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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
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
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
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
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Saxophones
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'fte wDilen compassis
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Trumpets
f***Hfrtr{
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82
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ARRANG]NGMUSIC
83