@® Arranging 1 Workbook by Bob Doezema — beklee | _ COLLEGE OF MUSICIl IIL IV Vv INTRODUCTION FORM A. SONG FORM B. ARRANGEMENT FORM C. REHEARSAL LETTERS AND NUMBERS ANTICIPATIONS A. ANALYSIS OF ANTICIPATIONS B. MANIPULATION OF MELODIC RHYTHM C. IMAGINARY BAR LINE D. DYNAMICS AND ARTICULATIONS THE RHYTHM SECTION A. THE DRUM SET 1, The Instruments 2. Standard specific Drum Notation 3. Notation and Parts B. THE BASS 1, The Instrument 2. Constructing Written Bass Parts 3. Styles 4, Notation and Parts C, THE GUITAR 1. The Instrument 2. Notation and Parts D. KEYBOARDS 1. The Instruments 2. Notation and Parts APPENDIXARRANGING Arranging is the adaptation of a piece of music to a specific vocal and/or instrumental combination. ‘This vocal and instrumental combination may range from a single performer, with or without a small supporting group, to a full orchestra. ‘The success of an arrangement depends on the arranger's musical technique, good taste, and his or her ability to enhance the ausic in a way that is pleasing to both performers and listeners. To this end, arrangers often modify and stylize a piece of music to the extent that they are adding their own musical ideas. In this way, arranging may involve a certain amount of composition. There are many elements to consider in arranging music: form, instrunenta~ tion, style, tonality, melody, harmony, rhythm, etc. We will begin with a discussion of form. Form, in music, is the structure and shape of musical ideas and the planned design in which these areas are repeated, contrasted, and/or varied. To determine the form of a piece of music, one must be principally concerned with its melodic and harmonic content. Form in music may be considered both in relation to the shorter and separate parts of a piece and to a piece as a whole. In this course, we will consider: song form as it relates to jazz, rock, and popular music, and arrangement form (how the various sections of an arrangement are put Together). A. SONG FORM To understand song form we must not only consider melodic and harmonic structure but also lyric structure. Although form will vary from song to song, there are several typical form models thet are often used by songwriters. Diagrams of these form models are used to graphi- cally represent the form of a song. While letters A, B, C, etc. and 4, by ¢, etc. are used to represent a song's melodic and harmonic structure, there are additional terns used to describe songs with lyrics. The following is a discussion of these terms and form diagrams showing their use. 1, Verse and chorus In older song forms, particularly folk music, each verse represents @ co-equal subdivision of the total lyric structure of the song. The same melody is used for each succeeding verse in the song.Note: .In this song form each verse often ends with a refrain (see refrain). In simple binary, or two part, song form, the verse is followed by the chorus. ‘The melody, harmony, and lyrics of the chorus are different from the melody, harmony, and lyrics of the verse. When this musical form is repeated, each subsequent verse has different lyrics while the lyrics of the chorus remain the same. A B A B ans Verse | CHorus Ere. Note: While binary song form is often used by contemporary popular songwriters, many contemporary pop songs contain additional material which provides additional musical and lyrical contrast to the verse and chorus. This additional material is called either a primary or a transitional bridge (see bridge). In complex binary song form, the verse and chorus are often longer and more elaborate (both lyrically and musically) than the verse and chorus of simple binary song form. Here, the verse functions specifically as an introduction to the chorus and ie called an introductory verse. The chorus is the main body of the song which may be repeated in part or in full without the verse. CHorus Etc.The verse and chorus in complex binary song form are often so long that musical subdivisions of the overall form become ‘apparent. A B B VERSE Chorus ala|{a[b a[tlalec Note: Until recently, complex binary form was the preferred form of American songwriters hen writing show tunes for theatre productions. 2. Bridge In standards, show tunes, and jazz tunes, the bridge is the contrasting musical idea thet occurs specifically in the "b" section of an aab a chorus. The bridge provides the necessary contrast to, or "release" from the "a" sections. CHoRUS Note: In most instrumental jazz tunes, the introductory verse does not exist. In contemporary music, there are two kinds of bridges: the primary bridge and the transitional bridge. The primary bridge is @ complete musical and lyrical statement in which materiel different from either the verse or the chorus is introduced. The transitional bridge is a short musical passage within the binary song form, which connects the verse and the chorus and which provides added musical and lyrical impetus toward the chorus.A B A B ry ast oS HORUS Verse Ciionus |) Yease ; arose Taansirioma Taansiriona. Drives BaiwGEe A B A C B B is and Pamar? | | cHorus, Verse |CHORUS [| Verse ie Repeated) A A B A B c B at | Zab 3h Pamary |_| cs Honus verse | Vease |CHORUST Vease | CHoRVS 1 BRinae \Rereated) A B A B c B ist an Pamany | | CHorus verse | |CHoRMS |) Verse | [CHORUS 11 aaipce [-Ifepeated) 1 I + Trawsisiona. TaansirionaL. Rives BRIDGE3. Blues form Traditional blues songs are written in a 12 bar form with a unique melodic and harmonic structure. While blues melodies are distinctive in their use of "blue notes", blues harmonies follow, or are variations on, the following standard blues chord pattern. Pia wy i vW mom (z7) ESSE SPP TEE PPDITET EET EET PPS While many older "rock-and-roll" songs strictly follow this 12 bar blues form, contemporary pop song writers often incorporate blues melodies and harmonies in a "verse-chorus" format. 