GLENN

MILLER'S
METHOD

FOR

ORCHESTRAL

ARRANGING·

MUTUAL MUSIC SOCIETY, INC., NEW YORK, N. Y.

GLENN MILLER'S

METHOD FOR ORCHESTRAL ARRANGING

Copyright 1943 by MuJuol Music Soc:idy, Inc,

]270 Sixth Ave'., New York. N. Y.
Interuatlonal Copyright Secured AU Rights. Reserved

The origiIUoI compositions contained in ehis collection are fully protected under the
copyright laws of the United States of Americ3. and all countries under IntermtiODal
copyright. The copying of ej rher ,he sepd'ue parn or the whole or any portions
of the original material thereof by any process whatsoever is forbiddl;Zl and subject
to the pem.lties provided under Section 28 of the copyright laws,

 CONTENTS

INSTRUMENT CHART 6

THE SAXOPHONE SECTION 10

THE TRUMPET SECTION 24

THE TROMBONE SECTION . ...... 36

THE BRASS SECTION 45

THE RHYTHM SECTION 55

MAKING A SMOOTH ARRANGEMENT. 58

MAKING A RHYTHMIC ARRANGEMENT ...... 71

ORCHESTRAL EFFECTS 75

APPENDAGE. . ... 110

MANUSCRIPT SCORE-"I'M THRILLED" .. Front Insert

MANUSCRIPT SCORE-"SONG OF THE

VOLGA BOATMEN. , _Back Insert

GLENN MILLER
 l

s a young arranger, I
A
was always searching for same
'.'­
,~.: '
work char actually described the process involved in

making orchestral arrangements. Many comprehensive

volumes have been written about harmony, theory, coun­

terpoint, orchestration and composition, but to my knowl­

edge. no book has ever been written which actually told
how to make an arrangement. If this book in any way
solves this problem Jor ambitious young arrangers it shall
have fulfilled the purpose for which it is intended.
 6 INSTRUMENT CHl\.RT
Signanrre and Scale Possible Practical

Sjgl1<ltlU~ Signatnre and Playing r<ln9C Playing range Playir.g rang~ Playing range
and sound in same scale <IS 'mci actual as Wl';tt.. n for and aetna! as written for
Concert Key written for I;uuml WriU"H instrument sound written in,trurnent
the Iastrumenr in concert in I;Ollcert
In~~nUl1<'jr' KEY
CLKF
"
Alh'
Saxophone
E~ ~
~
,~ .
.,,,
= , ..
,
R:LI"itone "II
Saxophone B; ;"f.&--." ­

-.
• co= '0
(bio
,.,

Cb.rinet

Bass
Clarinet

Fli.lte

Piccolo
•

Oboe
-
 7
Signature and SCAle Possible Practical
Signature Signature and Playing range Playinq range Playing range Playing range
and llOund in same scale as and actual as wriHen for and actual as written for
Co"c"rl Key wrttten lee sound written instrument sound written Instrumem
the Instrument in concert in concert

English F
Horn

French
, Horn

= •
Gullar

'-­
•
Violin C :0•
...."
,
0
C o';i

...d.
c

=
8

The arranger may write the "possible" playing range of

an instrument only when it is in the hands of an excellent
performer. Extremely technical passages should not be
written in extremely high or low registers.

For more comprehensive data regarding all instruments

see Cecil Forsyth's "Orchestration."

SECTIONS

In the following pages are shown some of [he uses of the

various sections of the dance orchestra as employed by the
Glenn Miller Orchestra.
10

Mose Klink Tex Beneke

Skippy Martin Will Schwartz Ernie Caceres

THE SAXOPHONE SECTION

Instrument Doubles Played by
I. Bb 'Clarinet Eb Alto Saxophone Will Schwartz
2. Eb Alto Saxophone Bb Clarinet Skippy Martin
3. Eb Alto Saxophone Eb Baritone and Bb Clarinet Ernie Caceres
4. B], Tenor Saxophone B[, Clarinet and Bb Bass Clarinet Mose Klink
5­ B], Tenor Saxophone Bb Clarinet Tex Beneke

NOTE:-The following examples show some of the uses

of OUf Saxophone Section.

 COMBINATION No, 1 11
Bb Clarinet
E], Alto Saxophone
Eb Alto Saxophone
B], Tenor Saxophone
Bb Tenor Saxophone

Concert Sketch

Transposed for Respective Instruments.

(J-.

•
n~ Cbrinp.l
~.~
. -<?"'~
....--......------;r-... . , ....---...~
-
-
.' .-----
a Altos .~

-~~ I.. C ~ ,.,.---.['r

<, i>~:4I' ,'~;,...&>;

-
•
.~_.--

~
~:-t .
2 TCI1()r~

:~~. b';;:;-"~ ~. ~~:4fI, :...:

COMMENTS,

Suitable for legato melodies-background for solo instru­

ment-background for solo voice-"Fill-ins" for en­

sembles-melodic line in inrroducrions-e-modulations-c­

interludes-endings and legato rhythmic passages.

Easily balanced in high or low registers, loud or soft. The

melody line predominates because the top voice, played by

clarinet, is doubled with the tenor an octave lower. In the

high register the clarinet tone strengthens the rather weak

tenor tone, and in the low register, the weak clarinet tone

is strengthened by the strong tenor tone.

A void staccato passages with this combination, as short

notes do not permit sufficient duration for good blending

of all voices.

12
COMBINATION No.2
Bb Clarinet
Bb Clarinet
Bb Tenor Saxophone
Bb T enor Saxophone
(one Alto racer )

Concert Sketch

Transposed for Respective Instruments.

~ 2 B~ Cla~i~ _, ,0. - .... _~.4Cc~_ .._"b~·~

~- . : . -----
-.T '~ -
.~ Tenors , ~ ~. : ~. ,-"'.' .
,

-
/;.
-

COMMENTS,

Suitable for legato melodies in which the harmony is such

that it permits playing in thirds. Also suitable for back­

ground for solo instrument or solo voice-s-melodic line
in introductions-modulations-interludes---endings and
legato rhythmic passages.

Easily balanced in high or low registers, loud or soft.

A void staccato passages as shore note! do not permit suf­

ficient duration for good blending of aU voices.
 COMllINATION No. ) 1J
Eb Alto Saxophone
Eb Alto Saxophone
Eb Alto Saxophone or Baritone Saxophone
Bb Tenor Saxophone
Ep Tenor Saxophone

Concert Sketch

Transposed for Respective Instruments.

2 :ltos
~ 3 s
. ------ . ~

s 3 .1
BJ.Titone..J-;:
:-.~ 1 . rk-.~ J J-I 1. 1: J. I
.
Alto I
.1
I
3
iI
s
---
./ •
2 Tenors
~

COMMENTS:

Suitable for legato melody-c-counter-melodv to solo in­

strument---counter-melody to solo voice or group of

voices_uFill_ins)J for ensembles-melodic line in inrroduc­

t ion s--modulations-interlude~ndings-melodyline

for ensemble against brass figurations.

Easily balanced in high or low registers, loud or soft.

14
COMBINATION No.4
Eb Alto Saxophone
Eb Alto Saxophone
Eb Alto Saxophone or Baritone Saxophone
Bb T enor Saxophone
Bb Tenor Saxophone

Concert Sketch

Transposed for Respective Instruments

1 Allo
-

2 Tenors

COMMENTS,

Suitable for rhythmic rrielody-counter melody [0 solo in­

s~rument-counter melody to solo voice or group of

voices-c-t'Fill-ins" for ensembles-melodic line in intro­

d uc tions-mod ulations-in terludes-c-endings.

Easily balanced in high or low registers, loud or soft.

 15
COMBINATION No.5
E], Alto Saxophone
Eb Alto Saxophone
Eb Alto Saxophone
Db T cncr Saxophone
B], Tenor Saxophone

Concern Sketch

Transposed for Respective Instruments,

COMMENTS:

Suitable for legato or rhythmic melodies-background for

solo instrument or solo voice-melodic line for mcdula­

tlons-inrcoductions--interludes-cndings-background

rhythms and background sustained passages.

Easily balanced in high or low registers, loud or soft,

16
COMBINATION No.6
Eb Alto Saxophone
Eb Alto Saxophone
B b Tenor Saxophone
B], Tenor Saxophone
Eb Baritone Saxophone

Concert Sketch

I ,
~
T ~ ~ :
. .­ .­
v g~ ,&
Transposed for Respective Instruments
2 Allos
,~ ,
'" .

2 Tenors
•
I ~~ I g~'

Raritune

H~ ~~.

COMMENTS:

Suitable for legato for rhythmic melodies-background

for solo insrrumenr or solo voice-s-melodic line for modu­

lations-introductjons-inrerludes--endings-background

rhythms and background sustained passages.

Easily balanced in high or low registers. loud or soft.

 17
COMBINATION No, 7
"Bb Clarinet
Bb Clarinet
~ .
, Bb Tenor Saxophone
Bb Tenor Saxophone
Eb Baritone Saxophone

Concert Sketch

I
• - I I~ , , J,l . l ·
,~

"oJ 8,'n
"-d I U I
e (G.
---_ .._----- .... _-- ..........""",.................... ..-----_ ... ------_. __ .. -.-- ... _­
.. . . .
-~----
-,. .

Transposed for Respective Instruments

",~ Ctartcets d."._.>_: -~ -" .' ·· ,~

2 Tenors
.., ~.- -" ~'., #t,a: .• ,.,,,,G:e~
etc.

w=
.. '. ,_.
Harito;t . .
• ~"c "c'". >•.
- '. Jh
-i:
etc.

COMMENTS:
Suitable for introductions-modulations-interludes­
endings or melodies having harmonic structure similar to
this example-s-background for solo instrument or solo
voice.

Easily balanced in high or low registers, loud or soft.

18
COMBINATION No.8
Bb Tenor Saxophone
Eb Alto Saxophone
Eb Alto Saxophone
Bb Tenor Saxophone
(one Alto tacet )

Concert Sketch
-

~~
..
•
~$
(metod/I)
­ h
- ,'ff" ­ - J b? L
'
.
q$
.

Transposed for Respective Instruments

Tenodmelod,l/J

2 Altos

•
Tenor

COMMENTS:
Suitable for melodic passages where the top voice (Eb
Alto) lies mostly in perfect duet form (3rds or eths)
with the lower voice (lead Tenor) .

May also be used in introductions-modulations-inter­

ludes---endings or in any melodic passage having similiar
harmonic structure.

Sometimes difficult to balance due to all voices being above

melody.
 19
COMBINATION No, 9
fib Tenor Saxophone
Eb Alto Saxophone
E], Alto Saxophone
B], Tenor Saxophone
Eb Baritone Saxophone

Concert Sketch

,
" ~
r~r ~
b~f "qrcr ~
,
,~,
,
" , -
- j-,==[ ,,f /
~=
I 1

Transposed for Respective Instruments

Tenor
( t d
t
\:' "u~ t' :e\:e' ... ~~ ... ~",\#b... l' '" , ..
1

~_\1'~b~:e #1':'
-­ -­ --" .- ..
~.'

1\2/JlOS , , .­
, ,,
-
~

I"
Tenor

-' ~
-

~a~itone

,
~-
U

COMMENTS, .
Suirable for legato rhythmic passages in introductions­
interludes-modulations and endings.

Easily halanced in high or low registers. loud or soft.

20
COMBINATION No. 10
Bb Tenor Saxophone
Eb Alto Saxophone
E], Alto Saxophone
Bb Tenor Saxophone
En Baritone Saxophone

Concert Sketch
_ I ~_
~.

.::.... ....., :l.. .....

·­
.
··
~ I~
~

-:Jlf.". '-r: Ii" trr­

;.
·· ·
~- - ..... ". ­
Transposed for Respective Instruments

a d
\ TU.~nor
'""2.. ek ,!...~!::e. ....... _.e~"
-n, ~

\ ~ Alto~

•
~.

l~:; ____ '1

··
~
.
'- >--" .
II
me
""
-
• ~enor

'--..' ~. ~ ,-~ /'=

\ naritone L-"
.
·
~
- -" . ". /
-
COMMENTS:

Suitable for introductions, modulations, interludes and

endings.

