Scoring For Voice

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 Msica de Catalunya

Biblioteca
1052035566
A lfred
G U I D E
TO
W R I T I N G
J I MMY
V O C A L
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
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 Poopys 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
Childrens 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 todays 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.
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 whats 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 youll 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, lets 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 ~
-----------------------------
Middle C
(Treble Voices)
J>
(C below Middle C)
(C below Middle C)
(Piano)
= i
S > ........._
--------------------------Middle C
(Piano)
| --------- --------------------------------/
-----------------
(C below Middle C)
Middle C
H
"O '
-1
-------- f V . ----------------------
(Basses)
(Piano)
Middle C
Middle C
(Tenors)
(Piano)
t r
(C below Middle C)
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
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
it
Gmi
Ami7
Bmi7(b5)
C7(sus4)
C7(sus4)
----- 14----s----- ------------- s

, m ^-,s> ---------------
----- m -
thing's
HH
Whole
up
to
you
Whole
thing's
up
to
-------------------------------------------(Falsetto)
" n ------------------------------------------------------------------------------------------------------------------
do D
O
Bb
0 -----------------------------------------------------------------------------------------------------------------
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 womens voices, and
trombones to mens voices.
sopranos trumpets
altos fliigelhorns
tenors tenor trombones
basses bass trombones
Although trombones and mens voices are not identical, they are similar
enough to help understand the voices of men. Likewise, trumpets and womens
voices are similar enough to help you to form a better concept of how women's
voices sound. The instrumental arrangers 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 mens voices. It is advisable to avoid voicing
trombones too low. The same applies to mens voices. The resulting muddiness
may be a desired effect but, generally speaking, it should be avoided in
trombones as well as in mens 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!
Childrens 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
Childrens voices come in two sizes alto and soprano. Many of us dont
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. Childrens 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 childrens 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 childrens 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
clarinetists 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 Hollywoods 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 sopranos 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 Rones
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
individuals 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 singers 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 cant 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 cant 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
(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 singers 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 comedians 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
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 dont 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
(strong)
C
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.)
&----------------------------- --------------------------;
Just
say
the word.
Just
say
the word_
Just
/
.
say
the word.
J - .P
-f
.y
V:
e------------------------0m is.) f
i?------ f = \ ------o
. 1
'
............................
mm
f
J L
_ _ _ _ _ --------------------------------------------
^ --------------- 1
.........
'8
f
fc - 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
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
Ami7/F
S
*-------------- J
e1----------- 4P---------- 4*
that siilg
w ill
pi ay
their
in
Vi - ta
F------ !
=
Gmi7/F
titjn
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<
Bb
Ami7
........ -1
\, 12 j -------------- --------
V------ ---- J --U
------------J
---- M
b8
..
to
Come.
H H
*
Come
to
see
you
see,_________
bet
the Mul - ber - ry
Bush,
you
bet
ter make
it
ter make
it
-------------
snap
py
snap
py
CQCQ
In three-part writing, it is not necessary that all three harmonic parts sound
constantly. If the arranger maintains a linear concept he will avoid the sound of a
block style technique of harmonization although at times he may desire that
very effect. If he adheres to the concept of doubling (more singers on a part), the
result will be sometimes unison, sometimes two-part and sometimes three-part, as
the situation and his creative taste dictate.
The melody is generally the most important line, and the one to be
weighted and stressed. There are many considerations when it comes to weighting
the melody. The desired sound, the range of the piece, the number of singers, the
voicing techniques and the use of accompaniment, are all important to consider
when stressing a melody. Be creative! Feel free to experiment with additional
singers, any number of instruments, or even the use of electronics!
Distrtmteo q f cwa ! 5
Strength
There are times when, to use a colloquialism, you really want the group to
roar. Octaves, with the accompaniment doubling the group and fully expressing
the harmonic structure, will get the job done best. Examples 9-12 demonstrate
various ways to treat the melody when you want a lot of strength. The octaves in
Example 9 are the strongest statement of the melody, provided it is also fully
articulated and doubled in the accompaniment. In addition to being strong, the
sound of octaves is clear and plays up the lyric content.
The two-part interpretation in Example 10 is also clear and strong. The line
the men sing functions as a secondary melody.
16
Scoring fo r Voice
The melody's strength is diluted when it is divided into three parts in

Example 11, but both the harmonic lines in the mens part are melodic. The crossvoicing in the second measure on the first syllable of hello is used to prevent
the tenor from having to sing the same pitch twice in succession, thus making the
line smoother.
E x. 11 (3 part)
The open harmony version in Example 12 could be considered more lush

in texture, but it requires a larger group than the other examples and does not
have their impact.
E x. 12 (open harmony)
Distribution o f Vances 17
As you can see, voicing techniques directly affect the strength of the piece.
Open harmony refers to the distribution of pitches beyond the octave, while
closed harmony limits the voicing to within the octave. Example 13 is identical to
Example 6 used earlier, but lets look at it now from another point of
view strength.
E x. 13
B (stronger)
[a] (strong)
C
S
A
g /H - . Ti > . * I
p r
r
T
T
-11. -o..- - .-.- - -.-.-.-.-.-.-.- -. - _- '

r
r -t J -
Just
say
r
Just
D/C
D/C
- - v.
8
U ''
say
the wore
Just
saty
(linis.) f >
. - .... . - ---- 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
>
---
Ly
tlie word
p -J
----------------- -
tlie word_
_Q_
(= .h
H
t o bHB
=
.
.......... .... .
[ /
\
3*=
' f
the wore
[r-*
J= i
n lwjl:
-----L
;...I .
......
= H
=15-
-4
-4
p p p
..... T1 ' ----^
o
<
<
<
.. ...w~ - 5?
U
--- 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
, .
---------------- 0 ------------------------------- ----------------0 -------------------------------

~ J L
r ----------------------------- -
11
o ------------------------------( 0)
c t e
------------------------------- f (3 )----------------
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 doesnt
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 todays 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. Dont 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. Its 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 arrangers 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
Saints, _
oh, when the
$
r r r r
Oh, when the
oh, when the
Saints, _
Oh, when the

Gmi
Gmi/Bb
oh, when the
Saints,_
Cmi
Cmi/Bb
JO EL
Saints,.
Fmi/Ab
oh, when the
G7
Cmi
3 E
Saints
go
march
ing
Saints_
go-
march
mg,
in,-
want
to
be
want
to
be_
$
go
march - ing
in,
t>
m
Saints
go
march
go
mg,
march - ing
in,
want
to
be
want
to
be,
jQZ
Saints
go-
march
ing
in,_
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 doesnt 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
Wh ole thing's
H
(melody) =
f=
(melody) A
1
0 : ,
k L
t3
Wh ole thing's
uP
i
t
up
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
mf>
12
Oh
S h en -an -d o
____
mf
I long to
Adim Bbmi7
Ebmi7 Ebmi7(b5) Db/Ab
Gbma7
PP
hold
F m ill
you
way,
we're bound a - way
way,
we're bound a - way
PP
T
Oh
b l'| k ,
S h en -an -d o
Oh
Sf
I long to
hold
F*
----- (
3 3
7..g 1' w-1 -g-
you
1
PP
J I
--------- *-------------------
=7
S h en -an -d o
I long to
hold
you
way,
J i t ___________ O_________________ 2 ____ %
u,
we're bound a - way
-------------^
The bottom part, whether youre 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 womens 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
Just
start with
Bright
Hel - lo
if
you
do
t
Just
start with
Bright
Hel - lo
t=s Jt-----=jhM
j
3
T
T
:.- - M4-f
Just
...
start with
Bright
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?
--------
i bright ne w
gl DW_
h'
~V
TT
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
<a
Ask
me
to
just
re - call.
how
A7/C#
3 ---------1
it
"
feels _
I----- 3 -----I
Ask
me
to
just
re - calL
how
it
feels ___
to
fall
for
to
fall
for

m
Ask
me
to
just
re - calL
z J -d
how
it
feels.
to
fall.
Give It the Test

When you have finished a phrase, be sure to give each line the acid
test sing it! As you sing each part, evaluate its singability, melodic line, and
how well it expresses the harmonic structure. The arranger under deadline
pressure will find that having singers read his arrangement easily is ample reward
for any extra time and effort spent on good voice-leading. Then, there is the
added listening pleasure when all the vocal lines go naturally where the ear wants
them to go. The concept of horizon tal thinking is the key.
for
Chapter Three
TREATMENT
Intros and Endings
The intros and endings can offer you the most freedom! They can be
instrumental, vocal, or both, and need not even be directly related to the music.
They are used to set the mood and pace for a single piece, or even an entire
performance. The type of intro or ending you use may depend on whether the
situation is a live performance or a recording session. There are no set rules for
either intros or endings. But, there are some common ideas that can be helpful in
making your choices.
The Intro Last

