Arrangement

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John Philip Sousa's manuscript arrangement of Richard Wagner's "The Flying Dutchman Overture (page 25 of 37). Fliegende Hollander Wagner Sousa 25.jpg
John Philip Sousa's manuscript arrangement of Richard Wagner's "The Flying Dutchman Overture (page 25 of 37).

In music, an arrangement is a musical reconceptualization of a previously composed work. [1] It may differ from the original work by means of reharmonization, melodic paraphrasing, orchestration, or development of the formal structure. Arranging differs from orchestration in that the latter process is limited to the assignment of notes to instruments for performance by an orchestra, concert band, or other musical ensemble. Arranging "involves adding compositional techniques, such as new thematic material for introductions, transitions, or modulations, and endings... Arranging is the art of giving an existing melody musical variety". [2]

Contents

Classical music

Arrangement and transcriptions of classical and serious music go back to the early history of this genre. In particular, music written for the piano has frequently undergone this treatment, as it has been arranged for orchestra or concert band. [3] Pictures at an Exhibition , a suite of ten piano pieces by Modest Mussorgsky, has been arranged over twenty times, notably by Maurice Ravel. [4]

Due to his lack of expertise in orchestration, the American composer George Gershwin had his Rhapsody in Blue arranged and orchestrated by Ferde Grofé. [5]

Popular music recordings often include parts for brass horn sections, bowed strings, and other instruments that were added by arrangers and not composed by the original songwriters. Some pop arrangers even add sections using full orchestra, though this is less common due to the expense. Popular music arrangements may also be considered to include new releases of existing songs with a new musical treatment. These changes can include alterations to tempo, meter, key, instrumentation, and other musical elements.

Well-known examples include Joe Cocker's version of the Beatles' "With a Little Help from My Friends," Cream's "Crossroads", and Ike and Tina Turner's version of Creedence Clearwater Revival's "Proud Mary". The American group Vanilla Fudge and British group Yes based their early careers on radical re-arrangements of contemporary hits. [6] [7] Bonnie Pointer performed disco and Motown-themed versions of "Heaven Must Have Sent You." [8] Remixes, such as in dance music, can also be considered arrangements. [9]

Though arrangers may contribute substantially to finished musical products, they usually hold no legal claim to their work for the purpose of copyright and royalty payments. [10]

Jazz

Arrangements for small jazz combos are usually informal, minimal, and uncredited. Larger ensembles have generally had greater requirements for notated arrangements, though the early Count Basie big band is known for its many head arrangements, so called because they were worked out by the players themselves, memorized ("in the player's head"), and never written down. [11] Most arrangements for big bands, however, were written down and credited to a specific arranger, as with arrangements by Sammy Nestico and Neal Hefti for Count Basie's later big bands. [12]

Don Redman made innovations in jazz arranging as a part of Fletcher Henderson's orchestra in the 1920s. Redman's arrangements introduced a more intricate melodic presentation and soli performances for various sections of the big band. [13] Benny Carter became Henderson's primary arranger in the early 1930s, becoming known for his arranging abilities in addition to his previous recognition as a performer. [13] Beginning in 1938, Billy Strayhorn became an arranger of great renown for the Duke Ellington orchestra. Jelly Roll Morton is sometimes considered the earliest jazz arranger. While he toured around the years 1912 to 1915, he wrote down parts to enable "pickup bands" to perform his compositions.

Big-band arrangements are informally called charts. In the swing era they were usually either arrangements of popular songs or they were entirely new compositions. [14] Duke Ellington's and Billy Strayhorn's arrangements for the Duke Ellington big band were usually new compositions, and some of Eddie Sauter's arrangements for the Benny Goodman band and Artie Shaw's arrangements for his own band were new compositions as well. It became more common to arrange sketchy jazz combo compositions for big band after the bop era. [15]

After 1950, the big bands declined in number. However, several bands continued and arrangers provided renowned arrangements. Gil Evans wrote a number of large-ensemble arrangements in the late 1950s and early 1960s intended for recording sessions only. Other arrangers of note include Vic Schoen, Pete Rugolo, Oliver Nelson, Johnny Richards, Billy May, Thad Jones, Maria Schneider, Bob Brookmeyer, Lou Marini, Nelson Riddle, Ralph Burns, Billy Byers, Gordon Jenkins, Ray Conniff, Henry Mancini, Ray Reach, Vince Mendoza, and Claus Ogerman.

