1

CHAPTER 7

IDEAS FOR BAND AND VOCAL ARRANGING

ARRANGING FOR INSTRUMENTS

The first things you must know in arranging are the various ranges of the instruments
you will be writing for, the area on the instrument which sounds the best for the type
of effect you want and whether they are transposing instruments or not.
It is also helpful to know the notes, scales or phrases for each instrument that are
difficult to play.

VARIOUS RANGES OF INSTRUMENTS FOR WRITING

Saxophones

Bb Soprano

(Concert Range) Transposed Range (Up A Major Second)

bw_
_ _
_w
_ _
=======
& bw_
_ =l =======
& bw_ =l

Eb Alto Sax

bw_
(Concert Range) Transposed Range (Up A Major Sixth)

§ l======
& =l __w
_
êl bw l
l======
? =l =======
& b _w =l
 2

Bb Tenor Sax

bw
(Concert Range) Transposed Range (Up A Major Ninth)

§ l=======
& =l w
_
_
_
êl l
? bw
l========l =======
& b _w =l
Eb Baritone

(Concert Range) Transposed Range (Up A Major 13th ie.

Major 6th + Octave)

_
_w
* This is the same as the Alto Sax, plus an octave

ÇÇ _
? bú_ÇÇÇ & Ç
======== bú l =======
& b _w l

WRITING FOR SAXOPHONES

They can handle fast scale passages, runs, arpeggios and leaps with a minimum of
difficulty and can perform long sustained phrases, legato passages and remarkably
percussive staccato and sforzando attacks. Saxophones will blend and merge with all
types of tone colour, either winds or strings. They have less endurance problems than
brass, and consequently, can be used more continuously, with less rest.

Bb SOPRANO - It is written in a key a whole step higher than concert. ie. if you are
in the key of C concert, the soprano would be written in the key of D (same as the
trumpet). The most practical range for the soprano saxophone is from middle C to the
C note two octaves above it. The most effective range, especially for jazz, is from G
above middle C to the C note an octave and a half above.
The less experienced the player, the more intonation will be a problem. The lowest
four notes on the instrument are quite dense, however, the next two octaves are quite
practical. The top 5 notes require an experienced player to play them in tune.

Eb ALTO - It is best confined to the inner harmony parts. Its value in the sax section
and its ability to blend with the trumpets make it one of the more vital instruments
inthe band. The alto is an extremely flexible instrument that can handle fast scale and
arpeggio passages with ease. The bottom third of the instrument is muddy and lacks
clarity. The top third of the instrument is brilliant and incisive (can cause intonation
problems if the player isn't proficient). The fullest and most effective range is from
Middle C to the F an octave and a fourth above.

Bb TENOR - It provides the body of the sax section. It is used as tenor lead and
blends nicely with low brass. The tenor, like the alto, is quite agile and flexible. The
range and register difficulties of the Bb Tenor are similar to those of the Eb Alto. In
the bottom third it is rather heavy, dense and difficult to control and therefore, not
 3

generally practical for solo work. The top third has a strained sound, somewhat tense
and reedy. The most effective range is from the F below Middle C to the C an octave
above Middle C.

Eb BARITONE - It is pitched an octave lower than the alto sax. ie. a major 6th plus
an octave. It is slower speaking than either Alto or the Tenor. It is not primarily a solo
instrument. Adequate breathing space must be provided since the baritone requires
more air and lung power than the other saxophones. The most effective range is from
the F an octave and a fifth below Middle C to D directly above Middle C.

Woodwinds

Bb Clarinet

b_
w
(Concert Range) Transposed Range (Up a Major 2nd)
_
_
_
_
§ l========
& =l à _w_È
_
l l
êl w =======
& ___ l
? =ll
l======== w

Flute (Non-transposing) Oboe (Non-transposing)

Ã_È ___w
(Concert and Written Range) (Concert and Written Range)

_w
=======
& _w l ======
& bw_ l
Bassoon (Non-transposing)

(Concert and Written Range)

à _È
bw_
_
======
? _ =l
_
bw
 4

WRITING FOR WOODWINDS

THE CLARINET - It has the most extensive range in the woodwind family, namely
from low D concert below middle C to Bb concert almost 3 octaves above middle C.
It is written in the treble clef a Maj 2nd higher than concert. The clarinet has a great
deal of technical facility for a "front line" instrument and is almost as agile as the
flute. Scale passages, chromatic runs, arpeggios, trills, tremolos, and glissandos are
manipulated easily.
Clarinets sound best in unison (especially in the low to middle register), in thirds or
voiced in open position.
Passages that move through the bridge (around A and B concert in the middle of the
staff) require awkward fingering and present a technical problem to the performer.
Therefore, avoid situating a clarinet solo consistently in the area of the bridge.

