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NCLUDES A COMPACT DISC OF 50 EXAMPLES OF ARRANGING TECHNIQUES

EATURES SCO RIN G FOR 2-, 3- & 4-PART VOICES SCO RIN G BEHIND A SOLOIST VOCAL & REHEARSAL TECHNIQUES VOICE-LEADING CONCEPTS

Escola Superior de Música de Catalunya Biblioteca

1052035566

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W R I T I N G

J I MMY

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V O C A L

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A R R A N G E M E N T S

J O Y C E T h is r e v is e d e d it io n o f A GUIDE TO WRITING VOCAL ARRANGEMENTS WAS

CONDENSED, UPDATED AND REWRITTEN BY FRANCIS HOBBS, ASSISTED BY DAVID JOYCE AND BETTY JOYCE.

f l COM PACT

û m DIGITAL AUDIO ENCLOSED

ALFRED PUBLISHING CO ., INC. LOS ANGELES

Dedicated to: Mrs. Miriam C. Jo y ce, my mother Ms. Estelle Moll, my piano teacher Mrs. Tena Rone, my voice teacher Mrs. Betty Perkins Jo y ce, my wife

Copyright © MCMLXXII by First Place Music Publications, Inc. All rights reserved.

Printed in USA.

Exclusively distributed by: Alfred Publishing Co., Inc. P.O. Box 10003 16380 Roscoe Blvd. Van Nuys, CA 91410-0003 “Fools Rush In (Where Angels Fear to Tread)”. Words by Johnny Mercer. Music by Rube Bloom. Copyright © 1940 (Renewed) WB Music Corporation. All rights reserved. Used by permission. “Day In, Day Out”. Words by Johnny Mercer. Music by Rube Bloom. Copyright © 1939 (Renewed) WB Music Corporation. All rights reserved. Used by permission. “More Than the Stars”. Copyright © Goldman, Grant & Tani, Inc. Used by permission. All rights reserved. “Kyrie Eleison”. Words and music by Richard Page, Steve George and John Lang. Copyright © 1985 Warner-Tamerlane Publishing Corp., & Entente Music. All rights administered by Warner-Tamerlane Publishing Corporation. All rights reserved. Used by permission. “Tell Me”. Words and music by Jay Graydon, AI Jarreau and Greg Phillanganes. Copyright © 1984 by Garden Rake Music, AI Jarreau Music, WB Music Corporation and Poopy’s Music. Rights of Garden Rake Music and AI Jarreau Music by MCA Music Publishing, a division of MCA Inc., New York, NY 10019. Used by permission. All rights reserved.

ISBN 0-88284-471-7

TABLE OF CONTENTS Chapter One - Vocal Fundamentals Philosophy and Approach .........................................................................................3 Where and How Voices Sound ................................................................................4 Children’s Voices .......................... ............................................................................... 7 What is Good Singing? ................................................................................................9 Know Your Singers.................................................................................................... 10 Chapter Two - Distribution of Voices Doubling ...................................................................................................................... 12 Voice-Leading ............................................................................................................. 19 Chapter Three - Treatment Intros and Endings ....................................................................................................27 Vocal Background ..................................................................................................... 32 Rhythmic Concepts.................................................................................................... 39 Chapter Four - General Writing Considerations Scoring Techniques ................................................................................................... 49 Rehearsal Techniques................................................................................................55 Creative Discipline .................................................................................................... 59 A Summary .................................................................................................... .............6l Appendix A - “Tell Me” (Graydon, Jarreau & Phillanganes/arr. D. Jo y c e ) .............. 62 Appendix B - Charts from B asic H arm on y a n d Theory Applied to Im provisation (Dick G r o v e ).................................................................................................... 7 2 C om pact Disc Program ........................................................................................ 8 2

Chapter One

VOCAL FUNDAMENTALS Philosophy and Approach The human voice, properly used, can produce beautiful sound. Add the soul and training of the musician and it becomes a beautiful musical sound. Combining the various qualities, textures, and ranges of sound in such a way as to make beautiful music is the role of the choral arranger. In arranging for voices, the result is what is important. There is no “right” or "wrong" way to do things! One arranger may choose to use the piano when writing, while others may not. Some very fine arrangers have little use for the keyboard, translating their musical ideas directly to the score page. This is the ideal, in that one step has been eliminated, but this does not make the arranger who uses a piano or guitar “wrong.” It is true, however, that some ways are easier than others. It is possible for the arranger to form his ideas mentally and teach the vocal parts to the singers directly. This method may prove to be time-consuming and tedious, but it cannot be considered “wrong.” However, this is not to say that he shouldn't carefully analyze his method with a view to improving it. It has been said that one of the intriguing things about painting is that each stroke of the brush is unique, never again to be duplicated by any other human being. Different, like thumb prints, brush strokes are an extention of the person who creates them. The arranger should think of himself in the same way. He takes a musical idea, molds it into form, colors it with sound, and injects something of himself into it— making it a worthwhile contribution. Remember, it is the artistic result that counts! With the proliferation of home multitrack studios and the variety and sophistication of today’s recording equipment, we can turn every session into an opportunity to experiment. One voice recorded a few times or a small group of voices can create an infinite variety of sound and color. Arrangers and producers are turning to the “hunt and peck” method of vocal arranging: they are doing more exploring with vocal arrangements, and have consequently enriched the variety of styles used in contemporary music. Like making soup, they add an ingredient or a part at a time until it sounds just right.

4

Scoring for Voice

In recent years, voices have been used in unusual and distinctive ways. Artists such as Chicago, Take 6, and Peter Gabriel and producers like Quincy Jones and David Foster have consistently used voices in unique and interesting ways. These artists, and many others, have remained at the forefront of popular music. They are a testimony to their musical knowledge and individuality. Contemporary musical styles are constantly changing, and the arranger should be aware of what’s going on. Musical trends can best be followed by listening to what a wide variety of artists are doing. It is comforting to note that many new trends have a definite relationship to what has happened before. An awareness of many musical styles is invaluable.