NOTE:-Bb Clarinet, Eb Alto or Eb Baritone may be

substituted for the lead Tenor in all examples similar to
that shown in Combination No, 10, providing the key is
changed to suit the solo instrument used.
 21
COMBINAnON No. 11
Eb Alto Saxophone
E], Alto Saxophone
Eb Alto Saxophone
Bb Tenor Saxophone
B~ Tenor Saxophone

. Concert Sketch

&M ~
~.'f ~:
. ..
•. - . :
" ,~'

for Respective Instruments

3 Altos

2 Tenors

Suitable for rhythmic passages-introductions-modula­

tions-interludes-endings-background for solo voice
or solo instrument.

Easily balanced in high and middle registers, medium loud

or loud.

CAUTION: (1) Numerous dissonances make low re­

gister writing sound thick and muddy.
(2) A void as much as possible having an
interval of a second between the two top
voices as lead may be covered by second
voice.
22
COMBINATION No, 12
Eh Saxophone
Eb Saxophone
Bh Tenor Saxophone
Bh Tenor Saxophone
Eb Baritone Saxophone

Concert Sketch
r. > , I I
--
~ft ~~ L.-
,
I­ !,,, -
,
,
, >
-' ­
c>

-
, r--., ...­ ~,

2 "~
~~
,

'---'
,
,
"
......
"
--..
'" ,

Transposed for Respective Instruments

--­
,:~'" ~: ~!f: ~~ ~ _, _. ce~" ~ce
"
fI ~ Tenor s ~ __
,
:e: eb fc.. ,.- - ,~ L... ..
I"'
I ~a~itone z»;
,
I
'.. -' .. ,
L.......J

 23

" ~ " ~ .~: _.ij_ e "~e .# ~~ ~ ~

fZ:

- ,. ~ tc ,\~
- , , . b_, i j . p,
-

,.
- '"--' ~

, ~
- ""­
-

-'

COMMENTS,
Suitable for rhythmic passages-introductions-modula­
tions-interludes----endings-background for solo voice Dr
solo instrument.

Easily balanced in high or low registers, loud or soft.

It is possible to use many combinations other than those

shown, and it should be the aim of every student to experi­
ment with the thought of finding new, good-sounding
harmonic devices and colorings. The results. whether good
or bad, should be observed for future reference.
24

THE TRUMPET SECTION

John Best Steve Lipkins

R. D. McMickle Billy May

NOTE:-The Trumpet Section has not been designated

as 1. 2, 3 and 4. as each trumpet player was capable of
playing first parts. Our arrangements were such that the
parts were evenly divided.
 21
EXAMPLE No. I

Concert Sketch

Transposed foe Four Trumpets.

,.... ;:::::; -rs-: <r»>. -e: ;;--..
~~ -

A
, , .
- ,
" 3

COMMENTS,

Suitable for legato melodies-background for solo instru­

ment or solo voice-"fill-ins"-melodic line in introduc­

tions-moduIations-incec1udes and endings.

Easily balanced in high or low registers, loud or soft.

Muted or open.

 26
EXAMPLE No.2

Concert Sketch
~,

3i "
..... .... .-
, - -
v rv-e­ ~
- 'if
Transposed for Four Trumpets.
~

,i _1

. ::

COMMENTS:

Suitable for rhythmic passages-background for solo in­

strument or solo voice-"fi.I1-ins"-melodic line in intro­

ductions-modulations-interludes and endings.

Easily balanced in high or low registers, loud or soft.

I
Muted or open.
i

Ii
,,'
j'
 27

EXAMPLE No, J

Concert Sketch

a AI
Transposed for Four Trumpets.
, ~~

~l.~~$_d

U/li,~ou

COMMENTS:
Suitable for introcluctions-moclulations-inrerludes­
endings-"fill-ins"-background for solo instrument or
solo voice.

Easily balanced 10 high or low registers, loud or soft.

Muredor open.
 28
EXAMPLE No.4
,"
Concert Sketch

isl Trpt. Transposed for Four Trumpets.

muted

.'"
znd Solo
3rd] Trpt s.
op'cn

COMMENTS:

Suitable for melodic or rhythmic passages-introductions

-modulations-interludes and endings.

Easily balanced in high or low registers, loud or soft.

Muted or open.

Variations of the above example are possible through the

use of different mutes.

First Trumpet- Open

Znd, jrd and 4th Trumpets- Straight mute
Open in hat
Cup mute
Harmon mute
Straight mute In hat
 29

First T rumpet­ Straight Mute

2nd, 3rd and 4th Trumpets- Open
Open In hat
Open with plungers
Cup mute
Harmon mute

First Trumpet­ Cup Mute

2nd, Jrd and -tth Trumpets- Open
Open In hat
Open with plungers
Straight mute
Harmon mute

First Trumpet-s­ Harmon Mute

2nd, 3rd and -tth Trumpets- Open
Open in hat
Open with plungers
Straight mute
C;:up mute

First Trumpet­ Rhythmic

2nd, 3rd and a th Trumpets- Legato

First Trumpet­ Legato

2nd, 3rd and 4th Trumpets- Rhythmic

30
EXAMPLE No. f

Concert Sketch

i
, e~. ~ ..' ~
~ .. --~
_-.. )1
~ .
<c: ~
Transposed for Four Trumpets.

Brd Ii 4.th Trpts .

open ~

COMMENTS:

Sui cable for legato or rhythmic passages-c-introducrions-c­

modulations-interludes and endings. ,

Easily balanced in high or low registers, loud or soft.

Best adapted to phrases of similar harmonic structure.

Many available mute combinations. Lower pair of voices
should he muted to lesser degree to insure equal balance.
 JI

EXAMPLE No, 6

Concert Sketch

Transposed for Four Trumpets

i~
",$

.o:
-
-~ ",Z
-
eel<
-
oc&

ard & 4th Trpts .

- u
-
- ---- -r..

COMMENTS:
Suitable for rhythmic passages-introductions~modula­

tions-c-interludes and endings.

Best balance in high register, loud and open.

'"t ;
 32
EXAMPLE No.7

Concert Sketch

Transposed for Four Trumpets

Hal (lr pJu~~r
+ + o + o

[fat or plunge r
+ c

NOTE:-The sign" + " indicates hat or plunger over ben

of horn.

The sign "0" indicares hat or plunger away from bell of

horn.

COMMENTS:
Suitable for introductions-modulations-interludes and
endings-background for solo voice or solo instruments
-r-rhyrhmic ensembles.

Easily balanced in high or low registers, loud or soft. SmaI1

mutes: that can be covered by plunger or hat may be used
if desired.
 JJ
ExAMPLE No.8

Concert Sketch

>

.,-, Transposed for Four Trumpets

+ -----.--..... --.-- --- ..-------..--. ---············0

c­

>
-t--_ ..•.•. -­ • • • _-_. __ •••••

,. .
--------.-. -----0

>

COMMENTS:
Suitable for introductions-modulations-interludes and
endings-background for solo voice or solo instruments.

Best balance in middle register, medium loud.

Can be used muted if mutes referred to in Example No.7

are available.
14
EXAMPLE No.9

Concert Sketch

'.... rJbJ.j. -:u-- Ji. I I ' h

?

\ "
,---,-v 0>

I~
-er
--
l{r~ I._~_ .i
>­.
.
Jv1f~
~ u-r
Transposed for Four Trumpets

'''flJJ~#~-----;;01--'-. I I ,Ji
:II ~~

,
IV~
--~

COMMENTS:

Suitable for introductions-modulations-interludes and

endings-s-background for solo voice-s-solo instrument or
any passage having harmonic structure that permits this
treatment.

Easily balanced In high or low registers, loud or soft.

Muted or open. All combinations of mutes available.

- - - - - - - - - - - - - _ .. _ - _......
 35
EXAMPLE No, 10

Concert Sketch

, ~

- -----.. »r-r--: - :------­

'II:/! I....­ ~I j'

I117~
Orchestra
<V b:lCkgroun""
~ . , j,
. ~;

-­ - ~
~

Transposed for Four Trumpets

-
.

~-----
~
" u

•
,
"/!: ,
rv
III/"
---­
~
'=­ I

Orchestra backgr~ulld
L C- •
.
1--..: .
- ~
- I ::t

COMMENTS:
Suitable for legato passages-Introductions-modulations
-c-interludes and endings-background for solo voice or
solo insrrumenrs-c-t'fill-ins".

Easily balanced in high or low registers, loud or soft.

Muted or open. All combinations of mutes available.
36

I'
d
\\
\

THE TROMBONE SECTION

Jimmy Priddy Frank D'Anolfo

Paul Tanner Glenn Miller
 37
EXAMPLE No. 1

Concert Sketch

Transposed for Four Trombones

COMMENTS,

Suitable for legarc melodies-background for solo instru­

ments or 50(0 voice-c-t'fill-ios't-c-melodic lines in introduc­

tions-modulations-interludes and endings.

Easily balanced in high or middle registers, loud or soft.

Muted or open, All combinations of mutes available.

 )8

EXAMPLE No, 2

Concert Sketch

Transposed for Four Trombones

COMMENTS,

Suitable for rhythmic passages-introductions-modula_

rions-e-interiudes and endings-background for solo voice

or solo instruments.

Easily balanced in high or low registers, loud or soft.

Muted Or open. All combinations of mutes available.

:;

 39
EXAMPLE No. J

Concert Sketch

muted

open

COMMENTS:

Suitable for legato melodies-introduccions-interludes­

modulations and endings.

Easily balanced in high or middle registers-loud or soft.

Muted or open. All combinations of mutes available.

40
EXAMPLE NO.4

Concert Sketch

Transposed for Four Trombones.

Same as ebove- No U'anspositi on necessary.

COMMENTS,

Suitable for rhythmic passages-introduceions-modula_

tions-c-inrerludes and endings.

Easily balanced in high or middle registers-loud or soft­

muted or open. All combinations of mutes available.

 41
EXAMPLE No. I

Concert Sketch

Transposed for Four Trombones.

Same as above--No rransposirion necessary.

NOTE:-The sign" +" indicates hat or plunger over bell

of horn.

The sign "0" indicates hat or plunger away from beU of

horn.

COMMENTS:

Suitable for introductions-modulations-interludes and

endings-background for solo instrument or solo voice.

Easily balanced in high or low registers, loud or soft. Open.

"
",,
42
EXAMPLE No.6

Concert Sketch

Transposed for Four Trombones.

<"/iss~z 3Irliss'1~ 2gliSS·it:fis8. @;tis \"
~'- ....~ e:-~ e glisS3
~--~~ q#_n~~_e

5g1iSS~--.:..

NOTE:-Figures over notes indicate positions that must

be used to make glissandos.

COMMENTS:

Suitable for introductions-modulations-interludes and

endings-backgrounds ensembles-c-t'fill-ins". Used judi­

ciously, the glissando is an excellent effect for rhythmic

passages.

Easily balanced m high or low registers, loud or soft.

Muted or open. All combination of mutes available.

Performers should execute the actual glissando quickly as

a slow glissando often produces a moaning, unpleasant
sound.
 43
EXAMPLE No. 7

Concert Sketch

··
tc r
.
i :;. ~

~lL.,. ~,. .;;:~

f~ ~
;:=:-­ z> ~~
II
··
~~
~

~ #! ~l .
#l
II! · =
c>
; q~ q~ ~
IV
··

Transposed for Four Trombones.

Same as above-No transposition necessary.

COMMENTS,

Suitable for introductions-modulations-interludes and

endings-all backgrounds.

Easily balanced in high or low registers-loud or soft.

Muted or open. All combinations of mutes available.
Quasi Horn

F
··
:---..
.._- ..
;--.... ..
Concert Sketch

.:. ~-.
. ...
;.-.
­
~-
+
~
Hand in Bell

QUJ.Sl Horn

.:. .:. .:. ~ . .

~ ~. ;;
··
Hand in Bell

Quasi Horn

+ + + + + + +
··
Hand in Bell

Quasi Horn

+ + + + + + - +

Hand in Bell

Transposed for Four Trombones.

Same as above-No transposition necessary.

COMMENTS,

Suitable for introductions-modulations-interludes and

endings-all backgrounds.