4. Hook Since 1960, the expression "hook" has come to mean the principal musical and lyrical component of a pop song. It is the part of the song that the casual listener most easily remembers and therefore, for marketing purposes, is usually the part of the song that generates the song title. Although the "hook" may occur anywhere in the song form, it is usually found in the chorus so as to allow frequent repetition and musical enphasis. 5. Refrain In older songs, particularly folk and gospel music, the refrain is the phrase in the lyric that is repeated at intervals Of the song. In show tunes and jazz standards written in complex binary form, the term "refrain" is synonymous with chorus. In contemporary popular music, the refrain is a type of "nook" that is found at the end of each verse. B, ARRANGEMENT FORM It is the arranger's responsibility to present the essential formatic elements of a song in a way that: ~ is exciting and provocative for the listener ~ fulfills a time-frame predetermined by the performer or record producer and ~ preserves the song's musical (and lyrical) integrity. To achieve these ends, arrangers often: = manipulate the song form in order to bring out a song's best elements = repeat the song form to allow for additional instrumental or vocal variations and/or improvised solos and = add to the song form by composing new sections called introductions, interludes and endings or tags.1. Definitions a. introduction ‘The introduction is a short instrumental passage at the beginning of an arrangement which serves to introduce the mood, character, and tonality of the music to follow. b. interlude 4n interlude is a short instrumental passage, many times melodically and harmonically similar to the introduction, which serves as a contrasting section to the main song form. An interlude may be found between two choruses, or between @ chorus and a new verse. c. tag A tag is a repetitive musical idea which is built into the conclusion of an arrangement. A tag serves to delay the ending. 4, arranger's chorus In an arranger's chorus, the arranger composes over the form of the song in such a way as to provide a satisfactory musical summation of the piece and often the musical climax. In a sense, the arranger becomes the improviser (on-paper). An arranget's chorus, if used, will normally be found towards the end of an instrumental jazz arrangement. Arranger's choruses are rare in arrangements for vocalists. e. solo chorus (or solo section) A solo chorus or section occurs in an arrangement when an individual instrumentalist or vocalist spontaneously improvises original musical ideas over the entire form or part of the form of the song. The following form diagrans graphically represent how several different song forms may be manipulated, repeated or added to in an arrangenent.2. Examples of arrangement forms a. simple binary song form LustRumentac | Intertupe Verse | CHorvs CHorus, INSTRUMENTAL Soto Section |C#ORYS Revrenr, Corus & Fave. (ON VERSE StavcruRe)—W——" Vocal. Vocal. b. complex binary form =—— Vocal ‘Insreumen Tal. B B [nanancen’s CHoRus Corus TAG Exoina ala/bja/jajajb/a Vocat & COS ‘InstRumeNTAL Noca InsTRUMENTAL_c. simple binary song form with bridges mnt OB INSTRUMENTAL EuTRopUCTION ‘InsrRunentac| Conus Tt eRLUDE Primary Dawae Vecac. “Vora 4. blues Bwes puves INSTRUMENTAL, Swsroouerion | | MeLeny een Areance's |_| Bives Bwes Eno) i MELODY mevovy NDING Cuenus Corus CHoRusC, REHEARSAL LETTERS AND NUMBERS Rehearsal letters and numbers are placed on the score and individual parts at obvious phrase boundaries in the music to facilitate the rehearsal of an arrangement and to show the individual players the form of the piece being played. The letters A -B -C etc. are used for each successive "chorus" in complex binary song form or each successive “verse-chorus" or "verse-verse-chorus" in simple binary form. These letters are combined with numbers A - A9 - AI7 etc. to indicate measure numbers at obvious phrase boundaries within each "chorus" or "verse-chorus". The following diagrams show the proper use of rehearsal letters and numbers. 1, Pop song: simple binary form A Inrropuction|| Verse “Verse CHorus | |Swrerwut -—-8—| |-—-8—|+—- 8 —|- —-8—j| |-4 4 ‘Verse CHORUS oe Cronus Chorus —8—|-—s—j | —s—| |--s—| | s Note: Rehearsal letters and form letters may not correspond. 2. Jaze tune: complex binaty form INTRO} [Al As An Az Inreooucrion |} al alhialialath|a -—10—||8/8|8|s/|s|/sjs/e ad CHorus : CHorvs (Sere) € Ce Cw Cas a INTERLUDE ajalh|a|] tae evowa -—10— || 8 | 8 | 8 | 8 | |-—10— CHorus 9%3. 