vocal arranging tips - handout -...
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Vocal Arranging Tips & Tricks Ian Brekke – ECCO 2016
Why Arrange? Want vs. Need
• Want – “I can visualize this song being successful in an alternative setting” o Are you adding to this and/or making it better? o If it’s worse than the original, what does this accomplish? o Artistic focus/project
• Need – “My ensemble has specific requirements to make this song work”
o Is this helping my choir? o Whether it’s artistically “better” or not is much less relevant, as this is fulfilling a need. o Practical focus/project
Why Else?
• To improve at arranging and composition • To explore a new musical style • To cross or combine musical genres • To honor another composer/arranger and/or learn their tendencies
Picking A Song – Some Considerations
• Can you “hear” a song in an alternate setting? • Is it musically, stylistically, and contextually appropriate for your ensemble? • Has someone already done this? Research and listening required. • Who owns the copyright? (Hint: It’s probably Hal Leonard) • Using your knowledge of vocal music, can it be performed well by this instrument? Often this is
a matter of preference or taste. Different Styles of Arranging
• Notational/Written • Improvisational/Circle-Singing • Recording/Looping/Layering • Gray Areas:
o Adaptation (Online Example #1) o Transcription (Online Example #2)
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Foundational Changes & Easy Arranging Starters
• Style/Feel o Primarily an Aesthetic Change (Postmodern Jukebox) o Easy to try – Record different “grooves” to test quickly o Careful of creating a parody
• Major to minor, minor to Major, and Modal Writing
o Sometimes this actually supports the lyric better o Modes often work really well with pedal tones and drones
• Time Signature
o Odd meters (5/8, 7/8, etc.) are cool o A great exercise to adapt melodic content accounting for appropriate lyric setting o (Online Example #3)
• Tempo
o Faster = Simplify
• Form o It’s okay to add, subtract, and re-arrange o Not all sections of form need to be the same
• Instrumentation/Density
o Re-voice for need OR aesthetic appeal (sometimes requires change of key) o Density is often overdone – less is more o Do not fear unison and 2-part writing
• Words/Syllables
o No words? Write some! (Online Example #4) o Syllables are a vocalist’s tool for articulation – use effectively
§ Used to enhance melody, not detract from it § (Online Example #5)
o Again, careful of parody
& b 45 .. jœ œ œ jœ ˙Aut umn in New York,
Gmin7 Amin7
A Œ jœ œ Jœ œ œ œwhy does it seem so in
Bb6 C 7 .˙ ˙vit ing?
FMaj7 Gmin7 ∑ ŒAmin7 D7b9
---
& b5
jœ œ œ jœ ˙Aut umn in New York,
Gmin7 Amin7 Œ jœ œ Jœ Jœ œ Jœit spells the thrill of first
Bb6 C 7 .˙ ˙night ing
Amin7 b5 ∑ ŒD7
---
& b9
Jœ œ .œ .œ jœgli tter ing crowds and
Gmin7
Bjœb œ .œ .œb jœb
shim mer ing clouds in
Bbmin7 Eb7.œb œn jœ ˙
can yons of steel,
AbMaj7.˙ ˙
they're
G7b9
-- -- -
& b13
.œ œ jœb ˙mak ing me feel
Cmin7 Amin7 b5 .˙ ˙nI'm
Dmin7 b5 G7b9 .˙ ˙home.