Easily balanced in high or low registers-loud or soft.

NOTE:-All positions should be shortened approximately

one-half position to correct the flatness caused by placing
hand in bell.
 45

THE BRASS SECTION

Four Trt-mbets FOUT Trombones I
R. D. McMickle Frank D'Anolfo I

John Best j immy Pr-iddy

Billy May Paul Tanner
Steve Lipkins Glenn Miller
46
EXAMPLE No. I

Concert Sketch
~ ,~
I , I
.

-t -I ~ ,J
·· " ~
I ,'" "''''
.~
~~ ,lie I' .0.

4, Trpts. Scored for Eight Brass

~ " "- ~ '''- ~ I ,
~ 1 ."I'
.
,

fi r;:
a Trombs.
··
,,,,, b ... ~ ~F; ,~ h'~ (~).u

COMMENTS:
This example is intended to display the technique of voic­
ing for eight brass. The voicings are equally effective in
all types of music-smooth or rhythmic-slow or fast­
loud or soft-c-open or muted.
 47
EXAMPLE No. 2

Concert Sketch

+ 0 + 0 + 0 +-0

··
~ +
·· -=
c:.-­ , + +
I

;i~
··
(.
0 0
·
·· . ·

Scored for Eight Brass

" Trpts ,
+ o + o + o -·
+ ,

·
• ­· ~

4 Trombs. ...­ + + :,;,.~

~ 0 0
·
·
·

NOTE:-The sign "+" indicateshat or plunger over bell

of horn. The sign .,,;," indicates hat or plunger away
from bell of horn.

COMMENTS,
Suitable for rhythmic passages-introductions-modula­
tions-interludes and endings.

Easily balanced in high or low registers-loud or soft.

Open.
48
EXAMPLE No. )

Concert Sketch

~m=
... ... " .:l"
··
#.# ,.;:,.··
·
== /1
. l')~: ~
.
II~ l!; l!;
- .~ ~.
···

Scored for Eight Brass

4 Trpts.
S:'A ~ • t <2; .,.il. ...... ( ··
· ··
<;

4 Trombs. (~)
.
:
.
.!l<;;,

,
IL
-• gliss.
··:

COMMENTS:
Suitable for rhythmic or melodic passages-introductions
--ensembles-brass choirs-modulations and endings.

Easily balanced-loud or soft. Muted or open.

 49
EXAMPLE No.4
Concert Sketch
z»

- .s­ .:»
·· ~
~

~ glis,;.

I ·
;;.
· ~
.:-'-­
·
·
-z:~ ,~ :;:::::.
~.

'r
..

Scored for Eight Brass

" Trpts ~

- ~ ·· :::!c

~4T'='~

~.

j; ·
~

V · -

·· .~
I, :~
glisli.
- ,~;;~
, -
~.
:

COMMENTS:
Suitable for any passage of similar harmonic construction.

Easily balanced-loud or soft. Muted or open.

50
EXAMPLE No.5
Concert Sketch
• n

~
etc .
.t~ . h "~.",
··

I.
" Tr p t s
Scored for Eight Brass
lin
~?

~ Ii
etc.
4. Tromb s.
II~ ,~ ,~~
·· "'
COMMENTS:
Suitable for any passage of similar harmonic construction.

Easily balanced-loud or soft. Muted or open.

Each chord can be voiced many different ways, Consid­
ering the numerous types of chords, the staggering total
of eight brass voicings for all chords becomes apparent.

The following examples show a very few (If the numerous

ways in which eight brass can be effectively utilized .
•
Trial and error are the arranger's best teachers. More ex­
amples on this subject may be obtained from consulting
the excerpts from SCores which appear in this 'book.
52
The following chart is a suggested plan for the arranger

to exhaust the possibilities of voicing chords for eight

brass. Interesting results may be obtained if this pro­

cedure is followed using all types of chords:

Major - TrLads - 7th - 9th - 11th - 13th chords.

Minor - Triads - 7th - 9th -Illth - l yrh chords.

Augmented chords.

Diminished chords.

Altered chords.

CHORD CHART

Concert Sketch

Scored for 4 Trumpets and 4 Trombones

4 Trpts.

-
" Trombs ,

Concert Sketch

o
 53
Scored for 4 Trumpets and 4 Trombones
.;, Trp ts .

4 'l'romb s. 'HlIlO­
]j IyD"

Concert Sketch
r trr -e­

... ~
-e­

:# :Ii .#
. '" ii
-e­

0
:#

0\ 'Trpts.
Scored for 4 Trumpets and 4 Trombones

4 Trumbs.
:#

Concert Scored (or

Concert Scored (or
Sketch Eigh[ Brass
Sketrb Eight Brase
,
OJ 0
'1 "--:= :;1 lrpts.
0---­
~,y

.... , .... ,
ll--"=
0 ~,y 0 O.IV

Concert Scored ror Concert Scored (or

Skerch Eight Brass Sketch Eigh[ Brass

~>V
• ,y

:*A
.... '
0 O"-IV ~ -
l4

Usually the best method of doubling notes in a chord is that

which conforms most closely to the natural harmonics of
a "fixed wind column", e.g., the Trombone.

No.tuf<l.l harmoin r series

,
(Transposed)

(OJ Pedal (Fundamental note)

 THE RHYTHM SECTION

GNiJar . Piano
Bobby Hackett Chummy MacGregor

Drunu B,sr
Moe Purrill Doc Goldberg

1­
56
THE RHYTHM SECTION

In the dance band rhythm section lies the main support

of any instrument section or group of sections in the
organization. Therefore, too much stress cannot be
placed on its importance. The dance band rhythm sec­
tion should be allowed great freedom in playing rhythmic
arrangements. The following plan has been effective in
our band.

BASS
ad lib.

=J'Iil_t:zgl

C D7 G7 Ah7 G7 C Play as written

The names of the chords are placed over the notes of the
bass part so that the bass player may have a complete
knowledge of the harmonic structure of the arrange­
ment, thus aiding his improvisation. He should improvise
freely except where it is marked to playas written.

DRUMS
Solo break ad lib.
T... nor Solo Ensemble '3 3' 3 :>

-
T he drum part provides a skeleton score showing the In­
struments playing ensemble or solo. He should be allowed
~

to improvise except where the arranger desires special

effects, which should be clearly marked, "playas written".
 57

GUITAR

ALI lib. I:lay as wrltl~n.

PilZ1F~
The names of the chords are placed over the notes of the
guitar part and special effects such as "solo single string"
or effects with ocher instruments should be dearly written
and marked "playas written."

PIANO

I'tav as written 8V a . ;

ad lib. ad lib. . 7,1

L.H.
c L.H. L.H

The plano part IS wntten with fun chords in the right

hand and the left hand playing the same pur: as given to
It should be clearly indicated where the
the string bass.
pianist may ad lib. Special effects should be clearly
written and marked "play as written."

For further information concerning the writing oi rhythm

paces, consult the excerpts from scores which are printed
in this book.
58
MAKING A SMOOTH ARRANGEMENT
In this section we attempt to describe the common pro­
cedure in making a smooth arrangemenrc-e-starting with
the selection of the song and ending with the coda of the
arrangemen t.

SELECTION OF SONG TO BE ARRANGED.

Perhaps the arranger has been ordered to arrange a par­

ticular song, in which case the student should disregard
these suggestions. In the event the arranger is allowed
some leeway in the selection of material, the following
considerations should be made:

1. Pick a tune you like.

2. If the arrangement made previously to this one was a

swing number, try to pick a sweet tune for the present
arrangement, and vice versa, thus avoiding a repetition in
types of material. This tends to produce variation in
your own ideas and prevents your work becoming stereo­
typed.

3. If a tune has been chosen for you, but you consider it

a poor tune, then accept it as a personal challenge to make
a fine arrangement of it. There is no tune so bad that
a wonderful arrangement won't make it sound good.

IMPROVEMENT OF BASIC HARMONY OF SONG.

We have selected the tune ''I'm Thrilled" to show the pro­

cedure with a sweet tune.

This is the printed piano copy as published:

 59

ADVANCE ARTIST COPY

I'M THRILLED

Lyric by

SYLY.JA DEE
Music by

SIDNEY LIPPMAN

,
c

MUTUAL MUSIC SOCIETY, Inc.

1270 SIXTH AVENUE, NEW YORK, N. Y.
60 PROfESSIONAl. corr
Thi. oopy i. intended 10' the u.e 01 PHOn:SSIOHAL SUIGEIIS OIlLY. and "'"
WARNIN(;! one found oellim;r il 0' nposinq il fo' ..,\e, i. h~bl. To a ~n& 0< ;",p,i.onm~'"
or both. and "'ill be p,..,.ecuto>d, UDder lbe CopJri~hl L_, by!he PUBLISHER

I'M THRILLED

Lyric by
SYLVIA DEE SIDNEY LIPPMAN
Slowly with expression
s--­ j ~I 'I
.
Piano
:
"lI'
r
-r:
r r r
cresc J'"
~J dm.
--'",­
I
-- 4

em,7
I

Verse m
rlmaj.7 &maj.7

I!lI!l I!lI!l
.
•
I've seen the sun up . on a strand of white; 1'n; heard the sound of jun. gle

··
I"
mp r ~i 'f r-, l~ q'

Fm,7
'" ~~
Gml.7
~ '" C;m; 7
I

:lI!!! lI!Il! I!lI!l

y
drums at night; _ -'
B,t if I hpt ~ Ii"" ey_ I'd be
I ,.....
~
r­
,h'
··

0"-1 .

Fmi,7

~
. I!!I!!

, •
gin

r
:
" --
~ I~I

~
WIth the

•
n
min - ute

i
.
you came

i
iII - to sight:

·
~~r,
:
·
COPTriBhl 1941 MUTIJ!l.L MUSIC SOCIETY, Inc lila Si.'h " .... u., N.... York, N. Y,

In'~rn'lio ...1 Copy,i,lhl Secul«l, Made'" U. S. A All Ri,lht. Il..,....<d.

 61

, ~ ~
. ~

~
:
I'M THRILLED, just loo~tYf)ll And know.ing 'y0Ut lip" have {c,u, hod mine, A,
. ' ", . ~

,­
I -r-r->.
. .
"!f~ ~ few.l'''' I' I • r ?
. ..-.­
..
'I
·
<>­ <> ,.
A'
add B. B"
addG

, i!lIIi I!!!Il
. ~

~.
oJ ~
, ,
if in

.-
a dream
, ,
di - vine,
I
Oh but I'M
-r:
THRILLED!_
.J"
~
I
I'M THRILLED by

I~ rr
C..e,fc.
I
r#T/I..
r&-r .."r-:
r
/3 /3'
·
I I .. ..
E~maj.7 emL7

;..-0--..
IlIW
~ /0---. I!llll
" .
~ things that yOll do, Th, way that you e . cho my "-, As though with i heart a.
, ~, ~ -s--; ,
. .
\~ I ~
r a. I ~6~'C.
I· ~ W ,
F mi.7 em; 6 J?7
f!!!!l IlIffiI!l!!l
" ~ ~

~ flame. Oh bul I'M

-
THRILLED!
- . It's like the magic or
I -rt> /3, I , -rr-.

\ f di,.....
1 -~ r ~r 1
I• .~
,~
p
rr>

'" roe-.'
:
... ,, I
- - - - - - - - - - - - - - - - - - - - - - - -.. -

Am,7 D7 Ami' D7 ,., B~maj.7 Gmi.

, ilIlllll!m il!l!l I!l!!ll!ll!l I!lm ~

I!!!Il
E
f' ~JlrIIl/-\- time when J"Ll ell­ rer •
.
room . A sym.phn.nyseems to play swing-time And a
rr> -rr: I
'"""
'f' r ~f G't: t ~ m,c I, r r
~
I I 1 I
:
.
'I I I 'I '" '

Fm; 7
B"
0 mm I!lm ~

I" mil- lion ro _ se5 burst ill - to bloom! J"M THRILLED, just hold, ing your hand, Or'
0 1 I I ~ , I ,--J-­ 1

I" r r r
"im.
~ .,. r
-r­
r 1 ~

,
+
Omi 7

I!llIl
- Fmi.'
Ill!!!
A~ i1~7
adJ.Bb addG
IIl!!!IlIlll
~

. . .
1':\

~ E
st and.tng be . side you a - while, You look in rriy eyes and smile, And_oh bnt I'M

0 ~, <s>:
. - I . ,'1'- -s>

~~: r
~
1 ,--
IcrEe. 1':\
' 3"'
,... ~ I I

r 1. E' B" B"

IddG
, illIII Ill!!! IlIlll 1':\

I"
. ·
3~
THRILLED! J"M THRILLED!

