01 Arranging Concepts Complete by Dick Grove 1 10

DlCK GROVE ARRANGING SERIES

I

by Dick Grove

The Ultimate Arranging Course for Today~sMusic

ALFRED PUBLlSHlNG CO., INC. Post Office Box 5964,15335 Morrison Street, Sherman Oaks, CA 91413

Dedicated t o Dee, With Love

Edited by Joseph Csida Cover Design by Joice Simpson Copyright O 1972 by Dick Grove Publications Copyright transferred 1985, Alfred Publishing Co., Inc. All Rights Reserved lnternational Copyright Secured Madein U.S.A. All Rights Reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or, mechanical, including photocopying, without permission in writing from the publisher.

ARRANGING CONCEPTS I

FOREWORD

For many years I have felt that there has been a great need for an easy to understand book ori arranging. The popularity at al1 levels of education has helped make literally hundreds of thousands of young musicians and many of their teachers and directors very aware of, and interested in, writing for these same bands. By the same token, a great number of other musicians not involved in school music programs have come to be quite conscious of arranging. Not only in the jazz field, but in many small rock and jazzirock groups. This book is meant to serve as both a reference book and as a structured learning approach for any musician who has an interest in arranging. I t has been my observation, based on years of writing and teaching, that the basic problem facing any beginning arranger is the lack of conception and judgment which shapes any well written arrangement. Learning ranges and transpositions of instruments and a few obvious section voicings only scratch the surface of what really needs to be understood. This understanding of the real musical values explains why the writing of an experienced professional "comes off," in marked contrast to most early attempts by the great majority of beginning writers. The begiiining arranger may write an introduction, chorus, background figure or ending just as the professional does. However, the professional chart comes out polished and musical while the other is usually overwritten, choppy and lacks development and consistency of style. I t is my belief then, that a student of arranging needs a guided approach through the many facets which make up the various elements of a well written arrangement. This approach should, a t the same time, place the proper emphasis on the "key" factors, so that the beginning arranger finally has a maximum opportunity of mixing knowledge and technique with hic own inherent talent to produce well written, satisfying music. Many young writers become discouraged by what seems to them a lack of accomplishment. They may spend ten times the amount of time really needed working out their arrangement (this because of self-doubt) and when thechart does not "work," the tendency i s to lose interest. Their reaction is understandable, but I feel with more complete, balanced foundation in arranging techniques and skills i t need not happen.

iv ARRANGING CONCEPTS

MUSICAL EFFECT All arranging is really the art of being able to CONCEIVE a MUSICAL EFFECT and then TRANSFER i t to paper so that that particular effect comes alive. Every cornbination of instrurnents. every style of rnusic or every thernatic fragrnent produces an effect on the listener. You are indeed headed for a dead end street if you write any part of an arrangernent without being aware of what the listener's reaction is going to be. You rnust be able to gauge the reaction at the time you write the arrangernent. Many musicians spend their lives listening to one arrangernent after another without being aware of what they have heard IN TERMS OF EFFECT ANO REACTION. It is this awareness of effect, which in turn helps the arranger to rnake his countless decisions and draw the conclusions that are needed.

This overall conception is most irnportant. The process of judging an idea against a pre-set conception is the process which tells the arranger - if nothing else - what NOT to write. An arrangement is cohesive and flowing if al1 the musical ideas in the arrangernent are consistent with the overall concept. It is also rny belief that a beginning arranger needs an effective reference source which specifically details the actual working problerns that come up in the course of writing any arrangernent.

This availability of solutions to basic problerns, plus as cornprehensive as possible a coverage of al1 the elernents of arranging should give the writer the opportunity to rnix his own level of talent with this acquired and euential knowledge and technique. Hopefully, after you have this foundation you should be able to build solidly and evolve naturally into your own style and approach to the more advanced areas of arranging. This book atternpts to cwer al1 the basic and interrnediate points involved with writing for stage band and jazzlrock cornbinations. We will briefly look at sorne of the more a d v a n ~ dareas not so rnuch to try to cover thern. but to rnake you aware of what they are and thus open the door to the future acquisition of their sounds and effects.