CMaj7 .˙ ˙#It's
C 7 C7#5
-
& b17
jœ œN œ jœ ˙Aut umn in New York
Gmin7 Amin7
A ‰ œ œ Jœ Jœ œ Jœthat brings the pro mise of
Bb6 C 7 .˙ ˙new love
FMaj7 Gmin7 ∑ ŒAmin7 D 7 Db7--
& b21
Jœ œ œ jœ ˙aut umn in New York
Cmin7 Dmin7
.œ jœb œ œ Jœb œb Jœis oft en ming led with
Ebmin6 F 7 .˙b ˙pain
Bbmin6 Abmin7 .˙ ÓGb7 C7b9
- --
& b25
.œ œb Jœ œ œdream ers with emp ty
F min7 C 7
C .˙ Œ œhands, they
F min7 Ab7 .œb œ jœ œ œsigh for ex o tic
DbMaj7 Ab7 .˙b Œ œlands, it's
EMaj7
- -- -
Autumn In New YorkVernon Duke
©
Medium Swing
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• Re-harmonization o Change the underlying chord so the melody note has a different function
§ Ex: If the melody note is the 3rd, change chord so it functions as the 5th. o Trial and error is crucial – don’t settle too early
Effective Starter “Tricks”
• Use pedal tones/drones o Pedal tones create stability, simplicity, and naturally enhance melodic content o 5ths in men add further stability, or shift it to women for men’s melody o Choral exercise – full choir drone, shifting to closest correct note on chord changes
• Ostinatos = Motor that drives an arrangement
o Similar to style/feel in their function
• Write More Unisons o Incredibly effective for teaching blend, balance, style, and listening o Allows the ensemble to feel successful right away
• 2-part Writing
o Prioritize using 3rd and 6th intervals combined with good voice leading o Study Phil Mattson – he’s the master
• Write FOR the lyrics, not against them
• Pass the melody around
o (Online Example #6 & #7)
• Have a section or sections drop out for effect
& bbb 44 œOh,
œ œ œ œ œ œ œShen an doah, I long to
Eb œ œ œ Œ œ œhear you A
˙ œ œ œ œway you rol lin'
Abœ œ œ Œ œriv er Oh,
Eb
- - - - -
& bbb5
œ œ œ œ œ œ œShen an doah, I long to
Ab Bbœ œ œ Œ ‰ jœ
hear you 'way,
Cmi Bb˙ œ œ œ
I'm bound
Eb œ œ œ Œ œ œa way, 'cross the
Gmi
- - -
& bbb9
˙ œ œ œwide Mis sour
Cmi Bbwi.
Eb
- -
&?
bbb
bbb
Ó Œ œ
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Ó Œ œœœ œœ œœ œœ œœ œœ œœ
Shen an doah, I long toœœ œœ œœ œœ œœ œœ œœ
EbMa6 œœ œœ œœ Œ œœ œœhear you Aœœ œœ œœ Œ œ œ- - -
&?
bbb
bbb
˙̇ œœ œœ œœ œœway you rol lin'
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˙̇ œœ œœ œœ œœ
AbMa7
œœ œœ œœ Œ œriv er Oh,œœ œœ œœ Œ œœ
EbMa7
- -
&?
bbb
bbb
œ œ œ œ œ œ œShen an doah, I long to
œ œ œ ˙
18
œœ œœ œœ ˙̇
AbMa7 Bb7œ œ œ Œ ‰ jœ
hear you 'way,
œ œ œ ‰ Jœœœ œœ œœ ‰ Jœœ
Cmi7 Bb7
- -
Shenandoah Examples
©
(CLOSED VOICINGS)
(DROP 2 VOICINGS)
(SPREAD/OPEN VOICINGS)
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Process – Different Approaches Everyone arranges a little differently based on natural preference. Here are a few considerations as you figure out your own:
• Arranging from a lead sheet o (Online Examples #8 & #9)
• 7th Chord Voicings
o Closed o Drop 2 o Open/Spread
& bbb 44 œOh,
œ œ œ œ œ œ œShen an doah, I long to
Eb œ œ œ Œ œ œhear you A
˙ œ œ œ œway you rol lin'
Abœ œ œ Œ œriv er Oh,
Eb
- - - - -
& bbb5
œ œ œ œ œ œ œShen an doah, I long to
Ab Bbœ œ œ Œ ‰ jœ
hear you 'way,
Cmi Bb˙ œ œ œ
I'm bound
Eb œ œ œ Œ œ œa way, 'cross the
Gmi
- - -
& bbb9
˙ œ œ œwide Mis sour
Cmi Bbwi.