You may not want to write the intro until after the entire arrangement is
finished. When sketching in the lead line of your score, leave ample space for the
introduction. By the time you finish the arrangement, you will know w hat you are
introducing. Often, in the course of writing the arrangement, you will discover
many useful ideas for an intro that can really make the piece cohesive.
Cold Intro
Using a portion of the song (usually the first part) for the introduction can
be called a cold intro. Contrast between the intro and what follows is what defines
that portion of the song as the intro, although no intro at all is necessary. Example
24 was written for contrast. In the first two measures, the choir is arranged
without accompaniment, and the rhythm is not yet evident. In the third measure,
the rhythm section enters in tempo, and the choir changes to a quiet unison.
28 Scoring for Voice
E x. 24
Words by Johnny M ercer

Music by Rube Bloom
Fools Rush Inv
ad lib. f
mn
tempo
m
Fools
ad lib. y
Rush In
/7s
where
mp
an - gels fear to tread,

O
tempo
m
Fools
ad lib. y
Rush In
0
where
mp
an -g els fear to tread,.

0
tempo^
I
Fools
ad lib. y
Rush In
O
where
an -g els fear to
fP
=F
tread,_
and so I come to
tempo
r N
l r t l
P
Bbma7
Cmi7/Bb
j
O
0 : j.:- <
Bb6
Gmi7
tempo
t f P
PP
Lj Lj Lj
i
The Vamp
A common type of intro, and one of the simplest ways of introducing a
song, is the vamp. It is most effective as an intro when it is allowed to continue
unchanged after the main body of the song begins and, consequently, the
harmonic construction of the song is an important consideration. If a pattern can
be devised from a few measures of the song, the vamp can be very effective as an
intro. Not only does it give you control over the beginning of the piece, but it can
also give the musicians time to settle in. In Example 25 , the rhythmic figure in
the accompaniment is a four-bar vamp, due to the songs chord structure, and is
used as an intro. It continues under the main body of the song, unchanged until
later in the piece.
E x. 25
Bright Hello
- u
--------------------------------
...... ...
..^
-------------
------------------------------------------
= i - - V C T - 3 ....................- ~ ....... -
h b 4 ----------------------------------------------------:
- i n ^ i k i ).................................. ...
..................
---------------------------------- -- ----------
-y
4 ---------------------------------------------------(Gospel Waltz)
^
f
|
e
At mi7/Gb
Gbma7
r
(jbma7
---------------r * * a
' /"
--------------------
j)
i\ -
jU
"
s
-------------------------- -------------------- L^gL-------------------- ----- --------------LU------------------------------------------- Usi-5----------------------------------------------
30
Scoring fo r Voice
Endings
W hen you are close to finishing the main body o f the arrangement, you
will have arrived at the point where you must decide how to end. The ending is
really more critical than the introduction, because it is that finishing touch the
last thing with which you leave the listener. Again, there are no hard and fast
rules. D ont be afraid to be daring, for the experience gained from taking chances
is your best teacher. Here are som e ideas that can help.
The Intro-Ending
Occasionally, you may find that your intro will also work well as an
ending. In Examples 26 and 27, the opening phrase sung a cappella is part o f the
melody that serves as an introduction. At the end o f the arrangement, the intro is
used again, this time as an ending.
E x. 26
Introduction to Never B e Afraid"
mp
a cappella
$c
rail.
~u~
Ooh_
rail. --------------------------------------
>
---------------------------- "
-------------- -
-H,--------------------------------------------------------------------
-----a
------------m-----* ----- m
-m
Ooh_
mp
Qoh_
mp
' r u CHj
Ooh_
rail.
...
..........
..........
...
Tremtmmm
53
Ex. 27 Ending to Never B e Afraid

.
mp
a cappella
ra il.________
^ c.--- -"----
a J - i
-m-
+i
J.
-e-
--
Oo h
mp
/L
M gm
<*----------- ------- ---------------
-m-
el-
-#
p
-o-
-e-
......
Oo ll.
- 4 .................................. mP,
""Jf
p>
m
r"
----- mw
3 = f
Ooli
J* ^ j = i h
r 1
e -----------------------
m=
ip - c m j ^
U j
qT
i- h - 0 -J- J
?------------- ^ ------------------r 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 .< 0 B ..... j
mp
to
to
the end,_
the end, .
to
mf
O----- S'
gum i
to
the end,_
to
the end,____
the
PP
r 7.
to
the
end.
end.
Scoring fo r Voice
Vocal Background
There are as many types and styles o f vocal backgrounds as there are
arrangers. There are no rules, nor is there an encyclopedia o f vocal backgrounds.
Consider all the sound possibilities that can be produced by the voice! Vocal
arranging is more than just the distribution o f tones into chords that singers sing; it
is the weaving o f vocal sounds into a tapestry o f music that has variety and life.
W hen arranging for mixed voices, the basic sound is tutti, or that o f the
entire ensem ble singing. It is the artistic give and take betw een the various
sections o f the choir solos with the backing o f another section, or one section
taking the lead while another provides the background. W hen the arranger asks
him self what he should do with the voices w ho are not involved at the moment,
he is really becom ing a vocal arranger.
The Pad
The pad is probably the most com m on use o f voices for background.
Strings are often used in the same way. The pad furnishes the harmonic structure,
and can contain little movement within itself although this is not to say that it
cannot be rhythmic or have an interesting melodic line. The use o f lyrics and
various vowel sounds can add variety and effect to your background writing.
Examples 29 and 30 are pad-type backgrounds using syllables and the
same phrase. In Example 29, the men have the solo, the women have the pad,
and the background has little movement.
E x. 29 Fools Rush In
Cmi9/F
PP
F13
Gmi
__
=ecr
Ooh_
Bbma7
- e -
Words by Johnny Mercer

Music by Rube Bloom
In Example 30, the wom en have the solo, the men have the pad, and the
background has more movement. In both examples, the solo could have been
replaced by an instrument, but the way the pad is approached remains basically
the same.
Ex. 30
Fools Rush
In

Music by Rube Bloom
Cmi9/F
( f t
,,
Bbma7
1el
r^ J
f = t = j
--- 4 * ------____ T
Fo ols rush ir
Cmi7/Bb
Bbma7
Gmi7
s J
i H
'O...
- j
<
............................ -
but wise men
where wise men__ n ev -er
z= *z::t y-o-
- TO^ ^
--- 4pi * ------- r-
r
J
- f h
.... 4
where w ise men__ n ev -er
Fo ols rush ir
m -73
J --
z *-------------------Z
n ev -er
3
# ---H
n ev -er
9--------------- %----------------------
- I *----------M
o nh
.T kr
but wise men
go,
------ 0 ------------ m0---------- J j
0
p
7
9s ---------------- -p>--- --- 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 Coles 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
Music by Rube Bloom
chance
for
then
me
don't
Natalie Cole
and Eddie Cole
;
*
"
LJ
=M^
E x . 32 More Than the Stars'
f#
H l l *^=
y
- x ..........x ~
Amaj9
D/E
Amaj9
J~ 3 J
D/E
m
Ah_
/
Ami7
/ -
C/D
i n j .-pf
Gmaj9
C/D
Amaj9
dbt
Ooh_
Ooh_
care
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.
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
Music by Rube Bloom
for
chance
Ex. 32
then
m e.
don't
Natalie Cole
and Eddie Cole
More Than the Stars
i.: ~ j
izzi %i i *
Ooh.
Ooh_
Amaj9
D/E
Amaj9
D/E
an
Amaj9
i=t L-
3=
-----. - - - ^
care
r=1
.......
-------------------------- *-------
Alu
/
Ami7
/
C/D
Gmaj9
-----
/
C/D
/
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

Music by Rube Bloom
Day In, Day Out

(Solo)
rain
come
shine
E x.
34
Fools Rush
In

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 *'

