n. n. # f f #.. a 2 #. Arranging y Examples n f f f n The Pratial Guide to azz and Pop Orhestra Arranging Third Edition # # n... rans Asil. #. E # 1/ 11 7. E # 1/ 11 7 n nn n. y y y y y y y Y æ æ f n n æ æ Suspended ymal fæ n. 1
Colophon This e-ook is a pratial guide to arranging for azz and popular musi orhestra. This doument has een reated ith the puli domain L A TEX omputer typesetting program. Diagrams ere reated using the L A TEX piture environment and thepstriks pakage. Musial examples ere reated using the MakeMusi inale 2011 musi notation softare. Sore examples ere imported into the doument as Enapsulated Postsript (EPS) files, using the graphix pakage. All photographs y the author. The navigation links (printed in lue) in the Adoe Aroat Reader file (the pdf-file) ere reated using the hyperref pakage from the L A TEX distriution. ree demo/trial version: This inomplete demo/trial version e-ook is offered free of harge. Order and uy the full version of this musi analysis E-ook. See the esite for payment instrutions. Arranging y Examples: The Pratial Guide to azz and Pop Orhestra Arranging, Third Edition, rans Asil 2005-201.G.. Asil, the Netherlands. URL Wesite: http://.fransasil.nl All rights reserved. No part of this puliation may e reprodued or transmitted in any form or y any means, eletroni or mehanial, inluding photoopying, reording, or any information storage and retrieval system, ithout prior permission in riting from the Author. ii
Contents List of igures List of Tales Prefae vii xi xiii I Preparations 1 1 Introdution 1.1 What you ill find in this ook........................... 1.1.1 Arranging Tehniques............................ 1.1.2 The approah: examples disussed in detail................ 1.1. Notation in the ook............................. 1.1. Assemling the arrangement........................ 5 1.2 What you ill not find in this ook......................... 5 1.2.1 No MIDI files availale........................... 5 1. Ready to get hands dirty.............................. 5 2 Instrumentation 7 2.1 The range of musial instruments.......................... 7 2.2 Instrument groups.................................. 7 2. Orhestra setions and alane........................... 11 2..1 Rhythm setion................................ 11 2..2 Saxophones.................................. 12 2.. Woodinds.................................. 15 2.. Brass...................................... 16 2..5 Strings..................................... 20 2..6 Perussion................................... 2 2..7 Unfamiliar aousti instruments...................... 25 2..8 Eletroni instruments............................ 27 2. The sore........................................ 28 2..1 Vertial staff order.............................. 29 2..2 Various forms of the sore.......................... 29 2.. Optimize the sore for performane.................... 2 2.5 Conlusion....................................... iii
CONTENTS II Tehniques 5 Setional harmony in four parts 7.1 Basi rules....................................... 7.2 Lead ith hordal tones............................... 9.2.1 The danger of repeated notes........................ 9.2.2 Prevent repeated notes............................ 0. Harmonizing non-hordal tones.......................... 2..1 Diminished and seondary dominant hords............... 2..2 Rhythmi aspets................................. Leading tone hords............................. 5.. Sustitute hords............................... 6..5 Exat parallel hords............................. 50..6 Conneting minor 7th hords........................ 51..7 Sudominant hords............................. 55. Extensions to four-part setional harmony..................... 57..1 Sequene of similar strutures........................ 57..2 Sequenes of diatoni parallel strutures................. 57.. The drop 2 voiing............................. 59.. Repeated notes................................ 6..5 Extended and altered dominant hords.................. 66 Setional harmony in five parts 7.1 Extended four-part setional harmony....................... 7.2 Setional harmony in ths.............................. 77 5 Ensemle tehniques 8 5.1 undamental aspets................................. 8 5.2 our-part ensemle tehnique............................ 8 5.2.1 ull ig and................................. 86 5.2.2 Redued ig and.............................. 88 5.2. Intermediate size and............................ 91 5.2. Comining tromones and saxophones.................. 92 5. Brass voiing for extended hords......................... 9 5..1 Dominant seventh itonal voiings..................... 95 5. Perussive voiing.................................. 95 5..1 Examples of perussive rass voiings................... 96 5..2 Examples of ensemle voiings....................... 102 5.5 Tutti voiings for onert and and studio orhestra............... 106 6 Speial tehniques 107 6.1 Bell hords....................................... 107 6.2 Harmonization ith symmetrially distriuted roots.............. 108 6. Intermediate leading tone harmonization..................... 11 6. Chromati stepise motion............................. 116 6.5 Diatoni and exat parallel hord motion..................... 118 6.6 Variale density.................................... 121 iv
CONTENTS 6.7 Pedal point....................................... 122 6.8 Classial musi tehniques.............................. 12 7 Woodind voiing 127 7.1 Voiing multiple instrument groups in a oodind setion........... 127 7.2 Homogeneous and heterogeneous oodind ominations.......... 10 7. Woodind voiing examples............................ 1 8 String setion voiing 17 8.1 The size of the string setion in an orhestra.................... 17 8.2 Unisono strings.................................... 19 8. Sustained harmoni akgrounds.......................... 12 8. Create motion in the string parts.......................... 1 8.5 Exat parallel voiing................................. 16 8.6 Speial playing tehniques.............................. 18 8.6.1 Pizziato.................................... 18 8.6.2 Tremolo oing............................... 150 8.6. Divisi playing................................. 150 8.6. Boing near the ridge and on the fingeroard............. 152 8.6.5 Multiple stops................................. 152 8.7 Small string groups.................................. 15 9 Melody 159 9.1 Motion in melodies.................................. 159 9.1.1 Types of motion................................ 160 9.1.2 Melody diretion axes............................ 162 9.1. Melodi urve................................. 162 9.2 Types of melodies................................... 16 9. Examples of melody types.............................. 16 III Assemling the Piee 169 10 Musial forms in azz and pop musi 171 10.1 The uilding loks.................................. 171 10.1.1 The 2-measure AABA song form..................... 171 10.1.2 The lues form................................ 172 10.1. The verse-horus form............................ 17 10.1. olk and orld musi............................ 17 10.1.5 Additional formal elements......................... 176 10.2 The full piee..................................... 177 10.2.1 Longer forms................................. 177 10. Musial style...................................... 179 10. Move on to arranging................................. 180 v
CONTENTS 11 The arrangement 18 11.1 Creating a tension urve............................... 18 11.2 Using the toolox................................... 185 11.2.1 Comine elements.............................. 187 11.2.2 Crossing orders............................... 195 11.2. Start and stop................................. 199 11.2. Contrasting ridge and transition..................... 208 11. Speial horuses.................................... 210 11. Notate the details................................... 212 12 On a final note 215 Biliography 217 Index 221 vi
List of igures 2.1 Range of musial instruments............................ 8 2.2 The instrument groups in an ensemle....................... 9 2. Various familiar instrumental ensemles...................... 9 2. azz ig and tutti voiing.............................. 1 2.5 azz ig and speial horus for saxophones................... 1 2.6 Woodind voiing and internal dissonane.................... 15 2.7 Woodind voiings in onert and arrangement................ 17 2.8 The string setion in lassial musi style..................... 22 2.9 The string setion in ontemporaty style...................... 2 2.10 The frequeny spetrum of (eletroni) sounds.................. 28 2.11 iltering of (eletroni) sounds........................... 28 2.12 The amplitude envelope of (eletroni) sounds.................. 29 2.1 Vertial staff order in the full sore......................... 0 2.1 ull sore staff order................................. 1.1 Examples of hord strutures in four-part setional harmony.......... 9.2 Chordal tones in lead, straightforard proedure................. 0. Chordal tones in lead, appliation of seondary dominant hord struture... 0. Non-hordal tones in lead, appliation of seondary dominant hord struture..5 Non-hordal tones in lead, synopated rhythm....................6 Harmonization of non-hordal tones in the lead using leading tone hords.. 6.7 Cross relation eteen loer and upper voie................... 6.8 The definition of a sustitute hord......................... 7.9 Alternative harmonization of non-hordal tones in the lead using sustitute hords.......................................... 7.10 Harmonization of non-hordal tones using sustitute hords........... 8.11 Harmonization of non-hordal tones in the lead using exat parallel hords.. 50.12 Harmonization of non-hordal tones using exat parallel hords........ 51.1 Lead voie ith diatoni6 7 stepise motion (ase 1).............. 52.1 Lead voie ith diatoni6 7 stepise motion (ase 2).............. 52.15 Lead voie ith 6 7 stepise motion on rd degree of maor sale...... 5.16 Harmonization of non-hordal tones using sudominant hords........ 55.17 Similar hord strutures on diatoni parallel degrees............... 57.18 Diagram of the drop 2 proedure in four-part setional harmony........ 59.19 Close voiing and drop 2 voiing.......................... 60.20 Changing from lose voiing to drop 2 voiing.................. 62 vii
LIST O IGURES viii.21 Open voiing...................................... 6.22 Repeated notes in the lead voie........................... 6.2 Repeated notes at the end of a phrase........................ 6.2 Harmonization of non-hordal tones using altered dominant hords...... 66.25 Harmonization of non-hordal tones using altered dominant hords...... 68.26 Harmonization of non-hordal tones......................... 68.27 Harmonization of non-hordal tones......................... 70.1 Setional harmony in five parts, lead douled an otave elo.......... 7.2 Setional harmony in five parts, mixed voiing, drop 2............. 75. Setional harmony in five parts, open voiing, drop 2 and........... 76. Setional harmony in five parts, alternating voiing................ 76.5 Setional harmony in five parts, hords in ths.................. 78.6 Setional harmony in five parts, hords in ths.................. 79.7 Setional harmony in five parts, hords in ths, lose voiing.......... 80.8 Setional harmony in five parts, hords in ths, leading tone in lead voie... 81.9 Setional harmony in five parts, mixed hord strutures............. 81.10 Setional harmony in five parts, maximizing the harmonization in ths.... 82 5.1 Example of ensemle voiing diagram for ig and................ 8 5.2 Starting the ensemle voiing: setional harmony in four parts......... 85 5. Setional harmony applied to full ig and..................... 87 5. Voiing diagram full ig and............................ 88 5.5 Setional harmony applied to redued ig and.................. 89 5.6 Voiing diagram redued ig and.......................... 89 5.7 Setional harmony applied to an intermediate size and............. 91 5.8 Voiing diagram redued ig and.......................... 92 5.9 Setional harmony applied to tromones and saxophones............ 92 5.10 Voiing diagram tromones and saxophones.................... 9 5.11 Brass setion voiings. (a): internal alane, (): various hord types..... 9 5.12 Dominant 7th hords 7 itonal voiings...................... 96 5.1 Perussive voiing for rass.............................. 97 5.1 Perussive voiing for rass using itonal triads in the trumpets......... 98 5.15 Perussive voiing for rass using itonal triads in the trumpets......... 99 5.16 Rhythmi akground for rass........................... 100 5.17 Perussive voiing for ig and tutti (ase 1).................... 102 5.18 Perussive voiing for ig and tutti (ase 2).................... 10 5.19 Saxophone voiing in ig and tutti......................... 10 5.20 Perussive voiing for ig and tutti (ase ).................... 10 5.21 Perussive voiing for ig and tutti (ase ).................... 10 5.22 Bitonal ensemle voiing for intermediate size ig and............. 105 6.1 Bell hords....................................... 108 6.2 Harmonization ith symmetrially distriuted roots: minor third....... 110 6. Harmonization ith symmetrially distriuted roots: maor third....... 111 6. Harmonization ith symmetrially distriuted roots: hords in ths at the diminished fifth.................................... 111
LIST O IGURES 6.5 Harmonization ith symmetrially distriuted roots: tritone-related dominant hords...................................... 11 6.6 Intermediate leading tone harmonization..................... 11 6.7 Chromati stepise motion: middle voie..................... 117 6.8 Chromati stepise motion: ass.......................... 118 6.9 Exat parallel motion................................. 119 6.10 Parallel -part hords in allad for onert and................. 120 6.11 Variale density.................................... 121 6.12 Classial musi tehnique: horale setting..................... 125 6.1 Classial musi tehnique: ounterpoint...................... 126 7.1 Woodind voiing and lending.......................... 128 7.2 Woodind voiings.................................. 11 7. Woodind voiing for onert and and studio orhestra............ 15 7. Tutti limax voiing.................................. 16 8.1 Balaning the string setion............................. 18 8.2 Unisono violin lead melody............................. 19 8. Unisono string voiing in studio orhestra arrangement............. 10 8. High strings playing unisono............................ 10 8.5 Sustained harmoni akground for 6-part string setion............ 1 8.6 Motion in string setion riting........................... 15 8.7 Exat parallel hords in 5ths for strings...................... 16 8.8 String setion voiing diagram for parallel hords in 5ths............ 17 8.9 String setion playing pizziato and tremolo................... 18 8.10 String setion playing divisi and unisono...................... 150 8.11 String quartet akground in funk rok prodution............... 155 8.12 Cello quartet in Latin ossa nova prodution................... 157 9.1 Unisono violin lead melody............................. 160 9.2 Unisono violin lead melody............................. 162 9. Sentene and period melody struture....................... 16 9. Introdution melody in lassial style....................... 165 9.5 Unisono violin lead melody............................. 166 9.6 Guitar solo melody.................................. 168 9.7 Melody ith late limax............................... 168 10.1 The four-element, 2-measure AABA song form................. 172 10.2 The three-element, 12-measure lues horus.................... 172 10. The verse-horus pair form............................. 17 10. The full song form.................................. 177 11.1 Tension urves for a piee of musi......................... 18 11.2 Parameters that influene harmoni tension.................... 185 11. The tehniques toolox in diagram......................... 186 11. Comining tehniques at different note duration timesales.......... 188 11.5 Instrumental akground in voal horus..................... 189 11.6 Rhythm and saxophone akground in an ad li solo horus.......... 190 ix
LIST O IGURES 11.7 Tutti speial horus for ig and.......................... 192 11.8 uxtaposing multiple tehniques in ad li solo horus.............. 19 11.9 Changing tehniques in ridge setion....................... 196 11.10Changing tehniques in main theme horus.................... 197 11.11Overlapping tehniques at setion edge...................... 198 11.12Riff introdution to latin piee............................ 201 11.1Voiing diagram for five-part parallel ig and tutti setting........... 202 11.1uxtaposition of riff and uild-up introdution to rok piee.......... 20 11.15Build-up introdution to allad for onert and................. 20 11.16All-out oda to sing piee for onert and................... 206 11.17Tutti voiing diagram for all-out oda for onert and............. 206 11.18All-out oda to allad for onert and....................... 207 11.19Modulating ridge in allad for onert and................... 209 11.20Doule time setion in allad for onert and.................. 210 x
List of Tales.1 Basi hord struturess in four part setional voiing............... 8.2 Basi rules for four-part setional harmony..................... 9. Extensions and alterations of the dominant hord................. 66 5.1 Cheklist outer voies eteen the setions in a azz ig and......... 85 5.2 Alternatives itonal voiings for given lead tone and asi harmony..... 98 7.1 Homogeneous oodind voiings......................... 10 7.2 Heterogeneous oodind voiings........................ 10 8.1 Size of the string setion............................... 18 xi
LIST O TABLES xii
Prefae This is the third edition of the ook Arranging y Examples: The Pratial Guide to azz and Pop Orhestra Arranging. This expanded edition is intended for eginning arrangers, providing them ith a toolset of tehniques and guiding the reader through a olletion of examples for different ensemles. A ook aout arranging Why rite a ook aout azz and popular musi arranging tehniques Well, this is intended as a pratial guide to arranging in the typial musial idiom and style played y the azz ig and, onert and (also knon as symphoni ind and) or popular musi radio and studio orhestra. This doument is the result of studying and and orhestra sores, riting arrangements and of teahing experiene. Although a numer of ooks on this suet exist (see the referene list in the iliography), students keep asking for many examples and exerises as part of an arranging ourse. These exerises must gradually eome more omplex and introdue the student ith alternative tehniques of arranging in the azz and popular musi style. Also, I kno that students appreiate the detailed disussion of the examples, explaining the instrumentation, voiing, voie leading and tehnial aspets of the performane. Therefore, this manual onsists of a onsiderale olletion of ondensed and full sore examples, that have een grouped into ategories and presented in separate hapters. Within eah hapter the setions ill introdue ne aspets and in general disuss more ompliated examples. The hapters over orhestration, setion and tutti voiing, musial forms and elements of an arrangement. The Third Edition of Arranging y Examples has een signifiantly expanded. The doument struture has hanged and no the ook is in three parts. Part I, Preparations, gives akground information on arranging, instrumentation and the orhestral sore. Part II, Tehniques, is the main ody of this ook, ontaining the hapters from the previous edition and presenting the toolox ith arranging tehniques. Here you ill find the methods for riting setional harmony in four and five parts, dealing ith non-diatoni notes, riting ensemle settings and a set of speial tehniques. In Part III, Assemling the Piee, musial forms in azz and pop musi ill e disussed and you ill learn the essentials of ho to apply your knoledge and skills to reate a omplete orhestral arrangement of a musial omposition. Doument update history There have een earlier editions of this ook, that egan as a sort of manual ith voiing tehniques only. In a seond edition, various speial arranging tehniques ere added to 2005-201.G.. Asil,http://.fransasil.nl
Prefae the volume. I am most grateful to Markus Pohlen ho arefully read the ook and pointed out a numer of errors and unlear issues in the hapters on setional harmony. Here is an overvie of the history of the doument. anuary 2005: irst omplete version, pulished on internet. Chapters on riting setional harmony and tutti voiings. Otoer 2008: Restyled version. Layout updated. Deemer 2012: Expanded version (98 pages). Chapter on speial tehniques added. August 201: Minor edits and error orretions. Introdution of full and free demo version. eruary 201: Third, expanded edition (27 pages) ith ne instrumentation and assemly parts. Layout modified and many more diagrams added. Errors orreted. Novemer 201: Chapter on -part setional harmony orreted and edited. xiv
Part I Preparations Mo mortar 1
Chapter 1 Introdution This ook is aout arranging for larger ensemles instrument groups in azz and popular = musi; ig ands, azz ensemles, onert ands, studio and radio orhestras, pop groups ith added instrument setions. It is meant as a textook for studying the field; it should e most helpful to the eginning arranger, that ants to master the suet. 1.1 What you ill find in this ook The ook is divided into three parts; this strutured approah should help the reader to understand the level of disussion and fous on speifi aspets. Currently, you are reading Part I, hih serves as an introdution to the arranging ook. 1.1.1 Arranging Tehniques This pratial guide ill onentrate in Part II on a numer of voiing tehniques, suh as = setional harmony (see Chapter and ), perussive voiing for a full ensemle (see Chapter 5) and a set of speial tehniques in Chapter 6. The detailed disussion of these tehniques is meant to help the student master the asis of azz arranging for ig and and other popular musi ensemles. There are also guidelines for riting for oodinds (see Chapter 7) and string setions (Chapter 8); these inlude speifi voiings used and stylisti aspets. olloing the instrutions in the text and studying the examples ill not lead to a personal style or an advaned voiing of a musial phrase; the material presented herein is standard pratie ith a guaranteed result that ill sound aeptale and e playale y living musiians (as opposed to omputers). The toolset from the hapter ith speial tehniques an e used to deviate somehat from the typial azz ig and idiom and reate variation in an arrangement: see Chapter 6 for a atalogue of these alternative approahes. 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER 1. INTRODUCTION 1.1.2 The approah: examples disussed in detail The approah in this ook is the presentation of many examples that are disussed in great detail. Condensed and full sore fragments (see Setion 2..2) in the figures are eluidated in the text, in order to familiarize the reader ith speifi aspets and tehniques. 1 The tehnique examples are presented in a ommon, standardized format. irst there is a definition of the prolem. See the example title or the first paragraph of text. Why are e presenting the example What is the prolem that has to e solved In many examples the lead voie and the asi harmony are given. These are shon in figures (a system of staves) that aompany the example. Usually eah voie is printed on a separate staff. The asi harmony is ritten in shorthand on the loest staff, laeled H, ith either a asi ass line or ith slash (rhythm) notation. The details of the harmonization (this holds in partiular for the hapters on setional harmony) are shon elo the lead voie. This voie also ontains marked numers (e.g., [*1]) that refer to items disussed in the text. Eah example is disussed in detail in the text, ith a partiular fous on voiing aspets; voiing diagrams ill eluidate the detailed vertial arrangement of the instruments. Other aspets are voie leading, playing register and instrumentation. In some examples a numer of alternative solutions to the prolem is presented. In the later hapters orhestration aspets and the uxtaposition of tehniques from the toolox ill e disussed. Also there ill e examples ith speifi formal aspets, suh as limaxes, different types of introdutions, transitions and odas. The text eteen the examples is the general introdution to the various tehniques. undamental aspets and general rules (triks, reipes, standard proedures) are disussed here. Diagrams serve to summarize and struture the information. 1.1. Notation in the ook = This ook tries to adhere to onsistent notation. The layout should help to find your ay through the hapters. Colour is used to identify eginning and ending of examples, and indiate speial or additional aspets in the diagrams. Coloured referenes to ook hapters, setions, figures and tales are in fat internal hyperlinks for easy navigation; hen reading this ook on a omputer, ust lik on the link and go the referened element. Important terminology is printed slanted. and may e marked y an arro in the margin. The ook also provides an extensive index for easy referene that ontains most of the terminology; referenes in the index point to either the definition or the appliation of the items, speifi tehniques, song titles, ensemle types et. There is also ross-referening eteen examples. Important information is undled in tales and diagrams, hen appropriate. At the eginning of the ook there is a list of tales and figures, also for easy referene. 2 1 or many of the examples in this ook, full sore and audio exerpts an e found on the author s esite; go and visit the menu itemsarrangements, Compositions andaudio. 2 The hyperlinks in the eletroni version enale easy navigation through the doument.
1.2. WHAT YOU WILL NOT IND IN THIS BOOK 1.1. Assemling the arrangement In Part III the full arrangement or omposition of a piee ill e disussed. Whereas the tehniques in Part II foussed on details ithin a phrase of eteen to and sixteen measures, here e ill have a look at other elements that are needed to ompose or assemle a omplete piee. azz and popular musi are ased on a limited set of frequently used forms. The standardized forms listed in Chapter 10 over roughly 90% of the repertoire. Things that need to e taken into aount hen reating a alaned and meaningful (i.e., oherent, alaned, logial, and maye eautiful) omplete piee are presented in Chapter 11; these inlude tension urves, introdutions, odas and transitions, speial horuses and notation details. 1.2 What you ill not find in this ook This ook is not aout instrumentation; it neither overs the theory of harmony. A great many exellent ooks on those suets are in print or online on the internet and should e studied y the student arranger in parallel to this manual. or alternative disussions of voiing aspets, see [9, 11, 16, 0, 2, ]. The iliography at the end provides a list of ooks on azz arranging; see [9, 16, 0,, 0,, 50]. or instrumentation and orhestration in general, onsult the referene ooks[1,, 1, 2]. Chapter 2 ill provide only a rief overvie of instrumentation aspets. or azz omposition or musial style see [5, 7, 8, 9, 52]. This is a reading list that has een useful to me. 1.2.1 No MIDI files availale With this ook there is no aompanying esite ith MIDI files or audio examples. Don t go and look for it. It is a delierate deision from the teaher s point of vie. With todays omputer tehnology it ould have een fairly easy to uild an online lirary. Hoever, providing additional material ill distrat you and e an esape from serious homeork that has to e done anyay in order to asor the tehniques and eome a skilled arranger. Instead, my advie is: enter the examples in a musi notation or MIDI sequener program. or eah example that should take no more than a ouple of minutes. Put eah part in a different staff or on a different instrument trak, for easy hord inversion, otave transposition, or hange of voiing type. Do not aste time on finding the perfet sound sample; make sure you an identify the individual parts, and that ill do. 1. Ready to get hands dirty I hope that this pratial guide provides a most useful tool for the student of azz arranging or the musially interested reader. Muh effort has gone into preparing the examples and the manusript. Oviously, the internet noadays is a mer à oire. Use it for asoring great material. The prolem lies in finding hat s valuale and useful. or instrumentation, instrument registers and mehanis. multimedia tools on the internet are fantasti; pitures, text and audio samples ill demonstrate everything you need. Try the Vienna Symphoni Lirary esite; they are an orhestral sample lirary vending ompany, ut also provide overvies of hat instruments an do and sound like. But there are numerous other soures to e onsulted. 5
CHAPTER 1. INTRODUCTION Rememer that a personal style usually is ahieved y first mastering the asi skills, the standard set of tehniques and then gradually ignore them and replae them ith your personal marks. Good luk ith developing your on style and ith all your reative potential! No let s get our hands dirty ith riks and mortar for uilding the house. 6
Chapter 2 Instrumentation This hapter presents a limited overvie of musial instrument groups and orhestration aspets. It ontains examples for typial azz and popular musi ensemles, suh as the ig and, the onert and and the studio orhestra. or a far more detailed disussion of instrumentation and orhestration, the reader is one again referred to textooks suh as [, 8, 1, 2]. 1 At the end of this hapter, there are some things to keep in mind, hen riting a musial sore. 2.1 The range of musial instruments An overvie of the pratial and extended sounding range of musial instruments is shon in ig. 2.1. Also shon is a keyoard ith pith and frequeny sale. 2 The instruments are grouped into families: keyoard, definite pith perussion, strings, rass, saxophones, oodinds, and they are in order of asending pith range. Both the normal, pratial and the extended range are indiated; oviously this all depends on the player skills and the quality of the instrument. 2.2 Instrument groups This setion is inluded in the full version of the ook. Order the E-ook from the estore. 1 Apart from studying these instrumentation and orhestration handooks, it makes sense to uy and study ooks on the tehnique of speifi instruments, that the arranger is not familiar ith. My on olletion inludes tehnique and etude ooks for violin, ello, harp, timpani, renh horn, ass guitar, drums and perussion. These referenes ill e listed in the appropriate setions. 2 This figure is availale as a separate, single page olour diagram on the esite. Look in the Doument Arhive for the PD file. 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER 2. INSTRUMENTATION piolo flute alto flute ass flute ooe english horn E larinet B larinet ass larinet ontraass lar assoon ontraassoon soprano saxophone alto saxophone tenor saxophone aritone saxophone piolo trumpet B trumpet flugelhorn horn in B aritone/euphonium tromone ass tromone E ass B ass tua violin viola ello ontraass glokenspiel xylophone viraphone marima tuular ells timpani mandolin guitar ass guitar harp aordion harpsihord elesta piano organ freq [Hz] 16.5 2.70 65.1 10.81 261.6 52.25 106.50 209.00 186.00 2 C 1 C C 1 2 5 igure 2.1: Range of musial instruments (onert pith). Bars indiate pratial (lak) and extended range (lue) for various familiar instrument groups 8
2.2. INSTRUMENT GROUPS The figure is inluded in the full version igure 2.2: The instrument groups in an ensemle The figure is inluded in the full version igure 2.: Various familiar instrumental ensemles 9
CHAPTER 2. INSTRUMENTATION [This page is intentionally left lank in the demo version of this ook.] 10
2.. ORCHESTRA SECTIONS AND BALANCE 2. Orhestra setions and alane The fundamental roles, peuliarities and the aspet of orhestral alane are disussed elo for the different setions from the lassial symphony orhestra (oodinds, rass and strings) and the modern azz and pop orhestra additions (rhythm and saxophones). Let s start ith the latter and see ho the arranger an est use the musial resoures in the orhestra. 2..1 Rhythm setion The rhythm setion is the ore of every modern azz and pop musi ensemle. Some hamer musi groups and small ensemles, suh as the string quartet or the rass quintet, ill do ithout, ut that is an exeption. Bass and drums are the essential instruments to reate the groove in any popular and azz musi style. = or the separate rhythm setion instruments keep the folloing essentials in mind: Bass. The ass instrument an e an aousti ass (doule ass), eletri ass, ass guitar, or keyoard (synthesizer ass). Some styles require a speifi sound; the azz allad ill e est served ith an aousti ass, hereas a funk rok piee demands a ass guitar (e.g., for slapping). Do not rely on the tua in the symphony or ind orhestra as the only ass instrument. The arranger ill speify the type of ass instrument, hen appropriate. Drums. The drummer is the propulsion system in the ensemle and ill drive the us (a familiar expression). He provides the eat and groove, hih are essential for estalishing the musial style. He ill maintain and ontrol a steady tempo (etter than the ondutor aton an ahieve), prepare tutti aents and reaks, and fills in gaps. The arranger should never rite too muh detail in the drum part: indiate the general style (e.g., medium sing, rok in 16th, ossa nova, Latin), the type of mallets (stiks, rushes, hard/soft mallets), and the important aents in other parts. Most of the time there ill e slash notation, ith rhythmi aents aove the staff (ith instrumentation, e.g., rass or tutti). The drummer plays up to four instruments in parallel ith independent hands and feet. Support the musiian ith easy part reading and he ill help the arranger ith the est possile rendering of the piee. Piano or keyoard. The fundamental role of the keyoard player is to provide harmoni support, i.e., omping (aompaniment). Write slash notation ith hord symols in his part, the hord hanges. Carefully indiate hord extensions, in order to prevent onflits ith orhestral parts (e.g., maor 9th in trumpet lash ith minor ninth played y piano). The arranger may speify the type of aompaniment; e.g., easy omping, light fills, funky groove in 16ths, similar to the style indiations for the drummer. Normally the piano player ill adapt his style to the setting in the other orhestral setions. A seondary role for piano and keyoard is the douling of ass parts (riffs and pedal points) and melodi lines in the ensemle. Then the part ill ontain normal musi notation: e.g., melodi lines, arpeggio patterns and aented ritten-out hords. The piano is great for douling high oodinds (it may replae definite pith perussion suh as glokenspiel). In the professional orhestra the keyoard player is versatile as oth the virtuoso soloist and the harmoni servant, a perfet sight-reader and the 11
CHAPTER 2. INSTRUMENTATION assistant to the ondutor (alays heking the voiings in the orhestra and helping to orret errors in the sore). Guitar. This musiian ill add to the groove y playing rhythmi (synopated) hords. This implies alaning the ontriution y piano and guitar. Write hord hanges and extensions. Be aare that finger strething and arré playing limits the hord voiing on the guitar. The player ill kno est and pik a guitar voiing that ontains the essential hordal funtions. The arranger may notate sustitute hords, e.g., rite Em 7 instead of C 7 9. In usy parts ith rapid hord hanges, a hek on the onsequenes for the guitar player ill e useful. Speify either aousti or eletri guitar. In ase of the latter, indiate the type of sound and effet, e.g., lean, heavily distorted, slap delay, long rever. Indiate the urrent role: rhythm (play hords, riffs, liks) vs. solo guitar. The eletri solo guitar may easily overpoer the other instruments y opening the amplifier. Shutting don is a must to re-estalish a alane ith aousti instruments (indiate End of solo in the part, and a dynamis marking). In rok and pop musi the arranger must e aare of the onsequenes of guitar tuning. The open guitar strings are tuned in (ottom-up onert pith)e A d g e 1, favouring keys ith sharps suh as G,D,A or E. These enale playing poer hords ith open strings. In ontrast, saxophones and rass instruments prefer keys ith flats. In order to feature suh a guitar solo, the arranger may have to modulate to a favourale key. Also see the remarks aout the rhythm setion in a perussive voiing in Setion 5. in Part II. A set of useful referene ooks aout drums, guitar and ass guitar inludes [6, 10, 12, 21, 26, 55, 56]. 2..2 Saxophones Example 2.1 azz ig and tutti voiing. This example is inluded in the full version of the ook. Example 2.2 azz ig and speial horus for saxophone setion. This example is inluded in the full version of the ook. This setion is inluded in the full version of the ook. Order the E-ook from the estore. Books and omputer apps ith guitar hord tales are of great help, ut sho finger positions for individual hords. I use string tuning and fret diagrams on paper and game tokens to see hat a sequene of hords means for the guitarist. This often implies a revision of the part. 12
2.. ORCHESTRA SECTIONS AND BALANCE The figure is inluded in the full version igure 2.: azz ig and tutti voiing The figure is inluded in the full version igure 2.5: azz ig and speial horus for saxophones 1
