Você está na página 1de 217

n

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

aql C ouoruv .sa!~luii,o3U ~ ! > J Ouszop J e J O ue J O sli?]!de> 11 U! J O


.

suv Z u r u r ~ o j ~ a2q1 d JOJ Jaliiaa cCp~uuay uqor aql 'cndirin . i ~ ! ~ ~ > . \ ! u n


Su!peal e '1.v.08 p o o . ~ i ? ; l l oaql ~ le Zuil3npuo3 si >q -ixl;qn ' ~ ; J o . H
aql pnnoJe PUF !SCc73-0l-lSE03 UIOJJ ci.2!]13 u1 08s 2ie ?IJ~I-.!<:)J 5 : ~
.~s!j~ pues sjz!3,3ds .l:~>i~e,\ psla~!pi:.<spuc ~ J O ; ~ ; U . ~ : J ~ X L I
se IIaM se s t ~ o q 3lel s pue . + I . ? ~ ~ J ~ I ~U !i 2 ~ n d 0aql d uo sa3uv~saddesnoiauinu
sayeur osle ,314 - C F . V S ~ ~ ~ JJ O~ I Opue u.no s!q Zuunleaj ,,'c[c!.?>d~,
g ~ c i . - ~ i l;7jpA>s
,q i7,iI J 's;;;22;:.j;3
b' i ~ : > i i z j q' C~~ > U > S,711;i:l~ - 1 . ~ 1 j L1'i
u:zso s!q palsoq aH . . < ~ ~ ~ ~ u uo!i!,;alal i s ~ > d J E ! ~ ~ ~ eE 'osle J S! ! u ! c l u s ~
.rJapvaI pauo!ic:n hun
SII uodn .1o;saq ue3 hi~snpu! 1uaiuuic3-ialua aq1 ~ o u o q~ s q l o.c_i>ta
.<lie3!ise~dpus aqolt) u ? p l o ~ )s,uu!ia!~ossv s s a ~ du 5 i a ~ o d poo.f't.qjo~
aql 'spJe.zse uinqjv p l o 9 X.!S 'SPJFMV ~ w r u e ~& g paluap~s~dun
ue u0.a seq 2 : J T J E ~ S O uap~o%pala.103 aqi :o 2;l~ql
pue suo!~~'u!ir~ou p x n v . i ~ i a p ~ 3pvl q l i . ~W J L I ~pue ~ ~ QJV
S >-ini-7!6
u o ! l o ~ yJ O !<urapr?~y aql .iq p2~ouoqusaq seq aq ' ' l ~ ~ m .ium s!q J O ~
.r:-;l~t;r!;~rr::~::~S! 'i
Aq LIUOpalenba 2Jr! J ~ > : ~ ~ P ~ < ) u ' - J > ~ u ~ ~ J~~I JFT-J JO ,J '~~ o J~OwS]U?iP] o~
a u ' p l x ~3!snui ~t?jndod.?y] J O siue!f: a q l j o auo SE S ~. I.I I ~ J ~i s n ~ prie
u r~>?d
y q ,iq p a p ~ e z asy~!u!3u2)< . i ~ u a j i' s p ~ c p i ~ cjo l s las Aue .<a
They were married in Hoilywood in 1947 and now live in Holmby Hills,
Calif. They have three children, a boy, Chris (born July 2, 1950) and
twin daughters, Monica and Felice (born May 4, 1952).
Pnvate studies continued with composers Ernst Krenek, Mano Castel-
nuovo-Tedesco and Dr. Alfred Sendry.
In 1952 Mancini joined the music department of Universal-
International Studios. During the next six years he contributed to over
100 films, most notably "The Glenn Miiier Story" (for which he received
his first Academy Award nomination), "The Benny Goodman Story" and
Orson Welles' "Touch of Evil."
Soon after leaving Universal-lnternational, Mancini was engaged by
producerdirector Blake Edwards to score the TV series, "Peter Gunn."
His use of the jazz idiom created an instant success and resulted in a
nomination from the Academy of Television Arts and Sciences for an
Emmy Award.
The album "The Music from Peter Gunn" was released in 1958 by RCA
Vctor and earned him a Gold Record. The album was voted two
Grammys by the members of the National Academy of Recording Arts
and Sciences as Album of the Year and Best Arrangement of the Year.
The success of "Peter Gunn" was repeated in 1960 by another Edwards-
Mancini collaboration, "Mr. Lucky." The album "Music from Mr.
Lucky" joined "Peter Gunn" as a best seller. The National Academy of
Recording Arts and Sciences again honored Mancini with two Grammys
for Best Arrangement and Best Performance by an Orchestra. His album
"The Blues and The Beat" was also awarded a Grammy that same year.
Billboard Magazine paid tribute to the "Mr. Lucky" album by narning
it Instrumental Album of the Year. In addition, the 1964, 1965, 1967,
1968, 1969 and 1970 Playboy Readers' J a n Po11 voted Mancini leader of
the All-Star Orchestra.
The composer-arranger's return to motion picture scoring has so far
produced the foiiowing movie scores: "High Time," "The Great
Imposter," "Mr. Hobbs Takes a Vacation," "Bachelor in Paradise,"
