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

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Arranging Music
A rra n q ,rn q ' s p re c rs e l y
wnal te word suqlrcsts
t h e p re s e n ta i ro no l a n
onqinalpreceoimlsjc in a
l v a y tn a l e n h a n c e s ti e
subtecl an.l pleases ihe
tlsterer The sxccessol an
arran.Jemenl
deperrdsnot
only on tne skrll ol the
arnnqer but more imponanly n$ laste 1l
ranqes from the simplest ol rmr]r]merrs ro a full
blown symphonyorcheslra and the specrficarr
ol aranqinq for an orchestra rs ol cou6e
so a boy vampDgawaya lavouritopLeceon a
mouth orqe is in elleci aransrns that musrc
The very lirnitahonoi the chords on nls jnshu
ment can chansethe hamo es olthe onqi.al
anci the arnngement may not rmprove rie
oriEnal bur thai F where the detrcatem.(er ol
tasl-.comesrn At the oter endoltne scaleue
co LNlento Stokowskis aranqemert of Bachs
'laccab and Fug]e h D Mino. Oriqiralty de
stqne.l Lo be played by one penon on lr prpe
organ.the aranEementrnlohes anythLng
up lo
one hundredplayers and rsrery qran.lrndeed
Qune oten arranqrirgnyolves compositon
the addnq ol lresh naterial to the worl An
obvrousexarnple the weli known version ol
.Srrqrrg /n fte nan's perlormed by cn-. Kelly
The inhoductronLol,hssonq rmpeccablyscored
by lenme Hayton now seemsto be a! nteqal
parl oi ihe sons indeed one can hardly lii* oi
the sonq wrLhoutx but rr did nol elst until tie
nLn was na.le l! 1952atthoxqhthe sonq lvas
wntlen many years belore
So hovr do we qo aboLrtvrdrnq an arranse
meni?ll we are staiing with a pop song alt we
usualiyhave is a top line rie tue '- .rd the
chords that nake up its hamonies If yox can
read and wile nusic so much the belter buta
lack ol lormal musjc need no1 stop you tom
makrnqa lroodarraDqeinenl
lor a srnallqroupol
*y bass EurLarelectnc gDilar,keyboard and
diLm The chor.lscanbeleamed by the qxxar
ard keyboardplayers and the basspan has to
be desiqnedto archor the wnole sound.ln de
vrsnlr a pan lor the bassjt is rmpo.tanfto fLn.tan
Ine thatsrnqs]n parinershipwxh 1ne
'nlerestinlr
vorce
It is nor enouqnmerely to iill n the basrc
notesof the chords alt\ouqh tnarwiLt.to to stari
wrth Try 10arxe a ner.rlure on drebass nottoc
.leler or compl.ated bDl one thai walls han.l
hand with ine vorce.LFlen ro lic way o,her
'n
78

The lnck of .leyisin! httle snatch-asol counter


melody very useluLh sustarnins
ntere$ in the
's the keyboard or the electnc qurtar
sonq and
may be usedfor thrs provtde.lrt doesnot get rn
the lvay of the sors Suchideasshouldbe 6ed
6a lrameior lhepictLrreunobirurvely supporl
rn!, the main theme Tle .hurns wrll then lock the
whole into the basic rhytlm but aqarna qood
drumn'er will look lor opportLxrities
to support
the sorg wrIn the riqht flounsh rvnhoutbeinq tco
obtrusrve.I alwayslke to hear the bass drun
od the bass qurtar Locked nto a sol.l unilled
there are itrur basLcelemerls 1(rconsidern
aranqinq nelody harmony rhythm.n.l lorn

