This book Is organized In two parts: “Background and Basics” and “Modern Jazz Voicing. ‘ If you are a novice arranger, we recommend you work through the fundamental concepts in the first part before tackling the sophisticated techniques in the second. Even experienced arrangers may want a quick review of the basics; or they may choose to Jump right Into part two, but use part one as a reference section, consulting it as needed to check the top of the soprano sax’s range, for instance, or to remind themselves of the standard strategies for harmonize approach notes.
However you arrive at part two’s discussion of contemporary voicing, we suggest you learn the material In several ways: Learn the theory. For each voicing technique, the text defines the theoretical basis as well as a step-by-step “recipe” for harmonize a given melody. Practice applying the technique by working through the exercises. We have provided partial solutions to start you in the right direction. Train your ears.
Many of the musical examples presented in the book are demonstrated on the accompanying CD. By cueing up the tracks corresponding to the written examples, o can actually hear the effect of the different intervals in the voicing being illustrated. (Look for the CD symbol 37 marking these recorded demonstrations. ) The written examples also list the instruments used In the recorded track. Knowing the Instrumentation will help you appreciate the timbres and blends of various combinations.
Listen to each example at least several times in order to get it in your ears. (Some of the shorter examples are played twice. ) Train your ears further by playing the voicing on the piano and singing them. Check the sound of your employed exercises at the Plano as well. Alma to recognize the distinct musical Impressions created by certain voicing. Listen to the recordings of arrangers and players who use these voicing to create their characteristic sounds.
Intervals of a minor ninth. And avoid muddy voicing (keep the bottom note of each voicing at or above d below middle c. Unless It Is the root of the chord. ) If you are using a computer program, play back your mini arrangement to see how it sounds. 1 OF 7 book concentrates on scoring for wind instruments, you can apply the same concepts to orchestrating for voices, strings, guitars, and keyboards. You should also experiment with unusual combinations and non-traditional alignments.
A particular five-part voicing played on piano will sound very different when played by five saxes aligned from top to bottom as alto, alto, tenor, tenor, and baritone; or when scored for the same five saxes aligned baritone, alto, alto, tenor, tenor; or when scored for violin, flute, muted trumpet, tenor sax, and acoustic bass; or when sung by a vocal group made up of two sopranos, alto, tenor, and baritone. As you gain confidence, apply these voicing to longer portions of a selected tune. Since variety is important to any successful arrangement, remember to mix in other textures, including solo, linear, and contrapuntal passages.
Before long, you will be producing complete and effective arrangements for five or six horns and a rhythm section, arrangements with a mature, contemporary dimension-?a sophisticated sound. Copyright 2001 Berkeley Press. Published by Berkeley Press. All Rights Reserved. No part of this publication may be reproduced in any form or by any means without the prior written permission of the Publisher. PART l: Background and Basics Review these essential concepts before exploring the advanced voicing methods in Part II. CHAPTER 1 Instrumental Information 1-1 Transposition
Use the table below to transpose the concert pitch of an instrument (the pitch that actually sounds and the note that appears on a concert score) to the corresponding note that is written on that instruments part. For example, in order to have a clarinet play a concert b-flat pitch, you must write the note c on the clarinet part a major second higher than the actual concert pitch. For instruments not shown here, consult any reputable text on orchestration or instrumentation. Transposition Table Instrument Concert Pitch Written Note Transposition from Concert Pitch Flute