In music, an arrangement is a musical adaptation of an existing composition. [1] Differences from the original composition may include reharmonization, melodic paraphrasing, orchestration, or formal development. 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] In jazz, a memorized (unwritten) arrangement of a new or pre-existing composition is known as a head arrangement. [3]
Arrangement and transcriptions of classical and serious music go back to the early history of classical music.
J. S. Bach frequently made arrangements of his own and other composers' pieces. One example is the arrangement that he made of the Prelude from his Partita No.3 for solo violin, BWV1006.
Bach transformed this solo piece into an orchestral Sinfonia that introduces his Cantata BWV29. "The initial violin composition was in Emajor but both arranged versions are transposed down to D, the better to accommodate the wind instruments". [4]
"The transformation of material conceived for a single string instrument into a fully orchestrated concerto-type movement is so successful that it is unlikely that anyone hearing the latter for the first time would suspect the existence of the former". [5]
In particular, music written for the piano has frequently undergone this treatment, as it has been arranged for orchestra, chamber ensemble, or concert band. [6] Beethoven made an arrangement of his Piano Sonata No.9 for string quartet. Conversely, he also arranged his Grosse Fuge (one of his late string quartets) for piano duet. The American composer George Gershwin, due to his own lack of expertise in orchestration, had his Rhapsody in Blue arranged and orchestrated by Ferde Grofé. [7]
Erik Satie wrote his three Gymnopédies for solo piano in 1888.
Eight years later, Debussy arranged two of them, exploiting the range of instrumental timbres available in a late 19th-century orchestra. "It was Debussy whose 1896 orchestrations of the Gymnopédies put their composer on the map." [8]
Pictures at an Exhibition , a suite of ten piano pieces by Modest Mussorgsky, has been arranged over twenty times, notably by Maurice Ravel. [9] Ravel's arrangement demonstrates an "ability to create unexpected, memorable orchestral sonorities". [10] In the second movement, "Gnomus", Mussorgsky's original piano piece simply repeats the following passage:
Ravel initially orchestrates it as follows:
Repeating the passage, Ravel provides a fresh orchestration "this time with the celesta (replacing the woodwinds) accompanied by string glissandos on the fingerboard". [10]
A number of Franz Schubert's songs, originally for voice with piano accompaniment, were arranged by other composers. For example, his "highly charged" and "graphic" song "Erlkönig" ("The Erl King") has a piano introduction that conveys "unflagging energy" from the start. [11]
The arrangement of this song by Hector Berlioz uses strings to convey faithfully the driving urgency and threatening atmosphere of the original.
Berlioz adds colour in bars6–8 through the addition of woodwind, horns, and a timpani. With typical flamboyance, Berlioz adds spice to the harmony in bar6 with an Eflat in the horn part, creating a half-diminished seventh chord which is not in Schubert's original piano part.
There are subtle differences between this and the arrangement of the song by Franz Liszt. The upper string sound is thicker, with violins and violas playing the fierce repeated octaves in unison and bassoons compensating for this by doubling the cellos and basses. There are no timpani, but trumpets and horns add a small jolt to the rhythm of the opening bar, reinforcing the bare octaves of the strings by playing on the second main beat.
Unlike Berlioz, Liszt does not alter the harmony, but changes the emphasis somewhat in bar6, with the note A in the oboes and clarinets grating against rather than blending with the G in the strings.
"Schubert has come in for his fair share of transcriptions and arrangements. Most, like Liszt's transcriptions of the Lieder or Berlioz's orchestration for Erlkönig, tell us more about the arranger that about the original composer, but they can be diverting so long as they are in no way a replacement for the original". [12]
Gustav Mahler's Lieder eines fahrenden Gesellen ("Songs of a Wayfarer") were originally written for voice with piano accompaniment. The composer's later arrangement of the piano part shows a typical ear for clarity and transparency in rewriting for an ensemble. Below is the original piano version of the closing bars of the second song, "Gieng heit' Morgen über's Feld".
The orchestration shows Mahler's attention to detail in bringing out differentiated orchestral colours supplied by woodwind, strings and horn. He uses a harp to convey the original arpeggios supplied by the left hand of the piano part. He also extracts a descending chromatic melodic line, implied by the left hand in bars2–4 (above), and gives it to the horn.
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 involved. 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 the British group Yes based their early careers on radical rearrangements of contemporary hits. [13] [14] Bonnie Pointer performed disco and Motown-styled versions of "Heaven Must Have Sent You". [15] Remixes, such as in dance music, can also be considered arrangements. [16]
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. [17] 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. [18]
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. [19] 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. [19] 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. [20] 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. [21]
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. [22]
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 sometimes referred to as the "string choir". [23]
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. [24] 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. [25]
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. [26] 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) [27] 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.
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. [28]
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." [29] 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.
