DlCK GROVE ARRANGING SERIES

by Dick Grove

The Ultimate Arranging Course

for Today~sMusic

ALFRED PUBLlSHlNG CO., INC.

Post Office Box 5964,15335 Morrison Street, Sherman Oaks, CA 91413

Dedicated t o Dee,
With Love

Edited by Joseph Csida

Cover Design by Joice Simpson
Copyright O 1972 by Dick Grove Publications
Copyright transferred 1985, Alfred Publishing Co., Inc.
All Rights Reserved
lnternational Copyright Secured
Madein U.S.A.
All Rights Reserved. No part of this book may be reproduced
or transmitted in any form or by any means, electronic or,
mechanical, including photocopying, without permission
in writing from the publisher.

ARRANGING CONCEPTS I

FOREWORD

For many years I have felt that there has been a great need for an easy to understand book ori
arranging.
The popularity at al1 levels of education has helped make literally hundreds of thousands of young
musicians and many of their teachers and directors very aware of, and interested in, writing for these
same bands.
By the same token, a great number of other musicians not involved in school music programs have
come to be quite conscious of arranging. Not only in the jazz field, but in many small rock and
jazzirock groups.
This book is meant to serve as both a reference book and as a structured learning approach for any
musician who has an interest in arranging.
I t has been my observation, based on years of writing and teaching, that the basic problem facing
any beginning arranger is the lack of conception and judgment which shapes any well written
arrangement.
Learning ranges and transpositions of instruments and a few obvious section voicings only scratch
the surface of what really needs to be understood.
This understanding of the real musical values explains why the writing of an experienced professional
"comes off," in marked contrast to most early attempts by the great majority of beginning writers.
The begiiining arranger may write an introduction, chorus, background figure or ending just as the
professional does. However, the professional chart comes out polished and musical while the other
is usually overwritten, choppy and lacks development and consistency of style.
I t is my belief then, that a student of arranging needs a guided approach through the many facets which
make up the various elements of a well written arrangement.
This approach should, a t the same time, place the proper emphasis on the "key" factors, so that the
beginning arranger finally has a maximum opportunity of mixing knowledge and technique with hic
own inherent talent to produce well written, satisfying music.
Many young writers become discouraged by what seems to them a lack of accomplishment. They
may spend ten times the amount of time really needed working out their arrangement (this
because of self-doubt) and when thechart does not "work," the tendency i s to lose interest.
Their reaction is understandable, but I feel with more complete, balanced foundation in arranging
techniques and skills i t need not happen.

iv ARRANGING CONCEPTS

MUSICAL EFFECT
All arranging is really the art of being able to CONCEIVE a MUSICAL EFFECT and then TRANSFER
i t to paper so that that particular effect comes alive.
Every cornbination of instrurnents. every style of rnusic or every thernatic fragrnent produces an
effect on the listener. You are indeed headed for a dead end street if you write any part of an
arrangernent without being aware of what the listener's reaction is going to be. You rnust be able
to gauge the reaction at the time you write the arrangernent.
Many musicians spend their lives listening to one arrangernent after another without being aware of
what they have heard IN TERMS OF EFFECT ANO REACTION.
It is this awareness of effect, which in turn helps the arranger to rnake his countless decisions and
draw the conclusions that are needed.

This overall conception is most irnportant. The process of judging an idea against a pre-set
conception is the process which tells the arranger - if nothing else - what NOT to write. An
arrangement is cohesive and flowing if al1 the musical ideas in the arrangernent are consistent
with the overall concept.
It is also rny belief that a beginning arranger needs an effective reference source which specifically
details the actual working problerns that come up in the course of writing any arrangernent.

This availability of solutions to basic problerns, plus as cornprehensive as possible a coverage of al1
the elernents of arranging should give the writer the opportunity to rnix his own level of talent
with this acquired and euential knowledge and technique.
Hopefully, after you have this foundation you should be able to build solidly and evolve naturally
into your own style and approach to the more advanced areas of arranging.
This book atternpts to cwer al1 the basic and interrnediate points involved with writing for stage
band and jazzlrock cornbinations.
We will briefly look at sorne of the more a d v a n ~ dareas not so rnuch to try to cover thern. but
to rnake you aware of what they are and thus open the door to the future acquisition of their
sounds and effects.