THE FLUTE - The flute is remarkably agile. Fast scale runs, diatonic or chromatic,
slurred or tongued arpeggios, and fast repeated notes in single, double, or triple
tonguing are all available. Trills, tremolo, and flutter tonguing are all within the
instrument's capabilities. The bottom fifth of the flute has a warm and breathy quality,
but fast moving passages in this region are not too clear. The octave or so above this
is the area in which the sweet quality of the flute is most obvious. In the upper
register, the tone has a brightness and clarity which is unique and characteristic, but
doesn't blend as well. Extreme top notes are not possible at soft dynamic.
It is important to realise that without amplification, the first octave and a third are
wasted. Remember also that for a lot of saxophone players, the flute is a double and
therefore, extremely high notes and fast passages may be hard to execute.
Flutes as a section sound best in unison, especially in the lower register. Effects
employed by flute players are trills and flutter tonguing.

à _È Ã _È_w
Avoidable Trills:

b _w ¾ b _w bw_ ¾ _
=======================
& _w ¾ _w l l _w ¾ # _w l l _w ¾ bw l l # _w ¾ #w l l l ll
Flutter Tonguing:

µw
=
&======
=l
 5

Brass Family

Bb Trumpet

(Concert Range) Transposed Range (Up a Major 2nd)

b _w _
_w
? ?

======
& __ l ======
& _ l
_w _
#w_

Trombone (Non-transposing) Tuba (Non-transposing)

(Concert and Written Range) (Concert and Written Range)

b ___w bw
_ ======
? _ l
_
_
======
? _w l _w

French Horn in F

(Concert Range) Transposed Range (Up a Perfect 5th)

w _
_w
=======
? __ & =l =======
? _ & =l
__w _w
Bottom Octave is not practical

Bb Flugelho rn

(Concert Range) Transposed Range (Up a Major 2nd)

w _w
=======
& ___ =l =======
& _ =l
w _
# _w
 6

WRITING FOR THE BRASS SECTION

TRUMPET (in Bb) - It is the most fluent of the brass family and written a tone higher
than concert. Eg. if you are in the key of G concert you would write the trumpet chart
in the key of A.

Things to watch:-
(a) Generally avoid leaps of more than an octave.
(b) Don't write too floridly.
(c) Remember that endurance is a problem for brass instruments. Make sure
you give adequate rest in your arrangements.
(d) The low concert B (just below Middle C) is difficult to play in tune. Try to
avoid using it for unison trumpets.
(e) Consider the ability of your players

Certain effects can be obtained by use of various mutes such as the straight mute (a
tone that is biting and clear in the upper register and much like the sound of the oboe
without vibrato), the cup mute (a tone that is soft and pretty and blends well with soft
reeds) and the harmon mute (a tone that conveys an effect of distance and is valuable
for ballads or for rhythmic figures).

Here is the overall picture:

Concert

bw w
_ w
_ bw
_
_
w w _wPractical
_ _ _Exceptional
_
=
&== = = = = ==
___ ___w __w __w bw_ = = = = = == =======l
if
not overdone

w Best playing range

Dense and indecisive

TROMBONE (Tenor) - Written in the bass clef in concert. Because of the slide, all
quick movements involving a wide change of position should be avoided. In the lower
register care must be taken, however, there aren't as many problems in the upper
register where there is a choice of more than one position per note. Even aside from
position difficulties, the trombone does not respond quickly in its low register. Its
round, blending qualities are effective with trumpets as a section, and used as a solo
or background. It also blends well with saxes, woodwinds and french horn.
The primary consideration when writing for trombone is to avoid the more awkward
slide positions, especially around B, a little over an octave below Middle C.