Reference | Author | Section size | Violins | Violas | Celli | Basses |
---|---|---|---|---|---|---|
"Arranged By Nelson Riddle" [30] | Nelson Riddle | 12 players | 8 | 2 | 2 | 0 |
15 players | 9 | 3 | 3 | 0 | ||
16 players | 10 | 3 | 3 | 0 | ||
20 players | 12 | 4 | 4 | 0 | ||
30 players | 18 | 6 | 6 | 0 | ||
"The Contemporary Arranger" [31] | Don Sebesky | 9 players | 7 | 0 | 2 | 0 |
12 players | 8 | 2 | 2 | 0 | ||
16 players | 12 | 0 | 4 | 0 | ||
20 players | 12 | 4 | 4 | 0 | ||
Name | Author |
---|---|
Inside the score: A detailed analysis of 8 classic jazz ensemble charts by Sammy Nestico, Thad Jones and Bob Brookmeyer | Rayburn Wright |
Sounds and Scores: A Practical Guide to Professional Orchestration | Henry Mancini |
The Contemporary Arranger | Don Sebesky |
The Study of Orchestration | Samuel Adler |
Arranged by Nelson Riddle | Nelson Riddle |
Instrumental Jazz Arranging: A Comprehensive and Practical Guide | Mike Tomaro |
Modern Jazz Voicings: Arranging for Small and Medium Ensemble | Ted Pease, Ken Pullig |
Arranging for Large Jazz Ensemble | Ted Pease, Dick Lowell |
Arranging concepts complete: the ultimate arranging course for today's music | Dick Grove |
The complete arranger | Sammy Nestico |
Arranging Songs: How to Put the Parts Together | Rikky Rooksby |
The double bass, also known as the upright bass, the acoustic bass, or simply the bass, is the largest and lowest-pitched chordophone in the modern symphony orchestra. Similar in structure to the cello, it has four or five strings.
Louis Joseph Andriessen was a Dutch composer, pianist and academic teacher. Considered the most influential Dutch composer of his generation, he was a central proponent of The Hague school of composition. Although his music was initially dominated by neoclassicism and serialism, his style gradually shifted to a synthesis of American minimalism, jazz and the manner of Stravinsky.
A musical ensemble, also known as a music group or musical group, is a group of people who perform instrumental and/or vocal music, with the ensemble typically known by a distinct name. Some music ensembles consist solely of instrumentalists, such as the jazz quartet or the orchestra. Other 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 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.
An orchestra is a large instrumental ensemble typical of classical music, which combines instruments from different families. There are typically four main sections of instruments:
The viola ( vee-OH-lə, Italian:[ˈvjɔːla,viˈɔːla]) is a string instrument that is usually bowed. Slightly larger than a violin, it has a lower and deeper sound. Since the 18th century, it has been the middle or alto voice of the violin family, between the violin (which is tuned a perfect fifth higher) and the cello (which is tuned an octave lower). The strings from low to high are typically tuned to C3, G3, D4, and A4.
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.
Pictures at an Exhibition is a piano suite in ten movements, plus a recurring and varied Promenade theme, written in 1874 by Russian composer Modest Mussorgsky. It is a musical depiction of a tour of an exhibition of works by architect and painter Viktor Hartmann put on at the Imperial Academy of Arts in Saint Petersburg, following his sudden death in the previous year. Each movement of the suite is based on an individual work, some of which are lost.
Gordon Percival Septimus Jacob CBE was an English composer and teacher. He was a professor at the Royal College of Music in London from 1924 until his retirement in 1966, and published four books and many articles about music. As a composer he was prolific: the list of his works totals more than 700, mostly compositions of his own, but a substantial minority of orchestrations and arrangements of other composers' works. Those whose music he orchestrated range from William Byrd to Edward Elgar to Noël Coward.
André Jolivet was a French composer. Known for his devotion to French culture and musical thought, Jolivet drew on his interest in acoustics and atonality, as well as both ancient and modern musical influences, particularly on instruments used in ancient times. He composed in a wide variety of forms for many different types of ensembles.
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.
Leopold Stokowski's orchestration of Pictures at an Exhibition by Modest Mussorgsky was completed in 1939 and premiered later that year, on 17 November, by the Philadelphia Orchestra.
In music, an octet is a musical ensemble consisting of eight instruments or voices, or a musical composition written for such an ensemble.
Tom Howard was an American pianist, musical arranger and orchestral conductor.
Allan Gilliland is a contemporary Canadian composer.
Les nuits d'été, Op. 7, is a song cycle by the French composer Hector Berlioz. It is a setting of six poems by Théophile Gautier. The cycle, completed in 1841, was originally for soloist and piano accompaniment. Berlioz orchestrated one of the songs in 1843, and did the same for the other five in 1856. The cycle was neglected for many years, but during the 20th century it became, and has remained, one of the composer's most popular works. The full orchestral version is more frequently performed in concert and on record than the piano original. The theme of the work is the progress of love, from youthful innocence to loss and finally renewal.
Adam Von Ahnen Carse was an English composer, academic, music writer and editor, remembered today for his studies on the history of instruments and the orchestra, and for his educational music. His collection of around 350 antique wind instruments is now in the Horniman Museum.
Orchestral jazz or symphonic jazz is a form of jazz 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.
Theo Verbey was a Dutch composer. His style could be considered to be associated with Postmodern music. Verbey was also orchestrated Alban Berg's Piano Sonata, Op. 1 in 1984 while still a student.
Gerhard Präsent is an Austrian composer, conductor and academic teacher.
"Erlkönig", Op. 1, D 328, is a Lied composed by Franz Schubert in 1815, which sets Johann Wolfgang von Goethe's poem of the same name. The singer takes the role of four characters — the narrator, a father, his small son, and the titular "Erlking", a supernatural creature who pursues the boy — each of whom exhibit different tessitura, harmonic and rhythmic characteristics. A technically challenging piece for both performers and accompanists, "Erlkönig" has been popular and acclaimed since its premiere in 1821, and has been described as one of the "commanding compositions of the century".