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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 The lnck of .leyisin! httle snatch-asol counter
t h e p re s e n ta i ro no l a n melody very useluLh sustarnins ntere$ in the
onqinalpreceoimlsjc in a sonq and 's the keyboard or the electnc qurtar
l v a y tn a l e n h a n c e s ti e may be usedfor thrs provtde.lrt doesnot get rn
subtecl an.l pleases ihe the lvay of the sors Suchideasshouldbe 6ed
tlsterer The sxccessol an 6a lrameior lhepictLrreunobirurvely supporl
arran.Jemenl deperrdsnot rn!, the main theme Tle .hurns wrll then lock the
only on tne skrll ol the whole into the basic rhytlm but aqarna qood
arnnqer but more imponanly n$ laste 1l drumn'er will look lor opportLxrities to support
ranqes from the simplest ol rmr]r]merrs ro a full the sorg wrIn the riqht flounsh rvnhoutbeinq tco
blown symphonyorcheslra and the specrficarr obtrusrve.I alwayslke to hear the bass drun
ol aranqinq for an orchestra rs ol cou6e od the bass qurtar Locked nto a sol.l unilled

so a boy vampDgawaya lavouritopLeceon a there are itrur basLcelemerls 1(rconsidern


mouth orqe is in elleci aransrns that musrc aranqinq nelody harmony rhythm.n.l lorn
The very lirnitahonoi the chords on nls jnshu
ment can chansethe hamo es olthe onqi.al Form
anci the arnngement may not rmprove rie Everyprececfmu'chassonesortolsnape ard
oriEnal bur thai F where the detrcatem.(er ol the arranqers responsrbrllty(aslvell as the pro
tasl-.comesrn At the oter endoltne scaleue ducers) is lo ensurethai the shapeftom beqrn
co LNlento Stokowskis aranqemert of Bachs nngto end ls satrsiyrnq,
creainq nierest at Lhe
'laccab and Fug]e h D Mino. Oriqiralty de besinnins bnnqin.rout the bestel-.mer1sol ihe
stqne.l Lo be played by one penon on lr prpe sonEand buildinq l]re rnlerestriqht up to the
organ.the aranEementrnlohes anythLng up lo
one hundredplayers and rsrery qran.lrndeed The early records I prodxced with The
Qune oten arranqrirgnyolves compositon BeatlesshowananglnqatrtsmostbasrcWher i
the addnq ol lresh naterial to the worl An lnst head Can I Buy Me l,oye, for erample the
obvrousexarnple the weli known version ol sons vas the straLshtloiward verse and chorus I
.Srrqrrg /n fte nan's perlormed by c€n-. Kelly lllouEhtanntrodxchonwasneeded s I look the
The inhoductronLol,hssonq rmpeccablyscored f,rst line of l]le chons, repeated the last word
by lenme Hayton now seemsto be a! nteqal twrce and chanqedue harmon'esand starteil
parl oi ihe sons indeed one can hardly lii* oi with that before lettjnq rip on the lerse The
the sonq wrLhoutx but rr did nol elst until tie Length was drctated by the average tme thal the
nLn was na.le l! 1952atthoxqhthe sonq lvas everpowerluldisctockeysI'kedlherrecordsto
wntlen many years belore be - belweer 2]/ and 3 rnnules Aier the lirst
So hovr do we qo aboLrtvrdrnq an arranse statementolthe songa chanqea'asdesllable
meni?ll we are staiing with a pop song alt we hence Georqes qntar soio then ba.k io the
usualiyhave is a top line rie tue '- .rd the chorN once more ald exrt the way 1vebegan
chords that nake up its hamonies If yox can wltha resiatementoltheintoductior Onecoxld
read and wile nusic so much the belter buta hadly havea simplerararqene.t ftrs F a hr
lack ol lormal musjc need no1 stop you tom cryAomihe conplexttresofclassrcalsonala forl1]
makrnqa lroodarraDqeinenl lor a srnallqroupol or elenlaier rorh tle fock n rcll idrom but rt
*y bass EurLarelectnc gDilar,keyboard and seryestoillustratethe'n importanceol theshapeol
diLm The chor.lscanbeleamed by the qxxar
ard keyboardplayers and the basspan has to
be desiqnedto archor the wnole sound.ln de Melody
vrsnlr a pan lor the bassjt is rmpo.tanfto fLn.tan No amouniof arangng ls qoin! to ium a sows
Ine thatsrnqs]n parinershipwxh 1ne e.r rrlo asilkpurse andihe b6srctuneol a prece
'nlerestinlr
vorce It is nor enouqnmerely to iill n the basrc is oblroxsly the most rmportant tosether wiil
notesof the chords alt\ouqh tnarwiLt.to to stari the lyri.al contenlif iI is a sonq The ara.ger
wrth Try 10arxe a ner.rlure on drebass nottoc I'lrustnever forqei that ..d all otherpartsol th-.
.leler or compl.ated bDl one thai walls han.l arG.qemenl must sene as a hane There rs
hand with ine vorce.LFlen ro lic way o,her otten rcom howeler lor oth-.r lines and t]le
'n
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;g!ei!&*&l{iiis#tr9&A*#ftge*lir6$&tii1i;$S&s*i&*.i;f} ARRANGTNG
Musrc
:tever ananqer mtl look Lotne effectiveuse ol Lurqr.lsourd) an.l ol.ourse dovarytherextue
