Description
Brinkman: How to Orchestra and Arrange Music 1
David Brinkman Prepared for the Instrumentation and Arranging Class at the University of Wyoming This material is intended for use by students in the class,
and may not be used or duplicated for any other purpose
Copyright 2009
All rights are reserved
Table of Contents Introduction Chapter 1 Instruments Chapter 2 Definitions Chapter 3 Historical Instrumentation/Orchestration Chapter 4 Transcriptions Chapter 5 Arranging Chapter 6 Score and Parts Chapter 7 Overall Considerations Chapter 8 Grading Rubric Chapter 9 Jazz Arranging Chapter 10 Marching Band Arranging Chapter 11 Scoring for Young Band/Orchestra Chapter 12 Finale Check Sheet
Introduction Creating an effective arrangement of music is a craft and it is an art
as well as learning to effectively notate (using Finale or other notation program) can be considered the craft of arranging
The artistry is the ability to imagine sounds and to make them come alive
The successful student—and the successful orchestrator/arranger will be able master the craft and work towards the artistry of creating a new musical work
Brinkman: How to Orchestra and Arrange Music 2
Chapter 1 Instruments You must know “in your ear” how the various instruments will sound individually and in combination
• You must know the ranges of the instruments o Consult your text o Use the Check Range Plug-in on Finale
It will allow you to select for beginner,
intermediate and advanced players
o Talk to persons who play the instrument in question •
You must understand the sound of various registers of instruments (including percussion) o Consult your text o Listen and absorb the demonstrations in class
You must understand the blend and balance of instruments as they are combined o More blend—families of instruments such as strings or brass o Less blend—a variety of instruments such as a quartet of trumpet,
This happens when the melody is not on the top of the voicing and it is masked by other instruments in the same register or with similar tone quality Spread the voicing to give the melody space Make sure the voice has a different tone quality Double the voice or making it louder with a dynamic marking
you should feel like you are listening with “new ears
(2002) The Study of Orchestration,
Kennan,
A standard text
CDs accompany the book
Chapter 2 Definitions Arrangement The adaptation of a piece of music so as to make it suitable for performance by media other than those for which it was originally
a simplified version of a work for the same medium of performance
Example: Transcribing an orchestra piece for band
A transcription can vary from trying to sound exactly like the original to a re-conception of the original in a new medium
In this case,
the transcriber would use the resources of the new medium to come up with a new version of the piece
Those who compose for band or orchestra are usually thinking about the orchestration from the beginning of the process
others say that instrumentation deals with individual instruments,
while orchestration has to do with combining sections of the band or orchestra
Chapter 3 Historical Instrumentation/Orchestration This information is from the following website http://www
html The orchestra in the modern sense of the word did not exist before the 17th cent
Previous instrumental ensemble music was chamber music,
except for occasional ceremonies when as many instruments as were available would be massed together
there was little thought of specifying what instrument should play a part
any available instrument with the proper range was used
demands a large and varied group of instruments—all,
that were available to him through his patron
the violin family displaced the viols,
as the principal strings of the orchestra
with the double basses playing the cello part an octave lower
did the cellos and basses frequently have different parts to play
) Woodwinds appeared in the earliest orchestras,
though infrequently and subordinate to the strings—usually two oboes and a bassoon,
with flutes sometimes replacing the oboes
The flutes were established as regular orchestra members,
playing together with the oboes,
inseparable from the kettledrums through the 17th and 18th cent
were used occasionally in the 17th cent
and became standard in the orchestra by about 1700
The trombone was used in church music even before the 17th cent
and occasionally in opera thereafter
it did not become a regular member of the orchestra until after 1800
the basso continuo was an integral part of the scoring and required that a harpsichord or some other chord-playing instrument fill in the harmonies above the figured bass
while the middle parts were often left to the continuo alone
and Handel usually used about 30
the classical orchestra was gradually established through the disuse of the continuo and the acceptance of the clarinet
The abandonment of the continuo led to much greater independence in the string parts,
which now had to fill the harmony unaided
Instead of both violin parts doubling the melody and the violas,
there were now four distinct parts
first appeared as an alternate for the oboe,
but in the late works of Haydn and Mozart the orchestra was standardized,
providing desired changes of color
Orchestras in the Nineteenth Century In the 19th cent
beginning in the works of Beethoven,
the brass took an increasingly prominent place
while the invention of the valve in 1813 soon made the horn and trumpet completely chromatic
instantly available in the most remote keys
and the introduction of the tuba (c
greatly enlarging their technical capabilities
Throughout the century the string section was expanded to balance the increasing numbers of wind players