Perhaps the rnost basic premise that any young writer should be aware of i s the importance of
the rhythrn section in relationship t o the band.
The first conclusion to arrive at i s the fact that when the rhythm section is playing, you have
in effect a self-contained, finished musical product.
A rhythrn section, of course, could play for an entire arrangement al1 by itself - or al1 night and nothing would be musically lacking or missing for the rhythm section i s a complete section
within itself. A rhythm section, in short, i s a complete small band.

To have the rhythm section playing and ten brass and five saxes NOT playing could be the most
musical and logical solution to a certain situation.
Once you realize that there is no compelling force requiring you to fill up the score pages with
brass and saxes constantly playing, you have taken the first important step to a comprehension
of what "conception" really rneans.
This book will not go into detail on the subjects of basic harmony and theory. These subjects
are covered in many harmony books. However, if a t any point in the study of this book or in
the writing of an arrangernent you find yourself confused or unknowledgeable on a point of
harmony or theory, do not let i t go unresolved.

I would suggest checking books or sources you might have on the subject, or with a fellow
rnusician who can fill you in.
I also suggest that you refer to FUNDAMENTALS OF HARMONY - Parts 1 & 2 and MODERN
HARMONIC RELATIONSHIPS - Parts 1 & 2.

These books include very cornprehensive coverage of basic harrnony and theory for the arranger
as well a s for the instrumentalist for whom they are prirnarily inteilded.
However you use this book, as a reference book for isolated points you wish to cover, or as a
total approach towards arranging, I wish you rnuch success. Rerneinbei-, you get as much out of
writing as you put into it. As an instrumentalist we think nothing of piacticiilg years to perfect
our facility to play well. I n the same way, writing needs a corninitinei~tof tiime ancl energy to
arrive a t a mastery of musical conception and of the techniques aiicl kiiowledge iequiied.
Good notes
Dick Grove

-- -

PART 1
THE TECHNICAL FOUNDATION

CHAPTER 1:

Rangls. Tranrpaitionr. Chwactuirtia

and Rutrictions o Imwnwnt
Familiu

......................

TheSaxophoneFamily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.
The Bb Soprano Saxophone . . . . . . . . . . . . . . . . . . . . .2
The Eb Alto Saxophone . . . . . . . . . . . . . . . . . . . . . . . .3
The Bb Tenor Saxophonr . . . . . . . . . . . . . . . . . . . . . . .4
The Eb Baritone Saxophone .....................6
The Bb Bass Saxophonr . . . . . . . . . . . . . . . . . . . . . . . .7
Sax Section Combinations . . . . . . . . . . . . . . . . . . . . . . 9

Thr Percusion Family .............................46

TheVibraphone .............................4 6 Thr Xylophonr ..............................47
TheMarimba ................................48 .
Orchestra Bells ..............................49 The Timpani ................................50
Non-TonalPercussive Instruments
GroupA ..............................52
G r w p 8 ............................... 53

CHAPTER 2:
The Wwdwind Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Specid Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9.
ThePiccolo ................................. 10
The "C" Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
The Alto "G" Flute . . . . . . . . . . . . . . . . . . . . . . . . . . 12
The Bass Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
TheOboe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
The English Hom ............................16
TheBassoon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Thr Bb Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
The Bb Bass Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . -19
The Bb Contra Bass Clarinet . . . . . . . . . . . . . . . . . . . .20
the Brass Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Variations of Open Brrrs ........................
21
The Bb Trumpet . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
.
The Flugelhorn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
The French Horn . . . . . . . . . . . . . . . . . . . . . . . ..' ...24
The Tenor Trombone . . . . . . . . . . . . . . . . . . . . . . . . .26
.
The Valve Trombone . . . . . . . . . . . . . . . . . . . . . . . . 27
.
TheBassTrombone ..........................27
BbTuba ...................................
28
BBbTuba ..................................
29
7he Rhythm Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Thr Guitar . . ;
29
The Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
TheOrgan ..................................37
The Electric Piano and Nwichord ...............37
TheBass ...................................
38
Constructing Bau Paris
39
TheDrums .................................41

...............................