Perhaps the rnost basic premise that any young writer should be aware of i s the importance of the rhythrn section in relationship t o the band. The first conclusion to arrive at i s the fact that when the rhythm section is playing, you have in effect a self-contained, finished musical product. A rhythrn section, of course, could play for an entire arrangement al1 by itself - or al1 night and nothing would be musically lacking or missing for the rhythm section i s a complete section within itself. A rhythm section, in short, i s a complete small band.

To have the rhythm section playing and ten brass and five saxes NOT playing could be the most musical and logical solution to a certain situation. Once you realize that there is no compelling force requiring you to fill up the score pages with brass and saxes constantly playing, you have taken the first important step to a comprehension of what "conception" really rneans. This book will not go into detail on the subjects of basic harmony and theory. These subjects are covered in many harmony books. However, if a t any point in the study of this book or in the writing of an arrangernent you find yourself confused or unknowledgeable on a point of harmony or theory, do not let i t go unresolved.

I would suggest checking books or sources you might have on the subject, or with a fellow rnusician who can fill you in. I also suggest that you refer to FUNDAMENTALS OF HARMONY - Parts 1 & 2 and MODERN HARMONIC RELATIONSHIPS - Parts 1 & 2.

These books include very cornprehensive coverage of basic harrnony and theory for the arranger as well a s for the instrumentalist for whom they are prirnarily inteilded. However you use this book, as a reference book for isolated points you wish to cover, or as a total approach towards arranging, I wish you rnuch success. Rerneinbei-, you get as much out of writing as you put into it. As an instrumentalist we think nothing of piacticiilg years to perfect our facility to play well. I n the same way, writing needs a corninitinei~tof tiime ancl energy to arrive a t a mastery of musical conception and of the techniques aiicl kiiowledge iequiied. Good notes Dick Grove

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PART 1 THE TECHNICAL FOUNDATION

CHAPTER 1:

Rangls. Tranrpaitionr. Chwactuirtia and Rutrictions oí Imwnwnt Familiu

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1

TheSaxophoneFamily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1. The Bb Soprano Saxophone . . . . . . . . . . . . . . . . . . . . .2 The Eb Alto Saxophone . . . . . . . . . . . . . . . . . . . . . . . .3 The Bb Tenor Saxophonr . . . . . . . . . . . . . . . . . . . . . . .4 The Eb Baritone Saxophone .....................6 The Bb Bass Saxophonr . . . . . . . . . . . . . . . . . . . . . . . .7 Sax Section Combinations . . . . . . . . . . . . . . . . . . . . . . 9

Thr Percusion Family .............................46 TheVibraphone .............................4 6 Thr Xylophonr ..............................47 TheMarimba ................................48 . Orchestra Bells ..............................49 The Timpani ................................50 Non-TonalPercussive Instruments GroupA ..............................52 G r w p 8 ............................... 53

CHAPTER 2: The Wwdwind Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Specid Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9. ThePiccolo ................................. 10 The "C" Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 The Alto "G" Flute . . . . . . . . . . . . . . . . . . . . . . . . . . 12 The Bass Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 TheOboe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 The English Hom ............................16 TheBassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Thr Bb Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 The Bb Bass Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . -19 The Bb Contra Bass Clarinet . . . . . . . . . . . . . . . . . . . .20 the Brass Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Variations of Open Brrrs ........................ 21 The Bb Trumpet . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 . The Flugelhorn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 The French Horn . . . . . . . . . . . . . . . . . . . . . . . ..' ...24 The Tenor Trombone . . . . . . . . . . . . . . . . . . . . . . . . .26 . The Valve Trombone . . . . . . . . . . . . . . . . . . . . . . . . 27 . TheBassTrombone ..........................27 BbTuba ................................... 28 BBbTuba .................................. 29 7he Rhythm Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Thr Guitar . . ; 29 The Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 TheOrgan ..................................37 The Electric Piano and Nwichord ...............37 TheBass ................................... 38 Constructing Bau Paris 39 TheDrums .................................41

