illlii!{itllli1:i{Eii*{&ll.t,iiillil:: GEORGE MARTIIV ii!1l:ti!l1ll]lr.j:lli,!l!?l]:1ti:litfii

arnnqer but more imponanly n$ laste 1lranqes from the simplest ol rmr]r]merrs ro a fullblown symphony orcheslra and the specrfic arrol aranqinq for an orchestra rs ol cou6e

so a boy vampDg away a lavourito pLece on amouth orqe is in elleci aransrns that musrcThe very lirnitahon oi the chords on nls jnshument can chanse the hamo es olthe onqi.alanci the arnngement may not rmprove rieoriEnal bur thai F where the detrcate m.(er oltasl-. comes rn At the oter endoltne scale ueco LNlen to Stokowski s aranqemert of Bach s'laccab and Fug]e h D Mino. Oriqiralty destqne.l Lo be played by one penon on lr prpeorgan. the aranEement rnlohes anythLng up loone hundred players and rs rery qran.l rndeed

Qune oten arranqrirg nyolves compositonthe addnq ol lresh naterial to the worl Anobvrous exarnple

's the weli known version ol

.Srrqrrg /n fte nan perlormed by c€n-. KellyThe inhoductron Lo l,hs sonq rmpeccably scoredby lenme Hayton now seems to be a! nteqalparl oi ihe sons indeed one can hardly lii* oithe sonq wrLhout x but rr did nol elst until tienLn was na.le l! 1952 atthoxqh the sonq lvaswntlen many years belore

So hovr do we qo aboLrt vrdrnq an arransemeni? ll we are staiing with a pop song alt weusualiy have is a top line rie tue '- .rd thechords that nake up its hamonies If yox canread and wile nusic so much the belter butalack ol lormal musjc need no1 stop you tommakrnq a lrood arraDqeinenl lor a srnall qroup ol*y bass EurLar electnc gDilar, keyboard anddiLm The chor.ls canbeleamed by the qxxarard keyboard players and the bass pan has tobe desiqned to archor the wnole sound. ln devrsnlr a pan lor the bass jt is rmpo.tanfto fLn.t an

'nlerestinlr Ine that srnqs ]n parinership wxh 1ne

vorce It is nor enouqn merely to iill n the basrcnotes of the chords alt\ouqh tnar wiLt .to to stariwrth Try 10 arxe a ner.r lure on dre bass nottoc.leler or compl.ated bDl one thai walls han.l

'n hand with ine vorce. LFlen ro lic way o,her

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Arranging MusicArranq,rnq's precrselywnal te word suqlrcststhe presentairon ol anonqinal prece oimlsjc in alvay tnal enhances t iesubtecl an.l pleases ihetlsterer The sxccess ol anarran.Jemenl deperrds notonly on tne skrll ol the

The lnck of .leyisin! httle snatch-as ol countermelody

's very useluL h sustarnins ntere$ in the

sonq and the keyboard or the electnc qurtarmay be used for thrs provtde.l rt does not get rnthe lvay of the sors Such ideas should be 6ed6a lrame ior lhepictLrre unobirurvely supporlrn!, the main theme Tle .hurns wrll then lock thewhole into the basic rhytlm but aqarn a qooddrumn'er will look lor opportLxrities to supportthe sorg wrIn the riqht flounsh rvnhout beinq tcoobtrusrve. I always lke to hear the bass drunod the bass qurtar Locked nto a sol.l unilled

there are itrur basLc elemerls 1(r consider naranqinq nelody harmony rhythm.n.l lorn

FormEvery prececf mu'chassonesortolsnape ardthe arranqer s responsrbrllty (as lvell as the producers) is lo ensure thai the shape ftom beqrnnngto end ls satrsiyrnq, creainq nierest at Lhebesinnins bnnqin.r out the best el-.mer1s ol ihesonE and buildinq l]re rnlerest riqht up to the