...................

Muriul Tarnu. Notation ud

Harmonic Tamindogy

..............64

Clefs ...........................................54
Key Sig7atures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
.
Sign Commonly U d in Arranging . . . . . . . . . . . . . . . . . . . .55
Tetrachords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -58
Double Sharps and Flats . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
%ales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
lntewals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
.
Chord Construction ...............................66
TABLE 1 - Major Chord Family . . . . . . . . . . . . . . . .67
TABLE 2 - Minor 7th Chord Family . . . . . . . . . . . . .68
TABLE 3 - Dominant Chord Famiiy . . . . . . . . . . . . .69
TABLE 4 - Minor Chord Family . . . . . . . . . . . . . . . .70
- Diminished Chord Family . . . . . . . . . . .71
Terminology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Chord Families ................................... 72
Polychord Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
TABLE 5 - Major Chord Families ...............73
TABLE 6 - Minor Chord Families . . . . . . . . . . . . . . .74
Chord Progressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
The Major Key Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
.
The Minor Kry Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

CHAPTER3:

Rhythm

......................... 78

Rhythmic Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

.
TABLE 7 .
Convrntional Notation . . . . . . . . . . . . . .78
Metars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
.
TABLE B .
Time Signatures
81
Tempos ........................................
82
ChangiqTrmpol . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
Rubito Tempo
83
Rhythmic Phrasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
.
S y n c o ~ t o dRhythm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
.
Double and Half Meter .......................-90
Nouting Syncopatrd N o t u
91

....................

..............................

....................

PART 2
MELODIC HANDLING and
VARIATION/HARMONIC
CONSIDERATIONS

CHAPTER 4:
TABLE 9

Melodic Function and Articulation

. . . . . 92

Solfeggio Syllables . . . . . . . . . . . . . . . . . .92

Chord Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

Passing Tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94
NeighboringTones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

.
Embellishments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
.
Melodic Articulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
TABLE 10 - Articulation Markings . . . . . . . .96, 97. 98

The Diminished 7th Chord . . . . . . . . . . . . . . . . . . . .133

Diatonic Passing Chords . . . . . . . . . . . . . . . . . . . . . . 134
Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Basic Definitive Chords and Alternate Chords . . . . . . . . . . 135
Applications of Diatonic Passing Chords
to the Ilmi7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . 135
to the V7 Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
to the I Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Melodic Phrasing . . . . . . . . . . . . . . . . . . . 99
Jazz Phrasing Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

Chromatic Approach and Passing Chords . . . . . . . . . . . . . . 138

Chromatic and Dominant Approach Chords . . . . . . . . . . . .139
Passing Chords from Bass L ines . . . . . . . . . . . . . . . . . . . . .140

Ballad Phrasing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101

Rock Phrasings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

TABLE 11 - Harmonization of
the new Bass Line . . . . . . . . . . . . . . . . . . . . . .143

Commercial Writing Tips . . . . . . . . . . . . . . . . . . . . . . . . . .103

Minor Key Areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

.
Harmonization of Blues Melodies . . . . . . . . . . . . . . . . . . . .146

CHAPTER 5:

Latin Phrasing Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104

Melodic Developrnent . . . . . . . . . . . . . . .107
CHAPTER 6:
.
Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Fragmentary Development . . . . . . . . . . . . . . . . . . . . . . . . .108
CAN'T BELIEVE IT BLUES Sketch . . . . . . . . . . . . . . . . .110
Thematic Development . . . . . . . . . . . . . . . . . . . . . . . . . . 115
.
Dramatic Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
.
Counterpuntal Approaches . . . . . . . . . . . . . . . . . . . . . . . . .118
What is Counterpoint? . . . . . . . . . . . . . . . . . . . . . . .118
Rhythmic Considerations . . . . . . . . . . . . . . . . . . . . . 118
Melodic Considerations . . . . . . . . . . . . . . . . . . . . . . .120