Music by Rube B k o a
E x. 35 Day In, Day Out

Then
$
g-.
kiss.
your
V (* 1
and
lips.
0-----
in g n
the
pound - ing
Doo
doo
doo.
Doo
doo
doo_
----- J ----lu __ ,C
Doo
doo
doo_
Doo
doo
doo.
i* i
*
Dbmi7
Bbmi7
I,1!-1 C-
J
the o - cean's
roar_
i=
sc r
the o - cean's
Doo doo doot__ doo doo doo.
M
roar.
d
the o - cean's
d
the o - cean's
roar.
<L_g.
roar__
~?r~zg:
the o - cean's
Doo doo doot__ doo doo doo___
i
Cmi7
be - cotnes_
---------------------------------I -------. - * ------------------------------- *
b9
F7+5
t?
5~
Cmi7/F
Fmi9
roar.
38
Scoring fo r Voice
The Countermelody
One very effective type of vocal background is the countermelody.
Although the countermelody can function as an independent melody, it can also
support the harmonic structure. For all practical purposes, it is helpful to consider
the countermelody horizontally rather than vertically. As with pads and fills, the
use of syllables and lyrics applies.
Example 36 is a simple illustration of a unison countermelody that expands
to harmony at the end of the phrase. In Example 37, the countermelody contains
lyrics that complement the solo, and for variety the countermelody combines with
the solo in the second measure.
E x . 36 Bright Hello
Abma7
|4 > :
Solo
- 3
Bb/Ab
------------------------------------------1
Gmi
S tii r t
w ith
Fmi7
Fmi7/Bb
Ebma9
P
------------- 3 -----------------------------
j U St
Cmi
b )i g h t
h e l
'
i f
1 3
y o u
d o
___ ^
^ -------------------------------------------------------------------------------
^ --------------------------------------------------------------------------------'t z
id
----------------------- L
- e J --------------------------------------------------- *
A
- W
i
t
J ---------------------------------------------------
----
C) o h
9
j g
i A
p
......
---------- i
--------------------------------------------------------------- -----------
------------------------*
---------------------------------------------------------------------
c )o h
c \
, 1
9 ^ ------------------------- ----------------- 1
;
i f - . 2 -------------------------------------- -----------------------------------------------------------
y4
--------------V
------------------------------------------------------------------------= -
Tneeamem 39
E x. 37 Mulberry Bush
(Rock Shuffle)
Cmi
Gmi
Ab
Bb
mf
Solo
come
to
see
the
mul - ber - ry
c/3 <
---3--------------- ------ S
SL
come.
H CQ
mp
to
see,_
com e.
to
bush,
you
bet
you
bet
I
see,
ter make
---3 ------ 3 ----------- *

j *
--------m----d-------. J L-J-------
you
ter make
it
snap
py
f*=
---------............
~~ m
it
snap
py
it
snap
py
i
bet
ter make
The sound of voices has a great emotional effect on the listener. In

arranging for vocal background, constant use of voices tends to dilute their
impact, and the absence of vocal background can make the entrance of the voices
much more effective. Strive to rely on the orchestral colors for those areas in the
arrangement where they will do you the most good.
Rhythmic Concepts
It don't mean a thing if it aint got that swing end of chapter! Whether
or not you are familiar with this phrase, there is a great deal of depth in what it
suggests. Art is subjective, and music is art, but for the sake of communication,
lets attempt to clarify the following terms.
Rhythm
No matter what kind of music you are working on, rhythm has top priority
because it dictates the amount of time available in which all aspects of music take
place.
Rhythmic Phrasing
This is a system of notation communicating the style of your arrangement.
.......
40
Scoring fo r Voice
Rhythm ic Feeling
Rhythmic feeling is based on style and the undedying division of the basic
pulse, and is the interpretation of how someone feels that a piece of music
should be performed.
In contemporary music, styles change rapidly according to popularity and
general use, and often the hit records of the moment incorporate a combination of
many styles. The influence of rock is strongly felt in country/western music and
vice versa. Rhythm and blues has affected gospel music, and jazz has had a strong
influence on most styles. Contemporary music is in a constant state of change, and
thats what makes it so exciting.
The sound of the contemporary vocal group is different from that of a few
decades ago, or even a few years ago. It is different for a variety of reasons one
of which is rythmic phrasing. The main reason that phrasing is different is that the
rhythmic feeling of todays music is different. The phrasing of contemporary music
is the result of the underlying rhythmic feeling. The following examples are the
result of the influence of rhythmic feeling on the musical phrasing of a melody.
Example 38 is the basic melody. Example 39 is a possible result when the
melody is influenced by a jazz-four feeling. Even though the third and fourth
beats are anticipated, there is still a definite feeling of four beats to a measure. In
example 40, the underlying feeling is in eight. Additional notes were added to the
melody, a common contemporary phrasing, but this was the result of the
underlying rhythmic feeling that needed to be expressed.
E x. 38 (Basic melody)
......
L rr
------------------------------i
Ih
-------------------------- -----------J
na
wan
go
'cause
s
---------------' ___ s
I'm
in'
feel
low
E x. 39 (Jazz four)
1
wan
R hythm
?
-
na
- /
go
'cause
I'm
mm
f
feel
'/
in'
low
+ -
'
Treatment
E x. 40
-1
(Rock, straight eight)
R hythm
The only basic difference between Examples 41 and 42 is the influence of

the rhythmic concept. Example 41 has a double-time feel while Example 42
conveys that of four.
Cd td
E x . 41 Day In, Day Out

(solo)
come
rain
come
shine

Music by Rube Bloom
Scoring fo r Voice
Ex. 42 Day In, Day Out

(solo) come
come
rain,
shine

Music by Rube Bloom
come
ram,_
come shine.
come
rain,_
come shine _
come
rain,_
come shine _
(ft c *
1----come
rain,_
come shine _
wm
Gospel music has had a tremendous effect on our contemporary music
scene, probably because of its intensity, drive, and enthusiasm. Even the very
slow gospel songs have an underlying feeling of double time. The performers may
play and sing in four, but the rhythmic phrasing conveys a feeling of eight.
Example 43 is an arrangement with the underlying double-time feeling of
eight. The use of articulation markings will help in communicating to the reader
exactly how the phrase should be articulated when played or sung. Any number
of rhythmic figures could have been utilized here, but the real test is the
agreement with the rhythmic feeling of the accompaniment. Strive to understand
the rhythmic feeling of what you are working on. It will help in deciding what to
write.
Treaimen: %3
Ex. 43 Jeffs Song
(st. 8's)
\}\\>(i---c---bop
ba
\--
- i 1 J I ^
ba_
.........
C
- --
'0---'---3
0----J J - J----J--
ba
ba
ba
ba
ba
ba
ba
bop
ba
ba.
ba
ba
ba
ba
ba
ba
ba
bop
ba
ba.
bop
ba
ba.
bop
ba
ba.
(st. 8s)
bop
ba
ba_
bop
ba
ba_
r rr
bop
ba
ba_
Si
Bbm i7
Bbmi7/Eb
r i
I
Eb/Db Bbmi
F/C
b:
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 dont have articulation markings, the syllables used still
define the way the notes are to be sung. Choose your syllables to drive home the
rhythm!
-------
E x. 44
Jons Song
Brightly
------.. J -- J -- -fi
..----------J J------0
p'
J?lK
-^
p'
n >------------
- 1 .. i Pb C t ------ a
P
..I a . t- rro
J t? \n ^
*------ J
P
pa___
p'
7^^--------------
=4
r-------------
=4
P<i__
<w
-0- ~0-
Bbmi7
!
b....... i>
b.
*------ P
m J
pa pa
p'
....... #h
m
pa
p'
pa___
~9
pa___
----------------
=4
__ i
pa pa pa
-------
Eb
m: , L -------------L
-7*--- H r v" '---------- -J
' \
pa pa pa
pa___
lf
J ----- J m
Pi __
=4
>-
*----------- a
* ----------------- 4
p:i __
4 _<t
Bbmi7
F <4___
f =
P* __
lK 1? f* *---------b k c 7 j ) j 1=4 = i
pa___
----------------...... ----- J'~
J J ------G
p'
pa___
Pii __
pa pa
04
b
Eb
* ' --------------
P' PiI__
pa
= : ~ 1=3
Bbmi7
* =
i
F T .]' |I
S -T
Eb
* --------------
hI
I
-------------------
Examples 45 and 46 are rhythmically identical, but they are notated