In the 21st century, the big-band arrangement has made a modest comeback. Gordon Goodwin, Roy Hargrove, and Christian McBride have all rolled out new big bands with both original compositions and new arrangements of standard tunes. [16]

For instrumental groups

Strings

The string section is a body of instruments composed of various bowed stringed instruments. By the 19th century orchestral music in Europe had standardized the string section into the following homogeneous instrumental groups: first violins, second violins (the same instrument as the first violins, but typically playing an accompaniment or harmony part to the first violins, and often at a lower pitch range), violas, cellos, and double basses. The string section in a multi-sectioned orchestra is referred sometimes to as the "string choir." [17]

The harp is also a stringed instrument, but is not a member of nor homogeneous with the violin family and is not considered part of the string choir. Samuel Adler classifies the harp as a plucked string instrument in the same category as the guitar (acoustic or electric), mandolin, banjo, or zither. [18] Like the harp these instruments do not belong to the violin family and are not homogeneous with the string choir. In modern arranging these instruments are considered part of the rhythm section. The electric bass and upright string bass—depending on the circumstance—can be treated by the arranger as either string section or rhythm section instruments. [19]

A group of instruments in which each member plays a unique part—rather than playing in unison with other like instruments—is referred to as a chamber ensemble. [20] A chamber ensemble made up entirely of strings of the violin family is referred to by its size. A string trio consists of three players, a string quartet four, a string quintet five, and so on.

In most circumstances the string section is treated by the arranger as one homogeneous unit and its members are required to play preconceived material rather than improvise.

A string section can be utilized on its own (this is referred to as a string orchestra) [21] or in conjunction with any of the other instrumental sections. More than one string orchestra can be utilized.

A standard string section (vln., vln 2., vla., vcl, cb.) with each section playing unison allows the arranger to create a five-part texture. Often an arranger will divide each violin section in half or thirds to achieve a denser texture. It is possible to carry this division to its logical extreme in which each member of the string section plays his or her own unique part.

Size of the string section

Artistic, budgetary and logistical concerns, including the size of the orchestra pit or hall will determine the size and instrumentation of a string section. The Broadway musical West Side Story , in 1957, was booked into the Winter Garden theater; composer Leonard Bernstein disliked the playing of "house" viola players he would have to use there, and so he chose to leave them out of the show's instrumentation; a benefit was the creation of more space in the pit for an expanded percussion section. [22]

George Martin, producer and arranger for The Beatles, warns arrangers about the intonation problems when only two like instruments play in unison: "After a string quartet, I do not think there is a satisfactory sound for strings until one has at least three players on each line . . . as a rule two stringed instruments together create a slight 'beat' which does not give a smooth sound." [23] Different music directors may use different numbers of string players and different balances between the sections to create different musical effects.

While any combination and number of string instruments is possible in a section, a traditional string section sound is achieved with a violin-heavy balance of instruments.

Suggested string section sizes
ReferenceAuthorSection sizeViolinsViolasCelliBasses
"Arranged By Nelson Riddle" [24] Nelson Riddle12 players8220
15 players9330
16 players10330
20 players12440
30 players18660
"The Contemporary Arranger" [25] Don Sebesky9 players7020
12 players8220
16 players12040
20 players12440

Further reading

NameAuthor
Inside the score: A detailed analysis of 8 classic jazz ensemble charts by Sammy Nestico, Thad Jones and Bob BrookmeyerRayburn Wright
Sounds and Scores : A Practical Guide to Professional OrchestrationHenry Mancini
The Contemporary ArrangerDon Sebesky
The Study Of OrchestrationSamuel Adler
Arranged by Nelson RiddleNelson Riddle
Instrumental Jazz Arranging: A Comprehensive and Practical GuideMike Tomaro
Modern Jazz Voicings: Arranging for Small and Medium EnsembleTed Pease, Ken Pullig
Arranging for Large Jazz EnsembleTed Pease, Dick Lowell
Arranging concepts complete: the ultimate arranging course for today's musicDick Grove
The complete arrangerSammy Nestico
Arranging Songs: How to Put the Parts TogetherRikky Rooksby

