0043 Colors – Instrumentation

The instrumentation chosen is one of the most important decisions to be made in planning an arrangement. In most cases, the overall instrumentation employed is dictated by
the type of ensemble for which the arrangement is being done. A big band arrangement will have five sax players, five trumpets, five trombones, and a rhythm section. Nevertheless, regardless of the instrumentation, it is not necessary to have all the instruments play all the time. It is probably even a bad idea to have all instruments playing at the same time in every part of a piece.

The instruments chosen to play together create the different colors in the musical
palette. A full orchestra playing together is a much different color than just the oboes and flutes playing. Different instruments are used to achieve different effects and moods.

I just finished an arrangement that includes two tunes. The instrumentation was fixed –
for a woodwind quintet composed of an oboe, two clarinets, a bass clarinet, and a bassoon. In this case the tunes chosen had to fit the capabilities of the instruments, but even so I used each instrument to achieve different effects throughout the piece.

 

Finding the right set of skills is an enormous task. Sometimes a performance requires the set of instruments available has to be augmented, or a player may have to develop and display a special skill. The opening to Rhapsody in Blue, by Gershwin, requires a glissando on the clarinet of about two octaves. That is not a trivial technical thing to master. When the task at hand needs something extra to get the job done, that talent must be found.

 

0042 Essential Musical Elements

The flavor (or, I like to think, the colors) of an arrangement depends on how you use six
key musical elements:

• Instrumentation
• Texture
• Time signature
• Tempo
• Key
• Dynamics

Each section of the arrangement can, and probably should, include a different combination of elements. For example, the verse might employ a relatively simple
instrumentation with a highly rhythmic structure, while the chorus might use more sophisticated instrumentation but with smoother rhythms. The goal is to create some contrast between sections, in the aim of retaining listener interest and propelling the piece forward.

It’s a group thing – so many skills are needed in a band, it’s a wonder that the right mix comes together to play. Musical instruments provide so many colors, and when properly blended the result is truly amazing. When each person contributes his or her skill in the right way at the right time, the ensemble effort is successful. When one color overwhelms the rest, the result is a disappointment.

 

0041 Ending

The longer the piece, usually the longer the ending. The ending prevents an abrupt halt to
the piece after the major thematic material has been presented and developed. A sudden halt is jarring and leaves the audience without a logical and emotional conclusion

Many endings simply repeat the last musical phrase, either fully or in an abbreviated form.
For example, the ending my repeat the final cadence of the last verse, chorus, or strain, rather than repeating the entire section.

Another approach is to extend the final phrase rhythmically, in a process formally known as augmentation. For example, the final two bars of the melody might be stretched out so that it lasts four bars. This is done by simply doubling the length of each note and chord. This broadening effect adds a touch of grandeur to the piece.

As we’ve seen in a military march, and often in jazz and popular music, the piece may have a tag ending. With a tag, there’s typically a short rhythmic motif, followed by a sudden and often accentuated final note. This type of ending is best used in up-tempo or major-key arrangements. Tags are seldom heard in ballads.

Band is a group thing. Players do what they specialize in to make a performance. Every player needs to be as good as possible, but not every
player can shine, or play above all the rest, all or even most of the time. In
any group endeavor all the skills come together doing what each does to achieve a balanced and worthy performance.

0040 Bridge (C-Section)

Some arrangements include a bridge or interlude, also called the C-section. This is common in pop songs and, as we’ve seen, is also part of a military march. The bridge is kind of a break in the middle of the piece. Most bridges sound completely different from the verse and chorus and are often based on a different harmonic structure. As an example, the bridge might be based around the IV chord, instead of the I chord. Bridges can be as short as four or eight measures, or sometimes longer.

Sometimes the bridge is present in the original composition, and sometimes it’s a section you add when making the arrangement. The bridge can be related to the surrounding
material, perhaps blending musical motifs used in the A and B sections, although many bridges have no harmonic relation at all to the rest of the piece. All the bridge has to do is serve as a brief interlude from other sections, as well as provide a connection between what came before and what comes after. However it is approached, the bridge is of minor importance, and should not musically overwhelm the other sections of the piece.

Band is a “group thing.” There aren’t many enterprises where each member of the ensemble does his or her thing independently, all at the same time, to achieve a group effect. When any member of the band starts to grandstand, the group effort is ruined. Working together, doing one’s own part to the best of one’s own ability to contribute to overall performance is extremely rewarding.

0039 Chorus (B Section)

As we’ve seen, a piece of music often has more than one main melody, whether it is a .pop song, a blues song, or even a military march. The second main melody of a piece is often called the chorus, or B-section. It is often the emotional high point of the piece. In most instances, the chorus is the same length or shorter than the verse, and is typically repeated throughout the arrangement, sometimes after each verse. We saw that repetition in both Maybellene and Crazy Blues. It is true for virtually every gospel song in a hymn book, although strictly speaking, a hymn has no chorus. The very popular songs of the church that are in 6/8 time and rock along with an emotional high in the chorus came out of the revivalist period of the 1920s and again with the Billy Graham crusades.

The chorus should probably be arranged so that it’s different in texture from the
preceding verse. We saw this in Maybellene, where the verse is accompanied only by emphatic punctuation chords, while the chorus uses full accompaniment. Other techniques include changing dynamics, instrumentation, or harmonic or rhythmic approach. The chorus should stand out from the verse, using all the tools at your disposal.

That said, all the melodic techniques discussed for verses also apply when arranging choruses.

How one dresses makes a statement how seriously he or she takes the performance, the music, and the audience. Different attire fits different situations but a deliberate flaunting of standards brings a message so loud that the performance may never be heard. This applies everywhere. Dress appropriate for the place of business. In fact, dress for winning.

0038 Military March Form

A military march also has definite divisions within it, and the discussion of arranging verses directly applies to arranging a march. A march is standard fare for any marching band or military band performance. It is so familiar it is easy to take for granted how a march is constructed. It is one of the most complicated forms a band may play.

The military march can be heavily credited to John Philip Sousa. He standardized the
military march form, and it is used in over half of his marches. All of the march kings of the U. S. have used the form established by Sousa. Of course there are variations, but understanding the structure of the standard march allows the arranger to know what the skeleton is on which the arrangement is developed.

The first section is the Introduction (I), or fanfare,  and is either 4, 8, or 16 bars long. The
introduction is typically played in marcato style, typically using fortedynamics to catch the attention of the listener. The intro is almost never omitted in a march. Examples without an intro include Bugles and Drums and the Footlifter. Compared to the other sections of a march, the introduction is usually the shortest part. Most introductions use chromatic scales and contrary motion counterpoint. The introduction is commonly based on the V chord for the purpose of creating tension which naturally leads into the next section. The intro isn’t generally repeated, but examples where it is are Bravura, Rifle Regiment,
and Washington Grays.

The introduction generally starts in major, but examples where it doesn’t are the Gladiator, the Picadore, the Nobles of the Mystic Shrine, Rolling Thunder, and Hands Across the Sea.

The next section is commonly called the first strain, as it is the first prominent melody of the march. The first strain is typically 8 or 16 bars long with 4-measure phrases. The first strain can be in either major or minor mode and can use any variety of dynamics, instrumentation and modulations. Typically this strain uses similar motifs in its phrases, and it sounds more rhythmically straightforward than the next section. After the first
playing of the strain, it is repeated once, sometimes with added parts such as counter-melodies. Sometimes, the first strain is played again once after the second strains have been played, particularly if the first strain is in minor. Karl King was the main composer who did this, and Fillmore also did so with his trombone smears. Examples include Peacemaker March, New York Hippodrome, Caravan Club March, Trombone King, Lassus Trombone, Royal Decree, and Price’s March of Youth

The second strain is usually 16 bars long and is the second primary melody of the march. However, in marches like Solid Men to the Front, and also Sousa’s Untitled March, the second strain is 32 bars in length. Marches that commonly have the first playing of the second strain quiet and the second loud include The Stars and Stripes Forever, His Honor, The Washington Post, Hands Across the Sea, On the Mall, and a load of others,
particularly by Sousa. This strain may use somewhat different instrumentation or may alter the relative dynamics of the different parts. The melody of the second strain is normally played by the low brass and low woodwinds. In terms of phrasing, it also uses 4-measure phrases, but with more varied motifs. This makes the second strain’s melodies sound more “stretched out.” For example, many second strains utilize more whole notes than the first strain. For a good example, listen to Stars and Stripes Forever. The second strain is usually repeated once like the first, but some marches, for example, Emblem of Freedom, Cyrus the Great, the Melody Shop, and a few others, omit this repeat.

In some marches, a short introduction to the trio is heard. This introduction to the trio can be a repeat of the first introduction, a whole new separate melody played by the whole band, a fanfare by the brass, or a percussion soli (drum rolloff). Semper Fidelis by Sousa, for example, has this. Another example of trio Introduction is found in Twin Eagle Strut by Zane Van Auken.

The third (or technically fourth or fifth) primary melody in a march is called the trio. The
trio is described as the main melody of the march. It is often played legato style in a softer dynamic, and features woodwinds more than brass. Sousa often used clarinets and euphoniums in lower tenor register in his trios. The trio is the most contrasting section, often containing variations of motifs heard in the previous two strains. The trio melody is often repeated once at a softer dynamic, or not repeated at all and goes right to the next section. Generally, it is played quietly for the first (or second) playthrough, then the
next has a piccolo playing over the trio melody, and in the final play through, it is loud. In almost all cases, the trio modulates to the subdominant key of the march, meaning one flat is added to the key signature. Again, this is for the purpose of contrast and makes the trio more memorable to the listener. The fact that the key is now flatter also offers a more relaxing feel for those trios with softer instrumentation. For marches starting in minor keys, the trio usually modulates to the relative major. This key is maintained to the end of
the piece.

Next comes the breakstrain or breakup strain (sometimes called the dogfight or interlude), making it the 4th main melody heard. This strain is loud, intense, and marcato. The break strain’s purpose can be found in its title. The breakstrain literally breaks a gap between the trio sections. It offers contrast to the usually softer trio melodies and generates excitement for the listener. Most breakstrains resemble a conversation between the upper woodwinds and the low brass. The final measures of the breakstrain typically contain tension-building chords or chromatic motifs. The breakstrain is usually 16 bars long, but marches such as The Washington Post and The Interlochen Bowl have 8 bar breakstrains. On the Mall has a twelve bar breakstrain, as does The Purple Pageant. Hands Across the Sea and The Thunderer have 16 bar breakstrains. Marches with 20 bar breakstrains include Fairest of the Fair and Invincible Eagle. The Stars and Stripes Forever in fact has a twenty-four bar
breakstrain.

After the breakstrain, the trio is heard again, either for one last time or and the 2nd (or third) time. If the trio after the breakstrain is the last, it is usually played in the same style as the first trio. Sometimes this trio has added counter-melodies or obligators. After this trio, the breakstrain is played again, then moves on to the final trio.

The final trio is known as the grandioso. It is typically much louder than the previous
playing(s) of the trio and uses all sections of the band, bringing everything to a close. The grandioso is considered the most exciting section of the march and serves the purpose of instilling the trio melody into the mind of the listener. The grandioso sometimes adds yet another counter-melody or obbligato, such as the one in Stars and Stripes Forever. The last measure of the march sometimes contains a stinger, a I chord played in unison on the
upbeat after a quarter rest. Most, but not all, marches carry a stinger. Semper Fidelis is a famous march without an ending stinger. Most marches end forte, but an example that doesn’t is Sousa’s Manhattan Beach, which ends fading away.

In some military marches, such as Sousa’s U.S. Field Artillery, there is only one playing of the breakstrain, resulting in only two “playings” of the trio. Apart from On the Mall, the Chimes of Liberty, and a couple of others, Goldman’s marches in the military form only had two playings of the trio.

Therefore, the military march form is this: I-AA-BB-C(C)-Br-C-Br-C(Grandioso)

Some conductors omit the stinger even when it is written. The march has said it already, and needs no punctuation mark. So in life. When enough is said, it’s time to stop.

0037 Blues Form

A blues song generally consists of a certain number of measures. Actually there is a variety of forms from 12-bar (the most common), 16-bar, and 8-bar. There is also a fixed blues scale consisting of:

1, 3^b, 4, 5, 7^b (in C maj that would be C, E^b, F, G, B^b). In addition to the scale, the blues usually has three lines of 4 measures (12-bar blues). While the form is pretty well fixed, it is still the lyrics that drive the chords. Good lyrics and the blues form fit together. If they don’t its an awful piece.

The chorus of Chuck Berry’s Maybellene uses the most characteristic version of 12-bar blues form.
(See at http://www.youtube.com/watch?v=p0HmFr7mPsk)
This version of blues form contains three melodic phrases in each statement of the form. Each phrase and the pause that follows last four measures, so one statement of the complete form takes twelve measures: hence, 12-bar blues. When sung, the phrases are a
rhymed couplet, with the first line repeated. A harmonic progression using only I, IV, and V supports the melody according to a well-established pattern. Each phrase begins with a different chord – I, then IV, and finally V, and remains on or returns to the I chord halfway through. It’s vital to know this pattern when arranging the chorus or verse of a blues piece.

Measure	Chords (measures 1-2)	Chords (measures 3-4)
1-4	I	I
5-8	IV	I
9-12	V	I

The foundation of a 12-bar blues form is its chord progression. Songs in blues form can have a different phrase structure or they may not have predetermined melodic form at all. That is the case during Berry’s guitar solo. In all cases, it is the chord progression that provides common ground. In its familiarity and adaptability, a blues progression is like a pair of old jeans: both are durable and well broken in yet extremely flexible and adaptable, and neither goes out of style. For generations, the chord progression has been familiar to musicians – who have borrowed it from the blues for use in popular son, jazz, Latin music, rock and roll – and their audiences.

There are other blues forms as well, usually based on multiples of four bars. Crazy Blues, performed by Mamie Smith (1883-1946) and written b y Perry Bradford is truly a “crazy blues” with the verses alternating between a 16-bar and a 12-bar blues. (at http://www.youtube.com/watch?v=qaz4Ziw_CfQ).

Here is the scheme

Time	Component
0:0-0:09	Introduction (4 bars)
0:10-0:45	First verse (16 bars)
0:46-1:13	Second verse (12 bars)
1:14-1:48	Third verse (16 bars)
1:49-2:15	Fourth verse (12 bars)
2:16-2:40	Fifth verse (12 bars)
2:41-3:13	Sixth verse (16 bars)
3:14	Tag at the end

So a blues arrangement has flexibility, but the rules have to be present, at least recognizable to the audience so familiar with this form.

These days, recognition for merit is not all that popular. It has to be in the band. One director I know liked to rotate people in the clarinet section among 1^st, 2^nd, and 3^rd. I think that’s bad. You want your very best players on the most difficult parts, and certainly the best musician should always head up the section. Not a bad idea in life either. Promotion to the level of incompetency is, I think, a stupid idea.