FRENCH HORN (In F) - Can be written in both treble and bass clefs but it is more
customary to use the treble clef only. The French horn is a slow speaking instrument
whose sound production is such that it seems “distant”. In conventional big band
writing, the French horn is often used with the brass section, doubling the trumpet
lead an octave lower, particularly when only one or two horns are available. Horn
 7

parts which "lead" well, in the tradition of vocal writing, will give the best results.
Avoid unusual voice leading or awkward leaps. The lowest octave of the horn is not
practical (especially for agile passages) and notes in the top fourth or so are very
difficult to play. The most comfortable area for playing is in the middle register.

THE FLUGELHORN (Bb) - It is a transposing instrument like the trumpet. In other

words, you would write your charts a major 2nd above concert. Its technical
considerations are essentially the same as those of the trumpet, except that it is more
difficult to play in the higher register, and therefore, it is suggested that you do NOT
score the flugelhorn too much above the staff. It has a much more stable quality in its
lowest octave than the trumpet. Its tone is even warmer and darker than the cornet,
and is effective for solos or for blending with the saxophones as well as with the other
brass. Mutes are generally not used.

String Family

Violin (Non-transposing) Viola (Non-transposing)

(Concert and Written Range) (Written in Alto Clef and Treble

Clef)

Ã_È_w
_ w___
======
& _
_w =l =======
B _w & l

ll=======
w =ll
Cello (Non-transposing)

?
(Concert and Written Range)

_w
§ l=======
& =l
l l
êl l
l=======
? __w =l

WRITING FOR STRINGS

THE VIOLIN

Violins are more at home and sound more brilliant in the sharp keys, though all
good violinists can play in any key with facility. Anything can be played on a
violin without giving too much trouble except fast passages full of fourths and
 8

fifths. You can write scales, arpeggios, chromatics and skips. The bowing in
violin, and any string parts, must be carefully marked. The first beat of the bar
having a heavier accent than the other beats is usually down bow. A violinist
will use a separate bow on each note unless it is slurred or tied, so you must
write in the slurs if you want a passage played smoothly.

THE VIOLA

It doesn't have the projection or flexibility of either the violin or cello. As a solo
instrumental colour, it can be beautifully expressive, projecting a tone slightly
darker than that of the violin. The viola is scored in the alto clef, except for the
extreme high register, where the treble clef is substituted. To avoid confusion
the arranger should avoid changing back and forth between the two clefs.

THE CELLO

The most powerful member of the string family, the cello is pitched an octave below
the viola and scored in the bass clef except for the high register where the treble clef
is employed. The low and middle registers are very warm and full bodied, however,
as the cello ascends into the upper register, it's tone becomes more intense but not
strident.

THE EFFECTS WITH STRINGS

i) DOUBLE STOPS - any interval of an octave or less, 6ths, 7ths, 3rds and 2nds are
easily played in tune. Octaves, 5ths and 4ths are useable in passages that don't
move too fast. Sustained triple stops are also possible for notes of limited
duration.

ii) HARMONICS - any note above G on top of the treble staff may be played as a
harmonic.

iii) DOWN BOWS ONE AFTER ANOTHER - will give you a heavy accent on each
note because you must lift the bow off the strings to start each new down bow.

iv) UP BOWS ONE AFTER ANOTHER - this gives a build up on a phrase.

v) BOWED TREMOLO - up and down bows as rapidly as possible on any note can
sound soft and ethereal or loud and dramatic.

vi) FINGERED TREMOLO - a trill between two notes encompassing an interval

larger than a major second.

vii) BY THE BRIDGE (PONTICELLO) - bowing right close to the bridge gives a
thin glassy sound.

viii) SUL TASTO - a velvety, transparent sound can be obtained by drawing the bow
over the strings at a point on the finger board farther from the bridge than one
would when playing normally.
 9

ix) DETACHE - using long bows and pulling as much as possible through the
duration of a note.

x) PIZZICATO - the effect produced by plucking the strings.

xi) SPICCATO - bouncing the bow on the string for a light fast staccato.

xii) COL LEGNO - bowing with the wooden side of the bow instead of the hair,

Other effects employed are trills, shakes and slides (Portamento).