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2.. ORCHESTRA SECTIONS AND BALANCE lute & Ooe & G 7/D A m7/e B 7/ (a) () () igure 2.6: Woodind voiing and internal dissonane. (a): series of 7th hords in 2nd inversion position S5 6, (): Poor internal alane in the heterogeneous oodind setion due to the enlosed voiing, yielding ide intervals eteen the flutes (timral differenes) and parallel dissonant 2nd intervals eteen the ooes. (): etter alane ith uxtaposed voiing; oth sugroups no play parallel onsonant rds 2.. Woodinds The oodind setion onsists of either single or multiple players from an instrument sugroup (flute, ooe, larinet or assoon). The latter ase is referred to as doule, triple or quadruple oodinds. Triple or quadruple inds also imply that other family memers are douled or part of the group; i.e., piolo ith flutes, English horn ith ooes, ass larinet ith larinets and ontraassoon ith assoons. So for triple oodind, the standard in the symphony orhestra, e have: l 1 - l 2 - l /Pi - O 1 - O 2 - EHn - Cl 1 - Cl 2 - Cl /BCl - Bsn 1 - Bsn 2 - CBsn (note that the third player is douling). The studio orhestra ill proaly ontain single or doule oodinds, exept for large sale produtions. When deiding on a partiular oodind voiing, take into aount: Instrument register. As the voiing for a heterogeneous oodind setion (i.e., ith different instrument sugroups) gets ider, using a rossing or enlosure voiing approah (see Setion 7.1 for a lassifiation of oodind voiing types), to instruments from the same sugroup may sound in a different register. This timral hange signifiantly dereases the lending quality of the setion. A good example is a sugroup of to flutes, one playing in the lo register, eteen 1 and a 1, the other eteene 2 and ; these ill have a different loudness and sound, losing timre oherene. Intervals ithin a group. A voiing may lead to a sequene of either onsonant or dissonant intervals in an instrumental groups. or example, take a hord sequene of 2nd inversion 7th hords, e.g., G 7 /D Am 7 /E B 7 /, here to flutes play the outer, to ooes the inner parts, as shon in ig. 2.6. The result is a series of parallel onsonant 6ths in the flutes, hile the ooes play parallel maor seonds. The alternative, shon on the right, is uxtaposition voiing, ith the flutes taking the to upper pithes, and the ooes the ottom notes; oth are no playing in onsonant parallel rds. Re-ordering the voiing is a mehanism of ontrolling the degree of dissonane ithin the sugroups; this is an important aspet of oodind voiing. Composer and arranger Bo Zimmerman in an intervie strongly opposed against rossing, dovetailing and enlosing voiings. He is advoating the overlaying tehnique, ith maximum likelihood of instruments playing in the same register and est lending potential. 15
CHAPTER 2. INSTRUMENTATION Speifi aspets of and tehniques for voiing a oodind setion is disussed in greater detail in Chapter 7, here e also ill see voiing diagrams. Let s demonstrate a typial oodind setion in a onert and piee, see Example 2.. Example 2. Tutti oodind setion voiing in onert and arrangement. Shon in ig. 2.7 are the introdution and part of a speial horus of an arrangement or Let it Sno (H. Arlen) for onert and. Both fragments are tutti settings of a lassial Viennese altz (the piee later turns into a azz altz). The saxophones are not shon; they play elements from oth the oodind and rass setions. In the introdution there is a dominant pedal point on a Gm 7 /C C 9/1 7 hord hange (the key is maor). The oodind play the higher hordal funtions in parallel onsonanes or triads; see the 9 and 11 of the Gm 7 in eat 1 of m. 2, and the 9, and 1, yielding the itonal hord struture on eat 1 in m. 5. or more on itonal extended hord voiings, see Setion 5..1. The opening run is unisono for flutes, ooes and larinets in parallel thirds, ith higher otave douling in the piolo. In m. 2 e sith to a three-part setting ith instrumentation (Pi + l 1 + O 1 + Cl 1) - (l 2 + Cl 2) - (O 2 + Cl ). The unisono renh horns doule the lead part at the otave elo. Both flutes and ooes play parallel onsonant intervals. In the introdution m. 5 8 the arpeggio triads are in interloking voiing: l 1 - O 1 - l 2 - O 2, turning to l 1 - O 1 - (l 2 + O 2) on eat of m. 7. The seond fragment, see the seond system m. 1 10, is a tutti limax, ith lead melody in fortissimo assoons (middle register), flugelhorn (not shon) and supported y the trumpets over a toni pedal in the ne key of G maor. Note ho the lead trumpet part supports the main melody (douling or playing onsonant parallels). The flutes and ooes play the upard salar runs in parallel thirds, ith piolo 8va douling, hile the larinets play the donard runs. This effet depits a sno storm ith ind gusts. The high oodinds are omined in m. 8 at the end of the first phrase. Speial playing tehniques inlude flutter tonguing, alternative fingerings, and harmonis. 2.. Brass Example 2. azz ig and tutti rass voiing. This example is inluded in the full version of the ook. 16
2.. ORCHESTRA SECTIONS AND BALANCE 1 & & 1 # & # # & # # 6 # & # # & # Waltz q=128 7 Bsn R. 7 Brass 7 Pi+l+O+Cl Tu+DB 2 Ÿ. ƒ Ÿ. ƒ.. ƒ Hn. ƒ Gm7/C. ƒ Pi+l+O 2 Ó # 7 Bsn ƒ Cl Ó # ƒ r. f Hn Brass. Tu+DB. Ÿ..... der.. der. der. der. der. Ÿ..... # # # f Ó f #.. 5 C7-9. 6 #... r # # # # 8 9 # # # n # 7.. n 7 #. #.... 7 5 7 #.... 8 U U U U, Solo n # n # n # n # n #.. 10 n #. igure 2.7: Woodind voiings in a onert and arrangement of Let it Sno (H. Arlen). Shon are the introdution and part of a speial horus. 17
CHAPTER 2. INSTRUMENTATION Example 2.5 azz ig and tutti setting ith rass aents. This example is inluded in the full version of the ook. Example 2.6 Balaning the renh horns in the rass setion or in a tutti voiing. This example is inluded in the full version of the ook. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 18
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CHAPTER 2. INSTRUMENTATION 2..5 Strings The size of the string setion is highly relevant for the alane ith the other instrument groups. The most important fat is that in popular musi onerts and reording sessions the total numer of strings is signifiantly less than in the symphony orhestra: typial figures are 7-25 string players in popular musi vs. 20-60 strings in the lassial musi domain. In azz and pop musi there may e even smaller units, suh as the string quartet. But also the internal alane ithin the strings is of importane. There exists a rule-ofthum, hen alaning a string sugroup ith the next-higher sugroup: = The 2: string alane rule. or unisono string playing more string players are needed in the neighouring higher sugroup. The reommended ratio is 2:. E.g., to elli should e alaned ith three violas, four violas ith six violins, et. In Chapter 8 the internal alaning issue ill e illustrated ith a diagram (see ig. 8.1) and disussed in Setion 8.1. Comining strings and oodinds at the same dynami level, use 5 7 strings to alane one oodind instrument. Violin playing tehnique ith many detailed examples from the lassial musi repertoire an e found in [1, 15, 51] and ello playing in [27]. Open strings are tuned in: E 1 A 1 D G for ontraass, C G d a for ello, g d 1 a 1 for viola and g d 1 a 1 e 2 for violin (see the otave laeling in ig. 2.1). Although these tunings may suggest preferred keys ith sharps (G D A maor), as as the ase for the guitar, the prolem is almost asent. String players generally avoid open strings, sine they annot influene the tone quality y playing virato. Instead, position playing gives etter intonation and tone olouring potential. Open strings eome relevant hen playing doule and multiple stops. or triple and quadruple stops a omination ith open strings is essential, see Setion 8.6.5. A shortlist of popular musi string orhestration onsiderations is: Put eight at the top. Derease the numer of parts for the upper string sugroups and have these play unisono. Loer otave douling in the high register. Unisono lines in the high violin, say aove, need support from douling at the loer otave, y either other violins or violas, or maximum melodi impat use unisono. Unisono playing in otaves y violins, violas and elli ill provide the est ondition that the string melody is heard in an orhestral tutti (the other option oviously is douling in other instrument groups). Example 8. in Setion 8.2 demonstrates this tehnique. Never divide the violas. These middle range strings play a single part only; no divisi playing (see Setion 8.6.). An oasional doule stop is alloed, ut keep the numer of players at the maximum. The elli are great for divisi playing. With to or more players, one an have this sugroup play divisi. A eautiful effet is having a ello quartet eah play an individual line (see Example 8.11 in Setion 8.7). Do not doule the ontraass part at the higher otave. This type of8va douling eteen doule asses and elli is a regular pratie in the lassial musi symphoni repertoire, 20
2.. ORCHESTRA SECTIONS AND BALANCE here elli and asses an frequently e found on the same staff in the sore (have a look at Romanti period symphoni sores, or see Example 2.7). This ill not ork for the limited numers of string players in popular musi (total numers are less than half of their symphony orhestra ounterparts). No need for mutes. This is a sutle effet in the orhestral repertoire, hen playing aoustially. With eletroni reording and stage amplifiation, the effet of string mutes, as opposed to softer playing, ill hardly e notieale. Speial playing tehniques. Effetive use an e made of pizziato playing (i.e., pluked strings), tremoli, playing sul tasto (on the fingeroard) or sul pontiello (near the ridge), natural and artifiial (fingered at higher positions) harmonis. Doule and triple stops an e used, ut ith limited effet for the smaller setion in an orhestra. 5 Chapter 8, in partiular Setion 8.6, ill list and demonstrate a numer of these tehniques. Let s have a look at to examples that demonstrate the lassial (see Example 2.7) vs. the modern style of riting for strings (see Example 2.8). Example 2.7 Voiing the string setion in lassial musi style. ig. 2.8 shos the opening 16 measures of a Western movie style ue, Shotgun Soliloquy, featuring the solo trumpet ith orhestral akground. The key is C minor. The introdution (m. 1 ) is for solo strings in the middle register. Violins and violas play sustained notes. Celli and ontraasses (ottom staff) play a alking ass Baroque musi style pizziato in parallel otaves. This requires a large size string setion in order to ahieve internal alane. In the first statement of the main theme (m. 5 8) the solo trumpet is supported y the strings. The strings open up (highest pith 2 in VI 1 in m. 6, and there is more motion on the sustained trumpet notes (m. 6 and 7). During the seond statement (m. 9 12) horns in ontriute to the akground, hile the louder strings no reah the highest pith of g 2 in m. 10. The tension is rising, using higher hordal funtions; the violins play the 9th and 11th (9 = e and 11 = g) on thed maor hord in m. 10. The ello and ontraass have stopped the douling in otaves, sine the former no are needed for harmoni support. The B setion, m. 1 16 is a modulating transition to the ne key ofd minor. Clarinets doule the loer string parts, hile a flute doules the lead violin part at the higher otave. The setting is in ounterpoint style (listed as a speial tehnique in Setion 6.8). 5 Chek a numer of string quartet and orhestral sores and study the use of string multiple stops. Doing that, I sriled fingering diagram draings in the sore, to realize hat as requested from the string players. In partiular, multiple stop sequenes in the string musi y Maurie Ravel and Béla Bartók ere a valuale learning experiene. 21
CHAPTER 2. INSTRUMENTATION 1 & & Adagio triste q=5 2 A Solo Tpt.. f >. 6... Str & P P Pizz. P... n... n n.... 7 & & & B & &. l n f 8. n. n... n 1. 9.. > Hns ẇ Div.. 10... n 15 f f f f. f 11. 12.. n... n... 16 # Str+Cl & n n n n Aro n. n. n. # # n. n # n n n n igure 2.8: The string setion playing in lassial musi style. This fragment is the opening of Shotgun Soliloquy (.G.. Asil). 22
2.. ORCHESTRA SECTIONS AND BALANCE A &. Latin - Mamo q=160 TS. 6 9 Solo ad li 2 Aaug7/ WW+Xyl 5 (2nd x only) 6 6 9f 9 7 D9(# 11) 8 Ó 9 E 1/D Piano & n. n n n n n n. # n # # # # # # # # n n n n Vi. 1 Vi. 2 Va. V. DB (2nd x only) &. n n &. B. n n. n 6 9... n # # n Aaug7/. # # # f f f n f # n. n n 6 9 n. n n n 9. n # D9(# 11). # # n n f # # n f n # # n f f. # E 1/D. Pno. 10 & & A (add9)/c n n n n n 11 G9/B 12 B m7 C # /G 1 Û. C7susE D /G Û Û Û n n n n 1 G C7sus E Û. Û Û Û n n f 15 D /G G1( 9) C1( 9) Û. Û Û > Û n n n # >. n 16.... Vi. 1 Vi. 2 Va. V. DB & & n B n A (add9)/c. n n G9/B n... B m7. C # /G... C7sus. n n n. n. n n n. n.. # n.. n n > ƒ. n # n ƒ > >. n n ƒ. n. > ƒ. f > C1( 9)..... igure 2.9: The string setion playing in ontemporary style. Shon is the tenor saxophone ad li solo horus of Mediority Mamo (.G.. Asil) for studio orhestra. 2
CHAPTER 2. INSTRUMENTATION Example 2.8 Voiing the string setion in ontemporary style. ig. 2.9 shos a fragment from a Latin mamo, Mediority Mamo, for studio orhestra ith an ad li solo for tenor saxophone. The rhythm setion play a montuno pattern, ith the harateristi arpeggio patterns in 8th notes for piano. The final measure is a perussion reak. The akground is played on the repeat only, and is for oodinds (piolo, flute and ooe), xylophone and strings. The strings (ontraass taet) play lose voiing extended hords in parallel motion in m. 1 8. The elli play divisi à 2. The strings open up and ill sound more prominently in m. 9 12. No there is a more open voiing, ith doule stops in the elli (easy to play parallel 6ths). The final measures, 1 15, ontain an aented rhythm (this ould e performed as a series of don os), orking toards a fortissimo limax in opening ontrary motion; this is here the asses oin in. More examples in oth styles an e found in Chapter 8 on string setion riting. rom the style ounil there is some good advie: try and stay aay from riting sustained notes harmoni akgrounds for strings. This is too muh assoiated ith the easy listening style of the 1960s. Instead, rite interesting string parts, ith lots of motion, ounterpoint in the inner parts. Setion 8. shos ho that an e ahieved. The approah to string setion riting y Vine Mendoza is highly praised y the musiians. or inspiration listen to lassial musi string orhestra piees suh as Alan Berg s Lyrishe Suite (1926), Béla Bartók s Divertimento for String Orhestra Sz. 1 (19), or Alerto Ginastera s Conerto for Strings Op. (1965). Some popular and azz musi string setions have speialized in advaned ontemporary playing tehniques; for example, the 25-piee Metropole Orhestra string setion, here synopated sing, funk and Latin montuno patterns have eome seond nature through deades of experiene in these styles. 6 In ontemporary popular and orld musi, small size string groups are added more and more frequently, oth in the studio and on the onert stage. Young musiians ith either a lassial musi or a pop musi akground have no prolem getting together and reating a ross-over musial idiom, full of rih and advaned string playing. The use of a small string group is demonstrated in Setion 8.7. 2..6 Perussion In orhestral azz and pop musi there is frequent use of perussion instruments. This group is divided into to sulasses. The first is the perussion ith definite pith: examples are the harp, timpani. elesta, harpsihord, tuular ells and the mallet instruments glokenspiel, viraphone, xylophone and marima. The sulass of perussion ith indefinite pith 6 The Metropole Orkest is a professional studio orhestra in the Netherlands, produing azz, popular, film and orld musi for onerts, reordings, radio, television and film. See their esite athttp://.mo.nl. 2
2.. ORCHESTRA SECTIONS AND BALANCE ontains suh instruments as the triangle, tamourine, ar himes, oodloks, suspended ymal, shaker, tam-tam, and Latin perussion laves, ongos, ongas, timales, oells, guiro, and maraas. In the azz, pop and studio orhestra there is one player for piano and all other (eletroni) keyoard instruments. Whereas the symphony orhestra has a separate timpani player, in the studio orhestra these and all other perussion instruments are played y the one or to perussionists. These are most versatile musiians, that play the full range of perussion and mallet instruments. Harp and perussion need eletroni amplifiation in order to e audile in the full orhestra. Perussion instrument usage and playing tehniques are disussed in speifi textooks. Orhestral and Latin perussion tehnique and details an e found in [17, 18,, 9, 7]. Playing the harp is disussed in [19]. 2..7 Unfamiliar aousti instruments This setion is inluded in the full version of the ook. Order the E-ook from the estore. 25
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2.. ORCHESTRA SECTIONS AND BALANCE 2..8 Eletroni instruments Of ourse, sine the introdution of eletroni instruments and omputers in the seond half of the 20th entury, the range of timres and the sound proessing possiilities have gron exponentially. Synthesizers, samplers, the MIDI protool, analog and digital sound proessing equipment have entered the reording studio and the onert stage. The Digital Audio Workstation (DAW), a omputer ith dediated sequener and audio proessing softare, = is found in oth musiian edrooms and in the est reording studios. 7 Reliaility and userfriendly interfaes have enaled their live use. When riting for eletroni instruments, all the tehniques from this ook may e used: harmoni sustained hords in open and lose voiing, ensemle tehniques, perussive riting, even some setional harmony riting (see Part II). Hoever, keep in mind the folloing aspets: Indiate general timre attriutes. Sine there exist ountless numers and huge varieties of eletronially generated sounds, the arranger is not expeted to speify the exat timre, the sound parameters or instrument settings. Hoever, rite general sound attriutes into the part, suh as: mello pad, syn lead, rassy, ethereal high strings, tehno syn ass, distorted, mallet sound. Or indiate a General MIDI (GM) standard path numer (i.e., a program numer 1 128 from the standardized soundank). 8 Be aare of the frequenies. The instrument range hart in ig. 2.1 also has a frequeny axis ith values eteen 16 Hz and.2 khz (the audio range is 20 Hz - 20 khz). This might ome in handy hen planning for eletroni instruments. Like their aousti equivalents, the pith is determined y the fundamental frequeny and the timre y the omplex frequeny spetrum of (in)harmonis, as skethed in ig. 2.10. Tonal om- = ponents and narro- or sideand noise ill ontriute to the overall timre. Eletronially generated sounds use filtering. ilter types are: the idely used Lo- Pass ilter (LP), its omplement the High-Pass filter, andpass and reet, and the shelving filter. See the diagram of filter types and parameters in ig. 2.11. Cut-off frequenyf o and resonane fatorqill affet the overall sound. If you as an arranger have a speifi sound in mind, then you might give a rough frequeny indiation, suh as: oost 100-200 Hz, LP@2 khz, redue 200-500 Hz y db, reate rilliane at 2-5 khz. Kno the amplitude envelope. Another element of eletroni sounds is the amplitude envelope, the sound amplitude (loudness) as a funtion of time. The four-parameter Attak-Deay-Sustain-Release (ADSR) envelope, skethed in ig. 2.12 is idely used. Be aare of the differene eteen sustained (left) and deaying sounds (entre and right). 9 The duration of the attak is another determining fator in sound design. Modulation as another degree of freedom. Apart from the amplitude, many other sound parameters may e varied over time. This is alled modulation. Modulation may af- 7 The urrent DAW market leaders are Avid ProTools, Apple Logi Pro and Steinerg Cuase. 8 Softare instruments enale rosing the vast sound liraries (holding thousands of sounds) y seleting a set of pre-defined attriutes; have a look at this set to learn the voaulary. 9 Classial musi omposers did make use of the sustain and deay harateristis of aousti instruments. Igor Strainsky omined oth sounds on unisono pithes; even ith instruments from the same group; e.g. pizziato or sforzato and sustained strings douling the same part. 27
CHAPTER 2. INSTRUMENTATION P fundamental (pith) harmonis (overtones) (in)harmonis omplex spetrum f igure 2.10: The frequeny spetrum of (eletroni) sounds. Vertial lines indiate the fundamental pith, the higher harmonis (overtones) and the omplex (in)harmoni spetrum P LP f o P f BP lo f hi P f o HP 1 Q f f (a): Lo-Pass ilter (): Bandpass ilter (): High-Pass ilter f igure 2.11: iltering of (eletroni) sounds. Three familiar filter types are shon. Cut-off frequenyf o and resonane fator Q determine the filter slope fet pith, filtering, envelope parameters, virato, delay effets, et., and ill yield omplex-sounding ut more realisti, humanized eletroni sounds. It an e impliit (pre-programmed) in the sound design or varied realtime y using MIDI ontrollers, suh as the pith end or modulation heel. A speial ase of modulation is keyoard traking; sound parameters in the time or frequeny domain ill vary ith the key numer (MIDI range: 0 127, ith key numer MIDI C=60= 1, the musial pith). Leave it to the speialist. rom this rief desription of eletroni instrument aspets, it is lear that e are entering a speialised field of sound design ith dazzling numers of options. This is eyond hat may e expeted of the orhestral arranger. Usually the details of the eletroni sound are left to the musiian, ho should e the greater expert. Mark the part(s) in the sore ith the relevant general speifiations in order to help the performer seleting the est option, ithin the ontext of the orhestra. 2. The sore The sore ontains all the parts to e played y the musiians. We ill onsider the vertial layout ordering of staves, the different forms of a sore and important onsiderations during the proess of riting and using the sore. Musi notation details an e found in [8]. 28
2.. THE SCORE A ADSR envelope A Piano A Perussion A S t A t D t R t t A t D t t A t D t (a): Generi ADSR envelope (): Keyoard sound (): Perussive sound igure 2.12: The amplitude envelope of (eletroni) sounds. Shon are the generi ADSR envelope (sustained sounds, suh as oodinds, rass and strings) and to typial deaying envelopes for keyoard (piano) and perussive sounds. 2..1 Vertial staff order The vertial ordering of staves in the full sore is different for lassial vs. azz and pop orhestras. The most frequently used sore layouts are shon in diagram in ig. 2.1 for the = symphony orhestra (left), the studio orhestra (entre left) and the azz ig and (right). In ig. 2.1 the symphony orhestra is shon for large, quadruple oodinds and elaorate perussion setion. In the studio orhestra the saxophones are plaed eteen oodinds and rass; larinets are omitted from the oodinds, sine they are douling instruments for the saxophone group. The rass setion no has four trumpets and four tromones (tromone is the ass tromone, frequently douling on ass tua). The rhythm setion is eteen the rass and the other perussion. The ig and layout is standardized as shon on the right. The positioning of solo voals and hoir (Soprano - Alto - Tenor - Bass) depends on the style. In lassial musi they are shon in the sore aove the strings, hile in azz and pop sores they are either at the top (option 1) or the ottom of the sore (option 2). When eletroni instruments are involved, group these ith the (pithed) perussion. In ig. 2.1 there is the full sore staff layout, as generated y the template sores in the inale musi notation softare. The symphony orhestra is for triple oodind setion (---), and a (---1) rass setion. Note the numering of multiple parts on a single staff. This may lead to reading prolems for the player; frequent use of extended hords and luster voiings in azz and popular musi yield lose intervals of the seond in neighouring parts. It is etter for the arranger to put players 1- an 2- on a single staff, as e ill get ider intervals and easier reading. 10 The onert and sore is different for different ountries (US vs. Europe and even ithin Europe there are national differenes in onert and instrumentation). Note that a rhythm setion is not inluded in these orhestral templates; usually the azz and pop musi arranger reates his on templates ith rhythm group. 2..2 Various forms of the sore An orhestral sore may have different forms: 10 If your sore paper size allos a separate staff for eah instrument, do so. It ill prevent potential troule hen generating the parts for the musiians. It might even e ise, to reate the sore ith separate staves first and then ompile a ondutor version, here multiple parts are merged on a single staff. 29
CHAPTER 2. INSTRUMENTATION SYMPHONY ORCHESTRA STUDIO ORCHESTRA VOCALS AZZ BIG BAND Woodinds Brass Perussion Strings Pi l 1-2 -() O1-2 -() EHn Cl 1-2 -() BCl Bsn 1-2 -() CBsn Hn 1-2 -(-) Tpt 1-2 -() Tn 1-2 Tu -() Harp 1 -(2) Other pithed Timp Indef. pith Vi 1 Woodinds Saxophones Brass Rhythm Perussion Strings Pi l 1-2 O1-2 Bsn AS 1-2 TS 1-2 BS Hn 1-2 -(-) Tpt 1- -2- Tn 1- Tu Gtr Pno -2- DBass Drums Harp Timp Other Vi 1 azz/pop 1 Solo S-A T-B Classial Solo S-A T-B Saxophones Brass Rhythm AS 1 AS 2 TS 1 TS 2 BS Tpt 1 Tpt 2 Tpt Tpt Tn 1 Tn 2 Tn Tn Gtr Pno DBass Drums Vi 2 Va V DB Vi 2 Va V DB azz/pop 2 Solo S-A T-B igure 2.1: Vertial staff order in the full sore 0
2.. THE SCORE & & & & & & & & & & & ã # # # # # # # # # # # # # # # # # # # # # 1 2 1 2 Baritone Sax. 1 2 1 2 Guitar Bass Drum Set Alto Sax. Tenor Sax. Trumpet Tromone Piano & & & & & & & & & & & & & & ã & & B # # # # # # # # # # # # # # # # Piolo 1 2 1 2 English Horn 1 1 2 Bass Clarinet 1 2 Contraassoon 1 2 1 2 1 2 Tua Timpani Perussion I II Viola Cello Contraass lute Ooe Clarinet in B Bassoon Horn in Trumpet in B Tromone Violin & & & & & & & & & & & & & & & & & ã ã ã # # # # # # # # # # # # # # # # # # # # # # # # # # # # # Piolo lute 1 2 Ooe 1 2 English Horn Bassoon 1 2 Clarinet in E 1 2 Alto Clarinet Bass Clarinet Alto Sax. Tenor Sax. Baritone Sax. 1 2 1 2 Trumpet in B 1 2 Tromone 1 2 Bass Tromone Euphonium Tua Timpani 1 2 Clarinet in B Horn in Cornet Perussion (a): ig and (): symphony orhestra (): onert and igure 2.1: ull sore staff order 1
CHAPTER 2. INSTRUMENTATION Transposed full sore. This is the sore as read y the musiians. Composer, arranger and ondutor take are of appropriate transpositions. The transposed full sore layout for a piee in the key of C maor is shon in ig. 2.1; there are transposing instruments in,b and E. Conert pith full sore. The onert pith sore ill sho the parts as they sound. It is easier for the ondutor, hen studying, preparing for and rehearsing musi ith omplex harmonies (e.g., atonal musi). Hoever, the ondutor then has to e skilled at transposing hen ommuniating ith the musiians during rehearsals. 11 Musi notation programs, suh as inale and Sielius provide representation in either form ith a menu ommand. All examples in this ook are in onert pith key. Condensed sore. In the ondensed sore the information is redued to eteen to (piano redution) and five staves, ith instrumentation markings added. Many examples in this ook are presented as a ondensed sore. 2.. Optimize the sore for performane This setion is inluded in the full version of the ook. Order the E-ook from the estore. 11 Early 20th entury Russian musi pulishers printed full sores in onert pith key. See Prokofiev and Strainsky sores. 2
2.. THE SCORE [This page is intentionally left lank in the demo version of this ook.]
CHAPTER 2. INSTRUMENTATION 2.5 Conlusion Here e onlude the introdutory part of the ook, alled Preparations. Its goal is to reate aareness of a numer of aspets that have to do ith arranging, instrumentation and ompleting a sore for performane. As said efore, the mehanis of musial instruments and lassial musi orhestration an e studied in greater detail in other textooks and on the internet. This part of the ook provides an overvie, in order to prepare you for Part II. The seond part ill demonstrate in detail a set of tehniques, appropriate for azz and pop musi arranging for larger ensemles. Examples ill guide you along the ay and should trigger the development of arranger skills. A limited numer of examples as disussed in this part. Hoever they niely overed the standard ensemles that play azz and pop musi these days: the azz ig and, the onert and and the studio orhestra.
Part II Tehniques Brixu 5
Chapter Setional harmony in four parts Setional harmony in four parts is one of the asi tehniques in the field of arranging (see [9], pp. 29 5; [], Ch. 10; [], p. 51). It may e haraterized as a mixture of traditional funtional harmony ith (impressionist) modal harmony. It is the read and utter of azz ig and riting; as soon as azz orhestras emerged in the 190s sing musi, there as setional riting. This arried over into the eop era of the 1950s. The tehnique remained a standard in the allroom daning and easy listening orhestral reordings of the 1950s and 1960s; it is immediately reognized and typial for this musial idiom. It ours most frequently in the saxophone setion, ut also in the rass. Even the solo piano may play lines in setional harmony. The prolem is that of harmonizing a given lead voie over a given asi harmony for a total of four voies; e have to find the three loer = voies. The lead voie may onsist of hordal tones, non-hordal tones and non-diatoni tones. We ill study the tehnique (alternatively desried as the ag of triks) that enales you to harmonize the lead voie, espeially for the latter to ategories (non-hordal and non-diatoni tones in the lead) and make sure the end result makes sense in harmoni terms and is playale from a musiian s point of vie. Setional harmony for more than four parts and some forms of ensemle tehnique often only ome don to a douling of voies from a given asi four part harmonization. This hapter ill sho you the tehnique of harmonizing a given lead in four parts..1 Basi rules In riting four part setional harmony there is a asi set of rules that e ill follo: 1. Use a top-don approah. Start ith the given lead voie and find the three loer voies. As an arranger you ill usually ompose the lead voie first and then harmonize that leading part. In our exerises the lead voie ill e given. Do not modify the lead voie unless you find its harmonization impossile. 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER. SECTIONAL HARMONY IN OUR PARTS Tale.1: Basi hord struturess in four part setional voiing. Struture S 6 Sm 6 Sm +7 Sm 7 S 7 S 7 S 7 Desription the maor triad ith added 6th (note: the 6 does not indiate the inversion of the triad, ut the 6 aoutée, the added 6th) the minor triad ith added maor 6th the minor triad ith added maor 7th the minor 7th hord the dominant 7th hord the half-diminished 7th hord the diminished 7th hord 2. Use four part harmony. Most hord strutures in azz and popular musi have four parts or more. Tale.1 summarizes the types of four part hord strutures that ill e used in the four part setional tehnique (rememer that the symol S indiates a hord struture). igure.1 gives an example of eah of these types. or the moment e ill forget aout extensions (higher numers than the 7th) of the asi hord strutures. We ill ome ak to that later.. Use lose voiing. The asi four part tehnique uses lose voiing only hen the range of all voies has to stay ithin the interval of an otave; the outer voies ill in that ase form the interval of either the 6th (imperfet onsonant) or the 7th (mild dissonant). We ill also disuss the so-alled drop 2 tehnique, hih, stritly speaking is not lose voiing, ut is easily otained from a lose voiing harmonization.. All parts use parallel motion. This means that the loer three voies exatly follo the motion of the leading voie. This is ontrary to lassial musi theory of harmony here good voie leading oliges you to use preparation and resolution of dissonant tones (the 7ths, for example). When riting setional harmony this is of no onern. 5. Prevent repeated notes in any part. You ill find the four part setional tehnique usually in medium to up-tempo piees. Noteorthy examples are the our Brothers (Woody Herman ig and) and the Supersax plays Bird (using a five-memer saxophone setion) reordings. rom a musiian s point of vie it is etter to avoid repeated notes in any part (unless they are in the lead voie); this makes playing easier. harmonization therefore must e suh, that no repeated notes ill our. The list of asi rules is summarized in Tale.2. No e ill disuss a numer of exerises and examples that ill gradually introdue and disuss prolems of inreasing omplexity. We ill illustrate the various tehniques for riting four-part setional harmony. 8
.2. LEAD WITH CHORDAL TONES C6 & Cm6 Cm + 7 Cm7 C7 ø C 7 o C 7 igure.1: Example of the hord strutures used in four part-setional harmony (Root C, root positions, lose voiing). Tale.2: Basi rules for four-part setional harmony. Basi rules Work in a top-don order Use four part harmony Start ith lose voiing All parts move in parallel Prevent repeated notes in any part.2 Harmonizing a lead onsisting of hordal tones only We ill start ith the situation here the given lead onsists of hordal tones only (see the asi harmony on the loer staff of the example and hek)..2.1 The danger of repeated notes igure.2 shos hat happens hen the asi rules from the previous setion are applied in a straightforard manner. This approah is demonstrated in Example.1. Example.1 Chordal tones in the lead voie, straightforard proedure. Prolem: Lead voie P1 onsists of hordal tones only. Disussion of the solution: The toni triad C in m. 1 is harmonized using the added 6th hord type. Note that folloing the lead e pass through the various inversions of the asi hord. On several oasions e may see the interval of a maor 2nd eteen the upper to voies. This is no prolem unless e are in a high range, for a speifi instrumentation. Try to avoid minor 2nds eteen the upper voies, sine this dissonant is too harsh. The example shos to ases of repeated notes: m. 2, rd eat in P2 and P at [*1] and m., 1st eat in P at [*2]. These have to e eliminated! 9
CHAPTER. SECTIONAL HARMONY IN OUR PARTS P1 1 & 2 Ó P2 P P & & [*1] Ó [*2] Ó Ó H C6 Dm7 G7 C6 Ó igure.2: Chordal tones in lead, straightforard proedure..2.2 Prevent repeated notes using seondary dominants Example.2 Chordal tones in the lead voie, appliation of seondary dominant hord struture. This example is inluded in the full version of the ook. The figure is inluded in the full version igure.: Chordal tones in lead, appliation of seondary dominant hord struture. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 0
.2. LEAD WITH CHORDAL TONES [This page is intentionally left lank in the demo version of this ook.] 1
CHAPTER. SECTIONAL HARMONY IN OUR PARTS. Harmonizing non-hordal tones = The example from the previous setion ill no e modified slightly in suh a ay that the lead ontains non-hordal tones. Note, hoever, that the lead part still is ompletely diatoni. There are only notes from the C maor sale, hih is the sale that is implied y the I IIm 7 V 7 I adene in the given harmony. The marked notes are the non-hordal tones that have to e harmonized ith a different hord struture...1 Use of diminished hords and seondary dominants The only solution e have seen so far to the prolem of harmonizing non-hordal tones is the use of seondary dominants. That is the approah e ill use here. See the appliation in Example.. The struture of the seondary dominant hord ill yield a diminished 7th hord. 2 Example. Non-hordal tones in the lead voie, appliation of seondary dominant hord struture. Prolem: Lead voie P1 ontains non-hordal tones (see igure.). Disussion of the solution: At [*1] the non-hordal tones and d (in fat the 7 and the 9th of the extended C 6 hord respetively; e ill onsider them no as non-hordal sine they do not elong to thes 7 ) may e harmonized using the diminished hord B 7, hih has a seondary dominant funtion relative to C. Note that e may find to non-hordal tones in sequene, here the resolution toards a hordal tone ours after the seond non-hordal tone. At [*2] the non-hordal tonesg and e are harmonized using the C 7 hord, hih as a seondary dominant funtion relative to thedm 7 hord. At [*] e hoose an alternative solution. The a is the non-hordal tone in the G 7 (sine, again, e onsider four part hord strutures as the starting point), that might have een harmonized using the 7 hord. There is a differene ith the previous to ases, hoever: hereas the other nonhordal tones move stepise toards a hordal tone (here is the list, hek for yourself: [m. 1]: ր, ր d ց, [m. 2] g ց f,e ր f), no e find a leap (m. 2, eat ) a ր d. Using a diminished hord here has a muh eaker effet than in the ase of stepise motion. Therefore, e no hoose to extend the Dm 7 hord unto the rd eat of that measure. his leads to a suspended G sus 7 hord, or, equivalently, a Dm 7 /G, hih sounds as a riher dominant struture than the plain G 7. Note that on eat the lead is harmonized using B 7, sine e ork toards the C hord in the next measure. This is equivalent to the G 9 7 struture and although e ere not to onsider extended hord strutures eyond four parts, here e have one! This is no prolem, it simply sounds etter (has a stronger dominant effet, sine there is an extra leading tone a, see the next setion) than the plain dominant 7th S 7 struture.
.. HARMONIZING NON-CHORDAL TONES P1 P2 1 [*1] [*1] & o o B 7 B 7 & # # n 2 [*2] [*2] C #o 7 C #o 7 [*] # # Ó Ó P P & n Ó Ó H C6 Dm7 Dm7/G G7 9 C6 Ó igure.: Non-hordal tones in lead, appliation of seondary dominant hord struture...2 Rhythmi aspets: the use of synopations Example. Non-hordal tones in the lead voie, synopated rhythm. This example is inluded in the full version of the ook. The figure is inluded in the full version igure.5: Non-hordal tones in lead, synopated rhythm. This setion is inluded in the full version of the ook. Order the E-ook from the estore.