The early records I prodxced with TheBeatles show ananglnq atrtsmostbasrc Wher ilnst head Can I Buy Me l,oye, for erample thesons vas the straLshtloiward verse and chorus IlllouEhtan ntrodxchonwas needed s I look thef,rst line of l]le chons, repeated the last wordtwrce and chanqed ue harmon'es and starteilwith that before lettjnq rip on the lerse TheLeng th was drctated by the average tme thal theeverpowerlul disctockeys I'kedlherrecordstobe - belweer 2]/ and 3 rnnules Aier the lirststatement olthe song a chanqe a'as desllablehence Georqe s qntar soio then ba.k io thechorN once more ald exrt the way 1ve beganwltha resiatementolthe intoductior One coxldhadly have a simpler ararqene.t ftrs F a hrcryAomihe conplexttresof classrcalsonala forl1]or elenlaier rorh

'n tle fock n rcll idrom but rt

seryes to illustrate the importance ol the shape ol

MelodyNo amouni of arangng ls qoin! to ium a sowse.r rrlo asilkpurse and ihe b6src tune ol a preceis oblroxsly the most rmportant tosether wiilthe lyri.al contenl if iI is a sonq The ara.gerI'lrust never forqei that ..d all other parts ol th-.arG.qemenl must sene as a hane There rsotten rcom howeler lor oth-.r lines and t]le

;g!ei!&*&l{iiis#tr9&A*#ft ge*lir6$&tii1i;$S&s*i&*.i;f} ARRANGTNG Musrc

:tever ananqer mtl look Lo tne effective use ol:ounter melodres eiL\er onvoice o. instrumenlsirnq the basic melody as a springboard Buriqain s'mphcjty is Ue keynol-. I do nol belieleiat the humar eaf is capable olenjoyinE morefd ttro - poss'bly 1tuee at a sherch tires of:elody at the sane time lt used io be lashron:ble in Bach's time to have lour or nve tunes altreavrnq aroun.l rn a luqxe bxl frankly n makesistemnq haid work Mate a nle to concentratern crealng tust one counter melody a really:ood design 10 run alonq wilh lne tue It jsr$nsrng how Lt nlls up lhe sound Listen io the..vo lrnes ol stinss on Dmond Dlsl fton lefla.cks BIaw by BIaw albt)m ard you will seer:hat I nean Ttere are jEt two tunes rm ns:.!:teL\er, wrih a sliqh inlerval rn time ar.l it isrbvrous thaL ary more soud would be overkillluite often tt is not recessary 10 compose a new:re to fit the onqrnal as a pai of the onqinat wu..metimes sene as a counte4ornt to arotheflan ol the lune tlearor ,lrgly contains an:xample AL theendolthe song loaddrnieresr l

'as able to use as a coulerpoinr a iine from the

lndqe Oh look at all lne lonely people'rLlmns panllel to the suns Ine AII the lonelyleople where do lhey all colne lrorn Anotherreirl rdea tom Mr lachrstotakeapieceofthe_de and turn n back 1o torl or xpside down orrse it in haU or double tlme. \ rher x came toCevrsinq a solo lor,Now,4ere Me the Ine was.orcerved by tuminq the basrc tune upsidelown, gorng down where the origr,ral went updd s on but obviously choosinq

'ntenals L\at

natched the hamo es Ald emetimes a complete revenal of a lune works. At the end olnaJn,John s voice lrack ws lfted offard tuned backio tont. Apan lrom the shock novelty ol thebackDard words it did mate a lery qood new

Harmonylehind the cleaily defined iine olthe nelodywehave the background wash ol the harmony lnprcLure terms I thLnli ol this as a coiou wasiillinq out the sharc oulllne ol a dnwrnq In asnali combrnatLon the harmony is p.olrded byihe keyboards or ine qulars or olcourse backinq vorces and h larse ensembles anythinggoes irom woodmncls b|ass, homs or stings 1ochoral and synthesrzer sounds If more thar onernstrumert or voice is providin!:r Lhe harmonr x4 rmpo ant to make sure rhe regisLer ol theclord is nqht ard varied between the instruments. ]l the quitar is p]aying chods n a lorareqlsler, make sure the piano is not dornq thesame (unless you are anmng lor a thrck ard

Lurqr.l sourd) an.l ol.ourse dovarytherextuethroughoul the work cire rhe ptayels somethingmlereshns 1.' do Mosr chords tn poEutar musrcconssr ol only tnree no(es wirh added sjxL\s orsevenlls or diminished chods requiring onemoJe but a lot ofbeqnners forqet low rmporrantrs |he rnversron o1 tr\ose noles _ which not-a is r.