See also

Related Research Articles

Musical ensemble group of people who perform instrumental and/or vocal music, with the ensemble typically known by a distinct name

A musical ensemble, also known as a music group or musical group, is a group of people who perform instrumental or vocal music, with the ensemble typically known by a distinct name. Some music ensembles consist solely of instruments, such as the jazz quartet or the orchestra. Some music ensembles consist solely of singers, such as choirs and doo wop groups. In both popular music and classical music, there are ensembles in which both instrumentalists and singers perform, such as the rock band or the Baroque chamber group for basso continuo and one or more singers. In classical music, trios or quartets either blend the sounds of musical instrument families or group together instruments from the same instrument family, such as string ensembles or wind ensembles. Some ensembles blend the sounds of a variety of instrument families, such as the orchestra, which uses a string section, brass instruments, woodwinds and percussion instruments, or the concert band, which uses brass, woodwinds and percussion.

Orchestra Large instrumental ensemble

An orchestra is a large instrumental ensemble typical of classical music, which combines instruments from different families, including bowed string instruments such as the violin, viola, cello, and double bass, brass instruments such as the horn, trumpet, trombone and tuba, woodwinds such as the flute, oboe, clarinet and bassoon, and percussion instruments such as the timpani, bass drum, triangle, snare drum, cymbals, and mallet percussion instruments each grouped in sections. Other instruments such as the piano and celesta may sometimes appear in a fifth keyboard section or may stand alone, as may the concert harp and, for performances of some modern compositions, electronic instruments.

Duke Ellington American jazz musician, composer and band leader

Edward Kennedy "Duke" Ellington was an American composer, pianist, and leader of a jazz orchestra, which he led from 1923 until his death over a career spanning more than six decades.

Orchestration study or practice of writing music for an orchestra

Orchestration is the study or practice of writing music for an orchestra or of adapting music composed for another medium for an orchestra. Also called "instrumentation", orchestration is the assignment of different instruments to play the different parts of a musical work. For example, a work for solo piano could be adapted and orchestrated so that an orchestra could perform the piece, or a concert band piece could be orchestrated for a symphony orchestra.

Big band Music ensemble associated with jazz and Swing Era music

A big band is a type of musical ensemble of jazz music that usually consists of ten or more musicians with four sections: saxophones, trumpets, trombones, and a rhythm section. Big bands originated during the early 1910s and dominated jazz in the early 1940s when swing was most popular. The term "big band" is also used to describe a genre of music, although this was not the only style of music played by big bands.

Swing music is a form of jazz that developed in the United States in the 1930s and 1940s. The name came from the emphasis on the off–beat, or weaker pulse. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, known as the swing era. The verb "to swing" is also used as a term of praise for playing that has a strong groove or drive. Notable musicians of the swing era include Louis Armstrong, Count Basie, Cab Calloway, Jimmy Dorsey, Tommy Dorsey, Duke Ellington, Benny Goodman, Woody Herman, Harry James, Louis Jordan, Glenn Miller, Louis Prima, and Artie Shaw.

Don Redman American musician

Donald Matthew Redman was an American jazz musician, arranger, bandleader, and composer.

Neal Hefti American jazz trumpeter, composer, songwriter, and arranger

Neal Paul Hefti was an American jazz trumpeter, composer, and arranger. He wrote music for The Odd Couple movie and TV series and for the Batman TV series.

Gil Evans Canadian-American jazz pianist

Ian Ernest Gilmore Evans was a Canadian-American jazz pianist, arranger, composer and bandleader. He is widely recognized as one of the greatest orchestrators in jazz, playing an important role in the development of cool jazz, modal jazz, free jazz, and jazz fusion. He is best known for his acclaimed collaborations with Miles Davis.