those of Weber and early Wagner called for about 55
Wagner's Ring cycle (1854–74) called for about 110
Hector Berlioz was highly influential in increasing awareness of orchestral color and in encouraging the use of a larger orchestra
a fundamental work of its kind,
envisioned an ideal orchestra of 465
Strauss,
composers reacted against orchestral gigantism,
first in the impressionism of Debussy and his followers
making more distinctive use of the instruments and largely avoiding massive sonorities
Innovations of the Twentieth Century Stravinsky's Rite of Spring (1913) illustrates the early 20th-century interest in diverse instrumental combinations and original exploitation of the instruments' capabilities
In general,
composers of the 20th century have continued exploring novel uses of instruments and have preferred a moderate-sized orchestra
Seventy-five to ninety players suffice for most 20th-century scores
orchestra of classical or baroque dimensions has also been much used
In this century,
the percussion section is used more prominently
new instruments have been devised and the playing of old ones varied
Further Reading about Historical Orchestration • • •
Style and Orchestration ML 455
Band Orchestration • Early bands played arrangements and compositions that had the entire group playing
• School band music tended to have lots of tutti for inexperienced players • The Wind Ensemble movement has given bands many pieces written specifically for all the possible tone colors available
Chapter 4 Transcriptions Steps to an effective orchestration—such as assigning instruments in a transcription of a piano piece • Adler lists these requirements to do a transcription o A thorough knowledge of all the instruments (their capabilities and the characteristics of different parts of their range) used in the piece you wish to transcribe as well as in the transcription you wish to make
o An intimate knowledge of the piece’s structure,
including its formal details o An insight into the orchestral style of the compose whose work is to be transcribed,
or it that composer has not written for orchestra,
familiarity with the orchestral practices of the era in which the composer lived o A love for the work to be transcribed o A valid reason to transcribe a particular work
o The Study of Orchestration by Samuel Adler is an excellent resource
• Examine the musical characteristics of a piece o Key,
• Make a preliminary determination about the kinds of instruments that would be appropriate
o What is the most important musical element that you want to start with
? o Try some various combinations of instruments for the melody,
but other elements may need to be considered first
o Consider range and tonal effects
For example,
if there is a big crescendo that you would like to have the trumpet on the melody,
make sure the trumpet is in an appropriate range
o Work with the other elements and consider instruments that would work
consider range and tonal qualities
• Once you have made a preliminary determination,
try filling in the other elements—bass,
If it seems to work,
different kinds of instruments assigned to different musical elements
Keep “starting over” until you get a plan that works
you may also make some decisions about how faithful you are being to the original
stretching the sound palette or condensing it
Are the instruments you chose able to do what you want
? • Now look back at the piece and make sure that you have taken into account the musical effects,
consider adjusting the doublings you have tried—either to make the piece fuller in sections or to thin things out
if the composer wanted a change in sound,
and changed octaves on the piano,
can you experiment with tone color or doublings instead of only changing octaves
then use more instruments—and vice versa
Don’t forget basic musical sound o Chords voiced to the overtone series (except when you are trying for something different) o Voice leading (avoid parallel octaves and 5ths unless you are trying for an effect
Look at individual instruments and make sure the part does not have awkward jumps
and it will make the musicians happy
Would it work
? Would the musical style and effects happen
? Is the melody clearly stated
? Are accompaniments the right dynamic level
? Is there the proper balance between melody and accompaniment
? Do dynamics need to be adjusted
? Examine individual parts for correct range,
Chapter 5 Arranging Arranging involves creating something new from something old
You will take an existing piece of music and change it in some way
• Make harder or elaborate on the original
You create a swing version of the march American Patrol (Glen Miller did this) • Added elements such as intro,
What is not arranging— • Having four saxes play a string quartet
(That is a transcription) • Finding a piano version of a pop tune,
and assigning instruments to an existing arrangement (That is plagiarism)
Arranging also involves orchestrating—so all the things you did in the “Transcription Section” above need to be considered here
Examples of arrangements: Christmas Carols,
Boston Pops pieces,
Medley from “The King and I” for band,
easy version of “In the Mood” for jazz band etc
Live with tune for a time,
and think of multiple ways to vary the music
? What is the purpose of the arrangement
? What is the level of proficiency of the players involved
? Examine the musical characteristics of the music you will arrange
? Ways to Make an Arrangement The following points are ideas you can use as you work on an arrangement Manipulate texture How can changes in texture be used to create a musically interesting arrangement
