PO Oe eee’ Henry Mancini SOUNDS AND SCORES A practical guide to professional orchestration All music composed and arranged by the author NORTHRIDGE MUSIC, INC.heeSoon after leaving U-I, Mancini was engaged by producer-director Blake Edwards to score the TV series, “Peter Gunn.” His use of the jazz idiom created an instant success and resulted in a nomination from the Academy of Television Arts and Sciences for an Emmy award. The album, “Music from Peter Gunn” was released by RCA Victor and to date has sold more than one million copies. The album was voted two Grammies by the members of the NARAS (National Academy of Recording Arts and Sciences) as Album of the Year (1958) and Best Arrangement of the Year. The success of “Peter Gunn” was soon repeated by another Edwards- Mancini collaboration, “Mr. Lucky.” The use of lush strings and organ provided a complete contrast from the driving “Gunn” music. The album, “Music from Mr. Lucky” joined “Peter Gunn’ as a best seller. NARAS again honored Mancini with two Grammies for Best Arrangement and Best Per- formance by an Orchestra (His album, “The Blues and the Beat” was also “awarded a Grammy that year—1960). Billboard Magazine paid tribute to the “Mr. Lucky” album by naming it Instrumental Album of the Year. The 1964, 1965, and 1966 Playboy Readers Jazz Poll voted Mancini Leader of the All-Star Orchestra, Maneini's return to motion picture scoring has so far produced the follow- ing movie scores: “High Time,” “The Great Imposter,” “Mr. Hobbs Takes Vacation,” “Bachelor in Paradise,” “Breakfast at Tiffany’ ‘Hataril”, “Experiment in Terror,” “Days of Wine and Roses,” “Charade,” “The Pink Panther,” “Soldier in the Rain,” “Dear Heart,” “Shot in the Dark,” “The Great Race,” “Arabesque,” “Moment to Moment,” “What Did You Do In The War, Daddy?” “Two For The Road,” “Gunn,” “Wait Until Datk,” and “The Party.” In 1962 the Motion Picture Academy recognized Mancini’s ability by awarding him two Oscarsone for Best Original Score, “Breakfast at Tiffany's,” and another for Best Song, “Moon River,” (lyrics by Johnny Mercer), Mancini and Mercer scored again the following year with “Days of Wine and Roses.” In the next three years he gathered nominations for the songs “Charade,” “Dear Heart,” and “The Sweetheart Tree.” In 1962 the NARAS followed up the golden statuette honors, best ‘on Mancini five Grammies for his recording versions from the same movie score and song. “Moon River” was named Record of the Year, Song of the Yeas, Best Arrangement; and “Breakfast at Tiffany's" was titled Best Per- formance by an Orchestra for other than dancing, and Best Soundtrack LP of a Score from a Picture or TV. To date, he has received seventeen Gram mies, a record total for NARAS. Four of Mancini’s RCA Victor albums have reached the ma; ‘Gold Record” status (over $1,090,000. in sales). They are “Peter Gunn,” “Break- fast at Tiffa: 'y's,”" “Pink Panther,” and “Best of Mancini Vol. 1.” eaePO EEE EEE EEE Eee ee FOREWORD Following the score along with the recording of a piece of music has long been 2 major part of the “serious” music student's method of study, Unfortunately, the young “popular” music student who hopes to become a professional composer-arranger in the commercial field has no wealth of material to aid him. Printed scores of commercial recordings are rare. The basic purpose of this book is to remedy this situation by giving the budding professional a means of comparing the recorded sounds with the printed illusta- tions. However, this procedure will be altered from time to time to include discussion of subjects that are not available on recordings. Since the average dance orchestra does not include eight brass, five saxes, four French horns, or twenty strings, many of the recorded examples are rewritten for smaller groups, showing how the voicings change as the groups get progressively smaller. ‘We will not concern ourselves with definitive studies of the technical possibilities of the various instruments. The orchestration books of Cecil Forsyth and Walter Piston have taken ample care of this for us. Our main concern is the combining of the instruments into sections and ensembles of all the types that must be deel with by the professional writer in the commercial field. Practically all of the examples are in concert *-sketch form. This method clearly illus- trates at a glance exactly what is being played and by whom, No transposition is necessary except in the cases of those instruments that normally sound an octave higher or lower than written. *"The term “concert” means that all of the instruments are written in the same key asthe piano,Our examples are taken from these RCA Victor albums: The Music from Peter Gunn No. 1956 More Music from Peter Gunn No. 2040 The Music from Mr. Lucky No. 2198 The Blues and the Beat No. 2147 The Mancini Touch No. 2101 A deep and grateful bow must be made in the direction of the musicians who performed con these records. They are not capable of less than perl No matter how many books a person has read on this subject and no matter how many recordings he has heard and analyzed, his progress can only be measured by what he writes and has performed. If this book can take a few of the stumbling blocks out of his path and light the way a bit, my purpose will have been fulfilled. ‘Manuscript pages have been inserted in various places to permit the reader to make any notations he may wish Replacement records are available through your music dealerOOOO eee cease TABLE OF CONTENTS FOREWORD 1. THEESSENTIALS 2 2... ee ee eee ee ee dD 2, THE SAXOPHONES. ..-.... - BEE EEE 15 3. THE WOODWINDS... 2...) oe ee The Piccolo 2 ee ee 8B Be ee EE eS The Alto Flute 2 6 6 ee ee ee ee ee The Bass Flute 2 6 6 ee The Clarinets. 