The Rhythm Section

l 44
l=======
?
The Piano (Non-transposing)

Ã_w_È
_
_
_
_
§ l======
& =l
l l
êl l
l======
? _
_ =l
_w
× _Ç
Bass

(Concert Range) Transposed Range

_w
(sounds 1 octave lower than written)

w _
_
=======
? _ =l
_
_w =======
? _w =l
Guitar
(Concert Range) Transposed Range
(sounds 1 octave lower than written)

=======
& ___ =l
=
?=====
_w =
=l w
 10

Drums

The basic equipment for the drummer is the right hand cymbal, the left hand cymbal,
the small tom tom, the snare drum, the large tom tom, the bass drum, the hi hats,
sticks, brushes and mallets. To this equipment he may add additional cymbals,
additional tom toms (such as rotor toms), additional bass drum, woodblocks, chimes
or cow bell. Drum notation is written in the bass clef.

=======================
& l l l
The following positions on the bass staff are where you would write your drum
notation.

+ o
Closed Hi-hat Open Hi-hat
Ride

ÇÇÇ ÇÇÇ ÇÇÇ Small Ç

Cymbal

ÇÇ ÇÇ LargeÇ Tom ¾
ÇáÇ
(R.C)

À À À ÇÇ ÇÇ ëÈÈ
Cymbal Roll Crash

öÇ öÇ
Toms

ÇöÇ öÇ ÇÀ
Snare (S.D.) Rim Shot (R.S) Cymbal

ÏÈÈ È À
=======================
? È ÈÈÈ l
Bass Drum (Kick) Hi-hat (Left Foot)

Percussion

Apart from the above members of a rhythm section, there may be a percussionist or
percussion instruments played by other members of the band. Instruments include
claves, tambourines, bongoes, congas, timbales and maracas.
These instruments are written in bass clef and depending on the pitch of the
percussion instrument they can be written either as a simple guide part or the

=======
? l
suggested rhythm written in the top space (i.e. on the G note).

> > > > ÇÇ ÇÇ

öÇ öÇ Î
Eg. Guide Part Notes written on G note
ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ Î
ÇÇÇÇÇÇÇ Ç =======
? l
=======
? l
ÇÇ ÇÇ
WRITING FOR öÇ THE
öÇ RHYTHM SECTION
PIANO PARTS - For contemporary songs, it is sufficient usually just to indicate the
chord symbols with a skeleton bass part.

Eg.

4
& 4 C æ C7 æ l F æ G7 æ l C æ æ æ =Ó
§ l=======================
l l l Ó
ê l 4 ÇÇ ÇÇ Î l ÏÈÈ ÏÈÈÈ l ÇÇöÇ Î ÇÇöÇ Î Ó
Ç
ö Î Ç
ö Î Î
?4 l È
l======================= l =Ó
Often the same as the bass guitar part
 11

For improvised piano solos merely indicate the chord symbols over the number of
bars to solo. If it is a written solo, write the melody line in the treble clef with chord
symbols above or if necessary, completely write the passage in the practical range of
the piano.

At points where the orchestration requires a particular piano part (for example, intros
or endings), it should be written and the part should contain whatever 'cues' are
necessary.

. .
Pianistic Effects -

i) For sustained tones, you can indicate the use of ii) These lines above the note

w¾
the pedal by writing “Ped” under the note or section. are used to indicate a “tremolo”

ww
w ll w
=======================
& l
¡
GUITAR PARTS - The guitar is written in the treble clef and an octave higher than it
sounds. When used as a rhythm instrument, only chord symbols are needed plus the
basic rhythm.

4 G æ G#dim7 æ
Eg.

&4 l Am7 æ D7 æ l Gmaj7 æ æ æ=l

======================
If a particular note is desired at the top of a chord, the note is given and the voicing is
usually left to the discretion of the player.

Eg.

ÈúÈ úÈÈ
Cm9 F13

È È
=========
& =l
Sustained chords, appegiated chords and tremolos are indicated as follows:

Eg.

Appeggiated Chords

ggg úÈÈÈ ggg úÈÈ .

l ¾úÈÈÈ Î
Am9 D13 Gmaj7

======================
& È =l
Tremolo
 12

When functioning as a “rock” rhythm guitar, a stylistic rhythmic pattern can be

indicated at the beginning of the chart. The guitarist continues this pattern without the
arranger writing it throughout the chart.

Bb
Eg.