,
-:
I I ~ r"'1~ '<,

· .
. ,­ ,­ .
.-
~ CNM",-

'£,,­
I I
~ -----­
d'm I
-== I n.t ~
1"'P-==.f';;
·
M 106-.'
+J
Ia'...._ ,
,
-
An, ......,_ <J 1M ......... or ,n&i< 01 _ _
01 ""J' porn......_ _. _ &00 Ia/'rIaogow Uable 10
...
" i .. J",,1 ""'MCU_ ....., ."'" U. 11". C.J'~ f.<rw .
 63

Ar; printed piano parts must, of necessity, be simple for the

average public requirements, very often the harmoniza­
tion of the melody is not as -cornplete as it should be to
afford the best possible basis for making an arrangement.

Here the personal tastes of you, the arranger. are the de­
ciding factor. We believe the above example could be
appreciahly improved, and in order to provide ourselves
with a suitable reference copy we are going to harmonize
it as we would like to hear it. We have no definite in­
strumentation or number of voices in mind and we will
not accept a basic harmonization that is just "all right."
Every chord must make us completely satisfied and all
voices must be led correctly.·

Our personal tastes are such that we do not like abrupt

unrelated chord sequences, and as a general rule we
prefer harmonic progressions that almost slide from one
chord to the next. Wide jumps and unusual chord se­
quences serve definite purposes, (such as elements of sur­
prise and shock), but as methods of harmonizing pretty
or sweet music they should not be u tilized.
After playing it on the piano, and substituting one chord
for another, we submit the following basic harmoniza­
tion of "I'rn Thrilled" as one that reflects our taste and
as One that leaves us completely satisfied:
 64
EXAMPLE B Revised Piano Part-'Tm Thrilled"

• nt'/ndy ~
~

.
or -t­ -+ f

.
tt ~ ~.. 'I
. ,
~
i

· .
<= q

1
• r---T--"""l 1. 1 3 1
. ~
- 1
W

• --f~ --l • --i -.

'''5" '~

·· "=~ -~ ~'4-=- --,,- "==

· , "· 2. 1
3
,
r.r -I , - ~
-
A ,

t'ii' 1'f ... ~ 1 "1

·
.~
~J>.1' I~
·

·
·

-~ ...
· ,

, • ~ 1

loJ
~r 1\''< : 'F '!
l
··
-­
 ~::ll"=
~
r­ 3 ~

• . =c­ -j "T

IW ..~ gl< .
. ~
1
."
., ~

"

~
or
~

~ --. #"J" . ~ ~
'~
¥
,
,
66
THE ORCHESTRAL ARRANGEMENT.

With Example B before us we now take up the problem

of the orchestral arrangement.

THE INTRODUCTION:

Types: Using a theme suggested by the tune.

Using a figure or theme for the Introduction that will

continue as a figuration behind the first chorus melody,
or will serve as a basis for modulations, interludes or end­
mgs.

Using an Introduction unrelated thematically or rhythm­

ically to the tune itself. As it happens, the Introduction
used for "I'm Thrilled" is of this last or unrelated type.

THE FIRST CHORUS:

Planning is a process of the imagination, and here again

personal rasre plays an important part.

The problem of selecting the instrumentation for the first

chorus is now being considered. This melody is not adapt­
able CO thirds so this possibility is OU[, The melody is slow
moving and therefore should sound well played in full
harmony by rhe saxes (wirh clarinet lead on rap) or'
by four trombones. As the style of our band is described
most authentically by the saxes with clarinet lead, this
instrumentation will be selected.

As there are several pauses in the melody thar will permit

background figures without distracting from, or clutter­
ing up, the melody line, we therefore consider this prob­
lem next. The melody is not rhythmic in a "swing"

 67

sense, and as we arc concerned with dance music, the brass

figures should provide a rhythm that is lacking in the
melody line.

In the fifth and sixth bars the saxes will be very high, and
to prevent a shallow thin sound and to aid the climactic
pattern of the melody, we shall reinforce the saxes with
sustained brass (in hats). This will serve as a ballast
and will support the crescendo of the saxes on reaching
the climax of this eight bar phrase.

In the second eight bar phrase, we will use the alternative

instrumentation-four trombones-to prevent a possible
monotony of the arrangement, as the melody line of the
first eight bars is repeated-s-a repetition common to most
popular songs. We also will use a tenor solo for a few bars
as a contrast to the preceding strain.

VOCAL CHORUS:

As most ballads of this type have important lyrics, the

vocal chorus must be considered next. The vocal key be­
Comes the first problem. Select the key most suited to the
particular singer, taking into account whether or not the
tune is mostly in the top or bottom part of its range. "I'm
Thrilled" is mostly in the top part of its range, so rather
than cause the vocalist to strain for high notes through­
out, we shall lower the key one tone from the singers
ordinary easy singing range. As most male singers usually
sing in original keys our vocal chorus will be in the key
of D Flat-one tone lower than the original key of E Flat
-c-which calls for a range of C to Db. Now that the
proper key has been chosen, the modulation to that key
must be undertaken.
68
MODULATlO:-.l TO VOCAL CHORUS:

The problem of the Modulation may be considered the

same 3S the problem of the Introduction-and in this case.
our Modulation carries the same rhythmic idea as the Intro­
duction. Exercise great care that the Modulation definitely
suggests the starting note for the vocalist so the singer's
pitch will be true and accurate from the first note. In the
following example, the brass have definitely established the
singer's first note in the last bar of the Modulation.

VOCAL BACKGROUND:

In general the plan of figures in the background of the

voice follows the same rule as the instrumental chorus de- .
mands. When the melody is sustained, move the figure and
when the melody moves, the figure is sustained. Be care­
ful not to cover the voice. In this case the general pat­
tern of figures should be:

Melody Line Example:

Showing where to move and sustain the figure.

1
 69
One possible exception to this rule would be where the
arranger intentionally forces the singer to use considerable
volume in reaching a climax in the song. In that Case the
activity and volume of the figuration has a tendency to
encourage and support the vocalist in his climactic efforts.
Keeping in mind that vocal backgrounds should be sub.
jugared to the singer and provide only a setting for the
voice, we proceed to the actual composition of the back­
ground. Some songs are of such dramatic construction as
to almost demand their conclusion at the end of the vocal
chorus. However, "I'm Thrilled" reaches its climax four
bars prior to its ending, thus encouraging additional in­
strumental music before the end of the arrangement.

In our original arrangement we used an addition of this

sort, but for recording purposes, the song would run too
long and so we were forced to end on the vocal. In doing
so, we used a ritard at a natural spot and then added an
extra few bars ending so as to definitely, but not too
abruptly, establish a finish.

In the preceding thirty two bars the attention has been

centered on the vocalist. It seems logical that the talents'
of the entire band should be displayed at this point. It is
my belief that long modulations following vocals only
tend to delay the business in hand, which should be the
,I, .
, brilliant conclusion of the number. So for that reason we
.•'.
'"'
shall go as quickly and gracefully as can be done into the
,, instrumental "fireworks" that lead to the coda.

Due to the fact that attention has just been focused on

the voice and lyrics, it seems proper to emphasize dance
music again, or in other words, to make this part of this
orchestration the most rhythmic that has thus far been
written. In this case we use the full brass section (open)
with sax fill-ins and phrase the melody with a slight
rhythmic punch.

. __.. _--------------­
70
After <In arrangement is scored, the next and most im­
portant item is its proper rehearsing.

Too many bands take rehearsals lightly. This attitude

results in bad phrasing, unobserved expression marks and
lack of sectionnl and ensemble precision. Too much care
Cannot be exercised in rehearsing arrangements.
A reproduction of our score of "I'm Thrilled" has been
inserted at the front of the book, q.v.

•
t
'I

1
 71

MAKING A RHYTHMIC ARRANGEMENT

The factors in rhythmic arrangmg are far too numerous
to permit setting down any given formula. However.
there are certain generalities that may be made which
should prove helpful to the young arranger.

The difference in smooth and rhythmic music being the

rhythmic patterns used by the arranger, it logically fol­
lows that vcicings and tone colors that sound well for
smooth music also sound well for rhythmic music. There­
fore, the difference in the types of music is one to be con­
sidered strictly as a rhythmic problem. In other words,
a smooth arrangement might be changed to a rhythmic
arrangement by simply changing the note values and ac­
cents to conform to the arranger's conception of swing­
plus, of course, correct interpretation by the artists that
are to perform the work.

The greatest swing arrangement in the world could not

get a good rhythmic beat if performed by players incap­
able of proper interpretation; and. of course, a mediocre
arrangement might be made to sound quite adequate
by a group of superb swing artists. The arranger should
utilize all the capabilities of the individuals for whom
he is writing so as to enhance the possibilities of the ar­
rangement's best performance. Occasionally an arrange­
ment for our band has been made to sound immeasurably
better by having a different trumpet than the one in­

,
.;:.
.. tended play the first part.
,);,
~~>
~:,
_'f,', In making a rhythmic arrangement, bear in mind that

~
t~~
this description is not made as a pattern for all arrange­
ments of this type-but only to show a possible means of
~/ arrrvmg at a good result.

~
~
'.
' ' ,
72
The operung three strains of "Song of The Volga Boat­
men" were originally written 35 three themes playing
simultaneously. However, realizing the slowness of the
ordinary musical mind (and sometimes the trained musical
,,
mind) in grasping a rather complex musical pattern it was
decided to state [he three themes separately in order to
more clearly define each theme and thereby enhance their
,

"

effectiveness when played simultaneously. We present the I

first theme played by piano, guitar bass and drums. On
1

the repeat of theme No.1, theme No.1 (the main theme

or melody) is played softly by four trombones. Again
themes "I" and "2" are repeated and a trumpet or third
theme is presented, written as to sound ad libitum, em­
bellished by a rhythmic saxophone figure to complete the
pattern as originally conceived.

Since the combined weight of the ful1 band playing forte

has not been heard 3S yet, and the passage to be scored
lends itself to rich ensemble treatment, this course was
chosen. Notice the effect of four trumpets, one and
two in unison, three and four in unison, 8L'a Basso.

A four bar figure for saxes follows allowing time for mute
adjustments in the brass and serving as an introduction
to the next movement. As yet there has been no op­
portunity for any soloists in the band to display their
talents. Swing arrangements should provide for instru­
mental self expression so it W;lS decided to write a rhythmic
pattern and let the alto saxophone present his idea of
the "Song of the Volga Boatmen," Notice the addition
of the saxophone figure to add variety in the background
on the repeac at letter "C."
 71
Every outstanding arrangement we have ever heard pos­
sessed ar least one outstanding idea. Had "Song of The
Volga Boatmen" continued in the usual vein, probably
more ad lib solos would have been given and thence to 'the
inevitable ensemble finish. However, here is where the
outstanding idea made the outstanding arrangement. A
rhythmic canonic imitation was prepared in a new key.

A short modulation followed by a diminishing drum break

sets the stage for this unusual passage to follow. Four uni­
son trombones, starting softly and comparatively low,
begin a passage, followed four bars later by four unison
trumpets, that is to end triple forte in the top registers of
all the instruments.

The canon ends with a short beat followed by a soli

saxophone figure intended to indicate "more coming."

Certainly there could be no more contrast than following

a two part canon with a full rich ensemble spread
through almost the entire register of the orchestra. Lest
we forget swing arranging and the freedom it should
possess, a single trumpet, written to sound as though
improvised, is superimposed.

The coda (last 6 bars) is begun by a full brass passage in

j rhs, an ingenious Saxophone run, followed by a gradual
climb to the final chord; an altered 11th in F Minor, using
raised 6th and 7th intervals.