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.. HARMONIZING NON-CHORDAL TONES.. Use of leading tone hords The next example has the opening hords of the azz standard Ho High the Moon (or its derivative Ornithology ). It is familiar hord sequene that leads to a toni R 7 yle (from C tob through modifiation of the first toni hord). The lead part no ontains oth non-hordal and non-diatoni tones. Measures 1 to are = in the key of C maor here d and f are no memers of the diatoni sale. These tones annot e harmonized using the seondary dominant struture, sine neither of them is part of the diminished 7th B 7 hord. Therefore e shall apply a ne tehnique, hih is alled the leading tone hord. This = means that e apply exat parallel motion loally, i.e., eteen to onseutive hords. All voies in the first hord move y the same distane toards the seond hord, hih, as you may rememer, is our aiming hord. The distane of motion is either a minor or a maor 2nd up or don. This is indiated as i ր and i ց or as 2i ր and 2i ց, here i is the semitone step of hromati minor seond (the smallest unit in the hromati 12 tone system). The effet of the leading tone hord is stronger sine it is using minor 2nds, ompared to the ourrene of maor seond steps in other approahes. The leading tone hord is used more frequently moving upard than donard. Let us no disuss Example.5, hih is shon in igure.6. Example.5 Harmonization of non-hordal tones in the lead using leading tone hords. Prolem: Lead voie P1 ontains non-hordal and non-diatoni tones. Disussion of the solution: At [*1] e harmonize the upeat tone into the C hord of m. 2. We find in the upeat measure the sequeneg 7 7 B 7 C. The to diminished hords form a hain of seondary dominants. M. 2 and m. [*2] use the standard seondary dominant tehnique for the harmonization of the non-hordal tones. In m. [*] e apply the leading tone hord tehnique. The aiming hord tie is th C 6 hord, hih is enharmonially equivalent to theam 7 hord. Exat parallel motion (upard minor 2nd step) therefore yields the G m 7 struture as the preeding hord. In m. 5 eat [*] e enounter another aspet that requires onsideration. We have the sequenee g in the lead (the 7th and the 9th of the 7 hord). No suppose e harmonize the first note ith the 7 9 struture (again, this ould e a small diversion from our asi rules) or its equivalent A 7, as shon in igure.7. If e harmonize the seond note ith a pure 7 9, or its equivalent A 7 then e find a ross-relation eteen the loer and upper part: there is a minor 9th eteen the f and the g that ill sound harsh. 1 Try to prevent this and use a no familiar trik: use the 7 sus or 1 In lassial musi the ross-relation indiates the inompatile omination of altered notes in different parts in a ounterpoint setting. This may happen in minor keys here the loered sutoni 7 must e resolved in a donard melodi sequene 7 6 5 (in Cm this implies a g), efore the raised sutoni 7 resolves into the toni, usually as the asending stepise motion 6 7 1 (a in Cm). We are dealing 5
CHAPTER. SECTIONAL HARMONY IN OUR PARTS P1 [*1] [*2] [*2] #o o o o o 7B 7 B 7 B 7 B 7 1 2 & [*] [*] # # #o o G m7 Am7 G m7 Am7 7 B 7 # # o n o o B 7 B 7 E 7 [*] o E 7 Cm7/ 7 9 5 n 6 P2 P & & # # n # n # # # # n nn n n n n # P H & G7 C # # n Cm7 n 7 n B Ó igure.6: Harmonization of non-hordal tones in the lead using leading tone hords. & 7 9 # igure.7: Cross relation eteen loer and upper voie. its equivalent Cm 7 / on eat of that measure. Save the real dominant struture A 7 until the last eat an the rest ill e a donard hromati stepise resolution (eteen parts) 9 9 1 (g in P1,f g f in P2-P)... Use of sustitute hords Example.6 Harmonization of non-hordal tones in the lead using sustitute hords. This example is inluded in the full version of the ook. Example.7 Harmonization of non-hordal tones in the lead using sustitute hords. This example is inluded in the full version of the ook. ith a omination of the melodi minor desending and asending sale. If the desending sequene has not een ompleted in one part efore the asending pattern ours in another part, this is alled a ross-relation. The equivalent in azz setional harmony setting is the omination of to altered hord funtions in lose proximity. In the example here it is the f = g, the loered 9th in the loest part, hih usually resolves y hromati donard step into the toni, in omination ith the g = 9 in the lead. This implies an irregular upard resolution and yields a harsh minor 9th dissonant interval eteen the outer parts. 6
.. HARMONIZING NON-CHORDAL TONES The figure is inluded in the full version igure.8: The definition of a sustitute hord. The figure is inluded in the full version igure.9: Alternative harmonization of non-hordal tones in the lead using sustitute hords. 7
CHAPTER. SECTIONAL HARMONY IN OUR PARTS The figure is inluded in the full version igure.10: Harmonization of non-hordal tones using sustitute hords. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 8
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CHAPTER. SECTIONAL HARMONY IN OUR PARTS P1 & 1 Ó [*1] [*1] 2 [*2] [*] [*] [*1] 5 Ó P2 & Ó o o B7 B7 n E 7 A 7 # n A 7 #o 7B o 7 n Ó P & Ó n n Ó P H & Ó Cm7 n D ø 7 G7 n Ó Cm Û Ó igure.11: Harmonization of non-hordal tones in the lead using exat parallel hords...5 Use of exat parallel hords = The next example has a lead voie in C-minor and onsists of diatoni tones only. In minor e have the half-diminished hord on the 2nd degree of the sale. We shall demonstrate to solutions to the harmonization prolem for non-hordal tones from this 2nd degree hord. The first solution is ased on the use of a sustitute hord. The seond solution ill use exat parallel hords, hih is the ne tehnique here. See Example.8 for the disussion. Example.8 Harmonization of non-hordal tones in the lead using exat parallel hords. Prolem: Lead voie P1 ontains non-hordal tones (see igure.11). Disussion of the solution: At [*1] e harmonize the non-hordal tones ith the standard tehnique of a single seondary dominant, B 7 Cm 7 in m. 2, or a sequene of to seondary dominants 7 B 7 Cm 7 in m.. At [*2] the non-hordal tone in the half-diminished hord e is harmonized using the E 7, or equivalently the A 5/ 9 7, although this solution does not sound ideal. At [*] e meet the hromatially desending exat parallel hord solution A 7 G 7. In m. it is approahed through a leap; in m. it is a neighouring stepi ր i ց. Notie that this example ontains various synopations (m. 2, eat and m., eat ). The final 8th note of these synopated groups is harmonized using the hord on the next doneat. This is the same approah that e have used on tied-over notes. Next, in Example.9 e ill disuss to solutions for harmonizing the non-hordal notes in m., see igure.12. 50
.. HARMONIZING NON-CHORDAL TONES P1 & 1 [*1] n 2 [*2] n P2 & o D 7 n ø ø B 7 C 7 n P & nn n P H & # n n ø D 7 n ø D 7 igure.12: Harmonization of non-hordal tones using exat parallel hords. Example.9 Harmonization of non-hordal tones in the lead using exat parallel hords. Prolem: Lead voie P1 ontains non-hordal tones. Disussion of the solution: At [*1] e harmonize the non-hordal tones d and f using thesustitute hord B 9 7, hih is not exatly equivalent ith the D 7 hord (eause of its loered 9th). It, hoever, is equal to the G 9 7 hord, sine the four upper funtions of oth hords form the same diminished hord B 7. What e in fat do here is to pull ahead the dominant hord of m. (this has een disussed in previous examples. This might though lead to a lash ith the rhythm setion in ase they play the half-diminished struture (the lash eteenand) and proaly it is etter to orret the hord symol for the rhythm setion in that measure. At [*2] e apply three onseutive exat parallel hords (B 7 C 7 D 7 ) orking akards from the aiming hord on the hordal tone d. Although e no find quite a fe non-diatoni tones in this sequene they are no prolem, espeially at higher tempos...6 Conneting minor 7th hords Example.10 Harmonization of a lead voie ith diatoni 6 7 stepise motion: prolems using seondary dominant or leading tone hord. This example is inluded in the full version of the ook. 51
CHAPTER. SECTIONAL HARMONY IN OUR PARTS The figure is inluded in the full version igure.1: Lead voie ith diatoni6 7 stepise motion (ase 1). Example.11 Harmonization of a lead voie ith diatoni 6 7 stepise motion: onneting minor 7th hords. This example is inluded in the full version of the ook. The figure is inluded in the full version igure.1: Lead voie ith diatoni6 7 stepise motion (ase 2). Example.12 Harmonization of a lead voie ith diatoni7 8 or stepise motion over minor 7th hord on rd degree or 6th degree respetively. This example is inluded in the full version of the ook. 52
.. HARMONIZING NON-CHORDAL TONES The figure is inluded in the full version igure.15: Lead voie ith6 7 stepise motion on rd degree of maor sale. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 5
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.. HARMONIZING NON-CHORDAL TONES..7 Use of sudominant hords Example.1 Harmonization of non-hordal tones using sudominant hords. This example is inluded in the full version of the ook. The figure is inluded in the full version igure.16: Harmonization of non-hordal tones using sudominant hords. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 55
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.. EXTENSIONS TO OUR-PART SECTIONAL HARMONY. Extensions to the tehnique of riting four-part setional harmony..1 Sequenes of similar strutures on parallel diatoni degrees In this setion e ill disuss various other aspets of riting four-part setional harmony. irst e ill deal ith the tehnique of using diatoni parallel strutures. Then e ill disuss the drop 2 -voiing in four-part setional harmony. Also e ill disuss the ourrene op repeated notes and the use of altered dominant strutures...2 Sequenes of diatoni parallel strutures Example.1 Similar hord strutures on diatoni parallel degrees. This example is inluded in the full version of the ook. The figure is inluded in the full version igure.17: Similar hord strutures on diatoni parallel degrees. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 57
CHAPTER. SECTIONAL HARMONY IN OUR PARTS [This page is intentionally left lank in the demo version of this ook.] 58
.. EXTENSIONS TO OUR-PART SECTIONAL HARMONY P1: P2: P: P: p1 p2 p p 8a p1 p p p2 p1 p p p2 igure.18: Diagram of the drop 2 proedure in four-part setional harmony... The drop 2 voiing So far e have stritly adhered to the rule of lose voiing in riting setional harmony. Hoever, there is another standard form of four-part setional harmony, that an easily e derived form the lose voiing. It is alled the drop 2 voiing and it is otained y transposing = the 2nd voie from the top, i.e., P2 to the otave elo. This proess for ahieving a drop 2 half-open voiing is shon in diagram in igure.18. Example.15 ill illustrate this proedure, hen applied to a setional harmony fragment (ompare the to voiings in igure.19). Example.15 Close voiing and drop 2 voiing. Prolem: Assign the parts for given four-part setional harmony: use lose voiing and drop 2 voiing. Disussion of the solution: igure.19.a shos the solution ith lose voiing. The non-hordal tones in m. 1 [*1] are harmonized using the seondary dominant A 7, the appoggiatura f in m. 2 [*2] is harmonized using the same priniple (in this ase ith a D 7 hord). Beat of m. 2 [*] uses the Bm 7 /E struture that e have disussed efore and the penultimate note [*], a non-diatoni note, is harmonized using an altered dominant hord struture E 5/ 9 7. This note might also have een harmonized using a leading tone hord struture E m 7. Notie the rhythmi aspets of the example: synopated and tied-over notes are harmonized using the hord struture on the next regular eat. Also note the 16th notes in the lead in m. 2; little emellishments like these do not neessarily have to e harmonized, espeially at higher tempos. igure.19. demonstrates the drop 2 -voiing. We have transposed P2 one otave don. The total range is no more than one otave and the result is a mixed, more open voiing. Still the intervals eteen the outer voies are 59
CHAPTER. SECTIONAL HARMONY IN OUR PARTS P1 # & # # 1 Ó [*1] [*1] # 2 [*2] n [*] [*] # P2 P P H # & # # # & # # # & # # ## # #o #o A 7 A 7 Ó # n n Ó n Ó Bm7 D #o 7 Bm7 n n# E7 A P1 # & # # 1 Ó # 2 (a) n # P2 P P # & # # # & # # # # # Ó n Ó Ó # nn n n# H # # # Bm7 E7 A () igure.19: Close voiing and drop 2 voiing. 60
.. EXTENSIONS TO OUR-PART SECTIONAL HARMONY onsonant rds most of the time, interspersed ith oasional 2nds (9ths, to e orret). No, for the first time e have to onsider instrumentation aspets. Sine the range of the setion gets ider as e use the drop 2 tehnique e might enounter instrumentation prolems. The ottom voie may get into a too lo register, either for the instrument to play omfortaly, or from an aousti point of vie. 2 In the latter ase the implied fundamental of the applied hord struture is too lo, as a result of the lo register position of the hordal funtion (the 5th harmoni, the fundamental pith lies to otaves and a maor third loer) or the funtion 7 (the 7th harmoni). In those ases e might have to hange the voiing along the melodi line. The preferred loation for a hange of the voiing is at a diminished hord, sine, due to its internal symmetry (the diminished hord eing onstruted from minor rds) it suffers least from suh a hange and is least notieale. We illustrate this ith Example.16 and ig..20. Example.16 Changing from lose voiing to drop 2 voiing. Prolem: Assign the parts for given four-part setional harmony: use a mixed voiing and determine the appropriate point for transition. Disussion of the solution: Let us first harmonize the non-hordal tones. At [*1] e use a seondary dominant E 7 to harmonize the. At [*2] e use an extended seondary dominant 9 7 = A 7 to harmonize the g. At [*] e use an altered seondary dominant D 5/ 9 7 = A 7 to harmonize the. At [*] e use a seondary sudominant A 6 = m 7 to harmonize the a. An alternative solution is either the altered seondary dominant D 5/ 9 7 or the leading tone hord Am 7. Comparing the three alternatives e may say that the urrently used A 6 is the most diatoni solution, the Am 7 ould have een the least diatoni alternative. At [*5] e use a seondary sudominant G 7 = C 9 7 = A 9/ 1 7 to harmonize the g. Using a plain G m 7 ould have lead to an augmented 2nd step in P. At [*6] e use an extended seondary dominant B 7 = G 9 7 to harmonize thef. The example starts ith drop 2 voiing. This hanges to lose voiing at the seond 8th note of eat 1 in m. 1 (at thee 7 ). Then, at the upard leap, e hange ak to drop 2 and again to lose voiing on eat 2 in m. 2 at the G 7. The example ends ith another hange on the last to notes; the reason for doing this is to prevent the loer voies from having a 5th leap, sine this might lead to instrumentation prolems. Changing the voiing at these diminished hords does not lead to repeated notes in any of the parts. 2 Try and prevent the third of a hord (orresponding to the frequeny5f 0, heref 0 is the fundamental) to go elo = 10.8 = 5f 0 Hz and the 7th (i.e.,7f 0) eloe = 155.6 Hz. The first implies a hord root (fundamental f 0) at a = 25.9 Hz, the seond a fundamental of f = 21.8 Hz. See the keyoard, pith and frequeny numers in ig. 2.1. 61
CHAPTER. SECTIONAL HARMONY IN OUR PARTS P1 # & # # # 1 [*1] [*2] [*] 2 [*] [*5] [*6] n # Ó P2 # & # # # n n # Ó P P # & # # # # # # # n # n # n # n n n# n Ó Ó H # # # # # m7 B7 # # G m7 C 7 # m igure.20: Changing from lose voiing to drop 2 voiing. = Theoretially, there is an even ider voiing possile for four parts. By transposing also the original fourth part P from the lose position voiing to the loer otave and rearranging the parts e otain an open voiing. The result of applying the open voiing approah to the prolem in Example.17 is shon in igure.21. Example.17 Open voiing. Prolem: Assign the parts for given four-part setional harmony: use ide, open voiing. Disussion of the solution: The harmonization of the example in ig..21 is the same as the original lose voiing. Both P2 and P from the lose voiing have een transposed to the loer otave. We no otain a total range of almost to otaves. Note ho the intervals eteen the outer voies still are not too dissonant (mainly 6ths and mild dissonanes of the minor 7th). Hoever, note the lo thirds in m. 1, i.e., the d = in the Bm 7 hord, and m. 2, the g = in the E 7 hord. Although they sound riefly in a medium or up-tempo, the total impression ill e muddled, ith the loer parts seemingly disonneted from the lead. This voiing is almost never used. The open voiing is not suited for a homogeneous rass setion; trumpets usually stay ithin the range of an otave, and although this voiing is ithin the ompass of the tromone setion, the open voiing is reserved for ases of smooth stepise motion (lassial musi harmony), not for setional harmony. or the saxophone setion the open voiing often reahes the limits of ompass. Besides, the open 62
.. EXTENSIONS TO OUR-PART SECTIONAL HARMONY P1 # & # # 1 Ó # 2 n # P2 P # & # # # # # Ó n Ó # nn n n# P # # # Ó H # # # Bm7 E7 A igure.21: Open voiing. voiing limits the flueny of the phrase. This voiing may e used in moderate to medium tempo, for high or middle strings or ith a mixed instrumentation... The inevitale repeated notes Example.18 Repeated notes in the lead voie. This example is inluded in the full version of the ook. The figure is inluded in the full version igure.22: Repeated notes in the lead voie. 6
CHAPTER. SECTIONAL HARMONY IN OUR PARTS Example.19 Repeated notes at the end of a phrase. This example is inluded in the full version of the ook. The figure is inluded in the full version igure.2: Repeated notes at the end of a phrase. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 6
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CHAPTER. SECTIONAL HARMONY IN OUR PARTS Tale.: Extensions and alterations of the dominant hord. Struture Desription 9 = 9 loered 9th 9 natural 9th +9 = 9 = 10 = 10 raised 9th or loered 10th 5 = 5 = +11 = 11 loered 5th or raised 11th +5 = 5 = 1 = 1 raised 5th or loered 1th 1 natural 1th P1 P2 P P H & & & 1 [*1] [*2] [*][*] 2 o B 7 n Cm7 o o B 7 E 7 n n n E o 7 [*5] [*6] Cm7 n n n n 7 [*5] [*7] o o B 7 E 7 nn 5 B igure.2: Harmonization of non-hordal tones using altered dominant hords...5 Use of extended and altered dominant hords = Next e ill disuss to examples shoing a variety of tehniques for the harmonization of non-hordal tones. The main aspets here ill e the use of extended and altered dominant hord strutures. We already have enountered an altered dominant hord in the setion on, the dominant hord ith loered 9th here the upper four funtions are omined to reate the diminished hord. rom no on e ill allo all regular extensions and alterations of the dominant hord strutures as shon in Tale.. rom this set e may pik any omination of four pithes, that hoever must inlude the rd and the 7th, the essential funtions in the dominant hord struture. We ill need to apply altered or extended dominant hords mainly in ases here a non-diatoni, non-hordal tone has to e harmonized. This is shon in Example.20 and ig..2. sudominant strutures and drop 2 voiing: the use of the S 9 7 Example.20 Harmonization of non-hordal tones using altered dominant hords. Prolem: Lead voie P1 in ig..2 ontains non-hordal and non-diatoni tones. Disussion of the solution: rom the eginning to eat in m. 2 the harmonization is ith diatoni 66
.. EXTENSIONS TO OUR-PART SECTIONAL HARMONY parallel strutures, unless this is impossile. The first hordal tone is the e in m. 1 at [*1]; this determines the voiing of the previous hords. Stritly speaking this should lead to the folloing three hords at the start of the phrase: Dm 7 B 7 Cm 7, all in 2nd inversion. Hoever, the first 8th note has een harmonized using another inversion of theb 7 hord (ust a matter of taste). At [*2] e have to use a seondary dominant B 7 sine there is no diatoni ay to onnet the to inversions of the Cm 7 hord. At [*] e reognize the 7 8 diatoni stepise motion ith a 2nd degree hord as asi harmony. We therefore have to usecm 7 Dm 7 (see the appropriate setion on onneting minor 7th hords). rom the g in m. 1 e onards e reognize the diatoni parallel suession of hords until eat 2 in m. 2 [*]: e have Cm 7 Dm 7 E 7 7 Gm 7 E 7, all in rd inversion. The maor 7th hord 7 is the result of the elimination of the tritone interval that ould have ourred ith a purely diatoni solution (see the setion on similar strutures in diatoni parallel degrees, Setion..1). The final hord E 7 an also e onsidered a sustitute hord for thecm 9 7 (using the four upper pithes). The rest of m. 2 is treated in a regular ay using seondary dominantsb 7 Cm 7 ande 7 7 at [*]. In m. and m., eat, [*5] e use the suspended hord Cm 7 /. The seond 8th note in m. uses the sustitute hord E 7. In m., eat, [*6] the lead voie has the altered, non-diatoni notea hih e harmonize using thec 9/ 1 7 hord (an altered dominant hord). We end the example ith a sequene of seondary dominant hords E 7 A 7 B ; the seond hord is used to harmonize a non-diatoni, non-hordal toneg and theb is replaed y the sustitute horddm 7 = B 9 7. The same example ill no e shon ith an alternative harmonization, see igure.25 and Example.21. Example.21 Harmonization of non-hordal tones using altered dominant hords. Prolem: Lead voie P1 ontains non-hordal and non-diatoni tones. Disussion of the solution: Measure 1 and m. 2 in ig..25 have no een harmonized using the seondary dominant B 7, hen appropriate [*1]. On eat in m. 1 there is another ase of 6 7 (a ) stepise motion on a minor 7th hord Sm 7, harmonized ith Dm 7 Cm 7. The asi harmony in m. is 7. The first eats [*2] are harmonized ith the suspended hord Cm 7 /, arried over from m. 2. The last three 8th notes in m. [*] are harmonized ith a sequene of altered and extended dominant hordsg 10/ 1 7 C 9/ 1 7 7 1. 67
CHAPTER. SECTIONAL HARMONY IN OUR PARTS P1 & [*1] 6-7 1 [*1] 2 [*2] [*] [*] 5 P2 P P H & & B o 7 n n n # Cm7 B o 7 n n n n 7 Cm7B o 7 G7C77 n n n n n n Em7E m7dm7 n n B igure.25: Harmonization of non-hordal tones using altered dominant hords. P1 & 1 [*1] n [*2] n 2 [*] [*] n [*5] [*6] Ó P2 & Cm7 Am7 D± 7 A o 7 n B 7 B 7 B 7 nnn Ó P P & n nn n n Ó Ó H B m7 E 7 A 7 igure.26: Harmonization of non-hordal tones. The last three notes in m. sho hromati donard stepise motion [*] and an therefore e harmonized using exat parallel hords (or, equivalently, leading tone hords in sequene): Em 7 E m 7 Dm 7. In this ase it does not sound great, ut may e useful in other situations, preferaly in rising stepise motion. Next e ill look at an example that uses a omination of tehniques. Example.22, shon in igure.26, ontains non-diatoni tones in the lead part. 68 Example.22 Harmonization of non-hordal tones (ase 1). Prolem: Lead voie P1 ontains non-hordal and non-diatoni tones. Disussion of the solution:
.. EXTENSIONS TO OUR-PART SECTIONAL HARMONY Measure 1 in ig..26 starts ith to non-hordal tones g and e (also nondiatoni) [*1]. Notes 1 and (g and f) yield a 7 6 diatoni stepise motion on the 2nd degree in maor; the standard solution is the onnetion of to minor 7th hords on rd and 2nd degree (see Setion..6). The e an e harmonized using a leading tone hord. The omined result is Cm 7 Am 7 B m 7. The folloing note a [*2] is hordal, ut is harmonized ith the sustitute hord D 7 = B m 9 7. The non-hordal notes on eat in m. 1 are harmonized ith a seondary dominant A 7. The non-hordal tone in m. 2 [*] is harmonized ith an extended, altered seondary dominant B 9/ 1 7 ; on the hordal tone e use an extended dominant horde 9 7, equivalent to the sustitute hord G 7. The next non-hordal tone g [*] is non-diatoni. It is harmonized ith an altered seondary dominant B 9/ 1 7. The same dominant, although in different forms, is also used on eat and of the same measure. No e reah a fla in the exerise. harmonizing the non-hordal f in m. [*5] ith the seondary dominant B 9 7 leads to repeated notes in the loer voies. We ill later orret that error. The three hordal notes in the last measures [*6] have een harmonized ith an extended dominant A 9 7. In Example.2 and igure.27 e look at a numer of alternative solutions to this prolem, that ill also orret the repeated notes fla. Example.2 Harmonization of non-hordal tones (ase 2). Prolem: Lead voie P1 ontains non-hordal and non-diatoni tones Disussion of the solution: The alternative in igure.27.a uses a drop 2 voiing in the last to measures. The harmonization has not hanged, exept for the last four eats of the example. We ill disuss these in detail. The repeated notes on eat, m. 2, have een eliminated using the progression m 7 E 7 A 7 [*1]. Notie that the penultimate note [*2] has een harmonized using the seondary dominant E 9 7. This example still has other flas. irst, y using the ider drop 2 voiing, the 7ths a and d of the B 7 and E 7 respetively [*] lie in an extremely lo range. This yields unaeptaly lo aousti roots for these hords. The progression B 7 m 7 on m. 2, eat [*] is poor: it laks funtional harmoni sense and therefore is eak. 69
CHAPTER. SECTIONAL HARMONY IN OUR PARTS P1 P2 P P & & 1 n n n n [*] [*1,] 2 n B 7 E 7 B 7 m7 nn n nn n n [*2] Ó E 7 E 7 n Ó Ó Ó H B m7 E 7 A 7 P1 & 1 n n 2 (a) n [*1] Ó P2 P P & n n B 7 E 7 B 7 E 7 nnn nn n n n Ó Ó Ó H B m7 E 7 A 7 () P1 & 1 n n 2 n Ó P2 P P & n n B 7 E 7 m7 nnn nn n E 7 Ó n Ó Ó H B m7 E 7 A 7 () P1 & 1 n n 2 n Ó P2 P P & n n B 7 E 7 #o 7 nnnn nn # n n # E 7 Ó n Ó Ó H B m7 E 7 A 7 (d) igure.27: Harmonization of non-hordal tones. 70
.. EXTENSIONS TO OUR-PART SECTIONAL HARMONY The alternative in igure.27. hanges to drop 2 voiing ust efore the last measure. This eliminates the lo a of the B 7 hord, although the d is still in the lo otave. The hange of voiing does not take plae on a diminished hord. The final measure has een harmonized using the extended form of the asi harmony A 9/1 7. Although somehat improved, this solution still does not sound great. The alternative in igure.27. has eat, m. 2 harmonized using the seondary sudominant struture m 7, the 2nd degree relative to the asi harmony E 7 (see Setion..7). The final measure uses a seondary dominant struture E 9/ 1 7 on the nonhordal tonef. So e end up ith avim 7 V 7 I adene in A -maor. The example uses lose voiing; there is no range prolem for the loer voies. The final alternative in igure.27.d has eat, m. 2 harmonized ith a different form of seondary dominant struturee 7 = 7 9 = A 9 7. 71
CHAPTER. SECTIONAL HARMONY IN OUR PARTS 72
Chapter Setional harmony in five parts Writing setional harmony in five parts is a skill that is often required in ontemporary ig and arranging, here the saxophone setion onsists of five players. Sine this setion is the most frequently used in the ig and and apale of inomparale flueny e find a lot of exellent riting for five saxophones and numerous saxophone speial horuses (see Setion 11.) have een ritten for the five orking horses in the and. There is less treatment of this tehnique in the arranging textooks (see [9], Ch. 8, [0], p. 25, [2], p. 5). asially, there are to ategories of five-part setional riting, here one is little more than a douling of the lead voie of the asi four-part setional harmony. Hoever, the seond tehnique is onsideraly different and makes great use of lusters that are generated y riting the hords in th voiings. We ill disuss oth tehniques in this hapter and look at examples. or lassial five-part saxophone setion voiings, have a look at the Thad ones harts for ig and from the 1970s; try his omposition Tiptoe from the alum Consummation. 1.1 The extended four-part setional harmony Writing extended four-part setional harmony takes no more effort than riting for the four-part = setion. We use exatly the same tehniques for the harmonization of hordal, non-hordal and non-diatoni tones in het leading voie, that e have already mastered in that hapter. There is only one voie to e douled and this is the lead voie. The result is that the melody is heard exatly one otave elo the original and this gives it extra support. It is a standard tehnique of hih you ill enounter numerous examples in ig and sores. It is used in the already mentioned Supersax plays Bird reordings. Let us no disuss an example using this tehnique (see igure.1 and Example.1). 1 When my saxophone teaher introdued me to the musi of the Thad ones - Mel Leis ig and and shoed me some sores, in partiular Tiptoe, that as a life-hanging experiene. 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER. SECTIONAL HARMONY IN IVE PARTS P1 & 1 2 n Ó P2 & n n Ó P P & n n n n n Ó Ó P5 n Ó H m7 B 7 Gm7 C7 n m7 Ó igure.1: Setional harmony in five parts, lead douled an otave elo. Example.1 Setional harmony in five parts, lead douled an otave elo. Prolem: Lead voie P1 ontains non-hordal and non-diatoni tones. Disussion of the solution: This example has een disussed extensively in the Chapter on four-part setional harmony (there it as ritten a minor 2nd higher). So see that hapter for the reasoning ehind the harmonization. The lead part P1 has een douled one otave elo as P5. There is lose voiing throughout the phrase. Oviously, the use of five voies enales us to develop several alternative voiings. No, e ill sho a numer of these options. We start ith Example.2 and igure.2. 7 Example.2 Setional harmony in five parts, mixed voiing, drop 2. Prolem: Lead voie P1 ontains non-hordal and non-diatoni tones; assign the parts using mixed voiing. Disussion of the solution: Here is the drop 2 voiing as applied to a five-part setion. The lead is no supported y an inner voie P. The ottom voie has the same intervalli relationship ith the lead as in the four-part setion.