Eb
- -
&?
bbb
bbb
Ó Œ œ
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Ó Œ œœœ œœ œœ œœ œœ œœ œœ
Shen an doah, I long toœœ œœ œœ œœ œœ œœ œœ
EbMa6 œœ œœ œœ Œ œœ œœhear you Aœœ œœ œœ Œ œ œ- - -
&?
bbb
bbb
˙̇ œœ œœ œœ œœway you rol lin'
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˙̇ œœ œœ œœ œœ
AbMa7
œœ œœ œœ Œ œriv er Oh,œœ œœ œœ Œ œœ
EbMa7
- -
&?
bbb
bbb
œ œ œ œ œ œ œShen an doah, I long to
œ œ œ ˙
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œœ œœ œœ ˙̇(Shen an doah,
AbMa7 Bb7œ œ œ Œ ‰ jœ
hear you 'way,
œ œ œ ‰ Jœœœ œœ œœ ‰ Jœœhear you)
Cmi7 Bb7
- -- -
Shenandoah Examples
©
(CLOSED VOICINGS)
(DROP 2 VOICINGS)
(SPREAD/OPEN VOICINGS)
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• Accompanied vs. Un-accompanied o Accompanied works = Voices are functioning as a melodic “section”
§ Often primarily homorhythmic § Accompaniment is able to supply harmony, rhythm, counter-melody, and motor.
Voices are the featured instrument. o Un-accompanied works = Voices fulfill ALL roles
§ Melody, harmony, rhythm, counter-melody, motor § Often polyrhythmic § Use of vocal bass, vocal percussion common § (Online Example #10)
• Writing Vertically vs. Horizontally
o Vertical = Great voice leading, good for homorhythmic o Horizontal = Very “Sing-able” lines, good for polyrhythmic o Often influenced by instrumental background
• Finding your writing space and tools
o Where? With what? When?
• Record yourself o Raw ideas, scratch tracks, etc. o Allows you to experience externally vs. internally o Sibelius/Finale playback is okay, but it’s not vocal
&?
bbb
bbb
˙̇ œœ œœ œœI'm bound
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˙̇ œœ œœ œœ
EbMa7 œœ œœ œœ Œ œ œœa way, 'cross theœœ œœ œœ Œ œ œœ
Gmi7
˙̇ œœ œœ œœwide Mis sour
˙̇ œœ œœ œœ
Cmi7 Bb7wwi.
ww
EbMa6
- - -
2 Shenandoah Examples
(CLOSED/DROP 2 COMBO)
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General Words of Wisdom
• Start your arrangement at the first part you can “hear” o Hint: This is often not the beginning
• Be ready to set aside several sections/revisions of your work
o Do not throw away or delete – You will probably miss it!
• Good piano voicings are generally good vocal, horn, and string voicings o Start practicing piano!
• Consciously direct your audience’s focus
o In any given section, which part do you believe is the most important? The least important? Does your arrangement emphasize what you want it to emphasize?
o Hint: If it doesn’t, this almost always involves simplifying something too dense o Remember: Your audience is hearing this for the first time
• Prioritize good voice leading unless going for a specific effect
o Counterpoint rules, while helpful, are not universally applicable in 2016. You WILL get parallel 5ths. Everyone is doing it!
• Be aware of the effective “life span” of each arranging idea
o i.e. How long can the listener enjoy it before they’re bored or tired of it? o Sometimes great ideas are under-utilized, others are exhausting
§ Consider audience’s focus, complexity, and context o If you have a great/interesting idea, bring it back (recall) o Avoid the “kitchen sink” arrangement – too many ideas confuses the listener (ie. too
many colors mixed together end up brown)
• Golden Arranging Rule – 50% Familiar, 50% Surprise!
• Sing your work often as you are writing
• Seek out the feedback of someone you respect and/or study successful works
• Work with a pianist on written accompaniments
• Arranging is hard. Get used to it!
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“Do or do not. There is no try.”
Questions? Additional Resources
• “A Cappella Arranging” by Dylan Bell & Deke Sharon • “Arranging for Large Jazz Ensemble” by Ken Pullig & Dick Lowell • “Barbershop Arranging Manual” by the Barbershop Harmony Society • “Choral Arranging” by Hawley Ades • “Circlesongs: The Method” by Roger Treece • “The Complete Guide to Teaching Vocal Jazz” by Steve Zegree • “Jazz Arranging Techniques” by Gary Lindsay • “Modern Jazz Voicings” by Ken Pullig & Ted Pease • “Scatability” iPhone App by Michele Weir • “The Vocal Jazz Ensemble” by Paris Rutherford • http://www.acdacal.org/repertoire-standards/jazz-choirs/