12 bar blues form Dwes Bwes ITRODUCTION MeLopy CHorus MeELopy Corus: —38 —]|-—12 | |-—- 12 — |. Soro CHoruses i] | Arnancer’s Cworus|| TAG Expina [-—— 24 "| ——12_]|_ —_- _, Note: Another system of reharsal symbols involves simply numbering each consecutive bar in a piece of music. Anticipations A. ANALYSIS OF ANTICIPATIONS In conteaporary idioms, anticipation is a rhythmic alteration of melody in which an on-the-beat note is attacked either half-+ beat early (an eighth note anticipation) or a quarter-of-a-beat early (a sixteenth note anticipation). ‘The result is melodic syncopation. regular rhythm Cong An ANT. with eighth note anticipations regular rhythm with 16th note anticipations 10.Note: While eighth note anticipations are common in jazz and Latin tunes where eighth note melodic rhythms are predominant, sixteenth note (as well as eighth note anticipations) are common in rock and funk tunes where sixteenth note melodic rhythms are predominant. Harmonic anticipation occurs when there is a new chord change on the beat following the anticipation. Harmonic anticipations are arranged for the rhythm section in a variety of ways: 1) The entire rhythm section anticipates the harmony of the following chord creating a rhythm section "kick". 2) The guitar and/or keyboards anticipate the harmony of the following chord while the bass remains on the beat, 3) The entire rhythm section plays on the beat, in effect, disregarding the harmonic anticipation in the melody. Gave DriT 5467 4 c$ ; : sun Spe bass = » Faw Fruit genie ets an 078) == lead sheet Fray? EniT elms? c7tens guiter bass al.An anticipated note is sometimes shortened to an eighth note or sixteenth note (followed by a rest). Gon? DWT 0, Tn C$ Funk’ Fay? ent aun Gia wc = +: i B. MANIPULATION OF MELODIC RHYTHM Each musical style employs uniquely different melodic rhythms. Arrangers often modify a song's melodic rhythm in order to: 1) better adapt it to the musical style being employed in an arrangement, or 2) suit their own musical taste. While anticipation is a commonly used rhythmic device in the manipulation of melodic rhythm, so is delayed attack. A delayed attack occurs when an on-the-beat melody note (usually a half note on beats 1 or 3) is attacked a half-a~beat late. ‘Dri? G7 cs regular rhythm Dwi G7 cS with delayed attack Note: Delayed attacks, like anticipations, are reflected in the rhythm Section at the arranger's discretion. 12.‘The following comparisons denonstrate how an arranger might modify the rhythm of a melody found on a lead sheet or published sheet music to various different musical styles. (ORtaINAL) Ani avr Gri? c768) enai7 Goma Ani Yr i 4) 5 ING ae Ae v7 oe ano! ce Le Fma37 i or A (G94) 17 Carin Ani? i ang yt t Gmi7 ae ae Fa Funk? pyi7 bt 7 Gri? cr) nt Aut, put, At. oR AmiT ayy PT Gni7 cree) Fna37 13.IMAGINARY BAR LINE In 4/4 time, the third beat of the measure should always be visible. v correct incorrect Exceptions 9. SS 9 ——————-s Rhythms involving sixteenth notes should be written so that all four beats are visible. correct 2 Beams on eighth notes (and sixteenth notes) should not cross the imaginary bar line. correct incorrect 14.D, DYNAMICS AND ARTICULATIONS : Dynamic markings are the signs by which the degrees of loudness or softness of a musical performance are indicated in a score and parts. Dynamic markings are placed beneath the staff. Articulation markings are the signs that indicate the manner in which a note or notes are to be played. Articulation markings are placed directly above the note or notes outside of the staff. Dynamics pp pianissino very soft P piano soft mp ‘mezzo piano moderately soft mf mezzo forte moderately loud £ forte loud f£ fortissimo —very loud mc ctescendo increase in volume T= e Give crew ax) fare state aera D----5 A (simue) Note: Cymbal rhythms should be properly aligned with the time slashes. Note: After a ride cymbal pattern has been established, the word Simile may be used to indicate that the drummer should continue the pattern in a similar way. D. STOP TIME: Rhythmic notation (shown below) .may be used to indicate drum accents that are not incorporated into a tine feel but are played as isolated accents on the drum or cymbal of the player's choice.Rive) ime CREPERT AUD FADE) A drummer may interpret non-specific drum notation in a variety of ways. Therefore, specific drum notation is preferable when a specific result is desired by the arranger. ex. 5b) ee Gore (cans) Grexs’ ™ dL pog. ewan py pe avi Fr ; : QRereat Avo Fave” E. FILLS: The word "fill" followed by @ horizontal dotted line and concluded with a downward stroke is used to indicate a short improvised drum solo of anywhere from one beat to as much as two bars duration. The word "solo fili" is used to indicate a drum fill that is played without accompanying music. ex. 6) GW Gave} mi CRePeaT fwo Fave) 26.KICKS AND FILLS: \ A combination of drum notation D. & E. ro ex. 1 Fouwk (ans) -PART DRUM NOTATION : ‘A 3part drum notation comprised of bass drum, snare drum and cynbel is advised when a verbal indication does not adequately express the desired drum feel. The snare drum part and the cymbal part are stemmed together to avoid an overly complex part. After a few bars of a this system is used, slashes with the word "simile" or bar repeat signs tan be used to indicate a continuation of the same beat or pattern. Tsim) ~ (REPEAT Awo Fave) Note: See also example 7 at the top of this page. 27.Crash cymbal accents and a constant hi-hat part are distinguished by the use of (x's) above the staff for crash and (x's) in the top space for hi-hat. Descriptive words are also helpful. a Note: Bar repeat signs indicate an exact repetition of the previous! bar or bars while slashes and the word "simile" indicate a similar continuation of the previous drum pattern allowing the player the ~ freedom to interpret and react to the accompanying music. 