— Learn so you’ll last! —

Where and How Voices Sound’ One of the most important prerequisites for vocal arranging is an understanding of "where" the voices sound. Many experienced instrumental arrangers, while having a thorough understanding of instrumental scoring, are often confused about voice ranges, timbre and placement of the written note in vocal arranging.

The Written Note To begin, let’s take one note— middle C— and relate that note to the various voices. Keep in mind that all voices sound where they are written, except for the tenor. Because the tenor sounds an octave lower than written, you need to write the part an octave higher to obtain the desired pitch. Therefore, it is advisable to use the treble clef to avoid having to use so many ledger lines. In Example 1, notice how the various ranges relate to middle C.

Ex. 1 (Treble Voices)

(Baritones/Basses) o

(Tenors) o

--------- r V ---------------------------- F ~ -----------------------------

J

9

8

Middle C (Treble Voices)

I

J>

(C below Middle C) (C below Middle C)

(Piano) = i—

S > ........._

--------------------------Middle C

(Piano)

;

| --------- --------------------------------/ — ° -----------------

(C below Middle C)

J

Middle C

H "O '

-1

-------- f V . ----------------------—

(Basses) —

(Piano)

1

Middle C

Middle C (Tenors)

1

(Piano)

■

— t r (C below Middle C)

1

n r ---------------------------

--------- ' —

“

----------------

(C below Middle C)

Vocal Fundamentals 5

Voice Ranges In Example 2, the ranges listed are conservative guidelines for the arranger to consider. The whole notes are safe for a group of almost any size, and the quarter notes represent the ranges that may be used if the group is large and of good caliber. As a general rule, the smaller the group, the more conservative the utilization of extreme voice range should be. In other words, your arrangement will be more effective if you shrink your mental range chart relative to the size of the group— the smaller the group, the smaller the ranges to be used.

E x. 2 Soprano

Alto

Children

Tenor

i

Bass

It is common to find singers who have the ability to exceed the so-called norm of a range chart. Range charts can be misleading. A trained soprano can sing a high C, and a good bass can sing a low C. The wise arranger should be cautious in using these extremes, at least until he is well acquainted with the abilities of the singers. The use of falsetto greatly expands the range of male voices. It can allow the male range to extend far into that of female voices, but some change generally occurs in tonal quality. A skilled singer can go from his “true” voice into falsetto with a minimum of change in quality, it is not uncommon for some male singers even to exceed the range of female singers.

Timbre Full understanding of the variety in the tonal quality of voices is as important to the vocal arranger as concept of color is to the painter. Every singer has his own special timbre or tone color. The timbre of the contralto is different from that of the soprano, and the vocal quality of the tenor is lighter than that of the bass. Generally speaking, a pitch will have more power and a different tone color when sung by men than when the identical pitch is sung by women.

§

Scaringfo r Voice

It is important to appreciate the difference in the tonal quality of women in full voice and men in falsetto when both are singing the same tone. Men can go into falsetto and double the female voices deliberately for musical effect. Male voices in falsetto create a “harder” sound than females singing the same pitch and achieve a more dramatic result. See Example 3.

E x. 3

s

it

Gmi

Ami7

Bmi7(b5)

C7(sus4)

C7(sus4)

----- — 14----s----- ------------- s— ••— , m — —^-,s> — — — — --------------- — ----- m— - —

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A

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HH

Whole

J

up

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Whole

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-------------------------------------------(Falsetto)

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q —

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do D O

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=

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^

you

(Falsetto) jQ_

-O-

EE

Relating Voices to Instruments As a guide to developing a concept, the instrumental arranger can better understand the complexities of range, tone quality, and the subtleties of voice texture by relating these to musical instruments. His knowledge of brass instruments may come to his aid when he relates trumpets to women’s voices, and trombones to men’s voices.

sopranos — trumpets altos — fliigelhorns tenors — tenor trombones basses — bass trombones Although trombones and men’s voices are not identical, they are similar enough to help understand the voices of men. Likewise, trumpets and women’s voices are similar enough to help you to form a better concept of how women's voices sound. The instrumental arranger’s own concept of range, timbre, and what makes for good brass voicing can be of great aid when writing for voices.

Vocal Fu

Say, for example, that the contraltos are your flugelhorns. Although the fliigelhorn has a wide range, its timbre is slightly lower and richer than that of the trumpet. To make the most effective use of the instrument, the arranger would not write as high for the fliigelhorn as he would for the trumpet. This is also true when writing for contraltos. They are your flugelhorns, lower and richer in timbre, with similar limitations. The same guidelines that an arranger uses in regard to voicing trombones will generally apply when writing for men’s voices. It is advisable to avoid voicing trombones too low. The same applies to men’s voices. The resulting “muddiness” may be a desired effect but, generally speaking, it should be avoided in trombones as well as in men’s voices. Once the arranger has a good concept not only of where the voices sound, but also how they sound, he is able to go about his work with new confidence. When he puts notes on paper they will tend to “sound” as he writes them, for he already hears them in his mind— not just the pitch, but the tonal texture as well. H e know s w here a n d how the voices will sound!

Children’s Voices Children do everything right in producing vocal sounds, from the moment they are born. The baby's first squall, as he leaves the mother's womb, is vocal sound produced to perfection. From that moment on, children learn to use their sound-making equipment by listening to the people around them. As they grow older, they daily pick up speech characteristics of those closest to them. The child naturally makes the musical sound of singing based upon his own speech. Never let it be an y other way. This is why the sound of children's singing is so pleasant to our ears— pleasant, that is, until we adults begin tampering with perfection and try to "teach" them to sing. The only coaching that children should receive in regard to singing is to keep them “on their speech.” Encourage them to sing the way they talk. Never let them strain their voices in an effort to sing notes that are out of comfortable range.

Ranges Children’s voices come in two sizes— alto and soprano. Many of us don’t realize that girls can sound like boys and boys can sound like girls! There is also no difference in tone quality.