A reproduction of Our score of "Song of The Volga Boat­

men" has been inserted at the back of the book, q.v.

,
.~~
"i '
 _':C:~ --.,. _M'~_.__ .-..-'..-."',

'II!1ULU1.u.
,)",
:/f,

xLi .
'."~: d : .' '. ,
:,': I~)l;';!~·
: ; ': : : '::
I1\':;, i
! IIHHlll1 I i :' ii
, I I'
. I I:
"
i
,
I
'
· " ~ 'I'
;;" 1.1 '
~~j,j~ ,
~ijQs '
"...

I '>l~'
~" Mt
,~;,~;;;.
I
I ! :!~!
~d~H

f
.,
'"""
J

,-~ r" ~~'

-~~
~ . ,J .­ P""'"'%~
~ -'lIlO!W-
~ §l ~ ,~

__ '
z-r-r-'­
f 'i ~<' ' .....:. . . . .

~.s~.;:-.·~1n'i
,;;~ -~. "" •he.,,7u ,~ri&:j?4""-"",~"'<;;;&<~":/'.::-"<.:.:,
-~ t'.~l uZQ:'#. ,··t,.,. ,~:::.:··:.'.' ':",.<.'::'\:
...< '--"":. ::·'.:·'_ .. :::,:,::.)/"r,

;,i J ;t{;~"",;,£~".':',:,"1~~.\J%ii!~~::~~ll
GLENN MILLER and His ORCHESTRA

"'n'L$iu' ,.,_"_' '""'" , . -, If'.

 75
ORCHESTRAL EFFECTS

This chapter is devoted to excerpts from the scores of the

Glenn Miller Orchestra arrangements. With the excerpts
are listed record numbers for those who desire to listen
to the examples shown.
 by Jerry Gray A STRING OF PEARLS-Bluebird Record No. 11382
(bel/d)
'~" " c-,

c- >
1<;\ Aho 1;
[;;
, , c- I(bend) z
.> I , , I , - 9
21,d Altu Ei -" ~

•
, ~i,.i ~ I I ~ f M~ I I ~ I I , I ,...,~ I I I (on/d)

3rd Aho

IV ~

I I
- T I
=
i - - I­ •
~ ; (ol'lld)
, I "',' -----=-- , , . ­ ~ ~

Tellor

-~ r--. ...--..:;>- I ((,.lId)

Haritcne

Uuu a r c Cmaj7 C7 C6 c+ I C+ C D7 G7 i C

PIano
aNI ~ .
l~jQ
H~ss
(,~ ",II

(It>, ffil
Copyright 1942 by Mutual Music Socicry, Inc., 1270 Sixth Ave., New York, N. Y.

AO::_'j,
 77

EXAMPLE NO.2

KEEP 'EM FLYING-Bluebird Record No. 11443

;I Alios ,
by Jerry Gray

•
sub [Ulle-------,
'lJ.m.son

~
~
~

sub tone- ~, unisun

-,. -. ~
2 Tenors
<.; .>

,~
4 TrplS.
•
rst tacet
.Fl':tter tongue I,(~irplaneeffed) ~
_..-
4 Trornbs ~ ..

, Cdim.
A

Piano
Bass
(
)
. ..
-
& Guitar ~ A

Drums ~
I

Copyright 1943 by Murue! Music Society, Inc., 1270 Sixth Ave" New York, N. Y.
by Bud Green and Ray Henderson
ON THE OLD ASSEMBLY LINE-Bluebird Record No. 11480
, , '>­" "
~
ce

Alta
#H #H e #e "
H #~ t ~t f e #e fc fc -
;,::
I" 'r­""
'"
Z
~~
o
, , , I' , , ~

~~ff!Wif~
" " 'I... ~~
~
"
~ ~ ~ ~ ~ ~
Clarinet

,
1st Tenor
,
1
,
2nd Tenor

,"pell 11 '9 1i , 7 7
Ist &. 2nd "" ~
~ 7 7
Trpts.

3rd &. 4th

~
St. mu.ff.' " 1"""1'
..1'-' "II" JL " . A,.
.\ -'\ ,
".J!I.
,
__
,
"..
,
.. , , , ,.,
Trpls.

-~
<I Trombs. =

~-9-

P
__
~ ---~ ".
---- _o:r:o

.> ,
__ I ,It
UU:C
4:li
=ift bflo
~fl
Piano , v ~2§ fIF rl'~~
a aass
Guit"&
Drums tacet
~ ~,.,." (Bass
... . . .
~___ _
(11111)

,..
~

..
6&40 - 52
-_._.uy vreen Brothers and Knight, Inc., 161.9 Broadway, New York, N. Y.
--6
-- --
\0
i
k
.... upyngn~
~ ~

l:<'tL
U,d b;y P'"''''''''Q''
"~'" .,
.l~">,'y
. ,
'~~ • . •J~i\;~.~-~;'~:'r<'f~«';,': 'c' ~~~." ~i_'t -:
'~ &~~~~~~r·o·-:>';t""~,'~:,:<~~~~~.";~\Il~~~;i~ ... ~o;.,J{:~ _..oj' /<~r!'~1(

by E. Woods and Enric Madriguera

ADIOS-Bluebird Record No. 11219
2 2 2
Alto 7
I
2 2

~
2 2 ~

t 2
L
1 II
q~
I
j 3

.,
• II
" I 1
Ovp-mufr..wlol

Gm7 C7 F 2

Guitar

~'"
Piano
.& Ra55 Bass & Piano 2

Brluhes
z
9
Drums
... "'"
Copyright 1931 by Peer Intemarional Corp.
V.,d b) Ptr..,i"iQII
80
EXAMPLE NO. l

I.

c
\ I \l
~ ~
" ,;
z
" .. ."
0
N
~
,

;..

-
~
a

<5
Z
•

..,,•
Z ~
"0 •
•
0 ~
u
u 0

~
P': N

"0
•
A
,
-'"I
u

I
-

u
0

i
•
'0
I OS
'"
~ .~
P': 3
0 ;;; j
:r:U -;;
G
;}
4

>-l
~
::l ..') ~

> ~

Z
«: --
~

~
~
'i
t
- "1
•
~
eo
'C
~
c,
0
,
~
~

<1
U

~ ~ ~ ~
~
CO ~

~
,
• " ~
~
E • •E
••
a
3 0

<
a
•
e-
~

r-•
0

r-• " 0
"
ec 0
<
O
a "
0; •
~ ~ < ~
"
-

-r ~.I
2 Clars.
•

2 TcnOrS¥
I~~~(~ .
-­ -
-r­ -, ,~ -r­ ~-~

2 Trp ts . ~
GUitH Gm7 C7 Fmaj.7 F6 Gm7 C7 Fmaj.7 F

Pi a no ~
&B~, ~ ~
~va
G,g"r)(lth Il'; l® I J" 7 J "
I

r 9
, •
.
'* m
~
:>­
Drums
is:
'"
r-
m
Copyright 1941 by Mutual Music Society, Inc., IZ70 Sixth Ave., New York, N. Y. Z
!J
"' -
ce
 • =

THE MAN IN THE MOON-Blue d Record No. 11299

by Jr:rry Lawrence, Jerry Gray, and John Ben,son Broolu

a AHo. ­ - - - >

aJ
~ ~

r ~
r­

Baritone
> "'-"' ~

'"Z
P
> > > ...
tit Tenor

~ m
7'
• 8010

- ~
, r
Op(!11 ~=I }

~
tit ... znd
'rrombs. ~~~~~~
II HandinBdl

--t
­ °Fm

e ,I§ ~~'~r t~ ft-

HandinlMl

8rd ... 4th

Trcmbs. 'i
~ ft~"'r - ~ . .

Guitar 8'IJa•••••••••••••••.••••••••••••••••••
n" D~7 C1 D~7 In>7 C7 C>7' F IGm7 C7

-~~
,...
Piano

ok Bass

r ~ - I "4'-
I I
'F rEWEr E ~. ;,; ,

Drum5
I I I W'j ,
.c;o~yri.bt .~',·n by M~tual Music Society, I~., 1170 S.i1th An., New York, N. Y .
. . . • Ii•._ "'....,';.."..,,;;;,,;.~ .,;;.. ",.
'6f-S~~I~y 'j0se1ofj"and Si"QJY:iipp~~"
2 Altos
, fJ If >
c­
-- ----
ff -"
>

~
~->

-
Baritone j;t
rr ~
>

- I -~U'~·
c­
i Tellot

r:- In Hat ~
'ff
>
-

ist & and

Trpts. ~

P --=:::: arcsc I
[,1 Hilt ~
.>

~
~
arc & 4th
Trpts.
.".
P --= cresc T~r -,
iSI & ~Jld
Open Soli
> >
•
> ------
_"_ .. H... -$I- p ~-
/!:. '~~ -:;"'"
Trmnb s .
u;;;;J W ~

c-
• "'.'>-._­

Gm'i

I" tn
~
i
=III
:::
'"tn
t-'
,"" r-r !""II n z
i~
I
: I P
f ff ' 'LIJ 00 00
~
Copyright 1941 by Mucus! Music Society, Inc., 1;:70 Sixth Ave., New York, N. Y.
 by Jerry Gray THE SPIRIT IS WILLING-Bluebird Record No. 11135.
It.
~ ...
ee

>
2AllOS~ ~

2T"",_ ~rJ~~
r­
m
Z
o
~

",nl"",~ j 1
3 j ~: 1==f j ~u

3~~:m~l~':%
I I" ~~ ~1
~_~~
" ~

i4# F1- '-.i

Em7 .F#m G A G F~m Em? D Em? F#m Em? FJm Em? D

G"""(~l~t~
Piano
& Bass

Drums

Copyright 2941 by Mutual Music Society, lnc., 1270 Sixch A\·e., New York, N. Y.
 THE STORY OF A STARRY NIGHT-Bluebird Record No, 11462,
(Adapted from Tscbaikowsky's "Parherique Symphony")
by Al Hoffman, Mann Curtis, and Jerry Livingston
b
Clarinet

lilliSO/l
, , b-'
-e­

~ Altos

2 Tenors

.tth tacet
..., ..
7 7 7. 7 1(1&2)
-
4, Trpts.
4th

b~ ..
~

b :b b
(a &

/1& 2)
ii
-­
13&4~ ~

Guitar Abm7 A~m6 H7 Abm6 A~m7 Abm6

Piano '"><
~
& R;lSS

z
!J
Drums o~ _
~

Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave" New York, N. Y.
 SUNRISE SERENADE-Bluebi,d Record No. 10214.
Words by Jack Lawrence, Music by Frankie Carle ~
~ -s-__
~
'"
'"
00

~
__rzs-; "T;: _
2 Clars. ,
- "
"
'A~_~~
'3

• fi ~
1"-'-' .... '-"-J .... r;;
»:
, c'.~ ~ z
Alto ..
9
~
~
fi ~

,
iii --r;:.- .
" ..
/
~
ts-, '3 r: - , '3
2 Tenors
• fi - '" ,..... ,- i '"'-J .... ' '-LC.I LJJ
+I

..,.'
. ~ Ptuuger + 0 0 +0 + 0 + 0+ 0

,
~ ~•••.!J
3 Trpt s .
~. .~

fi I
1
f# Plunger + t 0+0
C' 0 .1 o + 0 + 0 ..
3 Trornb s
pp
-
~
, , ~ -.
.>
AI> E,9 I ~,
Guitar E'9

11 ~ 11
Piano
fi "
Bass
.
pp I
Rim
~Qt~r~~_s
..... r"'\ MI r-"'l
'"" '""
Drums
fi< ""
, ,
Copyright 1938 by Jewel Music Publishing Co" Inc., 1670 Broadway, New York, N. Y.

Copyright 1939 by Jewel Music Publishing Co., Inc., 1674 Broadway, New York, N. Y .