6 ee ee ee OL The Bass Clarinet 6 6 ee ee ee ee 61 The Oboe . Pp ee + 06 ‘That Ealish-Hom eesti ote ea eee St: The Bassoon . - Seat sHEEBEEESEEEEESSEEPERENEEEEES | E The Woodwind Ensemble EERE EERE CEE a et i Hae eH eb ea 4. THE BRASS) - poe tee EEE EEE 7 ae The Trumpet. - 2 2 2 0 ee ee eto) The Trombones BSS ee EEE eee oe 101 The French Hom. - 7 ee eee fete 106 The Tuba _ BEES EEE eee eee Ha Ee EERE EEE Seo - 13, The Brass Ensemble . He eH EI Bo EEE H M3 The Brass Mutes. - . neers eee . G0 The Brass and Saxophone Ensemble coe eee - . BIL 5. SHOW AND ACT MUSIC PS a eH ao ~ 1456. THE RHYTHM SECTION The Piano . The Celesta The Guitar... The Bass Guitar . The String Bass. The Drums The Timpani . The Vibraphone . The Marimba - The Xylophone The Bells. The Herp « LATIN INSTRUMENTS AND RHYTHMS THE COMBO . THE STRING SECTION CONCLUSION . = 153 + 156 = 158 = 162 - 162 «165 . (167 = 167 - 170 174 .17 = 4177 153 = 185 + 193 213 + 243 PT nr rrr TU ee eeeThe Essentialsa er CHAPTER ONE The Essentials Aisins Front 115 owN ORIGINAL INSTRUMENTALS THE AR- ranger usually works from a printed piano-vocal leadsheet. If the song is unfamiliar, play it over several times until your eat can follow the melody and the harmonic progressions easily. Check the chord symbols above the vocal line carefully. For some reason these chords do not always match the written out chords below them. If you find a discrepancy, Jee your ear be the judge as to what is correct. This is also true of the bass line. If it doesn’t seem to be the best possible bass note for the progression, play around until you find one that is. If your singer is doing a song in a key other than the one that is printed, write the entire tune out in the new key with the chord symbols above and get familiar with it. Do this before you start the arrangement and you will save much time "There are three methods of scoring: 1, Sketch in concert on fout- or five-staff sketch paper Cin much the the same way that our recorded examples are set up) and then transfer to the actual score paper, in concect or transposed key. 2. Score directly in concert 3. Score directly transposed. “The first method takes the most time, since you actually write out the arrangement twice. ‘This method is used almost exclusively in motion pic- tures because time does not usually permit one man both to compose and to orchestrate an entire score. The composer sketches in concert and then tums it over to his orchestrator for scoring,2 sounps anp scones Scoring directly in concert is a bit uncommon, The main reason is that a concert score must be transposed by the copyist, thereby raising the copying costs by about one half. By far the fastest, most efficient, and most widely used method is the transposed score. Get into the habit of scoring this way from the very jinning. emecaaaae an instrumental, do a little ground work before you start filling in. Lightly pencil in your leads and spot your solos on the score paper from beginning to end if possible. This simplified sketching gives you a general conception of the overall form of your score. ‘There ate several helpful short-cuts that are in general use. When 2 sec- ,*, tion is playing in unison it is not necessary to write out the same part for each of the instruments in that section Using the Peter Gunn theme as our example, here are two ways of doing PETER GUNN rao ee “TRANSPOSED scone i te Exampte | Alto Sox my3 ‘THE ESSENTIALS SSS aed =e pee ee ee eee eee eee eee eee EE OPO PROS eeSOUNDS AND SCORES 4 . P| ° Pa | — oe > “Pe S58 i dye xe a SF 8 =f 4M = 3 ae $I SS SS SS FD 90 syoo8 casousnvs NNNOD WaIad 7% FaveTHE ESSENTIALS eee 8-8 i | he le 5 4 | i ail | ' aA & : 2” i i i J There are two ways of marking scores and parts for rehearsal and cutting Sperone Lasers iy e wad every ght Bie or the bas mas be num- Shered. The numbered-bar system is used by most professionals because it Spermits the instant pinpointing of any bar or note in the score. T The come sopra (as before”) is used when repeating bats thet have “been previously used in the score. They are notated in the following ways Pa eesSOUNDS AND SCORES 6 NNNO WaLTd — £ FtawwxgPer ee Oy oe rie esgentiats 7er a a a a a ee | ® | ae @ ——= GO NNNS YALA a TaWvx; a 8 souNDs AND SCORES2 ————— va a 5 E— = SS a Hg : E q ° = =e "0 = =| F ? ay ¢ = = =G| "6 | ee a = =| = te Ce weve ever rere reer ane10 SOUNDS AND SCORES In the interest of clean and precise playing, get into the habit of notating the exact value of notes, especially on endings. Without a conductor there will be many conceptions within the band about where this note should end Exampre 5 TE you want it to end on the downbeat, write Exampne 6 eS SS On the fourth beat: Exanpte 7 There is no doubt about where either of these notes is cut off. The same tule applies to notes of lesser duration Mark phrasing, dynamics, and accents carefully. If a substitute player is called in and is faced with 2,poorly marked part, the results will be sad indeed. There are two methods of indicating ad lib solos. Exampre 8Oe eae From time to time you will encounter a soloist who plays a transposing instrument who prefers the chords in concert key rather than the transposed key of his instrument. Write it the way your man prefers. ‘One thing that cannot be stressed too strongly is the final checking of the score before it goes to the copyist. A few wrong notes can be expected, even from professionals, but a barrage of wrong notes can cause a big waste of time and may even result in the discarding of an otherwise good score. A sensible rehearsal procedure must be followed in order to get the full potential out of an arrangement. Take it easy. Don’t bury your head in the score the first time through. Listen carefully and by all means try to get all the way through the number before you start the clesning-up process. Many of the rough spots will disappear on the second reading, Don’t close yout mind to the suggestions of your musicians. Hear them out and then decide whether or not their ideas are good ones. Finally, don’t fall in love with every note you write. The professional writer must be a first-class editor. Be prepared to eliminate anything that tends to clutter up your score, painful as it may be to do so. ‘THE ESSENTIALS uThe Saxophones CeCeo eer oe ee ee eeCHAPTER TWO The Saxophones Be rr ay arto, rexon, on BARITONE, THE SAXOPHONE HAS A wide dynamic range. From the almost whispering sub-tone to the full-bodied it offers