\u201d performance that is the finale.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Angles, sequences and runs <\/strong>are all ways we can get creative to make interesting visuals in the sky.\u00a0 For most pyro musicals, and this is true even for very large shows with wide fronts a LOT can be done with 5 angles.\u00a0 For example, 35* left, 15* left 0* 15* right, 35* right.\u00a0 For racking purpose consolidating angles can greatly lower the amount of racks needed and ease set-up.\u00a0 For adding additional angles use wagon wheels or fan type devices, these work well with up to 13 angles, any more than that and you really don\u2019t get good separation between effects and that\u2019s enough shots to create a solid bow of touching mines.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Less is more.\u00a0 Finish.<\/strong><\/p>\n<p><strong>\u00a0\u00a0 <\/strong><\/p>\n<p><strong>\u00a0\u00a0 <\/strong>We have covered the 3 basic types of choreography and sensory reactions, we have an ideal site layout and a general product list, time to start scripting!\u00a0 We want to start the show off fairly intense and technical to let the crowd know something pretty cool is coming.\u00a0 We chose songs and ordered and edited them to create a flow of highs and lows, with a powerful finale.\u00a0 It\u2019s your display, your creativity and you have no hard rules to follow.\u00a0\u00a0 I have seen it asked several times and I hate to even put numbers to it but if we must, then let\u2019s use a 1-10 rating scale in each of the 3 types of choreography for marks to shoot for as a general guideline ONLY.\u00a0 Let\u2019s use a 5 song show with an intro as an example and discuss which of the 3 types might work well and at what intensity.\u00a0 There can be MANY variables.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Intro:<\/strong>\u00a0 Fireworks are usually not needed during a voice intro, but quiet gerbs or flames with background music can take the production value up a notch and make it clear right out of the gate that this is not going to be an average display.\u00a0 AN example might be a memorial show.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Opening song:<\/strong>\u00a0 It usually works best to start off with an upbeat and somewhat technical track.\u00a0 It could work well to combine technical with visual.\u00a0 Don\u2019t show all your guns, but get all eyes on the production.\u00a0 A good rating might be to start with a technicality rating of 5-6.\u00a0 Do one or two comet or mine walls to a strong drum hit, hit some shell bursts to key beats and maybe a mine or comet sequence.\u00a0 For visual<\/p>\n<p>&nbsp;<\/p>\n<p>remember the pyramid, but keep it small and save the full width of the shoot site for later in the display or even the finale.\u00a0 You can also showcase single shells here well.\u00a0 It can work well to end the opening song with a mini finale and then let the sky go dark and clear before the second song starts.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0\u00a0\u00a0\u00a0 Second song:\u00a0 <\/strong>The second song can be of a lower technical rating, 2-3 is plenty.\u00a0 Hit a few key beats, break some shells at key times but drop the technicality and pace from the opener.\u00a0 Concentrate more on the sky with shells vs low level or ground effects, allowing the lower levels of the air to clear of smoke.\u00a0 The second song can be a good place to raise the visual rating to a 5-6.\u00a0 I normally would not enter emotional choreography into a display this early.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Third song:<\/strong>\u00a0 In a 5 song display, this is where we would want our emotional track.\u00a0 Unless the show was a tribute and required it in an intro or opener we don\u2019t want to shift gears to hard.\u00a0\u00a0 Emotional choreography works well with slow or powerful songs and many instrumentals.\u00a0 Long duration effects as mentioned earlier like brocades, falling leaves and windbells used with the right music can cause a lump in your throat and tug on the heart strings.\u00a0 Ground effects can be VERY powerful in emotional choreography.\u00a0 Think gerbs and flame pots again here.\u00a0 We want an emotional rating of 8+ here.\u00a0 Technicality can drop to a 1-3 rating.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Fourth Song:<\/strong>\u00a0 It\u2019s time to pick it back up!\u00a0\u00a0 Now is a good time to find a good mix of visual and technical.\u00a0 Keep the technical just below the level of the opening song, saving the best for last, shoot for a scale of 3-4.\u00a0 Same for visual widen the pyramid and shoot for a 3-4 visual rating.\u00a0 Although it certainly could, visual here doesn\u2019t need to relate as in if the song says \u201cred\u201d you shoot a red shell or mine wall, just create something interesting using layers, pacing and patterns, something obviously intentional.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>5th song, the finale:<\/strong>\u00a0 Here we want to utilize all 3 types of choreography.\u00a0 The emotion switches from sweet or sad in the third song to overwhelming during the actual finale. \u00a0Technicality should be raised to 7-8.\u00a0 Hit as many beats as the budget and product allows.\u00a0 Break out all the tricks you have for the visual aspect with using the full width of the shoot site, increase shell sizes.\u00a0 If the site allows for up to 6\u201d shells don\u2019t use too many of them until now.\u00a0 Make the pyramid as big as the site allows.\u00a0 The actual finale should overwhelm but this does NOT mean it has to be a total sky puke.\u00a0 Keep the finale well thought out and intentional.\u00a0 Color changing, all gold, variegated finale chains and a ton of salutes are all good finale options.\u00a0 Make sure you know your product and select items that will give you a crisp ending with no stragglers.\u00a0 If we use finale chains of salutes as the last hit match both ends and the center to guarantee the entire chain goes up almost instantly with no stragglers.\u00a0 Avoid longer duration cakes.\u00a0 3 shells breaking at the same time at the same point in the sky is a waste, remember your layout.\u00a0 Overlap in the finale is more acceptable than other places in the show but shooting shells at such a pace and pattern that you create complete chaos is, well a sky puke.<\/p>\n<p>&nbsp;<\/p>\n<p>Putting all of this together is time consuming, but not difficult.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Section 5: Preparation and execution<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Benjamin Franklin said \u201cMen don\u2019t prepare to fail, they fail to prepare\u201d and that has never been more symbiotic than with setting up a fireworks display.\u00a0 You can script the greatest show in the world, secure every last device needed to get the show in the air, have perfect weather and simply fail to get the display set-up before show time if you haven\u2019t properly prepared to execute.\u00a0 I am not a proponent of transporting e-matched product, at least not with traditional e-match.\u00a0 The industry is showing a spark (pun intended) of pushing for safer alternatives and although there has been a half dozen new options in recent years such as Solar Flares, I-Match, and laser diode type devices none of them have really caught on in any capacity.<\/p>\n<p>&nbsp;<\/p>\n<p>So, what can we do to prepare?\u00a0 For me it starts on paper.\u00a0 I\u2019m a huge proponent of Finale Fireworks and using their labels and reports.\u00a0 Multiple copies of good reports on paper are critical during sorting, racking and set-up.\u00a0 Here are several things you can do days in advance to shorten in field set-up time.<\/p>\n<p>&nbsp;<\/p>\n<p>Sort and label all product with cue and module numbers by position, and re-box marking each carton with its field position. \u00a0It is a huge time saver to pull up on the shoot site in the morning and be able to drive down your lines and quickly unload the product at its respective positions.<\/p>\n<p>&nbsp;<\/p>\n<p>Racking, rack as much product as possible ahead of time.\u00a0 This will usually be single shots such as comets and mines.\u00a0 Racking also includes fans or wagon wheel type devices.\u00a0 Dropping 1.3g shells ahead of time is not a good idea for obvious safety reasons but they should be sorted and boxed per caliber and position.\u00a0 If you have a lot of small gerbs, strobes or flame pots it\u2019s a good idea to use plywood boards and glue or tape them down ahead of time, again mark them for position.\u00a0 Consolidate those angles!<\/p>\n<p>&nbsp;<\/p>\n<p>For a larger display, have a pre-show meeting with key crew members.\u00a0 Determine ahead of time what is expected of each person and make sure they have a copy of, and understand the reports.\u00a0 We have all been on shoot sites where continuity checks are happening at the last second, possibly where 100% of the product wasn\u2019t shot due to not having time to set it up, or maybe even a delayed show.\u00a0 You owe it to your crew and yourself to make shoot day as SAFE and stress free as possible.\u00a0 Avoiding the need to feel rushed is important to safety.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0\u00a0\u00a0\u00a0 Visual choreography software.<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>\u00a0\u00a0 <\/strong>There\u2019s still some \u201cold timers\u201d scripting in their mind and using excel to create fire files, and some of them do a pretty good job of it.\u00a0 There are also some roofers still swinging hammers instead of using nail guns.<\/p>\n<p>&nbsp;<\/p>\n<p>Visual choreography software is a tool, and it\u2019s a good one.\u00a0 I used a couple of methods before the various modern programs and did a pretty good job, I thought.\u00a0 Once I delved into the world of visual computer scripting my displays, and many others took a big step forward in several areas including technicality, complexity and emotional transfer.<\/p>\n<p>&nbsp;<\/p>\n<p>If you are new to pyrotechnic choreography do yourself a favor and invest in a good scripting program.\u00a0 If you\u2019re still swinging a hammer, buy a nail gun.\u00a0 For the cost of about 5 cases of fireworks you can get some really good software that will serve for years to come.<\/p>\n<p>&nbsp;<\/p>\n<p>Below are some videos of shows I have scripted or co-scripted with some amazing talents over the years.<\/p>\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/pIELrjwh54I\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/UqaOZckdU6Y\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/MdSgEVa494o\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/MDhyFUSBRUw\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/PUitlcD2LZg\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/OV1fJ-wTdsk\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/XScfHi3r21A\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Pyrotechnic Choreography and Execution 101 \u00a0 Introduction to pyrotechnic choreography by Edward Vasel. &nbsp; Introduction: Founder of Pyromania \/ Pro-Am Pyro Competition Writer for PyroFan \/ Pyrotechnic Magazine Lead choreographer and shooter on 5 award winning pyromusicals. 2011 Fargo, ND PGI \u2013 Best of Show. 2012 LaPorte, IN PGI \u2013 Best of Show. 2010 NFA [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-7425","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Pyromusical Choreography 101 -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dominatorfireworks.com\/blog\/pyromusical-choreography-101\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pyromusical Choreography 101 -\" \/>\n<meta property=\"og:description\" content=\"Pyrotechnic Choreography and Execution 101 \u00a0 Introduction to pyrotechnic choreography by Edward Vasel. &nbsp; 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