The Basics of R&B/Funk/Jazz Horn Arranging •
Start Here
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Instruments/Ranges/Transpositions
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Horn Section Sizes, the Why and the Who
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Voicings, 2, 3 and 6 horn voicings
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Starting to rite
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!rranging Sty"es
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#istening/$oo%s
Start Here Ru"e &' There are no rules. These are my guidelines to be used and ignored as needed. The ONLY thing that matters is whether what you write sounds good.
Instruments, Ranges and descriptions B♭ Trumpet ( Trumpet (
The leader of the horn section, the most important instrument in the band. (in full disclosure, I play trumpet). The trumpet usually plays the melodytop note of the !oicing. "igh unisons !ery powerful. #rass (trumpetstrombones) great for puncheshits. )utes *+oth trumpets/trom+ones ( $ifferent colorste%tures. &i!e time to change. $epending on the mute, sometimes the tuning slide needs to be ad'usted. "armon (brassyedgy), up ('a**y), +traight (classicaltinny), (classicaltinny), #ucet (mellow, -lugelish), lunger ($i%ieish) B♭ Fuge ( Fuge (
In Los /ngeles it is assumed e!ery trumpet player plays -lugel. 0uch more mellow sound than trumpet. lays better 1in the staff.1 $oesn2t ha!e the high range or
brightness of a trumpet (deeper mouthpiece). ommonly used for solos in ballads and #ossa No!as. huc 0angione brought the instrument to national attention. #lends nice with unison flute and trombone. Trom!one (
3nofficially plays an octa!e lower than trumpet. owerful. $oesn2t ha!e the de%terity of the trumpet, unless you2re #ill 4atrous. 0utes up, #ucet, lunger Bass Trom!one (
0ostly used in larger ensembles (#ig #ands). ommon to be a 1double1 for a trombone or tuba player. lays lower than Trombone. $a!e #argeron from #lood +weat 5 Tears 1doubled1 on #ass Trombone (and Tuba). /lso used in the 6a**7oc band 0atri% . The bass trombone plays the 8th trombone part in a big band. It is common -or oodind p"ayers to .dou+"e. on other saes' 0"ute and 1"arinet are the most common non(sa dou+"es -or sa p"ayers' Some +ig +ands epect sa p"ayers to dou+"e on -"ute and c"arinet' $ari sa dou+"es on +ass c"ar' There are many other oodind instruments to dou+"e on' Fute (
lays the lead. (remember rule 9). #est comibined with another instrument. -luteflugel, flutetrumpet wharmon mute, flutetrombone. Soprano Sa" (
:enny & made this horn popular. Not a common instrument in a section unless playing the lead line, used more as a solo instrument. 3sed in 6a** . Ato Sa" (
In the trumpet range. +ounds great as a lead, section or solo instrument. $a!id +anborn re!olutioni*ed the sound of the instrument which so many others followed his lead. Tenor Sa" (
ossibly the most common sa%ophone. 3sed in all musical styles, commonly used as both a solo and section instrument. In the trombone range. 3nisons of tenor 5 trombone ha!e a nice sound. The old 6a** rusaders. Bari Sa" (
lays the lowest note of the horn section. +ometimes plays with #ass &uitar and in big bands with the #ass Trombone. opular on many 0otown songs ("eat4a!e, #aby Lo!e, an2t "elp 0yself, /in2t Too roud To #eg, etc.). -or the last 8; years, the #ari +a% has been synonymous with $oc :rupa of Tower of ower. Typicaly the funy #ari plays leadins to the root of the chord. &erry 0ulligan was one of the more famous 'a** soloists on #ari. Transposing tric bari can read bass clef by adding < sharps.
Horn Section Sizes, the #h$ and #ho % The size and instumentation o- a horn section are dependent on many -actors''' Instrumenta" per-ormance or +ac%ing up a voca"ist' $udget Sty"e o- music' Recording or "ive 4ven hat horns do your -riends p"ay' & horn ( 0ost commonly a sa%. 2 horns ( 0ost commonly a trumpet and sa%. The 6a** rusaders belie!ed sa% 5 trombone. 3 horns ( The most common < horns= trumpet, sa% and trombone. hicago. 5 horns ( #acing up a 75#op !ocalist, it2s common for > trumpets, sa% 5 trombone. / 8 horn instrumental 'a** horn section is more liely to be a trumpet, alto sa%, tenor sa% 5 trombone. horns ( Tower Of ower. 6 horns ( 0y -a!orite. > Trumpets, /lto sa%, Tenor sa%, Trombone 5 #ari sa%. onsidered by many to be a 1small big band.1 Ru"e &, there are no ru"es' ! horn section can +e any size and com+ination' #isten, i- you "i%e a horn section sound, use the same size'
Random thoughts a!out oicings & ' horn, ( horn and ) horn e"ampes #ith a fe# more random thoughts* Voicings convey emotion' 7n"ess you rea""y rea""y ant it, ne ver have the root o- a ma8or9 voicing on top' Ru"e &, there are no ru"es' I- the chords are 1(1ma89(19(16, the Trom+one p"aying the
descending "ine ith the trumpet ho"ding a .1. an octve higher sounds go od' 0or -ast moving "ines %eeping the voices tighter or%s +est' 0or s"o moving pads %eeping the voices spread or%s +est' Try not to repeat hamony notes un"ess matching the me"ody'
' Horns (
7nisons ( +trong
:ctaves ( +tronger.