^ - . > - .
F F

44 Î È ÈÈÈ ÈÈÈ Å KÈÈÈ ÈÈÈ ÈÈÈ ÈÈÈ l æ æ æ æ =l

ÈÈ
======================
&
For ad lib solos, indicate chord symbols and possibly the melody as a guide. As a
front line instrument, the guitar is good for doubling the lead line played by other
instruments including piano, sax, synthesiser and bass.
For the electric guitar, a smooth mellow blending sound works best in straight ahead
jazz situations, while different rock styles might demand: i) additional “highs” (add
treble), ii) a country “twangy” effect, iii) funky (less amp, harder picking).

One of the prime considerations invo lving writing for guitar is the degree of
complexity of written notes. Guitar voicings and capabilities are best handled by the
individual guitarist himself, unless the arranger plays the guitar and can write from a
personal knowledge of voicings.

ELECTRIC BASS - The electric bass sounds an octave lower than written. The
practical range for the bass is from the lowest E to the E above middle C and the most
effective range is from the G an octave and a half below middle C to the E above
middle C. It is usually a good idea just to write the general type of line desired then
leave him to devise his own part from the symbols given. If you want him to play a
specific line, then you would write that in for him.

>. G7 >. >.

Eg.

4 Ç È
Ï
ÈÈÈ ÏÈÈ ÏÈÈÈ ÇÇ ä Î È
Ï
ÇÇ ÈÈÈ ÏÈÈ ÏÈÈÈ ÏÈÈÈ ÏÈÈÈ ÏÈÈÈ ÏÈÈ ÏÈÈÈ
G7

4 Ç
=======================
? öÇ È È j öÇ l öÇ È È È l
Bass lines can vary from a walking bass style for swing or blues to a repetitive
primary bass rhythmic pattern (usually over a two measures in length) for rock and
certain jazz styles.

These would be indicated as follows:

Eg. No 1 Walking bass

ÇÇ ÇÇ ÏÈÈÈ bÏ.È ÏÈÈ ÇÇ Ç ÇÇ

F7 F7

Ç
? ÇöÇ öÇ öÇ l ÈÈ
======================= È öÇ #öÇÇ öÇ
 13

Eg. No 2 Repetitive pattern

ÇÇ ÇÇ ä ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ä ÇÇ ÇÇ
Dm9

Ç
ö ÇöÇ öÇ öÇ
j Ç
ö öÇ l öÇ ÇöÇ
=======================
? öÇ öÇ
j Î l
. .

DRUMS - Written in the Bass Clef with no key signature. It is good just to write a
couple of bars of the basic rhythm then leave the rest to the drummer.

Eg.
ÇÇÇHi-Hats
Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç Ç
À ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ ÇÇÀ
È
Ï ÏÈÈÈ . ÏÈ ÏÈ ÏÈ ÏÈÈÈ È
Ï ÏÈÈÈ È
Ï È
Ï ÏÈÈÈ ÏÈ
=======================
? ÈÈ È ÈÈ ÈÈ ÈÈ l ÈÈ ÈÈ ÈÈ ÈÈ ÈÈ l PLAY 6
l

Where nothing specific is required from the drummer, the part may be simplified.

ÇÇ ÇÇ ÇÇ
Eg.

C
(Saxes)
Ç
ö ä öÇ öÇ
j
PLAY
Î
15
l ÏÈÈÈ
=======================
? Î ÏÈÈ
È Î ll
RHYTHMS FOR BASS AND DRUMS

The following will be useful for developing your bass players and drums in certain
rhythms, and for knowing how to write for these styles if need be. Particularly take
notice of how bass and drums are closely in sync together:

1) Funk Style

ÇÇ ÇÇ ÇÇ ÇÇ Ç Ç ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ Ç Ç ÇÇ Å ÇÇ ÇÇ ÇÇ ÇÇ Ç ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ Ç ÇÇ
ÇÇ ÇÇ ÇÇ ÇÇÇ Ç Ç Ç ÇÀ ÇÀ ÇÀ ÇÇ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÇ ÇÀ ÇÀ
4 À À À À ÇÇöÇ À À À À À À ÇÇöÇ À À
? 4 ÏÈÈÈ ÏÈÈÈ ÏÈÈÈ ä JÏÈÈÈ
l======================= JÏÈÈ ä ä ÏÈÈ ÏÈÈ l ÏÈÈ ÏÈÈ öÇä JÏÈÈ JÏÈÈ ä öÇ l
È È È Å È È È È
l l l
l 4 ÇÇ ÇÇ ÇÇ ä ÇÇj Ç
ö È
Ï
J ä ä Ç Ç
Ç l Å ÇÇ ÇÇ ÏÈÈÈ ÏÈ JÏÈ ä Å Ç Ç Ç l
Am 7 D 7 Am 7 D 7