.',,-' •. ' ~.
'._~
 TUXEDO JUNCTION-Bluebird Record No. 10612.
8a.lw.pla!l 2m! hllle d! 3rd /l'me vi/ly

~ '-....­
- ~ --p­ -v
11.-2.-3. I

,.,
-~

'I'rl't'l'lays 2/ld Ilt)!'! &; 3rd time VI/V

2

+ o~ + 0
+ o~
~ .
- .
n~
B, E,
..
F7 2

1= ~

~ '"
><
;»
I'"
"'" 0::
I '",...
Drums
, I , '"
Z
P
Copyright 1940 by Lewis Music Publishing Co., Inc,
"Permission ro reprint granted by J. R. Lafleur & Son, Ltd. of London, England,
Copyrighr owner for rhe Bnrish Commonwealth of Nanons, excluding Canada and Newfoundland.
-"
N
~
88
EXAMPLE NO.
Il

'i A , ,\~ ,I

•(, -
.
"

•
4
~

-, ~111
-,
•• •
J
-~
,;
Z
+'­
(
1'­ ""
0

'Z•"•
h
.~
(, . ( (, (­
<
•
>
1
05 -e ~
Z J f',I (, (~ (­ "
Vi 1
:1,

1:o
u " 1\ .\ ,I 0

t-,

..­
~
1 .

"

j
t­
.,
i •
I'
0 ~ (A 0' G.IIJ.\
,
~

s
~

I
,
-a
;
~
A A A A A s-,
• ~

M .1 A A I­ -

,•
-

•
.,ec
~

s-,
c,
0
u
f-. 17 I
A t. A Ie, A

,\ A A ,I A

-c
1> • t- <II.!lI.
o

"
 89
EXAMPLE NO. 14

ISLE OF GOLDEN DREAMS-Bl"ebird Rec. No. 10399.

/1 ::::':::e #­ ~ -
2- Cl ars.
.
=

A f.4 #0. ~
f Alto
~

I"

/~~- ~
I~#~
~

2- Tenors
.~~

~
3 Trpts.
~-
• '·H~-...::
,,"-­ ~,=
r::-'

.
~
- ..
----­
3 irom'D s.
-e­ -&
. ~ ...:
.
~~

Copyright 1919 by Jerome: H. Remick &: Co.

U'IJ by P,,",i,,;olO
2 C1J.r:s
.,
•
,
-. ..
r:J==
MOONLIGHT SONATA-Bluebird Record :'la, 11386,

~ .-
,
,
-- - -------
m
~
;;::
"'[;;"
Z
~

I• , o
Alto
• ---=
~ ~ ~~ ­
~

-
I
.
T"nor
, , u
"-
---=
~ ,~

Tenor
• f"J' 3-' ~ ra-"'. ~ .-----:r r-a-, r------o-- '7 II>' "7
_",~.:::c,
~

~~
Guilar cl' Film G Em' Am FIlm cl' F~m X

Piano
fF 'i­
,
ts nF iW --. I'. IS
&. Hass

7 "
v

""~

Drums

Copyright 1941 by Mutual Musil; Society, Inc., 1270· Sixth Ave., New York, N. Y.
. . .' i up 414 OJI( sm. jaa¥4!lkW$".~:':""'''''''~'! (

MOONLIGHT SONATA-Blueb;rd Record No. IlJ86.

iI... ... , ,
'"
~

4 Clal~.

pp
-"" -~ ­
--~ll
... , '" --==$ligcltiQ ____ J~
_ l ~

l='t-.."
4,"-

Bass Chr, c±J I ±J I ==1 "'"

----==t-- I 1-----......::::

r3',llnl~ ~4
~~ ~~~f,~,i~lr3'j '"
z:

[~ ~lf5
I '"
Pram
~ : I~, rif', I~, ,--:I', r3', '1'1 wr.) ~,I r-f'1,.-r) r3', m 1.1., <k.' J,
, I I I I -
~ .

ecr r. ~
~
- , . j--~

'b

----·1 ---
. ;.:.. ..., ~~~,~~~~_~~_:
i! ... __ ~t.t~ .. - ,,-- ­ arco
.,.,....- ~
- ~d.,
-r--;

-
Bass &:

~
~,

Gu nar

BI'~,"hn VII Cym. s::

j t I I '" ,I '"r­
z'"
9
Copyrighr 194: by Mu tual MU5ic Society, lnc., 1270 Sixth An., New 'fork, N. Y.
- -'"
c,
 PAPA NICCOLlI\I-Bluebird Record No. 11)42.
by Anne Jeanne Edwards and Do::-n::.G:'::o::."'C:':­
---=­
---;o=,,_-:o
.----_L_ ,.~
>
'"><:
:>­
~
~

s::
2 Clars. '"r­
~
7'
b._b
'z"
9
AJtQ
-
"
Z Te nors

>

" Tr pi s
,.Cu.pJ[ut,
> >
~

~
1<;\ Trvmb.
•
Co.
Cup Mute

2nd Tr<Jmb.~ ~
>­
ClI.pNute

Srd Tcemb !5:.1tf•

-
~

Guitar
tacet
8~a .-J > > >. c­ >_.
-
Plano

I1ass
pJ'JI c,

Drums
I , •. ..
B7'IJ..~h Ul!
I I
Cym.
 93
EXAMPLE NO. 18

• ,~
~
-<
•
( /I I
0

~ I E
/10 .. I
, '.."
,
~

-<
• I
,
f,.
I
. I

I,
.! \ . \.
j;
r;
I

-<

(~ (l" 0

~
~

, -<
e-
E
--m "" ....
/10
G

<
I
~' (, .

" .-E
""
E
~

~III ;
'iJ
~
c i'"
~
~
~
1(. ~~ (
.

'j­

I
~ : I

111111
(~ f..
I, .
1111111 :~
~
~~
. ~
., ,•
i­
?< ? • ~
f..
. I I ••
•
"•
~
. q
r­ l­
'"
..
• p • I­ I ,
~
.. ..
,

o
 =='===-~-

Words by Andy Razaf, Music by Joe Garland

IN THE MOOD-Bluebird Record No. 10416.
~ r.o
'"~ ..
~

~
2 Altos ..
.

.UU .,
I LW L.l..LJ 1u.J...J
r>;
2 Tf::II,HS
z
9
1<
., E~
~

­
~

1S! Tr pt..
A

I
~ 00 r.o

c , 'bQ u ~~... r.o

2nd Trp t..
< ~ ~
- .
~
~ r.o
srd Trpt.
< y' ~.~

3 Tro rnbs ,
-
-~
~~
I
r.o
.

Gunar A· Ab

tM'~ - r.o

~
~
Piano
.
& Bass
r.o
:

S.Il.
8idf (!lIm.
I .
II t:'\
Drums
1 , I , T
Copyright MCMXXXIX by Lewis Music Publishing Co., Inc.
Assign~ to and copyright MCMXXXD;: by Shapir 'Becnlitein and Co.
'''' .... ~ """'-"'';'<''''f:'''!'''': l.ik;::PY_<tI,~,ilti!JUti~UL4.~~;O;;:~!,,_~.'c. <~, Y'C:';, ,"'.-,<;!i'-.j,. ""~""'"
(
,-­
LULLABY OF THE RAIN-Victor Record No. 27894
by Barbs Furman and Lou Ricca
"3''''33''3''::=>­
r-.u«:..."_~;:::",,,,,~ ",;4 !IDffrj F.l"'!"j I'R9 ,J1mmill ~
1f-=r:~
2 Clars ,
I"
-­ -r ,,-­
J!...----.!V~~

, I '3'~~
2 Clars ,
, 11LtJ OJ UJ~
-----­ ~ "
~
,L ---.:J-.­ J..-.­ .s:
"3 "3' :::r-­ ::>

Ttl1,lT

• -e­ LJ.J ....

Copper Iiarmon ~Jfufe8
~-,-.L e-i:> '>

.J. Trpr s
~
" CU)' l.fp ifp Vi> ifp
'~. >'»

Mutes .I .I J .r " '-l.J :;0,.

4, Tr ornbs

sfp ifp I sfp ifp I v» ,fp .»:»

GUJ(;H ,.
8 r ,J , ,. tiuitar
<c
L
\~ Str. Eass I .. 1_______
-" ~
#~,. If'
(~
1'1<11\0
prz.z . , ..
arco~~
;,­
Has s
i;
BrlJ,lh.p~· 011Cum. ~
f;;
I I 1. I 1
Drums -­
=~
~
Copyright 1942 by Jewel Music Publishing Co" Inc" 16]4 Bro~dway, New York, N, Y.
V",I by Permission
N
o '"
~
 RHYTHMIC EXAMPLE OF SAXOPHONES WITH CLARINET LEAD
'">­X '"
by Glenn Miller

Clarine
~
'~ ~ .. ~...... ..,. . . t1. . . . .,... C"
-
. "1'.: ~ t'.:~ :e~'_"" • 8

r­
'"

'"~
2 Anos
.
,
¥: ::..~. ­ ~t t' bl. it !l bt.U U~• •
-'"
f'T
.
,b"'--~ .'1'..,\. ,"••'1'&,\."., \ . it
- a ,'I. ,. ! .'~\.
2 Tenors

. - , , , , ...., ,
, =~
s Trpts.
rtr
-
3 Trornb , .
-~

-
V I I J 'W I
I
Guitar
- - -- -
lOY
Piall!;>

Bass
(JJ1'ums)
-,' r""i' r-""'l , r-:o, ........
, WI oj
Copyright 1943 by Mutual Music Society, Inc., 1270 Sixth Ave., New York, N. Y.
CLarine
,
'" - b• • ~
b
1= 1= .J:, ~~ .. _ 11_ >
" ". "
•

2 Altos ,• b~.
• ! ~~ 'I' q. ,'. 1'.... ~~c .i, >.c ~~ ~
".
2 Tenor ,
~.
• 'i ~,,~ ~. ~. ,Ii 'e 1.& . c > "i' ;­ -..
e-

~ > .> > .>

>
,
3 Tr pt s
• .~

.
...... ~ ~ ,it »,
> ,t. .J""'.
3 Tromb s.
'--'-i I I. I

Guita.r
• ­ - - Db? A~7

..
Eb' c?; B?7 I

'';
Pia.no
.n;'ums r""=i.

B:lSS
. 1 .I
r I .
I h.
'". ,

'<>
"
 I'M OLD FASHIONED-Victor Record No. 27953
Words by Johnny Mercer, Music by Jerome Kern
~-
'"~ ~
~ ~

~
0. -0. ~
i Altos

.2Tenors
"
1~,.I.e.
"
----­ cresco
~----'--C,--
'"
~
N

" --==== cveso.

U'"f N

I
Trpts. III
<Ii - r:resc..'

----"
_

-..

if; ~
II
Trpts. IV

if;
I J~.I-
~~,I,'p' ~ I ~ F' I~~" I $' ~ II .. ;;

r r I I I '['f-rr r
Guitar ,7 A/.7GmaJ:i" m7 G7 IG~maj,7

Piano
'"
Cvm. >
~
 -
•
, ':
-,
-:5
~.,

f­
--;

-
<­
'-,,'1
r
'­

i'­
~
-

~
\
,
G', L,
.
~
'~" •
~-ot
-
~ (llll
-• -

~
~

~ ~
-
~
""
0
0
~
""
f-]
-•
-:\i.
~
.... 0
"i

~
-e I·
~ '0

! '!IS t~ .( !~
Ci tJo
II
/,c '~ , ~
~
~

'e: ~ ~ ~ ~ ~
~
'" ~
~

I'

6 ~
~
~

;.
- -­
I
---I­

I
10-1 l' ~
- [
-, ,
-'
-;­
1/,
I'-­
I";­
't -'.­ ~
It:' ~
- I ,
>I'"
~

- ~
:;. :;.
" f­
\~
",
~
- ~
, , -~
:
A i'­ , , ,I""
-~

"L
~

"
-
'~1
\~
~
;,
~ ~
~~l---'
r<~"-; f<
~,~ ~

~~, ~, ~~I ~~
,
f­
A
, _ A ,~ A ,
"
c , ~ f<
-­ /[ _ /1 0
E -
)
-
T1 T -
l­
-
~

'i§"Ii I!' .
f- f<
, I­ I· -

-
.
f-­ \
0­
00i -
f­

-'I~ <
r­ ~ r­ .
< < <
r­ <
~
- '~~

~
0
" .n"
,
0
c
•
"
E
0

;.." c, "
" "
 YESTERDAY'S GARDENIAS-Victor Record No. 27933
""nt;
-J
:Ii'~
'"
~ g ­
,,/~ ~

-c-; I

2 Altos
• ___ -3-,
~

Pl'P

~~I 1~m?,
•
~.

ka
,
- S,'t~~
~

2 Tenor:
• I
PPP
/ - r___ - ~

Baritone

Solo I
ppp

r-rr
ifp
i J'
'--­ I I~ ~l fm .Ili:­ -1.
l~
1
1st & 2nd
Trpts .
if
'fp -, 1 0'-1­
_,
Srd &. ath
Trpts. u
bfp
Guitar t (;!,Q rJ. B~m7
El> Bb A
A>m1 D~m7 D~7
- Gb.
m.>J' Ebm7 ms
Eb
em' F7+S F7 ,-0 E7 B' •
"

l"
m7 m7 m7

Piano
&. Bass
\~ • • b' I ; . "'Ii>' 'bo­ 'ot 'ole • " \. "" I I" ,­
<\-e . b.