differently. In Example 46, it is important to indicate shuffle so that the rhythm is
not interpreted literally, but rather with a triplet feel. The use of descriptive terms
will help define the rhythmic concept of a piece.
6d H
> cn
E x. 45 Rock shuffle a
E x . 46
Rock shuffle b
Treatmen: -~
E x. 47 Straight dotted-eighth, sixteenth rock
E x. 48
Straight eight rock
R hythm
In Example 47, the dotted eighth and sixteenth are interpreted the way
they are written, creating a feeling similar to that of the early Motown era,
whereas in Example 48, the even or straight eighth feel is that of basic rock-androll. What is important here is that both the arranger and the singers understand
the rhythmic feelings of the two idioms, and even though the singers are singing
the same notes, they must articulate them differently. You should almost be able
to hear the rhythm section when the singers sing a cappella.
Example 49, Kyrie, as recorded by RCA recording artist Mr. Mister, is an
example of current rock phrasing. This is an excerpt from the a cappella chorus
following the bridge, with a direct whole-step modulation (a powerful restatement
of the hook, somewhat reminiscent of gospel arrangements). The range of the
block voicings used is very powerful, and the double-time feeling adds to the
drive.
When phrasing for the lead voices, it helps to think in double time. Strive
to convey the rhythmic feel in the lead voices before writing the complementary
rhythmic figures for the background and accompaniment. The basic melodies of
most contemporary songs contain the rhythmic feeling within the context of the
song, as opposed to the songs of earlier eras which had long, sustained phrases
and required that rhythmic feeling come from the accompaniment and
background.
Ex. 49 Kyrie Eleison
Words and Music by

Richard Page, Steve George,
and John Lang
j - W
f
------Ky - rie__
_1
sc n do1v v n __
- le'A -
PU9r r=
* .1
V-------
tl-le
p :
that
I _ __ must
J= M
ro ad
.....
*i
trav
-- p-- 1--<
-- n1_1.
iw
>
f) ^> = ...
1
i
Ky - rie___
E - lei
son down___
the
road____
that I____ must
trav -
el
a i ^figSl
8
Ky - rie___
E - lei
son through___
the
dark
ness of___
the
night_______________
Ky - rie___
E - lei
son through___
the
dark
ness of___
the
night
The best way to learn is by listening, even though a textbook approach can
be very helpful. The old saying a picture is worth a thousand words applies to
the ear also: listening to one recording of the rhythm style to be studied is worth a
thousand words.
A few years ago, the chord progressions in contemporary music were very
simple, but they have gradually become more sophisticated. As jazz musicians and
composers have developed an interest in rock, the rock players have shown an
interest in jazz. The melding of styles has resulted in various forms of
contemporary music. As the listener gains a gradual acceptance of these new
sounds, the writer gains more freedom to experiment harmonically.
In addition to phrasing and rhythmic feeling, contemporary sounds are also
influenced by voicing and voice-leading, which are based on harmony or chord
progressions. During the folk era of the 1960s, suspensions were common and
were usually resolved. The following two examples show how harmonic concepts
T reatm e w f 4~
have changed. In Example 50, the E-flat in the tenor line resolves to the D,
making a B-flat seventh chord before continuing to the tonic (an E-flat major
seventh chord) in the third measure. During the folk era, such a resolution of a
suspension was common.
E x. 50 Randy's Song
Mod rock
Fmi7
Fmi7/Bb
Bb7
Ebma7
Fmi7
In Example 51, the D-flat in the tenor line does not resolve to a C thus
making an A-flat seventh chord. This lack of resolution is heard so often that it
begins to sound right in contemporary music. These are relatively unimportant
examples, but they are adequate in showing how harmonic concepts can change
or evolve.
Scoring fo r Voice
After sketching out the main body of the arrangement with the lead line
and chord symbols, you can consider style, length, key changes and modulations.
It is much easier to alter the arrangement at this point when all you need to do is
change the lead line. You will need to make various decisions about phrasing or
chord progressions so, as you look over the arrangement, pencil in ideas and
inspirations for treatment as they come to you.
It is sometimes a good idea to sketch in a few measures of each section to
indicate treatment. This will help in giving you an overview of the arrangement,
and will prevent you from using an idea at one point that might work better
elsewhere. Again, if you should decide to make changes, all you need to do is
change a few notes in the lead line rather than alter an entire section or even the
whole arrangement. The purpose of a rough sketch is to save you time and to
make it easier to be flexible.
Head Charts
Today, many vocal groups do their own vocal arrangements. There may
not be an arranger among them, but being together in a group situation allows
them the opportunity to experiment with head charts. The group might start from
scratch by faking, inventing, experimenting, or beginning with something written
down, and then make decisions as they rehearse.
It is possible to discover that certain things sound good that, when written
down, don't look as they should or that what looks good on paper doesnt
necessarily sound like you'd intended. Although head charts can be timeconsuming and costly, they can also be an effective way to arrange, because you
hear immediately how something sounds. Whether or not you choose to write the
notes down, you are arranging in either case.
Fake It
Without a choir or vocal group with which to experiment, it can be very
helpful to play a little game with yourself as you arrange: pretend that you are the
tenor in the group, or perhaps the alto, or whatever part on which you happen to
be working. After recording the melody with the chord changes, sing a harmony
line or countermelody against it. Is it melodic and singable? Does it help express
General Writing Considerations
the harmonic structure? Does it sound good to you? Good! Write it down and try
the same with the next part. When you are finished, you will have a phrase that
has a natural quality. You heard and used the instrument for whch it was
intended the voice. This is only one technique that can help you to imagine or
form a reasonable idea of how something might sound. Any technique that you
may discover or create that helps you to realize the final result can be valuable.
Layouts
Sometimes you may have to write for a situation in which the music is to
perform a specific task. In this type of layout, the lead line takes on the character
of the functions the music needs to fulfill. This could include special effects, drum
breaks, or other devices, but all the concepts in the rough sketch still apply.
For example, on some television shows, the layout is done first by a
rehearsal pianist or music coordinator whose job is to sketch out the routine on
the score exactly as planned in rehearsal. On other shows, the arranger may do
the layout after observing the rehearsal. In any event, it is done meticulously, with
all measures numbered and specific sections lettered.
Numbering
Probably the most effective way of organizing the actual score page is
numbering each measure and lettering each section. Many contemporary songs
have an odd number of measures. In this case, let a section consist of one or two
phrases, or whatever length you feel is best. If you are working from a layout or
lead sheet, you could correlate measure numbers with that of the score. As you
arrange, or later in rehearsal, youll be able to refer quickly to any part of your
arrangement.
Manuscript
There are as many kinds of manuscripts as there are orchestras, bands, and
groups. Most music supply stores will carry the necessary items that you need to
score your arrangement for the particular orchestration.
52
Scoring fo r Voice
When most of the arrangement is solo, you may wish to use four-staff
score paper, reserving the top line for the solo, the second two for choir, and the
bottom for the accompaniment. Examples 53 and 54 show two different ways to
write the same background. They can be notated on one or two staves,
depending on how explicit you intend to be. If one staff is used, it should be in
the bass clef if you wish to specify the bass line, or in the treble clef if a particular
melodic line is important.
E x . 53
"V
& lo
Instrumental
Cmi/F
Eb/F
t _ ....
i b