? 4 öÇ öÇ öÇ
l======================= ÈÈ ÇöÇ öÇ l öÇ öÇ ÈÈ ÈÈ ÈÈ #öÇÇ ÇöÇ #öÇÇ l
+ o
 14

+ o
ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ
2) Basic Rock Feel No 1.

ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ ÀÇ
ÏÈÈ ÏÈÈ ÏÈÈ ÏÈ
? ÏÈÈÈ ÏÈÈÈ È
l======================= ÏÈÈ È l ÏÈÈ È ÏÈÈ ÏÈÈ ÈÈÈ ÏÈÈ l
È È È È È È
l l l
l ÇÇ Ç l ÇÇ _ÈÏÈ _ÏÈÈ
ÇÇ ÇÇ Î ÇÇ È ÈÈ ÏÈ l
7 C 7 C

Ç
ö
l=======================
? Ç
ö Ç
ö böÇ ÇöÇ l Ç
ö È
Ï È
Ï
ÈÈ ÈÈ ÈÈÈ ÈÈ l
?4 {
l======================= j l {
> > > > > > cresc.
ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ ÇÇ
3)ROCK Rock No 2.

ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ ÇÀ
ÏÈ ÏÈ ÏÈ ÏÈ ÏÈ ÏÈ ÏÈ ÏÈ
? Ò { ÏÈÈÈ ÈÈ ä JÏÈÈÈ ÈÈÈ ÏÈÈÈ l ÏÈÈÈ ÈÈ ÏÈÈÈ ÏÈÈÈ ÈÈ l ÏÈÈÈ ÈÈ ä JÏÈÈÈ ÈÈÈ ÏÈÈÈ l ÏÈÈÈ ÈÈÈ ä JÏÈÈÈ ÏÈÈÈ ÏÈÈÈ ÈÈÈÈ ÏÈÈÈ {Ó
l=======================
l Ò l b l l b Ó
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5) Rock No 4.

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6) Rock No 5.
 15

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Hi-hats

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Toms

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8) Bossa Nova

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9) Samba

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WRITING FOR VOICE
 17

Ranges for vocals are as follows:

w _
w
_w w_ w_ _ _
SOUNDS AS WRITTEN

__ _
NORMAL RANGE

SOPRANO
l=========
& _ bw_ _w =l
l _w l
l w w w l
SOUNDS AS WRITTEN

=========
l & __ __ =l
NORMAL RANGE

_w w
ALTO

l l
l _w _ _ l
w _
w
SOUNDS AN OCTAVE LOWER

l=========
& __w _w _w =l
NORMAL RANGE

TENOR

l l
l _w __w __w __ l
_
w BARITONE ONLY
SOUNDS AS WRITTEN

BASS and BARITONE l

=l
NORMAL RANGE

=========
? __w _w _w w w
One of the most important things with writing or understanding vocal parts is where
the voices “sound”. If we take for example, the note Middle C and relate it to the
various voices and where it is written, we have the following:

SOPRANOS
_w ALTOS TENORS BASSES

w
======================
& _w l _w ll l? =l
When you write it you are writing the same note. Each voice is singing the exact same
note which is middle C on the piano. Do not confuse this with octaves.
It must be understood that although all the voices are singing the same note Middle C,
they vary as to timbre and tonal intensity. Middle C is near the top of the bass range
and near the bottom of the soprano range. The physical difference between men and
women makes for a drastic difference in voice timbre.

In other words, because “C” is in the upper range of the men, and because of a
difference in physical make- up, that same tone when sung by men will tend to have
more power and a different tonal colour than when sung by women.
 18

Fundamentals for Writing Vocals

1) Know who your writing for ie. the size of the singing group; are the all men,
all women or a mixed group; are they children, teenagers or mature voices;
what is the calibre of musicianship; and what are the limitations as to range
and general musical ability.

2) If you want to express the melody very strongly, unison is the most effective
way to do it.