28.Name, HOMEWORK Supply a drum part for the following swing blues tune, given these specific a instructions: 1) “Basic time playing" throughout, except where otherwise indicated. Dynamics: mf, Beaters: Sticks. 2) Include horn cue "kicks over time" notation for the following melodic thythms: the first two eighth notes in bars 1 and 5, and the lest two eighth notes in bars 2, 6, 10, and 14. 3) Include cymbal accents for the following melodic rhythms: The eighth note anticipations into bars 8 and 16. 4) Include "drum fills" in bars 4 and 7 and a "solo drum fill" in bar 15. Meo. Si (ame Jeme) F7 Bir F7 cnt F7 Leap Sueer 7 Gmit C7 #7 D7) Gmi? C7 D 7 = F7 . p7)) -Gmi? oc? Fre - 29.Name HOMEWORK: Supply a drum part for the following bossa nova tune, given these specific instructions: 1) "Basic time playing" throughout, except where otherwise indicated. Dynamics: mf. Beaters: Sticks. 2) Include a ride "cymbal rhythm over time” in bars 1 and 2 using the thythn |[JFLA) AP DP dls, aise indicace that this ride cymbal ‘part will continue in a similar way. 3) Include "stop time" figures with rhythmic notation in bars 7, 8, 14 and 16 using the thythn of the melody in each case. 4) Indicate light “drum fills" in bars 4, 15 and beats 3 and 4 of bar 7. (Mes. Bossa Nova 9°92 cgi Leap ‘SHEET v7 cm Gi Gtmay7 Pavmg ; Fni? a7 Fmi7 Br7 Gus4) Ebmaj7 * ait 7)” nit ty pain Bb? Fine 7 5 z Ebnai? BION) GI CTs) pmi7 9) arlba) SF a 7 ie DC alfine, 30.Name HOMEWORK: Supply a drum part for the following rock balled tune, given these specific instructions. 1) A "3 part notation" system throughout consisting of: a) the bass drum playing the rhythm of the bass part, b) the snare drum playing on beats 2 and 4, and c) a constant eighth note rhythmic pattern on the ride cymbal. Rock Basa) Pit G Gale % "% % % SYNTH BASS Dams pa *: = =: fy ad 7 Sa os 31.Name, HOMEWORK: Supply a drum part for the following funk tune, given these specific instructions. 1) A "3 part drum notation" system consisting of: a) the bass drum playing the rhythm of the bass part, b) the snare drum playing on beats 2 and 4 and ¢) a constant sixteenth note rhythmic pattern on the closed high hat except for open high hat on the Ab7(#I1) accents at the end of bars 2 and 4, and cymbal accents on the sixteenth note anticipations of beat 3 in bars 2 and 4. Fn Gnes7 Fani7 eni7 Dri qo) leap SHEET BASS Gnas FR ni7 Fingi7 7G) alt 32.The Bass 1, THE TNstRUMENT, The bass is a transposing instrument. The written range is one octave higher than the sounding, or concert, range. Concert Range: written Range: HI ay The bass is alvays notated in the written range even on a concert score. The bass has four strings that are tuned to the following pitches. (Alternate tunings of the E string are possible, but rarely used.) | written: ‘A. TEPES OF AVAILABLE BASSES: 1, Acoustic basst ‘he term arco is used to indicate the bass is to be played with a bow and pizzicato (pizz) when played with the fingers. a) fretted b) fretless 33.IL, CONSTRUCTING WRITTEN BASS PARTS . The first note played in the bass at a point of chord change is usually the root. Playing the root helps clarify the chord progression. When an inversion or hybrid voicing is indicated, use the prescribed function at the point of chord change (i.e., C7/3b bass or G/Db bass). Other chord tones may be used freely once the root has been established. The 5th is the most common alternate choice. Non-chord tones may be used as passing tones or in other approach note patterns. These non-chord tones must resolve to chord tones in chromatic or diatonic stepwise motion. Stepwise motion is usually used to connect the last note sounded on a chord to the root of the next chord change. This stepwise "Link" allows smooth motion from chord to chord and is a voice- leading consideration. (This linking tone is not necessary when moving between consecutive roots of adjacent chords.) Pedal points and ostinatos require the repetition of a single note or a pattern of notes through a series of chotd changes regardless of the relationship of the note (or notes) to the chords in the progression. See the following pages for examples that demonstrate the above. 34.III. STYLES: 7 ‘The bass helps to establish the appropriate feel of the music. Each musical style (swing, latin, rock, ballad, etc.) employs a uniquely different bass line rhythm and pattern of notes. The following examples demonstrate several commonly used styles. ex.1)(Suine emi) = e769) Fri ptr + @ chmaj7 ni) a7) + cni7 BniT Bhni7 67 Sa : 3) (DC al) REPEAT 15 Good @) Ebmas7 ca fim ta ‘The above example demonstrates the following: 1) In the introduction, the bass plays the roots of the chords in a rhythm that is concerted for the entire band. 2) at letter A the bass plays a swing, or"walking” bass line, consisting entirely of quarter notes with the exception of four rhythm section kicks at A6, Al0, Al2 and Ald. Note the predominant stepwise motion including both diatonic and chromatic passing tones. 