Form
Everyprececfmu'chassonesortolsnape ard
(aslvell as the pro
the arranqers responsrbrllty
ducers) is lo ensurethai the shapeftom beqrn
nngto end ls satrsiyrnq,
creainq nierest at Lhe
besinnins bnnqin.rout the bestel-.mer1sol ihe
sonEand buildinq l]re rnlerestriqht up to the
The early records I prodxced with The
BeatlesshowananglnqatrtsmostbasrcWher i
lnst head Can I Buy Me l,oye, for erample the
sons vas the straLshtloiward verse and chorus I
lllouEhtanntrodxchonwasneeded s I look the
f,rst line of l]le chons, repeated the last word
twrce and chanqedue harmon'esand starteil
with that before lettjnq rip on the lerse The
Length was drctated by the average tme thal the
everpowerluldisctockeysI'kedlherrecordsto
be - belweer 2]/ and 3 rnnules Aier the lirst
statementolthe songa chanqea'asdesllable
hence Georqes qntar soio then ba.k io the
chorN once more ald exrt the way 1vebegan
wltha resiatementoltheintoductior Onecoxld
hadly havea simplerararqene.t ftrs F a hr
cryAomihe conplexttresofclassrcalsonala
forl1]
or elenlaier rorh
tle fock n rcll idrom but rt
seryestoillustratethe
'n importanceol theshapeol
Melody
No amouniof arangng ls qoin! to ium a sows
e.r rrlo asilkpurse andihe b6srctuneol a prece
is oblroxsly the most rmportant tosether wiil
the lyri.al contenlif iI is a sonq The ara.ger
I'lrustnever forqei that ..d all otherpartsol th-.
arG.qemenl must sene as a hane There rs
otten rcom howeler lor oth-.r lines and t]le

;g!ei!&*&l{iiis#tr9&A*#ftge*lir6$&tii1i;$S&s*i&*.i;f} ARRANGTNG
Musrc
:tever ananqer mtl look Lotne effectiveuse ol
:ountermelodreseiL\eronvoiceo. instrumenls
irnq the basic melody as a springboard Bur
iqain s'mphcjty is Ue keynol-. I do nol beliele
iat the humar eaf is capableolenjoyinEmore
fd ttro - poss'bly1tueeat a sherch tires of
:elody at the sane time lt used io be lashron
:ble in Bach'stime to havelour or nve tunesalt
reavrnq aroun.l rn a luqxe bxl frankly n makes
istemnq haid work Mate a nle to concentrate
rn crealng tust one counter melody a really
:ood design 10 run alonq wilh lne tue It js
r$nsrng how Ltnlls up lhe sound Listenio the
..vo lrnes ol stinss on Dmond Dlsl fton lefl
a.cks BIaw by BIaw albt)m ard you will see
r:hat I nean Ttere are jEt two tunes rm ns
:.!:teL\er, wrih a sliqh inlerval rn time ar.l it is
rbvrous thaLary more soud would be overkill
luite often tt is not recessary 10compose a new
:re to fit the onqrnal as a pai of the onqinat wu
..metimes sene as a counte4ornt to arothef
lan ol the lune tlearor ,lrgly contains an
:xample ALtheendolthe song loaddrnieresr l
able to use as a coulerpoinr a iine from the
'as
lndqe
Oh look at all lne lonely people'
rLlmns panllel to the suns Ine AII the lonely
leople where do lhey all colne lrorn Another
reirl rdeatom Mr lachrstotakeapieceofthe
_de and turn n back 1otorl or xpside
down or
rse it in haU or double tlme. \ rher x came to
Cevrsinq a solo lor,Now,4ere Me the Ine was
.orcerved by tuminq the basrc tune upside
lown, gorng down where the origr,ral went up
dd s on but obviouslychoosinq
L\at
natched the hamo es Ald emetimes
'ntenals
a com
plete revenal of a lune works. At the end olnaJn,
Johns voice lrack ws lfted offard tuned back
io tont. Apan lrom the shock novelty ol the
backDard words it did mate a lery qood new