•

Scoring fo r Voice

Boys and girls sing in the same register as female voices. Children’s voices should be categorized low or high, alto or soprano, rather than boys or girls. Although ranges can vary with age, use example 4 as a guide in writing for children. E x. 4 Alto

Soprano

Large Group

Small Group

In commercial work, the natural untrained sound of children’s singing is generally desired. It is important not to exceed a certain set of median ranges, especially for unison singing. Choose a key for unison singing so that you need not exceed the range of either the sopranos or the altos. If you stay within the limits of A below the staff and D on the staff you will be safe with a large group. If the group is small, it is wise not to exceed the C above middle C. In writing for children, the arranger influences children’s earliest singing habits. He will not gain any advantage by exceeding their normal ranges. When the range is too high, a child will sing either poorly or not at all. Therefore, the responsible arranger carefully considers his work with children and recognizes his impact.

Rehearsing with Children Rhythmic accuracy can be affected by the manner in which children are coached and rehearsed. They seem to have a natural tendency to rush— especially very young children. Rehearse under tempo as much as possible, with emphasis on the lyrics. Have them talk the lyrics with the correct vocal inflections, bringing out the meaning. This is very important, for it will coordinate pronunciation, bring all the consonants together, and keep them on their speech. Continue to rehearse slowly, but gradually bring the tempo up to just under the correct one. Save the proper tempo until just before the performance or recording. Following this procedure will ensure musical and rhythmic accuracy, while preserving that wonderful youthful charm of their voices.

Vocal

What is Good Singing? Even though this book is concerned with choral arranging, it is important that the basic concept of correct singing be fully understood by the arranger. The only parts of the human body really used in singing are the windpipe and the larynx (voice box). The head, throat, and chest give the voice its color, but all you really need to make sound are the windpipe and the larynx. The human voice is similar to a clarinet: the air column or windpipe is the barrel, and the voice box is the reed of the clarinet. The air column should be untouched and unchanged when singing tones of varying pitch, just as the clarinetist’s instrument remains unchanged as he plays. In other words the timbre and tonal quality of the singer's voice should remain the same throughout his entire range: there should be no chest, middle or head register. What kind of blend could be expected from a woodwind ensemble if the clarinets changed tone quality in the various registers? The same holds true for a choir or small vocal group.

Singing is Speech The sound of a singer's voice should be based on that of speech. The clarity of lyric, quality of tone, cleanliness of intonation, precision of pronunciation and the performance style of your choir is derived from the foundation of speech. The concept of singing can be approached from the standpoint of “speaking a lyric,” rather than just singing a tone. The soprano singing a high C or a bass singing a low C need not struggle for the note, but instead should understand the concept of speaking the lyric— which just happens to be in an extreme register. Mrs. Tena Rone, one of Hollywood’s most respected teachers of voice, encapsulates her concept of correct singing in the phrase “the breath goes before the tone, a n d is fo u n d e d upon speech.”

The Break If the singer has a tendency to “change voices” for the higher register, and if the tone at the point of change becomes hard, it is distortion-prone for recording purposes and will not blend. For instance, if the soprano’s break occurs at D above middle C, and anything above that point becomes harsh, consider her top note a D and call her a first alto. If, on the other hand, she has learned to shift smoothly over her break, and her tone (although perhaps of different quality) is

Scoring fo r Voice

not hard, you could classify her as a soprano. The ideal is the soprano whose singing is even from top to bottom, and based upon speech. This principle should apply in your classification of all the vocal ranges.

You Can Help Many of the singers you will interview may not have Mrs. Tena Rone’s concept of correct singing. Too often, many young singers are asked to sing in some unnatural manner to produce a desired musical effect. We all need to be aware that damage, even permanent damage, can result from the improper handling of voices. You will have done your singers a great service, so far as their music careers are concerned, if you encourage them to sing in a manner based upon speech.

Know Your Singers The better you know the abilities of the singers for whom you are writing, the better the final product will be. What are their range limitations? In what musical styles are they well versed? Do they read music? Do you know what you really need from each singer? The only way to know their capabilities is to have each one sing individually for you.

Relax Plan a private interview with each of your singers on a comfortable and leisurely basis. Be sure to allow plenty of time for each audition. See that the individual’s possible feelings of nervousness do not disguise or hide talents and qualities that you may be able to utilize in the future. Make every effort to put him at ease. When you feel that he is relaxed, ask him to sing songs of his own choice with which he feels comfortable and that will best show off his abilities. You are your own talent scout, so be a good one!

Solo Capability Soloists— good ones, that is— are pure gold. The use of solos can make your arrangement more effective, so this could be your first consideration. Categorize each singer's range, quality, conception of styles (the last being most important), and note his general musicianship and ability to sight-read. If you are in search of versatility, have him sing songs in a variety of different styles.

Sight-Reading If a singer’s ability to sight-read is important to you, Example 5 will serve as an indication of his skill in reading intervals. The example should be sung at the advised tempo. If this proves impossible, permit him to read it at his own tempo, or as a last resort, one note at a time. If the singer is not able to cope at all, play it on the piano several times to test his memory and ear. You will find that sometimes the singer who can’t read the exercise has such a fine ear and memory that he is only a step behind the strong sight-reader, and therefore valuable to you! You can’t afford to pass up talent just because of poor sightreading ability when other qualities, such as a good voice, a strong ear, musicianship and intelligence make up for that shortcoming. E x. 5

(sight-reading test)

J =120

Tempo

I7 0

(a) Bah

[ i It 4 = te = = bah

bah

(b) bah

L -e---------------------- —

bah

ii

bah

— •—

bah bah

o .....

= \

— &

bah

6

(d)

(c) bah

bah

bah

bah

9-5-------------1— —

bah

bah

bah

----------

bah

bah

There are many books on the market that feature syncopated exercises for brass or reed instruments, which are excellent for gauging a singer's ability to read rhythmic figures. A trombone book is best for basses since it is written in the bass clef; trumpet books are best for tenors, contraltos and sopranos. Be sure to use the same exercises each time so that you have a fair basis for comparison. It is also a good idea to use arrangements that are similar to the music you intend to use.