CHAPTER 9 :

Pedal Point. Ostinato. Plurality

and Harrnonization . . . . . . . . . . . . . . . . .147
Pedal Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147

.
Ostinato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148
Plurality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149
.
Harmonization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
TABLE 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155
TABLE 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156
Harmonic Facility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157

Blues and Modal Counterpoint . . . . . . . . . . . . . . . . . 120

Harmonic Implications . . . . . . . . . . . . . . . . . . . . . . .123
Rhythmic and Melodic Considerations . . . . . . . . . . .124

CHAPTER 10:

Modulation

. . . . . . . . . . . . . . . . . . . . . . .159

Types of Modulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

. . . . . . . . . . . . . . . . . . . . . .125

The Direct Modulation . . . . . . . . . . . . . . . . . . . . . . . 159

CommonTones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125

The I I . V Modulation . . . . . . . . . . . . . . . . . . . . . . . . 160

Parallel Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Contrary Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Random Modulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162.

Cornrnon Tone Melodic Relationships . . . . . . . . . . . . . . . .163

.
7 - 3 Voiceleading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
as Melody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
as I nner Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130

Sequential Melodies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164

and Phrases . . . . . . . . . . . . . . . : . . . . . . . . . . . . . . . .164

CHAPTER 7:

Voiceleading

with Addition of Other Chord Tones . . . . . . . . . . . .131

CHAPTER 11:

The Free Areas . . . . . . . . . . . . . . . . . . . . 166

. . . . . . . . . . . . . . . . . . . .132

Introductions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Substitution Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Endings or Tag Endings . . . . . . . . . . . . . . . . . . . . . . . . 167

Turnarounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

CHAPTER 8:

Passing Chords

Passing Chord Approaches . . . . . . . . . . . . . . . . . . . . . . . . . 132

PART 3

CHAPTER 12:

One Part Density

..................174

An Approach to Orchestration and Voicings . . . . . . . . . . .174

Density . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Span of Orchestration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Conventional and New Conceptional
Applications of Density . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
A Working Procedure for the
Appl;cation of the Density Approach . . . . . . . . . . . . . . . . . 176
One Part Density . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
BASlC INSTRUMENT RANGES NO. 1. 2 and 3 . . . . . . . .181
BASlC INSTRUMENT RANGES NO. 4 and 5 . . . . . . . . . . 182
Explanation of Basic Techniques . . . . . . . . . . . . . . . . . . . . 185
BASlC TECHNIQUE NO. 1 . . . . . . . . . . . . . . . . . . . . . . . .185
lnterpreting Primary Thematic Materials
BASlC TECHNIQUE NO. 2 . . . . . . . . . . . . . . . . . . . . . . . . 186
Dividing the Band lnto Two Smaller Ensembles
BASlC TECHNIQUE NO. 3 . . . . . . . . . . . . . . . . . . . . . . . .187
Melodic Overlap
TABLE 14 - Dividing the Band into 2

3 and 4 Smaller Ensembles . . . . . . . . . . . . . . . 190

Summation of Orchestral Possibilities
Applied to One Part Density . . . . . . . . . . . . . . . . . . . . . .190
TABLE 15 - lllustrations of All One
Part Density Combinations . . . . . . . . . . . . . . .191
TABLE 16 - Orchestral Possibilities
of Table 15 . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
TABLE 17 - Definition of
lnstrument Abbreviations

. . . . . . . . . . . . . . . . 193

Orchestration of Two Part Density . . . . . . . . . . . . . . . . . . .201

Arranging Rock Music for Records . . . . . . . . . . . . . . . . . . . 202
Mixing One and Two Part
Density (Paragraph 40) . . . . . . . . . . . . . . . . . . . . 2 0 3 )

CHAPTER 14:

Three Part Density

. . . . . . . . . . . . . . . . 205

lmplying 4. 5. 6 and 7 Part Harmony

With Three Pitches . . . . . . . . . . . . . . . . . . . . . . . . .205
BASlC TECHNIQUE NO . 7 . . . . . . . . . . . . . . . . . . . . . . . . 206
Substitution Notes
BASIC TECHNIQUE NO. 8 . . . . . . . . . . . . . . . . . . . . . . . 208
Special Si tuations
TABLE 18 - Examples (in al1 Chord Farnilies)
of Applications of Basic
Techniqu~s7 and 8 . . . . . . . . . . . . . . . . . . . . .210
Triads as a Source of Three Part Density . . . . . . . . . . . . . .211
BASlC TECHNIQUE NO. 9 . . . . . . . . . . . . . . . . . . . . . . .212
.
Triads as Melodic Couplings
BASlC TECHNIQUE NO. 10 . . . . . . . . . . . . . . . . . . . . . . . 213
Diatonic Triads
Chord Tones Passtng and NeighboringTones . . . . . . . . . . . 214
Adiacent Al ternating Diatonic Triads . . . . . . . . . . . . . . . . .215

TABLE 19 - Definitive Triads . . . . . . . . . . . . . 216-217

Chromatic Triads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
.
Triads in Open and Closed Positions . . . . . . . . . . . . . . . . . . .221
Closed and Open Fourth Structures . . . . . . . . . . . . . . . . . .222
Fourths Applied to Melodic Couplings . . . . . . . . . . . . . . . .224
Diatonic Open Fourths . . . . . . . . . . . . . . . . . . . . . . . . . . . .225
Chromatic Parallel Closed and Open Fourths . . . . . . . . . . . 226

CHAPTER 13:

Two Part Density . . . . . . . . . . . . . . . . . 195

.

BASlC T.ECHNIQUE NO. 4 . . . . . . . . . . . . . . . . . . . . . . . . 195

Melodic Couplings
BASlC TECHNIQUE NO . 5 . . . . . . . . . . . . . . . . . . . . . . . .197
Repeated Chord Tones Against the Melody
Big Band Applications of Two Part Density . . . . . . . . . . . . 198
BASlC TECHNIQUE NO. 6 . . . . . . . . . . . . . . . . . . . . . . . . 199
lntervals
Counterpoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Harmonic Definition Using Open and Closed Fourths* . . . .227

TABLE 20 - Three Part Open and Closed Fourth
Voicings in Major Chord Families . . . . . . . . . .228
- in Minor Chord Families . . . . . . . . . . . . . . .229
Typical Ranges of Various Sections of a Band
(Relating to the Harmonic Sources Covered) . . . . . .231
Trumpets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231
Trombones . . . . . . . . . . . . . . . . . . . . . . . . .231
Trombones w i t h Triirngets . . . . . . . . . . . . . . . .232
Trombones Used a s J Sol
. . . . . . . . . . . . . . . . 233

TABLE 25 Possil)le Scale Soiiic:c!$ loi

A!I Pi ictical Chord Foriiis
.
in MAJOR . . . . . . . . . . . . . . . . . . . . . . . . . 267
.

Trombones Used as Harmonized

Background Soli . . . . . . . . . . . .

. . . . . . . . . . . . . . .234
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.
Sax Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235
.
Woodwind Sections . . . . . . . . . . . . . . . . . . . . . . . . 235
Exairiples of Three Part Ensemble Voicings . . . . . . . . . . . .237

Four Part ~ e n s i .t .~. . . . . . . . . . . . . . . 238

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"c" Voicings
238
B A S l C TECHNIQUE NO . 11 . . . . . . . . . . . . . . . . . . . . . . 239
.
Fuur Part Density in Open
and Closed Positions
CHAPTER 15:

.
BLOCK Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
"A" and "B" Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 1
Sax Background and Ensemble Voicings . . . . . . . . . . . . . .243

Names of Scale Sources . . . . . . . . . . . . . . . . . . . . . . .268

TABLE 26 Possil~leScalc Sources for
Al1 Pi actical Choi-tl Foi nis
. in MlNOR . . . . . . . . . . . . . . . . . . . . . . . 269
.
Application of Clu, ters by Scale Sources
(Paragraphs 64 11; 69) . . . . . . . . . . . . . . . . . . . . . .270.271
Orchestrating Diaioiiic Clusters . . . . . . . . . . . . . . . . . . . .272
Orchestral Po:sibi lities Applied
to Five Part Deiisiiy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .272
Mixiny One i o Five Levels of Derisity . . . . . . . . . . . . . . . . .273