the writer @ greater degree of shading than perhaps any other wind instrument in the band ‘The ranges and transposi 1 of the saxophone family: Exampre 9 THE SAXOPHONES Actual Sound: Written Bb Soprano ISoBaritone = Higher notes 22) not practical oe) Oe OE OEE eee16 sounps anp scones 7 a An obvious and most effective device for sexophones is the octave unison. A typical example of unison saxes carrying the lead is found in “Spook” (More Musie From Peter Gunn)" A sinister sound is provided by the one alo and one tenor sax on the top octave and two baritone sexes on the lower octave. Exampre 10 SPOOK! Side A, Band 1 Moderate Bluse nt s2b-tone 450 zs o 7 sarone = Te sepa fast vibrato out Soe 1. cut, Pro. Ser “if an example is taken from a secerding, the tile of the wlbum from which it was taken will . follow she vitle of the number. iEe eee eee Sox. 1, uit Pre foe Although two baritone saxes were used on the lower octave, practically the same effect can be had with one, This is a strong register for the baritone. He can hold his own even with four saxes on the upper octave, One point, however: although the baritone does go down to the concert Db below the low F in this piece, you had better know your player well before writing below the F. Only the better players can move around down there with ease. Only the best can play softly in that register. This also applies 0 some extent to the lower end of the alto and tenor saxes although they are usually more at ease. ‘When using the extremes, either high or low, on any instrument, the writer must know his player's ability. If you are writing for a band with which you are not familiar, play it safe! A score i judged on how well it sounds, not on how hard it is to play. ‘A good example of the perfect unison Ceveryone on the saine note) will be found behind Pete Candoli’s exciting trumpet solo in “Blue Steel” (More Peter Gunn). ‘THE saxoPHONES 745x, ap. 40 | an 18 sounps AND scons Exampte 11 Mowe itt enh 2 Alese.2 Tenors Seto ad Em Start easy and bud BLUE STEEL " gub-tone Side A, Band 119 THE SAXOPHONES Pee eee eer eee ee ee He Eee DE ET ee eee ere ere ee reer een:20 souNDS AND SCORES tpt Te. ee peer oe Phen Guitar rhythm | Vib. foes Poo Dr,21 THE saxorHoyes Pere eee eer eee eee eee22 souNDS AND scoRES : ~ Tt He te, Gait. Sit fue Pro.23 THE SAXOPHONES i i A i z f z 3 oe ee24° sounps anp scones enaea Motto rit, Soe. - Tet tn 1. Dr. For an occasional change of color, especially in ballads, the saxes can be voiced in thirds, Two or three altos on top and two ot three tenors a third below make a very pleasant sound. Exampie 12 pSubtone iat = ‘ = oe C P "The mark — indicates thar the note Is (0 he sounded a bit under pitch am! unea lipped up to is true pitch, This is called bendiag a note,tHE saxoryoNEs 25 wean . ‘The same passage would be ideal played in octaves with two clarinets + on the top thitds and two tenors on the bottom. This is a pretty sound with a good bit of brilliance. (The octave unison between the clarinets and tenors + has the same quality with a lot more brilliance im the high register.) * Exampe 13 2 Clarinets section writing is that they blend well with each other in practically any combination. (Alto-AltoTenor-Tenor; AATB; ATT B, TT TB; AA TTB;AATTT;ATTTB;TTBB; etc.) ‘This brings up the question of how we “voice” (distribute) a given chord. i I | “The wonderful thing about the sexes when it comes to four- or five-part | ‘The closest of all voicings is the cluster: f Exampe 14 Brighe 1 ATT. “The most basic voicing, not only for saxes but forall sections, is the five- part close Chlock) type. “Blues for Mother's” illustrates this: POO eee eee eee eee eeeRhythm Sex Rhythm SOUNDS AND SCORES BLUES FOR MOTHER'S ee cm? cae 7 cA === This type of voicing, when applied to an uptempo number, becomes buoyant and swinging. The Benny Goodman and Artie Shaw bande made wonderful use of it, most of the time with only four saxes (AAT T). The double lead on the bottom in a five-man section, while giving bedy to the section, is not indispensable. By putting a clarinet on the Jead and using two altos and two tenors below we have the clarinet lead voicing used so beautifully by Glenn Miller, Jn the previous example a problem is created by the key of the piece ‘The baritone is near the top of his range and does not sound good up there. Rather than change to 2 lower key and lose the brilliance of the high alto sex lead, we take the first harmony note under the lead alto, drop it an ‘octave and give it to the baritone:HE saxopuones . 27 Examete 16 © BLUES FOR MOTHER'S . 6 _ Seer reece eee EEE eer ee ” ol Ye ow I al as / ‘ ‘ wena ‘This takes a bit away from the over-all brilliance of the sound, but in its place we now have a little deeper and mote mellow one eee eae28 sounDs AND sconrs If you have only four saxes to work with, you can open them in this way: Examere 17 BLUES FOR MOTHER'S c ‘ Sox hth fB Getting back to our fiveman section, le’ open it up a bit more:‘THE saxorHones 29 Exampce 18 BLUES FOR MOTHER'S Slowly BARE es 48 eeee ence one 2 oY oe oY lon? cmt / or [Mo Cms MNT / Q ‘As you can see by the fourth part, we now have some room to add @ pass- ing tone. Another point of interest here is the way the lead alto passes through some of the other voices. The balance of the chord is not disturbed. by the wandering alto, because the four lower voices are forming the back- ‘ground for the lead alto solo CeCe eee eee eae30. souNps AND scones ; : Next, with some harmonic variations, is the widest of the open voicings. This is a wonderfully deep sound that is extremely useful: Exampre 19 BLUES FOR MOTHER'S WP WO, 09 fl yy Sex, emt cr faa 7 byt Here are several different types of voicings combined behind a soloist or vocalist. Notice the movernent of the counter line when the melody line is stationaryTHE SAXOPHONES 31 Exampte 20 BLUES FOR MOTHER'S - | ie fl | * 9 7 47S) ng fal 7 7 7 elt 256999 faonis / ‘These are the most basic voicings. They will also work for your brass. woodwind, or string sections having the same number of parts. Which one to use is something the writer must decide