Lurqr.lsourd) an.l ol.ourse dovarytherextue


throughoul the work cire rhe ptayels something
mlereshns1.'do Mosrchordstn poEutarmusrc
conssr ol only tnree no(es wirh added sjxL\s or
sevenlls or diminishedchods requiring one
moJe but a lot ofbeqnners forqetlow rmporrant
rs |he rnversrono1tr\ose noles _ which not-ais r.
theonqinalchods in a
. be Ue lowesr Sometjmes
song can be chanqe.l upda1e.110 sive a new
ea our uEnqers are warned lley slrck ther
neck oul every irme they lamper with the ori!.rr
nal narmontcstncture Nine timesout olten the
oillinal chords are besr atihouqhot cous-a
ther,.nare been billianr elamptesof mvenrLre
chanqes List-an to Klaus Ncmis versicn ol
Fallns ln Lov-. Agajn
Rh}1hm
Rhlthm
the punctuatjon ol the sonll P,hyttrm
's set ine moodol m6rc more teltinsly
and iempo
thananyl,\nq else 6nd ilyou ger n Monq alt the
other rrghts won't make uri lor jl In ttre days
beJorerock n rcll the rhythm instrunenlsrn a
band were leli nther ilan heard and tt wae t
untrlthe 1950srnat the heary back beat laid a
stlonq emphasE on rhythm fashions cor,,reard
qo ton tle syn.oparedLatinbeal ot bossanova
to the tour n the bar bass dj.m of dlsco and
there N still a qreat deal olrcom for irventile
ness n rhythms. The Bitish band Tie potrce
have shown how compellinq is the use ot wesr
lnd'an rhythms qivinq qreat conrrast to the
rcqnlar rock 'n roll on beal oli beat pattem Nor
$ Lr necessaryro nave .tnms to provide the
rnythrn Comblnalionsol instuments can be
useclto gLvea pulse to the music mosteffectively
Burthis j! where we beqn to merlre arranqrnq

Orcheslration
Once an arranqerarmsat Lrsnqrnslments thai
Harmony
are not panolhrsromalqroup whrchhecannor
lehind the cleaily definediine olthe nelodywe conhol or rchearse, n is aLnosi essertLalfor hrm
have the backgroundwash ol the harmony ln to be abl to rcad and wnie musrc Obviously
prcLure terms I thLnli ol this as a coiou wasi
the more he knowsabouiinshumerlsthe beLter
illinq out the sharc oulllne ol a dnwrnq In a he mli be at wrhnq lor them and I advEe any
snali combrnatLon
the harmonyis p.olrded by would be alranqer 10be as inqursitiveas pos
ihe keyboardsor ine qulars or olcourse back
srbl-6aith otherinstrumentalElsMostmNrcians
inq vorces and h larse ensemblesanything a.e pleasecito lalk about therr instrun.nl ard
goesirom woodmnclsb|ass,homs or stings 1o suggestor the way rt shouldbe score.l
choral and synthesrzersounds If more thar one
rnstrumertor voice is providin!:rLheharmonr x Slrings
4 rmpo ant to make sure rhe regisLerol the It is well knownthata pranopai iswrilrenor two
clord is nqht ard varied between the instru staves wtth a bN clel for lhe left hard and a
ments. ]l the quitar is p]aying chods n a lora treble clef lor the nqht. Writinlr lbr shrnqs inro
reqlsler,make sure the piano is not dornq the ciucesa new clel whrchindrcates
ile posrrron
tor
same (unlessyou are anmng lor a thrck ard the vrolap.d. The clei srLs
on Middle C whr.h rs
79