3) If you are working with a small group, twopart harmony will work the best.
Remember, don't let the melody suffer for the sake of adding harmony.

4) Try and aim at each vocal line going where the ear wants it to go. This is
called good voice leading. To achieve this, make each line a melody and strive
for good movement.

5) Leave writing in the intro and ending till last. This will then give you a total
picture of the song and what is needed for the finishing touches.

6) When writing backing vocals for a soloist, make sure the backing
complements the basic harmonic structure and rhythmic feel of the song. One
very effective type of vocal background is the counter melody.

WRITING INSTRUMENTATION OVER VOCALS

When writing behind vocals make sure you don't write too much over the vocal line
so as make the sound too cluttered. You must remember to complement the vocal line.
Also, write according to what the song is saying in the lyrics.

Preparation for Writing Your Arrangements

1) Become familiar with the melody and harmony of the song you are arranging.

2) Read the lyrics and write according to the type of mood the song is to convey.

3) Decide what instruments best suit the song. ie. whether it should be a solo, an
ensemble etc.

4) Write with the particular instruments in mind that will play the arrangement.
Don't play or write something that may be good on the piano and expect it to
sound the same on an instrument that is blown or bowed.

5) Write down a total plan of your arrangement then sketch a few bars in as many
ways as you can. This will help you decide which ideas belong in what part of
the arrangement.

6) It is better to first write your arrangement with plenty of space allowed than to
leave no space whatsoever. This allows you freedom to expand on your ideas.
 19

7) Appraise each arrangement you do to see if there are areas that you can
improve on next time.

8) Listen to as much music as you can and analyse what combination of

instruments they have used, how the vocals have been arranged, what each
member of the rhythm section is doing, what type of chord structure has been
employed etc.

9) Continually work on developing your ear by practising intervals and scales

either on your instrument or with your voice. This is extremely important
because it not only improves your ability to notate melodies or phrases you
have in your head but it helps to improve your improvising ability.

10) When writing each part consider whether the player is competent enough to
handle it. It is far better to write a simple chart and have it sound good than to
write a chart where it is touch and go as to whether the player will be able to
handle it or not.

HINTS WHEN ARRANGING FOR YOUR CHURCH BAND:

1) Where you have a large number of front line instruments eg. trumpets, flutes
etc, it is best to arrange what they should play. This prevents the total sound
coming across as a jumble. Remember there is no necessity to fill every
space.

2) When giving parts to your musicians, take into account their capabilities as
players and whether they can sight read or not. If they only play by ear, either
place them on the melody, or put the part (or parts) you want them to play on a
cassette tape for them.

3) Know the range of the instruments you are writing for and whether they are
transposing instruments or not. ie. Choose your key carefully. Become
familiar with the capabilities of each instrument in the orchestra.

4) Steer away from writing all your instruments on the melody line.

5) Allow breathing spaces for brass, woodwinds and reeds.

6) Where a particular instrument is playing a solo part, leave him plenty of space.
ie. don't make the accompaniment too hectic.

7) Are all parts marked carefully , that is, have you indicated dynamics, tempos,
expression marks, bowing, breathing and phrasing properly.

8) When using melodic background, seek for a contrast eg. Not clarinets with
clarinets or trumpets with trumpets ie. instruments of a different family, or
different tone colour within the same family. These contrasting instruments
 20

can be arranged in unison together, octaves apart, harmonising together or one

instrument playing a counter melody.

9) Know the function the arrangement is to perform. Determine the style to be

used then retain it. This will quite often determine the chord progression you
will use eg. If you are arranging for a song with a blues feel, you would
usually use 7th chords and the blues scale, instead of Maj 7th chords. Further,
if you are writing for a song with a basic rock feel, don't add in too many
sophisticated chords, especially if you are expecting an instrument to solo
through out.

10) Try modulation when considered beneficial. Modulation is used to alleviate

monotony and procure a more satisfactory key for range considerations in the
next section of the piece.

11) Remember that endurance is always a problem for brass players so allow
adequate rest and do not overwork them.

12) With regard to climaxes, avoid writing in an early climax into your
arrangement. Generally, it should occur in the second half of the arrangement
or, occasionally at the end. Materials for a climax are: Higher pitch level,
higher dynamic level, increased activity and increased harmonic tension.

