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Arranging by Examples ∑ C Œ# Œ Œ Œ Œ œ. nœ œ œ œ œ. ∑ c œ œ œ œ œ. ∑ c œnœ œ œ œ œ. œ œ œ œ ˙ œ œ œ#œ œ œ œ c ˙ œ# œ œ œ œ. ∑ c f œ. ∑ c œ œ œ œ af 2 Arranging by Examples ∑ c œ# œ œ œ œ. Œ c The Practical Guide to ˙n ˙ Œ ˙b˙ c ˙ Jazz and Pop Orchestra Arranging f Œ ˙ c ˙ f Third Edition Œ c INCOMPLETE DEMO VERSION f ˙ œ œ ˙n ˙ Order the full version E-book from the webstore. œ œ c œ œ ˙ c ˙ œ œ œ# œ n˙. c ˙ œ ˙ ˙ . Frans Absil œ œ œ œ œ# ˙. c ˙ ˙b . ˙ ˙. ˙ c ˙b˙. c ˙ ∑ c ∑ c c . ˙b 13/ 11 œ 13/ 11 œ E 7 # E 7 # œ b b œ œ œ# œ ˙. c | œ œ nœ œ nœ œ œ. œ œ œ œ œ œ œn œ œ c n œ œ œ œ œ œ œ œb ∑ c Œ ˙b c Œ œb y y y y y y y Y c æ Œ ˙ c œ œ æ Suspendedæ˙ cymbalæ f c ∑ f æ n˙ œ. œ n˙ c œn œ œ œ 14 Colophon This e-book is a practical guide to arranging for jazz and popular music orches- tra. This document has been created with the public domain LATEX computer type- setting program. Diagrams were created using the LATEX picture environ- ment and the PSTricks package. Musical examples were created using the MakeMusic Finale music notation software. Score examples were imported into the document as Encapsulated Postscript (EPS) files, using the graphicx package. All photographs by the author. The navigation links (printed in blue) in the Adobe Acrobat Reader file (the pdf-file) were created using the hyperref package from the LATEX distribu- tion. Free demo/trial version: This incomplete demo/trial version e-book is offered free of charge. Order and buy the full version of this music analysis E-book at: https://www.fransabsil.nl/htm/arrbook.htm Arranging by Examples: The Practical Guide to Jazz and Pop Orchestra Arranging, Third Edition, Frans Absil c 2005-2016 F.G.J. Absil, the Netherlands. URL Website: http://www.fransabsil.nl All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without prior permission in writing from the Author. ii INCOMPLETEDEMOVERSION-PERSONALUSEONLY Contents List of Figures vii List of Tables xi Preface xiii I Preparations 1 1 Introduction 3 1.1 Whatyouwillfindinthisbook. 3 1.1.1 ArrangingTechniques . 3 1.1.2 Theapproach: examplesdiscussedindetail . ....... 4 1.1.3 Notationinthebook ..... ..... ...... ...... ..... .. 4 1.1.4 Assemblingthearrangement . 5 1.2 Whatyouwillnotfindinthisbook . 5 1.2.1 NoMIDIfilesavailable. 5 1.3 Readytogethandsdirty? . ... 7 2 Instrumentation 9 2.1 Therangeofmusicalinstruments . ..... 9 2.2 Instrumentgroups ................................ 9 2.3 Orchestrasectionsandbalance . ...... 13 2.3.1 Rhythmsection ................................ 13 2.3.2 Saxophones .................................. 14 2.3.3 Woodwinds .................................. 17 2.3.4 Brass ...................................... 20 2.3.5 Strings ..................................... 22 2.3.6 Percussion ................................... 26 2.3.7 Unfamiliaracousticinstruments . ..... 27 2.3.8 Electronicinstruments . ... 29 2.4 Thescore........................................ 30 2.4.1 Verticalstafforder . 31 2.4.2 Variousformsofthescore . 34 2.4.3 Optimizethescoreforperformance . .... 34 2.5 Conclusion ...................................... 36 iii CONTENTS II Techniques 37 3 Sectional harmony in four parts 39 3.1 Basicrules...................................... 39 3.2 Leadwithchordaltones . ...... ..... ...... ...... .... ... 41 3.2.1 Thedangerofrepeatednotes . 41 3.2.2 Preventrepeatednotes . 42 3.3 Harmonizingnon-chordaltones . ..... 44 3.3.1 Diminishedandsecondarydominantchords . ..... 44 3.3.2 Rhythmicaspects ............................... 45 3.3.3 Leadingtonechords ..... ..... ...... ...... ..... .. 47 3.3.4 Substitutechords . ...... ..... ...... ...... ..... 48 3.3.5 Exactparallelchords . 51 3.3.6 Connectingminor7thchords . 53 3.3.7 Subdominantchords . 56 3.4 Extensionstofour-partsectionalharmony . ......... 58 3.4.1 Sequenceofsimilarstructures. ..... 58 3.4.2 Sequencesofdiatonicparallelstructures . ......... 58 3.4.3 The‘drop2’voicing ............................. 60 3.4.4 Repeatednotes ................................ 64 3.4.5 Extendedandaltereddominantchords . .... 68 4 Sectional harmony in five parts 75 4.1 Extendedfour-partsectionalharmony . ........ 75 4.2 Sectionalharmonyin4ths . .... 79 5 Ensemble techniques 87 5.1 Fundamentalaspects... ...... ..... ...... ...... .... ... 87 5.2 Four-partensembletechnique . ..... 88 5.2.1 Fullbigband ................................. 90 5.2.2 Reducedbigband............................... 92 5.2.3 Intermediatesizeband . 95 5.2.4 Combiningtrombonesandsaxophones . ... 96 5.3 Brassvoicingforextendedchords . ...... 98 5.3.1 Dominantseventhbitonalvoicings . ..... 99 5.4 Percussivevoicing ............................... ... 101 5.4.1 Examplesofpercussivebrassvoicings . ...... 101 5.4.2 Examplesofensemblevoicings . ... 