.1. EXTENDED OUR-PART SECTIONAL HARMONY P1 & 1 2 n Ó P2 & n n Ó P P & n n n n Ó Ó P5 n n Ó H m7 B 7 Gm7 C7 n m7 Ó igure.2: Setional harmony in five parts, mixed voiing, drop 2. It is fairly regularly used, unless the ottom voie gets into a too lo range (see elo for the solution of that prolem). We ill no disuss to alternative voiings for the same prolem (see Example. and.). Example. Setional harmony in five parts, open voiing, drop 2 and. Prolem: Lead voie P1 ontains non-hordal and non-diatoni tones; assign the parts using open voiing (see igure.). Disussion of the solution: An even ider voiing is otained using the drop 2 and tehnique. Stritly speaking (in lassial musi sense) this is not a fully open voiing. The part that no doules the lead is P. The ottom voie P5 has the same intervalli relationship to the lead as in the ase of four-part setional harmony, although it no is no at one otave elo the four part version. This tehnique is not ommonly used. There is a risk of loss of flueny at higher tempos. 75
CHAPTER. SECTIONAL HARMONY IN IVE PARTS P1 & 1 2 n Ó P2 P & n n n Ó Ó P n n Ó P5 n n n Ó H m7 B 7 Gm7 C7 n m7 Ó igure.: Setional harmony in five parts, open voiing, drop 2 and. P1 & 1 [*] [*] [*] [*] 2 [*] [*] [*] n [*] Ó P2 & n n Ó P P & n nn nn Ó Ó P5 n n Ó H m7 B 7 Gm7 C7 n m7 Ó igure.: Setional harmony in five parts, alternating voiing. 76
.2. SECTIONAL HARMONY IN THS Example. Setional harmony in five parts, alternating voiing. Prolem: Lead voie P1 ontains non-hordal and non-diatoni tones; assign the parts using mixed voiing and determine the appropriate points for transition (see igure.). Disussion of the solution: Here is an example of mixed or alternating voiing. Close voiing has een used at the lo points of the lead melody at [*]. The rest of the example uses drop 2 voiing. Pay attention to the points here the voiing is hanged; This happens at either diminished hords or at ide leaps. The hange from open to lose voiing from the first to the seond note is not very effetive..2 Setional harmony in fourths Another tehnique for riting five-part setional harmony uses harmoni strutures in fourths. It is most frequently used hen riting for a five memer saxophone setion in ig and musi or for the oodind setion in a studio orhestra or symphoni orhestra. To types of harmoni strutures an e voied as a hord in perfet fourths: = 1. Maor hords ith additions. The maor hord ith added 6th and 9th: thes 6 9 hord. 2. Extended minor hords. The minor ninth hord ith added 11th (or, equivalently, added th): thesm 9/11 7. These hord strutures, ased on the interval of the perfet th, an e found on the rd and 6th step of the diatoni maor sale; the hord struture on the rd step orresponds to thes9 6 (maor hord ith added 6th and 9th), the hord struture on the 6th step orresponds to the Sm 9/11 7 (minor 9th hord ith added 11th). The four onseutive perfet ths are the maximum numer in the diatoni maor sale (hek this y trying to add another perfet th to either side of the to strutures). The voiing for oth hord strutures for all inversions is shon in igure.5. The C9 6 hord ith the root in the lead (leftmost struture: numers indiate the various memers in the struture) yields four intervals of the perfet th. The other inversions ill ontain one interval of the maor rd. The minor 9th hords yields a perfet hord in ths hen the rd is in the lead (see the fifth voiing on the ottom system in the figure). This asi voiing in ths an e slightly modified, yielding an alternative voiing, as is = indiated y the[ ] in the figure: In the maor hord ith added 6th and 9th, thes9 6, the root may e replaed y the maor 7th, the 7. This yields another perfet hord in ths (see the fourth voiing in the top right system) an is partiularly useful for hen the root is in the higher register (the 7 in the loer voie may lead to a too lo aousti root of the hord). In short, for the maor hord e have the replaement rule: 7 = 1; 77
CHAPTER. SECTIONAL HARMONY IN IVE PARTS & 1 5 9 6 [*] ±7 ± 7 C 6 9 C 6 9 & 5 7 11 1 Dm7(add11) (a) [*] 9 () igure.5: Setional harmony in five parts, hords in ths. (a): left: the maor hord ith added 6th and 9th, top right: the alternative voiing ith 7 replaing the root. (): the minor 9th hord ith added 11th. In the minor ninth hord ith added 11th, Sm 9/11 7, the 9 may replae the root of the struture, as demonstrated in the fourth voiing in the ottom system. In short, for the minor hord e have the replaement rule: 9 = 1; Let us no turn to Examples.5 to.7, that demonstrate five-part setional harmony in fourths. 78 Example.5 Setional harmony in five parts, hords in ths. Prolem: Write five-part setional harmony using hords in ths for a given diatoni the lead voie P1 (see igure.6). Disussion of the solution: The lead voie ontains a numer of stepise 9 ց 1 motions, see [*1] in ig..6.a. The asi harmony is Gm 7 : this implies the replaement rule 9 = 1 and therefore ill yield repeated notes in the loer parts if oth lead pithes are harmonized using the same hord. In order to prevent these, the diatoni parallel minor hord Am 7 (on the rd step of the maor sale) is used at these instanes, yielding also a modal flavour to the phrase. At [*2] the lead voie has the 6 or 1 of the asi harmony (a non-hordal tone in the voiing in ths): in that ase also the diatoni parallelam 7 hord is used to harmonize the lead. The folloing lead pith an e harmonized ith eithergm 7 oram 7. At [*] the ide voiing using strutures in ths may get into a too lo register for the loer parts. In that ase a narroer voiing may e used, as
.2. SECTIONAL HARMONY IN THS P1 & 1 [*1] [*1] [*] 2 [*2] [*1] Ó P2 & Ó P P & Ó Ó P5 Ó H t Gm7 (a) P1 & 1 [*2] 2 [*1] Ó P2 & Ó P P & [*] [*] Ó Ó P5 Ó H t Gm7 () igure.6: Setional harmony in five parts, hords in ths. (a): harmonization of the 9 ց 1 stepise motion in the lead using the diatoni parallel Am 7 hord. (): More losed voiing is used to prevent too lo loer parts, leading to repeated notes in middle voies. 79
CHAPTER. SECTIONAL HARMONY IN IVE PARTS P1 & 1 2 Ó P2 & Ó P P & Ó Ó P5 Ó H t Gm7 igure.7: Setional harmony in five parts, hords in ths, lose (luster) voiing. shon in ig..6.. This hoever leads to repeated notes in part P. Note that theg in the lead in m. 2 no is harmonized ith the asi hord Gm 7. The repeated notes an e prevented y hoosing the appropriate point for sithing from open to more losed voiing. In this example the entire phrase ill have to e reritten in losed voiing, as shon in ig..7, leading to a dense luster voiing. Example.6 Setional harmony in five parts, hords in ths, leading tone in lead voie. This example is inluded in the full version of the ook. Example.7 Setional harmony in five parts, asi harmony ontains mixed hord strutures. This example is inluded in the full version of the ook. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 80
.2. SECTIONAL HARMONY IN THS The figure is inluded in the full version igure.8: Setional harmony in five parts, hords in ths, leading tone in lead voie. The figure is inluded in the full version igure.9: Setional harmony in five parts, mixed hord strutures. 81
CHAPTER. SECTIONAL HARMONY IN IVE PARTS The figure is inluded in the full version igure.10: Setional harmony in five parts, maximizing the harmonization in ths. [This page is intentionally left lank in the demo version of this ook.] 82
Chapter 5 Ensemle tehniques In this hapter e ill disuss several tehniques of ensemle riting, i.e., for a group of mixed instrumentation and variale size. Oviously e ill ork ith the standard ig and instrumentation of five saxophones, four trumpets, four tromones plus rhythm setion, ut e ill also have a look at smaller ensemles. We ill assume here that the lead voie is the highest part in the ensemle. There is onsiderale treatment of these tehniques in the textooks (see [9], Part 5; [0], p. 11 ff.; [2], Ch. 1-16). irst the main aspets of ensemle riting ill e disussed. Then the various tehniques ill e illustrated using examples. This hapter fouses on ensemle tehniques and voiings for the azz ig and. Hoever, oasionally there ill e a referene to examples ith onert and or studio orhestra instrumentation and voiing. 5.1 undamental aspets This setion ill disuss a numer of fundamental aspets of ensemle riting. These have to e onsidered irrespetive of the speifi tehnique e ill apply to the ensemle. As e did efore, our examples ill start from a given asi harmony and, sometimes, a given lead voie. When riting for the ensemle take into aount the folloing aspets: Determine the range of the ensemle phrase. Before riting any atual parts generate a lear idea of the range of the lead voie in your phrase. The phrase may have a length of eteen, say, 2 and 2 measures (a tutti speial horus, see Setion 11. for a list of speial horus types). This range is affeted y the instrumentation, in partiular the ompass of your lead voie. But it also affets the voiing in the upper range setion. this ill e the trumpets in ase of a ig and, ut it might also involve a string or oodind setion. 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER 5. ENSEMBLE TECHNIQUES AS 1 AS 2 TS 1 TS 2 BS Tpt 1 Tpt 2 Tpt Tpt Tn 1 Tn 2 Tn Tn igure 5.1: Example of ensemle voiing diagram for the azz ig and. The vertial assignment of voies is shon for saxophones (left), trumpets (entre) and tromones (right). Douling of parts is indiated y lue dashed retangles. Determine the voiing of the leading setion. This ill usually follo from the range of the lead voie. In general, this is the moment to deide on using luster, lose or open voiing. You might onsider applying the strata tehnique approah, suh as demonstrated for strings in Setion 8., Example 8.5 for the leading setion and for three parallel strata in Example 8.7. = Determine the relative range of the loer setions. The next step is to deide aout the range and the voiing of the other setions in the ensemle. We ill indiate these ranges y the voiing diagram as illustrated in igure 5.1. In this example e see the three setions of the ig and; eah olumn represents the voiing of a setion from lo to high. The tromones (areviated as Tn) use a ider voiing than the trumpets (areviated as Tpt) that are in lose voiing. We see an overlap eteen the three setions, indiated y the lue dashed retangles. Write the voies for the most dominant setion first. In the ig and the rass ill usually dominate over the saxophones. Therefore e start ith the rass voiing and then ontinue ith the saxophone voiing. Chek the outer voies. inally, e have to inspet the intervalli relations of the outer voies of eah setion. Tale 5.1 ontains a heklist for the ig and. Oviously, this depends on the atual instrumentation. You ill never find Tn 1 aove Tpt 1 (unisono is possile though) and usually the top saxophone voie AS 1 is one ore more voies elo Tpt 1. No, e ill disuss the various tehniques and sho the examples. 5.2 Ensemle tehnique derived from four-part setional harmony This tehnique of ensemle riting is derived from the four-part setional harmony approahes that e have studied extensively in Chapter. The prolem e no have to solve is the proper distriution of the four asi voies over a larger ensemle ith multiple instrument groups. You ill have to deide on the orret doulings, reate an lear lead voie and hoose the type of voiing for eah setion. 8
5.2. OUR-PART ENSEMBLE TECHNIQUE Tale 5.1: Cheklist outer voies eteen the setions in a azz ig and. or these pairs of voies hek the intervals (onsonane vs. dissonane. Outer voies full ig and Tpt 1 vs. Tn 1 Tpt 1 vs. AS 1 Tpt 1 vs. Tn Tpt 1 vs. BS P1 & 1 [*1] # [*1] [*1] [*1] n 2 [*1] [*2] n [*] [*] [*5] n [*6] n n [*7] P2 & # n # n # n n n n P & # n n n n # n P H & Gm7 # D7 Cm7 E m7 A 7 n n Dm7 G7 n n P1 & 5 [*7] 6 [*8] [*9] 7 8 P2 & n n nn n # P P H & & n Cm7 n Cm7/E # n n # n ø A 7 D7 9 # Gm7 D7 A ø 7 igure 5.2: Starting the ensemle voiing: setional harmony in four parts. 85
CHAPTER 5. ENSEMBLE TECHNIQUES In situations here a setion onsists of less than four voies you ill have to omine it ith another setion and make sure that the omination of oth has the full four part hords at all times. The first step in the proedure, hoever, is to ompose the four-part setional harmony for a given lead voie. igure 5.2 is disussed in Example 5.1. Example 5.1 Setional harmony in four parts. Prolem: Lead voie P1 ontains non-hordal and non-diatoni tones. Disussion of the solution: The non-hordal tones in the lead voie in m. 1 and m. 2 [*1] have een harmonized using to seondary dominant hords, 7 andb 7, respetively. The non-hordal tone f in m. 2 [*2] has een harmonized ith an extended seondary dominant horde 9 7. In m. [*] there is 6 7 stepise motion on the 2nd degree of the sale (the key isd maor). Thein the lead therefore is harmonized ith the rd degreem 7 hord. The in m. [*] is harmonized ith the seondary dominant G 7 to prevent repeated notes toards the aiming horda 7. Beat of m. [*5] shos a hain of seondary dominants toards the aiming hord A 7 E 7 Dm 7. In m. [*6] theis harmonized ith a seondary dominant 7. The aiming hord isg 7. The rest of that measure plus the folloing uses seondary dominants to harmonize the non-hordal tones a, d, f and d [*7]. In the final measure the hordal tone [*8] is harmonized ith the sudominant struture A 7 = E 7. This is equivalent to a forard extension of the D 7, a tehnique that e have seen efore. The non-hordal tone in m. 6 [*9] is harmonized ith the seondary dominant C 7. The last three notes use a sequene of to dominant hords toards the aiming hord E 7 D 7 Gm 7. After ompleting the four-part setional setting in the first step of the proess, e ill ontinue ith the assignment of voies to the instrumental parts. In the folloing susetions e ill demonstrate the assignment proess for three instrument groups, from a full ig and to an intermediate size and small azz ensemle. 5.2.1 Instrumentation for full ig and igure 5. shos the instrumentation of the fragment from the previous example for the full thirteen memer ig and (five saxophones, four trumpets and four tromones). We disuss the details of the voie assignment for that instrumentation in Example 5.2. 86
5.2. OUR-PART ENSEMBLE TECHNIQUE AS1 AS2 TS1 TS2 BS & 1 2 # n # n & # n # n # n n # n n n # n n n n # n n n n 5 n n nn n n n 6 n n & # n # n n n n n n n n nn # # n n # n # 7 8 TPT1 & 1 # n 2 n n n n 5 6 7 8 TPT2 TPT TPT TBN1 TBN2 TBN TBN & # n # & # n & # n # n # n # n n # n # n n n n # n n n n n n # n n n n # n n n n # n n n n n n n n n n n n n n nn n n n nn # # n n # n # n n # n # RH & 1 Gm7 2 Cm7 D7 E m7 A 7 Dm7 n G7 n 5 Cm7 Cm7/E 6 ø 9 A 7 D7 7 Gm7 n 8 ø A 7 D7 igure 5.: Setional harmony applied to full ig and. 87
CHAPTER 5. ENSEMBLE TECHNIQUES AS 1 AS 2 TS 1 TS 2 BS Tpt 1 Tpt 2 Tpt Tpt Tn 1 Tn 2 Tn Tn igure 5.: Voiing diagram full ig and. Example 5.2 Setional harmony in four parts; full ig and. Prolem: Assign the parts to the eight rass and five saxophones for a given four-part setional harmony. Disussion of the solution: The trumpets play full hords in lose voiing. Tpt 1 is in its middle register. This example is a good range for this setional tehnique. There is an overlap eteen the trumpet and the tromone setion; e have Tn 1=Tpt, Tn 2=Tpt. They ill support the loer trumpet voies, espeially hen these are in the loer register. the intervalli relationship eteen the rass outer voies is good (mainly onsonant rds, interhanged ith mild dissonant 2nds). Copying the tromones one otave elo the trumpets ould have lead to a too lo register for Tn and ould have lead to performane prolems. The tromones also are in lose voiing. ull rass are kept ithin not too ide a range for maximum flueny. Tn 1 is in the high register in m. 2 and m. ; this ill require professional playing skills. Saxophones play in lose voiing. There is overlap ith the rass: e have AS 1=Tpt 2 and BS=Tn. Again e see good intervalli relationships eteen Tpt 1 and the outer saxophone voies; there are oasional 2nds eteen Tpt 1 and AS 1. These are no prolem, espeially not in medium to up tempos. igure 5. shos the voiing diagram. The overlap is lear; part douling is indiated y lue dashed retangles. 5.2.2 Instrumentation for redued ig and Example 5. Setional harmony in four parts; redued ig and. This example is inluded in the full version of the ook. 88
5.2. OUR-PART ENSEMBLE TECHNIQUE The figure is inluded in the full version igure 5.5: Setional harmony applied to redued ig and. The figure is inluded in the full version igure 5.6: Voiing diagram redued ig and. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 89
CHAPTER 5. ENSEMBLE TECHNIQUES [This page is intentionally left lank in the demo version of this ook.] 90
5.2. OUR-PART ENSEMBLE TECHNIQUE AS1 & 1 2 # n # n # n n n n 5 n n nn n 6 # 7 8 AS2 TS1 & # n # n n n n n n n n # n n n # n BS # n n n n # n TPT1 & 1 # n 2 n n n n 5 6 7 8 TPT2 TBN1 TBN2 & # n # n # n # n n n # n # n n n n n n n n n n n nnn # n n # n # RH & 1 Gm7 2 Cm7 D7 E m7 A 7 Dm7 n G7 n 5 Cm7 Cm7/E 6 ø 9 A 7 D7 7 Gm7 n 8 ø A 7 D7 igure 5.7: Setional harmony applied to an intermediate size and. 5.2. Instrumentation for intermediate size and igure 5.7 shos the instrumentation of the setional harmony fragment for an intermediate size and ( Sax + 2 Tpt + 2 Tn), disussed in Example 5.. Example 5. Setional harmony in four parts; intermediate size ig and. Prolem: Assign the parts to the rass and saxophones for given four-part setional harmony. Disussion of the solution: The rass play drop 2 voiing. Both setions together have the full fourpart setional harmony. Within the setions there are many ths and 5ths eteen parts; this arries the risk of sounding harsh if the tone olour for oth setions differs greatly. The risk ould have een redued and the flueny inreased y simply playing in lose voiing. The saxophone setion plays a mixed voiing, open at the top and lose for the loer voies. It as designed to fill the gaps that ere left y the rass setion (see the voiing diagram in igure 5.8) ith TS 2 and BS elo the tromones. This leads to an internally unalaned voiing and gets the TS into a pretty lo region. Applying drop 2 voiing here hile keeping the AS at its urrent position ould still over the gaps in the rass voiing and improve the voiing ithin the setion. As the voiing diagram shos, there is no douling of any part. 91
CHAPTER 5. ENSEMBLE TECHNIQUES AS 1 AS 2 TS 1 BS Tpt 1 Tpt 2 Tn 1 Tn 2 igure 5.8: Voiing diagram redued ig and. 5.2. Comining tromones and saxophones Example 5.5 Setional harmony in four parts; tromones and saxophones. This example is inluded in the full version of the ook. The figure is inluded in the full version igure 5.9: Setional harmony applied to tromones and saxophones. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 92
5.2. OUR-PART ENSEMBLE TECHNIQUE The figure is inluded in the full version igure 5.10: Voiing diagram tromones and saxophones. [This page is intentionally left lank in the demo version of this ook.] 9
CHAPTER 5. ENSEMBLE TECHNIQUES Brass Unalaned & TPTS TBNS Better Do 7 A o 7 # Rhythm 7 7 9 D7 9 D7 (a) Brass & TPTS [*1] [*] TBNS [*1] [*] [*2] [*1] [*] # [*] [*5] [*1] [*6] # [*6] [*1] [*] Rhythm C ±9 C ±6/9 C ±6/9 Em11 Cm11 Dm9 ø D 7 G7 9 G7 9 G7alt () igure 5.11: Brass setion voiings. (a): internal alane, (): various hord types 5. Brass voiing for extended hords The previous setion disussed a numer of examples, that ere ased on a given four-part setional harmony voiing. rom here on e ill extend the numer of parts, ut efore doing so, e ill riefly touh on the aspets of rass voiing, i.e., the vertial distriution of hordal funtions over the trumpet and tromone setion in a ig and, using extended hords (i.e., ith higher hordal funtions suh as 9, 11,1, et.). 1 Example 5.6 elaorates on this suet. Example 5.6 Voiings for rass setion. Prolem: Assign parts to four trumpets and four tromones using extended hords. igure 5.11 has a numer of voiing examples that e ill no disuss. Disussion of the solution: igure 5.11.a demonstrates the voiing of the dominant 7th hords,s 7, here 7 and D7 9. Although the voiing in the first measures has an otave douling eteen Tpt 1 and Tn 1 (good), the alane ithin eah setion is poor: the trumpets are idely spread and (most important) the tromone setion does not provide a good harmoni asis, sine the essential 7th funtion and root are missing. The voiing in measure 2 is a lear improvement. The tromones no play the folloing hordal funtions: 1,,7 and 9, the 1 This aspet returns in Chapter 8, Setion 8. here string voiings ith extended hords are illustrated in Example 8.5. 9
5.. PERCUSSIVE VOICING trumpets play a Dm hord, adding the 1 to the 7 hord. Also note the douling of the Tpt 1 part in the loer otave: from onertf upard this is an essential support for the lead trumpet voie. Measures and from the same example demonstrate another aspet. The overall orhestral alane enefits from an internal alane in eah setion. In this example that is demonstrated y assigning a full seventh hord (rd measure,s 7 to oth Tpts and Tns; the omined effet is an otatoni sale) or full triad (th measure,din trumpets anda to tromones) to eah individual setion. igure 5.11. shos various extended hord types (i.e., ith more upper hordal funtions). A ommon element of all these voiings is that the tromones provide the essential hordal funtions, i.e., the for the maor/minor hords andplus7for all other hord types. At [*1] e notie the loer otave douling of the high lead trumpet. At [*2] the voiing of Tn and Tn ill yield a differene tone, the root C elo the staff. At [*] e find full triads in the trumpets. The tromones may play an inverted hord, as is shon at [*]. A luster voiing is demonstrated at [*5]. When voiing a S 7, try to prevent assigning the perfet hordal funtion 5 to the tromones. Instead, use a loered ( 11 = 5) or raised 5th ( 5 = 1) in the upper voies, as is demonstrated at [*6]. 5..1 Dominant seventh itonal voiings When voiing an extended dominant 7th hord the alane of the voiing is inreased y assigning a full maor or minor triad to the trumpets. In total there are 12 possiilities, of hih eight are ased on the otatoni sale and four are derived from an extended series of rds: these are shon in igure 5.12. The asi hord is C 7 and the harateristi, essential hordal funtions 1, and 7 are assigned to three tromones. The trumpet setion reates a itonal voiing y using: = either the otatoni sale, leading to maor or minor triads on the roots C E A (the symmetric 7 -hord); or extended hords in rds, leading to the maor triad D (or its equivalent A ) or the minor triad Gm (and its equivalent D m). Use the transposed versions of this diagram to find itonal rass voiing possiilities for given lead; see the examples in Setion 5.. 5. Perussive voiing The perussive voiing is frequently used to reate a massive tutti ig and sound at louder dynamis (fortissimo). Its harateristis are: Extended voiings (5- and 6-part hord strutures are frequent), assigned to rass (trumpets and tromones) or the full ensemle (rass plus saxophones). 95
CHAPTER 5. ENSEMBLE TECHNIQUES Brass & C TPTS C m E E m # ## # # # # # # m # A A m TBNS Rhythm C7 C 7 C 7 C7 C7 C 7 C 7 C 7 (a) Brass & # D TPTS A Gm D m TBNS Rhythm C7 C 7 C7 C 7 () igure 5.12: Dominant 7th hord S 7 itonal voiings. (a): strutures ased on the otatoni sale, (): strutures ased on extended hords in rds. Short phrases ith irregular rhythms, many synopations and interspersed ith rests. Perfetly synhronized playing of artiulations (suh as > or ) and respeting the dynamis (e.g., a sudden uxtaposition of mp and fff) is essential and yields an impressive effet. 2 untional support y the rhythm setion: the guitar and ass player ill frequently follo the rhythmi patterns in the horns (giving up the strumming guitar and alking ass patterns almost ompletely), the drummer ill prepare and support the artiulations (loud ymal rashes and toms), hile the piano player ill either support the horns (opying the voiings in oth hands) or plug in a fe high notes during the rests in the horns. Careful voie leading in the horns is no released: repeated notes are no permissile. Augmented and diminished steps or leaps may our in the middle voies. 5..1 Examples of perussive rass voiings No e ill present a numer of examples of perussive voiings for rass setion, i.e., four trumpets and four tromones. In Examples 5.7 to 5.9 the lead voie is given, the asi harmony is indiated in the rhythm part. 2 or a masterlass demonstration of perussive voiing, listen to the Count Basie, Sammy Nestio and Thad ones tutti horuses, and study the sore. 96
5.. PERCUSSIVE VOICING Brass Rhythm TBNS [*1] [*2] TPTS & ±9 n 6 9 ± Em11 [*] n n... n.. Em7. A7 A 1 9. nn. n. n Dm11 G7 1 5 D m7 G7.. n. Cm11 n [*] 1 9 C m7 7 [*5] n.. nn n n n B 6 9 B m11 Am11 B B m7 A m7 igure 5.1: Perussive voiing for rass. Example 5.7 Perussive voiing for rass: lues horus sheme. Prolem: Determine the eight-part rass voiing for given lead voie and asi harmony. Disussion of the solution: The hord progression is ased on an extended lues sheme, suh as used in the azz standard Blues for Alie, see igure 5.1. The overall dynamis are mf. At [*1] the opening hord (toni hord) is voied using the various extended funtions6, 7 and9. At [*2] there is an extended Sm 9/11 7 hord ith the hordal funtion 11 in the lead. This hord type is used three times in the example. The lead at [*] is in a fairly lo playing register, leading to an impratial onert. Therefore it is etter to leave out the th part in the trumpets and doule the lead trumpet. At[*] e see an illustration of the avoidane of the perfet 5th hordal funtion 5 in the tromone setion, and replaing it ith thed = 6 = 1. At [*5] there is a leading tone exat parallel hord, as is ovious from the desending stepise voie leading ց in all ut the lead voie. Example 5.8 Perussive voiing for rass: itonal triads in the trumpets. Prolem: Determine the eight-part rass voiing for given lead voie and asi harmony. Disussion of the solution: At [*1] in igure 5.1 the voiing of the S 7 struture yields a minor seond eteen Tn 1, playing the maor, and Tn 2, playing the altered 9 = 10. This voiing is frequently used y Thad ones. 97
CHAPTER 5. ENSEMBLE TECHNIQUES Brass Rhythm TPTS & [*1] [*2] n n n # E TBNS [*] D 7 C 7 E m C7 A 7 m n. E n. # n n.. n n D 7 G7 C 7 n # igure 5.1: Perussive voiing for rass using itonal triads in the trumpets. Tale 5.2: Alternatives for itonal voiing. The lead tone and asi dominant harmony are given. Possile triad voiings for trumpets are shon, that yield a itonal voiing. E.g., the first omination has three options C(m) C 7, E C 7 or Gm C 7 for the lead toneg. Lead tone: g g Harmony: C 7 D 7 A 7 D 7 G 7 C 7 Triad in trumpets: C(m) Gm E (m) (m) B (m) E (alternative E B (m) A E Gm solutions) Gm E B m Am Gm C(m) The D 7 hord at [*2] is an intermediary, alternating step hord. The tromone voiing stresses the exat parallel movement. The trumpet setion voiing uses full triads only, and uses hords in the key of E only (one exeption). The example is one realization form a set of possiilities. The full set of solutions to this voiing prolem for rass is given in Tale 5.2. 98 Example 5.9 Perussive voiing for rass: use extended hords only. Prolem: Determine the eight-part rass voiing for given lead voie and asi harmony. Disussion of the solution: igure 5.15 demonstrates a onsistent lok hord harmonization of the S 7 struture: the triads in the trumpets are ased on extended hords. At [*1] e reognize the voiing demonstrated in m. 1 from ig. 5.12., i.e., S[D/C 7 ], at [*2] e use the voiing S[A/C 7 ] as shon in m. 2 from the same figure.
5.. PERCUSSIVE VOICING Brass Rhythm & TPTS TBNS [*1] [*2] [*1] n C 6 9 B 1 # 11 A7alt E 1 # 11 n n [*] Dm11 E 1 # 11 [*1] [*1] [*1] # n n n n n n A 1 # 11 G1 # 11 C 6 9 n igure 5.15: Perussive voiing for rass using itonal triads in the trumpets. Like in the previous example the ass tromone Tn plays hord roots throughout. This gives a solid ase to the perussive voiing and is frequently used. Although voie leading aspets an e somehat released in this tehnique, a detail should e mentioned at regarding the lead voie. At [*] e ould have used the folloing hord sequene for the harmonization: A 7 D 7 G 7 C. Hoever, the tone a in the lead over the A 7 hord has the funtion 9, hose normal resolution ould have een a stepise donard motion. In this example the lead instead has an upard stepise motion a ր and fores us to look for a more appropriate harmonization. The previous example an e used to illustrate a proedure for the tehnique of perussive voiing, onsisting of the folloing steps: 1. Start ith the tromones. Assign the hord root tones to Tn (i.e., the ass tromone). 2. or dominant S 7 hord strutures assign the essential hordal funtions and 7 to to other tromones. or other hord types assign the hordal funtion (the minor or maor third) to one of the tromones.. Assign the trumpet parts for all hord types. You may use triads throughout for the dominant S 7 strutures.. Return to the tromones and omplete perussive voiing for the remaining parts, i.e., one tromone part for dominants 7 hords, to tromones for other hord types. Carefully hoose douling pithes. Example 5.10 deals ith a rhythmi akground: the rhythmi aents and the asi harmony are pre-defined and a voiing for a six-part rass setion is to e determined. We ill disuss four alternatives, using different approahes. Example 5.10 Rhythmi akground for rass. Prolem: Determine the 6 part rass voiing for given rhythmi aents and asi 99
CHAPTER 5. ENSEMBLE TECHNIQUES Brass Rhythm Brass Rhythm Brass Rhythm & Ó Ó TPTS TBNS ± C TPTS & # Ó Ó TBNS ± C TPTS & Ó TBNS Ó C ± ^ Ó ^ Ó B 7 # ^Ó [*2] ^Ó B 7 ^Ó ^ Ó B 7. #. > > > n >. A7 B 7 n #. > > #>. > B 7 ^ # n #^ A7 (a) [*] ## # n. #. n n^ > > > > [*2] > n >. #>. > #^ n A7 B 7 > >. # n > >. A7 B 7 B 7 A7 () >. n > n #^ # >. >. n #^ B 7 A7 D7 n D 7 n D7 n ^ n Ó. n n. n^ Ó D m7 ^ Ó.# [*1] n n. n^ Ó Dm7 G7 n. ^Ó n ^ n. Ó Dm7 G7 G7 C A7 # n [*1] # C A7 n # n C A7 n > # n n> D m7 D7 G7 n # # # n > [*2] n # n n > D m7 n Dm7 D 7 G7 n n > # D7 > n G7 Brass Rhythm & Ó TPTS Ó TBNS C ± n ^Ó ^ Ó B 7. #. > > > n >. A7 B 7 () ^ #. > > n # #>.. > #^ n B 7 A7 D 7 n n. n n. D m7 ^ Ó ^ Ó G7 # # C A7 # n n > n # n > Dm7 D7 G7 (d) igure 5.16: Rhythmi akground for rass. (a): mid-lo register, diatoni extensions, (): mid-lo register, all extensions, (): mid-high register, triads in the trumpets, (d): lo register, asi S 7 hords only. 100
5.. PERCUSSIVE VOICING harmony. Disussion of the solution: Solution 1 in igure 5.16.a demonstrates a voiing in the mid-lo register using the folloing approah: 1. strive toards a diatoni voiing in the key of C-maor; this ill determine the seletion of the hord extensions; 2. if this fails for the dominant S 7, then use thes 9 7 struture. Note in the example that the voiing in the trumpet setion stays ithin the interval of a 6th (a 5th is typial), yielding a luster or triad voiing. The interval eteen Tpt 1 and Tpt 2 is a rd or th, the dissonant interval of a 2nd is avoided. This interval does our eteen Tpt 2 and Tpt. As usual, the tromones arry the essential funtions ( and 7) of the hord struture. Dissonant intervals of the 2nd are avoided eteen either pair of tromones. To seondary dominant hords have een used, i.e.,b 7 in m. andd 7 in m. 8. Solution 2 in igure 5.16. demonstrates a voiing in the mid-lo register using the folloing approah: 1. all hord extensions are alloed (release diatoni flavour requirement); 2. trumpets use luster type voiing. We have again respeted the interval rules for the trumpets and assigned essential hordal funtions to the tromones. No at [*1] there is the interval of the 2nd eteen to tromones, at [*2] there is a sequene of to onseutive 2nds. Chek the interval relation eteen Tpt 1 and Tn 1. In m. and m., starting at [*], there is opening ontrary motion eteen (asending) trumpets and (desending) tromones. This alls for a resendo and has the effet of leading up to limax. Solution in igure 5.16. demonstrates a voiing in the mid-high register using the folloing approah: 1. all hord extensions are alloed; 2. the trumpets are voied in triads;. Tn 1 supports Tpt 1 in the high register y douling the lead at the loer otave; note that again e find the interval of the 2nd eteen pairs of tromones (see m. 2,, 6 and 8); solutions 2 and sound more ontemporary than solution 1; this is the effet of the non-diatoni and more dissonant hord extensions. Solution in igure 5.16.d demonstrates a voiing in the lo register using the folloing approah: Use the asi seventh hords 7 only. 101
CHAPTER 5. ENSEMBLE TECHNIQUES This example ill sound most onventional and traditional. It is in delierate ontrast ith the previous solutions. 5..2 Examples of ensemle voiings Example 5.11 Perussive voiing for full ig and (ase 1). This example is inluded in the full version of the ook. The figure is inluded in the full version igure 5.17: Perussive voiing for ig and tutti (ase 1). Example 5.12 Perussive voiing for full ig and (ase 2). This example is inluded in the full version of the ook. Example 5.1 Saxophone voiing in ig and tutti. This example is inluded in the full version of the ook. Example 5.1 Perussive voiing for full ig and (ase ). This example is inluded in the full version of the ook. 102
5.. PERCUSSIVE VOICING The figure is inluded in the full version igure 5.18: Perussive voiing for ig and tutti (ase 2). The figure is inluded in the full version igure 5.19: Saxophone voiing in ig and tutti. 10
CHAPTER 5. ENSEMBLE TECHNIQUES The figure is inluded in the full version igure 5.20: Perussive voiing for ig and tutti (ase ). Example 5.15 Perussive voiing for full ig and (ase ). This example is inluded in the full version of the ook. The figure is inluded in the full version igure 5.21: Perussive voiing for ig and tutti (ase ). Example 5.16 Ensemle voiing for intermediate size ig and. This example is inluded in the full version of the ook. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 10
5.. PERCUSSIVE VOICING The figure is inluded in the full version igure 5.22: Bitonal ensemle voiing for intermediate size ig and. [This page is intentionally left lank in the demo version of this ook.] 105
CHAPTER 5. ENSEMBLE TECHNIQUES 5.5 Tutti voiings for onert and and studio orhestra Whereas this hapter onentrates on riting for azz ig and, the ook ontains a numer of examples ith tutti voiings for either onert and or studio orhestra. The detailed disussion of the setion voiings an e found in the relevant hapters. or ompleteness, here is a list of the relevant examples: Conert and tutti voiings: see Example 2. and ig. 2.7 from Let it Sno, Example 7.2 and ig. 6.5 from Bone in the Barrio, Example 6.9 and ig. 6.7 from The Summer Knos, Example 11. and ig. 11.8 from Autumn Leaves, and Example 11.10 and ig. 11.1 from Roof Garden. Studio orhestra tutti voiings: see Example 8. and ig. 8. from I ll Rememer April, Example 7.2 and ig. 7. from Shotgun Soliloquy, and Example 8. and ig. 8. from Mediority Mamo. 106
Chapter 6 Speial tehniques This hapter presents a numer of speial arranging tehniques. These ill put the setional and ensemle riting tehniques from the previous hapters into perspetive, and at the same time demonstrate various interesting alternatives to the former tehniques. In a sense this hapter is a atalogue of alternative arranging tehniques, that an e applied in order to deviate oasionally from the fairly standard ig and azz musi idiom. The examples in this hapter are taken from atual ompositions and arrangements for symphoni ind and (onert and)ith added rhythm setion. 1 The main differene ith the azz ig and ensemle is the separate oodind setion and the addition of soft rass instruments (horns and tuas) to the rass setion. The tehniques ill e presented in random order. Their appliation does follo a stritly strutured approah, as as the ase in most of the exerises in the previous hapters. Sine multiple tehniques are used in the examples in this hapter, there ill e muh ross-referening to the figures elo. 6.1 Bell hords In setional harmony and in the ensemle tehniques all note attaks our simultaneously for all instruments. In a ell hord the notes from the hord struture are played one after = the other. Usually this happens in one diretion, either from the loest to the highest pith (asending ell hord) or, less frequently, from the top to the loest note (desending ell hord). 2 1 ull sore exerpts and audio demo traks for the examples from this hapter are availale on the Wesite ith URLhttp://.fransasil.nl. 2 A ell-knon example in azz musi is the asending ell hord at the eginning of the trak The Meaning of the Blues, arranged y Gil Evans for Miles Davis alum Miles Ahead. A desending ell hord is found on the 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER 6. SPECIAL TECHNIQUES L. H. Rh. Ballad q=72 lg & Ó n. & Tns P.. P m.. n.. m/e n. n.. m7/e.... n Dø 7 n. n. B m7 igure 6.1: Three-part ell hords on the m toni minor hord. There is also hromatially desending motion in the ass. rom: The Summer Knos (M. Legrand) in an arrangement for onert and. The time interval eteen attaks usually is onstant, ut the attaks might as ell sound at different time intervals. The appliation of his tehnique is fairly ommon; most frequently it is used in reaks at the end of a musial phrase, or in an introdution. Its appliation to a harmoni akground is demonstrated in Example 6.1. Example 6.1 Asending three-part ell hord for a given toni minor hord. igure 6.1 shos a phrase from The Summer Knos, in an arrangement for onert and. The fragment starts ith three-part ell hords for tromones on the toni minor m hord ith hromatially desending ass (see elo, Setion 6.). This is an upard (asending) ell hord ith note entries at a onstant time interval; this attak pattern reates an 8th note rhythm groove. Note ho the lead melody, tromone setion and the ass part delierately have uxtaposed attaks (minimum oinident attaks), in order to maintain the rhythmial pulse. Another ell hord for muted rass and saxophones in a onert and allad arrangement is shon in m. 5 from My One and Only Love. or the disussion see Example 11.16 and ig. 11.20. 6.2 Harmonization ith symmetrially distriuted roots Root progressions in the hapters on setional harmony and ensemle riting ere ased on funtional harmony. This implies that the roots moved along diatoni sales, and most same alum, at the end of I Don t Wanna Be Kissed. or the soure of oth these 12-tone ell hords, listen to the 2nd movement of the Alan Berg Violin Conerto. 108