The swing era was the period of time (1933–1947) when big band swing music was the most popular music in the United States. Though this was its most popular period, the music had actually been around since the late 1920s and early 1930s, being played by black bands led by such artists as Duke Ellington, Jimmie Lunceford, Bennie Moten, Cab Calloway, Earl Hines, and Fletcher Henderson, and white bands from the 1920s led by the likes of Jean Goldkette, Russ Morgan and Isham Jones. An early milestone in the era was from “the King of Swing” Benny Goodman's performance at the Palomar Ballroom in Los Angeles on August 21, 1935, bringing the music to the rest of the country. The 1930s also became the era of other great soloists: the tenor saxophonists Coleman Hawkins, Ben Webster and Lester Young; the alto saxophonists Benny Carter and Johnny Hodges; the drummers Chick Webb, Gene Krupa, Jo Jones and Sid Catlett; the pianists Fats Waller and Teddy Wilson; the trumpeters Louis Armstrong, Roy Eldridge, Bunny Berigan, and Rex Stewart.

In music, instrumentation is the particular combination of musical instruments employed in a composition, and the properties of those instruments individually. Instrumentation is sometimes used as a synonym for orchestration. This juxtaposition of the two terms was first made in 1843 by Hector Berlioz in his Grand traité d'instrumentation et d'orchestration modernes, and various attempts have since been made to differentiate them. Instrumentation is a more general term referring to an orchestrator's, composer's or arranger's selection of instruments in varying combinations, or even a choice made by the performers for a particular performance, as opposed to the narrower sense of orchestration, which is the act of scoring for orchestra a work originally written for a solo instrument or smaller group of instruments.

Clare Fischer American keyboardist, composer, arranger, and bandleader

Douglas Clare Fischer was an American keyboardist, composer, arranger, and bandleader. After graduating from Michigan State University, he became the pianist and arranger for the vocal group the Hi-Lo's in the late 1950s. Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard "Morning", and the jazz standard "Pensativa". Consistently cited by jazz pianist and composer Herbie Hancock as a major influence, he was nominated for eleven Grammy Awards during his lifetime, winning for his landmark album, 2+2 (1981), the first of Fischer's records to incorporate the vocal ensemble writing developed during his Hi-Lo's days into his already sizable Latin jazz discography; it was also the first recorded installment in Fischer's three-decade-long collaboration with his son Brent. Fischer was also a posthumous Grammy winner for ¡Ritmo! (2012) and for Music for Strings, Percussion and the Rest (2013).

William Edward Childs is a jazz pianist, arranger and conductor from Los Angeles, California.

String section section of a larger symphony orchestra composed of string musicians

The string section is composed of bowed instruments belonging to the violin family. It normally consists of first and second violins, violas, cellos, and double basses. It is the most numerous group in the typical Classical orchestra. In discussions of the instrumentation of a musical work, the phrase "the strings" or "and strings" is used to indicate a string section as just defined. An orchestra consisting solely of a string section is called a string orchestra. Smaller string sections are sometimes used in jazz, pop and rock music and in the pit orchestras of musical theatre.

Steve Sample Sr. is a bandleader, arranger, composer and jazz educator now residing in Bellingham, Washington. For more than 30 years, Sample was a professor in the Music Department of the University of Alabama, where he directed the Jazz Ensembles and taught music theory, arranging and jazz related courses. Sample trained many notable jazz musicians during his long tenure at Alabama, including Gary Wheat, Birch Johnson, Kelley O'Neal, Chris Gordon, Mervyn Warren, Cedric Dent, Beth Gottlieb, Mart Avant, Dick Aven and Ray Reach. He is respected by his peers as one of the finest jazz educators in the United States. On September 26, 2008, Sample was inducted into the Alabama Jazz Hall of Fame for his contributions to jazz education.

Orchestral jazz is a jazz genre that developed in New York City in the 1920s. Early innovators of the genre, such as Fletcher Henderson and Duke Ellington, include some of the most highly regarded musicians, composers, and arrangers in all of jazz history. The fusion of jazz's rhythmic and instrumental characteristics with the scale and structure of an orchestra, made orchestral jazz distinct from the musical genres that preceded its emergence. Its development contributed both to the popularization of jazz, as well as the critical legitimization of jazz as an art form.