-~

lmplying 5, 6 and 7 Part Harmony

.
With Four Pitches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .244
TABLE 21 - Breakdown of Possible
lmplied 5. 6 and 7 Part Voicings . . . . . . . . . . .245

CHAPTE R 17:

Specific Problems Relative to

Four or More Parts of Density . . . . . . . . . . . . . . . . . . . . . .243

Chromatic Closed 5th Clusters . . . . . . . . . . . . . . . . . . . . . . 251

. . . . . . . . . . . . . . . . .274

BASIC TECHNIUUE NO . 15 . . . . . . . . . . . . . . . . . . . . . . . 275

Pluial Clioid Relationships
Applyiriy Pluial Chotcl Relationships . . . . . . . . . . . . . . . . . 277

TABLE 2 1 - Pluial Chord Relationships:

MAJOR CHORD FAMILIES . . . . . . . . . . . . . . 281

Fourth Structures in Open Positions . . . . . . . . . . . . . . . . .248

TABLE 22 - Fourth Structures Related
to Conventional Chord Symbols . . . . . . . . . . . 248
Diatonic Closed 5th Clusters . . . . . . . . . . . . . . . . . . . . . . 2 5 0

B A S I C TECHNIQUE NO. 12 . . . . . . . . . . . . . . . . . . . . . . . 251

Orchestrating Clusters
Orchestral Possibilities Applied
to Four Part Density . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252
Mixing One, Two Three and Four Part Densities . . . . . . . . 252

Six. Seven and

Eight Part Density

TABLE 28 . Pliiral Chord Relationships:

MINOR CHORD FAMILIES . . . . . . . . . . . . . . 282
TABLE 29 - MINOR CHORD FAMII-IES (cont.) . .283
Six, Seven antl Eight Part Diatonic Clusters . . . . . . . . . . . .285
Orchestral Possibilities Applied t o
Six Seven and Eight Part Density

. . . . . . . . . . . . . . . . . . .289

Analysis and Notation of Density

and Span of Orchestration . . . . . . . . . . . . . . . . . . . . . . . . . 252

CHAPTER 18:

Ensemble. Section and

Mixed Voicing Comhinations

. . . . . . . . .291

BASlC TECHN IQUE NO. 13 . . . . . . . . . . . . . . . . . . . . . . . 258

lnversions of Open Five Part Chords

Section and Combination of Section Voicings . . . . . . . . . . 291

Sources o f Voicings
TABLE 30 .
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Applied t o Brass . . . . . . . . . . . . . . . . . . . . . . 292
TABLE 31 .
Applied t o Saxes,
Woodwinds and Rhythm . . . . . . . . . . . . . . . . . 293

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Plurality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
TABLE 23 - Possible lnversions of Open
Five Part Chords (by ~ h o r dFamilies) . . . . . . . .259

Mixed Voicings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .294

Examples o f Voicings by Section
or lnstrurnent Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

CHAPTE R 16:

Five Part Density

. . . . . . . . . . . . . . . . . .256

BASlC TECHNIQUE NO. 14 . . . . . . . . . . . . . . . . . . . . . . .261

Open Five Part Voicings
3rd. 5th and 7ths in the Bottom Voice . . . . . . . . . . . . . . . .263
Roots i n the Melody . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .263
Special Five Part Voicings . . . . . . . . . . . . . . . . . . . . . . . . . 264
TABLE 24 - Special Five Part Voicing
Possibilities (by Chord Family) . . . . . . . . . . . .265
Five Part Diatonic Clusters

. . . . . . . . . . . . . . . . . . . . . . . . 266
.

