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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
T ug otwaij rrd e ta r . r r hc r ut . . o. e
oi
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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
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. Saxophones
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BIass
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'fte wDilen compassis
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Trumpets
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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
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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
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