3) At AI3 - Al7 the bass plays pedal tones (indicated in the oa chord symbols) in a rhythm that is concerted for the entire rhythm section. 35.Gmi7 7 : a (ch7(60s4)) Dhnas7 C7(sus4) Gi : 5 su: Gmi7 (C7604) Drews) 7h, i ‘The example above demonstrates the following: 1) In bars 1-4 a bossa nova bass line in its purest form. Note the consistent dotted quarter note-eighth note rhythm and the specific alternation between the root and the Sth. 2) I bars 5-6 and 13-14,two of the many variations of bossa nova bass lines that are played ina variety of “latin” styles. 3) In bars 8, 12, 15 and 16, the pattern is altered so that the bass will accent the roots of chords in a rhythm that is concerted for the entire band. 36.F maj 7 Fi7 B7 The example above demonstrates the following: 1) In’ bars Bl ~ B4 a samba bass line in its purest form with the exception of anticipatious. Note that this bass style is really a bossa nova pattern played at twice the tempo. 2) In bars Al - A4 one of virtually endless variations that are played in a variety of samba feel styles. 3) In bars A7 - A8 the samba pattern is altered to accomodate rhythm section accents. Note: Because the samba and bossa nova bass lines may be identical except for tempo, samba ausic is often notated in cut time. The example above could be notated as follows: 37.GANGA FEEL : nz) @ Gmi? a a ime che. To avoid confusion, sanba (in 4) with # tine signature, or samba (in 2) with @ or tine signature is indicated to clarify vhich notation is being usd. ex. 4) (ROCK? «1 € D € D = >> } () é D € a ~Peeeeeeee cence ce ecaaeececeateeceaCeeeCCEE Although there are many different rock feels and styles, there are elements of bass part writing that are common to most rock variations. 1) In example #4, the root of the chord is the only function of the chord used to construct the part, with the exception of the 8th bar. 2) In example #5, a short melodic pattern that defines the chord change is repeated in a rhythmic pattern that remains constant throughout a particular section of the arrangement. It is important that the bass rhythm is consistent with the bass drum rhythm of the drum set part. (Cegneeeacy Funk Gay? FART nit Das? Abas? HiT > ex. 6) i A. (Funk-Fusion) «7 BrGus4) 2 mot = WE, Although there are many different coumercial funk and funk-fusion styles and feels, again there are elenents of bass part writing that are common to all the variations. oe 39.fee eae eee gee eee gEEE gE EEE Cg EEE EE CEzgPE EEC aPC EEC EAA EAE 1) In example #6, the root of the chord, with few exceptions, is the only function of the chord used to construct the part. Note: while rock bass parts typically employ eighth note rhythms, funk bass parts typically employ sixteenth note rhythns which are determined by the melodic and harmonic rhythms that are unique to each different tune. While rock bass parts typically sustain or repeat the roots of chords, funk bass parts are sparsely written with short percussive attacks that are often played with a "slap" technique. 2) Example #7 demonstrates how funk-fusion bass parts are typically more active both rhythmically and melodically. These bass lines are many times one of the most important elements of the music and define the character of the whole arrangement. Funk-fusion bass parts often employ a rhythmic ostinato figure that remains constant throughout each section of an arrangement and is synchronized to sone degree with the bass drum of the drum set part. ex. 8) (Gomeneray = ereee Eas? Bhic Fino) Bini me Ami PZ GmiT C7us4) Fmaj7 B7EM) Bhai? C7Gus4) a The example above denonstrates a commercial ballad bass part which employs dotted quarter note-eighth note and/or double dotted quarter note-sixteenth note rhythms. Again the root of the chord is used exclusively (with the possible exception of fills or melodic passages). TV. NOTATION OF PARTS (see also the above examples) - ‘A. PLAYING CHANGES: Slashes are used to indicate the number of beats each chord receives and that the player should construct his or her own bass ex. 9) part in the labeled feel at his or her discretion. eo-Bare Ebmaj7 mitts) prey me Gni9 o7 Fni7 o7 os 40.Time slashes with chord symbols may be used when the arranger desires to allow the player the maximum freedom to react spontaneously to the music. This is particularly common when the bass player is supporting improvised solos in most jazz styles. (Bossa Nova’ F maj? - may? mF Dm D7 CTus4) Demos? Ebay? Time slashes and chord symbols may be replaced with a specifically written part when the arranger desires the bass player to play specific notes in a rhythm that is concerted for the entire rhythm section. Note: The following notation may also be used to indicate occasional harmonic anticipations in the bass part. ehmay? Guna’ Fmoj7 i Fnaj7 Gmi7 c7 C, WRITTEN BASS PARTS: In most musical situations it is preferable to construct @ specifically written part in the indicated style. Note: While many styles are currently played on both electric and acoustic bass, other styles, especially funk, contemporary rock and the more active latin feels are played exclusively on the electric bass. This is due to the fact that the electric bass allows for auch r nore rapid "guitaristic" playing than does the acoustic bass as well as the thumb slap and pop techniques so typical of the contemporary electric bass sound. 