for himself. The real skill comes in combining the various types of voicings into a sensible, playable acrange- ment. One last point in general: it has been my experience that while the open voicings are fine for pretty numbers, they tend to slow things down | when applied to the faster tempos. | .BEEBE PEEP EEE ae ee ie ie cece ee ea et witintabiadatitiea lel: alia pint in helenae nahn sag: *inds The Wood: a249 aaEEE EEOC CHAPTER THREE The Woodwinds There was a time Not LONG ACO WHEN A SAXOPHONIST was only required to play his own sax and maybe double on clarinet. Times have changed. ‘The woodwind section of the Peter Gunn orchestra points up just how far this business of doubling has come. Our four players, Ted Nash, Ronnie Lang, Harry Klee, and Gene Cipriano, play a total of twenty- seven instruments, As wvell as the various saxes, each plays piccolo, C flute, alto lute, and bass flute, We have two bass clarinets and finally an oboe and an English hom, Needless to say, this is quite an unusual group of arts My point is that the woodwind player now offers a writer a wide variety of tonal colors The Flutes “The Ate family has made great strides in popularity in recent years. In the hands of our jazz artists the Bute has been fully accepted as a solo in- strument in that idiom The Piccolo The baby of the family, the piceolo, has long been known as the maverick voice playing high above the rest of the military band. ‘The piccolo range and transposition38 souNDSs AND SCORES Exampte 21 THE PICCOLO in ro e eS 7 There is also a piccolo built in D>. The range is the same but 2 transposi- o tion of one-half tone down is necessary. c ‘The piccolo has an extremely piercing quality, especially in the top half c of its range. When vo, three, or four piccolos are combined in perfect c unison they produce a gay, whistling sound. co Good evidence of this can be found in the opening melodic statement of “Timothy” (More Peter Gunn). Later on in the release of the same piece fa they go into thirds, giving us an entirely new color. a a o Examere 22. TIMOTHY Side A, Band 2 a co Bright March ‘ G ae. c a Go 40 G a ia ane, o ia : vib, fae ie us re st r Brushes os Soe eo ia = cr 7 Sacer ae co Foot Cymbal © (39 THE wooDWINDS va through SESH Ce ese eee : vie i >. 2 & s 3 é Hn, vi. Gur. ow > PO PPE EP PPE RP EERE ERR ERR RRR RE RRR!40 sounps anp scones Tp Te. Hn vib, Sts [segs tows 77 [per sy Kick ott Te Te. vis ws 7 sles 97 uit BoweA THE wooowinps 41 £ ee lbeee Trombone vb. ylererler ss [eee sies 2 S|L 7 T cult = te i While we're dealing with thirds, les take a look at the fst statement of the melody in “Chime Time” (Mr. Lucky). Here we have two piccolos in thirds doubled an octave below by two oboes. The piccolo parts heze could easily have been played by two flutes, since the range is perfect, However, the piccolo sound gives the tune a lighter and more buoyant feeling:aw Si 4M ame. Gun. 42. sounps Exampre 23 Brighe 2PiccsIog 22vietns [x AND SCORES CHIME TIME iv, pte, iv, pies Side A, Band 243 ‘THE wooDWINDS a ||? \ Ps 5 3 3 y = ca88Y op 7 | ome/ colt Hn, 1. z i. go RP RE PR PP PPP ER PRE PR RRR EER?44° sounns Np scones One would hardly think of the piccolo as having the ability to "sing out” 2 lyrical melody. In "Softly" (Mr. Lucky) following Buddy Cole's plaintive organ solo, the four piccolos play in unison with che high violins. They add a clarity to the violins while not overpowering the basic string sound: Exampte 24 SOFTLY Side A, Bond 2 4 Pecolee, F Th. 12 Yiohine io Sie. 4 Violas Tair ant / wn / | om / a / | ome / @ | T =f The C Flute The C flute has long been a standard-bearer for the Rute family. You will find that most reed sections have at least one or two available. It is an ex- tremely good mixer, especially with other members of the woodwind family. ‘The flute requires no transposition and sounds where it is written Exampte 25° THE C FLUTE Sounds es written aAAW ES EAADE DANES ENA KE EES 44444 U4 aa eM ee Sto all Gat Gait, Ste Belle ea Gait, one ‘THE woopwinps 45 ‘The “Mr. Lucky Theme” (Mr. Lucky) shows off the useful octave doubling of two lates and two oboes. It occurs in the last eight bars of the first chorus. Two clarinets could be substitused for the oboes, creating 2 softer and less pointed over-all sound: Exampre 26 = MR. LUCKY Side A, Band 3 ee meee ase slor sila e/| wes 7 (3) rushes cee ys je yom46 soUNDS AND scorEs In “Tipsy” (Mr. Lucky) after the intro, the ewo flutes and two oboes play the theme in unison. This combination in this parciculer range has a peculiar nasal quality, quite oriental in character. The twelve-bar theme is then re- peated with our four woodwinds playing an octave higher. In this range, note the unusual power and clarity of sound Examrte 27 TIPSY Moderately bright 2 Flutes 2a bea Tomes —— 2x only Hn. Th Se vias P. ‘Cell Wer. Pro uit, ose47 THE woopwinps z a 2 7 ks a ff 2h ond BOI RR Ere re rrr rr Fen PR REE EEE EEE EEE EEE?48 souNDs AND SCORES i-soeeeeeeRe 2 - Soa i 7 - - te. sa aR uit. A comic effect is heard in the opening bar of “The Little Man Theme” (More Peter Gunn), using minor seconds with two flutes on each part. The image of our “Little Man” is firmly established right from the down- beat:49 Side A, Band 3 ‘THE woopwinns THE LITTLE MAN THEME Essy Exampte 28 eee eee sins a é w Gui Pao. RO RE RE RP ERR ERR PR RRR EE RRR RE RRR RE RIE RE50 sounps AND scores After the intro in “Odd Ball” (More Peter Gunn), four flutes take over, doubled by four trumpets in cup mutes an octave lower: Exampte 29 ODD BALL Side A. Band 3. | Bright 4 Flees . 