106 5.5 Tuttivoicings for concert band and studio orchestra . ............ 111 6 Special techniques 113 6.1 Bellchords...................................... 113 6.2 Harmonization with symmetrically distributed roots . ............ 115 6.3 Intermediateleadingtoneharmonization . ......... 120 6.4 Chromaticstepwisemotion . .... 122 6.5 Diatonicandexactparallelchordmotion . ........ 124 6.6 Variabledensity................................. ... 128 iv INCOMPLETEDEMOVERSION-PERSONALUSEONLY CONTENTS 6.7 Pedalpoint ...................................... 129 6.8 Classicalmusictechniques . ..... 131 7 Woodwind voicing 135 7.1 Voicing multiple instrument groups in a woodwind section .......... 135 7.2 Homogeneous and heterogeneous woodwind combinations . ......... 138 7.3 Woodwindvoicingexamples . ... 141 8 String section voicing 145 8.1 Thesizeofthestringsectioninanorchestra . ......... 145 8.2 Unisonostrings.................................. 147 8.3 Sustainedharmonicbackgrounds . ..... 151 8.4 Createmotioninthestringparts . ...... 153 8.5 Exactparallelvoicing .. ...... ..... ...... ...... ... .... 156 8.6 Specialplayingtechniques . ..... 158 8.6.1 Pizzicato .................................... 158 8.6.2 Tremolobowing................................ 160 8.6.3 Divisiplaying ................................. 160 8.6.4 Bowingnearthebridgeandonthefingerboard. .... 162 8.6.5 Multiplestops................................. 162 8.7 Smallstringgroups............................... ... 164 9 Melody 169 9.1 Motioninmelodies................................. 169 9.1.1 Typesofmotion................................ 170 9.1.2 Melodydirectionaxes . 172 9.1.3 Melodiccurve................................. 172 9.2 Typesofmelodies................................. 174 9.3 Examplesofmelodytypes. ... 174 III Assembling the Piece 179 10 Musical forms in jazz and pop music 181 10.1 Thebuildingblocks .............................. ... 181 10.1.1 The32-measureAABAsongform . 181 10.1.2Thebluesform ................................ 182 10.1.3Theverse-chorusform . 184 10.1.4Folkandworldmusic . 184 10.1.5 Additionalformalelements . .... 186 10.2 Thefullpiece ................................... 187 10.2.1Longerforms ................................. 187 10.3 Musicalstyle .................................... 189 10.4 Moveontoarranging ............................... 190 INCOMPLETEDEMOVERSION-PERSONALUSEONLY v CONTENTS 11 The arrangement 193 11.1 Creatingatensioncurve . ..... 193 11.2 Usingthetoolbox................................ ... 195 11.2.1Combineelements ...... ..... ...... ...... ..... .. 197 11.2.2Crossingborders . 205 11.2.3Startandstop ................................. 209 11.2.4 Contrastingbridgeandtransition. ....... 218 11.3 Specialchoruses ................................ ... 220 11.4 Notatethedetails............................... .... 222 12 On a finalnote 225 Bibliography 227 Index 231 vi INCOMPLETEDEMOVERSION-PERSONALUSEONLY List of Figures 2.1 Rangeofmusicalinstruments . .... 10 2.2 Theinstrumentgroupsinanensemble . ..... 11 2.3 Various familiar instrumental ensembles . ......... 11 2.4 Jazzbigbandtuttivoicing . .... 15 2.5 Jazzbigbandspecialchorusforsaxophones . ........ 15 2.6 Woodwindvoicingandinternaldissonance . ....... 18 2.7 Woodwindvoicingsinconcertbandarrangement . ....... 19 2.8 Thestringsectioninclassicalmusicstyle. .......... 24 2.9 Thestringsectionincontemporarystyle . ........ 25 2.10 Thefrequencyspectrumof(electronic)sounds . .......... 30 2.11 Filteringof(electronic)sounds. ......... 30 2.12 Theamplitudeenvelopeof(electronic)sounds . .......... 31 2.13 Verticalstafforderinthefullscore . ......... 32 2.14 Fullscorestafforder. ..... 33 3.1 Examples of chord structures in four-part sectional harmony ......... 41 3.2 Chordaltonesin lead,straightforwardprocedure. ........... 42 3.3 Chordal tones in lead, application of secondary dominant chord structure. 43 3.4 Non-chordal tonesin lead, application of secondarydominant chord structure. 45 3.5 Non-chordaltonesinlead,syncopatedrhythm. ......... 46 3.6 Harmonization of non-chordal tones in the lead using leading tone chords. 48 3.7 Crossrelationbetweenloweranduppervoice. ........ 48 3.8 Thedefinitionofasubstitutechord.. ...... 49 3.9 Alternative harmonization of non-chordal tones in the lead using substitute chords. ........................................ 49 3.10 Harmonization of non-chordal tones using substitute chords.. 50 3.11 Harmonization of non-chordal tones in the lead using exact parallel chords. 51 3.12 Harmonization of non-chordal tones using exact parallelchords.. 52 3.13 Lead voice with diatonic 6 − 7 stepwisemotion(case1). 53 3.14 Lead voice with diatonic 6 − 7 stepwisemotion(case2). 54 3.15
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