"Breakfast at Tiffany's," "Experiment in Terror," "Days of Wine and
Roses," "Charade," "The Pink Panther," "Soldier in the Rain," "Dear
Heart," "Shot in the Dark," "Moment t o Moment," "The Great Race,"
"Arabesque," "What Did You Do in the War, Daddy?' "Two for the
Road," "Wait Until Dark," "Gunn," "The Party," "Me, Natalie," "Gaily,
Gaily," "The Moliy Maguires," "Sunflower," "Darling U," "The
Hawaiians," "The Night Visitar," "Sometimes a Great Notion," "The
Thief Who Came to Dinner," "Oklahoma Crude" and "Visions of Eight,"
the official feature film of the 1978 Olympics. More recent scores include
"The White Dawn," "The Great Waldo Pepper," "The Return of the Pink
Panther," "Once 1s Not Enough," "The Pink Panther Strikes Again,"
"Silver Streak," "House Calls," "The Revenge of the Pink Panther,"
"Who 1s Killing The Great Chefs of Europe? " "Nightwing," "Prisoner of
Zenda" and Blake Edwards' "10".
In 1962 The Academy of Motion Pictures Arts and Sciences recognized
Mancini's ability by awarding him two Oscars - one for Best Original
Score, "Breakfast at Tiffany's," and another for Best Song, "Moon River"
(lyncs by Johnny Mercer). He was also nominated by the Academy for
the song "Bachelor in Paradise" (lyrics by Mack David).
The National Academy of Recording Arts and Sciences follo\ved up
the goldzn statuette honors by awarding blancini five Gramniys for his
recorded versions of the sarne movie and score. 'Moon River" was named
Record of the Year, Song of the Year and Ecst Arrangement. 'Breakfast
at Tiffany's" was awarded Best Performance by an Orchestra for Other
?han Dancing and Best Soundtrack L P of a Score from a Picture or TV.
In 1963, the Academy again awarded Mancini an Oscar for k s t Song
for "Days of Wine and Roses" (iyrics by Johnny Mercer).
To date, hlancini has received a record 20 Gramrnys. His gold records
now total six: "The Music from Peter Gunn," "Breakfast at Tiffany's,"
"The Pink Panther," "The Best of Mancini," "Love Theme from Romeo
& Juliet" and 'A Warm Shade of Ivory."
In Jun;: of 1959, hlancini composed the music and ccinductsd tks
Philadelphia Orchestra Pops* first qlbum on RCA. Included in the
repertoire was "Beaver Valley - '37," an extended autobiographical suits
in three movements written especially for the orchestra. Also in June of
1969, he perforrned at the White House at President Nixon's invitation.
. 7 he occasion was a dinner honoring the Apollo 10 astronauts. He was on
hand at Cape Kennedy for the launch of Apollo 17 as gusst of astronaut
Eugene Cerrian. He and his wife returned to the W%ite House as
Prssideritial dinner guests in February of 197 1.
In addition to garnering his thirteenth Oscar nomination for the song
"Al1 His Children" (lyrics by Alan and blarilyn Bergman), from the Paul
Newman starrer, "Sometimes A Great Notion," the single by Charlie
Pride enjoyed tremendous comrnercial success, climbing to the Number
One spot on the country music charts.
Mancini has continued to be active in television with his therne music
for series such as "What's Happening" and the "NBC Nightly News."
In 1976 Duquesne University in Pittsburgh, Pa., conferred upon him
the title of Honorary Doctor of Music.
Henry Mancini's leisure time is occupied by photography, skiing arid
painting. His wine cellar is arnong the best in Southern California.
He is also an avid art collector. His collection includss four pieces of
sculpture by Rodin, and oils by Dauchot, Caffe, Barnabe, Dubuffst,
Foujita, Spericer, Marchand, Potast, Gen-Paul and his persono1
favotite - a small still life by Jarnes Cagney.
FOREWORD

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.

Replacement records are available through your music dealer.