Music by Rube Bloom
The Lead Line is the Arrangement

The lead line in your layout, then, you can consider as the
ARRANGEMENT. Everything you need is there. Now, you are like the painter
who has painstakingly prepared before actually beginning to paint.
The steps:
1) Number the bars of the sheet music or whatever music
you are working from.
2) Correlate with the numbers on your score.
3) Leave at least eight bars vacant for the intro and letter
each one. Number all bars following the intro.
General Writing Considerations 5?
4) Write in the lead line with chord symbols, bass line and
other important considerations.
5) Work out the basic routine, possible key changes,
modulations, etc.
6) As you work out the routine, sketch in any ideas that
come to you at that point.
7) Take a short break, and then start arranging.
NOTE: Carefully analyze the solo or soli line. Concentrate your attention on the
areas where the support or impact of voices will be most effective. Then, proceed
to the less important points in the arrangement.
Copying
When you have finished the score, it is time for copying. In SATB writing,
it is always a good idea to copy the choral parts in the way to which most choirs
are accustomed a separate line for each vocal part. It will take longer to copy,
but it will save time in rehearsal because most university and high school choruses
are used to four staves. Sometimes in professional work, and depending on the
complexity of your arrangement, you may want to use three staves: sopranos and
altos on the top staff, tenors on the second staff, and the basses on the bottom
staff. This is done only for financial reasons. Copyists services cost money, and it
is less expensive to compress the arrangement into less space. Remember not to
copy the lead line: it has served its purpose.
In professional work, most copyists usually just indicate bars of rest when
the choir is tacet, without any indication of what else is going on in the
arrangement. This is also done to save money. This shortcut, however, may not be
cost effective. You will find that singers will read your arrangement better when
they can see everything that is happening musically.
In Example 55, a cue line is provided. This gives the choir an indication of
when to enter and also of key tonality. This takes only a few moments of your
time and a couple of extra measures of writing, but it can save several minutes in
rehearsal time.
G F/A G7/B
E x . 55 When the Saints Go Marching In
fIi
be
in
be_
be
in
Ab
Abma7 Ab6
Cmi/Bb
Cmi
'r
that
num - ber
when
the
\y ^
O: 1 1
be,
-H
be
that
that
num - ber,
num
-W ---------------- J------ o
in
that
num
ber,
that
num - ber
when
the
that
num - ber
when
the
.......
o'.
ber
..1
when
<
the
....
General Writing Considem^o
You need not use all the tools of the professional copyist to make good
music reproductions. All you need is a soft lead pencil, a ruler, and ozalid
(onionskin) music paper, which you can purchase at any music supply store.
Many orchestrators for film and television do the actual scoring on ozalid, so that
copies of the score can be reproduced easily. Be sure to print enough copies.
When the singers have a copy of their own parts, they can see better, and
therefore read better, saving you time in rehearsal.
The importance of a clean, legible, carefully laid out score should not be
underestimated with regard to the success of your arrangement. It will not only
save time in rehearsal, but the musician or singer who is handed well-copied
music will also have more respect for the arranger and the arrangement, and will
tend to give a better performance.
Rehearsal Techniques
So, you have written a wonderful arrangement, and now its time to
become the conductor. Getting that new arrangement off the ground will require
some rehearsal techniques. The more aware you are of various singing difficulties
and how to overcome them, the smoother your rehearsal will be, and the better
the results will sound.
Plow Through
One practice to follow when introducing the group to a new arrangement
is what could be called plowing through. Just pass out the music, count it off,
and plow through the entire arrangement. There will be mistakes, people will get
lost, and everything may simply fall apart. Just pick up where you left off and
continue to the end. Its good for sharpening sight-reading skills, and gives the
group an overall understanding of the arrangement before you begin to polish
each part.
Speak Rhythm
The first step in learning the vocal arrangement is to speak the lyrics in
rhythm, concentrating on more complicated phrases. Rehearsing under tempo will
give you a better chance to hear what is going on. Bring the arrangement up to
tempo when you are satisfied that vowel pronunciations are consistent and
consonants are simultaneous.
The vocal group needs to understand the intent of the lyrics in order to
express them. The group should speak the phrase with the appropriate vocal
inflections to emphasize the meaning of the lyrics. In Example 56, the lyrics form
the question, How are they to know? In addition to learning to execute the
phrase rhythmically, the choir should speak it with the rise in inflection
appropriate to a question. They are now giving meaning to the lyrics and, in the
process, producing a more effective sound.
E x . 56
Fools Rush In
(solo)
fall
in love_______________
Words by Johnny M ercer