Brushes
- I~ .
,
Drums
t- I I .1 TTT
Copyright 19<12 by Mayfair MlUic Corpomion
 _-P:4$244:e.~;"-·'·",:;', <·'i'""""'1"."~~A'!"-'4':"~'\'· "'",. ,".'

YESTERDAY'S GARDENIAS-Victor Record No. 27933

2 Clars .-~ ~; ~ ~~V"~'"~t~'"~t~'~ft~~'l:!'1=¥~

____ '-.-/ . :;:---......~ ~~. -= Focal quartet
,~ ~';::O~ ~~__ >. A'~'"'P'~'''iW'''
Allo

L.o..o I~r.;~ . ..c ~

~ '."
~.
< 1·' ~ fbiiio
,,­
r k~'

Tenor
i'! ~ ~
, Jl _ ;::]' ----= -=
BJS5 eta" ~
I" :... ~ ".~>t'w, V
~j» h&t ;>
- ~

~~ -=:

3 Trprs
f¥f Hdnd Qt'cr Bell
Quasi Nor'!
-9
~
­

.tJtTroJrW·k u /Juusi Hon. J _ [flRat~;> t-,

S Trombis. "'" • ~
- - pp - '-;;;;.....---- -.::::
8U , __ l"'-- ';J J.... zccc B (Ef9+5)

11.8trBa~ ~r Fir G... Bm:9i'iJ

Guitar

Pi ano
&. Bass
L l 1 r
-,,-.w· w
L~

•
~
;::
:'l
E~"'~", OY'M I, C9 1 C' " , m
Drums
~ t
I ,
Copyright 1942 hy M~yfair
"
Music Corporation
I

[Ired by Per",;mon
T I .

...
N ­
0
102
EXAMPLE No. 25

CRADLE SONG-Bluebird Record No. 1120).

2Tenors

JJead tone
Alto

.l)ead tOIlt!

TllfhU!up Mutes

Piano

Bass

Copyright 194J by Mutual Music Society, Inc" 1:£70 Sixth Ave., New York, N. Y.

,,
•
'.'
 AMERICAN PATROl-Vic'o, Record No. 27873
r,
Clarine t
• ;>;> ........
- --~
~
.,

Alto
I~

~
.> » - ..~ I~~' J
.....
,-rj
• I.,••~," . ~ __'bI: qJ,
•
I
(Ba":;)~ (Bop)

,.,..,
2 Tenor,

" Troml rs.

,

1/,ni60n
~
'>

~
»

Hand in Bell
~ :>
-
+_ .... -.... ........ _-_ .. _----
>~
::-t:

-::;.: :>
-
-
;.- ~
~~

+.. ---_ .. -..... ...... __ .. -_.__ ....

~~
-
-r ,

Fi
F7 p,~ F7 F~Jo'mi 1'7 A Bb E~ Bb [l'n
Guitar dim, F~ l'1n7F7 A F#dim. B'

Plano
& Bass
• "
.-
• • , .. ~ • ~,

, '"
,><
~
[;;
,
Drums
~
Copyright 1942 by Mutual Music Society, l nc., 1270 Sixth Ave., New York, N. Y.
N
'"
­
0
~
 IT MUST BE JELLY-Viccor Record ­
by J. c. MacGregor and George William!
Trill
.I. 1>,; '_f
.
). ~\; f•.
,
~

2 Altos

.
~
I 1
r-tu , I
, . I
.2 Tenors
" , ,r ' . Vllt
Trill
l' ;. Z
?
.
~ !§
sarttcne
.... t:l

Trpts. III
n--- 1"_ I ,J.. n- r---_ j. n-
I
I·
• , .I ;'J , .I J; J -
~
0 ~
II
Trpts. 1\_'

'&'~ ~~. hi ~ £, @ £-'" b-. £, hi ... £, -= 1 ,.:=-

4, Trombs

Guitar E'pm7 Dh

Ptanc

Ba55

~I
II" of. ....
.

Drums
.
,
Copyright 1942 by Mutual Music Society, Inc., 127.0 Su-th Ave., New York, N. Y.
 ' '
't­ - -i
~il11 ,I
, ~
t ill
--.
~
.a: -->11, -. OJ ..,
';

dElf
.0. ~ Il

.­
~

'j
,-ij .; ~
,~
~
' ~
,II ~ -~

f-­
~ ':
p.
. II (~
-
~ .g.flil -->, ~'

,
, ~f).
,-ij .­ ' .;
,II
"'i
~
~
" ,

_0
A
I<; ,

~.
'>f­
,
{
,
--. ~ ~"
"1

111111 ~
tool 11I14c - , ...
~
I
...
'--' .­ ~ ... -
~I
L

--. OJ'' e­
~

(I {~
~
C>

- _.
,
c
, ,)
• <
• "I

-­.n
-:> •

~
s­
'E
~
0
...." -•"
c
0

,\
106 •
EXAMPLE No. 28

CARIBBEAN CLIPPER-ViCtor Record

by Jerry Gray and Sammy Gallop
I
Alto U
-
-
II to Baritone

Cl arinet ~

Ct. to Alto
'r­
I
Tenor 11
•

I
,. ,J, I
Cor. III ... +

Cor. ~I
IV
"-." L.' ~"
J::=k
-"_",, _ J. I
Hilt" + IHat

J-l-­
TTomb·II I

II ~J+~

G~ Gb D~7.

Guitar

G'. Gb

Piano

Hass

Drums r­
1-­
Copyright 1942 by Mutual Music Society, [nc., 1270 Sixth Ave., New
 107

oJ .ru ,
r
Alton
rr -

b::' ',,_
oJ .1ll bJ .•ll J ",[.1'1 nol.

.::.." .::." I'::b; _t-

.....
,

I
Alto III
,
I~

'r-;- "
ir-­
"
. " ";.~ " ir-..... ir­
,
-
J
Tenor II

J
Cor. III

I~
- -
-es­
,

+0
J t I
+
..r.­ - , ­
~

-
Ifat Hat

II

Cor. IV

I,

rv­
-- - .
,
+0
J I I .1
+ .lTat
r_

Tromb' I
II
r ·
-u
Hat
oJ ~
,oJ - -­
rr
_u .J ~ .j D
,
_u
Tromb· l V .

G'
~
Guitar . ,
G,
.
IV
Piano

· " ,

Bass · " ,

Drums · .
108
EXAMPLE No. 29

SWING LOW SWEET CHARIOT

Q)
®

®
Saxes
®

Q)
®
Trpts.

®
®

<D
®
Trombs.

®
®

Piano

Bass

Brushes

Copyright 1943 by Mutual Music Society, Inc., 1270 Sixth Ave., New York, N. Y.
 109

®
CD

®
ff
® ,.
Saxe
CD
~'
®
Rant c"'

,
®
® =
I
Trpts

®
CD
®
®
TromlJ s

® .
CD == .

Guitu
~
.> c>

~. ~~, . .
\* ,. i
.
* J\~
•

Piano
\It "~~,1 '.H
e:
. ~
~"'~ 1'f 1r\r
~ ~ ,~ J' 'J' -e '.'.. _ "~gJ!E
Hass
~
:
z; z z: 'I ,, , ,,
.
~ ,
Drums
I- I I I I -I ' ~ I I
" " l-
110
APPENDAGE

Herein we will show a few examples of how the arranger

may ad.apt some of the ideas used by the Glenn Millet
Orchestra to his own band, or to some band for which he
is making arrangements.

First, let us assume that a common instrumentation I.'J

five Brass,-three Trumpets and two Trombones,-four

Saxes,-two Alros and two Tenors. and the conventional
four Rhythm-Bass, Piano, Guitar and Drums.

One of the outstanding features of our band are the high

Saxes, Clarinet on top. In order to get this five Saxophone
effect, distribute the five voices as shown in the following
chord:

The Trumpet, added as the :6.fth VOice, produces a very

good blend.

Let us take the first four bars of our arrangement of

"I'm Thrilled" and score it in the above manner:

In Hat
Tr p t .
 111
This is a good imitation of the effect produced with four
Saxophones with Clarinet lead, and solves the main prob­
lem from that end. This device may also be applied to a
swing phrase. If the fifth voice becomes too low for the
Trumpet, this can be corrected by scoring the Trumpet
as the second, third or fourth voice.

Let us take a few bars of the Saxophone chorus from our

arrangement of "Jingle Bells" and score it for two Altos,
two Tenors and Trumpet, scoring the Trumpet as the
third voice:

Auo

Alto
•

~ -----­

This same device may be used in a slow moving melody of

the "sweet" ballad type.

Suppose the problem is to get a four Trombone effect such

as we use in "Tuxedo Junction," The thing to do in this
case is to score tWO Trumpets on the two top voices and
two Trombones on the two lower voices. The effect
III
will be remarkably similar to four Trombones, provided
that each man is careful to listen to the other three in order
to get an even blend.

The foHowing sketch shows this procedure:

c
.2 Trpts.

etc.

In the above example there is one Trumpet remaining to

playa solo chorus or a special part that may be written
when this type of background is required.

Scoring brass in open position-more than all: octave-­

always produces a broader sound. It often gives the im­
pression of a larger section, because of the greater spread.
of voices.

c Cdim.

3 Trpts.
Ctcsed
Position

c Cdim. A~9 G9

3 Trpts.
Open
Position

2 TrombS.~~~
The above 'method of scoring brass, (open position) ap­
plies both in ensemble (with Sues) or soli (brass only).
 113

Remember, too. that Trumpets, Trombone and Saxes used

as individual sections in ensemble scoring (full band) will
always give the band a bigger sound.

There is a tendency among young arrangers to score sec­

tions in closed position (within an octave) when the full
band is used. This is not a good general rule because the
orchestra will lack the depth and roundness which should
supplement the higher voices.

A Saxophone section of four should have one member

who doubles Baritone. This enables the arranger to get
added depth when desired. With the Baritone and two
Trombones, the arranger can apply the device used in
the first chorus of our arrangement of "The Spirit is
Willing."

.2 Alws

1. Tenor

.2Trombs.

7 7

Baritone

Guitar Em7 Elm G A G Elm Em7

Piano
&: Bass

Drums
114
The same device or one of a similar nature may be used,
with Saxophones supplementing a Trumpet or Trombone

solo.

....--:;;..
~
.
,
~

~
~

,"
Trpc
f ... '"

xuo
",/
•

-
~

2 Tenors
~

mf

- ~
~

"
Baritone
~ ~

I~
"'if
,6

..
K~ AI>

.
Bb9
B'7
"
..
Guitar
•

~
~
Piano
& B:l.SS
mf '"

DrU{TIs
:
I I ,
mf

When scoring for the full band, the production of depth

and round. solid foundation is predicated largely on the
manner of Saxophone voicing shown in the previous ex­
ample. Ir is used to supplement the top voices in brass
or in soli form for the Saxophone section, and produces
a richness of tone quality not otherwise obtained in the
absence of four Trombones. Whether the arrangement is
"swing" or "sweet", this roundness and depth of found­
ation is too important [0 be taken lightly.
 115

The' following Glenn Miller arrangements have been pub­

lished for dance orchestra. Adapted from the original
scores for general usage, they will be of interest to the
arranger.

