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 GLENN
I

MILLER’S
METHOD

EOR

ORCHESTRAL

ARRANGING

MUTUAL MUSIC SOCIETY, INC., NEW YORK, N. Y.

 VS'/. (^32.
A4 ^ (t
Vi'd"

GLENN MILLER’S
METHOD FOk ORCHESTRAL ARRANGING

Copyright 1943 by Mutual Music Society, Inc.,

1270 Sixth Ave., New York, N. Y.

International Copyright Secured All Rights Reserv'ed

The original compositions contained in this collection are fully protected under the
copyright laws of the United States of America and all countries under International
copyright. The copying of either the separate parts or the whole or any portions
of the original material thereof by any process whatsoever is forbidden and subject
to the penalties provided under Section 28 of the copyright laws.
 CONTENTS

INSTRUMENT CHART . 6

THE SAXOPHONE SECTION . 10

THE TRUMPET SECTION . 24

THE TROMBONE SECTION. 36

THE BRASS SECTION. 45

THE RHYTHM SECTION . 5 5

MAKING A SMOOTH ARRANGEMENT. 58

MAKING A RHYTHMIC ARRANGEMENT. 71

ORCHESTRAL EFFECTS.75

APPENDAGE.110

MANUSCRIPT SCORE—"FM THRILLED”. Front Insert

MANUSCRIPT SCORE—"SONG OF THE

VOLGA BOATMEN.Back Insert

75572
4

GLENN MILLER
 s

A s a young arranger, I was always searching for some

, work that actually described the process involved in

making orchestral arrangements. Many comprehensive

volumes have been written about harmony, theory, coun¬

terpoint, orchestration and composition, but to my knowl¬

edge, no book has ever been written which actually told

how to make an arrangement. If this book in any way

solves this problem for ambitious young arrangers it shall

have fulfilled the purpose for which it is intended.

9
 6 INSTRUMENT CHART
Signature and Scale Possible Practical

Signature Signature and Playing range Playing range Playing range Playing range
and sound in same scale as and actual as written for and actual as written for
Concert Key written for sound written instrument sound written instrument
Instrument instrument in concert in concert
 7
Signature and Scale Possible Practical

Signature Signature and Playing range Playing range Playing range Playing range
and sound in same scale as and actual as written for and actual as written for
Concert Key written for sound written instrument sound written instrmnent
the instrument in concert in concert

English
Horn

Bassoon

French
Horn

Guitar

Drums
i Snare-Bass
Tom-Tum
Cymbal)

Violin

Viola

Cello

Double
Bass
(String-
Bass)

Tuba

Piano
8

The arranger may write the “possible” playing range of

an instrument only when it is in the hands of an excellent
performer. Extremely technical passages should not be
written in extremely high or low registers.
For more comprehensive data regarding all instruments
see Cecil Forsyth’s “Orchestration.”
 9

SECTIONS

In the following pages are shown some of the uses of the

various sections of the dance orchestra as employed by the
Glenn Miller Orchestra.
10

Mose Klink Tex Beneke

Skippy Martin. Will Schwartz Ernie Caceres

THE SAXOPHONE SECTION

Instrument Doubles Played by
1. B[j 'Clarinet E[j Alto Saxophone Will Schwartz
2. Eb Alto Saxophone Bb Clarinet Skippy Martin
3. Eb Alto Saxophone Eb Baritone and Bb Clarinet Ernie Caceres
4. Bb Tenor Saxophone Bb Clarinet and Bb Bass Clarinet Mose Klink
5. Bb Tenor Saxophone Bb Clarinet Tex Beneke

NOTE:—The following examples show some of the uses

of our Saxophone Section.
 COMBINATION No. 1 N
Bb clarinet

Eb Alto Saxophone

Eb Alto Saxophone

Bb Tenor Saxophone

Bb Tenor Saxophone

Concert Sketch
-3 -3-~~^

^>1 A-g n 4=3 •-d:-1=^

-Wj"L

Transposed for Respective Instruments.

COMMENTS:
Suitable for legato melodies—background for solo instru¬
ment—background for solo voice—"Fill-ins” for en¬
sembles—melodic line in introductions—modulations—
interludes—endings and legato rhythmic passages.

Easily balanced in high or low registers, loud or soft. The

melody line predominates because the top voice, played by
clarinet, is doubled with the tenor an octave lower. In the
high register the clarinet tone strengthens the rather weak
tenor tone, and in the low register, the weak clarinet tone
is strengthened by the strong tenor tone.

Avoid staccato passages with tliis combination, as short

notes do not permit sufficient duration for good blending
of all voices.
12
COMBINATION No. 2
Bjj Clarinet
Bjj Clarinet
Bb Tenor Saxophone
B[j Tenor Saxophone
(one Alto tacet)

Concert Sketch

2 Bt Clarin ets

zlnh^. ■jfih > -n

« lenors

-^ 1 ...I rrl

COMMENTS:
Suitable for legato melodies in which the harmony is such
that it permits playing in thirds. Also suitable for back¬
ground for solo instrument or solo voice—melodic line
in introductions—modulations—interludes—endings and .
legato rhythmic passages.

Easily balanced in high or low registers, loud or soft.

Avoid staccato passages as short notes do not permit suf¬

ficient duration for good blending of all voices.
COMBINATION No. 3 13
Efc) Alto Saxophone
Eb Alto Saxophone
Eb Alto Saxophone or Baritone Saxophone
Bb Tenor Saxophone
Bb Tenor Saxophone

Concert Sketch

Transposed for Respective Instruments.

COMMENTS:
Suitable for legato melody—counter-melody to solo in¬
strument—counter-melody to solo voice or group of
voices—"Fill-ins” for ensembles—melodic line in introduc-
t i o n s—modulations—interludes—endings—melody line
for ensemble against brass figurations.

Easily balanced in high or low registers, loud or soft.

14
COMBINATION No. 4
Alto Saxophone
Et) Alto Saxophone
E[j Alto Saxophone or Baritone Saxophone
Bb Tenor Saxophone
B[j Tenor Saxophone

Concert Sketch
gvo1 alt,.-.
•~ 1 * [Ijih. ,"p:|
-^Y. jy-ir- A-
ji=i;F-^M-^#• 90 1 -j** •
——b- II
Transposed for Respective Instruments

1 Alto
n
^ U /U ^ • ^ IQ V ^—"I 1 \
rH ^ ^ L, L 1 r 1 ^ f 1
Mu^1 . .
r
a na trs V #ff ■ "R*--
r

Baritone 1 j
H L— -^ hJ
J u* hi _
-*• dit — ■ »• T np ^ T
un^-#r' 1 1A ki • ^ • ^ L,
M I 0*h « 1 1
Alto Ld "1 k

2 Tenors
!L L«
TT-; 1"r 1
U w-UW—
“-s « ha ^ ihJ»L■ n^I■-w
' fV 1 A B
r/Pw 7—... p 1 ny 1 -
L^-U
LLU 1 ^^ ^ 'Ud u*

COMMENTS:
Suitable for rhythmic melody—counter melody to solo in¬
strument—counter melody to solo voice or group of
voices—"Fill-ins” for ensembles—melodic line in intro¬
ductions—modulations—interludes—endings.

Easily balanced in high or low registers, loud or soft.

 15
COMBINATION No. 5

Eb Alto Saxophone
E\) Alto Saxophone
E[j Alto Saxophone
B[j Tenor Saxophone
Bb Tenor Saxophone

Concert Sketch

Transposed for Respective Instruments,

3 Alt OS

0 j 00^0^ *:* —ar W- a't

/V 6* f
^ r-^ A

2 Tei10 rs

w-M -t-
1^1 1 ^ w
— C®. '1 ■ ■
A

COMMENTS:
Suitable for legato or rhythmic melodies—background for
solo instrument or solo voice—melodic line for modula¬
tions—i ntroduc tions —interludes —endings—background
rhythms and background sustained passages.

Easily balanced in high or low registers, loud or soft.

16
COMBINATION No. 6
Eb Alto Saxophone
Eb Alto Saxophone
Bb Tenor Saxophone
Bb Tenor Saxophone
Eb Baritone Saxophone

Concert Sketch

/O L
L/ 1TA j m ^ I 1 V
^ PTI r« J
J * J A
i1 ^! F ^1 ^ y <5-
* -4 " t-3 -6
■S

L M m w m II i
p T 1i ■ . *
/ k I I/' r ' r 1 • A .
p
=4 —k "45

Transposed for Respective Instruments

2 Altos ^
»-
l» ■■ m \ f
^ L ^ \7 1 7
A T *-m r #
^ -^ ^1-
e) -
•

2Teno rs
f
1
A K
■ J m & » ■.
■VLf ' 1 f a . ^
9 5>-

Baritone
L/ ■ ■ ■ T %
71 m n m 1
r 1
)
C hJ ■ h-J* ■

COMMENTS:
Suitable for legato for rhythmic melodies—background
for solo instrument or solo voice—melodic line for modu¬
lations—introductions—interludes—endings—background
rhythms and background sustained passages.

Easily balanced in high or low registers, loud or soft.

 17
COMBINATION No. 7
Bb clarinet
B[} Clarinet
Bb Tenor Saxophone
Bfj Tenor Saxophone
Eb Baritone Saxophone

Concert Sketch

^—
.uJ
1 ^
etc.
ora

1\ : ^ f—
J=^
-■-1-4 WJ—
7 1
T —
—

Transposed for Respective Instruments

COMMENTS:
Suitable for introductions—modulations—interludes—
endings or melodies having harmonic structure similar to

this example—background for solo instrument or solo

voice.

Easily balanced in high or low registers, loud or soft.

18
COMBINATION No. 8
BIj Tenor Saxophone
Eb Alto Saxophone
Eb Alto Saxophone
Bb Tenor Saxophone
(one Alto tacet)

Concert Sketch

Transposed for Respective Instruments

Te.nor(melody)

1^
-^J1
.^2 ^ 1 -|= r jV ^J . h-i
2 Altos

V 1 ^ .\ —n p
r * It *'* 1^ — 2-:-^-

^ It/;
* Tenor

^ ^ r ri —(•—-^—
— ra-
r ^ ^ r If *
-W-

COMMENTS:
Suitable for melodic passages where the top voice (E^
Alto) lies mostly in perfect duet form (3rds or 6ths)
with the lower voice (lead Tenor).

May also be used in introductions—modulations—inter¬

ludes—endings or in any melodic passage having similiar
harmonic structure.

Sometimes difficult to balance due to all voices being above

melody.
 19
COMBINATION No. 9
Bb Tenor Saxophone
Eb Alto Saxophone
E\) Alto Saxophone
Bb Tenor Saxophone
Eb Baritone Saxophone

Concert Sketch
3

-\ “id— r~ 1“
1
i
\
fjr ” ^ f
f 01- r- J'iM 7 = n:-*“T-
-—1.33
\ 7S
Transposed for Respective Instruments
Tenor
r melodi/^ 1

1 1-yrn- 111 1 11 —1 Mff

I_
Tt
^ M 1 L 1-
*-

?. Altnn:
1 1 1
1 ^
V yu ..cj Tra .5 »
IP
Bj*um'm Tu*
WW ill Zn*
2^
f
VIL/ ' 1 T1 1 TV--

Tenor
Pa ■ ^ ■ - —--V-1 . -
^ 1 iW .r^.. A— 1
Pn ^ 1 •L L
v-i/ ' ; u:m. L

Baritone
ft a . ^ 1
OilTt y 1
A. 'u M . . 1 d 1 f
a• L .
W ' ■ ■■ g. sJ- -
-d——

COMMENTS:
Suitable for legato rhythmic passages in introductions—
interludes—modulations and endings.

Easily balanced in high or low registers, loud or soft.

20
COMBINATION No. 10
Bb Tenor Saxophone

Eb Alto Saxophone
E[j Alto Saxophone
Bb Tenor Saxophone
Eb Baritone Saxophone

Concert Sketch

/I^L JL ilJ Jnji i h rtli^

"r
> Iff.
/ 0):, 1- "j -i-' 7H 1
[ /[> V r 73 ■
[S-OT' ng3r .”■ '*-wr

Transposed for Respective Instruments

Tenor f/earfj

Piftlgs-A

2 Altos
A
I
' ih 1 - r" ■ 1 hff
^^9r-.-
1--
Tenor

1—
^—*44-—
4 -:: H
Baritone

, it* i y 1—iTi)
-[

COMMENTS:

Suitable for introductions, modulations, interludes and

endings.

NOTE:—Bb Clarinet, Eb Alto or Eb Baritone may be

substituted for the lead Tenor in all examples similar to
that shown in Combination No. 10, providing the key is
changed to suit the solo instrument used.
 21

COMBINATION No. 11
Eb Alto Saxophone
E\) Alto Saxophone
E\) Alto Saxophone
Bb Tenor Saxophone
Bb Tenor Saxophone
Concert Sketch

Transposed for Respective Instruments

COMMENTS:
Suitable for rhythmic passages—introductions—modula¬
tions—interludes—endings—background for solo voice
or solo instrument.

Easily balanced in high and middle registers, medium loud

or loud.

CAUTION: (1) Numerous dissonances make low re¬

gister writing sound thick and muddy.
(2) Avoid as much as possible having an
interval of a second between the two top
voices as lead may be covered by second
voice.
22

COMBINATION No. 12
Eb Saxophone
Eb Saxophone
Bb Tenor Saxophone
Bb Tenor Saxophone
Eb Baritone Saxophone

Concert Sketch

Transposed for Respective Instruments

 23

•g:’
A u rt
»
^'^9
_
*
^-
r
1
■
f h^i
P *'1
. 1 A

t\ ^■&. ■ff 1?^1 p-

_ ^-nw (• ^1 m i-ti#-
[7" 0 q2
*1 ■ am • H m (
"UP IT

U H 1 1
V HiTT y V—T »-Sf m-1-3 1 V J_i
"im ^ 1 \1
-T ■ ^ h
LM2-^-1-L
I,

COMMENTS:
Suitable for rhythmic passages—introductions—modula¬
tions—interludes—endings—background for solo voice or

solo instrument.

Easily balanced in high or low registers, loud or soft.

It is possible to use many combinations other than those

shown, and it should be the aim of every student to experi¬
ment with the thought of finding new, good-sounding
harmonic devices and colorings. The results, whether good
or bad, should be observed for future reference.
24

THE TRUMPET SECTION

John Best Steve Lipkins

R. D. McMickle Billy May

NOTE:—The Trumpet Section has not been designated

as 1, 2, 3 and 4, as each trumpet player was capable of
playing first parts. Our arrangements were such that the

parts were evenly divided.

 25

EXAMPLE No. 1

Concert Sketch

3^ 3^
K I f g
«
N P'Tit
- 4 —

r Lr M -. I
-^—

. 1 .-B 1
-- —
— J
f-S'
4=^; :

Transposed for Four Trumpets.

"3^
lib f]
(eh ^ - 1.1 r T ^ ■::fcF F f's f=#=; -f i
r P- —

1 L LL - —t- --«—
-j-i-
^3 ^

COMMENTS:

Suitable for legato melodies—background for solo instru¬

ment or solo voice—"fill-ins”—melodic line in introduc¬

tions—modulations—interludes and endings.

Easily balanced in high or low registers, loud or soft.

Muted or open.
26

EXAMPLE No. 2

Concert Sketch

Transposed for Four Trumpets.

i-yHa m - —T-< Ibff^ r-1-s ^ ^ 1 1 1 ' fi

^ "u i 4 —B. n V- • 1
fm tt 1^
[AM/ ^ TT-^ 1F. -1 r 1r ' -* r 1r * 1 ^ n . n t*.

—n—rrnr-=—rR3 n i- -1—r—\ :—
- jk^Li- —J a-^-- —i—
1 1 -L ^
^ -g:
Z--

COMMENTS:
Suitable for rhythmic passages—background for solo in¬
strument or solo voice—"fill-ins”—melodic line in intro¬
ductions—modulations—interludes and endings.

Easily balanced in high or low registers, loud or soft.

Muted or open.
 27

EXAMPLE No. 3

Concert Sketch

COMMENTS:
Suitable for introductions—modulations—interludes—
endings—"fill-ins”—background for solo instrument or

solo voice.

Easily balanced in high or low registers, loud or soft.

Muted or open.
28
EXAMPLE No. 4

Concert Sketch

-7^— t'-Tp- g ■ ■ g aVJ j-- ?J. i II

--

Transposed for Four Trumpets.

muted_

-*»■■■# f#-*—-—— r-M—^ pr

* ri;
2nd) Solo
3rd Trots.
4th* ^
—--
-1- k| .
^ ^- 3—^—4-: ' ■ I4 Ul

COMMENTS:
Suitable for melodic or rhythmic passages—introductions
—modulations—interludes and endings.

Easily balanced in high or low registers, loud or soft.

Muted or open.

Variations of the above example are possible through the

use of different mutes.

First Trumpet— Open

2nd, 3rd and 4th Trumpets— Straight mute
Open in hat
Cup mute
Harmon mute
Straight mute in hat
 29

First Trumpet— Straight Mute

2nd, 3rd and 4th Trumpets— Open

Open in hat
Open with plungers

Cup mute
Harmon mute

First Trumpet— Cup Mute

2nd, 3rd and 4th Trumpets— Open
Open in hat
Open with plungers
Straight mute
Harmon mute

First Trumpet— Harmon Mute

2nd, 3rd and 4th Trumpets— Open
Open in hat
Open with plungers
Straight mute
Cup mute

First Trumpet— Rhythmic

2nd, 3rd and 4th Trumpets— Legato

First Trumpet— Legato

2nd, 3rd and 4th Trumpets— Rhythmic
30

EXAMPLE No. 5

Concert Sketch

} u A* S S ^
rm ^
3: 1 « * ■ a nE
"■g m'^ Tl-
—i-m-n
:m
t- f r r ^ r Lgj'f
‘ P
Transposed for Four Trumpets.
1st &2nd Trpts.
. muted
hS-i-T.rag • ^ --
--r— —.. a—r -:-
—M4 m w \
nH fij F l 1
1. m -— T ^ 1. - “«5t-
'1
if-

3rd (k 4th Trots.

^ open r ^ 1
—F-
-WS9 = m. m ^ 1 ■' ■ 1 j1 1| — fA
j W 1\ t1 11
tty
L 1
LOTV- r F 2 mJ—m
r F ‘' ?-u

COMMENTS:
Suitable for legato or rhythmic passages—introductions—
modulations—interludes and endings.

Easily balanced in high or low registers, loud or soft.

Best adapted to phrases of similar harmonic structure.

Many available mute combinations. Lower pair of voices
should be muted to lesser degree to insure equal balance.
 31

EXAMPLE No. 6

Concert Sketch

w
1 4 -9. —
_ 8=]]

Transposed for Four Trumpets

1st & 2nd Trpts.
■=.f- rrf
ijp -f-
--M- —-■- —1--— —-■-

’ ff
3rd & 4th Trpts.
-::
11
1

ff

COMMENTS:
Suitable for rhythmic passages—introductions—modula¬
tions—interludes and endings.

Best balance in high register, loud and open.

32
EXAMPLE No. 7

Concert Sketch

i^ p- F-' " r t f f- ff ^

g- gr^ bltd’-’ i -S- t

Transposed for Four Trumpets

Hat or plunger
+ 0+0 + __
p* ' Nf“g-g-
r r r r r r rr * —s—s—^—

Hat or plunger

\l h
+ 0 + 0
j —a—8—f—
j^j t

NOTE:—The sign " + *’ indicates hat or plunger over bell

of horn.

The sign *'o” indicates hat or plunger away from bell of

horn.

COMMENTS:
Suitable for introductions—modulations—interludes and
endings—background for solo voice or solo instruments
—rhythmic ensembles.

Easily balanced in high or low registers, loud or soft. Small

mutes that can be covered by plunger or hat may be used
if desired.
 53

EXAMPLE No. 8

Concert Sketch

1
^=F=\ h Ji • 1,jI i 7-- i
d’

>

1|) i
1,j ^ ^-1- - 1 1 h
V ^
■ i ^
Transposed for Four Trumpets

— - -f— I
1

>
■ m»
' f
O +-- -k-
— -J» J- br .
COMMENTS:
Suitable for introductions—modulations—interludes and
endings—background for solo voice or solo instruments.

Best balance in middle register, medium loud.

Can be used muted if mutes referred to in Example No. 7

are available.
34

EXAMPLE No. 9

Concert Sketch

Oil ^ ^ l-Jl
rr '......
>
Ill

b I?
iv^ ^ a w

^_ Transposed for Four Trumpets

II ^
r i > r m

1> <)*/
IV ^ 5

COMMENTS:

Suitable for introductions—modulations—interludes and

endings—background for solo voice—solo instrument or
any passage having harmonic structure that permits this

treatment.

Easily balanced in high or low registers, loud or soft.

Muted or open. All combinations of mutes available.
 35

EXAMPLE No. 10

Concert Sketch

m A ^ • A to^
■-J
m K m
K V to •
1 ■ E p » ■ rji' ■ 1 ® —I—
j
! ■ 5 ! r.
m E m ^ r
t) n >5 Liji
TTT
IV
Orchestra backeround
^j ~ ... * ^ 1$
y t! ^ c. 11 1 2? 1
a 2 • d

COMMENTS:
Suitable for legato passages—introductions—modulations
—interludes and endings—background for solo voice or

solo instruments—"fill-ins”.

Easily balanced in high or low registers, loud or soft.

Muted or open. All combinations of mutes available.
36

THE TROMBONE SECTION

Jimmy Priddy Frank D’Anolfo

Paul Tanner Glenn Miller

 37

EXAMPLE No. 1

Concert Sketch

Transposed for Four Trombones

COMMENTS:
Suitable for legato melodies—background for solo instru¬

ments or solo voice—"fill-ins”—melodic lines in introduc¬

tions—modulations—interludes and endings.

Easily balanced in high or middle registers, loud or soft.

Muted or open. All combinations of mutes available.
38

EXAMPLE No. 2

Concert Sketch

> >
• 1. 1 . 1 1
7»
^
A*
^^
w
T r
■
A
)
mi—
'Pa — n K ^—
" ^ if ^ ^
r
^-
)-]-k J
r
—— — 1 \ - J. - -

Transposed for Four Trombones -

-f. 1 T-R T
.
^
r. ^
^ m
-
2
ri
1 i rr
..
/ w y\ ^ ca
’ ^ y% ^ ^
unison
rn
M^ ‘ r ^
i ) I
—
r d ^ "
^

COMMENTS:
Suitable for rhythmic passages—introductions—modula¬
tions—interludes and endings—background for solo voice

or solo instruments.

Easily balanced in high or low registers, loud or soft.

Muted or open. All combinations of mutes available.
 39

EXAMPLE No. 3

Concert Sketch

k^rjr'*A V'
Transposed for Four Trombones
muted
e : p. E. .

- SL i1 g qf

open

-o-
xe:
& a 3.

COMMENTS:
Suitable for legato melodies—introductions—interludes—
modulations and endings.

Easily balanced in high or middle registers—loud or soft.

Muted or open. All combinations of mutes available.
40

EXAMPLE No. 4

Concert Sketch

t' -fVj

li
II
• 1.1 > k

<
^Vl>L
y A* '
W-—
Jij L K B '■-
‘ ^ -j

Transposed for Four Trombones.

Same as above—No transposition necessary.

COMMENTS:
Suitable for rhythmic passages—introductions—modula¬

tions—interludes and endings.

Easily balanced in high or middle registers—loud or soft

muted or open. All combinations of mutes available.
 41

EXAMPLE No. 5

Concert Sketch

I ^ +0 '*■ ^ +
A |9-
■• ■•
• !• r7 M 1 • • f •_ • 9 —
y k 11./ A A•
III.

IV

+ + + f. O +
o - O

■ I • _K P*
■
w m
•1. ? 1 1 1 i
m 0 iL /
’'j ♦
0 5* r
/ y

Transposed for Four Trombones.

SaJ me as above—No transposition necessary.

NOTE:—The sign " + ” indicates hat or plunger over bell

of horn.

The sign “o” indicates hat or plunger away from bell of

horn.

COMMENTS:
Suitable for introductions—modulations—interludes and
endings—background for solo instrument or solo voice.

Easily balanced in high or low registers, loud or soft. Open.

42

EXAMPLE No. 6

Concert Sketch

Transposed for Four Trombones.

NOTE:—Figures over notes indicate positions that must

be used to make glissandos.

COMMENTS:
Suitable for introductions—modulations—interludes and
endings—backgrounds ensembles—"fill-ins”. Used judi¬

ciously, the glissando is an excellent effect for rhythmic

passages.

Easily balanced in high or low registers, loud or soft.

Muted or open. All combination of mutes available.

Performers should execute the actual glissando quickly as

a slow glissando often produces a moaning, unpleasant
soimd.
 43

EXAMPLE No. 7

Concert Sketch

y ^ ^- if PT . (‘**f—ffir-n
?T’ &.i ' ^ T f f' r1.. . -

I #1
—4- ^—
7 ‘ • 7 f. :

. *1?-7 j^. ?‘. :

.
Transposed for Four Trombones.

Same as above—No transposition necessary.

COMMENTS:
Suitable for introductions—modulations—interludes and

endings—all backgrounds.

Easily balanced in high or low registers—loud or soft.

Muted or open. All combinations of mutes available.
44

EXAMPLE No. 8

Concert Sketch
+

Transposed for Four Trombones.

Same as above—No transposition necessary.

COMMENTS:
Suitable for introductions—modulations—interludes and

endings—all backgrounds.

Easily balanced in high or low registers—loud or soft.

NOTE:—All positions should be shortened approximately

one-half position to correct the flatness caused by placing
hand in bell.
 45

THE BRASS SECTION

Fotcr Trumpets Four Trombones
R. D. McMickle Frank D’Anolfo
John Best Jimmy Priddy
Billy May Paul Tanner
Steve Lipkins Glenn Miller
46
EXAMPLE No. 1

Concert Sketch

-6 ^- "t: —Vi’
y
S’?— ?-
-
.
£2.
9- O-
£2&
g. tii2. 2 . , 1?^2 XJL
r
M:, a---
- 5- 8 [|
y \> <P— y rJ y
L^ 9 \> ?- o

Scored for Eight Brass

4 Trpts. I

8- y- -S - J— rhz: 1 fa-ft-
— ^ f-M ^1^)0
Ol
4 Trombs. 9-

m:,-*—
7
2.
FM 1 2
-
2
. —
y y 2
g i> ?— o

COMMENTS:
This example is intended to display the technique of voic¬
ing for eight brass. The voicings are equally effective in
all types of music—smooth or rhythmic—slow or fast—
loud or soft—open or muted.
 47

EXAMPLE No. 2

Concert Sketch

Q +O ^ +O +O+-0
I- ^-n
' “jt — X
# t
I ^ In ® im •- V•
1 i 1^ -H
7^ 1
+ -o
\ Hh — H- o h D
i ^9-' -i 9- -i 9- i-> #1 ^ •
1 *i.TrTlr-g' w >
\ 7 U. _ f

Scored for Eight Brass

4 Trpts.
- "t" O -h O O + "* o
A I --— V f Oi__
iw z d i 1 , f' # f >•
w . 3«'
* ■■ <.m
1 B f
’
eT ^
4 Trombs. -1- + -O
O - H1- c5 Hh D
9-: 1 9
r J
-f
gl
9-
^
-f?-
'
ft] ^♦
-Mr-J id*-® 1
/ ^ lt> f

NOTE:—The sign "+” indicates hat or plunger over bell

of horn. The sign "o” indicates hat or plunger away
from bell of horn.

COMMENTS:
Suitable for rhythmic passages—introductions—modula¬
tions—interludes and endings.

Easily balanced in high or low registers—loud or soft.

Open.
48

EXAMPLE No. 3

Concert Sketch

!■' iit-S H
J ^ 1f
m 1 ^ 1i . rv • V
.
1 r^ w V ; * B ■ J? i STS-1-

J (b)- ^ 1
hi w 2: I g- I?*
:d m
r ^ 1 A dm -1-
\ / kl. 7 A* w V • i
\ ■ I' f> ^

Scored for Eight Brass

4 Irpts.
0
\J 1
^ U
ffH
iU
V
iK
n
rnTT ^
•3
,
r
1
V rj-
H
r h
TUT y. g
v\^ ^ ^ "
tJ

4 Trombs. ([>) r/«ss

L\‘ .■ • nw H g: q
r
i
r
i— -.rjt,
!>
■■ -
2!
'V •
*
^ T 1 V ' A• tr V • ^

COMMENTS:
Suitable for rhythmic or melodic passages—introductions
—ensembles—brass choirs—modulations and endings.

Easily balanced—loud or soft. Muted or open.

 49

EXAMPLE No. 4

Concert Sketch

Aj C-:
/f -Jf ^ K-K-
^ 1k -Js-^_
iU f .. m 1 jp--- ■-“1-r
1V -2^_:_:_ - i_i j,i j t-8-7-
0
—r
P-
P r ■■■■■

gliss. ->
i a;

\ -y -
r--
, s. —
—-1
» 1 ■
P-1-
•r »"
i-

Scored for Eight Brass

COMMENTS:
Suitable for any passage of similar harmonic construction.

Easily balanced—loud or soft. Muted or open.

50

EXAMPLE No. 5

Concert Sketch
V . 1 rj L. ^- g .HI9
f^ ^ hi mct’’
117
uhixsz
u\4rji^

k (2. etc.
(2.
k^ ^ iT 1 5!
v-e-

Scored for Eight Brass

4 Trpts
9-
^ '■UiS-arzi' -3H5:?-Lflf"
t _ki jLz ii
o

r
etc.
4Trombs. ^ e Q.
-1-1 - ^-g- — ^-
n—
Z IT n

. y- 1. =

COMMENTS:
Suitable for any passage of similar harmonic construction.

Easily balanced—loud or soft. Muted or open.

 51

Each chord can be voiced many different ways. Consid¬

ering the numerous types of chords, the staggering total
of eight brass voicings for all chords becomes apparent.

The following examples show a very few of the numerous

ways in which eight brass can be effectively utilized.

Trial and error are the arranger’s best teachers. More ex¬
amples on this subject may be obtained from consulting
the excerpts from scores which appear in this book.
52

The following chart is a suggested plan for the arranger

to exhaust the possibilities of voicing chords for eight
brass. Interesting results may be obtained if this pro¬
cedure is followed using all types of chords:
Major - Triads - 7th - 9th - 11th - 13th chords.
Minor - Triads - 7th - 9th ->llth - 13 th chords.
Augmented chords.
Diminished chords.
Altered chords.

CHORD CHART

Concert Sketch

*»: •
-8- ni,i IV *»-
^ 8”
- -

-
—n— -H - —it
^\J u
—©-

Scored for 4 Trumpets and 4 Trombones

4 Trpts.
-©- —©-
no 18-1 —So— |h8r;8-4
W ^— y -2s- 2i -8- -«-

4 Trombs.
-©• -©■ -©-
TST-TS- —n- - t>
. .21 ** .. ll ....
» - IL-
—©-

Concert Sketch

I «1 nin— [I«-i-gr»-
/ L ;i H : ft— ft- H nxf lull— =ft=
l\ - 21 21
-©— -©- -©-
—2t
no- rv©-
8-

i4i.inc>

»i:. ji-S— 1=8=1 ^— 8

4*
o o O o
 53
^ Scored for 4 Trumpets and 4 Trombones
4 Trpts. ^
r“8 II o Tv o ■ ft -rtIO-IH'O-n
— —8—
s ^^ B - —8
B - lTi8n.-8— ln8n-8—
“TTW ---Tf r«
o
XT** |v^* -

4 Trombs. I oin^

L\> -^- -ft-

Q B B ■S’
r?
^ u \ J—— : Cl 4.m
o o o o

Concert Sketch

^
^ \) sc
— r-f\— -O-
cl 41
«->41
—TT-
Sf 1
41 *^^41
TTcl TVSI
B B
"tr

B
§ B B
-ft
B
^1*1 V# ^ ^-
F W \.J n
o o OO ■■

Scored for 4 Trumpets and 4 Trombones

4 Trpts.
-O-
lO IllO-
30= □□c no

4 Trombs.
§
=8=
31: ij
"O" “O" OO-

Concert Scored for Concert Scored for

Sketch Eight Brass Sketch Eight Brass
(- I

Concert Scored for Concert Scored for

Sketch Eight Brass Sketch Eight Brass

^ IV
54

Usually the best method of doubling notes in a chord is that

which conforms most closely to the natural harmonics of
a "fixed wind column”, e.g., the Trombone.

Natural harmonic series (Transposed)

 55

THE RHYTHM.SECTION
Guitar Piano
Bobby Hackett Chummy MacGregor

Drums Bass
Moe Purtill Doc Goldberg
S6

THE RHYTHM SECTION

In the dance band rhythm section lies the main support

of any instrument section or group of sections in the
organization. Therefore, too much stress cannot be
placed on its importance. The dance band rhythm sec¬
tion should be allowed great freedom in playing rhythmic
arrangements. The following plan has been effective in
our band.

BASS
ad lib.
C D7 G7 aI’7 G7 C Play as written
-1---
Jr w -1 .P.iT
— ^
'’r /r. y iJ .r m-
—
r 1 1 1 ■-7-
1-#1 W— 7-7—“T7-
7 X X I X I

The names of the chords are placed over the notes of the
bass part so that the bass player may have a complete
knowledge of the harmonic structure of the arrange¬
ment, thus aiding his improvisation. He should improvise
freely except where it is marked to play as written.

DRUMS
Solo break ad lib.
Tenor Solo Ensemble '3 '3 T
2 3 4 5 6 7 8

m ntff TfTf
ZZ

The drum part provides a skeleton score showing the in¬

struments playing ensemble or solo. He should be allowed
to improvise except where the arranger desires special
effects, which should be clearly marked, "play as written”.
 57

GUITAR

The names of the chords are placed over the notes of the
guitar part and special effects such as "solo single string”
or effects with other instruments should be clearly written
and marked "play as written.”

PIANO

Solo Play as written

itten

adlib.

<|r7 V / /
Play as written

3
3

a ad lib.

/ / y-y
AAi
'l\f

TT
L.H. L.H.
a1>7 G7 W

The piano part is written with full chords in the right

hand and the left hand playing the same part as given to
the string bass. It should be clearly indicated where the
pianist may ad lib. Special effects should be clearly
written and marked "play as written.”

For further information concerning the writing of rhythm

parts, consult the excerpts from scores which are printed
in this book.
58

MAKING A SMOOTH ARRANGEMENT

In this section we attempt to describe the common pro¬

cedure in making a smooth arrangement,—starting with
the selection of the song and ending with the coda of the
arrangement.

SELECTION OF SONG TO BE ARRANGED.

Perhaps the arranger has been ordered to arrange a par¬

ticular song, in which case the student should disregard
these suggestions. In the event the arranger is allowed
some leeway in the selection of material, the following
considerations should be made:

1. Pick a tune you like.

2. If the arrangement made previously to this one was a

swing number, try to pick a sweet tune for the present
arrangement, and vice versa, thus avoiding a repetition in
types of material. This tends to produce variation in
your own ideas and prevents your work becoming stereo¬
typed.

3. If a tune has been chosen for you, but you consider it

a poor tune, then accept it as a personal challenge to make
a fine arrangement of it. There is no tune so bad that
a wonderful arrangement won’t make it soimd good.

IMPROVEMENT OF BASIC HARMONY OF SONG.

We have selected the tune "I’m Thrilled’’ to show the pro¬

cedure with a sweet tune.
This is the printed piano copy as published:
 59

ADVANCE ARTIST COPY

60 PROFESSIONAL COPY
A OlVTf f c<>py intended (or the use of PROFESSIONAL SINGERS ONLY, and any
W /\Jll 11.1 1 • one found selling it or exposing it for sale, is liable to a fine or imprisonment
or both, and will be prosecuted, under the Copyright Low, by the PUBLISHER.

I’M THRILLED
Lyric by iMusic by
SYLVIA DEE SIDNEY LIPPMAN
Slowly with expression
I

Piano mf
^ - -fp
J J jj. ts
i.ip y r dim, rit
cr^sc.
-
2
§

B!!7+
Fmi 7 Bt7
P
m IS

gin it
m
With the min - ute you came
i'
in - to
J)
sight:

„n
$ $
i

r
rfiti
&

M 106-3

Copyright 1941 MUTUAL MUSIC SOCIETY, Inc., 1270 Sixth Avenue. New York. N. Y.
International Copyright Secured Made in U. S. A All Rights Reserved.
 61

^7 E|>maj.7 &>7+ Etmaj.? Ete Dh

o O
Chorus
s
I’M THRILLED, just
rT'r r rr
look-ing at you And know-ing your lipa have toucht-d mine, As

a ten,p
ten.p ‘ ' f $
T'
El

ISE 3^
Fi
EI>6
a1> bI>7
Cmi.7 Fmi.7 add B'’ E'>maj7E-.7 E^6 , addG E'’niai7 Bi>7+
o

m IS m * ffl

if in a dream di - vine. Oh but I’M THRILLED! — I’M THRILLED by

J fj J.=^J- lj- JI
Ip
r ^ r r= cr^.yc. __ dim.

-^ wzz.
fffg, .TfP-
.. ii rt~'' I -9-

E1>6 Ei’maj.7 Ete Db7 EP6

o O Cmi.7 o
o

m J m s
pr

things that you do, The

r r r e-cho
r my
way that you name, As though with a heart a-

, J J J J.- 3 J J^i I["'j;—j~] —S-^—5-

T I'.’f ^ -c
-
r rr
zz=
m a

M infi-3
62

Ami 7 D7 „,. Ami,7 D7 P7 Bi>maj.7 Gmi.

oooo '^dl m. o o c o

m
o o o Etdim. El>maj.7Etdim.
M m
^
—J7V— f r m
sjiriiifc tune when ^uu en-tPr a room. A symphony seems to play swing-time And a

iJ J J ^ j h-n
if-"'-- If# ijj" i’W'
=* i
r-fr i r cresc. r
33:
t»>o-
‘If-
E1>6
Fmi .7 Bt7 E»maj.7 Bi>7+

TO
* 5
mil - lion ro - ses burst in-to bloom! I’M THRILLED,
r'lr
just
r r
hold-ing your hand, Or

"p
lTV- za _p j—
p . 1j n 1 • |J‘
—■—*—*—■
j 1L J J J 1 >
g—' f p p T- - f.- '‘T ' rT^
dim.

■V- i,‘’i, J3Z

Ak bI’7
Ef6 D!>7 e1>6 Fmi.7 addB^ addG
El>niaj.7 Cmi.7
:;:: ^ ffl
TO /T^

i stand-ing be - side you a - while. You

i r £p.-r- pir^
look in my eyes and smile. And oh but I’M
r. > _
'" 3^
J ^ j h-4-j -i1J n J- i'l =1
j|-# : // J)V " 1---
ti- T- rr" J ■-
cresc.
I ^ I
m m
731 U^
J- J
r
^ 1. El- r^6 B^7 addG ^^2- E!> ® b1> ^
itftfl SSfi ffffft ffffR Sffl
« , TO ■ TO TO TO TO

r/^
CTT
17
-»
X X F
1
• 1
r
1
“ 1
1
« r . . “ 1 ^ r 1

THRILLED! I’M THRILLED! -4 ■

_ r.\-
J ^
/ . J/ . . L/ ..-—1 1 ^ -V
J rTr^i
m 'jm 1 L
—T 1
—2
! V I I —n1 JTTr
] s
-±
/ KT-
1 rM t7 -rj- \-71--- ^-S’ 1 p
1 — * ^ ^ STi ■
WJ -3
cresc
1 — -- -
1 dim
'J
j
9
^^9
rit
m 7-f^ ^ m Tj >
r TT—r----1— 1——
1 r^Tr-u-:--L 1 ^ —1-r-ci-» i i _ >ii . l _ _yi_ i i ^ i i -ttz_u
\ ^—Ki-:-3- 1 1— J— 1
:»*b~ ^^-
^—■

M 106* 3 Warningl Any copying oi the word» or mutic oi thu gong

or any portion thereof, makes the infringer liable to
criminal prosecution under the V. S Copyright Law . . .
 63

As printed piano parts must, of necessity, be simple for the

average public requirements, very often the harmoniza¬
tion of the melody is not as -complete as it should be to
afford the best possible basis for making an arrangement.

Here the personal tastes of you, the arranger, are the de¬
ciding factor. We believe the above example could be
appreciably improved, and in order to provide ourselves
with a suitable reference copy we are going to harmonize
it as we would like to hear it. We have no definite in¬
strumentation or number of voices in mind and we will
not accept a basic harmonization that is just "all right.”
Every chord must make us completely satisfied and all
voices must be led correctly.

Our personal tastes are such that we do not like abrupt

unrelated chord sequences, and as a general rule we
prefer harmonic progressions that almost slide from one
chord to the next. Wide jumps and unusual chord se¬
quences serve definite purposes, (such as elements of sur¬
prise and shock), but as methods of harmonizing pretty
or sweet music they should not be utilized.

After playing it on the piano, and substituting one chord

for another, we submit the following basic harmoniza¬
tion of "I’m Thrilled” as one that reflects our taste and
as one that leaves us completely satisfied:
64

EXAMPLE B Revised Piano Part—"I’m Thrilled”

65
66

THE ORCHESTRAL ARRANGEMENT.

With Example B before us we now take up the problem

of the orchestral arrangement.

THE INTRODUCTION:

Types: Using a theme suggested by the tune.

Using a figure or theme for the Introduction that will

continue as a figuration behind the first chorus melody,
or will serve as a basis for modulations, interludes or end¬
ings.

Using an Introduction unrelated thematically or rhythm¬

ically to the tune itself. As it happens, the Introduction
used for "I’m Thrilled” is of this last or unrelated type.

THE FIRST CHORUS:

Planning is a process of the imagination, and here again

personal taste plays an important part.

The problem of selecting the instrumentation for the first

chorus is now being considered. This melody is not adapt¬
able to thirds so this possibility is out. The melody is slow
moving and therefore should sound well played in full
harmony by the saxes (with clarinet lead on top) or
by four trombones. As the style of our band is described
most authentically by the saxes with clarinet lead, this
instrumentation will be selected.

As there are several pauses in the melody that will permit

background figures without distracting from, or clutter¬
ing up, the melody line, we therefore consider this prob¬
lem next. The melody is not rhythmic in a "swing”
 67

sense, and as we are concerned with dance music, the brass

figures should provide a rhythm that is lacking in the
melody line.

In the fifth and sixth bars the saxes will be very high, and
to prevent a shallow thin sound and to aid the climactic
pattern of the melody, we shall reinforce the saxes with
sustained brass (in hats). This will serve as a ballast
and will support the crescendo of the saxes on reaching

the climax of this eight bar phrase.

In the second eight bar phrase, we will use the alternative

instrumentation—four trombones—to prevent a possible
monotony of the arrangement, as the melody line of the
first eight bars is repeated—a repetition common to most
popular songs. We also will use a tenor solo for a few bars
as a contrast to the preceding strain.

VOCAL CHORUS:

As most ballads of this type have important lyrics, the

vocal chorus must be considered next. The vocal key be¬
comes the first problem. Select the key most suited to the
particular singer, taking into account whether or not the
tune is mostly in the top or bottom part of its range. ‘T’m

Thrilled” is mostly in the top part of its range, so rather

than cause the vocalist to strain for high notes through¬
out, we shall lower the key one tone from the singers
ordinary easy singing range. As most male singers usually
sing in original keys our vocal chorus will be in the key
of D Flat—one tone lower than the original key of E Flat
—which calls for a range of C to D^. Now that the
proper key has been chosen, the modulation to that key
must be undertaken.
68

MODULATION TO VOCAL CHORUS:

The problem of the Modulation may be considered the

same as the problem of the Introduction—and in this case
our Modulation carries the same rhythmic idea as the Intro¬
duction. Exercise great care that the Modulation definitely
suggests the starting note for the vocalist so the singer’s
pitch will be true and accurate from the first note. In the
following example, the brass have definitely established the
singer’s first note in the last bar of the Modulation.

VOCAL BACKGROUND:

In general the plan of figures in the background of the

voice follows the same rule as the instrumental chorus de¬

mands. When the melody is sustained, move the figure and
when the melody moves, the figure is sustained. Be care¬
ful not to cover the voice. In this case the general pat¬

tern of figures should be:

Melody Line Example:

Showing where to move and sustain the figure.

JJ iia
movex \sustain J ^move^ ^sustain

rr
p--- 9- ^ -.-
-J J ^— -^ J •-■J
I move\ I sustain \ \move_[ \mov€\ |sustain\ | move

ji uJ i m
sustain J 1 movex

A
-111!
rm l^fl U jj —■ U ^^ . m 'J_m :. E^ m M n-1
—J— —1
p -m-1- L 1 ■^ ^
^ ^sustain , fiove,--——^
accentuate climax then
diminuendo with melody
 69

One possible exception to this rule would be where the

arranger intentionally forces the singer to use considerable
volume in reaching a climax in the song. In that case the
activity and volume of the figuration has a tendency to
encourage and support the vocalist in his climactic efforts.
Keeping in mind that vocal backgrounds should be sub¬
jugated to the singer and provide only a setting for the
voice, we proceed to the actual composition of the back¬
ground. Some songs are of such dramatic construction as
to almost demand their conclusion at the end of the vocal
chorus. However, "Fm Thrilled” reaches its climax four
bars prior to its ending, thus encouraging additional in¬

strumental music before the end of the arrangement.

In our original arrangement we used an addition of this

sort, but for recording purposes, the song would run too
long and so we were forced to end on the vocal. In doing
so, we used a ritard at a natural spot and then added an
extra few bars ending so as to definitely, but not too
abruptly, establish a finish.