The BBC Radio Orchestra was a broadcasting orchestra based in London, maintained by the British Broadcasting Corporation from 1964 until 1991.

The Valentino Orchestra is a Canadian 17-piece pre-swing style big band formed in Montreal in 1996 and led by musicologist and composer Andrew Homzy. Gerald Danovitch was the lead alto player until he died in 1997.

Jack Cooper (American musician) American composer, arranger, orchestrator, multireedist, and music educator.

Jack Cooper is an American composer, arranger, orchestrator, multireedist, and music educator. He has written music for and performed or recorded by internationally known pop, jazz, and classical artists including Aaron Neville, Marc Secara, Jiggs Whigham, the Berlin Jazz Orchestra, Lenny Pickett, Joyce Cobb, Bernie Dresel's BBB, Donald Brown, Young Voices Brandenburg, Jimi Tunnell, Christian McBride, the Westchester Jazz Orchestra, the U.S. Army Jazz Ambassadors, the Dallas Winds, and the Memphis Symphony Orchestra.

Ohad Talmor

Ohad Talmor is a jazz saxophonist, flutist, clarinetist, composer, conductor and arranger.

References

  1. Cook, Richard (2005). Richard Cook's Jazz Encyclopedia . London: Penguin Books. pp.  20. ISBN   0-141-00646-3.
  2. (Corozine 2002, p. 3)
  3. Arrangement, Encyclopædia Britannica online
  4. Partial list of orchestral arrangements to Pictures at an Exhibition
  5. Greenberg, Rodney: George Gershwin, page 66. Phaidon Press, 1998. ISBN   0-7148-3504-8.
  6. Vanilla Fudge covers (classic bands website)
  7. Close To the Edge – The Story of Yes, Chris Welch, Omnibus Press, 1999/2003/2008 pages 33-34
  8. Bonnie Pointer bio (IMDb website)
  9. The Remix Manual: The Art and Science of Dance Music Remixing with Logic, Simon Langford (Elsevier, 2011, ISBN   978-0-240-81458-2) page 47
  10. The Law of Music Arrangement Archive from the Safford and Baker law firm website
  11. Randel 2002, p. 294
  12. Swing music history and the big bands (Jazz in America website)
  13. 1 2 "JAZZ A Film By Ken Burns: Selected Artist Biography - Fletcher Henderson". PBS. 25 September 1934. Retrieved 18 October 2013.
  14. Giddins, Gary & Scott DeVeaux (2009). Jazz. New York: W.W. Norton & Co, ISBN   978-0-393-06861-0
  15. Bailey, C. Michael (11 April 2008). "Miles Davis, Miles Smiles, and the Invention of Post Bop". All About Jazz . Retrieved 23 February 2013.
  16. "Carrington and Correa Among Jazz Winners" – LATimes Blog, Feb. 2012
  17. Adler, Samuel (2002). The Study Of Orchestration . New York: W.W. Norton. pp.  111.
  18. Adler, Samuel (2002). The Study Of Orchestration . New York: W.W. Norton. pp.  89.
  19. Sebesky, Don (1975). The Contemporary Arranger. New York: Alfred Pub. p. 117.
  20. "Oxford Music Online" . Retrieved 22 July 2011.
  21. "String orchestra". Collins English Dictionary (11th ed.). Retrieved 21 October 2012.
  22. Burton, Humphrey. "Leonard Bernstein by Humphrey Burton, Chapter 26". Archived from the original on 29 June 2011. Retrieved 22 July 2011.
  23. Martin, George (1983). Making Music: the Guide to Writing, Performing & Recording. New York: W. Morrow. p. 82.
  24. Riddle, Nelson (1985). Arranged By Nelson Riddle. Secaucus, NJ: Warner Brothers Publications Inc. p. 124.
  25. Sebesky, Don (1975). The Contemporary Arranger. New York: Alfred Pub. pp. 127–129.
Sources