Choosing Depending on your specific project, you may wish to consider a variety of additional qualifications. For example, does the singer have good stage presence? Does his voice blend well? Another thing to consider might be the singer’s ability to take direction and work well with others. As a final thought, it is helpful, for your own retention, to record the auditions. This will aid in both the current and future selection processes.

1!

a---------- 1

fcJ

Chapter Two

DISTRIBUTION OF VOICES Doubling If there is a key principle in writing for voices, it is doubling! There is the doubling of tones in the chord structure, usually in octaves, by female and male voices. There is the doubling of identical parts by recording with multiple tracks. The accompaniment is often used to double the chorus. But the most important kind of doubling is the n u m ber o f voices on a part. If you are writing for five voices you could provide five separate harmonic parts. But the way to make those five voices sound like more people is to distribute them over two or three parts, or have them sing in unison. The more singers on a part, the bigger the sound will be. The complete harmony can be provided by the accompaniment. The larger the chorus the more you may deviate from this idea, but the principle of doubling still applies, even in large groups. Naturally, when singing a cappella, the basic harmonic structure should be fully expressed, but the principle of doubling or distributing your singers over as few harmonic parts as possible still applies.

Unison Unison singing is the simplest and most effective way of conveying melody and it is the best expression of the principle of doubling. All the singers share one part or sing in octaves. Unison may be the simplest way for the arranger to express the melody. Knowing when to use unison and how to use it effectively is comparable to a good comedian’s sense of timing. When simple quietness is called for, unison is almost always the best answer. The tessitura, or general range of the majority of notes in a melody, should be placed just above the middle range of the voices used. Although the males cannot be expected to sing quietly at the top of their range, it is possible to sing high but softly by using falsetto. Knowledge of where the voices sound will aid you in making these decisions. Consult the range chart in Chapter One.

DistribuHam tf *x

b

15

Two or More Parts The principle of doubling, or putting as many singers as possible on a pan. dictates that the harmonization of voices be simple. Resist the feeling that you are “wasting” singers when they are doubling. Don't feel that because there are eight singers, for instance, you are “wasting” them if you don’t have eight separate parts. Simplify the harmony to two or three parts and let the accompaniment take up the slack. See Example 6. E x. 6

0

(strong) C

—p—

B D/C

^ V _ /_h = i - , r ,] — f— E

^

Just

say

(stronger) C

D/C

p . i H >

/

— e----------------------------------h> .. o

—

i^ —

^ = f

the word. (unis.)

r—

— &-----------------------------•’ --------------------------;

e

Just

say

the word.

Just

say

the word_

f

£ Just

/ .

say

the word.

J - .P -f

.y

V:

—

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—— ¡X

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............................

mm f

.

JÛ L _ _ _ _ _ --------------------------------------------

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'8

f fc -â n o

Two-part writing is probably the most common method of harmonizing a melody. The second part's emphasis should be on melodic line rather than harmonic structure. Strive to make that line as melodic as possible. If the second line expresses the harmonic structure in addition to being a good melodic line, this is ideal— but your main concern should be the melodic content. If the piece is sung a cappella, take care in establishing the basic chord structure. Even then, the harmony line should be like a “second melody.” When you strive for a good melody line without regard to the harmony, it is important to have the accompaniment state the chord structure completely. With the chord structure completely stated, you have more freedom to experiment

14 Scoring fo r Voice

with extensions of chords (ninths, elevenths, etc.) in the harmony line. Example 7 is a two-part harmonization that will only work if the accompaniment is full and completely expresses the harmonic structure. E x. 7

Mulberry Bush

Shuffle Gmi7/F co

•a

L i2 ~

co

-s— < LA

-

Ami7/F

Gmi7/F

Gmi7/F

■S— + = -----------1 ------* ----------- W------j i

01is ro ar

H PQ

-O : : 1 ^ 4 ^ = 4 fc = f! =

arid dolls i i

r

—

Ami7/F

■S— *•-------------- J • e1-----------ÿ — 4P---------- 4*

that siilg

w ill

pi ay

their

in

-

Vi - ta

F------ — ! ç =

^

Gmi7/F

-

titjn

r

?

Ut.........

Example 8 is another approach to harmonizing in two parts. This basic two-part interpretation of the harmonic line is a quasi-countermelody that helps to outline the basic chord structure of the piece. E x. 8 Mulberry Bush Shuffle Dmi co
— . - .... . -» ---- 1

>

Just

saly

i- '

unis.) f ^ -- V j n * 1—. . j0-Ci.- .- - - .- - - -.-.-.-.- . .- .- - - i5-.. .. f1M s r= f ^ = £

/ b --H (p y i

j a »------a ----->------

B B

) ..

I ■ J -. . - H

>

I

---

Ly

tlie word

p -J

----------------- -

tlie word_ _Q_

M

(= .h H

^

t o bHB

= . .......... .... .

3

/

/

[ / \

I

3*=

'— f

the wore

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= H

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--- — e-------------------o

In Section A, the harmony is open and the accompaniment has its own line. In Section B, the harmony is closed. There are several reasons that section B is stronger. • With the harmony closed, the men sing in the upper register of their voices, where they have more power. • The melody is doubled by the sopranos and the basses, both of whom are in strong registers. • The accompaniment duplicates the chorus. • The root C in the second measure of Section B is omitted from the choir and is supplied by and heard strongly in the accompaniment. • There are six separate harmonic parts in Section A, which means there is less doubling.

Scoring fo r Voice

If you enjoy the luxury of arranging for a large group, you can be more daring in distributing the harmonization. The more parts you have, the greater the need for high caliber singers. A choir of more humble ability will have a better chance of sounding good if the harmonization is kept simple and there are as many people on a part as possible. A good choir will sound even better. It is important for the arranger to understand that the value of the principle of doubling diminishes proportionately as you add more harmonic parts. Resist the temptation to add other notes to the chord or to distribute the harmony too widely. Remember, strength is doubling!