1. te. Pro. vie. Tor Te. foesSE ee ee ee In tutti ensemble involving strings and brass the flute can help out by doubling the high lead string line. In the top half of its register it reinforces the violins. The Alto Flute “The alto flute (G flute) has certainly come into its own. It is now prac- tically a must that the flutist double on alto flute. ‘The instrument is built in G. The transposition is up a perfect fourth: Exampte 30 THE ALTO FLUTE Actual Sound: - Whitten: Asa solo instrument, especially playing jazz, its range is often two and a half octaves. However, for written solos and section work the first octave and a half are the most effective. Its sound adds a new, dramatic dimension to the flute family. Since the instrument is longer and has a larger bore than a C flute, it takes mote wind to produce a sound. Sustained notes are fine, but don’t get too many of them into a phrase without leaving some space to breathe. A prime consideration is the use of the microphone to amplify the sound. ‘The beautiful sound of the alto fute does not project very far unless helped out by amplification. Our next example shows the four alto flutes in unison providing a spring: board for Larry Bunker's driving vibraphone solo. The piece is "Blue Steel” (More Peter Gunn) ‘THE woopwiNns 5152 souNDS AND SCORES Exampze 3) BLUE STEEL Side B, Band 1 right ‘io Fates wet pa e Gut fon vorachone soo. net ». ‘Turning to a ballad, “Joanna” (More Peter Gun), we see the use of four alto tes, first in unison and then spreading into a four-part back- ground behind Dick Nash’s lovely trombone solo: Exampre 32 JOANNA : Side B Band 1 ‘Moderate battad 4 Alto Flutes wu Me. te vie Brust nn CymbalOe Ee Ne EN Nd ne ee eed Te. vib. Gut, Pro. Midway through the “Little Man Theme” (More Peter Gunn) the four alto utes provide a lightly swinging send-off for the marimba solo by Victor Feldman: ‘THE woonw:nDs 5354 SOUNDS AND SCORES Exampie 33° THE LITTLE MAN THEME Side B, Band 1 Easy 4 Alo Flutes uit owe “A Cool Shade of Blue” (The Mancini Touch) starts off with an une usual ad lib alto flute intro by Ronnie Lang, followed by four bars of rhythm to get us into the mood for the opening melodic statement. Here we have ‘our first encounter with the sax and flute in unison. In this case, two alto utes are doubled by an alto sax. However, a single alto sax and a single alto flute provide one of the most workable of modern sounds. Ic has both coolness and body:35 ae g ry aa ; § : 3 ( a g 5 S 3 ‘ a S Ps 8 2 5 g 8 < 3 * a af " E a 5 3 3 ‘ eee eee 3 & Bea, OO a ay56 SOUNDS AND scOnES ww, Ste. Gun.Bk a kk Ak ek The Bass Flute The “rare bird” of the Bute family is an oddlooking bit of plumbing called the bass flute. Its strange appearance belies the fact that it has one of the most pleasing sounds in the entire orchestra. The bass lute is built in Cand is written in the treble clef an octave sbove where it sounds Exampe 35 = THE BASS FLUTE Achwal Sound: ge What we said about the alto flute being a windy instrument goes double for the bass Aute. A tremendous amount of breath is needed to make a decent sound. Short notes or staccato passages are out of the question Recorded examples are a bit rare but we do have 2 few for illustration. Four bass lates were used in the first chorus of “The Blues” (The Blues and the Beat). Two microphones were set up with the men playing in very close to pick up this elusive sound: ‘THE woopwinps58 souNDS AND sconES Examece 36 THE BLUES Side B. Band 2 Moody ‘uses Flutes ™P (Soft Matters) vib. Pro. a ott sown out. pe . (Tune dove - pe cymban 3 vib, Gut ton7 $ : af THE woonwinns 59 7 3 ww 7 7 1 vw. 7 + 5 he ‘ : 3 on 5 3 Bos Ios * : D. $ 1 In the frst woodwind entrance in “Floating Péd" (Mr, Lucky) we have | two bass fates doubled an octave lower by two bass clarinets and a bassoon s ‘The effect is quite dark and moody: ¢ 7 : Exampie 37° FLOATING PAD Side B, Band 2 7 ‘ ’ 7 Moderately Latin : 3mm a : 7 7 7 5 J on ’ Tinbale see , es as ? i fox vs2 ar, 60 souNDs AND scoRES 2 ass Flutes wat ext 2taes Caras 9. Suit . ie a lain a en a i . # Ti. :Pe oe x r The Clarinet The clarinet is an instrument of remarkable range, tone, flexibility, and agility. It probably rates second only to the violin in the number of things itcan do well. Many pages could be written about its virtuoso capabilities, but | feel that its main value to the writer is in its application to section writing, both with other clarinets and with other members of the woodwind family. You will find that every saxophone player, practically without exception, plays clarinet. This gives you a full section of four or five clarinets to start with. Within these four ot five itis common to have at least one bass clarinet. ‘Asa section the clarinets are extremely useful for soft backgrounds. Tommy Dorsey used this color to wonderful advantage behind many of his trombone solos Being a Bp instrument, the clarinet is transposed up one full tone. The boss clarinet is also in Bb but is written in the tele clef up an octave and one full tone from where it sounds Exampie 38 THE Bb CLARINET hen Sant we $ 5 5 Examece 39 THE Bb BASS CLARINET Aetval Sound Written: Some of the newer bass clarinets are able to get down to the low D> and C, Check with your player before you write Using “Dreamsville” as our theme, let's examine a typical example of the clarinets used as background: THE woopwinDs 6162 souNDs AND scores . Exampte 40 DREAMSVILLE Slow ballad we : aft fave Clazieat - oud 6 f | oer ff los 7 7 | oan / wort Gnr/ cables] amt / tim? / at Blythe === ~@ Led Bin? / 2905) ee | amr / ont ow» ff ame / vo ola 4 7 7 - Rhythm = = 7 r Eien T 4 The problem we had earlier of using the extreme low end of the saxo- + phone is non-existent in the clarinet family. In fact they are very com- 5 Fortable down there and their sustaining power is excellent. On the other q end of the stick we find that while the Bb clarinet has relative ease through- < out its range, the bass clarinet begins to get a pinched sound toward the end of its second octave. AaA ek Lk A THE woopwinns 63 While we're discussing the bass clarinet, les take a look at an example of its use in a humorous vein. In “One-Eyed Cat” (Mr. Lucky), the rhythm section starts off, followed by the solo bassoon. He is joined by two bass clarinets playing along in unison until the cadence of the phrase. At that point thef split into a trio, (This last bar serves to illustrate an exception to the rule of keeping the bass clarinet low. He goes a bit high here but to good effect.) Examrre 41 ONE-EYED CAT Side B, Band 3 eee, Bassoon Solo ww Gu eal "" eet ioco¥a) rushes on Snaze a Gu cel gBetsvn and 