:ountermelodreseiL\eronvoiceo. instrumenls throughoul the work cire rhe ptayels something
irnq the basic melody as a springboard Bur mlereshns1.'do Mosrchordstn poEutarmusrc
iqain s'mphcjty is Ue keynol-. I do nol beliele conssr ol only tnree no(es wirh added sjxL\s or
iat the humar eaf is capableolenjoyinEmore sevenlls or diminishedchods requiring one
fd ttro - poss'bly1tueeat a sherch tires of moJe but a lot ofbeqnners forqetlow rmporrant
:elody at the sane time lt used io be lashron rs |he rnversrono1tr\ose noles _ which not-ais r.
:ble in Bach'stime to havelour or nve tunesalt . be Ue lowesr Sometjmes theonqinalchods in a
reavrnq aroun.l rn a luqxe bxl frankly n makes song can be chanqe.l upda1e.110 sive a new
istemnq haid work Mate a nle to concentrate ea our uEnqers are warned lley slrck ther
rn crealng tust one counter melody a really neck oul every irme they lamper with the ori!.rr
:ood design 10 run alonq wilh lne tue It js nal narmontcstncture Nine timesout olten the
r$nsrng how Ltnlls up lhe sound Listenio the oillinal chords are besr atihouqhot cous-a
..vo lrnes ol stinss on Dmond Dlsl fton lefl ther,.nare been billianr elamptesof mvenrLre
a.cks BIaw by BIaw albt)m ard you will see chanqes List-an to Klaus Ncmis versicn ol
r:hat I nean Ttere are jEt two tunes rm ns Fallns ln Lov-. Agajn
:.!:teL\er, wrih a sliqh inlerval rn time ar.l it is
rbvrous thaLary more soud would be overkill Rh}1hm
luite often tt is not recessary 10compose a new Rhlthm the punctuatjon ol the sonll P,hyttrm
:re to fit the onqrnal as a pai of the onqinat wu and iempo's set ine moodol m6rc more teltinsly
..metimes sene as a counte4ornt to arothef thananyl,\nq else 6nd ilyou ger n Monq alt the
lan ol the lune tlearor ,lrgly contains an other rrghts won't make uri lor jl In ttre days
:xample ALtheendolthe song loaddrnieresr l beJorerock n rcll the rhythm instrunenlsrn a
able to use as a coulerpoinr a iine from the band were leli nther ilan heard and tt wae t
'as
lndqe Oh look at all lne lonely people' untrlthe 1950srnat the heary back beat laid a
rLlmns panllel to the suns Ine AII the lonely stlonq emphasE on rhythm fashions cor,,reard
leople where do lhey all colne lrorn Another qo ton tle syn.oparedLatinbeal ot bossanova
reirl rdeatom Mr lachrstotakeapieceofthe to the tour n the bar bass dj.m of dlsco and
_de and turn n back 1otorl or xpside
down or there N still a qreat deal olrcom for irventile
rse it in haU or double tlme. \ rher x came to ness n rhythms. The Bitish band Tie potrce
Cevrsinq a solo lor,Now,4ere Me the Ine was have shown how compellinq is the use ot wesr
.orcerved by tuminq the basrc tune upside lnd'an rhythms qivinq qreat conrrast to the
lown, gorng down where the origr,ral went up rcqnlar rock 'n roll on beal oli beat pattem Nor
dd s on but obviouslychoosinq L\at $ Lr necessaryro nave .tnms to provide the
natched the hamo es Ald emetimes 'ntenals
a com rnythrn Comblnalionsol instuments can be
plete revenal of a lune works. At the end olnaJn, useclto gLvea pulse to the music mosteffectively
Johns voice lrack ws lfted offard tuned back Burthis j! where we beqn to merlre arranqrnq
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 posrrrontor
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 pl€s 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
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't'":",
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i}]Ffl
f;.:rr""r*s*+:
;:!",',+,rif,
5,p*.wl;
;T:F.:hi{
. Saxophones

f+,*t'!##lJ;
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ffi?ltilT:+li"l'{}:ff
nq,i:*'l*klq
li{{,irT3
r#:+i'["i{f,+j.;;':::,i,l*r*
BIass
In ihe
*:-fh
orcnesrramostolrhe brdss
-ct.ssicat rcrk
ifr$;';Tni::""
'fte wDilen compassis

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

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?:"i*#[{'l.i f***Hfrtr{
il#'**T$fri*Ii-i,ffiH:::x::.t**l*:l:
;.r^i:i:*'5;"1
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82 trNffim*
F ie$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
::::clarjnet the 's only trasposing inshumerl in
brnation wnh oter ltrtnmenis for they can sive
lEoup was the marn one to break out ol the a h&der edge to rhe sound.Parljculany effective
-
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
I ::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
percussLonarmoury an.l an orcheslraror can use mustenher kow
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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