ihe middle lne oI thFsrd a so Fuecnrelvrr rs a


hdlf"Ey housF betueen rhe bdjs.nd rrebte
clels. By tndition a shnq orchesha rs .trvrde.i
nto pais
firsl vrotrn second viotrn vtot.s
celosand trasses(althoughqurteottenthe bnsq
parl rs a duplcare ol the celo) I beiiele thar
d
you can wrrte weu tor a sting quaiet
vou wju
,rane well for an orcnesra lor workns
wxtr a
qwrer teacltesyoLl io space the jnsinments
prope y and to Ee theirsoundseconomicautrlt
l am aootnqra slrn!,1 btankel to an elslino
rhyhm track or wrrhng a strinq score to cany il;
lor.e rneprl.c pls arF j6r rtres.rfe ThLlkD
l
or tue
qu.nFr. I rrr/ ro qrve each s-A.r.n
-rlrnq
only one line to ptay no,dirisi lrritin!,runlessx
rs aDsolxtely necessary and I trke to place ltre
pdrfswrfi. \rooddistaf.e bettreanthem
Dar
I cu t . r lyin t heloaF l s e . !.s tj rs rL k ! ro ; rr:
bunchedchord suct as one woLld ptay o; the
pranowrth ones teft hand on ro rhe celo
and
vrola lrnes i( would usualty soLnd very riick and
. Tlre ldnqF<ot rll tte sltnq ]rsrnnre.rr oLer
rap conrcleL,rbly In rhp r.rddte 1-.ljei tr rs
orrncuttro drsirn.usl betv,Fencetto dn.t roti
bre\ample bu ie oold lrrs d hrst-/errone ThF
vronn or coxrs-c.can reach lery hrqh noles bui
pemonallyI find them screechyand rhinuntess
An aranser shoutd at.rays bear nr nird rhe
number ol play-arsava abte tor the score. and

T ug otwaij rrd e ta r . r r hc r ut . . o. e
oi
!. rge v.'rn s o \ e riI ! b dr anqe. . . 1 Fr ar l. d. lr lj
oilresrotu sh o/ n.rp dr r . r of \ ore s oolr ; nd
l. o.rrdb asso !nlbfd \.i.or . s dnd lr nqs Lr r s r . r . Lj
seLon dio.r v.lir ..to s r f ndlubr a bT
e l

80

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

ARRANGING
MUStc

LJ",1
:"",:ff ".,;.
";"'.;;,.";,1;

;";mt
:ih: ir j;".""':i,
ffi ":i{,,,:] ;,;i'::i;-?i :b:

et*.qe*
"ii[x'
fffiiir":":
*sii:ff
"

5,p*.wl;

't'":",
*[i"r":Iff
i}]Ffl
f;.:rr""r*s*+:

;:!",',+,rif,
;T:F.:hi{
.
i#ifl'""i"f^t:)?":;Tm;*.ll*:*:

Saxophones

f+,*t'!##lJ;
ffi?ltilT:+li"l'{}:ff
li{{,irT3
nq,i:*'l*klq
r#:+i'["i{f,+j.;;':::,i,l*r*
*:-fh