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Muriul Tarnu. Notation ud

Harmonic Tamindogy

..............64

Clefs ...........................................54 Key Sig7atures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 . Sign Commonly U d in Arranging . . . . . . . . . . . . . . . . . . . .55 Tetrachords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -58 Double Sharps and Flats . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 %ales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 lntewals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 . Chord Construction ...............................66 TABLE 1 - Major Chord Family . . . . . . . . . . . . . . . .67 TABLE 2 - Minor 7th Chord Family . . . . . . . . . . . . .68 TABLE 3 - Dominant Chord Famiiy . . . . . . . . . . . . .69 TABLE 4 - Minor Chord Family . . . . . . . . . . . . . . . .70 - Diminished Chord Family . . . . . . . . . . .71 Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Chord Families ................................... 72 Polychord Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 TABLE 5 - Major Chord Families ...............73 TABLE 6 - Minor Chord Families . . . . . . . . . . . . . . .74 Chord Progressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74 The Major Key Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75 . The Minor Kry Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

CHAPTER3:

Rhythm

......................... 78

Rhythmic Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78 . TABLE 7 . Convrntional Notation . . . . . . . . . . . . . .78 Metars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 . TABLE B . Time Signatures 81 Tempos ........................................ 82 ChangiqTrmpol . . . . . . . . . . . . . . . . . . . . . . . . . . . .82 Rubito Tempo 83 Rhythmic Phrasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83 . S y n c o ~ t o dRhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85 Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89 . Double and Half Meter .......................-90 Nouting Syncopatrd N o t u 91

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PART 2 MELODIC HANDLING and VARIATION/HARMONIC CONSIDERATIONS

CHAPTER 4: TABLE 9

Melodic Function and Articulation

. . . . . 92

Solfeggio Syllables . . . . . . . . . . . . . . . . . .92

.

Chord Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93 Passing Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94 NeighboringTones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

. Embellishments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 . Melodic Articulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 TABLE 10 - Articulation Markings . . . . . . . .96, 97. 98

The Diminished 7th Chord . . . . . . . . . . . . . . . . . . . .133 Diatonic Passing Chords . . . . . . . . . . . . . . . . . . . . . . 134 Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Basic Definitive Chords and Alternate Chords . . . . . . . . . . 135 Applications of Diatonic Passing Chords to the Ilmi7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . 135 to the V7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 to the I Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Melodic Phrasing . . . . . . . . . . . . . . . . . . . 99 Jazz Phrasing Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

Chromatic Approach and Passing Chords . . . . . . . . . . . . . . 138 Chromatic and Dominant Approach Chords . . . . . . . . . . . .139 Passing Chords from Bass L ines . . . . . . . . . . . . . . . . . . . . .140

Ballad Phrasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101 Rock Phrasings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

TABLE 11 - Harmonization of the new Bass Line . . . . . . . . . . . . . . . . . . . . . .143

Commercial Writing Tips . . . . . . . . . . . . . . . . . . . . . . . . . .103

Minor Key Areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 . Harmonization of Blues Melodies . . . . . . . . . . . . . . . . . . . .146

CHAPTER 5:

Latin Phrasing Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104 Melodic Developrnent . . . . . . . . . . . . . . .107 CHAPTER 6: . Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Fragmentary Development . . . . . . . . . . . . . . . . . . . . . . . . .108 CAN'T BELIEVE IT BLUES Sketch . . . . . . . . . . . . . . . . .110 Thematic Development . . . . . . . . . . . . . . . . . . . . . . . . . . 115 . Dramatic Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 . Counterpuntal Approaches . . . . . . . . . . . . . . . . . . . . . . . . .118 What is Counterpoint? . . . . . . . . . . . . . . . . . . . . . . .118 Rhythmic Considerations . . . . . . . . . . . . . . . . . . . . . 118 Melodic Considerations . . . . . . . . . . . . . . . . . . . . . . .120