. be Ue lowesr Sometjmes the onqinal chods in asong can be chanqe.l upda1e.1 10 sive a newea our uEnqers are warned lley slrck therneck oul every irme they lamper with the ori!.rrnal narmontc stncture Nine times out olten theoillinal chords are besr atihouqh ot cous-ather,. nare been billianr elamptes of mvenrLrechanqes List-an to Klaus Ncmis versicn olFallns ln Lov-. Agajn

Rh}1hmRhlthm

's the punctuatjon ol the sonll P,hyttrm

and iempo set ine mood ol m6rc more teltinslythan anyl,\nq else 6nd ilyou ger n Monq alt theother rrghts won't make uri lor jl In ttre daysbeJore rock n rcll the rhythm instrunenls rn aband were leli nther ilan heard and tt wae tuntrl the 1950s rnat the heary back beat laid astlonq emphasE on rhythm fashions cor,,re ardqo ton tle syn.opared Latin beal ot bossa novato the tour n the bar bass dj.m of dlsco andthere N still a qreat deal olrcom for irventileness n rhythms. The Bitish band Tie potrcehave shown how compellinq is the use ot wesrlnd'an rhythms qivinq qreat conrrast to thercqnlar rock 'n roll on beal oli beat pattem Nor$ Lr necessary ro nave .tnms to provide thernythrn Comblnalions ol instuments can beusecl to gLve a pulse to the music most effectivelyBur this j! where we beqn to merlre arranqrnq

OrcheslrationOnce an arranqer arms at Lrsnq rnslments thaiare not panolhrsromalqroup whrchhe cannorconhol or rchearse, n is aLnosi essertLal for hrmto be abl€ to rcad and wnie musrc Obviouslythe more he knowsaboui inshumerls the beLterhe mli be at wrhnq lor them and I advEe anywould be alranqer 10 be as inqursitive as possrbl-6 aith other instrumentalEls Most mNrciansa.e pleaseci to lalk about therr instrun.nl ardsuggest or the way rt should be score.l

SlringsIt is well known that a prano pai iswrilrenor twostaves wtth a bN clel for lhe left hard and atreble clef lor the nqht. Writinlr lbr shrnqs inrociuces a new clel whrchindrcates ile posrrron torthe vrola p.d. The clei srLs on Middle C whr.h rs

79

ihe middle lne oI thF srd a so Fuecnrelv rr rs ahdlf"Ey housF betueen rhe bdjs.nd rrebte

clels. By tndition a shnq orchesha rs .trvrde.into pais firsl vrotrn second viotrn vtot.scelosand trasses (although qurte otten the bnsqparl rs a duplcare ol the celo) I beiiele thar dyou can wrrte weu tor a sting quaiet vou wju,rane well for an orcnesra lor workns wxtr aqwrer teacltes yoLl io space the jnsinmentsprope y and to Ee their sounds economicautr ltl am aootnqr a slrn!,1 btankel to an elslinorhyhm track or wrrhng a strinq score to cany il;lor.e rne prl.c pl€s arF j6r rtre s.rfe ThLlkD lor tue

-rlrnq qu.nFr. I rrr/ ro qrve each s-A.r.n

only one line to ptay no,dirisi lrritin!,r unless xrs aDsolxtely necessary and I trke to place ltrepdrfs wrfi. \rood distaf.e bettrean them DarI cut . r ly in the loaFl se. ! .s t j rs rLk! ro; r r :bunched chord suct as one woLld ptay o; theprano wrth ones teft hand on ro rhe celo andvrola lrnes i( would usualty soLnd very riick and