6.2. HARMONIZATION WITH SYMMETRICALLY DISTRIBUTED ROOTS frequently skipped a diatoni fifth of third donard. This yields familiar hord hanges suh as the I IIm 7 V 7 I or Im IVm V7 9 Im adenes in maor and minor, respetively. Hoever, there is an alternative system for root progressions, ased on symmetrially distriuted roots. Integer division of the telve hromati steps in the otave yields possi- = le symmetries at root movement R i (minor third), R i (maor third, and R 6i (augmented fourth, diminished fifth). The diretion of the root movement may e either donard or upard. In the Shillinger System of Musial Composition [] the use of symmetrially distriuted roots is presented as a separate tehnique for harmoni progression, as an alternative to diatoni progressions. The hord struture may remain onstant (e.g., series of parallel dominant seventh hords S 7 ) or may e hange during the root movement. When using this type of root progression, smooth voie leading y the smallest possile steps or leaps is essential. The use of symmetrially distriuted roots at various intervals is demonstrated in Examples 6.2 to 6.5. Example 6.2 Symmetri roots at the interval of a minor thirdr i for a given melody. igure 6.2 shos ho the original and the modified harmonization of the main theme from One Note Sama in an arrangement for onert and. The ondensed sore in the top figure shos the original harmonization ith hromatially desending 7th hords in m. 1. This hord progression is replaed ith a sequene ased on desending symmetri roots at the interval of R i, i.e., the minor third, as shon in the ottom figure. The result is the hord sequeneem 7 D 9 7 B 9 7 G 1 7, ith hanging hord struture. The same tehnique is applied in m. 5 8, here the root movement sequene of desending 5ths,Gm 7 C 7 B 7, is replaed ithgm 7 E7 9 D 9 7, again ith hanging hord struture. B 11 7 The simple one note melody in this example enales the alternative harmonization ith symmetrially distriuted roots. In general, it ill require a it of trial-and-error in order to allo suh an approah. Example 6. Symmetrially distriuted ass part at the interval of a maor third R i for a given melody. igure 6. shos the instrumental oda of a folk song, The armer s Song, aout the hard laour on the land throughout the ages. This is a omposition for hoir and onert and, part of a theatre prodution. Chek the asi harmoni progressions in the examples from the previous hapters. 109
CHAPTER 6. SPECIAL TECHNIQUES L. H. & Ó & Bossa Nova q=160 lg 1 Sax n 2. n. f. f ^ # ^ ^ ^ 5 n Rh. Em7 n n n E 7 Dm7 D 7-5 A 7-5 n Gm7 L. & 6. 7 8 9 10. 11 12 H. & #.. f f n Ó Ó n f f fl ^ ^ Rh. C7 B 7 9 Em7 n E 7 Dm7 D 7 9 C 9 6 ^ (a) L. H. & Ó & lg 1 Sax. 2.. n. f > > f 5 Tns Rh. Em7 n D 7 9 B 7 9 n G7 1 A 7 9 f Gm7 L. & 6. 7 8 9 10. 11. 12 H. Rh. & # # E7 9 f f D ± 7 9 # f n B 7 # 11 Ó Ó Sax ^ n ^ A7-5 ^ ^ ^. > A 9 6 >. >. ^ n n f ^ f Dm7/G G7 9/1 ^ f ^ ^ ^ ^ ^ C ^ 9 6 () igure 6.2: Harmonization ith symmetrially distriuted roots: minor third (R i ). (a) original harmonization, () symmetrially distriuted roots. rom: One Note Sama (A.C. oim). 110
6.2. HARMONIZATION WITH SYMMETRICALLY DISTRIBUTED ROOTS L. H. Rh. & n n f & n. f. lts Clars n 7 Gm7/D.. f. 7/E. Cm7. Symmetri Roots n E /E n /B C7 5 n # # 9 E / # # n # n n n D/A Brass C/D Gm.. Gm/D E 7. # n D Gm # igure 6.: Harmonization ith symmetrially distriuted roots: maor third (R i ). Diatoni and exat parallel motion in the upper stratum for flute setion. rom: The armer s Song (.G.. Asil) for hoir and onert and. olk Dane q.=92 6 8 6 8 f 6 8 f Tpt f Sax n # n n n n # n n # n n n n # n n n n n n 8 6....... igure 6.: Harmonization ith symmetrially distriuted roots: hords in ths at the augmented fourth/diminished fifth (R 6i ). Chromati parallel motion in the loer saxophones. rom: The armer s Song. A dissonant musial texture supports the lyris. The lead voie repeats the last voal melodi phrase in m. 1, and is douled ith three-part diatoni parallel hords for flutes. The middle voies in larinets fill out the asi harmonies. There is a traditional adential losing in G minor for rass in m. 5 6. In m. the ass part plays symmetrially distriuted roots at the maor third R i (i.e., e a and their tritone-related ounterparts f d). This yields passing shrill dissonanes ith the other parts (note the E /E and the E / hords in partiular), strongly expressing the mood of this farmer s song. Example 6. Using hords in fourths ith symmetrially distriuted roots at the interval of 111
CHAPTER 6. SPECIAL TECHNIQUES the diminished fifthr 6i. igure 6. shos a later fragment from The armer s Song. Throughout the song the harmonies gradually progress from a medieval to a ontemporary idiom. The example shos the appliation of hords in fourths in the saxophones; to altos, one tenor and a aritone saxophone play meandering synopated 8th note patterns. The appliation of symmetrially distriuted roots at the diminished fifth, R 6i, takes plae in the three upper saxophone parts (altos and tenor). The first hord onsists of the pithes f ; together ith the ass g this hord. The root sequene for these hords in ths is ( g f ) (d e d f d) (f ) (e ) d. This progression ontains a numer of these tritone-related pairs. yields a Gm 11 7 The aritone saxophone part does not fit into this sheme. It is oupled to the tenor saxophone part (parallel at the minor seventh, see Setion 6.5), adding even more dissonane to this phrase. Example 6.5 Appliation of tritone-related dominant hords to a given lead texture. The example in igure 6.5 is a transitional phrase in the montuno setion of a Latin mamo for solo tromone and symphoni ind and, Bone in the Barrio. The oodinds play salar runs in parallel thirds. The loer part in the upper staff (unisono renh horns and trumpets) quotes snippets from the main theme; note the asending tendeny of these motives. The saxophone setion (to altos, to tenors) hanges every to measures from playing -part setional harmony (as disussed in Chapter ) to 2- part Latin montuno riff patterns and then ak to setional harmony. The -part setional harmony (m. 2 and m. 6-7-7) onsists of an asendingdesending lead voie ith intermediate hords in the loer saxophone. In m. 2 the fundamental hord is A 6 9, the intermediate hords ontain pithes from the leading tone dominant hordg 9 7 and Galt 7. The symmetrially distriuted roots and the tritone-related dominant hords,r 6i, are found in m. and m. 7 8. Here theb 7 hord is temporarily replaed ith thee7 5 hord (eats 1 and 2 in m. 5) and theg 9 7 dominant hord ith the D 5 7 hord, respetively. This yields a rief harmoni tist, due to the ontrast ith the diatoni sales in the oodinds. Another ase of tritone-related symmetrially distriuted roots is shon in the introdution to the onert and arrangement of the allad My One and Only Love in a later hapter. This fragment is disussed in Example 11.11 and ig. 11.15. 112
6.2. HARMONIZATION WITH SYMMETRICALLY DISTRIBUTED ROOTS L. H. Rh. L. H. Rh. & & n G7 & Ó & Latin - Mamo q=160 WW E7 5 # n n f n n n # n n n # n # n # n n n n n > f.. Tpts ^ ^ ^ ^ n #. n n n ^ n > Hns Sax.. A 6 9. A # m7 9 G7 B # 9 G7 ^ ^. n ^ n # n A m7 n ^ n ^ 9 G7 Ó >. > a 2. ^ n a 2 n G7 9 / n. n 9 Gm G7 A 6 9 Ó n >. f D 7 5 Ó. > a 2 a 2 B 7/A. n n n n n n n # n n # n n n > Ó f Ó f n Ó f A. f igure 6.5: Harmonization ith symmetrially distriuted roots: tritone-related dominant hords (R 6i ). Variale density setting in the saxophone setion. rom: Bone in the Barrio (.G.. Asil) for onert and. 11
CHAPTER 6. SPECIAL TECHNIQUES 6. Intermediate leading tone harmonization Example 6.6 Appliation of intermediate leading tone harmonization to a given melody. This example is inluded in the full version of the ook. The figure is inluded in the full version igure 6.6: Intermediate leading tone harmonization This setion is inluded in the full version of the ook. Order the E-ook from the estore. 11
6.. INTERMEDIATE LEADING TONE HARMONIZATION [This page is intentionally left lank in the demo version of this ook.] 115
CHAPTER 6. SPECIAL TECHNIQUES 6. Chromati stepise motion = In hromati stepise motion the motion of a partiular voie in a harmoni setting is in asending or desending semitone steps. The familiar example is the hromati motion in the ass, ut the same tehnique an e applied to any middle or upper voie; these are demonstrated in Examples 6.7 to 6.11. Example 6.7 Chromatially desending ass line starting from the root hord through the seventh. igure 6.1 ith the phrase from The Summer Knos for onert and disussed earlier, shos the lassial hromatially desending ass. The hord root remains onstant as the ass voie moves through the hordal funtions 1 7 7 (6) (root maor seventh minor seventh added sixth). In the example this yields the hord sequenem m +7 /E m 7 /E m 6 /D. The last hord is enharmonially equivalent to D 7. The desending ass ontinues its semitone desent toardsb m/d. Example 6.8 Doule hromatially desending ass line for a given lead melody. We ill have another look at igure 6.2, from One Note Sama. This fragment also features a hromatially ass line, ut no in to parallel lines, onsisting of hord roots. Here is the sequene of ass notes, ith the upper hromati line in rakets: (f ) (f) (e) (e ) a (d). This omines ontinuous motion ith a strong feeling of adential rootedness, through a sequene of IIm V 7 hord hanges. Example 6.9 Comined hromati stepise motion in multiple layers and instrument groups. In igure 6.7 from The Summer Knos for onert and there is an intriate omination of hromatially asending motion in the middle voie ith a desending ass. The tromones play to hromatially asending (semitone upard) phrases: e f f g and e e f g in half notes. 116
6.. CHROMATIC STEPWISE MOTION L. H. Rh. & & Ó Tpts ƒ Tns Hns 1WW Ó ƒ Ó # # # n ƒ ± A B /A ƒ # 2 Ó n # Ó n # n n A6 Sax Cm7 B m7 n # # Ó # n Ó # n # n f A A± /A n Ó # n Ó n # n n n f n n A 6 Bm Am 5 n n Ó f Ó n Ó n Ó n. G 9 sus f igure 6.7: Chromati stepise motion in oth middle voie (asending) and ass pedal point (desending). Diatoni and exat parallel motion in the upper layers (trumpets, renh horns and oodinds). rom: The Summer Knos (M. Legrand). The ass plays hromatially desending pedal points. With the middle voie of the ass part in rakets this yields: a (e) a (e ) a (e ) a (d) g (d), ith oth lines slightly out of phase. The overall impression of this phrase is one of desending motion in the outer voies (oodinds, trumpets, ass), hih is ounterated y the ontrary motion in asending diretion in the middle voies (renh horns, = tromones and saxophones). Example 6.10 Comined hromatially moving middle voies. In igure 6., the fragment from The armer s Song that e sa efore, the loer saxophones (TS and BS) are moving oth in hromatially asending and desending steps. These meandering voies in legato semitones reate additional tension to this already fairly dissonant phrase (see Setion 6.2 for other aspets of this harmonization). The interval eteen the to saxophones is onstant: a minor 7th, ith the upper voie (tenor saxophone) as part of hords in ths (three-part hords in ths for to altos and tenor saxophone). Example 6.11 Chromatially asending ass line for given lead voie. The sore in igure 6.8 shos ho the hromatially asending ass ontriutes to the uilding up of tension (see Setion 11.1) toards the limax in the ridge of this onert and arrangement of Roof Garden. 117
CHAPTER 6. SPECIAL TECHNIQUES L. H. Rh. L. H. Rh. & 1 & Tns â Rok q=100 Tpt Clars. > n n n #. D 1 1 D 7. > ^ n Tpts n. & 5.. â & Sax > n n n n G 1 G 1. > ^ n n n n n n. 2 ^. â. > n n n #. E 7 E 7 res. res. res.. > ^ n n n > res... â > Hns 6 ^.. n â. res. > # n n # n res. res. A 9 1 A 1. > ^ n res. n # n # # n n > n 7sus G 9. > ^ n. 7 â. >. n B 1 B 1. > ^ n # n. n n n n n. ^ fâ >. f n. f ^ ^ ^ G ø G 7 7sus n > Ó f 8 ^. ƒâ >. ƒ n. ƒ Ó Ó Tns Ó Ó ^ ^ Ó Ó ^ n Ó n ^ 5 B 1 B 1 C 1 > n n ^ ƒ Ó Ó igure 6.8: Chromati stepise motion in the ass. The lead trumpet(s) play a pedal point. rom: Roof Garden (A. arreau) in arrangement for onert and. The ass guitar plays 16th note rok patterns on the asending semitone sequenesd d e e f g g andg g a a. Sine the ass notes are all roots of dominant 7ths hords, there is also onsiderale hromati stepise motion in the middle voies (larinets and saxophones). The asending tendeny is alaned ith the desending leaps in the lead motif in tromones and renh horns. Another hromatially asending ass line is shon in the modulating transition from the onert and allad My One and Only Love, shon in Example 11.15 and ig, 11.19, and in the oda from the same piee, see Example 11.1 and ig. 11.18 (in the later hapter on uilding the omplete arrangement). 6.5 Diatoni and exat parallel hord motion Example 6.12 Appliation of exat parallel hords in a transitional phrase. This example is inluded in the full version of the ook. 118
6.5. DIATONIC AND EXACT PARALLEL CHORD MOTION The figure is inluded in the full version igure 6.9: Exat parallel motion Example 6.1 Appliation of parallel hord motion to a given melody. This example is inluded in the full version of the ook. Example 6.1 Appliation of parallel hord motion to a given melody. This example is inluded in the full version of the ook. Example 6.15 Parallel -part hords in ths. This example is inluded in the full version of the ook. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 119
CHAPTER 6. SPECIAL TECHNIQUES The figure is inluded in the full version igure 6.10: Parallel -part hords in allad for onert and [This page is intentionally left lank in the demo version of this ook.] 120
6.6. VARIABLE DENSITY L. H. Rh. & & Up-tempo Sing q=20 WW Tn. Ó Ó ÓWW Ó Ó Ó Ó Ó E. Ó Ó Ó Ó Ó Dm Ó Ó Ó E. Ó Ó Ó Ó Cm Ó Ó Ó # Ó D7 # 9. n # Ó n Ó Ó Ó # n n # Ó Ó Ó Ó Gm. igure 6.11: Variale density in the introdution to an up-tempo sing azz standard for solo tromone and symphoni ind and. Woodind voiing is hanging from 2-part to -part voiing. rom: Autumn Leaves (. Cosma). 6.6 Variale density When the numer of voies in a phrase is no longer onstant (the latter is the ase in almost all setional harmony riting; that s hy it is alled - or 5-part setional harmony) e are using variale density. = Varying the numer of voies in a phrase is an additional tool for dissonane and tension ontrol. The extreme ase of variale density is hen an instrumental setion is opening up from or losing into a unisono phrase. Variale density is shon in Example 6.16. Example 6.16 Applying variale density as a akground to a solo lead melody. The example in igure 6.11 is the introdution to an up-tempo azz standard for solo tromone and and, a onert and arrangement of Autumn Leaves. The oodinds are playing triplet runs. The only other element is an offeat pedal hihat. Eah oodind phrase starts ith to voies at the interval of a third. Then, through ontrary motion, an open triad voiing is reahed. Along the ay the density is varying. Note that the oodinds are playing an inomplete D 10 7 hord in m. 5. It is the tromone that provides the missing 7th as a long note in the previous measure. The aspet of tension ontrol ill return in Chapter 11; hek the use of variale density in the examples, disussed in that hapter. Creating variation ithin or eteen phrases and setions is often ahieved through applying different orhestral density. 121
CHAPTER 6. SPECIAL TECHNIQUES 6.7 Pedal point Example 6.17 Various appliations of pedal points to either a given melody or harmony. This example is inluded in the full version of the ook. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 122
6.7. PEDAL POINT [This page is intentionally left lank in the demo version of this ook.] 12
CHAPTER 6. SPECIAL TECHNIQUES 6.8 Classial musi tehniques = = In azz arrangements there is also a plae for applying tehniques originating from the lassial musi domain. The pedal point in Setion 6.7 and the ell hords in Setion 6.1 are suh tehniques. Here e mention to additional options. A horale harmonization provides a harmoni akground, that is haraterized y smooth voie leading, long-held hords, and a omination of triads and seventh hords. When possile, voie leading is stepise. Rules for the voiing of hord inversions are respeted, and extended hords (ninth and higher hordal funtions) are sparse. Additional harmoni interest is ahieved using suspensions. When using a horale setting, the rhythm setion is either taet (silent) or ass and harmony instruments (keyoard) must respet the voie leading in the other instruments. or an overvie of lassial theory of harmony, see [7] or [5]. Another option is using ounterpoint. This ould e a simple form of motif imitation in multiple voies, ut might also e a multi-part fugue. The main harateristi of ounterpoint is the melodi independene of the individual voies. The harmoni progressions are the result of the omination of voies; hord strutures an e lassial (triads and seventh hords) or from the azz idiom (extended hords). During ounterpoint phrases, it is most likely for the rhythm setion to remain silent (taet). The doule ass might play unisono (or at the loer otave) ith the loest voie in the ounterpoint setting. An exellent introdution to tonal ounterpoint, ith lots of examples and exerises is [6]. The use of ounterpoint is demonstrated in Examples 6.18 and 6.19. Example 6.18 Apply a horale setting to a given melody. The melody in igure 6.12 from the onert and arrangement of Autumn Leaves, is the losing phrase from the opening horus of this azz standard. The fragment is harmonized ith a four-part horale setting for larinets. This orhestral olour hints at a soft, intimate and deliate organ sound. The harmoni strutures are all seventh hords S 7, ith one exeption: the Neapolitan 6th hord, A /C, in m. 5. Note the stepise voie leading in all parts. Oasionally there is a leap (see m. ), ut here the lassial musi voie leading rule a leap is folloed y stepise motion in the opposite diretion is respeted (see Chapter 9 for melodi aspets). Note ho the suspensions in m., 5 and 6 ontriute to the lassial musi idiom. The pizziato doule ass is douling the loest part of the horale setting at an otave elo. The rhythmi sudivisions in the ass support the uptempo sing rhythm; note the alking ass and 8th note sing pattern. The same type of sonority is used in the doule time -part ounterpoint setting in the fragment from the allad My One and Only Love, disussed in Example 11.16 and shon in ig. 11.20. 12
6.8. CLASSICAL MUSIC TECHNIQUES L. H. Rh. & Ó & Tn 1 f Ó Ó Clars Ó Ó ø 7 A7/G 2. # D7/ # # n n. Gm7/ E7-5 n n n. n n Aø 7/E D7 D 7-5 5.. n. # A /C C # o 7 # 6 # n n n n # Dsus D7/ # n n # f 7 Ó Ó Ó Ó Ó Gm Ó igure 6.12: Classial musi tehnique: a four-part horale setting for larinets, as akground to the solo tromone lead. rom: Autumn Leaves (. Cosma). Example 6.19 Write a Baroque style fugue on a given motif. igure 6.1, also from Autumn Leaves, shos a three-part fugue in G minor for ind quintet, hih is the introdution to an up-tempo sing azz standard. The fugue suet is a motif from the azz standard melody (see the first four notes for flute,g a e ). The order of the three fugue suet entries is, as is the rule in traditional Baroque musi,: toni-dominant-toni key. A speial feature in this fugue is the sequene of entries in the stretto (the parts entering at shorter time intervals than during the fugue exposition); the four starting notes for renh horn, larinet, English horn and flute one again form the main motif g a e. The hromati desending ass voie (assoon) is repeated at an otave elo, hile the flute reahes the highest pith in ontrary motion. This reates a loal limax. Another example in ounterpoint style, for strings and oodinds, as shon in Setion 2..5 in Example 2.7 from Shotgun Soliloquy, and in Chapter 8 in Example 8.1 from Venetian Violins. 125
CHAPTER 6. SPECIAL TECHNIQUES L. H. Rh. & Allegretto q=10 & Ó l 1 n Bsn # n n 2 # # 5 # n n EHn Ó n Hn n 6 n n n n 7 n # # n 8 n # n n L. H. Rh. & 9 # 10 n # 11 # # n n 12 n # & n # n Ó # Clar # # 1 # 1 Ó 15 Ó. f Ó #.. # n. f # n # n Ó f Ó. f 16 Ó # n #. igure 6.1: Classial musi tehnique: ounterpoint (three-part fugue and imitation) for ind quintet, as an introdution to a azz standard. rom: Autumn Leaves (. Cosma). 126
Chapter 7 Woodind voiing This hapter disusses voiing tehniques for a oodind setion and the omination of homogeneous and heterogeneous oodind instruments. Voiing diagrams and examples ill eluidate the speifis. 7.1 Voiing multiple instrument groups in a oodind setion The multi-player oodind setion likely ill ontain different sugroups: flutes, ooes, larinets and assoons. Voiing a hord for oodinds implies the distriution of hord pithes to individual instruments in the setion. This yields a numer of options for alaning and lending the instrument groups. The diagram in igure 7.1 demonstrates alternative voiings of a given four- or six-part hord struture, S(p) or S(6p). The voiing is ahieved y assigning the pithes from the hord struture to a single part from either a doule or a triple oodind setion ith to or three instrument sugroups. or one speifi voiing approah not all hord pithes ill e assigned; see the ases fors(p) ands(5p) in the top and middle ro, or thes(p) olumn in the ottom ro. The four types of voiing are, using the laeling from [1, 2]: = uxtaposition. Vertial uxtaposition is also alled overlaying. There is no overlap eteen any of the instrument groups. The approah is a top-don distriution over the sugroups, e.g., l - l - O - O ( parts), as shon in ig 7.1.a. Overlapping. Some of the pithes are played y instruments from to groups; the numer of different pithes is smaller than the numer of instruments. An example is: l - (l + O) - O, instruments and pithes, shon in ig 7.1.. The overlapping approah ith douling has a pragmati approah in onert ands; sine mostly the players are amateurs, there is the hane that either a part is eyond there playing skills, or they 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER 7. WOODWIND VOICING l S(p) O Doule oodinds, 2 groups S(p) S(p) l l O O l S(p) O (a): uxtaposition (): Overlapping (): Interloking (d): Enlosing Triple oodinds, 2 groups l S(6p) Cl l S(5p) Cl l S(6p) Cl l S(6p) Cl l S(6p) Cl (e): uxtaposition (e): Overlapping (g): Mixed (h): Interloking (i): Enlosing l Cl S(6p) O Doule oodinds, groups S(p) S(6p) S(6p) l l O l O Cl Cl Cl O l S(6p) O Cl (): uxtaposition (k): Overlapping (l): Mixed (m): Interloking (n): Mixed igure 7.1: Woodind voiing and lending. Non-exhaustive set of diagrams for doule and triple oodinds, demonstrating uxtaposition (overlaying), overlapping, interloking (dovetailing), enlosing and mixed voiing 128
7.1. VOICING MULTIPLE INSTRUMENT GROUPS IN A WOODWIND SECTION are missing from a rehearsal or onert. This safety measure guarantees, that important lines are eing heard in ase of an inomplete orhestra. Interloked. This is also alled rossed voiing. No, some of the groups are overlapping and intertined. When there is a regular alternation of instruments from different groups, suh as l - O - l - O (-parts) or l - O - Cl - l - O - Cl (6 parts, not shon in the diagrams) this is alled dovetailing, as illustrated in ig 7.1.. Enlosed. One instrumental group is no enlosing another group, e.g., Cl - O - O - Cl, as shon in ig 7.1.d. This yields a ide interval for the sugroup playing the outer parts. The intervals ithin eah sugroup are smallest for uxtaposition and overlapping voiing, idening for interloking and enlosing voiing. This may have onsequenes for the lending and alaning, as the to instruments from the same sugroup are moving into differently sounding registers. Note, that the diagrams in the middle and ottom ro of ig 7.1 are non-exhaustive; there may also e mixed forms of voiing. Hoever, they still illustrate the opening voiing ithin a sugroup (either flutes, ooes or larinets) moving from left to right, i.e., from uxtaposition toards enlosing voiing. See Example 7.1 for the musi notation of these oodind voiing approahes. Example 7.1 Woodind voiing of hord struture. The voiing priniples of ig. 7.1 are shon in musi notation in ig. 7.2. These approahes are applied to a first and seond inversion maor triad ith pith douling, i.e.,s 6 (p),s 6 (p) ors 6(6p),S 6 (6p). The voiings at the top are for to pairs of oodinds (to flutes and to ooes). Notes from a first inversion triad S 6 (G/B and C/E) are distriuted over these instruments. rom left to right e see overlaying (i.e., no overlap), overlapping, interloking (dovetailing), enlosed and a transposed version of the interloking voiing. Both instrument groups play in their middle register. Measure 1 and oth yield onsonant intervals ithin the sugroups: thirds and sixths, respetively. The est lending ith homogeneous sound is ahieved in m. 1. The overlapping voiing in m. 2 uses three pithes only, and the ooes no play a perfet onsonant fourth. The enlosed voiing in m. ill distur the lending, sine no lute 2 plays in its softer loer otave; the sound is signifiantly different from lute 1. This effet orsens as e move to m. 5, here oth flutes are in the softer lo to middle register, hile Ooe 2 is in a partiular, outspoken register; the ooes ill no dominate over the sound of the flutes. In the middle figure there are triple flutes and larinets. On the left, m. 1, there is vertially uxtaposed voiing, m. 2 shos overlapping eteen lute and Clarinet 1 for a 5-pith hord strutures(5p), m. demonstrates dovetailing, hile in m. 5 the flutes enlose the larinets. Measure shos a mixed voiing. Overlaying keeps oth groups ithin the same otave; the flute triad is douled at the loer otave for larinets. Measure and 5 129
CHAPTER 7. WOODWIND VOICING ring lute in the lo range, here it ill e dominated y Clarinet 1 and 2, no in their mid-high range. The loer figure shos ho the same hord is distriuted over three groups: pairs of flutes, ooes and larinets. One again, e start in m. 1 ith overlaying voiing. In the overlapping situation there are only four different pithes. Measure is a mix of rossing (flutes and ooes) and overlaying (larinets in the lo register). Note the intervals ithin eah group, eing either perfet or imperfet onsonanes (for a 7th or extended hord the distriution of the dissonant intervals ould also require onsideration). The example on the right, m. 5, has otave doulings ithin eah group, ut ith eah instrument in a partiular otave ith a speifi sound; this ill not yield a good lending and sound like six different instruments having a alaning prolem. Of ourse, for multiple oodinds there ill regularly e mixed forms of voiing, as the diagrams in ig. 7.1 demonstrate. The orhestration textook y Rimsky-Korsako [1] disusses this aspet in great detail, for all the orhestral groups. Also rememer that the arranger has the hoie eteen onstant and variale voiing. A ertain vertial ordering of instruments may hange at any time, if that helps the overall oodind sound. So feel free to move from uxtaposition to overlapping or interloking and ak. This may e required hen a ertain instrument is moving into a differently sounding register or outside its playing range. Look for ide leaps ith a turning point in the lead melody or the end of a short phrase (reathing points or a rest) as the appropriate point of hanging the oodind voiing. We ill see a numer of these ases in the examples. 7.2 Homogeneous and heterogeneous oodind ominations Tale 7.1: Homogeneous oodind voiings The tale is inluded in the full version Tale 7.2: Heterogeneous oodind voiings The tale is inluded in the full version 10
7.2. HOMOGENEOUS AND HETEROGENEOUS WOODWIND COMBINATIONS l. 1 & 2 5 O. & l. 1 & 2 5 Cl. & l. 1 & 2 5 O. & Cl. & igure 7.2: Woodind voiings; uxtaposition, overlapping, rossing and enlosing. Top: doule oodinds (pairs of flutes and ooes). Middle: triple oodinds. Bottom: three groups of doule oodinds (flutes, ooes and larinets). 11
CHAPTER 7. WOODWIND VOICING This setion is inluded in the full version of the ook. Order the E-ook from the estore. 12
7.2. HOMOGENEOUS AND HETEROGENEOUS WOODWIND COMBINATIONS [This page is intentionally left lank in the demo version of this ook.] 1
CHAPTER 7. WOODWIND VOICING 7. Woodind voiing examples In Chapter 6 on speial tehniques there are many examples ith oodind setion voiing. Let s have a loser look at a numer of oodind voiings from the examples in this ook. Example 7.2 Woodind voiings for onert and and studio orhestra. The voiing diagrams for this set of examples are shon in ig. 7.. The use of oodinds the onert and arrangement of Let it Sno as disussed in Example 2. (see ig. 2.7). We ill have a more detailed look at oth fragments. In the opening measure the first 16th note run is for to assoons in parallel rds, taken over at the higher otave y a heterogeneous group of piolo (8va), to flutes, ooes and larinets; these pairs are douling parts in the mid-high register. Then, the voiing hanges in m. 2 to parallel diatoni triads in inverted position (mixed voiing). inally, in m. 5 there are arpeggiated triads for interloking flutes and ooes. In the tutti horus, the seond fragment in the example, ith 16th note asending and desending runs, there is another ase of flutes and ooes, douling in parallel rds ith the piolo 8va, or larinets in parallel thirds. Keep in mind that in the onert and the larinet setion onsists of eteen 10 and 20 players. The seond example is a transition fragment from Bone in the Barrio, in Example 6.5 and ig. 6.5. The pairs of flutes and ooes are playing parallel 6ths and rds, respetively. There is overlapping voiing in the high register. The E -larinet doules the lead part unisono, the piolo at the higher otave 8va. The ounterpoint fugue introdution to Autumn Leaves in Example 6.19 and ig. 6.1, features the lassial musi ind quintet In this fragment the English horn replaes the ooe, sine this fragment is in the lo-middle register. There is the standard vertial order of the ind quintet parts ith larinet and renh horn sapping position in m. 1. The studio orhestra tutti limax from Shotgun Soliloquy, is shon in ondensed sore in ig. 7.. This four-measure fragment has a douled lead melody over a olero rhythm akground ith staato notes. The tutti voiing for eat 2 in m., the Gm 7 hord, is shon in ig. 7..h. The oodinds are in mixed voiing, i.e., piolo and flutes uxtaposed, flutes and ooes overlapping, ooes and assoons uxtaposed (the larinet doules the lead melody). In the rass setion, trumpets and tromones are uxtaposed (for this speifi hord) or overlapping, and rossing ith the renh horns. 1
7.. WOODWIND VOICING EXAMPLES S() par Bsn 1 6 Introdution and tutti altz horus from Let it Sno S() par Pi 1 l 1 6 O Cl S 6,S 6 Pi ECl l O 1 5 S 5 arp 1 l 5 O 1 S() par Pi l 1 (a): intro m. 1 (): intro m. 1 (): intro m. 2 (d): intro m. 5 6 (e): tutti m. 1 O (Cl) Montuno setion transition Bone in the Barrio, fugue introdution Autumn Leaves S(), par Pi 1 l 6 ECl 1 O 6 l P1 EHn P2 Cl P Hn P Bsn P5 (f): transition m. 1- (g): intro m. 1 16 Tutti limax setion from Shotgun Soliloquy S 5,S 7 var, Pi 1 l 5 O Cl 1 Bsn 7 rass str STpt 1 5 Tpt 1 Hn 7 5 Tn 7 Tu 1 Vi 1 Va 1 5 V 7 C (h): tutti limax m., eat 2: Gm 7 hord. igure 7.: Woodind (and tutti) voiing for onert and and studio orhestra. Par: parallel, var: various inversions. The small digits in the diagrams indiate the hordal funtion. The measure numers refer to the numers in the figures 15
CHAPTER 7. WOODWIND VOICING Adagio triste q = 5... Pi+l+O1. &...... 2... 6 6 6 Bsn.... 6 6 6 6 ƒ.. 6 ƒ 6 6 6 6 6 6 6 6 & Hn...... ƒ.... Tpt.. &.... 6 6 6... 6 6 6 6 ƒ 6 Tn...... 6...... ƒ Vi+Glk & # #. # #. >...... ƒ Va+Cl+Tpt ẇ V ƒ C ƒ....... &.. #.. 6 6 6 6 6 6. # 6 6 6 6.. #.. #. 6 6 6 6.. #...... 6 6 6 6 &...... &... 6 6 6 6...... & ẇ #. Pizz.. # igure 7.: Tutti limax voiing in Shotgun Soliloquy (.G.. Asil). 16
Chapter 8 String setion voiing This hapter presents voiing approahes for the string setion. Several speifi string setion aspets and playing tehniques ill e disussed. 8.1 The size of the string setion in an orhestra The size of the string setion is different for the symphony orhestra, the string orhestra and the studio orhestra. Tale 8.1 presents the numers of players as given in a numer of textooks for either symphony, hamer or studio orhestra [1, 2,, 1, 2, 50]. In Setion 2..5 the internal alaning of the string setion and the 2: ratio rule as mentioned. We ill no look a it further into this issue. igure 8.1 shos typial string player numers for popular and azz musi reording sessions, for the lassial musi hamer orhestra (strings only) and for the symphony orhestra. In a typial popular musi reording session, there is no ontraass in the string setion (the ass funtion is provided y the rhythm setion ass player). The size of a strings only hamer orhestra orresponds to the numers in a typial large radio or studio orhestra. Oviously, atual numers may differ from those given here; very popular noadays is the use of a string quartet in popular musi reording. The lue lines in the figure indiate the 2: ratio alaning rule, entered around the violas as anhoring point, As an e seen, all string setions lak suffiient upper range players for a natural aousti alane. The solutions are either areful orhestration tehniques, suh as having all violins playing unisono, douling the violins ith violas at the otave elo. Or, alternatively having the elli play divisi, suh as the div à 2, i.e., split the group into to parts, in fat halving the numer of players per part. The alternative is eletroni amplifiation of the strings. Tale 8.1 gives an overvie of typial size ranges of the string setion in an orhestra. 1 1 The arranging ook y Don Seesky [50] has a hapter ith sore examples, that illustrate the potential and 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER 8. STRING SECTION VOICING Tale 8.1: Typial size of the string setion in various ensemle types. Data ompiled from [1, 2,, 1, 2, 50]. Vi 1: 1st violins, Vi 2: 2nd violins, Va: violas, V: ellos, CB: ontraass. Author Vi 1 Vi 2 Va V CB Instrumentation Adey 16 1 12 10 8 Symphony orhestra Adler 16-18 1-16 10-12 10-12 8-10 Symphony orhestra Blatter 12-18 10-17 8-1 6-12 5-10 Symphony orhestra 5-6 Chamer orhestra Del Mar 16 1 12 10 8 Symphony orhestra Kennan 10-16 8-1 6-12 6-12 5-10 Symphony orhestra -8-6 2-2- 1- Chamer orhestra Seesky 12 Maximum for most reordings 8 2 2 Regular reording string group Symphony orhestra (16-1-12-10-8) Chamer / large studio orhestra (8-7-5--) Large reording session (7-5--) Regular reording session (5--2-2) 5 7 8 16 Violin 1 5 7 1 Violin 2 2 5 12 Viola 2 10 Cello 0 8 Contraass igure 8.1: Balaning the string setion. Typial numer of players shon for four ensemles. Blue urves: the 2: rule for alaning unisono playing, anhored at the violas 18
8.2. UNISONO STRINGS Another element in the lending of the string sound is the fat that due to left hand virato and imperfet pith playing, the result is pith modulation eteen string players. This pith modulation introdues idening of the spetral andidth around the intended pith (see Setion 2..8). This aspet effet is somehat ritial in the loer strings, here the numer of players is limited. Take the ase of to ontraass players; there ill e only one pair, thus one omination that leads to modulation; most likely the individual players an still e identified. Hoever, adding a third player yields three pairs and therefore a muh riher set of intermodulations ith a far more lended sound. 2 Of ourse, eyond three players the ominations ill lead to a large set, and the modulation effet gros exponentially. That is a typial harateristi of the symphony orhestra string sound. 8.2 Unisono strings Example 8.1 Unisono violin lead melody. This example is inluded in the full version of the ook. The figure is inluded in the full version igure 8.2: Unisono violin lead melody Example 8.2 Unisono high string voiing in a studio orhestra tutti limax. This example is inluded in the full version of the ook. limitations of the smaller, typial string groups in azz and popular musi. It is a great ook, the quality of the strings hapter has no equivalent in other arranging ooks. So make sure you read it. 2 In an intervie, omposer, arranger and ondutor Vine Mendoza said, that he requires a minimum of three doule ass players in the string setion, hen doing a proet ith the Metropole Orhestra or other orhestras: Alays use odd numers in the loer strings. 19
CHAPTER 8. STRING SECTION VOICING Example 8. Unisono string voiing in a studio orhestra arrangement. This example is inluded in the full version of the ook. The figure is inluded in the full version igure 8.: Unisono string voiing in studio orhestra arrangement Example 8. High strings playing unisono. This example is inluded in the full version of the ook. The figure is inluded in the full version igure 8.: High strings playing unisono This setion is inluded in the full version of the ook. Order the E-ook from the estore. 10
8.2. UNISONO STRINGS [This page is intentionally left lank in the demo version of this ook.] 11
CHAPTER 8. STRING SECTION VOICING 8. Sustained harmoni akgrounds In azz and popular musi the most frequently used role for the string setion is to provide a harmoni akground, onsisting of sustained notes, ith typial hole and half note durations. The voiing is half-open (lose voiing in the middle parts and opening up toards the outer voies), and there is mostly stepise motion voie leading in the parts. This tehnique is ased on lassial musi harmonization priniples; the strings adhere to these priniples more than the saxophones and rass. Therefore the traditional voiing onsiderations must e respeted: Extended hord strutures eyond the 7th hord S 7 must e in root position (ith the hord root in the ass). Inversions are not alloed fors 9,S 11 or S 1. Hoever, if there is a rhythm setion playing, the root ill e in the doule ass or ass guitar and is frequently omitted from the string setion akground. Typially assign the hordal funtions and7to the elli as the loest string parts. The higher hordal funtions 7,9,11 and 1 must appear in the higher parts, respeting the aousti harmoni series (see the upper harmonis of a fundamental pith in ig. 2.10). Douling should onentrate on the loer hordal funtions 1, 5 and (root, 5th and rd) and must also respet the harmoni series. So there ill e more douling of the 5th than douled. Be most autious aout douling the hord 7th, and used douled 9 sparingly. This douling rule holds for solo playing y the the string setion. Note, that the altered extensions 11 = 5 and 1 = 5 are in fat replaing the hordal funtion 5; this ill affet the voiing in the sense that these altered 5ths may e found in loer string parts. The rules aove apply hen all the hordal funtions are present; so oth 5 and11 as is the ase in an extended minor hordsm 9/11 7, or oth the5and1 as is the ase in an extended dominant hords7 1. Based on these priniples Example 8.5 demonstrates three alternatives for a four-measure harmoni progression for the string setion alone. It is a terrily ontrived 6-part string setion setting, that ill possily fail, hen applied to a real orhestral arrangement. 12 Example 8.5 Sustained harmoni akground for six-part string setion. See ig. 8.5 for three alternative string setion voiings of the same fragment. The numers aove the notes indiate the hordal funtion. The elli are playing divisi. Traditional voie leading exerises use -part settings. A 6-part exerise leads to onflits hen respeting the voie leading rules. Treatment of dissonant hordal funtions (preparation and donard stepise resolution), preventing voie rossing, no douling of the funtion (third) ith the hord in first inversion, no parallel 5ths or 8ths; this is very hard to ahieve ith six parts. So the example ontains errors: hidden 5ths and 8ves do exist. A orking and useful alternative is to rite a -part setting and then doule to parts, ut that ould have prevented a demonstration of multiple doulings.