41.Name HOMEWORK: Supply a bass part for the following swing blues tune (same tune as drum homework page 29) given these specific instructions: 1) A "walking" bass line consisting of quarter notes throughout except where otherwise indicated. 2) Bass rests in bar 15, anticipates bar 16 and holds at the conductor's discretion. Men. Swing FT Bir 5 Gnitt C7 #7 D7) Gmit C7 iz Fre) oO 42.HOMEWORK: Supply a bass part for the following bossa nova tune (same tune as drum homework page 30) given these specific instructions: 1) A bossa nova bass pattern throughout except where otherwise indicated. 2) The bass plays the rhythm of the melody in those bars in which the drum part (from homework on page 30) includes "stop time” figures Gars 7, 8, 14, and 16). (men, Bossa Nova wee 97120 Omi v7 Cwi7 Gmi7 Ghno7 Leap, SHEET ‘Bass . 2 a: 4a Frit a7 Fri? BIT us) 6 b 7 8 ? 7 | Ebnei7 Ani1?9D709 anit tz Fait Bb7 Fine = 7 fF Ebnas? Mos) YL creed Dmi7 Der?) arn iain 3 4 6 ie (DC alfine,Name HOMEWORK: Supply a bass part to the following rock ballad tune given these specific instructions: 1) A rock bailad bass pattern throughout except where otherwise indicated. 2) The bass anticipates beat 3 in bars 6, 8, 10, 12, 14 and 15. % % © T 8 Emi7 D A Eni7 Cues? Bri7 Emi7 D A € G A 5 4 6 DC REPEAT TutTRO AND FADE 44.Name HOMEWORK: Supply @ bass and drum part to the following semba-fusion tune given these specific instructions: 1) Arrange your own samba-fusion groove for bars 1-8. 2) Arrange specific stop time rhythms for bars 9-12 including drum fills in the drum part. Dmi7 Dwi? Ami? BASS Droms Dmi7 Dmi7 Ami 9 GmiT Gmi7 Ami9Drit Dwi? Ami7 Drums 7 Fini? Ebnas7 076° Dias 7 7G) a ? co Fru? Einas? 07664 Dna? 164) c7 art?) zt 46.Name, HOMEWORK: Supply a bass and drum part to the following rock tune given these instructions: 1) Construct the bess part to accommodate the important harmonic Yaythms being played in the guiter and keyboard parts. 2) Write out a specific drum part. (Rock mm: Jz 144 Kevaonas Guitak Bass on Dawns , z = @rmes) c7s) Bhai? DmiT Dmi7 A = > Dist cra 1 Ge) pn 47.anes) BP ae G7eus) Repeat (617) Aun Fave 48.The Guitar I. THE INSTRUMENT ‘The guitar is a transposing instrument. The written range is one octave higher than the sounding (concert) range. Concert Range _Rritten Range = pet =$ <= = os = FaarieD PiteH Ow ELECTRIC Cieten's wan 28 teers Brana = lb The guitar should be notated in the written range even on a concert score. The guitar has six strings tuned to the following pitches: (alternative tunings are possible, but rarely used). Concert: Heed 2 ~ Heitten: 12 String Guitar: The 12 string guitar has 12 strings tuned to the following pitches. concert: - 2 ee == aoe 5 = =a = Written: ~ 49.A. ACOUSTIC GUITARS 1, Classical guitar - nylon strings 2, G-string acoustic guitar - steel strings 3. 12-string acoustic guitar - steel strings B. ELECTRIC GUITARS 1. 6-string hollow body guitar - jazz styles 2. 6-string semi-hollow body guitar ~ all styles 3. G-string solid-body guitar - rock styles 4, 12-string electric guitar IL. NOTATION AND PARTS a A. CHORDAL ACCOMPANIMENT 1. comping: comping" means providing en appropriate harmonic and chythata accompantaant. Slashes ate used to indicate the mmber of bests each chord receives and that the player should play these chords in the labeled feel at his or her discretion. ex. 1) ‘Bossa Nova BossnNovn) 1 : j ; cmi9 v7 en") wid: Gmi7 Ghmas7 mf Fei? oo7e) Fi? ®P7 Gus) cate 50.ex. 2) Gazz Wartz ani7l#) 79 ani? orb) mE ——_—_—_----—_ Gmay7 Fe7 9) ZT ————= LF FEF Comping notation is used when the arranger desires to allow the player the maximum freedom to react spontaneously to the other rhythm section players and when specific voicings and rhythmic patterns are not demanded by the music. 2. Playing chords with a specific rhythm: Rhythmic notation, stems down (shown below), is used to indicate that the chord changes are to be played with a ~ specific rhythm. ex. 3) Gana Anintp 709 anit co oa ; cw 9 pina? or Ani1®) CREPEAT ANO FACE) Note: the chord synbol is placed directly above the rhythm or slash where the harmonic change occurs. 51.‘oni? EZ Ani? D7 Bi? ET AmiT 07 ia ™ : Dri G7 Cmai7 7 Fez > ex. 5) (Rereat ano Fhoe) (Hi REGISTER PERCUSSIVE ComPING (Funk Gia, ‘cuonvs errecr) mi Dri (n9)) Dmi7 + (oni7) Dmie phvas7 a7) CSimice) Dm azt) Dmi = z ~ (REPEAT Avo FADE) note: After a stylistie rhythmic pattern is notated, rhythn ‘Slashes and the word "simile" may be used to indicate that the guitar player should play the successive chord changes in a similar thythn. Specific thythas should be included on the guitar part when the arranger wants the guitar to: 1) support rhythas concerted for the encire rhythm section (or) 2) support harmonfe anticipations in the melody with chord voicings (or) 3) establish a stylistte rhythmic pattern which is to be repeated throughout a particular section of an areangement. ~ 52.3. Comping