2 Bass Clasinets 64 sounps AND scoRES 7 er. tm 7 & “ a 7 WW, “se Th. The clarinet is a very sociable fellow, especially when it comes to unison passages. It adds body no matter how it is used In the following examples the keys ace changed to give the best possible sound to the instruments involved:we ag Lg a i a a a a a eee ee Exampte 42 Unison: Clarinet, Flute Clarinet, Oboe Clarinet, Flute, Obee THE woopwinos 65 Exampte 43 In Octoves: clarinet ExamrLe 45 clarinet Exampie 46 clarinet Exams 47 Flote - 2 £ ‘Oboe Clarinet, ace CTarinet Bassoon66 SOUNDS AND scons _ As you can see, the possibilsies are quite extensive. Furthermore, all of 7 these combinations work Bne in slower and more melodic passages * The Oboe < Moving over to the double reeds, we have first the oboe. It is a non ea ‘transposing instrument, written where it sounds: 7 Exampte 48 THE OBOE _ Sounds at eS Except in the hands of a very capable player, the lowest three or four notes can sound quite strange. A good safe bottom would be the D one note up from middle C. The top octave is highly useful, especially for melodic passages. Unless your player is good, try not to write above the D below his high F. ” The oboe can be quite a pixie because of its ability to rattle of staccato * passages with ease. In the second chorus of “March of the Gue Balls” (Mr. Lucky) we have _ ‘good evidence of this. Two oboes and two piccolos were used 2USER EES ee st Te, Gut, fete Exampre 49 Jezzy march MARCH OF THE CUE BALLS TObves| THE woopwinns 67 Side B. Band 468 sounns AND sconES St We. om Gun 7 oe . alle 7 o. .69 woopwinos THE z = : & atl &. 3 A Gut. PR RRR RT RR NR MB BRB RBI R BBB BBBBR B B70 sounps AND scores ww, : Sta. : Gui, = a E :THE woopwmps 71 » c 8 N o 7 7 7 3 sr We, balls 3 uit RO RR RR RU RR PR hE HR RRR ER RR REE RE!Sia Ts. Gait tae 72 souNDs AND SCORES In the first release of “Lightly Latin” (IMr, Lucky) a somewhat frightened sound is uttered above the horns and trombones. Two oboes, two piccolos, and a xylophone are responsible for this: Exampte 50 LIGHTLY LATIN Side B, Band 4 Moderate Cha Cha 2 Flutes, 2 Oboes; + Xylophone Desanon ‘Yiotas, Celt ip Bell, Techates ‘Oonge Deum Ct hat alata ata tata iit73 ‘THE woopwrNps é Ho. = 2 g é wg = : : 2 we as 3 £ ££ 9 ois ee ee74 sounps AND scones 7 Flute - Oboe | =¥ylophove [Fleet : lotee 1! +Pano Ste Hn. th. Gut fou ¥ In the same number, following the organ solo, two oboes, two piccelos, ~ and a bassoon take over the lead: Aaaa as A EE OE SD Exampce 5] LIGHTLY LATIN Moderste Cha Cha weve 50 F, Pots Gali aiviet 23 tH. Gun. tee atin Deane ‘THE woopwinos 75 Side B, Band 4TATRA TTY AT TAT Ct Lot tet SOUNDS AND SCORES 76 Seco enter go7 THE woopwinps ROR OR RU UR ORR URGRRUR ROR RRR IRR BUR URORIRUR RRR RR FUROR POT RR RO ROR RR RR RRRSi Te, Gun. aus 78 SOUNDS AND SCORES The intro and frst eight bars of "Night Flowe:” (Mr. Lucky) show the oboes, fate, and piccolo in @ light counter figure to the valve trombone solo ‘Two oboes do not overpower the flute and piccolo, Mixed woodwinds have a way of balancing within the section, whether they are divided or in unisoneae Ng SS a Exampte 52. NIGHT FLOWER Moderate Latin Balled : Piccolo, ute as Sta. a vinee ‘4c Velve cs alls Gt Lee lo sysiee ee THE woopwINDs att80 soups AND sconEs ee Si | Valve Te tells ca The English Horn The English horn is built in F. ‘The transposition is up a perfect fifth: Exampie 53 THE ENCLISH HORN Here again we have the low note problem. The concert G above low E should put you on safe ground ‘The English horn functions best within its first two octaves, especially in melodic passages.Ne ee , r , y Although not noted for such things, it can keep up pretty well with its brother, the oboe, when it comes to light, staccato passages “The English horn should be kept in reserve for those special melodic pas- sages. Its deep sound never [als to add a needed change of color so necessary toa welkbalanced arrangement. ‘The Bassoon [As the piccolo is the comic of the high notes, the bassoon claims that dis- tinction in the cellar. ‘This by no means discounts his ability to caress melody with a highly sensitive and expressive tone. “The bassoon is a non-ransposing instrument and is written where it sounds in the bass clef: Examece 54 THE BASSOON “The low notes on the instrument are easily played. The Brst two octaves and a perfect fifth (to the F above middle C) ere the most practical and play- able. “The bassoon blends beautifully with other woodwinds, especially in uni- son with the clarinet, the bass clarinet, the alto Rute, the bass flute, or the English horn. Used as the bottom member in a divided woodwind passage it blends right in, no rhatter what the other instruments sre. Our first example shows the bassoon doing what no other instrument can quite duplicate, The opening statement of the melody in "One Eyed Cat” CEx. 41, page 63) immediately sets up the humorous mood of the whele piece “Lightly Latin” (Mr. Lucky) makes use of the low notes from the very beginning. Here they are employed in a kind of conversation with the other swoodwinds: THE woopwinps 81we Ste Pro. Guin ous 82 sounps ann scones Exampce 55 LIGHTLY LATIN Moderate Cha Cha 2 Oboes > Xylophone Tot cd Conga, ad 1b Cha Cha Side C, Band 183 THE woopwinps 56 fl t ; | i : 2 HO GORE Sr En Rn DP PEN PP Rene rena nerere: tat 684 souNDS AND SCORES 7209 ln? on? _/ 7 font op 3THE woopwinps 85 After the firs release in “March of the Cue Balls” (Mr. Lucky) the bas- soon and two bass clarinets take over the theme @ tenth epart at frst, then in thirds, and then back to tenths Exampre 56 MARCH OF THE CUE BALLS Side C, Band 1 Jazzy March Fass Clarets ww fb J ecmon oui, ae SL eee Mor. Pro, fone 8 Brishes_ b SeteSuit, Wer. Pro. aut 86 SOUNDS AND SCORES cape Staccato passages are second nature to the bassoon. Scales and arpeggios can be executed with comparative ease. A word of advice, however: Leave a few breathing spaces in extended passages. May I point out once more the beautiful sound of which the bassoon is capable in melodic passages. For this purpose the middle to medium high range is best. Allin