Escolar Documentos
Profissional Documentos
Cultura Documentos
3 e l ql?
, I
'lrv,,*"
~ 43th
FL
~
a'[+
c -65838 - 6 6 1 HENRY MANCINI
/
0-
-
.dno.i'0 Zu!Su!s .,sauo,L ].')Y,, S,.;>lUJO,L 12Iq J o s.i~qlli.;>1u 1i:ulS!~o
Jq] J O > U 0 S\:,M Plli? Plll?q >q] l{]!.M ~ I J ! ~ I SC.M I ! S 0 y . W ' J O U l J 0 3 , 0 Auu!~)
J.?LIIJOJ 2111 '>J!+IS I L { ].?lU .;>i[3.13q] Sr11 11 ~ . I ~ ~ I I I : , I . I I .: - ~ ~. ! U 1I:: IS~E rJlS2q3JO
a7Jll.38 X(i_L-J,311!J+1111.'13 > l { ] p.'l110f . . .I l I. l ~ U i i ~ A 'si-61
J U l P.73J0-4 PJ111Jv
.;>q]1 ~ 1 0 . 1 ~.35~:1.3.1q!q ~ I I ! I I O I I..<.1jl1t:j11]
O:~ ,3111 111 .I.;>IC[ ~ ~ 1 12 :. 3 ~ 0 3 J!V 2q1 U!
' i i > c ~ . ? p~ >o ~ i ?211
s 'ct(jl U!111:3 I J I I J P >.J!\JSSn ,qq p ; j t n ~ ~ ( i ]?JJ.M u ~ s2!pnis
S!~I ' ~ i c n l *J O l o n y 3 ~p.~x:;~~inf . . silc>ii:i?js,y.io,~.+1,3*yiii pallo~ua! U ! ~ U E N
';t6[ J O [ ~ E J. ~ i l ]M I 1 o o q s l./D11-ii:diji:l!~il~ . . ~ I I O J Juoiiiinpe~a~ a u o~o s e
. y 5 ~ n q c i i i jii! .?.iiri>q-Li ~ ! u z ] ~s q ]e l eJ1saqjJo asnoq aqi
JOJ ?"u~?.IJ? PIB J0)31lp1103 Sil'11 01{11 'su!~P\! XSBJAJ O ] UE!3!SnlU ~ U ! P P T ~ ~
>i[l pa[ ~3i1cp!ilBPlIE llO!]XlJ]SU! JOJ p>.'U V - ~ ~ - I I ~ " U E J ll! J ? P31S>J>]U!
>iur.>aqs~eaA.n3j B LI!~I!.+I . .
f u e oiicicl 611?c!ol ii113rit'lq ' 2 1 se.%>q uaq,+j
.J1.?'ill!q
]uaiuii.i]su! aq] pa.icld o i l . + '~J J L ~ I V Js!q .iq > I ~ Uaql pue ~isiiuio1 p.?~npo.~:u!
]SJlJ SF.'A A . I u > J ~ ]l?q) '2ljsl2 ;O :SI2 3ql ] E '2~3ql5Ki1 11 .Vd 'l:ijdilI!2~~v
J O u . + ~ olaas i aql 01 p.;~oiuuoos ' i : i i u ~ ' J S ~ I O L Ur!y pue 'o~ij!iib' ~ z q l e j
S!IJ ' ~ ~ '91 6 1I ! J ~ V iio 0 1 4 0 ' p ~ c l > . 1 ~ u! 1 3I I J O ~s ~ i ;!u!;>iiely .i~rial4
Lb .SSU!J~S jo r ~?.1S?0,3,,
s,3!sn~,qJ O lIO!]L'J>P" LUt'Ji.!>il.JV>ql pue ' J S , ~put! y 7 3 , q S,?SVOJ :C.?,M
sq1 ' 1 o o q 3 ~p~e!ll!nr"1 S ~ ~ : K I : J \:y.10.4 , 1 1 3 ~jc~ Xu!ipn]s SJ::$!:~>JJ~ p::e
SJO]3npIl03 's~asoduio3S,.'I~C~.IJO~!JO] J O : < ~ I C L USI!]~);U;)~ 2JE s~!~s.!*.c~;~J
pgc sdiqs~eloq3s!ul3uely ' J > u I J @ J . I , ~] i~: l ~ ~ ; ? r ? ; ~.?q] . l d S 2 1la.n St? 3!L'ntii
J O l u q n l s snoijas ..Cia.~a . < ~ ~ ~ ' I ~ ;jJ ~! . 'qI J-.qi
sO uo punoj -.q u123 q~!q.w. ( . ~ L I I
' ~ ! s n j yaSpi~ql_rox,<q p>yr!jqnd) , , ~ ; O ~ ; ~ ~ I C : ~~t'uo!sl;;ajo~d ~AJO 01 c;~iiif>
IE3!]3T?Jd V - - - S ~ J O ~ Spue ~ p i : i 1 0 ~'qfioq ,, S ~ YijZil~-iq]L T . I I O ~ S: ~ > q~ ( i i ! ; ~ > d
S! suv!3!sniu Zu!ppnq JOJ u ~ x u o 3siq pue ? \ i i i i i i :o 2.101 d , ~ pS!H
.LI2n!pElit?d U O p U O ~2qJ I E a i i i E U J O J J a d F U Z T . T l O 3
4i:uied le.<oy e JOJ pa~eadde ?q 9961 J O Jaquailo.y u1 '":.;;io~
J O e ~ l s a q 3!uc!ri~eqj!qj
~o le.ioa aqL pri 2 c-ilcaq2~0.<uvl;dui.Cs riop:io~
?u' 3 ! ~ 0 ~ i E q i ! ! j dI X J S I "L ' F J ) S ~ ~ ~31UOUIJU4I14J
"
'.<uoqdui.<s~ Z J T I ~ " ] ! ~'ZJlS2q3JO pliEIa.Ial3 2
" Z J ! S S ~ ~ . J~?!qdl>p~l!vd
~
JO C.?;,I$U\~'
k '!d@d i: ':ii:8 ;ijL
2 q l 2Je pal3npU03 seq aq St'J]Ssq2iO ' :;<?il~.s