and specific rhythms combined: 3 A combination of harmonic accompaniment notation 1 & 2. ex. 6) GEN® Chnai7 Ais) D7) oben) Frit oh orl) mb Gmi? (Rereat Aue Face) 4. Specific rhythms including muffled chord accents: (X) indicates a rhythmic "scratch" sound produced with a pick when the player muffles the strings with his or her hand or fingers. ex. 7) (FINK) (Brion Sounp inn CHoaus EFreer) Gas? FP iT Eni7 Dmas7 aby Et) > > ¢ Gnas? eA Fas? SG alr (REPEAT au FADE) 5. Specific lead notes to voicings: A specific lead note and a chord symbol indicates that the given note will be the highest note played in the chord voicing. Written instructions help to clarify this. Lead note range: Ie concert 53.8) (Fon) (wre csors eseerd : ‘tai hoa oe Grit Aait Bre ak (werd teen) aby Oni % % ts % tye Gri Ait Dinas? x ee SG Dmiz , Rock FEEL. IN 4) etc. Specific lead notes to voicings should be indicated on the guitar part only when the arranger requires the guitar player to: a. support specific percussive or sustained melody notes (usually in the absence of horn voicings) or b. support specific chord voicings notated for the other rhythm section instruments. Note: Lead notes to voicings notation should not be used for complex melodic passages. 6. Specific voicings: Specific voicings may be included on a guitar part when: a, the previous harmonic accompaniment notation discussed does not adequately communicate what the desired part should be and b. the arranger has a thorough knowledge of the instrument. 54.ex. 9) Funk (loins Cronus Erreer) - (wrssten) AmiT % Ani 7 2 yl yee Kz ef en % _% % MUCK Be 07 Pz z gh, a i i (on) 2, Ze 2 A = a = a A et % G9) a (we) soe Tot Note al @) & eo BE Ant orvowne) (Ocal) re Note: (N.C.) means $— zx oa no chord. ex. 10) Note: close position triads are often used for guitar voicings. (Rock BALLAD) (Smecraty Wirw Chorus Errecr) D % % % _ seg laleET pp) ol 4 eMac ; =e e - : : (herent au rade) a 55.ex. 11) (Wet Cronus Errect) az) Gikous4) G7. Bas Note: When specific voicings repeat rhythmically without the notes ‘changing, use the above notation. 7. Single note accompaniment: A guitar technique where a single note or linear idea is played using a combination of sounded and muffled notes. Written instructions help clarify this. peniT ‘ e7 ex. 12) (Guvrece) AFF -@ionvs) ‘af Gwcle NOTE comping) cmi7 F7 = 2 we % A od we & Worewes) erent awo Fave) This guitar technique is used in commercial dance and funk music when the rhythm section consists of several instruments and the arranger desires a specific rhythmic rather than an additional chordal element. 8. Power chords: A guitar technique where incomplete voicings consisting of the root, fifth, and doubled root are played in a low register with heavy distortion. Written instructions help clarify this. 56.Gee D ee camer (48) ¢ ¥ F 6 aoc are SS eee T eee PF Per F ec vb eb F Fa — a e (REPEAT AND FADE) This guitar technique is used in high energy hard-rock music when the bass and guitar are playing concerted rhythns 9. Single notes and chord voicings:, re (Power CHonos € ona Desronvion) we) % -e& # — wc) E mo ey % o€ wee E Wwe) e FF are (we) 57.Nane, Homework: Supply a guitar and drum part for the following swing tune given these specific instructions: 1) In the introduction: arrange the guitar part with "specific lead notes to voicings" notation using the melody as a reference. Arrange the drums using "kicks over time" notation using the melodic rhythm as a “horn cue" 2) In bars 5-16: ‘The guitar and drums will play "basic time" with the inclusion of comping rhythms and/or drum kicks you feel are appropriate. 3) In bars 17-20: ‘The guitar will comp chords using the rhythm of the bass part. ‘The drums will play "stop time" figures with the bass guitar. ING Wii 9 #160 Gni7t = c7lbs) Fmi7 a7 & LEAD ‘SneeT GuitarCmi7 Chni7 BPni7 e'7 Guitan, “Bass Proms i: = aa 7 Abnaj? Abmiz Git naj? 59.aS Guiran, Bass Dams Sy em * ° 7 ele) 5 iREPEAT Is Goop 60.Name, Homework: Supply a guitar part for the following samba-fusion tune given these specific instructions: 1) A specific comping rhythm for the guitar in bars 1 and 2 that will be continued in a similar way through bars 3 - 8. 2) Specific close position triadic voicings that harmonize the accented melody notes in bars 9 ~ 12. ‘Sampa - Fu (eet) Oat Dwi7 Ami? “Dmi7 LEAD ‘SHEET Guan E rs a 3. Dwi? Ami@ Gi GmiT—pwiT eee a z = Dmi7 Dit AmiT — FrujT Engi? DIO tag i » 7 8. a ) Crees) arts) Fei7 Ehns7 1b iT C7668) C7 a i 61.Name, Homework: Arrange the following jazz waltz for guitar, bass and drums. Cp daze War) mmm: Js 184 Dimi. Emi? Dni7 Emi7 Lead ‘sweeT Guitar Base Daums Femi Gni7 Fai7 Gmi7 62. eeLeap sHEsT Bwi7 £76194) Cwi 63. wniT er @i) emi?Bee eee eee etea cea eae ae eee Eeteet dae eeeeeee tae eeeeeEeEe tte PEEPS Keyboards ~ L. THE INSTRUMENTS ‘A. ACOUSTIC PIANO: The acoustic piano is a non-transposing instrument (the concert and sounding range are the same). gva> Range: Hib ‘The damper, or sustain, pedal (the right pedal) is used to sustain a note or notes after the fingers have been removed from the keys. The ~ use of the damper pedal is indicated by marking (ped) at the point the pedal is depressed followed by an asterisk at the point of release. Peo * Peo * B. ELECTRIC PIANOS: ‘The Fender Rhodes is a commonly used portable electric piano which a non-transposing instrument with the following ranges. Bra Rhodes 73 Rhodes 88 ev. a ‘The Fender Rhodes also has 2 damper, or sustain, pedal. 