TABLE O F CONTENTS

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

A s I m FRoM HIs o w N ORIGINAL I N s m u M E m A L s =HE m-


ranger usually works from a printed piancvocal leadsheet. If the song is
unfamiliar, play it over several times until your ear can follow the melody
and the harmonic progressions easily. Check the chord symbols above the
vocal line carefully. For some reason these chords do not alu,ays match the
written-out chords below them. If you find a discrepancy, let your ear be
the judge as to what is correct.
This is also true of the bass line. If it doesn't seem to be the best ~ossible
bass note for the progression, play around until you find one that is.
If your singer is doing a song in a key other than the one that is printed,
~ ? i t ethe entire tune out in the new kev with the chord symbols above and
get familiar uvith it. Do this before you'start the arrangement and you u<ll
save much time.
There are three methods of scoring :
1. Sketch in concert on four- or 6vestaff sketch paper (in much the
the same way that our recorded examples are set up) and then transfer
to the actual score paper, in concert or transposed key.
2. Score directly in concert.
. 3. Score directly transposed.
T h e first method takes the most time, since you actually n n t e out the
arrangement twice. This method is used almost exclusively in motion pic-
tures because time does not usually permit one man both to compose and
to orchestrate .an entire score. T h e composer sketches in concert and then
turns it over to his orchestrator for scoring.
-

2 SOUNDS A N D SCORES

Scoring directly in concert is a bit uncommon. T h e main reason is t


a concert score must be transposed by the copvist, thereby raising the copvi
costs by about one half.
By far the fastest, most efficient, and most widely used method is t
transposed score. Get into the habit of scoring this way frok the ve
beginning.
W h e n approaching an instrumental, do a little ground work before'y
start filling in. Lightly pencil in your leads and spot your solos on the sco
paper Erom beginning to end if possible. T h i s simplified sketchjng giv
you a general conception of the over-al1 form of your score. / '

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

EXAMPLE86 BLUES FOR MOTHER'S


By adding the French horns to the trumpets and trombones, the "Peter
Gunn Theme" (Peter Gunn) clearly shows the homs' relation to the rest
of the section. Here they are placed practically in the middle of the section,
doubling the fourth trumpet and the first three trombones. Once more, be
assured that the over-al1 balance of the section is not disrupted by this
doubling. There is no definite rule to follow when osing the horns in this
manner. Put them in a good, solid register and make them wellsounding
w ithin themselves:

PETER GUNN Side D. Band 2


-

Al !o
Sax.

Tpt.

Trb.

Hn .

Pno .

brs ,

Dr.

molb n t .

T h e last eight bars of tlie first chorus of "Dreamsville" (Peter Gzr~ir)sta=


off 1f.ith the four trombones, who are then joined by the rest of the brass i_
a rich, full-sounding ensemble. T h e horns start, doubling the four tru~iipcs
but then drop to a lobver position to reinforce the counter harri~onies.The
return ta their original positions (doubling the trumpets) and then fin<:.
out the phrase ~ . i t hthe trombones:
THE BRASS 129

Side D. Band 2
SOUNDS SCO RES

In smaller sections the problem oF u hat to do with one or two FrencL


horns becomes more evident. \Ve are no longer concerned with mere!;
doubling the horns tcith the other brabs. Kotv each voice in the chord nic::
count. T h e most effectii.e rule here is to treat your horn (or horns) as a-.
extension oF your truiiipet,. In other words, sandiiich tlieiri betu.een y o c
trunipets and trombones. This t)pe of voicing t ~ o r k sbest in the sof:e:
ballads.
W h e n the brass are really blouving loud, Fast, and hard, the horns (or
horn) s h o ~ i l dgo back to their doubling role, or they should be left ou:
Hon-e\.er, if your nien have good jazz conception and can keep up ~.ii!'
the rest of the brass, bv al1 means let them blotv.

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:

Brass and Saxophone Ensemble

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

I TX-U saxes are a solid, complete unit in themselves. There is no rule as to


-30 is doubled bv iilliom. lust make sure that the saxes are in a emd-
~ ~ z n d register.lncidentally,
i n ~ had u7e used a fifth baritone sax here, he
!
~ - 3 u l dhave doubled the bass trombone:
Tpt.

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

For 3 trumpets/2 trombones/4 saxes (A A T B):

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

O u r first subject in the rhythm section is the piano. T h e normally accepted


method of writing the piano part is to put the guitar chord symbols in the
right hand and the bass line in the left hand. Sometimes these two are con-
densed into a single bassclef staff. In dance orchestra lvriting the chords
are seldom urrjtten out. No pianist takes his part literally. It serves only as
a guide.
--

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.

Você também pode gostar