Range Range can sometimes have a significant impact on the strength or weakness of your work. This applies to vocal ranges as well as the range of a particular piece. Usually, when singers are in their upper registers, they tend to have more strength. A triad in the upper register of the female voices, doubled an octave lower by the men and reinforced in the accompaniment, is pure power. On the other hand, if the vocal range or melody is too low, a part can be noticeably weak. This situation makes a good case for weighting the melody. Example 14, for eight voices, takes strength, range and weighting the melody into consideration.

Ex. 14

, .

A

B

C

D

---------------- 0 ------------------------------- ----------------0 ------------------------------- — ~ J L —

— —

^

^

—

I

Z

—

r ----------------------------- -

-

—

[

11

o ------------------------------( 0)

p

g

E

E

=

c t e ------------------------------- — f — (3 )----------------—

]

—

1

In Measure A, each of the singers is on a separate part, with the exception of the sopranos, who are both on the note D. Measure B is stronger because the men are in a higher register. Measure C is stronger still because the men are in a good register, and the top tenor is doubling prime unison with the alto on the third of the chord. Measure D is strongest of all because all the men are at the top of their vocal range, and they are distributed over only two parts. The accompaniment provides the lower range of the D chord used here, creating the illusion that the chorus has provided the full spectrum of the chord.

Distribution v Vcmxs

With the variety of aspects to consider when approaching a piece of music, you have many choices to make. Making appropriate decisions adds strength and power to your writing.

Voice-Leading The professional arranger, rushing to meet a deadline, sometimes doesn’t have as much time to devote to voice leading as he would like. The so-called “hot” chords that were so common in the music of the 1950s are here. They never left! The important thing to remember is that any chord is valid in today’s music. It is the voice that leads to that chord that counts. Try to avoid making a line move awkwardly in order to provide that “hot” note in a chord. Present-day music includes more involved harmony than that of a few years ago, but good voiceleading makes it understandable, even to the uneducated ear. The important thing is to see that each vocal line goes where the ear wants it to go— this makes for good voice-leading.

Every Line a Melody Try to make each harmonic line move so smoothly that it is like another melody— perhaps even better than the main theme. Play the melody on the piano with the accompanying chords, and sing your prospective harmonic line against it. If you like it, write it down. Don’t worry about how it looks on paper, or how it sounds on the piano, for the piano is not representative of vocal sound. Establish the ending point of each phrase first; then, taking each line separately, try to find the most singable route to that point. Take into consideration the vertical alignment of the last chord of each phrase. It’s how you get there that matters. In the days of the jazz vocal groups of the 1950s, singers often had difficulty with inner harmonic parts. Jokingly, they were told to “think of them as a melodies.” This was funny, because it was common for vocal lines to be virtually unsingable. Now it is the arranger’s turn to think of every harmonic line as a melody, making each line as singable and as melodic as possible.

Scoring fo r Voice

The traditional tune found in Example 15 is recognized by almost everyone and is a good example of melodic writing in each line, with movement in each part that coincides with the movement of the melody. E x . 15 “When the Saints Go Marching In’ Gmi Rubato

Cmi

Gmi

Cmi

t Oh, when the

Saints,^

oh, when the

Saints, _

oh, when the

Oh, when the

Saints, _

oh, when the

Saints, _

oh, when the

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In Example 16, note that the tenor moves from a B-flat on the word “chance” to a C on the word “for,” and then back to a B-flat on “m e.” This gives that line a little more movement. Also, the soprano line is divisi (an Italian word meaning “divided”) on the word “care.” Why not the alto line? Even though it could be argued that splitting the sopranos at that point weakens the melody, it is more natural, and makes better voice-leading if the sopranos divide.

be

D istribution ufY -A ns 21

E x. 16

“Fools Rush In” C7(b5)

Words b-v Johnny Mercer Gm7/C

C9

Gm7/C

Cm7/F

Muslc by Rube B,oom

Strive for Movement You will find that a static line doesn’t work as well as one that has movement. Strive to think horizontally and focus on the entire phrase, rather than just on a “juicy” chord here and there. When you realize that in one of the parts the same note is repeated two or three times, you will usually discover that you did this in order to fill out a certain chord that sounded good on the piano. This is a time when arranging at the piano can be a trap. In Example 17, in the first chord of the triplet, the temptation might have been to give the tenors the note D on the word “start.” The chord sounded good on the piano, but improvement of the tenor line was the important consideration.

E x. 17

Abma7

Bb/Ab

Gmi7

Cmi

22

Scoring fo r Voice

Had we restricted our harmony to the B-flat chord for the entire triplet, the inner parts would not have moved smoothly to the G minor chord in the next measure. The use of a passing chord on the last note of the triplet worked well to create better lines. Also, in Example 17, the final destination is the C minor chord. Since it was the most important consideration, an effort was made to see that the voice-leading moved logically to this final landing point. Try to keep the melody in the same part throughout a phrase, even if you have to cross voices to do it. The crossing may be noted by the directions of stems, or arrows, or in some cases both. In Example 18, the two bottom parts cross one another in order to give the lines movement, and to maintain the melody throughout the baritone part.

E x. 18

“Look for the Beauty” Gmi

Ami

Bb Bmi7(b5) Gmi7/C

S ... L

j— -------------1—

—

f

Wh ole thing's

H (melody) =

f=

h

¡

M

(melody) A 1 0 : , k L

t3

i

Wh ole thing's

}

uP

i t

—

up

t□

you

=

^ H

J*

you o _ n -------- _

. >—

Distribution o f Vzmoes

In Example 19, a segment of “Oh Shenandoah” is utilized to show the value of keeping movement in each part. In the first measure up to the fermata, movement was avoided! This makes the title of the song, and also the beginning, a stronger statement. Movement at that time would have weakened the pleading quality of the lyrics.

E x 19

Oh Shenandoah” Ebmi7

Ab

o

mf> 12

Oh

S h en -an -d o

____

mf

7

I long to

Adim Bbmi7

o

Ebmi7 Ebmi7(b5) Db/Ab

Gbma7

PP

□

£ hold

o

F m ill

you

a

o

way,

we're bound a - way

way,

we're bound a - way

PP

T Oh

4

b l'| k ,

S h en -an -d o

I

— =

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Sf—

I long to

hold

F* ----- ( 3 3 7..g 1' ■w-1 -g-

you 1

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h

■ =7

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S h en -an -d o

I long to

hold

you

way,

a

J i t ___________ O_________________ 2 ____ %

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we're bound a - way

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The bottom part, whether you’re arranging for men's or women's voices, need not follow the fundamental bass line scrupulously. Forcing it to do so tends to give a character of stiffness to the writing. This is a consideration left to the arranger's judgment.