50.1 2qL
Following the score along with the recording of a piece of music'has Iong
11
been a major part of the serious" music student's method of study. Unfortunately, the
young "popular" music student urho hopes to become a yrofessional composer-arranger in
the commercial field has no wealth of maierial to aid him. Printed scores of commercial
recordings are rare. T h e basic purpose of this book is to remedy this situation by giving the
budding professional a ineans of comparing the recorded snunds ivith the printed illustra-
tions. However, this procedure will be altered froin time to time to include discussion of
subjects that are not available on recordings.
Since the average dance orchestra does not iiiclude eight brass, five saxes, four French
horns, or twenty strings, many of the recorded examples are rewritten for smaller groups,
showing Ilow the voicings.change as the groups ger progressively smaller.
W e will not concern oursclves with definitive studies of the technical possibilities of
the ~lariousinstruments. T h e orchestration books of Cecil Forsyth and Walter Piston have
taken ample care of this for us. Our main concern is the combining of the instruments
into sections and enselnbles of al1 the types that must be dealt irith by the professional
writer in the commercial field.
Practically al1 of the examples are in concert *-sketch form. T h i s method clcarly illus-
trates at a glance exactly what is being played and by whom. N o tr;inspc.isition is iiccessary
except in the cases of those instruments that normally sound a n octave higher or lower
than written.
Our examples are taken from these RCA Victor albums:
T h e hlZz&c from Peter Gunn No. 1956
More hlusic fronz Peter G u n n No. 2010
T h e AlZztsic from Mr. L~rcky No. 2198
T h e B1zr.e~and the Beat No. 2147
T h e hfnlzcini Tozich No. 2101
A deep and grateful bow must be made in the direction of the musicians nlho performed
on these records. They are not capable of lcss than perfection.
N o inatter how ii-isny books a persoii lias rcad on this subjcct and no m3:ter ho\v indny
recordings he has heard and analyzed, his progress can only be measured by jivhat he writes
and has performed. If this book can take a fe\v of the stuiiibling blocks out of his yath and
light the way a bit, my purpose will have been fulfilled.
Manuscript pages have been inserted in various places to permit the reader to make any
notations he inay wjsh
*The tcrm "concert" means that al1 of the instruinents are \\.+ten in the same key as the piano.
1. T H E ESSENTIALS . . . . . . . . . . . . . . . . . 1
2 . T H E SAXOPFIONES . .
3. T H E W O O D W I N D S . .
The Piccolo . . . .
Thc C Flute . . .
The Alto Flute . . .
The Bass Flute . . .
The Clarinet . . . .
l'he Bass Claririet . .
The Oboe . . . . .
The English I-Iorn . .
The Bassoon . . . .
The \Voodu.ind Ensenible
4 . l ' f I E RR:\SS . . . . . . . . . . . . . . . . 99
?'he T r ~ i r i i ~ e.t . . . . . .