64C, SYNTHESIZERS Le Range: All synthesizers are concert instruments with an unlimited range. Unlimited range is achieved by electronically controlling the registration fo the instrument. Pitches in various octaves may be produced by depressing any key and setting the appropriate controls. Monophonic and polyphonic synthesizer: ‘The number of notes that can be sounded simultaneously vary from synthesizer to synthesizer. Monophonic synthesizers can Play only one pitch at @ time. Some polyphonic synthesizers can play any number of voices simultaneously. It is important that the arranger be avare of the capabilities of the synthesizer for which he or she is writing. Pedals: All synthesizers allow for the use of pedals which control a variety of effects such as: volume, sustain and timbre. Pitch control: Most synthesizers are capable of pitch bending, portamento and vibrato. Tone control and special effects: All synthesizers are capable of a wide variety of tone (timbre) controls and special effects. These range from imitating acoustic instruments to creating innumerable sound effects. Synthesists take pride in their ability to create unique sounds. Therefore, the arranger must supply ex tlicit written instructions on a synthesizer part to communicate the desired sound. ‘The following are examples of typical instructions. They include a description of tone and attack, and, if appropriate, an acoustic instrument reference sound: a) bright - percussive - brass sound b) dark - soft - cello sound c) bright - percussive ~ clavinet sound 4) dark - Legato - double reed sound e) distorted and screaming rock guitar £) dark - percussive marimba sound 65.II. NOTATION AND PARTS oa ‘A. SINGLE STAVE CHORDAL ACCOMPANIMENT NOTATION 1, Comping (refer to guitar notes): ex..1) (fkoustic Piano) (Dazz WALTZ), yin(t8) ez) Ami pb) = Gmoj7 ee) "7 e7e) Amit cni7 a etc. 2. Playing chords with a specific rhythm (refer to guitar notes): ex. 2) Aeousric Piano) GD ogin 87 emit eh ty wn? ct7 o mi F7 CHIT FT Bhp “79 > > Pp ehnas7 Frit Gmi7 hai? pp anit’ pr) gril) exh ~ 66.ex. 3) (DX7 Ruopes Sound CHonus ErrecT) “ Fouk Si? €PwiT ae? pbnas7 7 ASS e709 bit a7 Dhnaj7 QRerear hwo Fave) Specific rhythms should be included on the keyboard part when the arranger wants: 1) to establish a stylistic rhythmic pattern (ex. 2) 2) to indicate a sustained chordal sound while the guiter player provides the rhythmic pattern (ex. 3, bar 1-2; 5-6) 3) to indicate specific rhythms to be concerted for the entire band (ex. 3, bars 3-4; 7-8) 3, Comping and specific rhythms combined: a combination of techniques 182. ex. 4) (Acoustic PiaNo) i “ ) Gane Almay? pmi79) 678} mF cmi9 ctu) pty Bras bmi} eo” ebni7 ab7 Fui7 7 eriees) §— 9 AT Abas 7 Note: The chord symbol is placed directly above the rhythm or slash where the harmonic change occurs.4. Specific lead notes to voicings: Refer to guitar comping notation (#5) ex. 5) DXT (Bacar, Pencussive, (Fon 88854 5009) uss etni7 Ew Dm? HH hy F (oP Nove OF Voce) Gmas7 Femi7 Foy? SG CRereat hua FADE) 5. Specific voicings: Specific voicings should be included on the keyboard part when: 1) the previous comping notation discussed does not adequately communicate what the desired part should be 2) the voicing demanded by the music cannot be expressed with a conventional chord symbol 3) different musical styles demand a unique style of keyboard playing. ex. 6) DX (CLAVIMET SOUND) ss Fun (anit) (&) a) (anit) (fb) (%) (%) POD Sa (Note: chord symbols in parentheses are for reference only) 68.B. TWO STAVE COMPING NOTATION A two stave system consisting of treble and bass clef, or in some cases, two identical clefs, should be used for keyboard parts when? 1) both right hand comping voicings and a specific left hand bass part are to be played at the same time 2) specific voicings require both right and left hands 3) more than one keyboard is to be played by the same player 4) both a right hand melody and a specific left hand accompaniment are to be played at the same time or 5) an arrangement is to be published. ‘The two following examples demonstrate specific right hand voicings and a left hand bass part which are to be played together. ex. 7) Acoustic Piano) GW (anit) (7) (Ami7) (07) 2 (ni) (6 (Cnoi7) (7) (F*y) ‘ex. 8) DX7 (Brictt CLaviNeT Sound) . Revert Awo Fane) o> S13 conin) en 7 2Note: Changing from a two stave to a single stave system may occur at the beginning of a new line. The following single stave piano part could be arranged in a two stave system for a published score. ex. 9a (eoustic PIANO) ‘Swing! Amir) nit cot mt cwit 9 Droit a7 anit) _ a = x] SSF Ss ex. 9b (Acoustic Fiano) ie Guna anit?) 9 Gnia c90 mt cma F999 Binay9 Note: If the voicings for either hand span an interval of an octave or less, the part will be playable regardless of the size of the keyboardist's hands. 70.‘The two following examples demonstrate multi-keyboard parts to be played simultaneously by one musician. ex. 10) (Rock BAwAP’ (0x7- 83 Sovno) Pury [O 00 [OO © 6) © mf ex. 11) Caw (OX7-DARK HORN SouND) =. CREW nas? baer a Dnit D7 c7Gus4) 71.