Thirds ( Thirds and Siths are interchangea+"e'
Siths
0ourths ( / distinct sound, not a !oicing to be used contantly.
( Horns (
7nisons and octaves a"so app"y to 3 horns' 3nisons, all the same notepitch. Octa!es, trumpet the upper octa!e and trombone the lower octa!e. 4hich octa!e the middle !oice plays depends on the instrument, the range of the notes and what sound you want. If a trumpet is the middle !oiceinstrument he would probably play the upper octa!e with the 9st trumpet. $epending on the range of the melody (top of the staff for the trumpets), possibly a !ery powerful sound with the trombone an octa!e below. $epending on the range of the melody, maybe an alto sa% would play the upper octa!e while the tenor sa% would play the lower octa!e.
Triads &
Triads 2
Triads 3 ( this is the one I would use. It uses the 1color tones,1 in these e%amples the middle !oice. In the first group of notes it uses the ?th (&) instead of the
0ourths
0ourths ( ! more contempoary R;$ voicing
) Horns (
lose the closest a!ailable note.
$rop > the second !oice from 1close1 harmony down an octa!e.
Open (my fa!) the best of $rop > and added color tones.
-ourths this !oicing isn2t used much in this style of music. -or me, one of the things I lie about well!oiced horns is hearing the
+ore Random thoughts ( 4ith only > or < horns you can2t always co!er the melody note and the
Arranging St$es hicago ( Trom+one "ead' 7nisons, octaves, thirds, siths and tenths '
' *emphasis intended Jerr$ He$/Sea#ind Horns ( ! youtu+e o- ?erry and his guys ma%ing it c"ear hy they@re the +est' ?erry Wor%in@ Aay and Bight Staccato' 5ths 0"uge", -"ute ; trom+one unison' Transcri+ing is a great ay to "earn' Here@s some o- my ?erry Hey "earnings, transcriptions ith some horn voicings' $"ac% ; $"ue ( !" ?arreau $oogie Aon ( !" ?arreau I@ve Had 4nough ( 4arth Wind ; 0ire In The Spirit ( $o+ ;
Starting to #rite Before the pen hits the paper .od schoo % Is the song instrumenta" or are the horns +ac%ing up a voca"' In an instrumental the horns tae a much more prominant role, the horns play the melody. #acing up a !ocalist the horns tae a supporting role to the singer. 0eaning, more notes for the instrumental, less notes for bacing up the !ocalist. Is the arrangement -or a night"y per-ormance or a one time recording
1onsiderFBndurance for brass players. 7ecording gi!es the option of punching ino!erdubbing that li!e doesn2t. 3nlie the old days of recording from start to end, today we can 1punch inout1 to startstop recording at a certain part to allow a brea for the horns to catch their breath or e!en record indi!idual notes that need to be fi%ed for a multitude of reasons, assuming it2s not 'ust fi%ed in protools. O!erdubbing to double the si*e of the horn section, common for one horn section left, one right. If for recording, +tudio Trics lie ha!ing the horn section bounce from one side to the other, digital delay to gi!e the horns a sound as if echoing away. The +est arrangement p"ayed +ad"y sounds orse than the mediocre arrangement p"ayed +y good p"ayers' +ure, if you li!e in Los /ngeles and hire 6erry "ey, huc -indley, &ary &rant, Larry 4illiams and #ill 7eichenbach to play your stuff, you can write the unplayable and ha!e it sound perfect on the second tae. 3nless the actclient taes the same guys on the road, things might get a little shaey. If the actclient hires musicians in the towns they perform, it gets e!en shaier. The best arrangement played badly sounds worse than the mediocre arrangement played by good players. We"" prepared music !#W!ES reduces rehearsa" time and improves per-ormance' 0or the printed page, !rticu"ations are your -riend' Write eng"ish on your parts so the horn p"ayers have a +etter idea o- your concept' 1Cuic short fall1 te%t along with instead o f 'ust the musical symbol for a fall. In slow bluesy songs it2s common for 1long dirty fall1 to be written. Te%t lie 1with bass1 or 1with gtr1 to let a horn to match with them. Ao you %no the horn p"ayers, i- so, rite to their strengths' Trumpet player got some chops, use them best. an he nail notes out of nowhere or does he need a little leadupD 4ho solosD +olos in the correct styleD Tenor sa% player double on #ariD !re the trac%s a"ready recorded You can double something or write to match something (synth, guitar, eyboard, etc.) already recorded. "orn hits with snare drum hits. Rhythmic pattern the horn section p"ays together' Intro on #+5T2s +pinning 4heel.