? • wide/close • dense/transparent • solo/tutti • polyphonic/homophonic/homorhythmic/unison/etc
Where are phrases
? Where is the peak of the phrase
? Where is the loudest and softest point in the tune
? What do words or title have to contribute to musical possibilities
? Emotional connection you have with the music
accompaniment • Feature soloist or section • Solo or “combined” color • Contrast Dynamic Contrast Don’t expect the performers to do this for you
• Phrases • Sections • Dynamic contour of entire piece • Relationship of volume to the number of instruments playing Harmony How can harmonic variation be used to create a musically interesting arrangement
? • Add harmonic interest • Simplify harmony • Unison can be a surprising and strong effect • Mode—change to major or minor • New key for different effect or ease of playing Meter Can meter be manipulated to create a musically interesting arrangement
? • Change meter for variety (e
change a waltz into a jig in 6/8) Form How can form be manipulated to create a musically interesting arrangement
? • extend/compress sections • new sections • overall balance Style Will putting the tune in “new clothes” make an effective arrangement
? • Making a Bossa Nova out of a folk song • Changing a tune from swing to rock
Brinkman: How to Orchestra and Arrange Music 10 Ways to Add Variety or Harmonize a Melody • Unison or Octaves o Same or different instruments o Color (e
Trumpet plus Marimba) • Harmonize o Two part—3rds or 6ths most common
o Chords—close position o Chords—Hymn Style o Chords—with added color tones o Chords—independent from rhythm of melody o Embellish or change the harmonization • Melodic embellishment o Neighbor tones o Decorated melody • Use of Motion o Contrary Motion o Similar or Parallel o Oblique—One part moves and another is stationary • Countermelody o Fill in the spaces in the melody • Pedal Point o Low or high • Ostinato o Repeated rhythmic pattern as a counterpoint • Rhythm o What is the pulse of the piece
? o Add rhythmic interest—percussion or other rhythmic ideas Further Considerations • Decide on your general approach
assignment of background harmony and rhythm parts,
An arrangement is likely to have more than one section,
so you will have to do this more than once
Also consider key changes for various effects • Do parts or rhythms need to be simplified or made more interesting
Chord Voicing o Safe Chord Voicing Voice by the overtone series Choices for voicing sections • Complete chord in each section—ww,
xylophone and marimba have the root,
and Strings have the root and 7th
o More interesting voicing Experiment with various parameters • Wide vs
thick voicing • Tessitura • Bright vs
dark Percussion o Safety—predictable and easy parts o On the edge—percussion is completely independent of the rest of the group
Percussion helps establish and maintain rhythm and provides color and added punch for selection moments in a piece of music
o Percussion should be considered as a melodic,
rhythmic and harmonic section of the group with an enormous palette of sound available
Work with all the elements to sketch out the main sections of an arrangement
You may find that when you make a decision on one section—such as assigning clarinet to the melody in a certain key,
it goofs up what you wanted to do for accompaniment
you will likely have an inferior arrangement
? Would the musical style and effects happen
? Is the melody clearly stated
? Are accompaniments the right dynamic level
? Is there the proper balance between melody and acc
? Do dynamics need to be adjusted
Chapter 6 Score and Parts Common problems with parts and scores • No rehearsal letters/numbers •
Usually it is because you actually hooked it to the line above when you placed the marking on the score
Dynamics above the line
Delete highlight them and push delete
or not enough measures per system
This is sometimes tricky
Instruments out of range
My printer ran out of ink
! This is not an excuse that will help you
Parts don’t agree with score
make them on the score and print out the parts again
Not enough time spent on the assignment
harmony that does not make sense,
transitions) and generally “sloppy” work
Brinkman: How to Orchestra and Arrange Music 13
Chapter 7 Overall Considerations Characteristics of a Good Arrangement •
Changes of orchestration must arrive at appropriate places,
with appropriate degrees of contrast
o Supply sufficient variety and freshness of color to maintain interest
o Ensure clarity of the various musical elements
rather than being like a bunch of arbitrary variations
always using the simplest means to create the desired effect
The arrangement considers the capabilities of the intended performers
and uses all your resources to make the character apparent
An effective piece of music demonstrates: o Craftsmanship (attention to details of notation,
) o Originality (something that sounds fresh) o Aesthetic interest (overall artistic communication and effect)
This rubric takes the principles above and provides a means for determining the grade on an individual project
Chapter 8 Grading Rubric for I & A Arranging Projects Grade
tempo markings included and properly placed
Reduction to fit music to paper Instruments/voices labeled Parts appropriately labeled and extracted
tempo markings included and properly placed
tempo markings included and properly placed
Few of these items present EX: Few Dynamic,
tempo markings included and properly placed
None of these items present EX: No effort made to do notation appropriately
Transposition All transpositions correct • Clefs Correct • Ranges & Keys Playable and Appropriate for instrument and level