If

24

Scoring fo r Voice

In Example 20, “Bright Hello” is arranged in what can be termed clusterstyle. Notice that even though the harmony is tight, the lines are as melodic as possible. The top tenor moves to the melody on the third beat of the second measure in order to lend support to the sopranos and altos, the arranger having taken into consideration that this is in the lower part of the women’s register. An awkward line, when you are writing very close harmony, merely reveals that you have momentarily fallen victim to thinking vertically rather than horizontally. Attention to good voice-leading can keep cluster-style writing from sounding dated. When you find that in one of the lines a note is repeated in an awkward way, fix it. You can alw ays find a way.

E x. 20 “Bright Hello” Gospel Waltz Abma7

Bb/Ab

Gmi7

Cmi

Fmi7

Ebma9

r

Just

start with

a

Bright

Hel - lo

if

you

do

3

t Just

start with

a

Bright

Hel - lo

t=s Jt-----=jhM j 3

T T

:.- - M4-f Just

...

start with

a

Bright

3

Hel - lo

if

you

do

t — f= 4 l— iJ ___, ^ if

you

do

fa m

Let the Accompaniment Do the Work In Example 21, the root is omitted from the chord. This could not be done if the example were an a cappella arrangement, because the chord would sound like an E minor chord instead of a C major seventh. The reason for leaving out the

Distribution c f \xmxs 25

root is that none of the lines wanted to go there, and the root C is included in the accompaniment.

E x. 21 Fmi7 ¿

Fmi7/Bb

Cma7

) ... c-----] = -s ^ -------i-------- \}~ —O-----------------

fix

met ody Ha ve

^ ) : Lk p 1?

►•-------- Í

i bright ne w

gl DW_ h'

H

~V TT

M

Example 22, “Spring Is,” is a four- and five-part harmonization with close attention to the voice-leading in each part. Each line is as melodic as possible, and the complete harmonic structure is expressed.

E x. 22 “Spring Isv Bossa Nova

By Jack Lloyd Tom W olf

Scoring fo r Voice

Example 23 is a simpler, two-part harmonization of the same song. The complete harmonic structure is heard in the accompaniment, leaving the other parts free to be as melodic as possible, and to utilize the colors of the harmony. Sometimes what works best is to use unison or two-part harmony and let the accompaniment do the work!

E x . 23

By Jack Lloyd Tom W olf

“Spring Is”

Bossa Nova

Ebdim

Ebma7(#5)

Emi7

Dmi9

---------------------------- " -------------- -— —ú -H,-------------------------------------------------------------------- —

— a

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o

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mp

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rail.

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53

Ex. 27 Ending to “Never B e Afraid” .

mp

a cappella

ra il.________

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•

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mp /L

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o

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qT

m

o

i- h - 0 — -J- J ?------------- — ^— ------------------r— f

Z

f

■■■" 1 — «

H _

Ooh

The Fade The most comm on way o f ending a recording is the fade, although it can certainly be used in a live performance as well. Example 28 demonstrates an ending that can be used either way. You can repeat the second and third measures until they completely fade out, or, when the cue is given, the choir continues on to the ending. Ex. 28 The fade (with optional ending)

(Repeat as desired gradually getting softer) (on cue, continue to end) Fma9

F # = F ^ —J

Gmi/C

,

fe d 1 - ---------------------

Fma9

mp a — J—

•

Gmi7/C

Fma9

pp

l_^------------------- ---

o —j

r| .......... :. 3

—

pp

o r T i r v ^ ^ -----------— --------------1 > j, v > = f = F n — J------- f,------------------------ — J— '1----------------------- f .--- --- 9--------------- ©....... ............ ................5--o ------------- rt

................ - 9-----------

"

PP Ooh

—

9--------------- 9-------------------------9--------------- 9----------------------

Example 31 is a pad that furnishes the com plete harmonic structure. The movement of the vocal line is emphasized by lyrics that are related to and that complem ent the lyrics o f the solo. The rhythmic background pad is still one o f the best ways to emphasize a vocal line or a solo. “More Than the Stars,” a song from Natalie Cole’s album

Everlasting, demonstrates such a pad in a pop/jazz style. The pad adds rhythmic interest while supplying a harmonic backdrop for the vocalist. (Incidentally, Miss Cole sang all her own background vocal parts on this particular song— an easy way to get a quick blend!) See Example 32.

34

Scoring fo r Voice Words by Johnny Mercer Music by Rube Bloom

E x. 31 “Fools Rush In” chance

for

then

me

I

don't

Natalie Cole and Eddie Cole

; *

)

"■ — LJ

=M^

1

E x . 32 “More Than the Stars’'

f#

H l l — *^=§ y

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D/E

Amaj9

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w

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C/D

y

y

/

Amaj9

Ü dbt

1

Ooh_

Ooh_

?

care

Gmaj9

g

The Fill A common approach to complementing a solo is the use of the “fill”— so named, probably, because it fills the musical “holes” at the end of phrases. Although the fill can be supplied instrumentally, the vocal fill provides a special quality. Various vowel sounds offer variety, but the unique value of the vocal fill lies in the use of lyrics. Often, the fill can be a repetition of the lyrics in a solo line. If the song lends itself to this treatment, the fill is most effective because it creates an emphasis that only voices singing lyrics can provide. In addition to relating lyrically to the solo, it can also articulate the rhythmic feel of the song. Strive to relate the fill to the solo line both lyrically and rhythmically. In the unison fill in Example 33, there was an opportunity for an exact repetition of the lyrics. Example 34 shows the harmonized fill and how it can lend support to the harmonic structure in the process.