. . . . .. . . . . . 99
?'he Troniboiies . . . . . .
. . . . .. . . . . . 101
?'he French Horn . . . . . . . . . .
. . . . . . 106
?'he I'uba . . . . . . . . . . . . .. . . . . . 111
The Rrass Enseiiible . . . . . . . . . . . . . . . . 113
The Brass hliites . . . . . . . . . . . . . . . . . 130
The Rrass and Scisophorie Ensemble . . . . . . . . . . 131
6. THE RHYTHM SECTION . . . . .
The Piano . . . . . . . . . .
The Celesta. . . . . . . . . .
. . . . . . . . .
The Cuitar'. .
. . . . . . . .
The Bass Guitar .
. . . . . . . .
The String Bass .
The Drums . . . . . . . . . .
The Timpani. . . . . . . . . .
The Vibraphone . . . .
. . . . .
The Marimba. . . . . . . . . .
The Xylophone . . . . .
. . . . .
The Bells. . . . . . . . . . .
. The Harp ........... .
7. LATIN INSTRUMENTS AND RHYTHMS
8. THE COMBO . . . . . . . . . .
9. THE STRING SECTION . . . . . .
10. CONCLUSION . . . . . . . . . .
--
CHAPTER ONE
The Essentials
2 SOUNDS A N D SCORES
There are severa1 helpful short-cuts that are in general use. When a s
tion is playing in unison it is not necessary to write out the same part
each of the instrurnents in that section.
Using the Peter Grlrzn theme as our example, here are t u o rr.a}.s of doi
this:
Since eight brass are not common in most bands, here is the same passage
scored for several smaller sections:
118 . S O U S D S AND SCORES
EXAAIPLE
83 BLUES FOR MOTHER'S
Tpt.
Trb.
1. P - 4 Horns
I I 1 I
-
-
l
Guit.
eass
Dr.
EXAMPLE84 BLUES FOR iI4OTHER'S
Maierate Ballad
THE BRASS 121
Al !o
Sax.
Tpt.
Trb.
Hn .
Pno .
brs ,
Dr.
molb n t .
Side D. Band 2
SOUNDS SCO RES
Brass Mutes
A word about mutes before M.e leave the brasses. There are thre,~bali-
mutes in general use: the cup mute; the straight mute; and the EIarrnor! cr
copper mute. Onl? the first twro are available LO the French horn.
T h e c u p mute is the softest of the trio, enabling it to blend well ~ v i t h!te
s . lrery soft and velvety sound can be a c h i e ~ e dby stuffing z
~ ~ o o d \ v i n dA
handkerchief around the inside of the mute before inserting i t into tke
instrumetit. Cups ha\.e a good bite to thern when played forte.
T h e straight miite (brass mute) creates a piercing, biting sound that
best applied to moderate and up-tempo nunibers. This mute cari also te
mixed in \\.ith the n.ood\\~indsto good effect, mostly in sharp, rhythmiz
figures.
T h c Flarriion niiite has a kind oF chilling, t l i i r i sound tliat is \~.oiiderfL
For "str3ngeJ' effects. It is built iq~itha nozzle that can be pulled in or out E
desired. LVith the nozsle entirel!. out it produces a filtered, holloiv soun-
O n e uord of caution about using iiiutes iri trutripets Keep thein in s
inediui~ior mediuni high ratige. Muted trunipets have a tendency to plli
out o tune ~ h e they n are written too lo\\.. Stay above middle C with ywz
1ou.cr nian.
caYegory. T h e plunger effect is usually produced by the rubber end
aid. A plastic cup is also available. T h e third and least effec-
S- - - S the hand. T h e "Peter Gunn Therne" (Ex. 74, page 108) shows
& in action. T h e stopped notes are marked "+" and the open
1 it takes a bit of time to put a mute in or take it out, leave the brass
b -&S a few bars to maneuver:
l
T h e most effective and downright thrilling of sounds is that of al1 of the
~ j instruments
d playing
* . - -
an ensemble passage. It is here that an orchestra
1
l
. a d the arranger) s h o ~ l sits real class and ability.