8.. SUSTAINED HARMONIC BACKGROUNDS Violin 1 1 # & # Andante q = 92 9 1 2 7 9 5 5 1 n 5 1 # Violin 2 # & # 7 6 5 9 7 9. n 9 n. Viola Cello B # # # # 1 1 1 7 1 5 1 5 7. # # n 5 5.. n 5 n. Contraass # # 5 1 D 6 9 1 1 5 7 5 n # G/D Am7/C # 7/C # E7/D 1 1 Bm7/D B /D 7 1 A9sus A1 Vi. 1 5 # & # 6 7 9 7 7 7 11. 8 5 Vi. 2 Vla. V. # & # B # # # # 7 6 # n 5 9 n 5 n 9 5 # n 9 7 1 6 7. n 1. # n 9 7. 6 9 1. 1 #. C. # # 6 1 D 6 9 9 1 1 # # G E7/G # Am7 # 7/A # 7 1 1 Bm7 B 7 1 n A9sus A1 Vi. 1 9 # & # 9 10 n # 5 7 5 11 9. 12 1 # Vi. 2 # & # 7 6 # n 5 7 1 7 9 n. Vla. B # # 5 7 1 5 7 n 5 5 V. # # 1 n 5 5 1 5 1. n. C. # # 5 1 D 6 9 1 1 5 1 1 1 # # G E7/G # Am7 # 7/A # 5 1 1 1 Bm7 B 7 1 n A9sus A1 igure 8.5: Sustained harmoni akground for 6-part string setion, playing solo. Three alternatives for a given hord progression. Top: respeting asi rules for hordal funtion douling and positioning of higher hordal funtions. Middle: unalaned voiing ith improper douling. Bottom: three-strata approah aording to Shillinger []. 1
CHAPTER 8. STRING SECTION VOICING The top voiing is hampered y hord inversions: 2nd and rd inversion S S 2 in m. 2 and 1st inversion S5 6 in m.. Here, the potential for using extended hords is limited. Higher hordal funtions are assigned to violins and violas. All hordal funtions 9 resolve y donard stepise motion. On eat in m. 2 this yields a douling of the in Vi 2 and V 2, hoever in losing ontrary motion. There are donard moving parallel 9ths in m. eteen Vi 2 and V 2. The middle voiing, m. 5 8, has more hords in root position. But no a delierate unalane in the hordal funtions has een reated. In m. 6 the first inversions S5 6 reeive higher funtions (9, 5, 1, respetively). Many higher hordal funtions are in the loer parts; ompare m. 1 and m. 5 for the top and middle setting. Hoever in the latter the voiing 6 9 5 7 yields a hord in ths, hih is not ad after all. It is m. 6 7, here the unalane is audile; note the douled on eat 2 and in m. 6 (in ontrary motion, though), the series of 7ths in the lead voie Vi 1 in m. 6, and the douled7on eat 1 in m. 7. Reversing the5and1 in m. 8 eteen Vi 1 and V does not hange the type of mild dissonane (maor 9th vs. minor 7th) and is a matter of taste. The ottom setting, m. 9 12, is ased on an entirely different approah: the Shillinger tehnique for riting in three strata is applied []. The strata and their funtions are: loer Σ 1, 1-part CB ith funtions 1 and, middle Σ 2, 2-part V 1 - V 2 ith funtions1and5, and upperσ, -part Va - Vi 2 - Vi 1 ith hordal funtions,5,7,... No douling or higher hordal funtions our in first inversion 7th hords S5 6. The middle stratum, stiking to root and 5th of the hord, yields the elli moving oth in leaps and stepise motion. All funtion 9s resolve y donard stepise motion, as do most 7s. The final measure, m. 12, is an exeption to this three-strata approah; note the 7 and the suspended in the elli. This third setting is audily different from the other to voiings and sounds more stale and lassial. This an only e used for a strings solo setting; do not use this hen a string setion is playing a akground to a rhythm setion. 8. Create motion in the string parts Example 8.6 Create motion in string setion setting. This example is inluded in the full version of the ook. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 1
8.. CREATE MOTION IN THE STRING PARTS The figure is inluded in the full version igure 8.6: Motion in string setion riting [This page is intentionally left lank in the demo version of this ook.] 15
CHAPTER 8. STRING SECTION VOICING 1 & & æ P Va+V æ P Slo q=60 Vi 1+2 sul pontiello C æ P # æ sul pontiello æ æ æ æ æ æ æ æ æ 2 æ æ æ æ. æ æ æ æ æ æ. Glk+Cel æ æ æ æ n n Ó Timp æ æ π æ æ æ U Tpt (Harmon mute) æ U p æ æ u u U æ æ æ u æ 5 & 6 7 n n 8 U & æ. æ. æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ. æ æ æ. æ æ æ æ æ Ó æ æ æ æ π æ æ p æ æ u æ u u U æ æ U æ igure 8.7: Exat parallel hords in 5ths for strings. The strings are divided into to -part strata, ith independent note durations and ontrary motion. Slo introdution from a studio orhestra arrangement of I ll Rememer April (G. de Paul). 8.5 Exat parallel voiing Example 8.7 shos exat parallel motion in the slo introdution of an arrangement for studio orhestra. See Setion 6.5 for a desription of this tehnique. The string setion plays parallel hords in 5ths, the definite pith perussion (elesta and glokenspiel) play parallel triads. 16 Example 8.7 Exat parallel hords in 5ths for strings. ig. 8.7 sho the first eight measures from the slo introdution to a studio orhestra arrangement of I ll Rememer April. The voiing is ith parallel hords in perfet onsonant 5ths.
8.5. EXACT PARALLEL VOICING Σ 1 (p)+σ 2 (p)+σ (1p) 5 Vi 7 Vi Vi 6 5 Va 9 2 V 5 2 V 1 2 C 1 (a): Bottom-heavy String setion: 7-6-5--2 Σ 1 (p)+σ 2 (2p)+Σ (1p) 7 Vi 7 6 Vi 5 Va 6 2 V 9 2 V 5 2 C 1 (): Top-heavy igure 8.8: String setion voiing diagram for parallel hords in 5ths. Introdution ith three strata Σ (top-don numering) for a 6-part hord S(6p). Shon is the voiing of eat 1 in m. 1, the 7 9 hord. To alternative voiings put more eight in the loer (left) or high strings (right). rom: I ll Rememer April (G. de Paul) This setion of the introdution is ritten for tremolo oing divisi strings, = playing sul pontiello (near the ridge), elesta and glokenspiel, and trumpets ith harmon mutes. The lead voie in the violins is ased on the first phrase from the original song melody, a ell-knon azz standard. The strings (7-6-5--2) are divided into to layers: the upper layer are the violins, divided into three parts, and in the loer layer there are violas and divisi elli. The ontraass is douling the elli at the loer otave. This requires suffiient numers of string players (medium to large size studio orhestra). To instrumentation possiilities ith different voiing diagrams for this three parallel strata example are shon in ig. 8.8; the left voiing diagram puts eight at the ottom ith the douled root and the violas in the loer stratum, the alternative voiing on the right has more eight at the top and a different sonority. Both layers are playing a kind of ounterpoint; there is ontrary motion eteen the layers. The to strata use different note duration values, hile the overall tension of the hords is ontrolled. The opening hord is 9 6, ending the phrase on Am 9/11 7 in m., the seond phrase is slightly more dissonant, starting ona 11 7 in m. 5, ending on Cm9/11 7 in m. 7. Over the sustained string hords in m. and 7 8 there is also exat parallel motion in the elesta and glokenspiel. In this ase the parallelism is ased on triads in 1st inversion position S 6 (E G A B ) in m. and S 6 (D E G A ) in m. 7 8. The muted trumpets support the losing harmonies in m. and 8, ith timpani glissandi ompleting the Béla Bartók textural idiom used for this introdution. 17
CHAPTER 8. STRING SECTION VOICING When the introdution to the Latin piee sets in, there is another ase of exat parallel hords: the high strings play exat parallel triads, see the riff introdution in Example 11.8. The example also ontains sul pontiello, playing near the ridge, one of the speial playing tehniques listed in the next setion. 8.6 Speial playing tehniques In Setion 2..5 a numer of speial string playing tehniques ere listed. Here e ill disuss them a it further and demonstrate appliations. 8.6.1 Pizziato Example 8.8 String setion playing pizziato and tremolo. This example is inluded in the full version of the ook. The figure is inluded in the full version igure 8.9: String setion playing pizziato and tremolo This setion is inluded in the full version of the ook. Order the E-ook from the estore. 18
8.6. SPECIAL PLAYING TECHNIQUES [This page is intentionally left lank in the demo version of this ook.] 19
CHAPTER 8. STRING SECTION VOICING 8.6.2 Tremolo oing The use of vary rapid alternating up- and don-oing using only part of the o, i.e., tremolo is a familiar effet for reating suspense and tension. Example 8.8 and ig. 8.9 sho a string setion playing a tremolo oed luster hord. Another ase of string setion tremolo oing is the slo introdution ith hords in parallel 5ths in Example 8.7 from I ll Rememer April. 8.6. Divisi playing Example 8.9 String setion playing playing divisi and unisono. This example is inluded in the full version of the ook. The figure is inluded in the full version igure 8.10: String setion playing divisi and unisono. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 150
8.6. SPECIAL PLAYING TECHNIQUES [This page is intentionally left lank in the demo version of this ook.] 151
CHAPTER 8. STRING SECTION VOICING 8.6. Boing near the ridge and on the fingeroard Usually the o is used miday eteen the end of the fingeroard and the ridge. Hoever, the player may alter the frequeny spetrum (see Setion 2..8 and ig. 2.10) of the string sound y delierately playing on the fingeroard (more near the middle of the strings), i.e., sul tasto, or very lose to the ridge, i.e., sul pontiello. The former oing tehnique reates a gentler, melloer string sound, y exiting more of the loer harmonis, the latter ill trigger more of the higher (in)harmonis and yield an eerie, shriller sound. The omination of tremolo and sul pontiello is a frequent flyer for a thrilling sound in horror movies. Speial oing tehniques, suh as sul pontiello and sul tasto ere illustrated in the slo introdution ith parallel hords in 5ths in Example 8.7 from I ll Rememer April. 8.6.5 Multiple stops This setion is inluded in the full version of the ook. Order the E-ook from the estore. 152
8.6. SPECIAL PLAYING TECHNIQUES [This page is intentionally left lank in the demo version of this ook.] 15
CHAPTER 8. STRING SECTION VOICING 8.7 Small string groups In smaller sale produtions, the numer of string players ill e redued, even to a quartet (to violins, viola, and ello), trio (violin, viola, ello) or duo (to violins, or to elli). In the lassial musi repertoire there are numerous examples for studying riting for string quartet, sine oseph Haydn started the form and Ludig van Beethoven set the standard. Great examples of 20th entury string riting are the Maurie Ravel Quartet in maor (190) and the six string quartets y Béla Bartók. When the small string setion is arefully alaned ith the rest of the group or ensemle, their use an e of great eauty, oth in an aousti setting or omined ith eletroni instruments. Someho the strings alays seem to lend in any ensemle sound. The use of a small string group is shon in the folloing to examples (see Example 8.10 and 8.11). They are oth from sequener musi produtions ith lots of synthesizers, perussion and eletroni sound effets. These string parts ere played ith samples; hoever they ere ritten using an aousti voiing and orhestration approah. The first example is for string quartet, the seond for ello quartet, a rather unique omination. 15 Example 8.10 String quartet akground in funk rok prodution. In ig. 8.11 a string quartet provides a sustained harmoni akground to a 16th note funky rok rhythm, unky Duk. The sore shos the string quartet parts and a simple sketh of the funky rhythm setion; the ass synthesizer part is ritten out and the harmonies are indiated. The hamer musi string group enters in the seond horus ith a sustained four-measure harmoni akground over a usy rhythm, here shon in m. 1. There is some motion in the parts; note the desending appoggiaturas9 8 and6 5 in m. 1 2 in Vi 2 (e ց d) and Va ( ց a), the appoggiatura9 1 in the V in m. (a ց g). The d in the Va in m. is a dissonant neighouring note on the eak part of the measure. Note the asending lead violin part, as the ass is moving into the loer register (m. ). The result is opening ontrary motion. In the middle setion of the piee e hear this akground ith douled Eletri Piano hords (ith tempo-synhronized ehoes), ut ithout the ass. The strings then ontinue their sustained harmony in the B-setion, here shon as m. 5 8, over an alternating Am 7 7 harmoni pattern. There is slightly more harmoni tension in the strings, as the numers of desending appoggiaturas is inreasing. Note the (hromatially) stepise desending V part in m. 5 8 (the 1 7 pattern over the Am 7 hord ontinues into the appoggiature 9 1 over the 7 9 hord), and the dissonant a 2nd interval eteen Vi 1 and Vi 2 in m. 8 (theeing the 11 of the maor hord).
8.7. SMALL STRING GROUPS Vi. 1 VI. 2 Vla. V. SynBs Violin 1 Violin 2 Viola Cello Syn Bass 5 & n 1 & & B unk Rok q = 92 # & # B Am7 n.. > D 6 9 >... > f 2 D9/C #.. > 6 #. Gm7 > n > 7 # # > > >. n ±. f # f f. >. f D7(# 5) ^ n. ^ > > 8 f. f f f. ^ > igure 8.11: String quartet akground in funk rok prodution. This relaxed, sustained akground ontains a numer of appoggiatures. Shon are the A setion (m. 1 ) and B setion akground (m. 5 8). rom: unky Duk (.G.. Asil) 155
CHAPTER 8. STRING SECTION VOICING Example 8.11 Cello quartet akground in Latin ossa nova prodution. In ig. 8.12 a ello quartet provides a sustained harmoni akground and delivers a punh in the middle setion of Bossa Groove. This is an unusual instrumentation; hoever, the divisi ello quartet has a unique timre that lends easily ith other instruments, suh as solo oodinds or a saxophone setion. irst this quartet plays a sustained harmoni akground in the mid-high register over a Latin rhythm setion in this lively ossa (see m. 1 9). The speial effet is the return of the same material in the middle setion of the piee, shon as see m. 10 17 in the example. No the ello quartet is featured as a solo group ith eletroni perussion and sound effets in the akground (no rhythm setion). The setting is different no and full of motion; asending patterns of 8th notes, staato playing, aented notes and the oasional pizziato (pluked) note in the loer parts. or the aspet of motion in string parts, see Setion 8.. The upper elli V 1 and V 2 are no moving into the very high register (see m. 16 17). The normal playing range is an otave plus 5th aove the open string. Here the ello ill play thum positions on theastring. This eight-measure pattern is repeated a numer of times, as the sound undergoes eletroni filter modulation ith inreasing distortion. 156
8.7. SMALL STRING GROUPS Vl. 1 Vl. 2 Vl. Vl. DB. Cello 1 Cello 2 Cello Cello DBass 7 1 & # Latin Bossa q = 126 & Ó Ó Ó Ó. # # 8 n A add9. 2 C ±. 9.. & # # E6.. # Bridge 10 aro 11. f Ó > f Ó f C ± aro aro 5. #... >. > aro. > n. f > > 12 6 9 #. # #. # > # # aro pizz. > # #. C # m7 Vl. 1 1 & # #.. > 1 # #. 15 #. > #. 16 n. 17.. Vl. 2 Vl. &. #. # >. # # > # # # > # pizz. #. # # # aro. # >. > n pizz.. aro.. Vl. # # > > # # pizz. aro # # > > pizz. aro pizz. > > DB. 9 A 6 9 igure 8.12: Cello quartet in Latin ossa nova prodution. A sustained harmoni akground (m. 1 9) is transformed into a lively solo ridge setion ith imitation and motion (m. 10 17). rom: Bossa Groove (.G.. Asil) 157
CHAPTER 8. STRING SECTION VOICING 158
Chapter 9 Melody Writing a eautiful melody is not a tehnique, it is a gift. Some omposers have a natural talent for pouring out great melodies, for others it is a lifelong struggle. 1 Arranging a song from the standard repertoire means that you ill ork ith a given melody. Your melody riting talents ill e hallenged hen omposing ountermelodies, introdutions, odas, ridges, and speial horuses. These formal elements are disussed in more detail in Chapter 10 and 11. Analysing a given soure melody in terms of the properties dealt ith in this hapter ill help you to identify its harateristi features. That in turn may determine the general mood of the arrangement, the loal tehnique for a speifi setion, or hep to find snippets of the melody that an e used as motifs in other formal elements. This hapter presents guidelines for analysing or riting melodies. These are ased on empirial rules, that an e found in textooks on lassial omposition and ounterpoint suh as [20, 2,, 5, 6]. Some of the guidelines apply only to diatoni sales, ut not neessarily ith seven steps. Other are equally valid in the 12-tone hromati system. 9.1 Motion in melodies Melodies in azz and popular musi imply a sequene of pithes ith different durations from a diatoni sale along a timeline, as shon in diagram in ig. 9.1 hih has time t along the horizontal and pith p along the vertial axis. The lak irles along the p-axis indiate the pith olletion, i.e., the loal diatoni sale. 1 Whereas ohannes Brahms as a rih soure of exellent melodies (e.g., hek the opening melody in the third movement Poo Allegretto in his Symphony No. in Maor, Op. 90) Ludig van Beethoven apparently had to make an effort. Unless one respets its position in the long Symphony No. 9 the losing Ode an die reude, no the European Union national anthem, sounds rather, ell, laking oy IMHO. Hoever, it s great for hooligan singing, drunk mass gatherings and politiians ho do far more talking than singing. 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER 9. MELODY 9.1.1 Types of motion The figure is inluded in the full version igure 9.1: Unisono violin lead melody This setion is inluded in the full version of the ook. Order the E-ook from the estore. 160
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CHAPTER 9. MELODY 9.1.2 Melody diretion axes = A good melody has diretion. Along the melody there are setions ith either an upard or donard diretional axis. In the former ase the loal melody motion is dominated y asending steps or leaps, in the latter ase these are desending. The seondary axis refers to a situation here to melody diretional axes are at ork simultaneously. Both axes an e either parallel, i.e., moving in the same diretion, or in ontrary diretion. This is shon in the entre and right diagram in ig. 9.1. Note that the slope, the gradient of oth axes may e different. Thus, parallel axes might yield a onverging pattern ith a rossing point; the usage here is different from the stritly parallel definition in mathematis. The seondary axis is relevant for oth solo melodies and multipart settings. or the use of seondary axes in solo melodies have a look at the Baroque musi solo sonatas and partitas y ohann Seastian Bah for violin and ello. There the seondary axes are suggesting multipart musi for solo instruments. In a multiple part setting the appliation of to diretional axes reates opening or losing ontrary motion. Opening ontrary motion, ith the lead voie asending hile the ass voie is desending, is used as a means to reate tension and as a preparation of an instrumental limax. This is illustrated in a numer of examples from this ook. 2 9.1. Melodi urve The figure is inluded in the full version igure 9.2: Unisono violin lead melody This setion is inluded in the full version of the ook. Order the E-ook from the estore. 2 Look for the term ontrary motion in the index of the ook, and you ill have the referenes to the relevant examples. 162
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CHAPTER 9. MELODY Sentene a a (a) Period a a () igure 9.: Classial musi melody struture. (a) sentene, () period. 9.2 Types of melodies There are to asi types of melodi strutures in lassial musi (see ig. 9.): The sentene. The sentene onsists of three phrases aa, ith a and motivi melody fragments. The a motif is repeated one, efore the ontrasting motif sets in. The typial eight-measure sentene is sudivided into 2 + 2 + measures. When the first a is on the toni hord, the seond a is modified to sound over a dominant hord. The motif has the funtion of ommenting on the repeated statement of the a motif. The period. The period has a inary sudivision ith symmetry: the four phrases are aa, here, like in the sentene melody, the is a ontrasting phrase, and the aent indiates some form of variation. Here, the a and motif also have a somehat alland-response flavour. A regular, symmetri eight-measure period has a 2 + 2 + 2 + 2 sudivision. Interpreting azz standards and pop songs in terms of these traditional strutures ill help to identify and separate the onstituting elements and phrases. 9. Examples of melody types We ill look at a limited numer of melodi fragments from the examples in the ook in great detail and desrie these in terms of melodi properties. The first, Example 9.1, is a textook melody ith appropriate harateristis. The other to sho irregular melodies, one ith an early high point (see Example 9.2), and one leading to a limax at the end (see Example 9.). 16 Example 9.1 Classial lead melody. The introdution to the studio orhestra omposition Venetian Violins as disussed in Example 8.1 (see ig. 8.2). The instrumentation is for strings only, the voiing tehnique is lassial musi -part ounterpoint style. The graphial representation of this melody is shon in the pith-time diagram in ig 9.. The eight-measure introdution has an asending pith tendeny, as shon y the to upard diagonal diretional axes. The highest point is on eat in measure 6 (the high pith a), near 70% of the total length. This is lose to the Golden Ratio numer.
9.. EXAMPLES O MELODY TYPES a a a p 1 2 5 6 7 8 ls ls ls ls ls t igure 9.: Introdution melody in lassial style. Shon are the highest point (losed irle), the diretional axes (thin lue diagonal lines), the phrase struture (a,) and the leap-step pairs (ls). rom: Venetian Violins for studio orhestra. The motion is mostly stepise ith asending steps dominating the first half, and desending steps in the latter third. There are up to four onseutive steps in the same diretion (see m. 2 and 5). The upard leaps are folloed y donard steps, as indiated y ls symols in the diagram. The melody has a regular 2 + 2 + sentene struture. The a phrase is repeated in a slightly varied rhythm (a ) on the mediant degree of the d- minor sale. The phrase starts ith another variation of the a phrase. Rhythmially, there is slightly more ativity in the seond half of the fragment, as indiated y the numer of 8th note attaks. Example 9.2 Melody ith unonventional struture. This example is inluded in the full version of the ook. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 165
CHAPTER 9. MELODY The figure is inluded in the full version igure 9.5: Unisono violin lead melody [This page is intentionally left lank in the demo version of this ook.] 166
9.. EXAMPLES O MELODY TYPES Example 9. Guitar lead melody ith late high point. The introdution to the studio orhestra omposition Venetian Violins as disussed in Example 8.1 (see ig. 8.2) and Example 9.1. No e ill look at the eletri lead guitar melody, shon in ig 9.6. It is played during the seond A statement ith the fast high violin legato 16th-note patterns (not shon here). The melody is represented in the pith-time diagram in ig 9.7. The guitar sound is in the style of Hank Marvin and the Shados. The key is D minor. This is a 16-measure phrase ith the solo guitar rising (m. 1 ), desending (m. 5 8) and then asending over almost to otaves to the highest point ith a limax at the end (m. 9 16). The long, sustained guitar notes are great for virato, ending and distortion effets. The rhythm and longer note duration values in the guitar part also niely ontrast ith the ontinuous high 16th note violin line. The phrase struture is ad d, ith some similarity eteen the a and motif. All four motifs are haraterized y an upard leap, folloed y one or more desending steps, marked as ls in the diagram. Note the 8th note turns efore the upard leaps in the phrase. The rhythmi aents in the akground from the opening statement are repeated, ut for a different instrumentation (the marima replaes the harp, and mid register flutes and lo larinets doule the pizziato strings). 167
CHAPTER 9. MELODY 1 EGtr & Ó # Dm 2 l f &.. P 2 Cl BCl.. P 2 >. fl. >.. (+Mar+Str Pizz) > > 5. B ± > >. 6. fl. fl. 7 C # o 7/B # > > 8 #.... 9 & & # ±# 5 /A #. >.. >. 10. # # > > 11. Gm7.... 12 1. E ø /B >. > >. > 1. #.... 15. A7 9 16. # # >. >. >. >. igure 9.6: Guitar solo melody in the seond A statement from Venetian Violins (.G.. Asil). The akground is for oodinds, marima and pizziato strings (violin 16th note patterns not shon). a d d p 1 5 9 1 ls ls ls ls ls ls t igure 9.7: Guitar solo melody ith late limax. Shon are the highest point (losed irle), the diretional axes (thin lue diagonal lines), the phrase struture (a,) and the leap-step pairs (ls). rom: Venetian Violins for studio orhestra. 168
Part III Assemling the piee Buildin da house 169
Chapter 10 Musial forms in azz and pop musi This hapter presents a numer of standard forms in azz and popular musi. We ill disuss shorter and longer forms, the omposition of a omplete piee from a set of uilding loks, and the aspet of musial style. This hapter is neither a study in musiology, nor an enylopedia lemma. Trying to e omplete is an illusion; the materiel presented here is meant as an aareness trigger for the arranger. You might e familiar ith the suets in this hapter and skip most of it. Hoever, it there does not ring a ell, then it is time to delve deeper into these suets, onsult other soures and eome knoledgeale in forms, styles and harateristis y reading and listening. The ontent of this hapter must e part of the intelletual and musi akground of the arranger. 10.1 The uilding loks A finished piee of musi onsists of a numer of units or uilding loks. Through musial evolution a set of standardized formal units has emerged in azz and popular musi. These = have a more or less fixed length in measures and a typial duration eteen tenty and thirty seonds (this oviously is tempo-dependent). The uilding loks in their turn may ontain smaller sale elements, suh as a setion, a melodi phrase or sentene, a standardized hord progression. The three est-knon azz and popular musi forms, disussed elo, onsist of four, three and to smaller sale elements [25, ]. Longer forms do exist ut are relatively rare in azz and popular musi; see Setion 10.2.1. 10.1.1 The 2-measure AABA song form The AABA song form implies a 2-measure horus, sudivided into eight-measure setions, as shon in ig. 10.1. The form is derived from the lassial musi ternary song form ABA. It onsists of an opening phrase ith main melody in the first A setion. Here you might find lassial musi melody forms suh as the sentene or period; see Setion 9.2. The seond 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER 10. MUSICAL ORMS IN AZZ AND POP MUSIC 2-measure AABA song form opening statement (varied) repeat ontrasting ridge losing statement m. 1 8 9 16 17 2 25 2 A A B A igure 10.1: The four-element, 2-measure AABA song form = eight measures are a repeat of A ith some variation or an alternative ending. Then there is the ontrasting middle setion B, also referred to as the melody ridge. The song form loses ith a final statement of the opening phrase, the third A setion. Numerous Tin Pan Alley, musial and movie songs are ased on the 2-measure AABA song. rom this repertoire a olletion of several hundreds of azz standards has emerged, suh as olleted in The Real Book series. In speial ases also the hord progression has eome fixed, suh as in the Rhythm horus, named after the AABA Gershin song I ve Got Rhythm, paraphrased and re-used many times during the sing and the eop era. 10.1.2 The lues form The figure is inluded in the full version igure 10.2: The three-element, 12-measure lues horus This setion is inluded in the full version of the ook. Order the E-ook from the estore. 172
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CHAPTER 10. MUSICAL ORMS IN AZZ AND POP MUSIC verse-horus form verse horus m. 1-8 9 16 17 2 V C igure 10.: The verse-horus pair form. A 2-measure template is shon, ut the atual length may differ 10.1. The verse-horus form The verse-horus pair, shon in ig. 10., is the template uilding lok for ontemporary popular musi songs, the pop song. There are traes of religious and folk origin; it has elements of the all-and-response style. Both the verse and the horus usually have a regular struture (see the dashed oxes in the figure). Most songs onsist of melodi phrases ith even numers of measures, typially multiples of four. The figure shos a 2-measure versehorus pair, ut atual numers may differ from this template. 10.1. olk and orld musi This setion is inluded in the full version of the ook. Order the E-ook from the estore. 17
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CHAPTER 10. MUSICAL ORMS IN AZZ AND POP MUSIC 10.1.5 Additional formal elements = In order to reate a omplete piee of musi ith a typial duration eteen three and five minutes, there ill e other formal elements and setions than the elementary uilding loks. These additions ill reate either unity or variation. It is the responsiility of the arranger to ontrol the degree of oherene ithin the piee of musi. Whereas the uilding loks are a given soure for the arranger, the additional elements require reativity. This is here the arranger most likely ill eome a omposer. The hallenge lies in reating ne material, that has a ertain relation ith the soure material. The arranger may use snippets or asi ideas from the uilding loks. This may e a melodi phrase or motif (even an interval, a harateristi leap in the melody), a signature hook, a rhythm, a hord hange. This helps in reating oherene ithin a piee. This approah also has a pragmati reason; don t aste all your est ideas on ust one song. Keep ideas in store for other ork. The additional setions in a azz and popular musi piee are: Introdution. In general, a omposition does not start ith the first horus; there is an introdution, in rief the intro. Inviting daners to the floor, fading in during radio play, these are typial funtions of the intro. The introdution usually sets the mood and style (tempo, groove, musial idiom) of the folloing musi, unless the arranger is going for a surprise attak. Coda. One ould stop at the last measure or the final uilding lok, ut that is no good idea and ill leave an unalaned impression. The oda ill onsiously round-off the piee. It might summarize the essentials, or reate a final limax (a lear end). The fade-out ending is useful for radio play. Bridge. In the AABA song form e already referred to the B setion as the ridge. On a somehat larger sale e also may enounter a ridge setion eteen the uilding loks. Typial purposes of the ridge are: reate temporary ontrast and variation, modulate to a ne key, or provide room for improvisation. In many azz arrangements it is omitted, in a pop song it is a must have. A synonym for the ridge, a speial setion in the middle of the piee, is the transition. Development setion. This setion is ommon in longer forms in lassial musi. It is a standard omponent in the sonata form. The omposer takes one or more harateristi elements from the exposition and re-proesses these in all sorts of disguises, using variation, imitation, re-harmonization, modulation through a numer of keys. Classial musi development tehniques have remained in the toolox of the ontemporary arranger. Yet, development of soure material is rare in azz and pop musi. It leads to irregular phrases and forms, requires memory and ognitive assoiation from the listener. This onentrated involvement is somehat ontrary to the setting for most azz and popular orhestra musi. The azz improvisation is the losest equivalent to the lassial musi development. The arranger ill almost never e in a situation to rite a development setion. In Setion 11.2. various harateristi types of introdutions and odas ill e disussed. Setion 11.2. disusses ridges and transitions. There e ill see examples of these harateristi types. 176
10.2. THE ULL PIECE The (multiple horus) full song Speial, Ad li solo Chase, Stop, Doule time 2m AABA song 12m Blues Verse-Chorus horus speial horus Riff Build-up intro Contrast Modulation ridge All-out Morendo oda intro 1st horus 2nd horus ridge rd horus oda igure 10.: The full song form ith typial duration of -5 minutes, onsisting of a numer of uilding loks, uxtaposed ith additional elements suh as the introdution, ridge and oda 10.2 The full piee The full piee onsists of the previously disussed uilding loks and additional formal elements. These have to e arranged in a sequene in order to reate a meaningful omplete musial piee. That proess is illustrated in ig 10., here the reakdon of a typial threeto-five minute piee is shon in diagram. The uilding loks are the main units, here laeled as horuses; they ould e either an AABA song, lues horus or pop song versehorus pairs. There ill e a series of these, uxtaposed ith an introdution, a ridge and a oda. Neither the numer of horuses nor the presene of transitory elements is fixed. Some of the lue laels in the diagram ill e eluidated in Chapter 11. The arranger may ant to design and finalize the total form, efore starting to rite the sore. Depending on the event and prodution, the formal design is a neessary step, somehat equivalent to a film musi ue design proess. It also ill give an idea aout hih tehniques ill e applied here during the piee. 10.2.1 Longer forms This setion is inluded in the full version of the ook. Order the E-ook from the estore. 177
CHAPTER 10. MUSICAL ORMS IN AZZ AND POP MUSIC [This page is intentionally left lank in the demo version of this ook.] 178
10.. MUSICAL STYLE 10. Musial style azz and popular musi may e ategorized into different styles or genres. The arranger ill e expeted to kno the different styles in pop and azz, and grasp the essentials and speial harateristis in eah genre. A great help in this field are ooks for drummers, perussionists and ass players; these may e onsidered as atalogues of azz, pop and orld musi styles. They ontain numerous style examples ith typial patterns; aompanying audio material is a fast learning tool for disovering appropriate tempi, style harateristis and feel. It is a good idea to have a style olletion on the arranger s ookshelf or in your internet roser ookmarks. 1 So here s a list of familiar styles, ompiled from a set of handooks for drums, perussion, ass guitar and some other stuff in the lirary [6, 17, 21, 29, 2, 56]: Sing. The essential element in this type of azz musi is the sing style performane of groups of 8th notes, usually indiated as: ith triplet feel. In other ords: groups of = to equal 8th notes ill e performed as triplet th note - 8th note pairs (ith 2:1 duration ratio). Hoever, this ratio is tempo-dependent. Slo (allad) to moderate sing piees ill tend toards an dotted 8th - 16th note distriution (:1 ratio), also knon as oune, medium sing and shuffle rhythms adhere to the triplet distriution (2:1 ratio), hile fast up-tempo sing piees ill tend toards an almost regular 8th note distriution (say, around 1.5:1). The experiened drummer ill kno hat ratio to hoose. And there is a historial style transition from -eat to 2 in the ar sing style during the 190s, affeting the kik drum and doule ass part. Pop, Rok and Blues. This ide field of popular musi is a olletive ] term for many sugenres. Common denominator harateristis are a regular[ meter and a groove in either = 8th or 16th notes. Alays mark the type of groove in the sore, and make sure it is also in the drum part. Here e find styles suh as: oogie, ountry & estern (Nashville, luegrass, aun), gospel, heavy metal, rhythm & lues, rok (diso, funk, fusion, hard rok, azz rok, punk), rok & roll (tist), soul (Memphis, Moton, Philadelphia). Not all of these styles ill ork ell in an orhestral idiom; some is great in omination ith smaller ensemles (rass and sax horn setion, string group). Latin-Amerian. Classifying the vast domain of Latin-Amerian musi ould e done on a geographial asis. Charateristi are the synopated and aented even 8th note repetitive patterns for the different dane and eremonial styles. Kno hen and ho to apply the fundamental lave (2- and -2), tumao and asara rhythms. Learn the = montuno patterns for the various salsa styles: olero, ha-ha-ha, danzón, [ guaguanó, guaira, guaraha, mamo, songo. Disover the Afro-Cuan styles, in 6 8] meter, suh as the eme and nañigo. Think of Cariean rhythms: alypso, umia, merengue, ska, soka and amaian reggae. rom the South-Amerian ontinent, kno Brazilian styles: ossa nova, sama and the danes from the northern region, Columian musi, et. 1 While studying these drum and ass style ooks, hy not enter susets of these patterns as MIDI files on the omputer You ill omine a detailed study of these patterns ith uilding a lirary of patterns, to e imported into your musi notation softare. This might eome a timesaver at some point, hen you are trying to meet an impossile deadline. 179
CHAPTER 10. MUSICAL ORMS IN AZZ AND POP MUSIC [ Ballroom dane musi. These ould e lassified aording to meter. Yielding, in ] meter: oogie-oogie, [ harleston, ive, marh, polka, foxtrot, paso dole, quikstep, ruma, and tango. In ] meter there are: altz, and tarantella. The same dane forms, applied to azz standards and part of the pop song repertoire returned in easy listening orhestral reordings in the 1960s. This genre is not the ideal testing ground for arranger experiments. Create your on sound, if you must; that s hat Mantovani, Her Alpert and ames Last have een doing. ust don t smoke sreen the dane rhythms; these have een anonized sine the Hasurg Empire, approximately. olk and orld. ust to make things more omplex: here s another orld of its on, ith innumerale national and regional variants and styles. ust to mention a fe:afro- Pop (kasa-kasa, soukous, zouk), Argentinian tango nuevo, Balkan fanfare, Irish igs and reels, Mexian mariahi, Spanish flameno. On a supranational and larger sale there are: Ara musi ith its harateristi maqãm improvisation and the azn rhythmial patterns. Indian raga ith the different tone system and rhythmi pattern lassifiations. When the arranger is faed ith these styles, it ill e for very speifi proet ith hopefully suffiient preparation time and support to get aquainted ith the style. Otherise it is etter left to a person ith a speialized akground in the genre. Here are some ooks to onsider as an introdution to orld musi from various ontinents: [5, 22, 28, 6, 5]. Hoever, if the ase arises, the arranger ill likely e faed ith unfamiliar musial instruments (see Setion 2..7), sales and rhythms. Do realize that the use of ertain non-western sales in orld musi implies that some arranging tehniques may no longer e applied. 2 Modern pop musi. Under this lael e ill find: aid, drum n ass, eletroni dane musi (EDM), hip-hop, house, rap, trane, dustep and D s. Upon first inspetion, this field might seem irrelevant to the ontemporary arranger and orhestrator. Hoever, in initiatives here lassial musi organizations ant to attrat a younger audiene, it is not unlikely that live onert events, inluding D s and rappers might e organized. These proets are a real hallenge to the arranger; lose oordination ith the eletroni musi produer is essential in order to maintain a proper alane ith the aousti instruments. Usually, forget aout sutleties in strings and oodinds. Make sure the lead melodies and the eat are someho heard (sorry to say). 10. Move on to arranging With the total musial form determined, the arranger may egin his real ork. The tempo, duration and timesales are knon no, as are the general mood of the song or for eah of the piees in a multiple numer prodution. Proaly the musial style has een identified y no. 2 The arranging tehniques in Part II and III are in general ased on the 7-step diatoni sale (the modes) and the equal-tempered 12-pith hromati sale. Setional harmony and extended tutti hords ill sound different (to say the least) in other tuning systems. Tehniques suh as the use of pedal point, ell hords, variale density, diatoni parallel hords and some symmetrially distriuted roots may still e (limited) appliale. 180
10.. MOVE ON TO ARRANGING It is time to start arranging the piee, ontrolling the overall tension and alane, and the detailed appliation of arranging tehniques and instrumental olouring to eah susetion. Overall onsiderations and detailed aspets and approahes to a finished piee are presented in the next hapter, here more examples ill e shon. Make sure you kno the restritions and prodution oundary onditions efore you start riting the first sore. Rememer the shortlists and tips in Setion 2.. 181
CHAPTER 10. MUSICAL ORMS IN AZZ AND POP MUSIC 182
Chapter 11 The arrangement This hapter deals ith the arranging and ompletion of a finished piee of musi, a omplete arrangement. Various arranging aspets ill e disussed, suh as uilding a tension urve, applying and omining tehniques from the toolox in Part II. The hapter onludes ith a list of relevant musi notation ategories in sore and parts. 11.1 Creating a tension urve In Setion 10.2 e onstruted a full piee of musi from a set of uilding loks: horuses, introdution, ridge and oda. The arranger an no start to ork on a detailed level and determine the appliation of speifi tehniques to setions from the piee, i.e., a loal approah. Hoever, the design of the arrangement also implies ontrol of a numer of musial aspets on a gloal sale. These an e summarized in a tension urve, that inludes aspets = suh as melodi urves (high and lo points), harmoni onsonane and dissonane, dynamis (soft-loud), orhestration (instrumentation, register, speial playing tehniques and effets) and part density (eteen unisono and tutti). The total duration of the arrangement follos from the tempo. A typial tension urve for a full song is shon as a lue diagram in ig. 11.1. Note ho there is an overall tension inrease over the duration of the piee. The formal elements of the template song are shon in lak; there are multiple horuses (AABA song, lues or versehorus pairs), an introdution, ridge and oda. The dashed oxes in the seond horus are there to remind us of the fat, that a horus ontains susetions, suh as musial phrases and sentenes (the template shos a three-part sudivision of the horus, as ould e the ase for the lues). The figure shos a numer of alternative tension profiles. An inrease in tension an e stepise, suh as during the rossing from the first to the seond horus, or gradual, as 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER 11. THE ARRANGEMENT Typial tension urve tutti ff uild-up riff variale inrease step inrease die-out uild to... limax ff all-out intro 1st horus 2nd horus ridge rd horus oda igure 11.1: Typial tension urves for a piee of musi. The multiple horus musial form is shon in lak, the tension urve in lue. Alternatives are shon for various setions of the arrangement (see disussion in the text). = = is shon during the ridge (this also holds for a tension derease, oviously). The stepise inrease an e ahieved y moving from a unisono lead melody to five-part setional harmony or a repeat of the melody in the higher otave, ut no ith rass aents in the akground. The gradual tension rise an e ahieved dynamially y a resendo, getting louder from mf toff, or y opening ontrary motion in a tutti lok hord voiing. The piee typially has multiple limaxes. Shon is a gloal limax in the third horus, and a numer of loal limaxes in the alternative tension urves for introdution, seond horus and oda. In general, the gloal limax is expeted eteen 60% and 70% of the total duration. Here the Golden Ratio, that e enountered in the guidelines for a good melody in Setion 9.1., may hold one again. This yields an expeted limax at 0.618 62% of the total length. Variale tension in the seond horus an e ahieved for example y losing every voal melodi sentene ith a rhythmi reak for rass setion ith drum aents. Or, alternatively, y moving from a string sustained harmoni akground during the first setion to akground 16th note upard oodind arpeggios in the seond setion, and a ig and tutti voiing in the third setion. At the start of the ridge there is typially a sudden derease, a drop in tension; this is not the only solution, ut it makes the design of the overall limax easier (think in terms of relative tension differenes). The typial alternative tension urves for introdution and oda ill e disussed in Setion 11.2.. Harmoni tension an e ontrolled y a numer of parameters; an overvie of these is shon in ig. 11.2. ive ategories of parameters are listed in the figure. The lael tension refers to the highest hordal funtion: for a triad it is the 5th (the triad onsists of root, third and 5th, i.e., S 5 = [1,,5]), for a 7th hord it is the funtion 7. Extended hords start ith funtion 9 and may inlude the funtions 11 and 1 and their alterations. Varying the hord struture during a phrase ill affet the loal tension urve. An ovious parameter is the hord type: maor, minor, dominant 7th, et. Sometimes the hord type is fixed, suh as in a losing V-I dominant-toni adene S 7 S(m) 5 in a maor or minor key. Hoever, hen taking into aount the possile appliation of sustitute 18
11.2. USING THE TOOLBOX Chords / harmoni strutures Tension Triad S 5 7th hord S 7 Extensions S 9,S 11,S 1 Alterations 5, 5, 9, 9, 10, 11, 1 Type Maor S,S 6,S 7,S 9 7,... Minor Sm,Sm 7,Sm 9 7,... Dominant S 7,S 9,... Half-diminished S 7 Diminished S,S 7 Position Root position S 5,S 7,S 9,... irst inversion S 6,S 6 5 Seond inversion S 6,S Third inversion S 2 Instrumentation Douling Homogeneous setion Heterogeneous setion Blending and alane Voiing Cluster Closed Mixed - drop 2 (and ) In ths Open igure 11.2: Parameters that influene harmoni tension. These are grouped into five ategories (shon in lak). hords (see Setion.., here this option is disussed for setional harmony), there is more freedom to move from maor rd to minor rd type hords. Chord position, i.e., the use of inversions, is another variale in harmoni tension. Moving from root position to higher inversions ill derease harmoni staility and inrease tension. As a guideline, e areful ith series of inverted hords, and use extended hords only in root position. Chord voiing and instrumentation also ontriute to the harmoni tension, ut for these it is hard to generalize. Very lose (luster) and open voiings inrease the tension, some playing tehniques also yield tension (strings tremolo, rass ith straight mute, renh horns ith ells up in the air). There are a great many options and ominations in these ategories. As an arranger develop the aareness and develop delierate usage to the harmoni tension parameters. 11.2 Using the toolox This setion is inluded in the full version of the ook. Order the E-ook from the estore. 185
CHAPTER 11. THE ARRANGEMENT The figure is inluded in the full version igure 11.: The tehniques toolox in diagram [This page is intentionally left lank in the demo version of this ook.] 186
11.2. USING THE TOOLBOX 11.2.1 Comine elements We may use a somehat strutured approah hen seleting tehniques from the toolox, and adhere to a set of rules: 1 1. Use a sparse set from the toolox. Be effiient and don t aste all the tehniques on every piee of musi. Limiting yourself to a suset of tehniques ill reate unity and oherene ithin a single piee and leave more variation eteen multiple piees. 2 2. Selet a main element from ig. 11. for eah individual (su)setion. In any ase alays = e aare of the dominant element in a musial setting; there is one, for sure.. Comine up to three elements in parallel. Note that in azz and pop musi the rhythm = group and voals also ount as an element. Going eyond three elements must e a delierate hoie; three elements in parallel should do.. Deide on hen to hange the set of elements. This has to make sense musially; the transition to a ne setion seems a logial spot to do so. But it might also e on a more loal sale, at the end of a musial phrase. Also, the realtime, tempo-dependent, experiene is relevant. Change regularly, efore the sound of the tehnique eomes oring. Keep the listener interested; an attention span of around 0 seonds may serve as a pratial guideline for hanging the arranging tehnique. ig. 11. mentions unisono playing at oth the setion and ensemle (tutti) level. That speial tehnique has een mentioned as an extreme ase of variale density in Setion 6.6. To make an impressive themati statement, play it unisono; that effet orks perfetly hen uxtaposed ith multi-part hord strutures. Some tehnique ominations make no sense; this oviously holds for trying to omine four-part ith five-part setional harmony. Another inompatile omination is imitative ounterpoint ith setional harmony. Consider the omination of tehniques ith different note attak timesales, i.e., ith dif- = ferent rhythmial harateristis and durations. This aspet is illustrated in diagram in ig. 11.. or example, use the first tehnique ith a typial duration of hole notes in parallel ith a seond tehnique ith average duration of 8th notes. Cominations ith equal durations sound lurred and are not easy to disern for the listener. Also try to plae the shorter note attaks from one tehnique during longer note durations in another tehnique. A useful omination ith different timesales in ig. 11.. might e: T 1 sustained 1 Some readers may prefer the ooking analogy, here for preparing the dish seleting ingredients, mixing and spiing are the equivalent. Note that these rules are in fat guidelines, that need not e respeted stritly. The rules represent empirial data and are ommon pratie. 2 It is a ell-knon eginner s error for an arranger to use the full set in the first sore. I fell into that trap: my first azz ig and sore had dots and eams all over the plae, on every page, shoing-off all possile tehniques to the detriment of the total piee. Try and refrain from this temptation. In ontemporary musi produtions, espeially in the popular musi setor, multiple sound layers are most ommon. Proaly inspired y the all-of-sound onept and enaled y modern multitrak reording and sequening tehnology this is easy to do; the alane is then reated at the mixing stage. Hoever, in the aousti and the onert performane domain a alaned sound is harder to ahieve; that s ho the three parallel element approah emerged in the 190s through 1950s, I guess. or a virtuoso ase of azz ig and tutti unisono playing, listen to Bill Holman s arrangement of ust riends. 187
CHAPTER 11. THE ARRANGEMENT T T T 2 T 2 T 1 (a): Prevent equal timesales (): Use different timesales igure 11.: Comining tehniques (T 1 to T ) at different note duration timesales. Prevent the omination on the left ith many oiniding attaks ith equal note durations. The timesale and note attak separation on the right is muh learer. (Cirles indiate note attaks, lines represent note durations.) T 1 harmoni akground, T 2 the rhythm setion ass part, and T the lead melody. Or, alternatively, T 1 a sustained pedal point, T 2 a unison melody and T aented extended lok hords. 5 We ill no illustrate the appliation of the tehniques toolox ith a numer of examples, starting from simple, asi element ominations to the more intriate multiple element fragments; see Example 11.1 to 11.6. The first three examples are arrangements for ig and. Example 11.1 Instrumental akground in voal horus. ig. 11.5 shos a voal horus from Like a Lover tempo Latin arrangement for ig and. (D. Caymmi) in a medium The parallel elements in the first horus (m. 6 19) are: (1) the solo voal, as the main element; (2) the rhythm setion. In the seond horus (m. 20 ) a ne element is added: () the unisono instrumental ountermelody. inally, in m. 28 0 the third element eomes the tromone setion. Note that the voal line typially has a timesale of 8th notes; hen the singer is omined ith tromones, the latter play typial durations of either th or half notes (on the sustained hords). To instrumental ominations are used: alto saxophone and flugelhorn play a motif from the main theme (m. 18 20, 2 ), tenor saxophone and tromone play a unisono ountermelody. Note ho the rhythmi ativity (short vs. long notes) is sapping eteen voals and ountermelody. Example 11.2 Rhythm and saxophone akground in an ad li solo horus. ig. 11.6 shos an ad li solo horus from Ho High the Moon (W.M. Leis) in an up-tempo sing arrangement for ig and. The parallel elements are: (1) the ad li solo, as the main element; (2) the rhythm setion; () the saxophone setion akground. 5 In the examples in this ook ith multiple tehniques in parallel, try to identify the timesales for eah. 188
11.2. USING THE TOOLBOX 1 & Latin q=120 Rh Ó 2 C± 7 G 1 sus 5 2 «6 Vo 7 ^ 2 «8 C± 7 ^ 9 & # < D/C 10 Bm7 Em7 11 ^ > # < A7 9 sus A7 9 12 # D 6 9 1 ^ < > G7 1 1 ± 7 15 > ^ G/ 16 & & C± 7 17 ^ < G 1 sus 18. AS+lg 19 2 «20 ^ 21 2 «Tn+TS Ó P 22 & ^ 2 # < 2 25 ^ # > < 26 # 27 ^ < > &. #. # C± 7 D/C Bm7 Em7 A7 9 sus A7 9 D 6 9 G7 1 28 & & Ó Tn ± 7 29 G/ ^ > 0 C± 7 1 ^ < G 1 sus 2. AS+lg 2 «igure 11.5: Instrumental akground in voal horus. rom: Like a Lover (D. Caymmi) in an arrangement for ig and. 189
CHAPTER 11. THE ARRANGEMENT 1 & Up-tempo Sing q=20 Sax 2 ^ Ó P ^ Ó Ó Ó.. ^.. ^ 5 6 Rh C± 7 Cm7 1 B 7 & Ó Ó 8 ^ # # ^ 9 10 11 Ó Ó P B m7 E 7 9 A ± 7 Dm7 G7 C 12 &.. ^ # # # # ^ 1 1 15 16 Dm7 G7 Em7 E 7 9 Dm7 G7 1 C± 7 D ± 7 E± 7 G7sus igure 11.6: Rhythm and saxophone akground in an ad li solo horus. rom: Ho High the Moon (W.M. Leis) in an arrangement for ig and. The saxophones (AS 1 - AS 2 - TS 1 - TS 2) are playing four-part aents (m. 1), uxtaposed ith unisono lines (m. 2 8), and setional harmony ith diatoni and exat parallel hords (m. 11 12). The typial note duration is uxtaposition of 8th note groups ith dotted half note (see m. 2 ); this timesale differs from the th note alking ass aompaniment in the rhythm setion. 190 Example 11. Tutti speial horus for ig and. ig. 11.7 shos another fragment from Ho High the Moon ; a tutti speial horus that follos diretly after the previous example (note the measure numering).
11.2. USING THE TOOLBOX The elements in m. 17 27 are: (1) the ensemle lok hords in rass and saxes, as the main element; (2) the rhythm setion. The rass and saxes are uxtaposing extended hord voiing ith unisono motifs (see m. 21 and 25). In m. 28 there is a hange: a five-part saxophone voiing eomes the main element, hile the rhythm setion ontinues as the seondary element. The piano player might add a fe fills in the gaps eteen the tutti phrases. The drummer ill prepare the tutti aents. The other examples in this setion are from to arrangements and a omposition for onert and, see Example 11. to 11.6. Example 11. uxtaposing multiple tehniques in ad li solo horus. igure 11.8 shos a fragment from Autumn Leaves (. Cosma) in an arrangement in up-tempo sing style for onert and. The fragment is at the end of an ad li solo for tromone; the ritten-out template is shon in m. 1 16. The tromone plays in the high register. The arrangement here is uilding up toards a limax, that onludes the solo and prepares for a speial horus, The loal limax is in m. 12 1. Let s see ho multiple elements from the toolox are omined in this example. In m. 2 11 e have: (1) the solo tromone as the main element; (2) the rhythm setion aompaniment ith the alking ass; () the unisono saxophone ountermelody in triplet and sing 8th note groups; () the rass aents; (5) the unisono renh horn line. This is a very usy fragment; yet the layers operate mostly on different note duration levels. In m. 12 1 there is a hange of elements: (1) the solo tromone; (2) the rhythm setion; () rass and saxophone ensemle voiing, dynami level fortissimo. In the speial horus, m. 18 2, the elements are: (1) rass and piolo multi-part voiing. The saxophones play a unisono line (2 AS + 2 TS) in the middle-high register in m. 1 6. The four renh horns also play a unisono line, a stepise desending ountersuet in the mid-lo register, in ontrast to the asending saxophones. Note that the attaks in saxophones and horns follo eah other. They are delierately non-synhronized, in order not to interfere. The rass ( trumpets and tromones) add another layer ith aents in a mixed 5- and 6-part voiing, using extended hords. Note ho the rass aents fill in the sustained notes in the saxophones in m. 2. In m. 8 9 there is opening ontrary motion. In m. 11 the saxophones prepare the limax, hanging to lose voiing fourpart harmony. Then the entire ig and setion (5 Sax, Tpts and Tns) plays a resendo limax ith extended hords. 191
CHAPTER 11. THE ARRANGEMENT 17 & Up-tempo Sing q=20 Tutti ^ Ó # Ó # ^ Em7 n n 18 ^ # n n n ^ # n n ^ n E m7 A 7 Ó n > n n nf > Ó 19 Dm7 G1 9 n n 20 n ^ Ó C± 7 ^ Ó n 21 Ó Ó > > Í 22 &... Cm7 n ^ f # 2 Ó # n ^ ^ Ó 1 n 2 B ^ ^ # n ^ ^ A o 7/B # 25 Ó B Ó f > Í > # n 26.. ^ f. ^. B m7 f n n 27 & Ó Ó E 1 9 n n ^ n ^ 28 Ó Ó A ± 7 Sax f n 29 n n. n.. Dm7 n G1 9 n n 0... C n 1 Dm7 # D ø /G 2 & n n #.. ^ n n n Brs+Sax n n ^ 5 6 Em7 E m7 Dm7 Galt C ^ Drums Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û^ igure 11.7: Tutti speial horus for ig and. rom: Ho High the Moon (W.M. Leis) in an arrangement for ig and. 192
11.2. USING THE TOOLBOX A lo dominant pedal point d in m. 1 15 for aritone sax, unisono tromones and soft rass (aritones and tua), onludes this horus. Then a ne tehnique sets in: m. 17 is the opening of a speial horus for the omplete rass ( Tpts, Hns, Tns, Bar and Tu; the first six measures are shon). There is no support from the rhythm group. The voiing hanges ontinuously eteen unisono and 6-part, eteen lose and half-open (mixed). The rass loudness equivalene rule is adhered to (see Setion 2..): hen the renh horns play the lead melody part 8a, they play unisono. The piolo provides a ite to this instrumentation, playing the lead part an otave higher. The initial motif in this speial horus is ased on the first four notes from the original song theme (O = g a e ). It is used in melodi inversion, see m. 17 18 (I = e d g), m. 20 21 (I = a g d) and m. 21 2 (I = d f). The motif appears in the original form in m. 19 20 (O = f g a d). Gradually this motif hanges as the horus progresses (not shon here). Example 11.5 Changing tehniques in a longer fragment. We ill see ho the tehniques and elements hange in a somehat longer fragment from a onert and arrangement of ust the Way You Are (B. oel), shon in ig. 11.9 and 11.10. We ill lael and numer the elements as e disuss the measures from this fragment. The rhythm setion is playing a Latin 8th groove. The transition to the ridge B setion, m. 1 2, opens ith unisono renh horns in an 8th note rhythm (1) over a harmoni akground for to up muted trumpets and to up muted tromones (2). Next, in m. 10 the main element is the unisono melody in the saxophones (1), i.e., 2 AS + 2 TS, ith a somehat aented harmoni akground y renh horns and douling larinets (2). A rief up mute trumpet phrase () fills in the sustained melody note in m. 6 7. A tutti phrase for rass, saxophones and oodinds (1) uilds ith a resendo toards a limax in m. 12 1. The drums (2) ill prepare and underpin the short and long aents. Note the oodind arpeggiated triads in m. 1. In m. 15 17 the melody is played y AS 1, Tpt 1 and l 8va (1), ith a harmoni akground y the three tromones (2). The ridge setion onludes in m. 17 18 ith ig and aents (1) and more three-part oodind arpeggios (2). The main melody is played in m. 19 25 y the lead tromone (1), ith a ountermelody in unisono flute and larinet (2) and a five-part setional 19
CHAPTER 11. THE ARRANGEMENT 1 & & & Rh Ó Up-tempo Sing q=20 Sax Solo Tn ^ # Gm f ^ 2 ^ n > Brass n > f > f Aø 7 >.. õ ^ Ó ^ # Hns Ó Ó D7 > n > > n. > ü ü Gm 5 n. n G7 n ^ 6 & # 7 ^ # 8 9 10 & &. > Cm7 > # ^ > 7 +5. B ± ^ ^ > >... E ± ^ ^ Ó # ^ Ó. Í Ó. # n ^ Aø 7 Í 11 & & & 16 & & Ó D7 & Gm n Hns 12 f # n > Sax n # # n 17 Ó Pi # ^ Brass ^ Ó n Ó ^ ^ n n # ƒ > Ó Brs+Sax n Gm G 1 +11 # 18 Ó. Í ^ ^ Ó. n Ó n Í Ó n. ^ Ó Í 19 Ó 1 > n > > # n > > ^. # n n. ƒ #. n # ^ ƒ n n n alt EaltE 1 +11 20 1 21 ^ Ó # > > Aø 7 ^ 15 D7 22 ^ > > > ^ ^ ^ n ^ # ^ # ^ n > # 2... igure 11.8: uxtaposing multiple tehniques in ad li solo horus. rom: Autumn Leaves (. Cosma) in an arrangement for onert and. 19
11.2. USING THE TOOLBOX harmony akground in the saxophones (). The ountermelody is in a different otave from the main melody. Separation eteen saxophones, tromone and oodind ountermelody is ahieved y uxtaposing the note attaks (see the oordinated aents and synopations in eah of the three elements) and using different note durations. The saxophones play synopated half note units, the melody is in quarter and 8th notes, hile the high ountermelody uses 8th and 16th note patterns. Example 11.6 Comining multiple tehniques Latin montuno setion. We ill look from a different point of vie at Example 6.5 and igure 6.5 ith a montuno setion from Bone in the Barrio for onert and. The are multiple parallel elements: (1) oodinds, playing in the midhigh register in parallel rds, (2) saxophones, playing arpeggiated four-part hords and montuno patterns, () the rhythm setion, () renh horns and trumpets playing a asending synopated motif in m. 2 and m. 6 9, respetively. This is another usy fragment, ith elements 1 and 2 fighting for the priority role of main element. or a good performane the ondutor has to alane the onert and setions. There ould e a shift in fous every measure; from oodinds in m. 2 (highest point) to saxophones in m. (resendo to high point), horns in m. (idem), and repeating this fous shift for m. 6 9 (ith the trumpets replaing the horns). 11.2.2 Crossing orders Example 11.7 Overlapping tehnique at setion orders. This example is inluded in the full version of the ook. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 195
CHAPTER 11. THE ARRANGEMENT 1 & & Latin q=120 Hns Rh Ó Muted Brs.. E ±9 2 # f... > # > n B m7 G ø 7/C C7 9 Sax Ó Hns m7 ^ f.. n. > > > B 7 5 & 6 Mute Tpt 7 > 8 9 ^ > ^ >. & ^ > ^ n >... n... n. Gm7 n C9 C7 9 m7 B 7 ± E 7 10 & &.. B m7/e n n A7alt 11 Brass ^.. f ^ Ó f A m7 f WW12 ^ ^ ^ ^ > ^ ^ Í ^ > ^ ^ Í ^ > ^ ^ ^ Í > Í D 7 1 D 7/B 1 n n > ƒ n > ƒ n n n ƒ n ƒ B m7 igure 11.9: Changing tehniques in the song ridge (B setion). rom: ust the Way You Are (B. oel) in an arrangement for onert and. 196
11.2. USING THE TOOLBOX 2 1 & n n. 15 ^ 16 >. 17 n n ^ n f &... E # 1 11 ^ A m7 f > >. Ó f D 7 1 ^ Ó n f n n ^ B 7sus 18 & & 22 & & n n B 1 9.. n >... ^ >.... ^ f n n ^ f n Cm7 B7alt Cm7/B A7alt n 2 19 Solo Tn Ó Sax.... E ±9 ^ > ^ f. ^ > ^..... A ± 7 > 2. 20... >... Cm7.. ^ ^ > > n > > n > n D 9 G7 21 ^ ^ > ^ > A ± 7 25... f... n Cm7 B7alt igure 11.10: Changing tehniques in the song main theme (A setion). rom: ust the Way You Are (B. oel, ont d). 197
CHAPTER 11. THE ARRANGEMENT The figure is inluded in the full version igure 11.11: Overlapping tehniques at setion edge [This page is intentionally left lank in the demo version of this ook.] 198
11.2. USING THE TOOLBOX 11.2. Start and stop In Chapter 10 on musial forms in azz and popular musi, e sa in Setion 10.1.5, that longer piees are likely to start ith a separate introdution, areviated as intro, and onlude ith a oda, as as shon in the total form diagram in ig. 11.1. These to elements have a preparatory and a summarizing funtion, respetively, and they appear in typial forms ith speifi tension patterns, that ill e eluidated elo. The introdution The introdution ours in to ommon forms, ith different tension patterns, as shon in lue in ig. 11.1: The riff or vamp intro. The riff introdution, also knon as the vamp, implies a short pat- = tern, usually eteen one and four measures long, that is repeated a numer of times. The riff element is a melodi or rhythmi phrase, usually over a simple hord hange, The repeating pattern may undergo slight hanges, ut its asi goal is to reate a rhythmi groove.thus, the tension level remains onstant, as shon in the figure. = Riff and vamp patterns may also our in other setions of the sore; another favourite spot is as a akground to an ad li solo improvisation. The Nelson Riddle arrangements for rank Sinatra and Ella itzgerald ontain numerous riff-type introdutions. 6 The riff is equivalent to the hook in a pop song. The riff/vamp type of intro ill often ontinue during the first phrase of the main melody. The hord hanges ill usually require slight modifiation or stopping of the riff. This pattern may then return as an overlapping tehnique eteen the first and seond sentene, or later in the arrangement is a unifying element. The uild-up intro. The main harateristi of this type of intro is the inrease in tension and dynamis (usually a resendo to fortissimo ff). It more or less launhes the main melody or theme. When used in the middle of a piee at the end of a setion, it may prepare the featuring of a soloist, or a speial horus. We sa an example of the latter appliation in Example 2.2, here the azz ig and rass setion launhed the saxophone setion speial horus. We ill no present some examples and fous on the type of introdution. To of these are ased on the riff priniple; see Example 11.8 and 11.9 for studio orhestra and ig and, respetively. The third example, for onert and, is a uxtaposition of a riff introdution, folloed y the uild-up type; see Example 11.10. A pure uild-up introdution type in a allad is shon in Example 11.11, another onert and arrangement. Example 11.8 Riff introdution to Latin piee. igure 11.12 shos the introdution from I ll Rememer April (G. de Paul) in an arrangement in Latin-Sing style for studio orhestra. This fragment is the ontinuation of the slo introdution, that e already sa in Example 8.7. 6 As an example, listen to the Nelson Riddle arrangement of Cole Porter s I ve Got You Under My Skin for rank Sinatra on the alum Songs for Singin Lovers. The Songook alums for Ella itzgerald also ontain numerous examples of the riff/vamp type of introdution and aompaniment. 199
CHAPTER 11. THE ARRANGEMENT No the Latin rhythm sets in ith a to-measure riff for doule ass, drums and perussion. It is a montuno pattern, ith a pedal point on toni and dominant ( and g) of the main key C maor. The pattern is repeated four times, efore the main theme sets in on m. 9. In m. 5, the high strings enter, ith all violins divisi à tre (Vi 1 and Vi 2 divided into three equal sugroups), and Va one otave elo the lead violins. They play a desending sale of exat parallel triads: D C B A G E D in first inversion position. This yields a itonal hord struture D C, that also sounds like an amiguous dominant 7th hord in third inversion S 2 = D 7 /C. The five-part parallel voiing tehnique ontinues as the azz ig and sets in, ith soft saxophones, uket mute trumpets and tromones in the middle register. Lead tromone and guitar are douling the lead trumpet at the loer otave. The toni hord enters on m. 12 as a maor hord ith added 6th and 9th C9 6. Before that the parallelism reates a Lydian modal impression ith the harateristi f and the other sharps that are reated y asending hromati leading tone hords (see m. 9 and 12). In m. 1 the entire setting is transposed a maor 2nd don. The voiing diagram for this five-part tutti setting is shon in ig. 11.1. The saxophones and rass play in drop 2 voiing. As an e seen from the voiing diagram, four instruments play the lead melody: Tpt 1 - (AS 2 + Tn 1 + Gtr). The lead alto, AS 1, is playing parallel onsonant 6ths ith the lead trumpet. Example 11.9 Riff introdution to voal horus. We return to ig. 11.5, shoing the introdution to the voal horus from Like a Lover, in a medium tempo Latin ig and arrangement. The rhythm setion plays a synopated to-measure toni-dominant vamp pattern (see the ass line andc 7 G sus 7 hord hanges, m. 2 ) that arries over into the voal horus. This riff pattern is piked-up at the end of the voal melody line; see m. 16 17 and m. 0 1. Example 11.10 uxtaposition of riff and uild-up introdution to rok piee. igure 11.1 shos the introdution from Roof Garden (A. arreau) in an arrangement in 16th rok style for onert and. 200
11.2. USING THE TOOLBOX 1 & Latin h=96 2 5 6 & Str Ó # # Ÿ p n n n.. 2 «2 «7 & Ÿ # & # 8. P 2 «Sax 9 # n P # n # P Muted Brs+Gtr 8a # # n # # n 2 «10. # #.. # #.. # # n. # # n ^ ^ ^ 11 # # ^ ^ > # > > # > # # > 2 «12 & &....... n. n 1 # > > # > n > n n 1 ^ # n ^ n # n ^ ^ n 15 #... #..... igure 11.12: Riff introdution to latin piee. rom: I ll Rememer April (G. de Paul) in an arrangement for studio orhestra. 201
CHAPTER 11. THE ARRANGEMENT AS 1 AS 2 TS 1 TS 2 BS Tpt 1 Tpt 2 Tpt Tpt Tn 1 Tn 2 Tn Tn Gtr igure 11.1: Voiing diagram for five-part parallel ig and tutti setting. Opening horus from I ll Rememer April (G. de Paul) in an arrangement for studio orhestra. In this introdution, to tehniques are uxtaposed. In m. 1 8 there is a to-measure riff for rhythm setion and saxophones (m. 1 2, 5 6) or renh horns and tromones (m., 7 8). In m. 11 12 the tehnique hanges to a resendo uild-up intro, onluded ith a solo drum reak. The rok riff idiom returns in the opening statement of the main theme (not shon here). The to-measure riff is ritten as synopated four-part setional harmony in parallel ths, first played y AS 1-2 and TS 1-2 (BS oins in on the tutti in m. 9). The Hn part in m. is douled, in order to maintain a alane ith the three tromones. The trumpets play a riff motif, also ith a perfet th voiing flavour, and they are later douled y oodinds (flutes and ooes) in the higher otave. In m. 9-10, there is an exat parallel ensemle voiing on an altered dominant 7th hord struture S7 alt : A alt 7 A alt 7... D alt 7. The resendo ends on fortissimo ff ith a fall-off and a sustained trill on g in the high oodinds. 202 Example 11.11 Build-up introdution to allad for onert and. The introdution to the allad My One and Only Love (Mellin & Wood) in an arrangement for onert and is shon in igure 11.15. The introdution is ased on a theme (m. 1 2) that is derived from a harateristi motif in the song melody: after an upeat asending pentatoni sale g a d e g the five notesa d g f (the original key is C maor) are treated sequentially in the melody. This arrangement is in the key of maor; the main melody motif thus eomesm = g a f e. Here, e see a slightly modified melodi inversioni(m) = a f g d, plus the transposed version at the tritonei(m) 6i = e d g a.