all, despite its looks, the bassoon is a welcome and useful friend to the writer.THE woopwinps 87 ‘The Woodwind Ensemble To set down and to discuss all the possibilities of the woodwind ensemble ‘would fill a sizable volume, Fortunately, one of the facts of life in woodwind writing is that they all get along very well with each other. Just about any sensible combination of any number of woodwinds will result in a nicely balanced sound. The job of the writer is to know how to get the best possible combinations out of the instruments he has to work with. A knowledge of the best workable range of each instrument is your insurance for a good- sounding section. ‘A good example of an unusual combination can be found in the wood- wind passage that follows Don Fagerquists delightful opening trumpet solo in “That's It and That's All (Mr. Lucky). Here we have three alto flutes, one clarinet, and a bassoon playing the lightly swinging passage: Exampie 57. THAT'S IT AND THAT'S ALL Side C, Band 2 Bright up__3 Ato Fites wow. | - cers SESE TTI EEwow Sa. Sit Gut, Sat sil Gott ‘ae 88 sounns Exampte 58 AND SCORES ‘The same voicing is used in the introduction of “Chime Time” (Mr. Lucky): CHIME TIME Side C, Band 2 3 Alto Flotes weedA NE ee The use of futes and clarinets together is quite practical, because these are the two main doubles in the sax section. It is extremely uncommon not to have at least one flute in a section. The fute playing lead over three or four clarinets is a very pretty sound. The main consideration here is not to write the flute, too low. Keep hiin above his C in the staff (an octave above middle C). In this combination the first clarinet under the flute can go well into his high range without any trouble. ‘THE woopwrnps 8990 soups AND scones Using “Joanna” as our theme, here is.a background consisting of one ute, three clarinets, and a bass clarinet: Exampte 59. JOANNA Moderate Ballad Soloist harinets Base Clarinet oF Gacsoo Rhythm = ——— e 5 Selo we hy then Other combinations can be used for this same passage, In each case the bassoon can substitute for the bass clarinet: 1. flute/flute/clarinet/clarinet/bass clarinet Cbassoon) 2. Alute/oboe /clarinet/clarinet/bass clarinet Cbassoon) 3. oboe/clarinet clarinet /clarinet/bass clarinet (bassoon) 4. obve/clarinet/clarinet/English horn /bass clarinet (bassoon) as 7 #7Sere ee ee THE woopwimps 91 It becomes obvious that the possibilities are numerous, pointing up again that the woodwinds do indeed get along well with each other. Since our previous example was in the medium high range, let's look at the same number with a lower-pitched background. ‘The first group will consist of English horn or oboe (preferably English horn in this key)/clarinet/clarinet/clarinet/bass clarinet: Exampce 60 JOANNA , Moderate Balled Soloist wow a loms 7 7S jams ff 7 |om / 7% 7 Rhythm = = => T Solett ww, cm? cot | Fos Riythee92 soups AND SCORES Some variations on that group: 1, obce/English horn/clarinet/clarinet/bassoon 2. English horn/clarinet/clarinet/bass clarinet/bassoon 3. alto Bute/clarinet/clarinet/bassoon/bass clarinet 4. clarinet/English horn/clarinet/bass clarinet/bassoon 5. English horn/alto fute/clarinet/bass clarinet/bassoon Again we see that there are many possible combinations. ‘An interesting question comes up here. Who goes on the bottom, the bass clarinet or the bassoon? Normally the bassoon on the bottom is preferred, because it has a somewhat fatter sound. Another point is that the bassoon can go four notes lower than the bass clarinet, a big advantage in certain keys. ‘When you have an especially pretty counter melody as the lead voice in your Background and you want to bring it out, a simple device can be ap- plied. Have two instruments carzy the lead counter line and your remaining voices fill the harmony. With two men on the second lead line, we have only three voices for the remaining harmony. We must now voice the chord for four voices instead of fve. In the higher keys the C Gute and oboe would be available for the top'line: Examprz 61 JOANNA Moderate Ballad Soloist aes Clarinet] fem 7 7 7 loms7 7 ont / ff Newt 7 tytn = PER DEAE DEAE LEME SE SA BA SOL ET EG | T 1AGED ee s * > 7 Ee ee Soleit Rhythm Other combinations: Lead 1. Clarinet and alto fute 2. Clarinet and English horn 3. English hom and alo flute 4, Alto flute and bassoon Harmony 1. cl /el./bass cl. (bassoon) 2. el. /cl./bass cl. (bassoon) 3. cl./bassoon/bass cl. 4. English horn/cl./bass cl “The woodwind family presents an inexhaustible supply of colors. A thor- cough study of the capsbilites and the limitations of each of its members will pay large dividends in interesting and colorful sounds. ‘THE woopwinps 93DET ETT Tt CUE PE EER EER RP EEreer rer renner 95 Ore9%The Brass ee PAFa a ae Lat LSE SLO ALOT OE aT EOL OE OT OE a OT ERT OT NT — ‘sso egas Sasa Pe CHAPTER FOUR ‘Thr mopenn nrass SECTION IS A HIGHLY MOBILE UNIT. ITS dynamic range is wide, going from a soft, full-bodied ballad sound to a double forte of utter violence. The Trumpet ‘The trumpets are the most flexible members of the brass femily. The Peter Gunn recording orchestra can boast of a “dream” section that includes Conrad Gozzo, Pete Candoli, Frank Beach, Joe Triscari, and Graham Young. : “The trumpet is a Bb instrument. This calls for a transposition up one full tone: Exampre 62. THE TRUMPET Actual Sound: Written: ‘The range of the trumpet depends on the player, with some going up to the high F and then some. For purposes of practical writing the concert Bb, an octave and a minor seventh above middle C, is more realistic. Here, once more, be guided by the ability of your players. In unison, two, three, or four trumpets are an extremely powerful sound, The climax in “Fallout” (Peter Gunn) is driven home forcefully by two trumpets on the high Iead and two trumpets an octave below. ‘This device of using one or two trumpets an octave below the lead trumpets is 2 useful one. It gives a great deal of body and power to the line: The Brass100 sounns AND scones Examere 63 FALLOUT Side C, Bond 3 = Tet Ha Te. Gut ‘owe Hie everyI6g Geuny Pe SS F ‘Trumpets in unison playing in the medium low register, with cup mutes = cor into hats, is a nice color for vocal or solo backgrounds. Into hats they sound = best when playing with “no vibrato.” (This is indicated on the parts as + “N.V.") The sound is quite similar to that of a French horn. The trom- . bones also use this quite often. 