Examples of Voicings by Combined

lnstrument Families . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Examples of Voicings by Combining
All lnstrument Families . . . . . . . . . . . . . . . . . . . . . . . . . . . .317
Examples of Voicings by Mixed
lnstrument Families . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327
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Summary of Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . .341
Analyzation of Scores . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

A WORKING PROCEDURE TO
WRlTlNG AN ARRANGEMENT /
HOW TO COORDINATE THE
INFORMATION I N ARRANGING
CONCEPTS TO SPEClFlC
MUSICAL STYLES
-

CHAPTER 19:

First Considerations .
Optional lnstrurnents ...............343

lnstrument Doublings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .343

Optional lnstruments . . . . . . . . . . . . . . . . . . . . . . . . . . . .344
.
KeySignatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Picking a Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348
Vocal Keys
Instrumental Keys . . . . . . . . . . . . . . . . . . . . . . . . . . .349
Modulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .349
Picking a Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .350
.
Picking the Time Signature . . . . . . . . . . . . . . . . . . . . . . . . 350
.
THE PURPOSE OF THE ARRANGEMENT . . . . . . . . . . .351
Completely Arranged lnstrumentals . . . . . . . . . . . . .351
Instrumental Arrangements Featuring
One or More Soloists . . . . . . . . . . . . . . . . . . . . . . . . .352
Vocal Background Arrangements . . . . . . . . . . . . . . . . . . . .352
Arrangements of Extended Compositions . . . . . . . . .353

CHAPTE R 20:

BASlC TECHNIQUE NO. 16 . . . . . . . . . . . . . . . . . . . . . . .373

Free Lead
Brass Section Characteristics . . . . . . . . . . . . . . . . . . . . . . .373
Large Brass Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374
Added French Horns, Mellophones . . . . . . . . . . . . . .375
Large Saxophone Sections . . . . . . . . . . . . . . . . . . . . . . . . 375
.
Large Rhythm Sections . . . . . . . . . . . . . . . . . . . . . . . . . . 375
.
Guitars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375
.
Drums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .375
.
Keyboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
.
The Primary Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
.
TABLE 34 - Treatment of Melody
as the Primary Factor . . . . . . . . . . . . . . . . . . 377
.
TABLE 35 - Treatment of Melody
as the Primary Factor . . . . . . . . . . . . . . . . . . .378
TABLE 36 - Treatment of Accompaniment
as the Primary Factor . . . . . . . . . . . . . . . . . . . 379
TABLE 37 - Treatment of Rhythm
as the Primary Factor . . . . . . . . . . . . . . . . . . 380
.

Concept and Tieatrnent

of the Arrangement . . . . . . . . . . . . . . . .354

What's lmportant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .354

.
Forrn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .355
Conventional Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . .355
.
New Composite Forms . . . . . . . . . . . . . . . . . . . . . . . . . . .359
.
Lead Sheet of NlGHT SONG . . . . . . . . . . . . . . . . . .360
Making An Arrangement Flow . . . . . . . . . . . . . . . . . . . . . 363
.
Foreshadowing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .363
EMOTIONAL CONTOUR . . . . . . . . . . . . . . . . . . . . . . . . .364
Cornparative Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .366
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .366
TABLE 32 - Dynamic Markings . . . . . . . . . . . . . . . . .367
Tempo lndications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .368
.
TABLE 33 - lndications for
Changing Tempos . . . . . . . . . . . . . . . . . . . . . .369
More Thoughts on Voiceleading . . . . . . . . . . . . . . . . . . . . 370
.
Logical Phrases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .370
Crossing Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
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CHAPTE R 21 : A Woiking Procedure

General Hints

................381

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

From Sketch to Score . . . . . . . . . . . . . . . . . . . . . . . . . . .382

Short Cuts in Scoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . .384
Scoring Styles
Dynamic Markings . . . . . . . . . . . . . . . . . . . . . . . . . .385
Phrase. Playing and Articulation
Markings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .385
Numbering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
.
More General Hints . . . . . . . . . . . . . . . . . . . . . . . . . .385
Supplies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386
.
CHECKLIST TO ORGANIZE A
WORKING PROCEDURE . . . . . . . . . . . . . . . . . . . . . . . . .386
Extracting Parts from the Sketch . . . . . . . . . . . . . . . . . . .389
What To Write? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .390