Boston University

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Theses & Dissertations Dissertations and Theses (pre-1964)

1950

Applying dance band arranging

techniques in scoring music for the
high school concert band

Minkler, Chester
Boston University

https://hdl.handle.net/2144/6223
Boston University
 BOSTON UNIVERSITY

COLLEGE OF MUSIC

Thesis

APPLYING DANCE BAND ARRANGING TECH~IQUES IN

SCORING MUSIC FOR THE HIGH SCHOOL CONCERT

·<
BAND

by

CHESTER MINKLER

Mus.B., Boston University, 1946

Submitted in partial fulfillment of the

requirements for the degree of

Master of Music Education

1950
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 Itfl'RODUOTIOlf

... The preaence in· the Jllla1c education tield ot eo manr able ·
1netl"Wanta11ata with lxpertence in co!lliDercla! maio led the writer
to the concluaion that thia ~oup ~7 verr protltablr uae their
lcnowle4s- ot coJ~~D~erc1al (1.e.,. dance band) baltmon7 in creating
'. individualized arrangement• :tor acbool banda under their direction •
•
-~ Th1a· thea1a u.t111c•• a n:r ot the vu1oua acor1ng techn1quee
L which are the atock•1n•trade ot the prpteaeional arranger, adapting
- .
,
/'
them to tit school requ~e.-ntl •
•
~- 'l'h1a particular 1t7le ot ar~a¥1ng was evolved during the writer•a
"- exper1•nc• with service and school banda. It 1a best t1tted tor muaio in
-~- tbe popill&r atyle 1 however• tt contains eo• element• that ma7 be adapted
',
·- to a ~ch,l a walta,a or a concert aelect1on.,
.
~ Due to d1tt1cult1ea tncountered in obtaining copJTight permisaion,
".,. olllr c>ne popalar ballad baa been 1Jl()1~484.4
~ It ia bOt the writer•• contention that this type ot maio should
...
...._ take up a ~1aproport1onate part ot tbe school band's concert repertoire •
·- However, one or two euch arrange enta 7 proY1ct. the needed relaxation

-
\._
that trill ••r•• to h1gbl1gbt a oono•rt.
A }>and that ba• been organised tor a 1bort tille, or one that 1a
......_ rather badl7 balanced in regards to inttru.. ntat1on, .a7 protit trom a
special arrans-ment along these 11nea.5
.&n arrangement that will -.ke allowano•• tor detects and yet
provide a tullneas and depth ot eound abou1d alwaye be welcolle.

ls.e "March", No. 7 •

2see "Sorrento", No. 12.
3see "Annie Laurie", Bo. l.
4s.e "Laura", No • 6,.
5see "Everyday Sweetheart", No. 5•

Borton University
College of Music
Library
 Sometimes outstanding bigb school 1natrumentaliata may have & atrong
desire to p~a,. muaic or the popular st7le. ~bey
""-
ma7 already be partie!~

t1ng in outside ma1cal activities o~ a professional or sem1-proteasional

nature. T:bere are ny others who are strongly influenced by radio and
..
: recorda and may bave developed a aenae of style as tar a this type or
.~t Jlllaic ia concerned.
It b7 the introduction of a tew.~ special arrangements that give the
•
band an approximation or. the better .cd"mmercial styles, these talented

- JOUDgsters may be attracted to, or

ma7 be able to interest them in good
be~
)

in tbe organization, the director

s·~andard and clusical music and
·.-..
'- broaden their .11W1ical horizon. A school dance orchestra may be dispensed
[ with 1f such arrangements till th~a need.
6
...
These members ma,- turn out to be the most valuable players in the
'l
organization. They often possess a vitality ot rhythm and a natural teel-
"'
1ng f'or ohord construction and harmon7 that surpasses that of the average
.
school maaician. Their moat characteristic fault 1s a disregard tor proper
foundation in their stud7 of an instrument. It !a the director's duty to
see that they adhere to correct fandamentals.
The teacher of maio who likes to arrange for his groups will find
that hia basic understanding of theor7, harmony, and instrumentation will
be retained and perhaps increased by the simple fact that he is putting
... some of his academic training to practical use. Perhaps many ot the
.tormal rules are not retained but the tact that he ia arranging msical
materia~ for an individual school situation forces him to develop that
important aspect ot good ma1cianah1p, namely, the ability to mentally
BEAR the material he is writing during its conception and to mould the
conception to the individual abilities ot h1a players. To have that con-
ception confirmed in the rehearsal room will then give him added confidence.
There should not be DUch di.tticu~ty encountered in the instrumental
rangea of the following arrangements. 'l'he trumpet solo in "Dark Eyes"
L naturally will demand a player of above average ability.
In the matter of rhythmic ti~ration along the linea or awing music
 ...
1t 1a hard to aa7 where· the 11ne mat b• drawn. It the lead pla7ers hlwe
the right conception, that is oft n enougb to ~1ng the entire ensemble.
The following unison pas•age, which 1s rbytbm1oall7 more d1ttioult
..
than anrth1ng ottered in these arl'angementa, WJWt taught to a high school
..-.
• trumpet section in few momenta. Non ot the members had bad any dance
band experi•nce.
BRIGHT SWING TEMPO (transposed tor truJNI8t)

In using this aet of arrangements it would a em best to introduce

.
-- a member such as "SORRENTO" (No. la) first, because it 1s written with
conventional voice leadings (with the exception of the alto saxophone) •
-. Going on to "DANNY BOY" (No. 2.), we have a rather alow JIX)Ving
number with little difficulty in the individual parts but requiring the
ensemble to atune itself to the new four part harmonies, the phrase
markings, and new voice leadings.
It ma7 be impossible to u e any or the numbers marked "awing tempo"
with some groups. The writer is interested in contacting any band direc-
tor who would be willing to try over some of these arrangements with his
;roup and evaluate them in the light of hie particular situation.l
There are numerous booka covering dance band arranging and com-
mercial harmony, but the writer round one that is outatanding.2
Mr. Ed MCGinley, an associate or Fred Waring, recently (1950)
gave a talk at a Boston University MUsic Education Workshop meeting
on the application or "~dern"- harmony and chord construction to piano

lfrhl'ough Boston University College of D.lsio.

2alennM1llerts Jlethod tor Orchestral Arranging, published by
14.ttual f6iitO SocHr, New York09li3 •
 ...
teaching. It was with the tbought in mind of applying th1a knowledge,
so generally known or available, to school instrumental arranging, that
~-

tb1s thesis was undertaken.

The writer wiahea to acknowledge the assistance and encouragement
.·-.
• ot the following 1n Jllrsu1ng and completing this work:
-~
Profe-ssor Kenneth Kelley, Faculty Advisor.
Jlr. Gangware, Conductor ot the Boston University Band.
-lfi.as Bertha Schwart~, Robb).na lba1c Corp., New York.
/
/
Preceding each ar~angement will be a abort outline or the ideas
)

and methods employed in ita construet1.,on.

--
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 ...

No.
1 .IRNII LAtJRII • Scotch
-.
I

2 DANNY BOY • Irish

::

3 DARK ElBS • Ruee1an -~

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4 EIBOTIOH RHUJI8.& .... Bruce Buc~1ngbam (from th• 1950 Boston

Un1vere1;r 1Ua1oal, •took Alive•).

5 EyER.mAY BlmETmwtT (original) "" JU.nkler

'1

6 U.URA - Raka1n (coppigbt owner Robbina llla1o Oorp.,

Hew York • hrm1ae1on sra.nted tor uae ~)

7 JWiCR ( or1g1nal) - J11nkler

8 NONE BU'l' TBB IONBLY HBART • 'l'cb.at kovalq

9 0 SOLE JIIO - Itall&tl

10 ROMABCB • Rub1nate1n

11 SONG OF THE VOLGA BOATMAN • !uaa1an

l2 SORREBTO - Italtan
 !o. 1
...
ANNIE LAURIE • Scotch

Tbie is a concert arrangement and makee'praoticallf no uee ot

"tour-war• harmonr.l
. The introduction aervee to eatabliah a reed tisur• in the clarinets,
'
oboes, and flute• (supported by bella) that ornament• the baritone aolo.
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Rote the .-axopbone t1gtlre, •.a ob · a~ophone entering on a eucoeed1ng beat

~

at "A•. This ~p,ram14ing" ot chorda 1~ a favorite device.

1
11 braaa entert at the ninth· bar ot •&• with an ascending reed
'
t1gure accenting the l1tt. The baritone anawer haa little eupport but
tbia arraogtment ~e1uppo1ea a good tuil reed aect1on.2
•1

The interlude borrowe two aeurea trom another Scotch song and
modulates to D Plat. The interlude chord progreasiona written out 1n
., chord a1Jilbols would look like tb1at B Plat (2 beat•), C Kinor (2 beats),
P tinor Seventh (2 beate), G Seventh (2. beats), ab Jlinor Seventh (4 beata),
Bb Plat seventh (2. beats), .I flat Se'fenth (2 beata), Eb J41nor Seventh (2
beats), and A Flat inth (2 beate), totaling twent7 beats or a tive bar
modulation. Jbdulationa abould not be too lengthy.
'lhe arrange•nt waa lengthened b7 reJ*a t1ng the Db ohorue and add-
ing a uni8on reed figuration tor new inter•at. A uni•on tigQre in the
r-eeds can be uaed aa a device to heighten either harmonic or rhythmic
interest. Care 111st be tak4hl tbat the melody ia still heard in the
'·· '
~ui-pol,-phon!.o treatment ot the last tour to au bare.

1rour•way h~mony preauppoaea three different notes in the chord

in addition to tbat serVing aa t .he melody note. Ex. 1 C Major 6 con•
t&ina c, B, G, and A· No note being doubled in the tour voice parta.
This added note harmon,- 1a the whole .baaia or commercial arranging.
Adequate explanations can be found elaewhere. (An7 guitar or modern
piano method will give th1a information.)
2ABJIB LAURIE baa been played by the Boaton Un1ver$1ty Summer
Session Clinic Band, Mr. Gerald Prescott, director.
The bassoon parte were considered rather difficult tor aobool
use. The flute part should be raised an octave 1n the last cborua and
the horn 8'l d saxophone parte seemed rather uninteresting. Otherwise
t~ arrangement was well received.
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J».lDlY BOY • Ir1eh

fhe e~gbt bar 1ntrod\.l.ot1on has no rhytbilio or melo<11o counterpart

1n the main bodJ of the ~range•nt. The bart tone bolsters the ul11eon
.•
•'- ola:r1aet melodr 1n the 1ntrodu.ct1on.
Tbia arrans-ment calla tor a fairly low but ateadr tempo. Breath
control an4 phrasing u• 1aaportaat. The beavr phrase ~lea above the notea
, -~

are a oommero1al device that enau:pee a;.·togeth&rneea ot pbr&ains eo neoeaaa17

;

1n thia tollow-the•lead, . blook obord etyle of playing.

'
The first eight bara of "'A" ar;; acore4 tor tull band from a vePJ
tl11U7 ooncert eketch. Proper doubling 1s all that 1a nee4ed.
'I

A.nalruns the f1rat beat ot letter ••" bar one tor voie1nga The
Mlody aote ia A concert (treble clet, eeoon4 apace) with P, D, and a
the oloeeet har•ny notee UDder it forJII;ins the baaic obord ot P 6.
Tbeae tour tones are given to the tru~ta w1th the l•ad or first
._ tl'UIDpet on top plartng the melody note A. The tour clarinets double these
ton•• at t~ aame octave. Counting down the chord trom the top, the t1ret
and aecond alto eazopbonea are given tbe t1ret and third voices (A and D).
The tenor 11 given the fourth voice (0) and tb aecond voice (P) ta given ·
to the baritone saxophone (aoun41ng 8 va baaeo) . . The bale clarinet doubles
the b as on low J (root ot the ohor4) • The borne playing unison melody
sound A concert.
'l'he trombonee w1 th baritone lead (on top) play a counter rhJtbm
that helps relieve the abaenoe of born• on the atterbeate (corresponding
to the gu1tu and p1a.no or the dane• band rhythm section). Bassoon dou.blea
the baritone. Oboe doublee the le d clarineb aa doea the tlut• (8 va
bigbel').
Thus it 11 ea.7 to extract parte trom a aketoh cona1at1ng of the
melody note, 1ta three harmony notes, and the baas.
X.eplng the vo1c1ng pattern in mind and the range ot the var1oua tnatru•
menta, one ma7 do •ay altogether with a tull aoore and extract directly to tbe
part, all ot wh1oh 1e a tr•mendous aaving in ti•e to the b~ar mua1c educator.
 No. 2: - DANNY BOY (continued)

The explanation ·ot th1a p.rooedur• hae been carried to aome length
because •ar1ationa ot it serve aa a baa1e tor moat ot these ananpmenta.
~-

low unison clarinets at the e~ghth bar of "·A• ut111ee the ut,••
low rea1ster of tbe clarinet, touching on the low ••
..-.
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hll reed section (tour•W&J) enters at •a•, Here the tenor double•
lead olar1a.t (a favorite Olenn M1ller device) and the alto sazopnones
take the th1rd and tourth vote••. Bar_,. tone, baaaoon and baas clarinet
-- . l~

carr1 a counter melod'J'.• 1 Full brass -enter at the eighth bar ot "B"·, With
l

all the support u~el' him a good aobo5tl lead tl'\lllpet abould have 11 ttle
.>. ~.

4ittioult7 with his high a. .lt the t11'th bar betore •o• halt the olar1neta

'I
etay in the higher octave to avoid being oovere4 b7 the aaxophone.
The tirat eeven bars ot •o• are a re~at ot the ••" cborua. Unison
trombone and baritone oarr1ea the melodr for e1gbt bar1 giving war to tour
...,.
<
part barJ2Dn7 tor tht next e1gbt bare. ·clarinets emplo7 paee1ng note harmnr
1n open poe1t1on. The tall band enters to tinieh the last eight bare, t~

lead trumpet approaching hie bigh B Yia a short aoa1e.

An 1nterest11'lg 4e..-1oe 1e ueed ala bars hom the end. !hie 11 called
1ub1titute harmony. Using the •lodr notes ot o, A, and 1' (concert). tbt
original harmoJlies are eupplanted b7 suoce1e1ve n1ntb chordl (r 9 1 D 91
and sb 9) g1v1ns a ver7 lv.ah •tteot. The cont1nu4td uee ot euch harmonies
1a not practical tor acbool work, however. It 1a ot ~eat1onable musical
taete at timea.
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'fhi.a arrangement featuring trumpet aolo begins w1 th a oaden&a. Oare

must be taken that the t p ln the sustaining chords are observed.
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f1~re ta only an approximation ot the desired etteot.

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(Prom the 1950 Boston Un1versitr NUaioal "Look Alive•)

'!'hi a 1a an adaptation of a
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to\11' bar a be tore "a• •
At •a• the or1g1nal theme 11 in the b~aaa, t~ reed aection trading
t~mea w1 th 1 t. This "1 be pla,..d a good torttaatmo 1n the braae 1t the
reeds are strong enough.

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New Yorlc 19, N, y
 No. 5

EVERYDAY S11EETBEA.R'l' (original) - 111nkler

This number was arranged with a small limited group ot about twentr
players in mind. Although it is an original melody, the chord progrees1ona
resemble thOse of the popular song "It I bad You".
There abould be a alight rhythmic lilt from the beginning.
· 'frUmpeta and clarinets have the theme at • A0 with a baritone solo in
the releaae (middle aeotion).
i

By using bats, the trumpet and ~rombone achieve a more mellow horn•
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like tone that blends well with reeds- ·and aervea aa a contraeting color to
their natural brilliance. The best bats are metal derbys that are supported
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on raoka resembling the bottom of an ordinary masic stand with a wire loop
at the top. Pelt hats ma1 be substituted.
In using any ot the mQte ettect~ tor braes, make sure that the entire
••ction is equipped and that there are not one or two members pla,-1ng open
.. horn. Holding the hand ov~ the bell of the born is a poor substitute tor
the hat ettect and may contuse young players. •Deep hat" meana that the
tru111pet bell is well within the derb7. Instantaneous changes to open born
are possible with a rack aupported derby.
At "E" the trumpets bave ample ti to set their atraight mutes.
Be sure to observe the •triplet" interpretation of the eighth notes
at "Ga when rehearsing. ~

The t1gures ( f J, . JJ), (J. !''-'J ), and ( ~·- .rn J)

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UURA. • Ralcs1n
(Oop,r1ght OWner Robbins lfusic Oorp., New York. Permission granted tor uee)

This is a beautiful melod7 but difficult to arrange owing to the

manr dissonant harmonies.
T~ introduction baa several strong di1aonancea and should be
omttted i t general intonation i• poor. Clarinets and 1axophonea double
1n thirds over • deacending chord prosnssion. Their part was contrived
~

b7 "adding notes" to th• established Pz.ogrelaion.

.
This is another stan•
dud technique. The pedal note is e~aai&ed b7 string ba1a piss., bella,
and horne • Although the melo4J is in the 1te7 of C, the tonali tr ot <J
~relata long enough to warrant the pedal note D in the introduction.
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atructure 11'1 th1a uarangement. The reed aect1on aupplanta the braes

~ at "1>" 1 midpoint ot the .t1ret chorus. ·Flute supported by alto saxophone

begins the verse at "E", replaced b7 baritone atter e1sht bare.
Aa 1n "Dann7 Bo7", tull band be gina the aecond chorus 1 aoon to turn
the m.lodJ over to trombone Wl1aon tor ·tour bars J. trombo~e in harmony
(baritone being considered a part ot the section) proceeds tor tour bare
and then tull braes enters aa the trombones are blocked by range limitation•.
Th1a aeries et ucend1ng paaeas•• eeeu to need m ad41 t1onal climax
to keep it going. 'l'hia is provided by l1.tt1ng the •nttre selection 1n mid•
cborua one•balt tone into the new Xe7 of D flat. D flat 1a a good ke7 for
eax&pbones eo the7 were g1Yen eight bars aol1 (aol1 1e a melodic section
pa~sage 1n barmon7). Full band t1n1ehea the chorus. A drawnout endtng
baa been avoided.
 Jil ROBBINS MUSIC CORPORATION
~-

Publishers
.
..
• 799 SEVENTH AVENUE • NEW YORK 19, N Y • CABLE: ROBMUSIC

,
June· 2 ~ 1950
.

'1

1tr. Chester llinkler

68 llagazin Str et
Roxbury , Kas.s.
Dear llr.. inkler:
In reply to yours or .tune lst,. are pleased
to authorize ou to make an arrang~ent of
our composition LAURA for concert band, as
p rt of sterts thesis t th~ College of
•usic,. Boston University . It is understood
th t this arrang~ment 111 not be re-copi d or
reproduced for any other purpose.
1e are sending this letter to you 1n duplicate
so that you y turon over one copy of s e to
your Professor.
With all good wishes,. e re
Sincerely yours.

By~
B.S: asb
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 IWlCH (original) - Jl1nkler

A. March ia perhap the moat impractical- type of band composition

tor the application of tour-way harmony. such etteote are usually lost
in outside playing but may be of eome uae in oonce~ work.
The opening trumpet tant&l'e is one example or tOUJ'-way harmony.
In the repeat section of the trio the flute (or piccolo) i• left

to perform th•- figuration while the c~arineta ata7 below high 0 for the
.
mat part and pla7 melody with 1upport1ng haruony.
The continual attempt by JOUDt( iMXperienced pla,.ers to get over
difficult puaages in the extreme high range ot the clarinet may d•velop
a catch-as•oatoh-oan style ot playing which is the opposite ot good wood-
w1nd tec~que.

The f lute part can be made more practical it it 1a extracted aa a

Db p1ooolo~ part, transposing down a minor ninth.
The percussion section, neceeaar1ly neglected 1n this style ot
Rranging, gets a cbance tor a little workout here.
A soft, crisp anare ~ part ma7 be added to the tirat part of
the trio 1t ~aired. (Repeat tM laat halt.) The trio melodr should
lend 1 tselt to school aong l,.r1ca.
The tenor saxophone serves to eupport the baritone horn in counter

melodies. There 1a no attempt made to arrange tor a aaxopbone ••ot1on 1n

this number.
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No. 8

NONE BUT TBE IDNBLY BIWrl' • Tcbaikov:akJ

'this a.rrangement haa been aet in Alla Breve tempo to empbaaize t~

beguine rbJtbm which the original song a"med to oall tor. It is a cored
tor trombone aolo tbrougbout md will be found to be quite abort in pla7•
1ng duration although nineteen pages 1n length.

'fb.e o-riginal harmonies wex-. closely followed and little uae made
ot the tour-way technique. The solo ;'a rather low but with the climax
on high F at •s•, a h1sb.er k y did not seem reaa1ble.
It the group understands ita pOa1t1on in playing an accompaniment
(eapec1all7 the percussion seot1on), t .h e aolo1at abould not be covered.
He should tand at the front ot th• band and not 1n the trombone aect1on.
·-
~ "E"·, the fourth tNl'llpet (who should be & capable performer) 1a

c
uaigned to the ascending reed acale to g1Te it more "edge". 'l'bree mea-
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auree before "F•, t h e opposing dJ'ft8Jilica aerve the p.trpoae ot bringing out
~ tbe syncopated accompaniment.
The nd1ng at the close or the aolo should not be too loud. The
oroaa cueing makea performance by a small r group possible.
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 No. 9

...
0 SOLB MIO • Italian

The uniecn reed ti~re uaed in the introduction and throughout the
J ,
tirst chorus waa derived rrom the interlude section "t• which was oonoeived
separately before beginning the arrangement.
1\111 braea enters at "'A" aupportM by 'baaa, bor.a, and drum in rhumb&
:rh.,.tbm. The·· sax section at the eighth bar after •A" ahitta to eupport the
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braes tor tour- meaeurea and returns tq· the reed figure.
i

A.t "B"' unison meiody g1vea the ~eed section their chance. (Uniaon
melod7 ia very good tor developing the· weaker players.) Alto euopbone
supports the flute on an ornamental figure at "'B" and trombones take over
the horns • rhythmic 4u tie a, ellowing them to alao pl&J unison melody •
.lt the eighth bar ot tt>B"' tull reeds in tour-way h&rmny taktl the lead.

. Letter -on repeats seven and on~-half bars of' "'A" and then baritone
...
baa the lead with the harmon7 ON TOP ot the lead voice. This device calla
tor uae of' care 1n selecting the topmost voice. The interval of' a sixth is
the aateat.
An original interlude in the relative adnor ot Eb takes place at lh
Bote the bar1tone·ta at ner1ng vo1oe. Careful attention to accent markings
1a necessary here.
Going abruptl7 to the major at "B" the harmony 1a 1n aimple thirda,
the rhymic tigurationa keeping 1 t from becoming monotonous.
At the tweltth bar ot "E•, tour....,a7 braes doubled by clarinets, sax•
ophones and, 1n the lower octave, by trombones g1vea the tullneaa ot aound
Hqu1red tor the ending. An7 extra percuaaion section members ma7 ad lib
,arts on lalln rhythm. inatr~.uentaa elavea, maracas, etc.

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ROMANCE - Rubinstein

~s popular favorite bas been arranged~- in a style known aa "society

tempo". A light_ steady, two beat to a measure rhythm holds throughout.
Clarinet and cup 11211te brass are a ravori te combination. This was
a favorite device or the old Tommy Dorsey dance orchestra 1n accompanying
vocalists•
If cup or w~mon" mutes are not
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the lower range of trumpets or trombones.
FUll band enters at "C" with a baritone countermelody.
If no microphone is available, the trombone solo should be played
open horn.
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SONG or THE VOLGA BOATMAN • Ruasian

Tbia adaptation may bear some l1keneae~to a wellknown commercial arrange-

•nt but Cl088 e.xamS.nation Will renal that they have little in CODU~¥>n. An

atteJilPt was made to uae a tn simple rbJtbm t1gures that would be eu7 to
graep and would allaoat "awing" ot themselves once the,- were mastered.
· The alto saxophone aolo 1a in a good ke7 tor this 1natrwnent and care
wu taken to elildnate awkward regiatir changes. Tb1.e paaaage should be
i

»la,-.4 1n that rolling "triplet" rh,tbm, somewhere between tba two-eighth-note

(n ) and the dotted-e1ghth-and-a1x~enth ( G ) rh,.tbma. String basa

,_
should be aubatituted tor bafl• tuba and a aet ot danoe•druJU with appropriate
o,mbala abould be emploJWd it possible.
The dru r mat not ~ allowed to poWld and the baas or tuba abould
be aeated next to him.
The awangement ia not too long, becau e ot the d1tt1oult that moat
JOWlg pla.,era experience 1n a1nta1n1ng a atead1 tempo.
The tadeou t and aurpriae ending are typical ot th1a atrle of playing.
The 11114'k1ng "plunger" retera to the rubber cup ot an ordinary ldtchen
plunger which, when held over the bell ot a trwapet and then removed,
8
produces tae cbaraoteriatic doo•ab 8 ettect.
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SORRBITO - Italian

Thia beloved folk-like 116lod7 haa been included in one or the newer
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apt to be full of' awkward skips when this technique is uaed.

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