11.2. USING THE TOOLBOX 1 & & 5 & Rok q=100 Rh Sax ^ ^ ^. ^. ^ > > C m7 11 D m7 11. >. > # > &. r n > > Í Í 2 «2 ^ ^.. ^ ^ n ^ > > Tn+Cl # > C m7 11 D m7 11 E m7 11 D m7 11.. f fl Hn ^. > ^.. > 2 «2 «Tpt Ó ^. ^. ^ ^ > WW 6 Ó 7 ^ >.. ^ n > 8 R ^. ^ > Hn Í f Í & ^. ^. ^ > >. r n > > Í. ^ > f Í. ^ ^ > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 9 & 10 11 12 Í >.. n n.. BSN n n. n # >. n n >.. n. n ƒ. n. > n. f ƒ & n. # n n n n. # n n. #. n. n.. n n n. n. n # n >. > n > n. n. n... n n n f > n # n >.. n. n.. n. ƒ n n n >.. A 7 alt A 7 alt B 7 alt B 7 alt C 7 alt D 7 alt D. n >.. n.. n > 7 alt G 7 alt A 7 alt A 7 alt B 7 alt B 7 alt C 7 alt D 7 alt Drum reak.. >. n.. n... > f ƒ igure 11.1: uxtaposition of riff and uild-up introdution to rok piee. rom: Roof Garden (A. arreau) in an arrangement for onert and. 20
CHAPTER 11. THE ARRANGEMENT 1 & & Ballad q=62 WW+Vi 2. n [T.Bells] n. n. p Sax n. π n. # n n. res. Hns Ó # Tn. p Tua+Aro Bass &. n n n. n n n n # n # # # Ó & Brass f f n.. n n n n n n n n 5 ƒ ƒ f. Pi+l+Glk Brs+Sax. res. res. # # n 6 # # n # # n ƒ 6 U. U.. n. P # U igure 11.15: Build-up introdution to allad for onert and. rom: My One and Only Love (Mellin & Wood) in an arrangement for onert and. U. & 20
11.2. USING THE TOOLBOX The harmoni strutures are, like the melodi motif, ased on R 6i (diminished 5th, tritone) symmetrially distriuted roots (see Setion 6.2). The tromone hords Dm Cm A m G m (m. 2 ) together ith the ass part yielddm 7 Cm 7 /B A m G m 7 / G m/. Note that the dominant hord in the keyb maor in m. 5 6 is ithout the dominant 7th e. There is opening ontrary motion eteen upper and loer parts. There is also a resendo effet. And finally the motif is presented in melodi diminuition (starting in quarter notes, then 1/ triplets, 8th notes, 16th notes, and finally 2th notes). These three effets ontriute to the uilding up of tension toards a stretto limax; see the fortissimoff in m. 5. In m. 5 the piolo, flute and glokenspiel play a quote from the ridge of the song (a g f a), a pentatoni asending sale (f g d, quoting the A setion upeat melody). Doing so, they play ab7 1 hord, that has a tritone relation ith the G m/ hord struture in the loer rass. Note that the d = e is thus providing the minor 7th of the full dominant hord. A numer of these features ill return in the oda of the same arrangement, see Example 11.1, therey reating a ridge form and textural unity. The oda Example 11.12 Morendo (dying-out) oda of a mamo for studio orhestra. This example is inluded in the full version of the ook. Example 11.1 All-out oda to sing piee for onert and. This example is inluded in the full version of the ook. Example 11.1 All-out oda to allad for onert and. This example is inluded in the full version of the ook. This setion is inluded in the full version of the ook. Order the E-ook from the estore. 205
CHAPTER 11. THE ARRANGEMENT The figure is inluded in the full version igure 11.16: All-out oda to sing piee for onert and The figure is inluded in the full version igure 11.17: Tutti voiing diagram for all-out oda for onert and 206
11.2. USING THE TOOLBOX The figure is inluded in the full version igure 11.18: All-out oda to allad for onert and [This page is intentionally left lank in the demo version of this ook.] 207
CHAPTER 11. THE ARRANGEMENT 11.2. Contrasting ridge and transition = = The ridge as a formal element in a piee of musi means to things, as as mentioned in Chapter 10. It either refers on the loal sale to the ontrasting B phrase in the AABA song form (as shon in ig. 10.1), or to a ontrasting middle setion in a longer piee, as illustrated in ig. 11.1. Here e use the latter meaning. The ridge is used to onnet to asi uilding loks from the piee (suh as the AABA song horus or a verse-horus pair). It does so y reating temporary relief and some form of ontrast, y hanging the dynamis (playing softer), or rhythmi groove, or instrumentation (thinned-out orhestration), et. It reates reneed interest and ats as a transition. Another appliation of the ridge is to modulate to a ne key; Example 11.15 demonstrates this use. Example 11.15 Modulating ridge in allad for onert and. igure 11.19 shos a modulating ridge from My One and Only Love (Mellin & Wood) in an arrangement for onert and. The transition starts in the key ofb maor in m. 2 and ends on the dominant horde7 9 in m. 5. Then there is the sudden move to the ne key ofc maor, instead of the expeted A maor. These to roots lie on the same tonal axis a e f, and this minor third key relationship provides a frequent modulation target in lassial musi from the Romanti era. In this transition a numer of features from earlier in the arrangement return. irst, there is the melody from the song s B setion, hih is paraphrased here y the ooe and larinet. The triplet 16th motif is familiar from the introdution to the song (see Example 11.11) and ill return one more in the oda (see Example 11.1). The transition ends ith the 2th note pentatoni asending sale, that has een onluding the limax in the intro and has een used as an overlapping motif eteen setions. The 16th note groove, another doule time feel fragment (see Example 11.16 and Setion 11.), is provided y upard leaps in the assoon and loer larinets. The tension inrease toards a limax is helped y the resendo and the hromatially asending ass line. The ne horus starts in m. 6 ith a pure oodind voiing. Note the hromatially desending larinet parts, playing a re-harmonization of the main melody ith a series of parallel diminished hords. Another ridge as shon in Example 6.11 and ig. 6.8 from the onert and arrangement of Roof Garden. There e disussed the hromatially asending ass line and the inreasing tension toards a limax in the ridge. The approah to the ridge setion is similar for the to examples. This onludes the disussion of the typial forms and tension urves of introdution, the oda and the ridge of the arrangement. These are additions to the elementary uilding loks, the horuses. Let us no proeed ith non-standard forms of the horus itself. 208
11.2. USING THE TOOLBOX 1 & & & & Ballad q=62 Ó P Tn Ó 7-9 Ó 2 O+Cl 6. Pi+l Ó 6 Bsn+Cl P # n n P. # n. # B o 7 B ø 7 6 res. Dm7/C 6 n. 6 # n n # res. n P res. 6 6 n.. # 6 # 5. n n n # n # n # n # n #. n n n # B7-5 /E Bm7/E Hns # #. # f n. # E7 9 E7 9 P 2. n n n n n n n n n n 6 l+o A7-9 /C # #.. n P Cl n # n P Ó Ó C 6 9 Ó 7. 6 n. n #. Dm igure 11.19: Modulating ridge in allad for onert and. rom: My One and Only Love (Mellin & Wood). 209
CHAPTER 11. THE ARRANGEMENT 11. Speial horuses Example 11.16 Doule time setion in allad for onert and. This example is inluded in the full version of the ook. The figure is inluded in the full version igure 11.20: Doule time setion in allad for onert and This setion is inluded in the full version of the ook. Order the E-ook from the estore. 210
11.. SPECIAL CHORUSES [This page is intentionally left lank in the demo version of this ook.] 211
CHAPTER 11. THE ARRANGEMENT 11. Notate the details All the arranger s reativity and raftsmanship ill find its ay into the sore. During the design and implementation phase, the uilding of the house, the arranger ill likely have developed detailed ideas aout the interpretation, eyond the assigning of pithes to instruments and seleting arranging tehniques from the toolox. Whenever possile these details should e entered into the musial sore. They ill prevent disussion during rehearsals, failitate reading and interpretation y dediated musiians. It offer the est guarantee for a proper rendering of the arranger s intentions. Also the ondutor is given the est soure information, hen studying the sore and developing his on vie. So, use the opportunity and make sure the sore has everything in it, that you are ertain of. The layout and vertial staff order in the sore ere disussed in Setion 2.. Some pragmati sore preparation onsiderations, ith arranger life insurane harateristis, ere given in Setion 2.., ut there are other sore and part attriutes, that require attention and areful notation. Use the heklist: Tempo indiations. Give the asi tempo at the top of the sore, aove the time signature (the meter). Use ords Slo, medium fast and BPM numers (or a range, suh as 120-12 BPM. Write the gradual and sudden tempo hanges: speeding up (a.), sloing don (rit., rall.), ne tempo, return to original tempo (primo tempo). Musial style. Indiate the asi style and musi genre: sing, rok, Latin, ossa, shuffle (see the non-exhaustive list in Setion 10.). or a groove indiate the time unit: 8thnote sing, rok in 16th. Use an adetive to speify the mood: Relaxed sing, Moderate shuffle, Noturnal allad. Dynami markings. Indiate the dynamis eteen soft and loud. Provide asolute levels pp... mf... ff (use typially eteen 5 9 levels) and the gradual hanges (resendo, deresendo, et). Take into aount total orhestral alane: you may need non-idential markings in different instrument groups. Artiulations. Aents must e added for oordinated setion playing. Indiate short (e.g.,, ) and long (e.g., >, ) (un)aented notes, or speial effets suh as rips, doits, shakes, fall-offs, et. Put aents in the drum part, so the player an prepare them and support other players. Phrasing. Use slurs to indiate phrasing. or oodinds and saxophones these ill e read as tonguing patterns (legato playing). The string setion ill read the slurs in the sore more as phrasing marks; the atual oing patterns (suh détahé vs. legato, up- vs. donos) are est left to the string setion leaders. When you are asolutely ertain aout a sequene of upos ( ) or donos ( ), mark them in the sore. A series of aented forte donos in the strings never misses target. Breathing as a phrasing tool an e indiated as, also for strings. Expressive text. Desrie the general or loal mood: ith passion, aggressive, espressivo, ruato, free, ith humour, et. Noadays, the Italian ords an e replaed ith the English equivalent. Use the language that est expresses your ideas. 212
11.. NOTATE THE DETAILS Part markings. Indiate essential part markings suh as: the start and end of an ad li solo; easy fills for piano or solo reak for drums. Indiate douling, so the musiian ill have the instruments ready (oodinds, saxophones, rass). Give a solo player a ouple of measures rest at the end of a solo, or in order to enale him to pik up the douling instrument (imagine rapidly sapping a ass larinet for a aritone saxophone). Do your homeork for the perussionists: ith a given numer of players, arefully plan the perussion part assignment. These players need time to sith instruments, pik up mallets and may have to move around the stage quite a lot (ith serious, nonnegligile tripping over equipment danger). Instrument playing tehniques. Mark for the strings: mutes (on/off), string harmonis ( ), pizziato, pluked (pizz.) vs. oed (aro). or oodinds and rass notate: flutter tonguing, rass mutes. In general, give the player enough time to put mutes on and remove them. Your musi notation softare ill have full lists of these markings in different ategories. Use them! Don t skip this phase, not even hen you re faed ith a killing deadline. Every hour spent on details ill ertainly pay-off. The musiians ill e grateful for eing onsidered as dediated performers and human eings. And you, the arranger, ill prevent misinterpretation of your latest reative ahievement. 21
CHAPTER 11. THE ARRANGEMENT 21
Chapter 12 On a final note We have ome to the end of this ook. A strutured approah and a alaned mix eteen theoretial elaorations and pratial examples should have helped you to raise your aareness and develop your arranging skills for azz or pop musi ensemles and orhestras. Part II is a kind of orkshop here, through areful study and homeork exerises, you ill have trained asi skills in various tehniques and aquired a toolset. This guarantees a minimum aeptale quality in riting phrases and setions of a and or orhestra arrangement. Part I opens ith general onsiderations: hat to keep in mind, efore starting to rite an orhestral sore. Part III as meant to keep a heliopter vie on the omplete arrangement; things to rememer and apply hile assemling an interesting piee of musi. The ook as ritten from a teaher s point of vie, in an effort to help dediated students ith their professional and personal development. 1 But also to give the interested musi lover more insight into the mehanis of riting and performing modern orhestral azz and popular musi. More than 90% of urrent musi onsumption is popular musi in the roadest sense, i.e., inluding orld, azz and folk repertoire. Borderlines eteen musial genres have almost disappeared; a fortunate development in my opinion. The omination of aousti and eletroni instruments, and the use of omputers and digital equipment have yielded interesting and eautiful musi produtions. Young musiians from oth popular and lassial musi akground get together to reate and perform. The demand for arranging skills is inreasing; every singer these days is aiting for an opportunity to ork ith a full orhestra or an instrumental ensemle. Hopefully this ook provides a good starting point and a useful toolox for the urious to-e arranger. In older ooks there alays is the advie: find real musiians and get your sore performed. That s ho you learn and improve your riting skills. In those days the alternative as the piano rendering of a sore. Although the reommendation for involving real musiians is still most valid, noadays omputer and sample liraries provide an affordale 1 When you, the reader, find errors or missing elements in the ook, please feel free to ontat the author. I ill elome the feedak and try to update, improve and expand this doument. 2005-201.G.. Asil,http://.fransasil.nl
CHAPTER 12. ON A INAL NOTE laoratory for learning and experimenting. Myself, I sa the introdution of digital omputers and sequener softare in musi. The emerging and groing apailities of musi notation softare are a true lessing for omposers and arrangers. Also, I still enoy and elome the rapid development in DAW s, sample liraries and softare plugins for the home studio. Reading the ritiism, the user prolems and omplaints on internet forums. I reognize the frustration, hen things are not orking aording to expetations. But on the other side; piture yourself ust one deade ago, and realize here e stand no. There is so muh fun to e had ith ontemporary musi reation tools. So ompose, arrange, rite, perform, reord and pulish. Use real musiians and the home studio. Exerise small phrases, experiment ith voiing and instrumentation. Train the auditory memory, make notes of hat orks partiularly ell. The ook is there to help you ith your first steps, and maye as a referene or oasional refresher. And as alays, keep perspetive. When you are stuk, ath a fe Hule telesope pitures, then hek the Apollo 8 photographs of planet Earth, and you ill e ak ith oth gravitational feet on human ground. 2 Never dout the value and eauty of musi; its emotional effet on people is stronger than any other stimulus, eyond urrent understanding of neurophysis, ut fortunately... real and lasting. Arranging musi lies somehere eteen art and raftsmanship. Learn the raft first, than develop the art. It s a great means for expressing your personality; it an even e rearding. Good luk ith all your reative endeavours! 2 This famous photo, taken y an Apollo 8 astronaut on the first manned flight to the moon (not the landing), is alled Earthrise and has the numer AS8-1-28. Chek it out on the internet. 216
Biliography [1] Christopher Adey. Orhestral performane; A Guide for Condutors and Players. aer & aer, London, 1998. ISBN 0-571-1772-7. xvi + 868 pp. [2] Samuel Adler. The Study of Orhestration. W.W. Norton and Company, Ne York, seond edition, 1989. ISBN 0-9-95807-8. xv + 60 pp. [] oahim-ernst Berendt. Das azzuh; Von Ne Orleans is in die ahtziger ahre. isher Tashenuh Verlag, rankfurt am Main, 2000. ISBN -596-10515-. 651 pp. (in German). [] Alfred Blatter. Instrumentation and Orhestration. Wadsorth/Thomson Learning, Shirmer, Belmont, CA, seond edition, 1997. ISBN 0-00-02-82-86570-70-7. xix + 508 pp. [5] oep Bor. The Raga Guide: A Survey Of 7 Hindustani Ragas. Nimus Communiations International Limited, London, 1999. ISBN 0-95976-0-6. viii + 18 pp. ( CD s inluded). [6] Dirk Brand. 1000 aes of Drum Styles. AMA Verlag GmH, Brühl, 1997. ISBN -927190-9-. 295 pp. (in German). [7] Reginald Smith Brindle. Contemporary Perussion. Oxford University Press, Oxford, Ne York, 1991. ISBN 0-19-81627-2. xii + 212 pp. [8] Ermanno Briner. Relams Musikinstrumentenführer. Philipp Relam un. GmH & Co., Stuttgart, 1988. ISBN -15-01009-5. 699 pp. (in German). [9] Gordon Delamont. Modern Arranging Tehnique. Modern Arranging and Composing. Kendor Musi In., Delevan, NY, 1965. iv + 29 pp. [10] Ralph Denyer. The Guitar Handook. Dorling Kindersley Ltd. Pan Books, London, 1982. 255 pp. [11] rans Elsen. azz arranging ourse. (in Duth, unpulished leture notes Royal Netherlands Conservatory, The Hague), 198. [12] Mike Eulner and aky Dreksler. 1000 Tips für die Gitarre. Voggenreiter Verlag, Bonn, Germany, 1981. 255 pp. (in German). [1] Philip arkas. The Art of renh Horn Playing. Warner Bros. Puliations In., Miami, L, 1956. ISBN 0-8787-021-6. 95 pp. 217
BIBLIOGRAPHY [1] Carl lesh. Die Kunst des Violinspiels, 1. Band: allgemeine und angeandte Tehnik. Ries & Erler, Berlin, seond edition, 1978. ISBN ISMN M-01-0006-7. vii + 18 pp. (in German). [15] Carl lesh. Die Kunst des Violinspiels, 2. Band: künstlerishe Gestaltung und Unterriht. Ries & Erler, Berlin, seond edition, 1978. ISBN ISMN M-01-0006 -7. iv + 222 pp. (in German). [16] Russell Garia. The Professional Arranger Composer (Book II), volume 2. Criterion Musi Corporation, Hollyood, CA, 1979. iv + 91 pp. [17] Daniel Genton. Les Tumaos de la Salsa, Perussions et Musiques Afro-Cuaines. Edition Musiales rançaises, I.D. Musi, Courevoie, 2000. 19 pp. Numer EM 100027 (in renh, ith 2 CDs). [18] Saul Goodman. Modern Method for Tympani. Warner Bros. Puliations In., Miami, L, 2000. ISBN 0-7579-9100-9. 12 pp. [19] Maria Grossi. Metodo per Arpa. Riordi, Courevoie, 19. xiii + 152 pp. ER 2200 (in Italian). [20] Paul Hindemith. Untereisung im Tonsatz: theoretisher Teil, volume I, ED600. Edition Shott, Mainz, 190. ISBN -7957-1690-. 260 pp. (in German). [21] Siegfried Hofmann. Das große Buh für Shlagzeug und Perussion. Voggenreiter Verlag, Bonn, 199. ISBN -802-0221-9. 252 pp. (in German). [22] Otto Karolyi. Traditional Afrian & Oriental Musi. Penguin Books, London, 1998. ISBN 0-1-02107-2. xiv+277 pp. [2] Kent Kennan and Donald Grantham. The Tehnique of Orhestration. Prentie-Hall In, Upper Saddle River, N, fifth edition, 1997. ISBN 0-1-6627-6. xiv + 11 pp. [2] Kent Wheeler Kennan. Counterpoint: Based on Eighteenth-Century Pratie. Prentie-Hall, In., Engleood Cliffs, N, 2nd edition, 1972. ISBN 0-1-18291-9. xiii + 289 pp. [25] Barry Kernfeld. What to Listen for in azz. Yale University Press, Ne Haven and London, 1995. ISBN 0-00-05902-7. xvii + 27 pp. [26] ürgen Kumlehn. Die AMA Gitarrengrifftaelle. AMA GmH Verlag, Brühl, 1995. ISBN -927190-06-. 16 pp. (in German). [27].A. Kummer. Violonello-Shule. Edition Peters, rankfurt, unknon. 11 pp. No. 27 (in German). [28] oseph H. Kaena Nketia. Die Musik Afrikas. Numer 59 in Tashenüher zur Musikissenshaft. lorian Noetzel Verlag, Wilhelmshaven, 1991. ISBN -7959-0258-X. 9 pp. (in German). [29] Isaelle Leymarie. Cuan ire: The Story of Salsa and Latin azz. Continuum, London, english edition, 2002. ISBN 0-826-5586-7. 9 pp. [0] Henry Manini. Sounds & Sores: a Pratial Guide to Professional Orhestration. Northridge Musi In., USA, 1986. ISBN 0-89898-667-2. x + 2 pp. 218
BIBLIOGRAPHY [1] Norman Del Mar. Anatomy of the Orhestra. aer & aer, London, 198. ISBN 0-571- 1185-9. 528 pp. [2] Reea Mauléon-Santana. 101 Montunos. Sher Musi Co, Petaluma, CA, 1999. ISBN 1-88217-07-5. [] eremy Montagu. Timpany & Perussion. The Yale Musial Instrument Series. Yale University Press, Ne Haven and London, 2002. ISBN 0-00-09500-7. xii + 268 pp. [] Sammy Nestio. The Complete Arranger. Kendor Musi, In., Delevan, NY, 199. x +0 pp. [5] Walter Piston. Harmony. Gollanz, London, revised edition, 1982. ISBN 0-575-0258-7. xx + 59 pp. (Revised and expanded y Mark DeVoto). [6] Kleon Raptakis. The Complete Book of the World s Dane Rhythms. Kleon Raptakis Puliations, Asoria, NY, 1966. 6 pp. [7] Ken Rattenury. Duke Ellington: azz Composer. Yale University Press, Ne Haven and London, 1990. ISBN 0-00-05507-2. xii + 27 pp. [8] Gardner Read. Musi Notation, A Manual of Modern Pratie. Vitor Gollantz Ltd., London, 1985. x + 82 pp. [9] Ted Reed. Latin Rhythms for Drums and Timales. Ted Reed, Clearater, LA, 1960. 27 pp. [0] Nelson Riddle. Arranged y Nelson Riddle. Warner Bros. Puliations In., Miami, L, 1985. ISBN 86-21266. 200 pp. [1] Nikolay Rimsky-Korsako. Priniples of Orhestration, With Musial Examples Dran rom His On Works, volume I and II. Dover Puliations In., Ne York, 196. ISBN 86-21266-1. xii + 152, pp. (Ed. M. Steinerg). [2] William Russo. Composing for the azz Orhestra. The University of Chiago Press, Chiago & London, 1961. ISBN 0-226-7209-6. vi + 90 pp. [] William Russo. azz Composition and Orhestration. The University of Chiago Press, Chiago & London, 1968. ISBN 0-226-721-. xvii + 825 pp. [] oseph Shillinger. The Shillinger System of Musial Composition, volume I and II of Da Capo Press Musi Reprint Series. Da Capo Press, Ne York, fourth edition, 196. ISBN 0-06-77521-2 and 0-06-77522-0. xxiii + 160 pp. [5] Arnold Shoenerg. undamentals of Musial Composition. aer & aer, London, Boston, seond (revised) edition, 1970. ISBN 0-571-09276-. xiv + 22 pp. (edited y Gerald Strang). [6] Arnold Shoenerg. Preliminary Exerises in Counterpoint. aer & aer, London, Boston, seond (revised) edition, 1970. ISBN 0-571-09275-6. xvi + 21 pp. (edited y Gerald Strang). 219
BIBLIOGRAPHY [7] Arnold Shoenerg. Theory of Harmony. University of California Press, Berkeley, Los Angeles, third edition, 1978. ISBN 0-520-09-6. xxi + 1 pp. (translated y Roy E. Carter). [8] Gunther Shuller. Early azz: Its Roots and Musial Development, volume 1 of The History of azz. Oxford University Press, Ne York, Oxford, 1968. ISBN 0-19-500-0. xii + 01 pp. [9] Gunther Shuller. The Sing Era: The Development of azz 190-195, volume 2 of The History of azz. Oxford University Press, Ne York, Oxford, 1989. ISBN 0-19-50710-9. xviii + 919 pp. [50] Don Seesky. The Contemporary Arranger. Alfred Pulishing Co., In., Van Nuys, CA, definite edition, 199. ISBN 0-8828-85-7. xv + 27 pp. [51] Patriia Strange and Allen Strange. The Contemporary Violin, Extended Performane Tehniques. The Ne Instrumentation. University of California Press, Ltd., Berkeley, CA, 2001. ISBN 0-520-2209-. xiii + 7 pp. [52] red Sturm. Changes Over Time: The Evolution of azz Arranging. Advane Musi, USA, 1995. ISBN 0-89898-667-2. 222 pp. (Order # 1150). [5] Hai Hassan Touma. The Musi of the Aras. Amadeus Press, Camridge, UK, 1996. ISBN 1-5767-081-6. xxii+28 pp. (ith CD). [5] Walter van der Leur. Something to Live or: The Musi of Billy Strayhorn. Oxford University Press, Ne York, Oxford, 2002. ISBN 0-19-5128-0. xxiii + 28 pp. [55] Sam Vider. The est Drum Rhythms ever ritten. Leis Musi Pulishing Co., Carlstadt, N, 198. 177 pp. [56] Paul Westood. Bass Bile, A World History of Styles and Tehniques. AMA Verlag GmH, Brühl, 1997. ISBN -927190-67-5. 285 pp. 220
Index 2-measure song, 171 AABA song form, 171, 176 ABA song form, 171 ad li solo, 188, 191, 199 ADSR envelope, 27 Alpert, Her, 180 altered dominant hord, 66 appoggiatura, 59, 15 Autumn Leaves, 106, 121, 12, 125, 1, 191 Bah, ohann Seastian, 162 allad, 11, 179, 202 allroom dane musi, 7, 179 Baroque musi, 21, 125, 162 Bartók, Béla, 21, 2, 17, 15 Basie, Count, 96 eop, 7, 172 Beethoven, Ludig van, 15, 159 ell hord, 107 Berg, Alan, 2, 108 ig and, xiii,, 29, 7, 7, 77, 8, 86, 107, 188, 200 itonal hord, 16, 95, 98, 200 lues, 97, 179 Blues for Alie, 97 Bone in the Barrio, 106, 112, 1, 195 Bossa Groove, 156 oune, 179 Brahms, ohannes, 159 rass, 7, 16, 7, 107 ridge, 117, 172, 176, 19, 208 uild-up intro, 199 uild-up setion, 202 all-and-response, 16, 17 ello quartet, 15 horale harmonization, 12 hordal funtion, 12, 21, 66, 9, 95, 101, 12, 18 hords in ths, 7, 77, 112, 117, 202 hords in 5ths, 16 horus, 171 hromati stepise motion, 116, 15, 208 lassial harmony, see harmony, 12 lassial musi, 20, 21, 27, 8, 12, 1, 17, 12, 15, 16, 171, 176, 208 lave, 179 limax, 16, 2, 101, 176, 18, 191, 19, 205, 208 luster voiing, 95 oda, 176, 205 omping, 11 omputer, 5, 215 onert and, xiii,, 16, 29, 107, 109, 116 118, 121, 12, 127, 1, 191, 19, 195, 200, 202, 208 ontrary motion, 2, 117, 121, 125, 1, 17, 15, 162, 191, 205 ounterpoint, 21, 2, 12, 12, 1, 17, 16 ross-relation, 5 Davis, Miles, 107 DAW, 27, 216 development, 176 diatoni parallel strutures, 67, 78 diminished hord, 2, 208 dominant hord altered, 66 extended, 66 doule time, 12, 208 drop 2 voiing, see voiing, see voiing easy listening musi, 2, 7, 180 eletroni instrument, 27 eletroni instrument amplitude envelope, 27 filtering, 27 keyoard traking, 28 modulation, 27 221
INDEX ensemle tehnique, 7, 8, 191, 19, 200, 202 ensemle tehnique fundamental aspets, 8 intervals eteen outer voies, 8 envelope, see eletroni instrument Evans, Gil, 107 exat parallel hords, 5, 50, 97, 16, 18, 190, 200, 202, 208 extended hord, 2, 29, 2, 66, 9, 95, 98, 101, 12, 12, 18, 191 extended four-part setional harmony, 7 filtering, see eletroni instrument itzgerald, Ella, 199 folk musi, 17, 180 form, 159, 171 our Brothers, 8 frequeny spetrum, 27, 152 fugue, 12, 1 funtional harmony, see harmony unky Duk, 15 genre, 179 Gershin, George, 172 Ginastera, Alerto, 2 Golden Ratio, 16, 18 groove, 11, 19, 199, 208 half-diminished hord, 50 harmony lassial, 62 funtional, 7 modal, 7, 200 Haydn, oseph, 15 Herman, Woody, 8 Holman, Bill, 187 hook, 176, 199 Ho High the Moon, 5, 188, 190 I Don t Wanna Be Kissed, 108 I ll Rememer April, 106, 16, 150, 152, 199 I ve Got Rhythm, 172 I ve Got You Under My Skin, 199 imitation, 12, 176 Impressionisti musi, 7 improvisation, 176 instrument groups, 7 instrument range, 7 instrumentation, 5, 61, 6, 8, 185 intro, see introdution introdution, 1, 16, 176, 199, 200, 202 inversion, 12, 185 azz musi,, 7, 7, 8, 107, 172, 179 azz standard, 12, 172 ones, Thad, 7, 96, 97 ust riends, 187 ust the Way You Are, 19 keyoard, 7, 12 Last, ames, 180 Latin, 11, 112, 18, 156, 179, 199 lead voie,, 8, 95 leading tone hord, 5, 200 Let it Sno, 16, 106, 1 Like a Lover, 188, 200 Mantovani, Annunzio Paolo, 180 Marvin, Hank, 167 Mediority Mamo, 2, 106 melody, 159 melody period, 16, 171 seondary axis, 162 sentene, 16, 165, 171 Mendoza, Vine, 2, 19 Metropole Orhestra, 2, 19 MIDI, 5, 27, 27 Miles Ahead, 107 mixed voiing, see voiing modulation, 27, 176, 208 montuno pattern, 2, 112, 179, 195, 200 mute string, 21 My One and Only Love, 108, 112, 118, 12, 202, 208 Nestio, Sammy, 96 otatoni sale, 95 One Note Sama, 109, 116 open voiing, see voiing Ornithology, 5 parallel motion, 8 pedal point, 11, 19, 200 222
INDEX pentatoni sale, 205, 208 perussion, 7, 2, 179 perussive voiing,, 95 pop musi,, 7, 12, 20, 17, 176, 179 pop song, 17 pop song horus, 17 verse, 17 Ravel, Maurie, 21, 15 repeated notes, 8, 78, 80, 86, 96 rhythm setion,, 11, 51, 8, 96, 12 Riddle, Nelson, 199 riff, 11, 112, 199, 200, 202 Rimsky-Korsako, Nikolay, 10 rok musi, 11, 118, 15, 179, 200 Romanti musi, 21, 208 Roof Garden, 106, 117, 200, 208 salsa, 179 sampler, 27 saxophone, 7, 12, 7, 7 Shillinger, oseph, 109, 1 sore, 28, 212 sore onert pith full, 2 ondensed, 2 full, 29 transposed full, 2 sore layout, 29 Seesky, Don, 17 seondary dominant hord, 86 setion, 171 setional harmony,, 7, 7, 8 setional harmony aiming hord, 5 asi rules, 7 hordal tones, 9 extended four-part, 7 five-part, 7, 191, 200 four-part, 7, 8, 190, 191, 202 instrumental aspets, 61 instrumentation, 6 lead voie, 7 non-hordal tones, 2, 5 non-diatoni tones, 5 other aspets, 57 repeated notes, 8, 9 sequener, 5, 27 Shotgun Soliloquy, 21, 106, 125, 1 shuffle, 179 Sinatra, rank, 199 sonata form, 176 speial horus, 7, 8, 190, 19 speial playing tehniques strings, 21, 18 oodinds, 16 strata tehnique, 8, 1, 17 Strainsky, Igor, 27 string orhestra, 2 string quartet, 20, 17, 15 strings, 7, 20, 8 strings divisi, 20, 2, 17, 12, 17, 150 doule stops, 20, 21, 2 harmonis, 21 multiple stops, 20, 21, 152 pizziato, 18, 156 small groups, 15 speial playing tehniques, 18 sul pontiello, 17, 152 sul tasto, 152 sustained harmoni akground, 12 tremolo oing, 17, 150 virato, 20 studio orhestra, xiii,, 15, 2, 25, 29, 1, 16, 16, 167, 199 style, 179 sustitute hord, 12, 50, 51, 185 Supersax plays Bird, 8, 7 sustained harmoni akground, see strings sing, 7, 172, 179, 188, 191, 199 symmetrially distriuted roots, 109, 205 symphony orhestra, 11, 15, 20, 25, 29, 17 synopations, 50 synthesizer, 27 tension, 117, 121, 150, 15, 18, 208 ternary song form, 171 The armer s Song, 109, 112, 117 The Meaning of the Blues, 107 The Real Book, 172 The Songooks, 199 The Summer Knos, 106, 108, 116 22
INDEX Tiptoe, 7 transition, 1, 176, 187, 19, 208 tritone, 67, 111, 112, 202 unisono, 20, 121, 187, 190, 19 vamp, 199, 200 variale density, 121, 187 Venetian Violins, 125, 16, 167 verse-horus form, 17 voiing, 185 voiing itonal, 95, 98 rass, 9 hange of, 61 lose, 2, 8, 59, 7, 77, 80, 8, 88, 19 luster, 29, 7, 80, 8, 95, 101, 185 rossing, 129 dovetailing, 129 drop 2, 8, 59, 7, 200 enlosed, 129 exat parallel, see exat parallel hords in ths, 7 interloked, 129 uxtaposition, 127 mixed, 7, 91 open, 62, 75, 80, 8, 185 overlapping, 127 overlaying, 127 perussive, 95 unisono, see unisono voiing diagram,, 16, 8, 88, 91, 127, 1, 17, 200 voiing tehniques, alking ass, 96, 12, 190, 191 ind quintet, 1 oodind voiing, 127 oodind voiing heterogeneous, 15 oodinds,, 7, 15, 77, 8, 107 orld musi, 17, 180 Zimmerman, Bo, 15 22