Music by Rube Bloom
so how are__ they to
know?
Singing is elongated speech and the reason for emphasizing speaking the
lyrics has three parts. First, when singing is approached from the viewpoint of
speech, lyrics have clarity, are easily understood (very important in the world of
commercials), and the singers have an opportunity to focus their attention on the
lyrics before concerning themselves with pitch. Second, when a person speaks in
ordinary conversation, the breath flows naturally before the sound,. Breathing then
goes unnoticed, and the speech achieves a natural legato. When the breathbefore-the-tone concept is carried over into singing, the rhythmic phrasing will
have a more natural feel to it. Third, the sound of a choir whose singing is based
upon speech will have brilliant clarity of tone, a better blend and impeccable
intonation.
After working out the more difficult phrases and bringing them up to
tempo, speak the lyrics of the entire arrangement in rhythm. Do not permit sing
song or choppy talking. Rehearse as if the slow tempo is the correct tempo.
When the vowel pronunciations are the same, the consonants are syncronized, the
desired rhythmic feeling is achieved, and the meaning of the lyrics is expressed,
its time to add music to the words SINGING!
Harmonic Difficulties
When a phrase is somewhat difficult harmonically, one of the most
effective techniques is to rehearse each part or harmonic line separately. When
the line is isolated, the singers attention is directed to its melodic content. If the
voice-leading in the arrangement is singable and melodic, the singer should
experience little difficulty.
If the harmonic difficulties persist, you may need to rehearse the phrase
note by note to hear each chord change separately. When the singers can identify
their part with a particular chord-tone function (minor ninth, major second, etc.),
and have a sense of where the harmony is going, even the most difficult harmonic
passages can be accomplished with reasonable ease.
Rehearsal Tempo
Rehearsing under tempo is somewhat like moving in slow motion. The real
value in rehearsing under tempo is the opportunity to focus attention on every
detail therefore making the up-to-tempo performance the best it can be.
Even though there is a natural inclination for singers to be impatient,
rehearse under tempo until you are completely satisfied with the performance at
the slower tempo. The important thing is to rehearse as if the slow tempo is the
correct tempo. When the singers recognize the value of this concept, everything
will come together: vowels, consonants, rhythm, lyrics, and pitch. Gradually bring
the arrangement up to tempo, making sure that the performance is what you
desire.
Intonation
Occasionally, harmonic implications are not clearly understood by the
singers. If the singers are searching for their note, naturally there will be
intonation problems but most often the cause stems from faulty tone production.
When the singers are out of tune, the best approach is to strive to get them
back on their speech. Examples 57 and 58 are exercises to improve the singers
concept of producing a singing tone based upon speech. The goal is to teach the
singer not to change the quality of voice in order to negotiate an interval, but
instead to strive for evenness of tone.
E x. 57
-V ^ =
La
" --------
la
N-------
la
U
la
?------- ..
....
*
lay
V...
..-#-
...
lay
L#-------------------------
lay
lay
E x. 58
-1
-----fc=-------X----ir------V
m
w
J
4 >........ ........ ~ .....................
-ffi- 4 *----- d
.| i = i
La
la
la
la
lay
lay
lay
--------------------lay
All the vowel sounds from la to lu should be used, and the singing tone
formed on the basis of how each particular vowel sounds when spoken. With two
to four singers at a time, have them first speak la (lah), or whatever vowel
sound is being used. When they are speaking the vowel sound to your
satisfaction, proceed to having them sing the vowel sound on the first note of
Example 57. Be demanding! Insist that the spoken and singing pronunciation of
the vowel sound be absolutely the same. Now, to hear the singers sound while
negotiating an interval, add the second note of the exercise. Even though it is a
sixth higher, the second note should not change in quality, in fact will not change,
provided that both the spoken and singing vowel sounds of the intervals are
identical. The more closely the singers tone is related to that of the spoken tone,
the better the quality of tone, clarity of lyrics, intonation, and blend will be.
Help stamp out changing voices should be your motto. Your reward as a
choral director will be a more even blend and noticeably improved intonation
from your singers.
etc.
General Writing Considerations '
Creative Discipline
There are several ways to get the creative juices flowing, depending upon
how much time you have to write the arrangement. However, lets assume that
there is no deadline other than the desire to write a good arrangement in as short
a time as it takes to write a good arrangement.
Organize
Organizing your work could possibly range from being comfortable in your
chair all the way to the final product. Although this may seem more mechanical
than musical, it can directly effect the creative process and the ease with which
you work.
The arranger should examine his way of doing things in terms of
productivity, quality of work, and speed. In the professional world of music, time
is a very important consideration. The speed with which results are achieved is a
factor that cannot be ignored. While developing a style and working procedure,
one needs to be aware that the desired results should be achieved in a minimum
of time. To the professional, there is always a deadline to be considered, but this
need not necessarily result in the lowering of artistic standards. Often, the
constraints of time will result in a better product because this forces the arranger
to streamline his operation. Practical organization can be cost effective, save you
time, and help keep your efforts creative.
Mental Preparation
Ideally, there should be enough time to prepare mentally before you
actually begin to put ideas down on paper. Once you have selected the material
to be arranged, you need only feed your subconscious mind the information it
needs to go to work, preferably before going to sleep.
Listen to records in the style of the arrangement you are considering using,
or recordings of the material to be arranged. Strive to get a sense of what you
want to write, and use the recordings as a springboard for your own ideas. Play
the song over mentally or on an instrument to become familiar with it, and sketch
in tentative ideas about choice of key, treatment or other considerations if they
Scoring fo r Voice
come to you. You are just feeling your way, and dont need to make any definite
decisions at this time. The. important thing is that you are only feeding information
to your subconscious mind for it to work upon. With effective mental preparation,
you can be confident that everything will come together much more easily.
Time-Wasters!
One of the most common ways to waste time is what I call prejudging.
When you get a musical idea, dont spend too much time evaluating its musical
worth. Just write it down. When you prejudge, you run the risk of interrupting
the creative flow and you lose a certain momentum that comes when writing
under the pressure of time. When you come to a stumbling block, just skip over it
and continue on. Work on the places that move best, and come back later to the
sections on which you want or need to spend more time.
There is an expression that describes a situation that confronts probably
every arranger now and then, and its called getting hung up. The best way to
avoid getting hung up is to consider every idea that comes to you a good one!
There may be better ones to come, but there are no bad ideas just some that
sound better than others.
Dont wait for that brilliant inspiration to come to you in a blinding flash,
or you may be doing just thatwaiting. Simply jot down that first idea that comes
to you, without judging its musical merit too harshly. Remember, no matter how
dumb an idea may seem at the moment, it may lead you to something really
terrific.
When you come up with a portion of your arrangement that you really
like, strive to resist the temptation of returning again and again to that same
section just for the pleasure of hearing it. Certainly it's not that we cant take the
time to enjoy what we write, but consider instead that the least amount of
interruption of the creative flow of your ideas is more important at the moment.
This will help you get your job done.
Some Techniques
You may find it helpful to use r. porta-studio or similar multi-track
recorder to try out backgrounds, lead lines and countermelodies. You can get a
reasonable idea of what your arrangement will sound like before you try it. Even
if you can only get a mono tape recorder, you can record the lead line, and sing
lines or countermelodies against it.
Many times you will find that starting at the end of the arrangement or
section, and working backwards, is good for working out modulations, chord
progressions, melody, bass lines and voice-leading.
Conviction
The first time an arranger hears his arrangement performed can sometimes
be a traumatic experience, particularly if things dont go especially well. Most
often, suspicions that somehow the arrangement is at fault will arise. Along with
the courage to be creative and daring in your writing should also go the courage
to stand by your convictions. Give yourself a chance to hear what is really going
on. Dont make judgments about your arrangement until you have had the
opportunity to hear it after it has been well rehearsed, and with reasonable
listening conditions. It may be a great chart that someone doubted at first, or it
might be back to the drawing board. In either case, have the conviction to see
your work through exactly like you intended it to be. How else will you know?
A Summary
Music an infinite subject! . . . A most universal and expressive form of art,
a never-ending combination of rhythm, melody, harmony and sound. A lifetime is
not long enough to learn all there is to know about music, so go with where your
heart is. If you like it, chances are someone else will like it too! With all these
combinations, there must be room for all of us and all our ideas. Be creative, be
daring, and try to give them exactly what they asked for. Good efforts dont go
unnoticed.
Be simple in your initial ventures. If you tend to get too complicated at
first, things may not turn out as well as you had envisioned and we dont need
to lose any of our self-confidence. The old saying Nothing succeeds like success,
really applies here. The chances of your first few arrangements being successful
stepping stones are much better if you keep the writing less complicated.
WRITE! Write arrangements. One needs to be well versed in the
fundamentals of harmony and theory, but the best teacher is the actual experience
gained from writing. The experience of starting from a blank score page to
hearing your arrangement performed is worth many hours of textbook study.
Youll make some mistakes, but you will write some nice things, too. Get in there
and arrange, and give it your all, or simply stated, Do it!
Invoke the muse enjoy!
62
APPENDIX A
Tell Me -Jarreau/Graydon/Phillanganes
This treatment begins by borrowing from the instrumental parts of Al
Jarreau, Jay Graydon and Greg Phillanganess song from the High Crime album.
The lyrics are treated as a conversation, so the lead alternates between the women
and men. You'll note the frequent use of doubling and weighting the melody.
The mens a cappella vocals form a sort of rhythmic background for a
womans solo joined shortly at the unison by the group; this takes us through
the first verse and chorus.
The second verse gives the melody to the men, with the women providing
rhythmic accompaniment, doubled by keyboards. The men have the lead on the
bridge, while the women have what is nearly a second melody line.
At letter E (measures 60-66), the womens lead is answered by the men
(providing a different point of view!), followed by another reversal of the
lead this time with women singing the countermelody. At the conclusion, all
parts converge in a unison, while the accompaniment recalls the intro figure (the
intro/end).
David Joyce
Appendix A o3
Tell Me
By Al Jarreau.
Jay Graydon.
and Greg Phillanganes
Arr. David Joyce
64
Scoring fo r \ oice
F9
s
Q9a
______________________________
10
11
of the things__ you
All
T
B
I
doo doot
IE S S
do_____
say
turn - in' me up
II
doot
If I
doot
doot
doo doot
- side__ down.
E g gg i
doot
doot
m
doo doot
or
duh doo
doo doot
doo doot
Appendix A
(unis.)
16
k ^ =
i --------------------------------.
J
B C h o ru s 1 & 2
D9
17
7------t
..
_j
,=
stum - ble - in 'ro u n d __ and___ round. _
D o o __
do
So w o n 't-ch a w o n 't-ch a
T
B
*
doo doot
doot
doot
.N
doo doot
%
doot
doot
m
doo doot
duh doo
E9
B9
doo doot
doo doot
66
Scoring fo r Voice
E9
34
S
w-
CO
doo dooi
doot
doot
doot
doo doot
doot
doot
doot
a thou - sand stars___
for
$
G ath-er'd
rea - dy to d o __ o r__ die._
0=X
. LX
^
~~
..... ~
rea - dy to do__ o r__ die.
~"= :
G ath-er'd
you,
F-f=^fg-r Qzir~z7Ttz
,i
a thou - sand
stars____ for
you___
6'
Appendix A
E 13
_a '
a
S
A
h h=i
r -----------
doot
'
doot
,
*
---------------
- ---- a P-
F=HbHN=J
! _
doo doot
doot
?----------
doot
doot
WH
doo doot
"07
B9
37
36
took 'em right ou t___
of
the
sky_
Tell
me
you dream___
bout_
bouL
1--------------- t
__ C
f
gcifyt_r t-HEj u -fj

took 'em right out___
of
the
f ...
sky_
Tell
me
42
s
A
f r 4V
t ,
.
--------------------
. L V
- ^
^ '5
if-----W ell there's
F=
a
Doot du - du
you dream___
Ft
------------- i r q
-------------------------- U
H----# _---------------i .
a
^_y
4 k----------------------- J
doo___
Doo
T
B
---
t=^=
-----------spar - row with - out___
du
du
du
doo
doo_
>--- fi-- \---*----- :t
= 1 P= ---------- 7_J2------------------------a
w ing,_____
du - du______
and there's
doot
du
du
68
Scoring fo r Voice
Gitmi
C$1
B/D'
Gstmi
E9/D
Ctfsus4
Ftt7sus4
F#
Gttmi
Em a7
Appendix A 69
G#mi
E9/D
07su s4
0*7
F#7sus4
E
A
.5 6
$tH*h T
57
58 1
....
Lk k
Db9
60
2
a
r i d *
9 ]
^=-sJ
Tell me that you__ won't
-------- ;-----------------------i
----------------------------- ---- lA k b.
-m
ff
<5*
..................
'
^ W 55
62
s
A
B ig
63
i
i
tate,___
PP ^ = - f
T
B
hes -
0 : t A --- -------- i---------- ---V
w
j
4 ^ M ~ L r~ [_ r
I won't__
k 1? 1, '4
a ___ rhyme. _
(h) - hes - i - tate,___
NmB
I won't__
bet - cha we make
f l ----- a
(h) - hes - i - tate,
in
time_
. -------- m
i
'
---------- I __
f
in
time_
70
Scoring fo r Voice
ri;
lU
, j ~~i
i i
i j
03
We've got to take
ll 1........
h j ...- j q =^s--------- -v / ii i ------ -f
i
>
i------ ------ 1I w* a,
the
of
hand
J .lM > . ---------------------------------
TO 17 p t>-------------------------------- ^
v~1r
>
wflile we are in___ our___ prime._
fa te__
w-- ------if--
- 9------------------------- _------------------------
Face__
our
fate.
03
2_
O : | U,
l--------------------------------------------------------
'
'
Face__
............. our
f(
fate.
CO
D3
>
C/3
Gb9
CdH
>
C/3
Db9
Appendix A
75
to
take,
ea - sy
to dance__
in___
time.
T
B
to
take,.
ea - sy
to dance__
in___
i ' *
time..
Doo___
do_
Doo___
do_
r~\
J L T t S \t
=?=rto
F |
ea - sy
to dance__
in___
time..
Chorus 3
Gb9
78
Fb9
76 i
s
A
take,
_____________________________________ 17
11 b 7
f
So won't - cha won't - cha
Won't - cha
T= ^F
rit.
_______
O
17
come on and say
it,
don't___ you___ know.
come on and say
it,
don't,
t-f-4-.g L r f r
W on't-cha
a cappella
come on and say
it,
bn
. f
you___ know_
trtr,
don't___ you___ know.
a tempo
Db9
80
81
82
83
s
A
~o~
r
you got - ta love____
(fo-
bp
\> -
V ^
S~
) 71
i
me.
e ---------------------- e ----------------------
me.
M r r(f
___
XL
m e.
!,.j ------1
------i
72
APPENDIX B
Reprinted From
THE DICK GROVE IMPROVISATION COURSE
Part One
Basic Harmony and Theory