Setting the French horns aside, let's get to the practica1 ulork of combining
5brass and the saxes into a solid. m o v i n ~mouD. In a medium-tem~oed
0 0 L I
-zr-uve, "The Beat" (The BZues and the Beat) is a typical example. O u r
~ s e m b l folloa~s
e the trumpet solo. I n this particular case the trumpet, who
-= just finished his solo, is excused from the ensemble for the first eight
S
- - joining
, - in later on the second eight. - T h e reason for this is simple. -
--~x trurnpets u.erenPt at al1 necessarv for the *passage,
u -
so why not let the
d ~ i s rest
t for a bit? Going into a solo from an ensemble, it is also wise to
-&ve your soloist out of the preceding action. In other urords, give him time
t-.wind up or unwind. as the case mav , be.
- I n this example - the brass are the body of the ensemble.
- Note that the
Trb.
Sax .
I J
I 1 1 1 1 , I
Tpt. L l I I I ! ~ P
Tlb.
1
Sax .
Dr. ,
I I< xr. L
EXAMPLE94 T H E BEAT
Next, 2 trumpets/l trombonel3 saxes (A A T). Notice that our trom-
bone drops down and becomes the b a s ~voice:
EXAMPLE95 T H E BEAT
---
T h e sarne passage for 3 tmmpets/3 trombones/4 saxes (A A T B):
EXAMPLE
97 BLUES FOR MOTHER'S
TP~
Trb.
Sw.
Tpt.
Trb.
Sax.
135 s o u s ~ sA X D s c o x ~ s
EXAMPLE
98 BLUES FOR MOTHER'S
Trb.
l
iy thm
Ensemble writing should be given much time and practice. It is here that
the writer's talents are really put to the test. An illconceived ensemble can
disspate any emotion or momentum that you are trying to build. Here is
one time that the soloist or singer need not be considered, the one time that
the writer can step to the Eront.
CHAPTER FIVE
Show and
Act Music
E v m Y AARArvGER 1 s c A L L E D U P O N FRoM T I M E TO T I M E TO
write for various types of acts. T h e order is always the same: ulrite for fifteen
men-but it must be playable for six. This, of course, Iimits the writer
enormously.
Since the score uvill often be played by smaller groups, al1 oE the intros,
endings, and fill-ins should be urritten for ensemble orchestra.
T h e first step is to write a solid trio Eor two trumpets and one trombone:
EXAMPLE101
Bright 4
Tpt.
Trb.
Boss
Dr.
.
A N D SCOlP,ES
Divided saxes are a problem, since you will end u p with three or less ir
most cases. T h e use of unison saxes remedies this situation greatly.
In shoul music the piano part is usually a three-line part on the order d
a sirnplified conductor's score. T h e top staff contains your lead and i ~ -
portant band fills and figures. T h e bottoin ttvo staves are the regular pzr:
with one difference from what we've Been doing in this book: the rigE:-
hand chords are written out. These chords should be kept in the area &
'middle C. If the arrangement is a busy one the band figures can be plr
in the second (right-han piano) staff.
This part is not laid out in this form in your score. Write onlr
the two-stave part and let the copyist make u p the piano-conductor pzr
later (peor cats tvho can't afford copyists notnlithstanding).
Al1 this is a purely functional forrnat and has some obvious shortcominp
With a bit of probing, in some cases you will come up with little reinforce
ments that will give mgre depth to your voicings. But always remernber th-r
the score must serve the purposes of any size group that ~ l a it.~ s
.
CHAPTER SIX
- --
1
The Rhythm Section
OUR
PRESENT-DAY RHYTHM SECTION USUALLY INCLUDES
the piano, the guitar, the bass, and drums. Some jazz groups have eliminated
the guitar, proving that the bass and drums are perfectly capaEle of pro-
pelling the beat by themselves.
Another approach is the Count Basie rhythm sound. Here ute'have the
bass and drums joined by the unamplified rhythm guitar. This is the style
used most often by the big bands. T h e piano is present but is not actuallv
contributing to the basic job of making rhythm.
T h e Peter Gunn orchestra has some of the finest rhythm men available:
O n drums, Jack Sperling or Shelley Manne; bass, Rally Bundock or Red
hlitchell; guitar, Bob Bain; vibes, Larry Bunker or Victor Feldman; and
piano, Johnny Williams.
The Piano
plars a two-be3t pattern. This means that the bass and the piano left
pla? the bass line on the first and third beats only, and the piano right
plaFs the second and fourth beats only. T h e right hand is generally M
out, but chord symbols can be used.
In the "Little Man Theme" (Ex. 28, pageLf9) a bit of color is addzi.
the flutes.
T h e third bar of "Tipsy" (iZ1r. Lrtcky) has the piano and marimba sta
the rhythmic pattern in a hurnorous vein:
Trb .
Mar.
Pno.
2 Dr.