. Tlre ldnqF< ot rll tte sltnq ]rsrnnre.rr oL errap conrcleL,rbly In rhp r.rddte 1-.ljei tr rsorrncutt ro drsirn.usl betv,Fen cetto dn.t rotibre\ample bu ie oold lr rs d hrst-/er rone ThFvronn or coxrs-c. can reach lery hrqh noles buipemonally I find them screechy and rhin untess

An aranser shoutd at.rays bear nr nird rhenumber ol play-ars ava abte tor the score. and

Tug otwai j r rde ta r . r rhc rut . .o.e oi!€.rgev. ' rn s o \ e r i I ! b d r a n q e. . .1 Frar l .d. l r l jo i l resrotusho/ n.rpdrr . rof \or e s oolr ; ndl .o.rrdbasso!nl bfd\ . i .or .s dnd l rnqsLrrsr . r .L jseLondi o.r v. l i r . . tosrfndlubra bT e l80

1:,:.r1iit;1;i*lt9:1r:Sar{l!6i*g*}i.rt'!'ritt!i;*$i{iid! ARRANGING MUStc

LJ",1 ";"'.;;,.";,1; :"", :ff ".,;.;";mt :ih: ir j;". " "':i,ffi ": i{,,,:] " ;,;i'::i ;-? i :b:'t'":", "ii[x' ff fi iir":": *sii:ff*[i"r":Iff i}]Ffl f;.:rr""r*s*+:;:!",',+,rif, ;T:F.:hi{ .i#ifl'""i"f^t:)?":;Tm;*.ll*:*:ffi ?ltilT:+li"l'{}:ff li{{,irT3r#:+i'["i{f,+j.;;':::,i,l*r*,t*lBIass

et*.qe**W5,p*.wl;';:+ffiSaxophones

f+,*t'!##lJ;,sruitllilnq,i:*'l*klqi*T;f.i-li+;,*ifr $;';Tni::""'ffi *:-fh*ili

'fte wDilen compass isIn ihe

-ct.ssicat orcnesrra mostolrhe brdss rcrk

:{iT.:{i",,i+Hiit?il*$irl,','l-#ffji$;"f #$Hrx++r#ll;f,tn:Trumpets

f***Hfrtr{:Ff$ffi##i[#Jl"".""ffi ?:"i*#[{'l.iil#'**T$fri*Ii-i,ffi*';+;ptt*+-ffifl 'flk,;ij;F:,'fi ;,'*i{:iu,ig**82

;.r^i:i:*'5;"1 H: ::x ::.t** l*:l:

trNffim*g,tr

I

F ie$e$#W**S$t*8**s&gi'ii*ffi{gd{$s$ii.!6tsffis ARRANG]NGMUSIC

[-E: CLayrng m umson or octaves, only nre]y

Foodwind::: xoodwind equivalent ol lhe sting quarret

-::Esolbassoor clarinel oboe and ltute and

- r : :i each foms ihe slandard orchestrat wood

-..:tr sectron. Holrever urlke srrmqs these

=-rents do nol merqe completely into each::::r md althouqh they blend wel one stil:*.-j each one

's a soloist lonqinq to shine lhe

::::clarjnet the only trasposing inshumerl in

- lEoup was the marn one to break out ol the

1-<'cal moul.l and there are I]@y fine record:- ol lhe use ol l]le cldrnel h jaz To a tesser::jree las the llute iel ns hair down ancl ile::r: and bassoon scarcely ever at a1t They arer retul colours rn the paletie of rhe orches:::rr but they need to be used with care.