Applied to Improvisation
Section V
A Study of Rhythms,
Chord Progressions
and Basic Reharmonization.
Lesson 20
Chord Progressions (Part I)

Tables Nos. 4 .1 0 ,1 1 ,1 2 ,1 3 , 14,15 and 16.
Demonstration/Lecture of Characteristics of Chord
Progressions on Cassette or Record Available From First Place Music.
261) These progressions are the standard conventional progressions which make up the vast
majority of jazz, rock, pop and other styles of music. The reason the progressions are presented in this
very concise manner is to help you single out each progression and help make you aware of each of them
- soundwise and theoretically.
262) To help you understand the full importance of these progressions it would be well to
think of this analogy between the harmony we are studying and language. Individual musical notes or
pitches are like the letters of the alphabet. As the individual tones form chords, they are like letters
forming words. The chords have a meaning of their own in the same way that words have meaning. As
the chords combine into chord progressions, it is similar to words combining into sentences. The chord
and scale relationships we covered in Section 4 are similar to the MEANING or the sense of the sentences.
263) On Record or Cassette No. 1, I make comments about all the progressions found in the
following tables. I also demonstrate the sound and character of each of these progressions on the piano.
264) I hope that as you begin to understand the relationship of the chords which make up
these progressions, you will try to comprehend the specific chords - their order in the progression - and
their scale sources as ONE RELATED UNIT.
Appendix B
TABLE #4
II - V - 1 PROGRESSIONS
ffl
#lb
i-----------(1)---------->
Dmi7 G7 - Cma7
Ilmi7 - M l - Ima7
la
ff
i---------- ( i ) ---------1
Cma7 Dmi7 G7
Ima7 - Ilmi7 - V7
(1)
(ID
(1)
Dmi7 G-\-7,i>9 Cma7
me
Ilmi7 - V f7,b g _ Ima7
i--------------(1)------------ ,
Fma7 Bmi7,b5 - Emi7
IVma7 - Vllmi7,b5 - Illmi7
SUBSTITUTE II - V - 1 PROGRESSIONS
n
if-4
#6
H8
( 1)
( 12 )
( 1)
Dmi7 - Ebo 7 _ q 3
Ilmi7 - lllbo 7 _
( 1)
(18)
#3
|/3
( 1)
Dmi7 Fmi6 C
#5
Ilmi7 IVmi 6 1
(1)
(23 - 2 9 )
(1)
Dmi7 Fmi7 Bb9 C
Ilmi7 - IVmi7bVM9 - 1
(1)
(30)
(1)
Dmi7 - A bm i7D b7 - C
11mi7 - V l b m i 7 Ilb7 - 1
( 1)
(4)
(9)
( 10)
( 11)
( 12 )
(18)
#7
#9
( 1)
(18)
( 1)
Dmi7 Dmi7,b5i C
Ilmi7 - Ilmi7(b5)/V - 1
( 1)
(18)
( 1)
Dmi7 Bb9 C
Ilmi7 - V llb g - 1
(1)
(11)
(35)
(1)
Dmi7 - Db7(Dbma7) C
Ilmi7 - llt >7 ( ||b ma7) - 1

(1)
(4,32,62)
(33)
(1)
Dmi7 - Fffmi7,b5 - B7,b9 - C/3
Ilmi7 - IV # m i7 ,b 5 - V II7 ,b g _ | / 3
SCALE SOURCES
(23) - IV Dorian mode
I major scale
I Lydian mode
(29) - Illb major scale
V dominant 8 note scale
(30) - Vb major scale
V Blues scale
(32) - V major scale
Vlb Melodic minor scale
(33) - VII dominant 8 note scale
I diminished 8 note scale
(35) - Vlb major scale
IV melodic minor scale
(62) - Ill nat. minor scale
Scoring for Voice 74
TABLE $10
ROCK PROGRESSIONS
CIRCLE OF 5ths
#45
"(1)
D m ill/g -
G7/g
Ilm iH /v
V 7 /v
1--- -(1) ,
#47
#49
(26)
Fma7
1 Ima7
IVma7
V m i7/i
#48
1 (1) i (21,26) (1)

(18) (lj
C - Cma7 - C7 - F - Fmi - C
Ima7
- 17
#4 9a
(21,26)
D m ill/g
1
G7/g
I(ma7)
llm ill/v
V 7 /v
(1)
IV
- VI lb
C 7/7
Fmi/b3
- C/5
17/7
- IV /3 - IVm i/b3
- 1/5
ma7/ma7
Bb
IV
(1)
C - Cma7! ma7
F /3 -
1 - Ima7
1
(18)
(18-29)
C - Cma7 -
- IV - IVmi - 1
1---- (1)----
(1)
1
C(ma7)
1-----(1)------1
(1)
C Cma7 Gmi7/C
1 -
#50
#46
PA R A LLE L
(1)
#51
I I Imi 111mi
IV
(5 9 )
#53
(3 2 ,6 2 )
I-------- (1)------- 1
F Emi Dmi C
C Dmi Emi
#52
IV - fllm i
(1)
r------- ( 1 ) --------- i
Ami
G - F - Emi (C/3)
Vlm i
V IV 111mi - (C/3 )
#54
(4)
11mi I
,--------(1) ---------,
C - D /c -
F(Dmi7/c) -
I -
IV (llm i7 /j) -
ll/i
SCALE SOURCES
(1) (4 ) (1 8 ) (2 1 )-
I major scale
I Lydian m ode
IV m elodic minor scale
IV major scale
(2 6 )
(29)
(3 2 )
(5 9 )
(6 2 )
I Mixolydian m ode
Illb major scale
V major scale
VI Aeolian m ode
III natural minor scale
Appendix B
TA B LE #11
ROCK PROGRESSIONS Continued

CIRCLE OF 4ths
(1 )
#55
C-
(2 1 ,4 4 ) (1 ,2 1 ) (1)
Bb - F
- C
1 - ViSb . IV
(1 )
#57
(2 9 ,3 5 )
C-
Ab
1-
v ib
(1 )
(2 7 ,2 9 )
Eb Illb
-
(26,44)
Bb
V llb -
(2 7 ,2 9 )(2 1 ,4 4 )
, ( 1 ) ,
C - Eb - Bb - F
1 _ m b _ v llb - y
#56
- C
- S
(D i
F
C
IV 1
C O N VENTIONAL PROGRESSIONS APPLIED TO ROCK STYLES

Basic Blues Progression f 74
A ny triadic diatonic com binations
A n y Circle o f 5th progression
A ny Line Progressions
A ny Minor Progressions
Vamp Progressions # 18 to 21
VAM P PROGRESSIONS (TU R N A R O U N D S) GROUP II
#58
1--------------- ( 1 ) ------------- i
C
C - Dmill/g or c
1(1 )
#60
llm ili/v or i
(2 1 ,2 6 )
C-
Bb
1 - V llb
(1 )
#62
(1 )
(1 ,2 1 )
(1 )
1-
IV
(2 1 ,2 6 )
F/c
-C 7
IV /i
#63
SCALE SOURCES
(1 )
(2 1 )
(2 6 )
(2 7 )
I m ajor scale
IV major scale
I M ixolydian m ode
I Aeolian m ode
(2 9 )
(3 5 )
(4 4 )
17
r-------------- ( 1 ) ------------ 1
C G C
(1 )
(1 )
C -
#61
(1)
C
- 1
1 - Vm7/
(1)
-
(26)
C Gmi7/c
#59
Illb major scale