13) Be sure to mark your score, and the copied parts, with enough letters or bar
numbers to make rehearsals easy.
It is also a good idea to write the master score in concert so that you can
quickly correct mistakes in rehearsal. This takes more time, however, you will
find it most beneficial.

14) Learn to know the different score writing abbreviations. This saves you time.

15) When scoring, make sure your arrangements are legible. Cultivate the habit of
writing clearly and neatly.

16) When writing for sections, use a mixture of both open and closed harmony.
i.e. open harmonies - broader than an octave and closed harmonies - within the
octave.

17) It is good if you can to score each part in the instruments normal key instead
of writing them all in concert. There are advantages and disadvantages with
both methods.

DIFFERENT WAYS OF WRITING

There are three main ways to combine voices or instruments when arranging a song.
These are: i) Counterpoint; ii) Sectional Writing; iii) Part Writing
 21

Counterpoint

It is the combination of two or more melody lines so arranged as to fit well together.
This means that they must produce satisfactory harmony, even though the
combination of melodies is the main aim. Concern is shown for the melodic value of
each part, and each part should have equal significance and individuality. In
contrapuntal writing it is customary to call each melodic line “voice parts”. In this
type of writing, the melodic lines may imitate each other or they may be entirely
independent melodies. The texture may be in: 1) ‘canon’ form ie. a 1st melody is
introduced then repeated by another voice (or instrument), the entry of the 2nd voice
occurring before the 1st voice has finished the melodic line; 2) ‘fugal form’ ie.
arranging a definite number of parts but based on one particular theme.

Sectional Writing

This type of writing is widely used particularly in areas where the orchestra is
composed of separate “sections” (brass, reeds, etc.) The melody is harmonised in
more or less consistent “close or open” voicing, with only a minimum concern for
logic of the melody of any of the supporting parts. The end result is a sort of
“thickened melody”. The supporting parts add weight and density to the lead
but no significant life of their own. The chord progression will normally be chosen
before the actual harmonisation is done.
Sectional writing usually must be accompanied by a rhythm section because the bass
is not present and there is not likely to be rhythmic balance because the rhythm of
each part is the same as the lead.

Part Writing (4 Part Harmony)

Part writing concerns itself with the melodic logic and smooth flow of every part.
Writing is not consistently “close or open” but will continuously change according to
demands of the ‘voice leading’. The end results is balanced sonority of individual
elements, with the top line (soprano) being the main element. Part writing is self
sufficient and doesn’t need further accompaniment. The bottom part is always the
bass and effort is made to achieve proper rhythmic balance.

WRITING TWO PART HARMONY

Things to keep in mind:

1) The safe maximum distance between duet parts is a 10th.

2) Crossing of parts in duet is not wise.
3) For harmony parts above the melody, use instruments with less weight and carrying
power than the lead instrument eg. clarinet above trumpet.
4) Parallel unison or parallel octaves for two instruments is acceptable but does sound
rather thin. However, octaves do sound alright in short, punchy brass phrases.
5) Do not use too many 4ths or 5ths unless writing for specific effect. 3rds and 6ths
sound the best.
 22

SMALL GROUP WRITING

In small group writing it is difficult in one sense because you have to know what
harmony parts to leave out and realise the importance of the rhythm section. Take for
instance the combination of a 2 or 3 piece frontline with electric piano or guitar: by
mixing the voicings amongst those instruments your 5 piece will sound like a 7 or 8
piece.
If you think you have to stick to basic harmony with a 3 piece frontline, yo u are
mistaken. Put the tension in the horns and leave the strength or guide tones in the
rhythm and you come up with a lovely big sound. Try to leave your root notes and
fifth notes out - these will probably be played by the bass and piano anyway.

One of the secrets of a good sounding small group is range. With very few exceptions
you will have to forget about melodies for your trumpets above G concert on top of
the treble staff. This counts especially if you are harmonising. The reason for this
restriction is if say your trumpet lead goes above that range, your other two or maybe
three horns will be screaming at the top of their register, which does not exactly
account for a balanced sound. If you try and solve the problem by taking the bottom
horns out of their misery and dropping them to a lower register, you will find that the
space between each instrument has become too big and they all sound as if they are
playing on their own. Therefore, think very carefully of the right key signature before
you put a note to paper.

These notes are taken from the book “Building A Strong Worship Team” by Rod
Best.