Words b y Johnn-v M ercer

E x. 33 “Day In, Day Out” (Solo)

rain

Music by Rube Bloom

come

shine

34

Scoring fo r Voice Words by Johnny Mercer Music by Rube Bloom

E x. 31 “Fools Rush In” for

chance

Ex. 32

then

m e.

I

don't

Natalie Cole and Eddie Cole

“More Than the Stars”

i.: ~ j § §

»

Í

izzi %i i *

1

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Ooh_

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m

S É

D/E

Amaj9

D/E

an

S

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i

i=t L-

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—

r=1

....... -------------------------- *-------

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/ C/D

/

y

y

Gmaj9

-----«

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/

/ Gmaj9

/

-—/

The Fill A common approach to complementing a solo is the use of the “fill”— so named, probably, because it fills the musical “holes” at the end of phrases. Although the fill can be supplied instrumentally, the vocal fill provides a special quality. Various vowel sounds offer variety, but the unique value of the vocal fill lies in the use of lyrics. Often, the fill can be a repetition of the lyrics in a solo line. If the song lends itself to this treatment, the fill is most effective because it creates an emphasis that only voices singing lyrics can provide. In addition to relating lyrically to the solo, it can also articulate the rhythmic feel of the song. Strive to relate the fill to the solo line both lyrically and rhythmically. In the unison fill in Example 33, there was an opportunity for an exact repetition of the lyrics. Example 34 shows the harmonized fill and how it can lend support to the harmonic structure in the process.

Ex.

33

Words by Johnny Mercer Music by Rube Bloom

“Day In, Day Out” (Solo)

rain

come

shine

36 Scoring fo r Voice

E x.

34

“Fools Rush

In”

Words by Johnny Mercer Music by Rube Bloom

Syllables and various vocal sounds are effective in creating a unique and often instumentlike sound. The closed sounds such as “ooh” are soft and woodwindlike, and can be articulated with any consonant. The open sounds of “oh” and “ah” are more brasslike, and can also be articulated with any consonant. The sky is the limit as to what syllables you pick, but strive to choose those that support your rhythmic concept. Note: when used with woodwinds or similar textures, the more closed sound of “ooh” tends to get lost. If you want the sound of the voices to come through orchestral accompaniment, the open sounds of “ah” or “bah” may serve better. Example 35 utilizes both syllables and lyrics. The fill also overlaps into the next phrase of the solo, contributing to the overall flow of the song.

T rS tsrW B » *'

Words by Johnny Mercer Music by Rube B k o a

E x. 35 “Day In, Day Out” Then

$ g-.

4

$

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your

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d the o - cean's

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roar.

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There are a number of ways to achieve drive and articulate the rhythmic feel with voices. The most common is the use of various vowel sounds preceded by consonants. Notice in Example 44, that even though the last three eighth notes in the second measure don’t have articulation markings, the syllables used still define the way the notes are to be sung. Choose your syllables to drive home the rhythm!

-------

44 Scoring fo r Voice

E x. 44

“Jon’s Song” Brightly

------.. J -- J -- -fi

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p'

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(c)

r —

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(3 6 ,6 1 X 3 7 ,5 4 ) E7,b9lA7,+9l 1117 bg VI7,+9

J L

(d)

measure 6

(3 8 ,5 0 )(9 ,1 0 ) D7,+9/G7,+9 / 117,+9 V 7+g

(e)

SCALE SOURCES (1) (3 ) (9 ) (1 0) (1 2) (1 5 ) (1 8 ) (1 9 ) (2 4)

-

I major scale I m elodic m inor scale V dominant 8 note scale V Blues scale I diminished 8 note scale II Dorian m ode IV m elodic m inor scale II harmonic minor scale I Blues scale

(25) (26) (29) (35) (36) (37) (38) (39) (40)

- I Dorian mode - I Mixolydian mode - Illb major scale - V Ib major scale - III Blues scale - VI Blues scale - II Blues scale - I# diminished 8 note scale - lib major scale

(4 3 ) - Vllb melodic minor scale

(4 4 ) (5 0 ) (5 3) (5 4 ) (5 5 ) (5 6 ) (6 1 )

- V llb major scale - II dominant 8 note scale - VII major scale - VI dominant 8 note scale - IV dominant 8 note scale - IV Blues scale - III dominant 8 note scale

Scoring fo r Voice 80

TABLE #16 B L U E S PR O G R E SSIO N S

(a) measure 1

1

/-I 1

(C7) / / / 17

Gmi7/C I I I V m i7/j

(43) (24,52)

(2,3,24,46)

Cmi7/f / / / Im i7/jv

(29,51)

(18)

Fmi I I I IVmi

Cmi I I I Imi

Gmi7,b5/C7b9/ Vmi7,t>5 I7b9

Fmi7 I I I IV m i7

Bb9 / / / v iib g

measure 7

measure 8

measure 9

measure 10

measure 11

measure 12

(3,55,56)

(12)

(24,26)(35,43)

Gmi7/C 111

(C7) / / /

F7I / /

F#°7 / / /

C9 / Eb9 /

Vm i7/j

17

IV7

IV#07

19

(28,29,46)

m

C m i7/fl / / Im i7/jv

Cmi I I I ¡mi

r—( 2 1 , 2 6 ) -----

¥80

measure 6

j (C7) / / / 17

Gmi7le I / / V m i7/j

(29,51)

(2,3,24,46)

181

measure 5

(Zi,Zo)

1 -■ (21,26) -■

m

(b)

measure 4

measure 3

measure 2

r

(3,25)

(40,41)

(8)

Cmi/Cmi7 ly /

Anii7,b5 / / /

A b9III

G+7 / / /

Imi lm i7/7

V Im i7 > 5

V!b9

V+7

(C )

J L

(d)

lllbg

(28,46X40,41) Cm; ) A b 9 1 Imi

-

Vlbg llbg

(18,46)