V lb major scale
V llb major scale
F/c
IV /i
Scoring fo r Voice 78
TA B LE #14
BLUES PROGRESSIONS
----------------------------- -------------------- (a)
#76
measure 1
measure 2
(1)
Cma 7 1 1 1
(3 1 )(3 1 ,3 6 )
Bmi7 I E 7 I
V llm i7 1117
im al
#77
#76
(2 4 ,2 6 )
C9 / / /
S9
(3 ,5 5 ,5 6 ) (12)
F9 / F # 7 /
IV9 IV#o7 /
measure 7
measure 8
C / Dmi7 /
!lmi7
I (1 ) ---------C / Dmi7 /
Ilm i7
measure 4
measure 5
(3 2 ) (3 2 ,3 8 )
Ami7 / D 7 /
V lm i7 117
(2 1 ,2 4 ,2 6 )
Gmi7 I C7 I
V m i7
17
(3 ,5 5 ,5 6 )
F7 1 I 1
IV 7
(3 ,5 5 ,5 6 )
F9 I I /
19
(21,24,26 )
Gmi7 I C7 /
V m i7
17
IV 9
Imi7
measure 9
measure 10
measure 11
measure 12
(2 4 ,2 6 )
r (U 5 )
Dmi7 / I
Dmi7lgl / /
Ilm i7/v
Ilmi7
lllm i7 V I+7 b9
---------- 1 (4 0)
. .
. ( 12 )
(Dr ( 1)
Emi7/Ebmi7 / Dm 7Em 7Fma 7 F#a 7 Dmi7 /g I G7/
S llm i7lllbm i7 IIm711 Im7 IVma7 IV#7 M m i7 /V V7
(c)
(b) .......... ...........
measure 3
C9
---------- 1 (43)
Emi7lA+7,b9l
1 ( 1) ---------S
#77
-i r
........ .
J L
I m ajor scale
I m elodic minor scale
V whole tone scale
V lb m elodic m inor scale
II Dorian m ode
IV m ajor scale
I Blues scale
I Dorian m ode
(4 3 )
(4 4 )
(5 5 )
(5 6 )
(6 2 )
(2 6 )
(2 8 )
(2 9 )
(3 1 )
(3 2 )
(3 5 )
(3 6 )
(3 8 )
(4 0 )
V llb m elodic minor scale

V llb m ajor scale
IV dominant 8 note scale
IV Blues scale
III natural minor scale
(2 5 ,4 4 X 3 ,4 4 ,5 5 ,5 6 )
Cmi7 1 F9 /
IV9
(1 ,1 5 ) (8 ,1 1 )
Dmi7 / G +7p 9 /
Ilm i7
Vl+7,bg
( 1,62) (3 5,43)
Emi71 Eb9 /
Ill m i 7 / lllbg
SCALE SOURCES
(1)
(3)
(8)
(1 1)
(12)
(1 5 )
(2 1 )
(2 4 )
(2 5 )
(2 8 ,2 9 )
F m /7 / Bb 7 /
IV m i7 V llb 7
( 1 ) r (4 3 )
1
Cl A + 7 p 9 !
J I
(d)
measure 6
I M ixolydian m ode
I Aeolian m ode
Illb major scale
VI major scale
V major scale
V lb major scale
III Blues scale
II Blues scale
lib major scale
V+7,bg
(1 ,2 5 )
(1 1 )
Dmi7 / Db 9 /
Ilm i7
(e)
llbg
Appendix B ~9
TA BLE #15
BLUES PROGRESSIONS
..... --------- (a) .. .......
1....
*78
#79
measure 1
measure 2
(2 4 ,2 6 )
C7 / / /
7
(3 ,5 5 ,5 6 ) (1 8 )
F 7 / Bb7 /
IV 7 V l l b ?
(2 4 ,2 6 )
C7 / / /
17
measure 7
..... .............. S
measure 3
---- (b) ------------------- 1
measure 4
measure 5
1------ ( 4 0 ) -------1
Ebmi7/Ab7 /
Il!i3mi7 V!b?
1------( 5 3 ) ------- 1
Dbmi7/ Gb 7/
||b mi7 yb 7
(2 5 ,4 4 )
Cmi7 / / /
Imi7
(3 ,5 5 ,5 6 ) (1 2 )
F7 / F# 7 /
IV 7 IV # 7
(3 ,5 5 ,5 6 )
F7 / / /
IV7
1-------- ( 1 ) I
Emi7lDmi7 /
Illm i7 Ilm i7
1----- ( 5 3 ) ------- i
Dbmi7/ Gb 7 /
1|bmi7 V b7
(2 5 ,4 4 )
Cmi7 I I I
Imi7
(3 ,5 5 ,5 6 )
F7 / / /
IV 7
measure 8
measure 9
measure 10
measure 11
measure 12
(1 ) (3 9 )
C l C#07 /
1
l#07
1------ ( 1 ) ------1
Dmi7 / G7 /
Ilm i7
V7
#78
(1 )
(18 )
C 1 Bb7 /
1 V l lb 7
(4 3 ) (3 5 ,4 3 )
A+7,b9/Eb9 /
V l + 7 rbg lllbg
(1 ,1 5 )
Dmi7 1 / /
Ilm i7
(29)
F m i l l /B b 9 1
I V m il 1 V llb g
#79
(1 )
(18 )
C lB b 7/
S V llb 7
1------ - ( 1 9 ) ------- 1
Emi7,b5/A7,b9/
III m i7 > 5 VS7,bg
(1 ,1 5 )
Dmi7 I I I
Ilmi7
(12)
D #7 / / /
!I# 7
(c)
J L
(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
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
/-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)
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) -
(b)
measure 4
measure 3
measure 2
(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
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. #
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.

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NCLUDES A COMPACT DISC OF

Escola Superior de Msica de Catalunya

CONDENSED, UPDATED AND

ALFRED PUBLISHING CO ., INC.

Copyright MCMLXXII by First Place Music Publications, Inc.

Exclusively distributed by:

Scoring for Voice

Learn so youll last!

Where and How Voices Sound

The Written Note

It is important to appreciate the difference in the tonal quality of women in

----- 14----s----- ------------- s

Relating Voices to Instruments

In commercial work, the natural untrained sound of childrens singing is

Rehearsing with Children

What is Good Singing?

You Can Help

Know Your Singers

Two or More Parts

Two-part writing is probably the most common method of harmonizing a

Example 8 is another approach to harmonizing in two parts. This basic

the Mul - ber - ry

The melody's strength is diluted when it is divided into three parts in

The open harmony version in Example 12 could be considered more lush

-11. -o..- - .-.- - -.-.-.-.-.-.-.- -. - _- '

---------------- 0 ------------------------------- ----------------0 -------------------------------

In Measure A, each of the singers is on a separate part, with the exception

With the variety of aspects to consider when approaching a piece of music,

Every Line a Melody

The traditional tune found in Example 15 is recognized by almost everyone

oh, when the

oh, when the

Oh, when the

oh, when the

oh, when the

oh, when the

oh, when the

Oh, when the

oh, when the

oh, when the

Words b-v Johnny Mercer

Muslc by Rube B,oom

Strive for Movement

Look for the Beauty

In Example 19, a segment of Oh Shenandoah is utilized to show the

Ebmi7 Ebmi7(b5) Db/Ab

we're bound a - way

we're bound a - way

J i t ___________ O_________________ 2 ____ %

we're bound a - way

Let the Accompaniment Do the Work

Example 23 is a simpler, two-part harmonization of the same song. The

Give It the Test

The Intro Last

28 Scoring for Voice

Words by Johnny M ercer

Fools Rush Inv

an - gels fear to tread,

an -g els fear to tread,.

Introduction to Never B e Afraid"

Ex. 27 Ending to Never B e Afraid

<*----------- ------- ---------------

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

J i t _ O___ 2 %

Doo doo doot doo doo doo_

stum - ble - in 'ro u n d and_ round. _

rea - dy to d o o r die._

rea - dy to do o r die.

wflile we are in_ our_ prime._