BIass
In ihe

orcnesrramostolrhe brdss
rcrk
-ct.ssicat

ifr$;';Tni::""
'fte wDilen compassis

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

f***Hfrtr{

il#'**T$fri*Ii-i,ffi
H:::x::.t**l*:l:
;.r^i:i:*'5;"1

*';+;ptt*+-ffi

trNffim*

fl
;,'*i{:iu,ig**
'flk,;ij;F:,'fi

82

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

ARRANG]NGMUSIC

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

even alter they are shuck) to L\e upper rcqrons


of hard crmbals and tamboLrnnes In the world
of popular music anything thar makes a qood
Foodwind
sounclwhen slrxck is usetul and mey rs the time
::: xoodwind equivalent ol lhe sting quarret I have pui to eflecljve use a teather covered
clarinel oboeand ltute and piano stool which qives a very satjstactorysound
r : :i each foms ihe slandard orchestrat wood
--::Esolbassoor
when struck with L\e palm ot ihe ]rand South
sectron.Holrever urlke srrmqs these Amenca and ,Anica are a qreat souce ot urusual
-..:tr
=-rents
do nol merqe completely into each percussronilrshumenls the consa druns and
::::r md althouqh they blend wel one stil
bonqos srving coloutul sounds.An orchesllaror
:*.-j each one a soloist lonqinq to shine lhe
w'll find mdy percussior soDds usetul in com
's only trasposing inshumerl in
::::clarjnet the
brnation wnh oter ltrtnmenis for they can sive
was
the marn one to break out ol the a h&der edge to rhe sound.Parljculany effective
lEoup
1-<'cal
moul.l and there are I]@y fine record
rs Lhe mr{ule ol loud staccato brass ed rfto:- ol lhe use ol l]le cldrnel h jaz To a tesser phone the chippy sound of the percussion
::jree las the llute iel ns hair down ancl ile
addng a bitrnqclarity to the atrackot the brass
::r: and bassoonscarcelyever at a1t Theyare
There are so many percussior inslnments 10
r retul coloursrn the paletie of rhe orches play wiL\ that the orcheslratormusrexpenment
:::rr but they need to be used with care.
lor hl,nsell and note the rnosrarhactjve souds
:ndqing the qap with the brass section are rhe thai he hea6 .)n records
i::!chhoms Ttnsrsa.ljlficultrnstrument
to ptay
:-=,,rlywell as a great many ofrrs noreshave ro be Keyboard instnments
f id by 'I'ppirq" Ether than mrh the kets ln The ranqe ol keyboard insl menrs has de
I:rz t s time hons wiL\out keys were ihe rhrns, veloped tremendously rn recent years. Whrte
like bugles,all the noteshad to be toxndby only a lew years ago one was trmted to the
-l
i::6tins
the enbouchure or trp pressue The convenhonal prano, electnc piano Hammond
::3nch hom is an rnstmment capable of inqht
organ and celeste nowadays there rs a vasL
::lnq ntensity or equallysoullulqenrtesounds lanqe ol synihesrzersand hybid praros (such as
l: :an nerqe well and suppon the cetio tine, Jiitin the Yanaha electric piano) which qrve ar D
To
es rn Lhe middle reqister or play tine l i m i te d l onal ranE e l ndeed a w oul d be
in the low ranqe ola trumpel It has a vasl orchestralor coutd proitably study rhe Enge ol
,:!an
-ros ol over three octares soundinq Jiom
keyboard nstrumenls lor a lonq rjme and stitl not
cover the tull nnqe.
J
Oneshould,however learnrhepossrbitities
ol
Lhebasic keyboards tnorouqhly betore ventu
ms into the junqle ol syntheticsomds A con
:no good playels canreachbeyondthls ranoe ventronal plano 6
capable of anazrnq lonal
:mg h ure Key ol F atl xs notes are wifie; . differeirces accordinq
ro how tt E ptayed ard
:i-\ hiqher. Consequenuythe lrebte ctefrs com- recor.lect and the veBarile
Fender Rhodes
:only used On the Bealte rrack fo.Aro o.e
electric piano rs uselul lor provjdrnq anythins
i:.lly a PdulMcc hey rrdcl,- Ienrtrartredma. trom a biqht chppy
soLrndro a dreamy stereo
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 diffl
Advice for beginnerc
nlt toplay reatlywel. fte tEterer rothisrecord The essenceof arrar!:rins
and orchestGtinlrF
aay hear h1n play an apparent E flat soundrno tusl havinq the necessary
vrvrd tmaqinarron io
Aflat as histop note.I hale lo contesswe speA know what kn.l ol sound you
wanl to achreve
ne lape up by a smrrone lo qe he desired and then hannq the inqenujty
and e1perience to
know ho,n,to achieve rt
I you xse conventional c]assicai inshumerls
you must learn how to wnte lor them and whet
There rs a great arsenal ol weapons nr rtr-a urng more unDsualsouds you
mustenher kow
percussLonarmoury an.l an orcheslraror can use
how to obtam these sounds yoursetf or else be
Lhemwlth sreat ellect The nnqe 6 menrioned able to commxmcate
clearly with the pedormer
elsewhere rn this book tom the hulre qrand
Never have we had such a vasr ranqe ot
cassa or symphomc bass drum throuoh the colours rn ou mxsrcal palelLe.
rlu the nore im
hjnedpedal Iympei (whosenorecar be ;an-a.l poianr to be able paint
to
wilh taste a

83

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