CHAPTER 9 :

Pedal Point. Ostinato. Plurality and Harrnonization . . . . . . . . . . . . . . . . .147 Pedal Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

. Ostinato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148 Plurality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149 . Harmonization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 TABLE 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155 TABLE 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156 Harmonic Facility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157

Blues and Modal Counterpoint . . . . . . . . . . . . . . . . . 120 Harmonic Implications . . . . . . . . . . . . . . . . . . . . . . .123 Rhythmic and Melodic Considerations . . . . . . . . . . .124

CHAPTER 10:

Modulation

. . . . . . . . . . . . . . . . . . . . . . .159

Types of Modulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

. . . . . . . . . . . . . . . . . . . . . .125

The Direct Modulation . . . . . . . . . . . . . . . . . . . . . . . 159

CommonTones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125

The I I . V Modulation . . . . . . . . . . . . . . . . . . . . . . . . 160

Parallel Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Contrary Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Random Modulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162. Cornrnon Tone Melodic Relationships . . . . . . . . . . . . . . . .163

. 7 - 3 Voiceleading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 as Melody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 as I nner Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130

Sequential Melodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164 and Phrases . . . . . . . . . . . . . . . : . . . . . . . . . . . . . . . .164

CHAPTER 7:

Voiceleading

with Addition of Other Chord Tones . . . . . . . . . . . .131 CHAPTER 11:

The Free Areas . . . . . . . . . . . . . . . . . . . . 166

. . . . . . . . . . . . . . . . . . . .132

Introductions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Substitution Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Endings or Tag Endings . . . . . . . . . . . . . . . . . . . . . . . . 167 Turnarounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

CHAPTER 8:

Passing Chords

Passing Chord Approaches . . . . . . . . . . . . . . . . . . . . . . . . . 132

PART 3

CHAPTER 12:

One Part Density

..................174

An Approach to Orchestration and Voicings . . . . . . . . . . .174 Density . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Span of Orchestration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Conventional and New Conceptional Applications of Density . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 A Working Procedure for the Appl;cation of the Density Approach . . . . . . . . . . . . . . . . . 176 One Part Density . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 BASlC INSTRUMENT RANGES NO. 1. 2 and 3 . . . . . . . .181 BASlC INSTRUMENT RANGES NO. 4 and 5 . . . . . . . . . . 182 Explanation of Basic Techniques . . . . . . . . . . . . . . . . . . . . 185 BASlC TECHNIQUE NO. 1 . . . . . . . . . . . . . . . . . . . . . . . .185 lnterpreting Primary Thematic Materials BASlC TECHNIQUE NO. 2 . . . . . . . . . . . . . . . . . . . . . . . . 186 Dividing the Band lnto Two Smaller Ensembles BASlC TECHNIQUE NO. 3 . . . . . . . . . . . . . . . . . . . . . . . .187 Melodic Overlap TABLE 14 - Dividing the Band into 2

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3 and 4 Smaller Ensembles . . . . . . . . . . . . . . . 190 Summation of Orchestral Possibilities Applied to One Part Density . . . . . . . . . . . . . . . . . . . . . .190 TABLE 15 - lllustrations of All One Part Density Combinations . . . . . . . . . . . . . . .191 TABLE 16 - Orchestral Possibilities of Table 15 . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 TABLE 17 - Definition of lnstrument Abbreviations

. . . . . . . . . . . . . . . . 193

Orchestration of Two Part Density . . . . . . . . . . . . . . . . . . .201 Arranging Rock Music for Records . . . . . . . . . . . . . . . . . . . 202 Mixing One and Two Part Density (Paragraph 40) . . . . . . . . . . . . . . . . . . . . 2 0 3 )

CHAPTER 14:

Three Part Density

. . . . . . . . . . . . . . . . 205

lmplying 4. 5. 6 and 7 Part Harmony With Three Pitches . . . . . . . . . . . . . . . . . . . . . . . . .205 BASlC TECHNIQUE NO . 7 . . . . . . . . . . . . . . . . . . . . . . . . 206 Substitution Notes BASIC TECHNIQUE NO. 8 . . . . . . . . . . . . . . . . . . . . . . . 208 Special Si tuations TABLE 18 - Examples (in al1 Chord Farnilies) of Applications of Basic Techniqu~s7 and 8 . . . . . . . . . . . . . . . . . . . . .210 Triads as a Source of Three Part Density . . . . . . . . . . . . . .211 BASlC TECHNIQUE NO. 9 . . . . . . . . . . . . . . . . . . . . . . .212 . Triads as Melodic Couplings BASlC TECHNIQUE NO. 10 . . . . . . . . . . . . . . . . . . . . . . . 213 Diatonic Triads Chord Tones Passtng and NeighboringTones . . . . . . . . . . . 214 Adiacent Al ternating Diatonic Triads . . . . . . . . . . . . . . . . .215

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TABLE 19 - Definitive Triads . . . . . . . . . . . . . 216-217 Chromatic Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 . Triads in Open and Closed Positions . . . . . . . . . . . . . . . . . . .221 Closed and Open Fourth Structures . . . . . . . . . . . . . . . . . .222 Fourths Applied to Melodic Couplings . . . . . . . . . . . . . . . .224 Diatonic Open Fourths . . . . . . . . . . . . . . . . . . . . . . . . . . . .225 Chromatic Parallel Closed and Open Fourths . . . . . . . . . . . 226

CHAPTER 13:

Two Part Density . . . . . . . . . . . . . . . . . 195 .

BASlC T.ECHNIQUE NO. 4 . . . . . . . . . . . . . . . . . . . . . . . . 195 Melodic Couplings BASlC TECHNIQUE NO . 5 . . . . . . . . . . . . . . . . . . . . . . . .197 Repeated Chord Tones Against the Melody Big Band Applications of Two Part Density . . . . . . . . . . . . 198 BASlC TECHNIQUE NO. 6 . . . . . . . . . . . . . . . . . . . . . . . . 199 lntervals Counterpoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Harmonic Definition Using Open and Closed Fourths* . . . .227 TABLE 20 - Three Part Open and Closed Fourth Voicings in Major Chord Families . . . . . . . . . .228 - in Minor Chord Families . . . . . . . . . . . . . . .229 Typical Ranges of Various Sections of a Band (Relating to the Harmonic Sources Covered) . . . . . .231 Trumpets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231 Trombones . . . . . . . . . . . . . . . . . . . . . . . . .231 Trombones w i t h Triirngets . . . . . . . . . . . . . . . .232 Trombones Used a s J Sol¡ . . . . . . . . . . . . . . . . 233

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TABLE 25 Possil)le Scale Soiiic:c!$ loi A!I Pi ictical Chord Foriiis . in MAJOR . . . . . . . . . . . . . . . . . . . . . . . . . 267 .

Trombones Used as Harmonized Background Soli . . . . . . . . . . . .

. . . . . . . . . . . . . . .234 . . Sax Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235 . Woodwind Sections . . . . . . . . . . . . . . . . . . . . . . . . 235 Exairiples of Three Part Ensemble Voicings . . . . . . . . . . . .237

Four Part ~ e n s i .t .~. . . . . . . . . . . . . . . 238 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "c" Voicings 238 B A S l C TECHNIQUE NO . 11 . . . . . . . . . . . . . . . . . . . . . . 239 . Fuur Part Density in Open and Closed Positions CHAPTER 15:

. BLOCK Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 "A" and "B" Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 1 Sax Background and Ensemble Voicings . . . . . . . . . . . . . .243

Names of Scale Sources . . . . . . . . . . . . . . . . . . . . . . .268 TABLE 26 Possil~leScalc Sources for Al1 Pi actical Choi-tl Foi nis . in MlNOR . . . . . . . . . . . . . . . . . . . . . . . 269 . Application of Clu, ters by Scale Sources (Paragraphs 64 11; 69) . . . . . . . . . . . . . . . . . . . . . .270.271 Orchestrating Diaioiiic Clusters . . . . . . . . . . . . . . . . . . . .272 Orchestral Po:sibi lities Applied to Five Part Deiisiiy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .272 Mixiny One i o Five Levels of Derisity . . . . . . . . . . . . . . . . .273