A STRING OF PEARLS
-c-Bluebird Record No. 11382

AMERICAN PATROL
-Victor Record No. 27873

ANVIL CHORUS
-c-Bluebird Record No. 10982
•
BOULDER BUFF
-c-Bluebird Record No. 11163

CARIBBEAN CLIPPER
-c-Vicror Record

IT MUST BE JELLY
('Cause Jam Don't Shake Like That)
-Victor Record

JINGLE BELLS
-c-Bluebird Record No. 11353

LONG TALL MAMA

-Victor Record No. 27943

MOONLIGHT SONATA
-c-Bluebird Record No. 11386

SONG OF THE VOLGA BOATMEN

-Bluebird Record No. 11029

SUN VALLEY JUMP

-c-Bluebird Record No. 11110

THE SPIRIT IS WILLING

-c-Bluebird Record No. 1113 5

TSCHAIKOWSKY'S PIANO CONCERTO

116

For their co-operation and assistance in the writing of

this book, I offer my sincere thanks to the following:

]. C. MacGregor Jerry Gray

Bill Finegan Charlie Hathaway Mihan Agee

Lewis Music Publishing Co.

Shapiro Bernstein and Co.

Chappell and Co" Inc.

Mayfair Music Corp. f'

Green Brothers and Knight, Inc.

Jewel Music Publishing Co., Inc.

Jerome H. Remick and Co.

ABC Music Corp.

Peer International Corp.

Printed in ,h.e Uni,~d State. of Amtrica

b,

Roben Teller Son. & Dorllu, N~ York

I'M THRILLED
SCORE

 ,
t-
; ,
;, )
1,

'~'I I
• ,
, :
, !
,
,
,
,
,
! i I
-
,
II!I
! II
:
,
I
Iii
, i

•
Iii -) I
:
- I
I
._)

I
I
"')
~~
,
, ~)
i -)

, ,
i :::'1 i
I I
I
II
ii !
, 1, -
i 1 I !
)
I
,
1
-) i
I, I

-
,
I
I . I
,"
.
, I
i,
I
I
,
II
Ii, :l!')
.) il
I
•
I

I I
I I I
- 0-'
I ,­'"
,
Iii .
r '~"
, !
, ~~
,
""
"!:c.' II'
!.: ~
,~
"

,
:
r
!'1l.
JI
:1
Ii ~
 .
~

_ ••
3
~~ ,) ..) I ) f
,
,, .
~

100) ) ) ;;.
I, • ..... ~

,,I I, , ,
'I
,I : I~
, ,
, ,
,
,
..
~
~,
•
•
.l
••
•,)
: II~~)
i
.r
::
,
i 0, • I'
,
, '( ,
)

,I ,
j i I , I m
, , , , ,• , .
I · 1;:
I ,~
'..' ·
, ,
, , , , ;.
,
,
!
I,
I
I ,!
,
I
,'I'.. , ,
,,
,
,
,~\
,
I

,I
,I,
,
,
) )
,.'
, , I ,
)
,
, ,
[ I!' , . .
"
" .I ,!
,
) ,

I. ,~ I !H'
! ' , ,
J J
"

) ,
,
[
I ..) , ) ,,
i,
WI I i
, -
lei I 1\ ' I) 'I) I, I

, !
-
, ,

",
! 1III e ,
,
, ,
, ,

~II I,
,
" , ,Iii:
, ,
,
1'1' " ,iii,
.n .,
,
• , I ,

-. ,
• .
"~ ~
,I I,

~,j i )
)
" 1-'" !
,I, ".~
:I ~,
,
~'
III , f~1 !

I J I
r
, , , '" ",,'
.. "'" ,,,. , , "." '" • '~ "''''0::;

I j
11/1' ", i ',' Illil lil[1 IIIII IIIII 11111 'I'll I LI LI , II: I II! ! I ! 1i!J

r:">
o-~
3
-,
-c­
??­
,­
<
~

'"

~
 ,"
,e ,e
,
~

,
v
,
,

I ~---
t-
,
~

, I
- .­
I iZ
1,
IT
l
,
• ,
,

N •
,i ) ; I ) )
(

,
II • ,
, I • :I
II ,
I, ;
! !
.,
!! '

!~ .. , I: ' i ,
,~
, I
, nr...
~
, I
~!:t. t,
I
,~
Ii h I ) , 1<-' , It ,~~
!~. .
, I
I~ ":r;
")llm~ll~~~)
,
,
: If , , i 11m,'
,
, , -) .-,J :;::")
'I, I ' iI i :!
: ;

..
!'
,

, • ,~, , - ,
, :,
,
'. I II
!
], I
"
) )
t>
, I,
, ,
, , I'i~
!I , ;\;
,
11.' I j~ I,
'
I: !
II, ,' " '" 'I
1:
I,
l
I
,
i
I, i ,
,

,,
; ,

:
''
I
:
I: i :j
I I

,
I :
,
'" '

1:'t '~'
i· I ,i !

,
Iff,!
, '
,J ::1:
I ito! IT , I'·
,

,I!
I, i
i'i !
!
!
I
I
, ,
i! ,,
I i , , ,

"';;:'IY~ I
,
i , ,r I,
j
, ' ,
I ,I

~',
,i , , ! "
,
, i ---Jljj! ,,
f--.+1+I-H+-+J+---JliIHiti-fIt! I
,
4-:

i
I I,
!:
I: iii
i! i

i
I
I, I I , i
"
I
I I'
I! II' I I, 'I,
 •'"

,
, ,
,i
;
, i
,I ,i
;

I Iii
 SONG OF THE

VOLGA BOATMEN

SCORE

 , ,,
,

) ,
I

, ,
, ,
,
,
r I

i~'"
,I I "I!I
II i I

.'I~'~ • ..11
. " 'f ' it 1111
'I" ' ! ! !i
,
, ,i
Iii u ,
-.,
I
,
I
I\! "
,
~ ,
,
~ ,
• , .t ".' t:-' ; ,I
,
I ,
,
,
r, , - , f p-I
I'

i
,/

.~
,

IV 'I I I . I I
I
.'
, , I
' ' ,
,II ,I - -, -
"'.
on
I i!
:
I r
I
II' ..
.,
I

,
, )'
.
• !,
0
, 'fF­ ' .. - < , ; , -
,
"
,
~
,~
.1

, l!:
' .
'. <
,
I", '
p <
,,
1>,
IIII
 o
,
11',1,1 I lID! .'
~
~

g>
,
s;
. . • 0 •
-r
~

I I: t, I~
III ,

'I'" ,
I, I
~~
0 0

I
I~ i; I

"
~-

) ­
0

I
,
0
! -
0
-

.
,
, ,

.
.
,,

, I ~.

......,I~.
- • '1--1 o ,
•
o

I ~
"

II • " ~ ,I 'III
!"'­

. I,.

~I~::
,,0 -or ill; ,

IlI1I . I I
1:1,I ~[l
-
. . '
,
~'
i

i I
 ]"
"f r "t ~ c

" , " ~ "',, • 1\-' , :I ~

It' r I r • : t-' ' I
I
'II ~
I
1',1 " I !
1,1'I: , ' , II'" ~
, I
' I
'1'" "I HIt" i Htttt--ttJtt--tt!lI-itti!
' --1IJtj---lli'
i II
I
, !_ --i!it'
---, " _­

iii II;' I~ I " • I ', ": ,' . . ! I'lf

I;~I 'I .'r~ 11~1"li'l III' :,' <'.- j:, P'II I I '
, i i ,I ' ;', '!--­
1'-1",
I, I rI~;I ,;
, 'J,o
r
'!~' 'I',. 1Im".",'-• III,I
II: "
I III ''II "I I I'
I
,I ' II " , .I 1,1 I, , J " •

11'11 I ', ':I , ,' I " I , I ' ,

' I
Ui~"1 '1'1 : '~I' , I ' i ~' 1'1 I' f: ,t \ I), C) t'i~I ':I~;:
II ' . 'I;> i ' i , l ', Ii,' I' -I' I . 1 ' .
III I li l
'I: I '1'", ,1', i . ' ' . '! '
1'1 M I~,II'II ,", '-I~I '. I~,' I I ~I •'
I

(tlllt I l
bo
Ttl JjJI ' "r'
I ~'I "~I ' '~I
I ';)~::
'' ,~'~I"·
1

I 1+ ~~ '.'I':
11' ,'I' ,II , I,...,II' :II 1 '

~Ii' r : ,1,1 II' 1,1, ',' ~ I ',. ,'" Ill, I

~' I~r ~ ~I~'il~a, ,I ,'c:., ", ~~

w

"I " " " iill'i) ,::, "

1:'1 ,Ill -~ H ~ . - ~ ,~id~ ,' ~
+ "I "mil' I
l='l= ' ,
:i...

-i~ilj.!l·
l m~llr :" If' ~I )~'I~ J.I'~. '~- 'I' ~twl!lj't!i
l

;11
II:PII ,II I JJUl II III III I ", 'il,I,~1 ~,
I11
1
_ 1 ' I,
 r .,
~
!
~

,
.- -
~

- - "

i
I
II
Hi
l[ .-~

...
~
0

V
{
c
,
. '" -
-

!;
I, I
IIII

I i
,
II
,
,
•
. !I
i~ ;g. , Iii
ii

t=r1!!I - I
I
,! III
.

+1----+ I :' il.

'. I ,
\I \
I
,i, ,

,.
:r; .,
,
I Iii , I

!
- "
I
wi I,
.•. I
I ! I

I I
I
:~

I
g
 ,,
,- .
~
' . ,- ~
. . 1

iiii .lli, i I il~'

,
II
;
(--~

..{
~-

, :i r : ':;; ~I :
D
f­

I:: , IIJ i : " il ~ii

i i : i : .l 1ffli Ililll "S
,,iot. ,:
,:::i : "F: ,:
i~' ' i ! ! ...,
'j.. i',,! !
,' i , i I
1, I
:,I"­
1"+ i i
',,

::Ii I""" .. i I

I, : ~'> ,i il! 'I ,I

I,
I
J :; 'i !: I
: :
I'
!.) I
I :
:
,,;~ '! 11,lil Iii
'i : ~. i Ii, I :, I

, I
!! I
)
I
I! ',' L~ !I
! I i
, i;

'i
,I:. !
i :
ii i
"
,' :':1"
1
1
,
r' ,, "
,i u !"
I
i ,
II'
,,
!' ,
I , ,
"
"
I ,',
ill

-.4.:
, I
I ,
i,1 I,
1~1
, ,
l
i i Iii
 ,
l ~. " "
!
"
=

I ~I
~

, 11111
,J ) 1~
•

i , ,,
, I
I
,

,
,! I.
i 1

, , ! I
!I ,I ,

i
I
,, ,
I'
,
I, " ~"
,

I'
i

, ,, "
:
, ,
,
'! "
I i
, ,i
, ~,I
,
I' , j I
!I I ~rl I ~ t
, '! ': I I~~'
Tj\

'. I '"
,, ..I' I
I'll II~ ,II
 .
~, :
•

,
~ I)

T
,
r, I
, ! •

i • , 11-,

~ )
•

~I!
-i I, lilt .. ~
iJ '~,..
"
" .."
,I
I
,
,

L
I '
,
I
' ;Iii
. . '~Ii- ... f " • ~"
r"''"
,) ilil~) ,b< '; ) "<
,
,­ W"C:.!
J:i-; ~.
- -0
i
, ,ITlilr:r~ c
, , t ii' I 1:;111"" ~
I

I
. i W' . I"'·
, , j', , ,
I!
II
' !
I
•
~ i·-\.·
•
I
I
I: i
., .-,
! ro=. F­
.~ ~ III
I.t-' iii' I....i
".
M
' "
. ,1 ,,-, 1m
,
) ) } ) 1/ I )
 J i
.·111
, I
, -, •. "
I'
i
I, IL li~

~Ii 1M I
) ( I

". .
I
'­
,
"

,, I
- ..
I ,
,

11 _

..
,i I
,, I
,

II i

,
, I' I
i, :1,
I' IIII

I Ii II
Iii ,
i", I' .' i