:ndqing the qap with the brass section are rhei::!chhoms Ttns rs a.ljlficult rnstrument to ptay:-=,,rly well as a great many ofrrs nores have ro bef id by 'I'ppirq" Ether than mrh the kets lnI:rz t s time hons wiL\out keys were ihe rhrns,

-l like bugles, all the notes had to be toxnd by

i::6tins the enbouchure or trp pressue The::3nch hom is an rnstmment capable of inqht::lnq ntensity or equally soullul qenrte soundsl: :an nerqe well and suppon the cetio tine, Jiit inTo es rn Lhe middle reqister or play tine

-ros in the low ranqe ola trumpel It has a vasl

,:!an ol over three octares soundinq Jiom

J

:no good playels canreachbeyond thls ranoe:€mg h ure Key ol F atl xs notes are wifie; .:i-\ hiqher. Consequenuy the lrebte ctefrs com-:only used On the Bealte rrack fo.Aro o.ei:.lly a Pdul Mcc hey rrdcl,- Ienrtrartredma.llr ro pl.y tie holl] soto dnd hF re.ched hrs:Iqh D with apparenr beaulrtul ease so mxch so.nal rt sounds ellortes In huth ir ms mosl difflnlt to play reatly wel. fte tEterer ro thisrecordaay hear h1n play an apparent E flat soundrnoAflat as his top note. I hale lo contess we speAne lape up by a smrrone lo qe he desired

There rs a great arsenal ol weapons nr rtr-apercussLon armoury an.l an orcheslraror can useLhem wlth sreat ellect The nnqe 6 menrionedelsewhere rn this book tom the hulre qrandcassa or symphomc bass drum throuoh thehjned pedal Iympei (whose nore car be ;an-a.l

even alter they are shuck) to L\e upper rcqronsof hard crmbals and tamboLrnnes In the worldof popular music anything thar makes a qoodsouncl when slrxck is usetul and mey rs the timeI have pui to eflecljve use a teather coveredpiano stool which qives a very satjstactory soundwhen struck with L\e palm ot ihe ]rand SouthAmenca and ,Anica are a qreat souce ot urusualpercussron ilrshumenls the consa druns andbonqos srving coloutul sounds. An orchesllarorw'll find mdy percussior soDds usetul in combrnation wnh oter ltrtnmenis for they can sivea h&der edge to rhe sound. Parljculany effectivers Lhe mr{ule ol loud staccato brass ed rfto-phone the chippy sound of the percussionaddng a bitrnq clarity to the atrack ot the brass

There are so many percussior inslnments 10play wiL\ that the orcheslrator musr expenmentlor hl,nsell and note the rnosr arhactjve soudsthai he hea6 .)n records

Keyboard instnmentsThe ranqe ol keyboard insl menrs has developed tremendously rn recent years. Whrteonly a lew years ago one was trmted to theconvenhonal prano, electnc piano Hammondorgan and celeste nowadays there rs a vasLlanqe ol synihesrzers and hybid praros (such asthe Yanaha electric piano) which qrve ar Dl imited lonal ranEe lndeed a would beorchestralor coutd proitably study rhe Enge olkeyboard nstrumenls lor a lonq rjme and stitl notcover the tull nnqe.

One should, however learn rhepossrbitities olLhe basic keyboards tnorouqhly betore ventums into the junqle ol synthetic somds A conventronal plano 6 capable of anazrnq lonaldiffereirces accordinq ro how tt E ptayed ardrecor.lect and the veBarile Fender Rhodeselectric piano rs uselul lor provjdrnq anythinstrom a biqht chppy soLrnd ro a dreamy stereo

Advice for beginnercThe essence of arrar!:rins and orchestGtinlr Ftusl havinq the necessary vrvrd tmaqinarron ioknow what kn.l ol sound you wanl to achreveand then hannq the inqenujty and e1perience toknow ho,n, to achieve rt

I you xse conventional c]assicai inshumerlsyou must learn how to wnte lor them and wheturng more unDsual souds you must enher kowhow to obtam these sounds yoursetf or else beable to commxmcate clearly with the pedormer

Never have we had such a vasr ranqe otcolours rn ou mxsrcal palelLe. rlu the nore impoianr to be able to paint wilh taste a

83