J L

(24) - I Blues scale 1 harmonic minor scale I melodic minor scale (25) - I Dorian mode V whole tone scale (26) - I Mixolydian mode Vlb melodic minor scale (28) - I Aeolian mode (29) - Illb major scale I diminished 8 note scale IV melodic minor scale (35) - V lb major scale IV major scale (40) - lib major scale (41) - I Locrian mode (43) - V llb melodic minor scale (44) - V llb major scale (46) - I natural minor scale (51) - IV natural minor scale (52) - I dominant 8 note scale (55) - IV dominant 8 note scale (56) - IV Blues scale

(11)

Dnu7,b5/G+7,b9/

Vibg

SCALE SOURCES

(2) (3) (8) (11) (12) (18) (21)

(40,41)(11) Ab9 / Db9 /

¡Imi7,b5 V+7,bg

(e)

Appendix B

265) Because these basic progressions are used over and over co n sta n tly, yo u w a n t to get to : i e p o in t where you think o f an entire progression regardless o f whether it contains two or twelve chords

ONE THOUGHT , o r ONE SOUND. T his is one o f the m ajor shortcuts and approaches th a t can really

give you a fa c ility in playing and learning charts and songs, in A L L KEYS.

266) The fo llo w in g tables are to be read th is w ay:

a) A ll progressions are stated in the key o f C m ajor o r C m in o r w ith chord symbols.

b) Those same chord sym bols are also stated using N U M E R A L S in d ica tin g the scale de­ grees on w hich th e y are based.

This enables you to transpose the exam ple in C or C m in o r in to A N Y m ajor o r m in o r key you wish.

c) Even though the chord sym bols include chords fro m key areas O TH E R than C m ajor or m in or, the N U M E R A L S id e n tify these o u t-o f-k e y chord sym bols IN THE"IR R E L A ­ T IO N S H IP TO TH E K E Y S OF C M A JO R OR M IN O R .

d) The examples in C m ajor or m in o r are to help you U N D E R S T A N D A N D ID E N T IF Y the progressions, w hile the numerals shown below are the means by w hich yo u m ay M E M O R IZ E the progressions and gain F A C IL IT Y in all keys.

e) The numbers in parentheses above the sym bols refer to the scale sources. This in d i­ cates the scale or scales you use to play h o riz o n ta lly T H R O U G H th e chords.

f) A t the b o tto m o f each page you w ill fin d the corresponding num ber and the specific scale it represents.

g) These scales are indicated by N U M E R A L S corresponding to the T O N IC o f each scale. T his again enables yo u to TRANSPO SE the scales in to all keys.

267) A n y o f the chords in these progressions, when used in a specific ch a rt or song, m ight receive fro m one to any num ber o f beats, depending on the p a rticu la r tem po, m eter and co m p osition. As a reference table o f progressions the fa c to r o f how m any beats any chord C O U LD receive does n o t effect the im portance and meaning o f the progressions. The o n ly exceptions w o u ld be the blues p ro ­ gressions, progressions 74 through 81, and the bridge progressions 70 through 73.

Scoring for Voice 82

E EX. # 3 .................................

COMPACT DISC PROGRAM

n COM PACT

(Recorded examples from the text) Produced by David Joyce

GLOSSOB DIGITAL AUDIO

..............................0:14

#27 26 2 7 ............................................................. 0:25 26 EX. #

2 EX. # 5 ................................. ..............................0:20

27 EX. #28 # 2 8 ............................................................. 0:26

3 E X .# 6 a ............................... ..............................0:11

28 EX. # 2 9 ............................................................. 0:19 #29

B EX. # 6 b ...............................

..............................0:11

3 0 ............................................................. 0:17 #30 29 EX. #

5 EX. # 7 ................................. .... ................... .....0:12

30 EX. #31 ............................................................. 0:13

6 EX. # 8 ................................. ...............................0:11

3 3 ............................................................. 0:12 #33 31 EX. #

0

EX. # 9 ................................. ..............................0:09

# 3 4 ............................................................. 0:17 32 EX. #34

8 EX. # 1 0 ............................... ..............................0:10

#35 33 EX. # 3 5 ............................................................. 0:16

9 EX. # 1 1 ............................... .............................. 0:10

34 EX. #36 # 3 6 ............................................................. 0:14

10 EX. # 1 2 ............................... ............................... 0:11

335 5 EX. #37 #37.............................................................. 0:11

11 EX. #13a............................. ............................... 0:10

#38 36 EX. # 3 8 .............................................................. 0:11

12 EX. #13 b ............................. ............................... 0:10

#39 37 EX. # 3 9 ............................................................. 0:13

13 EX. #14............ ................. ............................... 0:20

38 EX. #40 # 4 0 ............................................................. 0:12

14 EX. # 1 5 ............................... ............................... 0:33

39 EX. #41 ............................................................. 0:13

15 EX. #16............................... ............................... 0:16

#42 4 2 ............................................................. 0:13 40 EX. #

16 EX. # 1 7 .............................. ............................... 0:11

41 E EX. X .#43 # 4 3 ............................................................. 0:14

17 EX. #18............................... ............................... 0:10

42 EX. #44.... #44. ......................................................... 0:12

18 EX. #19.............................. ............................... 0:25

#45 43 EX. # 4 5 .............................................................. 0:11

19 EX. #20.............................. ............................... 0:13

44 EX. #46 #46.............................................................. 0:12

20 E X .#21 ............................. ............................... 0:09

45 EX. #47 #47.............................................................. 0:11

21 E X .# 2 2 ............................. ..... ......................... 0:13

46 EX. # #48 4 8 ............................................................. 0:12

22 EX. # 2 3 ............................. ............................... 0:14

47 EX. # #50 5 0 ............................................................. 0:14

23 EX. # 2 4 ............................. ............................... 0:22

48 EX. #51 ............................................................. 0:14

24 E X .#25 ............................. ............................... 0:17

#56 49 EX. # 5 6 ............................................................. 0:20

25 EX. # 2 6 ............................. ............................... 0:20

“Tell “Tell Me Me” .............................................................2:51

Note: I AI A | DI A nalogue tape recorder used during session recording and subsequent mixing and /o r editing; digital tape recorder used during mastering (transcription). Original analogue source contains imperfections which may becom e apparent on this digital disc.