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lmplying 5, 6 and 7 Part Harmony . With Four Pitches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244 TABLE 21 - Breakdown of Possible lmplied 5. 6 and 7 Part Voicings . . . . . . . . . . .245

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CHAPTE R 17:

Specific Problems Relative to Four or More Parts of Density . . . . . . . . . . . . . . . . . . . . . .243

Chromatic Closed 5th Clusters . . . . . . . . . . . . . . . . . . . . . . 251

. . . . . . . . . . . . . . . . .274

BASIC TECHNIUUE NO . 15 . . . . . . . . . . . . . . . . . . . . . . . 275 Pluial Clioid Relationships Applyiriy Pluial Chotcl Relationships . . . . . . . . . . . . . . . . . 277

TABLE 2 1 - Pluial Chord Relationships: MAJOR CHORD FAMILIES . . . . . . . . . . . . . . 281

Fourth Structures in Open Positions . . . . . . . . . . . . . . . . .248 TABLE 22 - Fourth Structures Related to Conventional Chord Symbols . . . . . . . . . . . 248 Diatonic Closed 5th Clusters . . . . . . . . . . . . . . . . . . . . . . 2 5 0

B A S I C TECHNIQUE NO. 12 . . . . . . . . . . . . . . . . . . . . . . . 251 Orchestrating Clusters Orchestral Possibilities Applied to Four Part Density . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252 Mixing One, Two Three and Four Part Densities . . . . . . . . 252

Six. Seven and Eight Part Density

TABLE 28 . Pliiral Chord Relationships: MINOR CHORD FAMILIES . . . . . . . . . . . . . . 282 TABLE 29 - MINOR CHORD FAMII-IES (cont.) . .283 Six, Seven antl Eight Part Diatonic Clusters . . . . . . . . . . . .285 Orchestral Possibilities Applied t o Six Seven and Eight Part Density

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. . . . . . . . . . . . . . . . . . .289

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Analysis and Notation of Density and Span of Orchestration . . . . . . . . . . . . . . . . . . . . . . . . . 252

CHAPTER 18:

Ensemble. Section and Mixed Voicing Comhinations

. . . . . . . . .291

BASlC TECHN IQUE NO. 13 . . . . . . . . . . . . . . . . . . . . . . . 258 lnversions of Open Five Part Chords

Section and Combination of Section Voicings . . . . . . . . . . 291 Sources o f Voicings TABLE 30 . . Applied t o Brass . . . . . . . . . . . . . . . . . . . . . . 292 TABLE 31 . Applied t o Saxes, Woodwinds and Rhythm . . . . . . . . . . . . . . . . . 293

. Plurality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 TABLE 23 - Possible lnversions of Open Five Part Chords (by ~ h o r dFamilies) . . . . . . . .259

Mixed Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294 Examples o f Voicings by Section or lnstrurnent Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

CHAPTE R 16:

Five Part Density

. . . . . . . . . . . . . . . . . .256

BASlC TECHNIQUE NO. 14 . . . . . . . . . . . . . . . . . . . . . . .261 Open Five Part Voicings 3rd. 5th and 7ths in the Bottom Voice . . . . . . . . . . . . . . . .263 Roots i n the Melody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263 Special Five Part Voicings . . . . . . . . . . . . . . . . . . . . . . . . . 264 TABLE 24 - Special Five Part Voicing Possibilities (by Chord Family) . . . . . . . . . . . .265 Five Part Diatonic Clusters

. . . . . . . . . . . . . . . . . . . . . . . . 266 .

Examples of Voicings by Combined lnstrument Families . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Examples of Voicings by Combining All lnstrument Families . . . . . . . . . . . . . . . . . . . . . . . . . . . .317 Examples of Voicings by Mixed lnstrument Families . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 . Summary of Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . .341 Analyzation of Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

A WORKING PROCEDURE TO WRlTlNG AN ARRANGEMENT / HOW TO COORDINATE THE INFORMATION I N ARRANGING CONCEPTS TO SPEClFlC MUSICAL STYLES -

CHAPTER 19:

First Considerations . Optional lnstrurnents ...............343

lnstrument Doublings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .343 Optional lnstruments . . . . . . . . . . . . . . . . . . . . . . . . . . . .344 . KeySignatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348 Picking a Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348 Vocal Keys Instrumental Keys . . . . . . . . . . . . . . . . . . . . . . . . . . .349 Modulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .349 Picking a Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .350 . Picking the Time Signature . . . . . . . . . . . . . . . . . . . . . . . . 350 . THE PURPOSE OF THE ARRANGEMENT . . . . . . . . . . .351 Completely Arranged lnstrumentals . . . . . . . . . . . . .351 Instrumental Arrangements Featuring One or More Soloists . . . . . . . . . . . . . . . . . . . . . . . . .352 Vocal Background Arrangements . . . . . . . . . . . . . . . . . . . .352 Arrangements of Extended Compositions . . . . . . . . .353

CHAPTE R 20:

BASlC TECHNIQUE NO. 16 . . . . . . . . . . . . . . . . . . . . . . .373 Free Lead Brass Section Characteristics . . . . . . . . . . . . . . . . . . . . . . .373 Large Brass Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 Added French Horns, Mellophones . . . . . . . . . . . . . .375 Large Saxophone Sections . . . . . . . . . . . . . . . . . . . . . . . . 375 . Large Rhythm Sections . . . . . . . . . . . . . . . . . . . . . . . . . . 375 . Guitars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 . Drums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .375 . Keyboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376 Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376 . The Primary Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376 . TABLE 34 - Treatment of Melody as the Primary Factor . . . . . . . . . . . . . . . . . . 377 . TABLE 35 - Treatment of Melody as the Primary Factor . . . . . . . . . . . . . . . . . . .378 TABLE 36 - Treatment of Accompaniment as the Primary Factor . . . . . . . . . . . . . . . . . . . 379 TABLE 37 - Treatment of Rhythm as the Primary Factor . . . . . . . . . . . . . . . . . . 380 .

Concept and Tieatrnent of the Arrangement . . . . . . . . . . . . . . . .354

What's lmportant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .354 . Forrn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .355 Conventional Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . .355 . New Composite Forms . . . . . . . . . . . . . . . . . . . . . . . . . . .359 . Lead Sheet of NlGHT SONG . . . . . . . . . . . . . . . . . .360 Making An Arrangement Flow . . . . . . . . . . . . . . . . . . . . . 363 . Foreshadowing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363 EMOTIONAL CONTOUR . . . . . . . . . . . . . . . . . . . . . . . . .364 Cornparative Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .366 Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .366 TABLE 32 - Dynamic Markings . . . . . . . . . . . . . . . . .367 Tempo lndications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .368 . TABLE 33 - lndications for Changing Tempos . . . . . . . . . . . . . . . . . . . . . .369 More Thoughts on Voiceleading . . . . . . . . . . . . . . . . . . . . 370 . Logical Phrases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .370 Crossing Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 . 1

CHAPTE R 21 : A Woiking Procedure General Hints

................381

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

From Sketch to Score . . . . . . . . . . . . . . . . . . . . . . . . . . .382 Short Cuts in Scoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . .384 Scoring Styles Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . .385 Phrase. Playing and Articulation Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .385 Numbering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 . More General Hints . . . . . . . . . . . . . . . . . . . . . . . . . .385 Supplies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386 . CHECKLIST TO ORGANIZE A WORKING PROCEDURE . . . . . . . . . . . . . . . . . . . . . . . . .386 Extracting Parts from the Sketch . . . . . . . . . . . . . . . . . . .389 What To Write? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .390

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