• Improvement through the semester •
Most of these items present EX: Most ranges are appropriate
Few of these items present EX: Few ranges are appropriate
Use of Key Change to create interest and contrast Balance between sections appropriate and melody and accompaniment scored well
Improvement through the semester
Most of these items present EX: Most of the writing shows a variety of interesting texture and color Some of these items present EX: Some of the writing shows a variety of interesting texture and color Few of these items present EX: Most of the writing is boring
None of these items present EX: No attempt was made to include interesting texture and color
Overall Creative and Original solution to the arranging problem
• Appropriate composed intros,
codas • Directions for the assignment followed well • Arrangement is musically compelling • Source copy included • Improvement through the semester Most of these items present EX: Most of the piece was creative and original •
Some of these items present EX: Some of the piece was creative and original Few of these items present EX: Little of the piece was creative and original None of these items present EX: No creativity or originality shown
The actual grading sheet will include all of the items in the “A Row” above
Percussion
Show/Swing Choir SATB or SAB Usually with accompaniment HS & JH
Jazz Standards
Style Is Everything Groove Jazz Harmony Basic Styles Swing Usually notated as straight eighths--sometimes dotted eighth,
sixteenth Shuffle a variation of swing doo dot,
Straight eighths Ballad Straight or Swing eighths An arrangement Intro Head (the main tune) Optional contrasting section Solos with background Out-restate the head Ending Voicing Chords in jazz are not just triads Choices 1
Duplicate in a different octave (Basie Voicing) 4
Spread Drop 2--drop the second voice of a close-spaced chord to an octave lower Drop 2 and 4--drop the second and fourth voice an octave
Chapter 10 Marching Band Arranging B The problem: Converting an indoor ensemble to an outdoor ensemble
Scoring • • • • • •
Melody most important Low rhythm,
bass Percussion provides drive and effects Woodwind and mallet percussion effects are possible Unison/octaves can be used Think visually as well as in sound
Score more like concert band Problem is that bands do not march exclusively indoors
Double Melody or Harmony (3rd & 6ths) Do not split Flute and Clarinet Clarinet above the break or double a tenor line in low register
Horn and Alto Sax
This “alto” line can be very effective Harmony or countermelody Occasionally reinforce bass line if needed
Double Baritone and Trombone 2
Percussion
Bass Line--use Trombone/Baritone to reinforce Consider a “power” bass melody--EX: Smoke on the Water
Get Instruments in range where they will project-consider melody first Tessitura--be kind Complexity-remember they have to march Keep it simple
Brinkman: How to Orchestra and Arrange Music 17
Chapter 11 Scoring for Young Band/Orchestra Sc “Young” groups are those who have been playing instruments from 1-4 years
this could be anywhere from 4th-8th grade
Skill levels will vary between schools--6th graders at one school may play as well as 7th graders in another
One purpose of young band music is to teach specific concepts such as: • meter • key signature • rhythms • range extension • style • confidence of players
They are interested in music that: • is playable • sounds good • teaches something • hides deficiencies • is safe in performance • challenges students
Music for young groups should be accessible
”) The question you consider is: What do Elem and JH kids know,
? Suggested band keys First year Second Year Bb,
F + Ab,
Rhythms First year eighth
Meter First year 4/4,
Range--see book for each instrument
Brinkman: How to Orchestra and Arrange Music 18 Other Tips for Young Groups • Avoid extended high or low tessituras
Reinforce bass part whenever possible
Percussion
! Be Creative--lots of players and a variety of instruments
Do not divide too much
Trumpet,
o Rhythmic o Attractive melody o Contrast o A bit of a challenge
Brinkman: How to Orchestra and Arrange Music 19
Chapter 12 Finale Check Sheet YOU NEED TO KNOW HOW TO DO THESE THINGS Set up New Score from Template (File Menu) New Score using Wizard (File Menu) Open old file (File Menu) Save (File Menu) Key Signature Tool (looks like Bb Key Sig) Time Signature Tool (looks like 4/4 time) Page View/Scroll View (Under “View” Menu or toggle with Ctrl-E) Display in Concert pitch/ or not (“Document” Menu) Enter notes,
) Dynamics (mf tool) Ties (slur tool and double click first note) or = in speedy note Slur
Double click first note and drag to last) Articulation (whole note with accent tool) Delete notes or measures (careful If you highlight measure with Mass Mover and hit delete,
the whole measure in all parts will be deleted) Try both delete and backspace key to see what they do Other
Copy and paste (Mass Mover Tool) Undo Ctrl-Z
! Triplets (triplet tool) Transpose (highlight with Mass Mover and then find transpose under untilities menu
Use this to change octaves or move something up by a 3rd,
Use key sig tool to change key of piece
highlight the measure and use the 6,
or 9 keys to move notes up/down a step/octave Check Range (Plug In Menu) Tempo Marking(Plug In Menu) Endings (Plug In Menu) Rehearsal letters (mf tool) Multimeasure rests in parts Double bar for key or meter change (Measure tool—whole rest)
Brinkman: How to Orchestra and Arrange Music 20 Playback Listen through headphones in lab Show in Concert pitch and listen for mistakes
Prepare to print Print parts and score
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