2 One word of advice: Use common sense when writing trumpet passages. = Scoring them consistently high will eventually lead to disaster. No arrange ment can sound to best advantage when the trumpets are susining. Cive them a break and you will find that your arrangements are more playable and better soundingDMMMG SGU GUE UU YEUNG Oe ‘The Trombone ‘The slide trombone is written where it sounds in the bass clef and requires no transposition: Examete 64 ©THE TROMBONE Sounds as wrltten: (8a) Ie Any note from that top Bb to the EF above is for experts only. ‘There are also a few low pedal notes available for special effects Exampte 65 © TROMBONE PEDAL NOTES ‘The easiest of these’ is the Bb. It is played in the first position and can be relied upon. Don't expect anything on the delicate side from these pedal notes, They are big, fat sounds that must be played out to be effective. ‘The trombone comes with a couple of built-in hazards in the form of the low El and the Bk a-fifth’above, These two notes must be played in the seventh position, thus creating a physical problem in getting to and from notes played in the first and second positions. The only way to get from a low B8 to the Bb below is to go from the seventh position to the first. If the change is fast itis difficult even for the best of players. Another point about that seventh position: These notes are a bit difficult to sustain and control Unless a bass trombone is available to you, be very careful how you handle your low man. The bass trombone is becoming commen and is a most welcome addition to the brasses. It adds quite a few notes to the bottom of the section. It is also written where it sounds: THE BRASS 101102 sounps AND scones Examete 66 = THE BASS TROMBONE ere rep CU set tial ge Notes with which a tenor trombone would have to struggle come easily for the bass trombone. Since it iakes quite a bit of wind to blow the hom, make a special effort to find places for the player to breathe in sus- tained passages. “A Gool Shade of Blue” (The Mancini Touch) shows two good basic pos sibilities of the trombone section. After the strings play the release of the first chorus, the trombones (Dick Nash, Jimmy Priddy, Johnny Halliburton, and Karl De Karske) take over the last eight bas of the chorus. The range here is perfect for this-type of easygoing number: Exampre 67 A COOL SHADE OF BLUE Easy sat_g os . Side C, Band 4 &, , 7 7 Tt Y T r rt r r ty ms x r ae Be eee ee Tee SE Se un tose THE pass 103 Later in the same piece the cupmuted trombones play a unison figure leading into the guitar solo, We have two on a higher line and two doubling an octave below: ~ Exampte 68 A COOL SHADE OF BLUE Side C, Band 4 Bayt es zo m4 >. |104 sounns AND scones One of the prettiest of sounds is the trombone section playing background toa solo or vocal. In the second release of “Dreamsville” (Peter Gun), our section lays down a velvet carpet for Ted Nash's wistful alto sax solo: Exampre 69. DREAMSVILLE Side C, Band 4 Solo Alte Sen te. Hint En? ANSI A uit a Phot Alto Sax Te. uit ton REE Eat tt RCE BOM ODS ee eit feSr ee er eran bee Rees eRe Ber re Or ra RO RP Or Ge LF 00 O60 Erie OO O0 Or Oe Oe Or Or Oe On Oe ere OO ee 4H Te. 4h Te. Bo que prass 105 “The previous example was a background using close voicing. ‘The trom- bones also can form a rich, organ-type of backing when vcrtten in open voicing. “Joanna” (More Peter Gunn) shows this behind the four-horn unison lead, the last eight bars of the fist chorus: Examere 70 JOANNA Side C, Band 4 Moderate Ballad a106 SOUNDS AND SCORES The trombones can be very funny fellows on occasion. The introduction of “Timothy” CEx. 22, page 38) has them pumping away at the humorous marching figure, making fine contrast to the four piccolos who enter shortly after with the theme. Those builtin hazards we spoke of earlier, the seventh position for the low E and B, now become blessings. Because of this the trombone is capable of an effect no other wind instrument can duplicate: the true glissando, The tsvo longest glisses can be made from the low E8 (seventh position) to the Bb above (frst position), and from the next BY Ceventh position) to the F above (first position): Exampce 71 TROMBONE GLISSANDO They also work fine an octave higher. Of course, you can gliss to and from any of the notes in between, Some parting words: Use the same restraint in writing for trombones that you do for your trumpets. Don't get them consistently high. The trombones shouldn't be babied too much when it comes to moving passages They get around pretty well. Ample proof of this can be found in the Sousa mareles The French Horn ‘The French horn has surely come into its own in the joz2 and popular field. If any instrument ever had a naturally cool sound, this is it. The only problem here is to find players who can sit in and phrase with the sest of the brass section. The Peter Gunn orchesta is fortunate in having four such men led by the incomparable Vincent De Rosa. John Graas, John Cave, and Richard ‘Perissi round out the section, The most widely used French horn is built in F. A transposition up a perfect fifth is necessary:sss SSH IFHTH SIG GSS a SESE ‘THe prass 107 Exampte 72. THE FRENCH HORN Actual Sound: Wittens SSeS The best usable range extends from the low concert F in the bass clef to the C or D an octave above middle C. The hom can play long, sustained passages beautifully. A catty over from legitimate notation i the practice of omitting the key signature and writing in all of the accidentals. Although this is in common use today, you do have the option of using key signatures. ‘The ninth bar ofthe “Me. Lucky Theme” (Mr. Lucky) shows how effoe tive unison horns can be: Exampce 73 MR. LUCKY THEME Side C, Band 5 Moderately a A. Ste. oui Sour