0istening ( /s much as you can. Toer o-
1hicago $"ood Seat ; Tears $"ues $rothers Seaind $rec%er $rothers *0usion ?azz 0un% Ee""o8ac%ets *0usion ?azz Horace Si"ver *:"d schoo" ?azz !rt $"a%ey *:"d schoo" ?azz Have you "istened to a"" the youtu+e "in%s yet
Resources ( $i"" Ao++ins ?azz !rranging and 1omposing, ! #inear !pproach' !dvance )usic' Aic% Drove !rranging 1oncepts 1omp"ete' !"-red
Hope-u""y this i"" give you a great starting point' Write as much as you can, and hear it p"ayed +ac% +y rea" musicians, nothing teaches +etter than hearing hat you rote' I- you@re not a horn p"ayer, "et the guys give you their 2 ce nts on your parts'
-reparing The Score/-arts to print ( Hand score/parts or computer score/parts omputer. 1oncert or transposed arts, ob!iously, +cores is up to onductor. Score :rder Traditionally big band is alto, alto, tenor, tenor, bari. Trumpet 9, >, <, 8. Trombone 9, >, <, 8. 7hythm section. 0any use that as a guide for smaller horn sections, 'ust remo!ing what isn2t being used. I personally lie putting the horns in order for tutti !oicings. E horns F trumpet9, trumpet>, altosa%, tenorsa%, trombone, barisa%. Aoes anyone copy +y hand anymore Rehearsa" #etters/)easure Bum+ers' I use measure numbers on the beginning of each staff unless it2s a one time recording (ie. time is money), then I use measure numbers on e!ery measure. 7ehearsal letters always on left side. I put lyric cues with the
rehearsal letters for the band. Bot a ru"e, +ut try to %eep the music spaced even"y at 5 measures per +ar' )a%e it c"ear regarding p"aying 2nd >, AS a" 1oda ith or ithout repeat, etc' 7sing $ig $and parts -or 3 horns ( )y advice, 122R do this' It@s common in +ig +ands -or the "ead instruments *trumpet &, a"to &, trom+one &to p"ay the same note in di--erent octaves' When using the 3 horns it i"" sound "i%e unisons/octaves and rather empty' !"so, any so"os or me"odies on any o- the other parts on@t +e covered'
Thanks to a post on Reddit I@ve +een getting a "ot o- hits' I@"" try and anser a -e othe uestions as%ed there' #T4, I2m not the one that posted the lin ' 0"uge"horn mutes, yes there are such a thing' Aon@t rite -or them un"ess you %no the p"ayer and have con-irmed he has one' Cenny D ; San+orn''' Ees, a"though there are many many "egends +e-ore them, Cenny ; Aavid are pro+a+"y +etter %non and +rought their instruments to a ider auidence' Ho many a"to p"ayers ant to or unintentiona""y sound "i%e San+orn' I- p"aying 5 voiced arrangements at a -ast pace ou"d +e )ud 1ity, p"ease ep"ain SuperSa or any +ig +and sa so"i +y Aon )enza' )y opinion is the -aster the tempo, the c"oser the voicings' It@s the ide open spread voicings that sound so "ush in +a""ads that muddy the city at -aster tempos' Trumpet range''' I used to p"ay don to $+ concert to octaves +e"o midd"e 1' 7n"ess a trumpet -arting sound as reuired, riting those notes ou"d have +een a mista%e' 1an the trumpet p"ay higher than the 0 concert I rote' :- course' $7T, %no the p"ayer *or +and' The root o- the )a89 on top, props to $igJStar -or giving a +ig anser' Try not to repeat harmony notes''' The harmony notes ou"d +e the 2nd horn, 3rd horn, etc' o- the section' I- the me"ody goes 1($(!($(1, a"though correct notes o- the chord, try not to have 2nd horn p"ay D(D(D(D(D and the 3rd horn p"ay 4(4(4(4(4'