In the preceding thirty two bars the attention has been

centered on the vocalist. It seems logical that the talents
of the entire band should be displayed at this point. It is
my belief that long modulations following vocals only
tend to delay the business in hand, which should be the
brilliant conclusion of the number. So for that reason we
shall go as quickly and gracefully as can be done into the
instrumental “fireworks” that lead to the coda.

Due to the fact that attention has just been focused on

the voice and lyrics, it seems proper to emphasize dance
music again, or in other words, to make this part of this
orchestration the most rhythmic that has thus far been
written. In this case we use the full brass section (open)
with sax fill-ins and phrase the melody with a slight
rhythmic punch.
70

After an arrangement is scored, the next and most im¬

portant item is its proper rehearsing.

Too many bands take rehearsals lightly. This attitude

results in bad phrasing, unobserved expression marks and
lack of sectional and ensemble precision. Too much care
cannot be exercised in rehearsing arrangements.

A reproduction of our score of 'T’m Thrilled” has been

inserted at the front of the book, q.v.
 71

MAKING A RHYTHMIC ARRANGEMENT

The factors in rhythmic arranging are far too numerous

to permit setting down any given formula. However,
there are certain generalities that may be made which
should prove helpful to the young arranger.

The difference in smooth and rhythmic music being the

rhythmic patterns used by the arrangei, it logically fol¬
lows that voicings and tone colors that sound well for
smooth music also sound well for rhythmic music. There¬
fore, the difference in the types of music is one to be con¬
sidered strictly as a rhythmic problem. In other words,
a smooth arrangement might be changed to a rhythmic
arrangement by simply changing the note values and ac¬
cents to conform to the arranger’s conception of swing—
plus, of course, correct interpretation by the artists that
are to perform the work.

The greatest swing arrangement in the world could not

get a good rhythmic beat if performed by players incap¬
able of proper Interpretation; and, of course, a mediocre
arrangement might be made to sound quite adequate
by a group of superb swing artists. The arranger should
utilize all the capabilities of the individuals for whom
he is writing so as to enhance the possibilities of the ar¬
rangements best performance. Occasionally an arrange¬
ment for our band has been made to sound immeasurably
better by having a different trumpet than the one in¬
tended play the first part.

In making a rhythmic arrangement, bear in mind that

this description is not made as a pattern for all arrange¬
ments of this type—but only to show a possible means of
arriving at a good result.
72
The opening three strains of “Song of The Volga Boat¬
men” were originally written as three themes playing
simultaneously. However, realizing the slowness of the
ordinary musical mind (and sometimes the trained musical
mind) in grasping a rather complex musical pattern it was
decided to state the three themes separately in order to
more clearly define each theme and thereby enhance their
effectiveness when played simultaneously. We present the
first theme played by piano, guitar, bass and drums. On
the repeat of theme No. 1, theme No. 2 (the main theme
or melody) is played softly by four trombones. Again
themes “1” and “2” are repeated and a trumpet or third
theme is presented, written as to sound ad libitum, em¬
bellished by a rhythmic saxophone figure to complete the
pattern as originally conceived.

Since the combined weight of the full band playing forte

has not been heard as yet, and the passage to be scored
lends itself to rich ensemble treatment, this course was
chosen. Notice the effect of four trumpets, one and
two in unison, three and four in unison, Zva Basso.

A four bar figure for saxes follows allowing time for mute
adjustments in the brass and serving as an introduction
to the next movement. As yet there has been no op¬
portunity for any soloists in the band to display their
talents. Swing arrangements should provide for instru¬
mental self expression so it was decided to write a rhythmic
pattern and let the alto saxophone present his idea of
the “Song of the Volga Boatmen.” Notice the addition
of the saxophone figure to add variety in the background
on the repeat at letter “C.”
 73

Every outstanding arrangement we have ever heard pos¬

sessed at least one outstanding idea. Had **Song of The

Volga Boatmen” continued in the usual vein, probably
more ad lib solos would have been given and thence to the

inevitable ensemble finish. However, here is where the

outstanding idea made the outstanding arrangement. A
rhythmic canonic imitation was prepared in a new key.

A short modulation followed by a diminishing drum break

sets the stage for this unusual passage to follow. Four uni¬
son trombones, starting softly and comparatively low,

begin a passage, followed four bars later by four unison

trumpets, that is to end triple forte in the top registers of
all the instruments.

The canon ends with a short beat followed by a soli

saxophone figure intended to indicate “more coming.”

Certainly there could be no more contrast than following

a two part canon with a full rich ensemble spread

through almost the entire register of the orchestra. Lest
we forget swing arranging and the freedom it should
possess, a single trumpet, written to sound as though
improvised, is superimposed.

The coda (last 6 bars) is begun by a full brass passage in

5ths, an ingenious Saxophone run, followed by a gradual
climb to the final chord; an altered 11th in F Minor, using
raised 6th and 7th intervals.

A reproduction of our score of “Song of The Volga Boat¬

men” has been inserted at the back of the book, q.v.
 74

GLENN MILLER and His ORCHESTRA

 75

ORCHESTRAL EFFECTS

This chapter is devoted to excerpts from the scores of the

Glenn Miller Orchestra arrangements. With the excerpts
are listed record numbers for those who desire to hsten
to the examples shown.
76
EXAlvlPLE NO. 1 -

-is
8 14T»
1;
<5 rc>

o
) i_5
Q i I!t4
'r:
I

^ t = I +
O
( +
\ o 1*4^
<0
o
A STRING OF PEARLS—Bluebird Record No. 11382

i ^

Copyright 1942 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
- t

Uii "14

u
i;:] t'; t-| o +4
<7
a
o
I::. t'
- I o

t'
o nX
to
o

1^41*
+
o

o 1^44

nl t::: t +
o 1*44
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o W
t'
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t-
o -lit

ri
6
l!!.. ^=1 > ,( o

o
Ulf9
o =

i;c
4* o
•£i < O
T3C T3V. c
4> rS
CC H CC
 77

EXAMPLE NO. 2

KEEP ’EM FLYING—Bluebird Record No. 11443

by Jerry Gray

Copyright 1945 by Mutual Music Society, Inc., 1270 Sixth Ave., New York, N. Y.
 ON THE OLD ASSEMBLY LINE—Bluebird Record No. 11480 78

EXAMPLE NO. 3

Copyright 1942 by Green Brothers and Knight, Inc., 1619 Broadway, New York, N. Y.
Used by Permission
ADIOS—Bluebird Record No. 11219
79

EXAMPLE NO. 4

»pyright 1931 by Peer International Corp.

 80
ANVIL CHORUS—Bluebird Record No. 10982 EXAMPLE NO. 5

Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
 THE MAN IN THE MOON—Bluebird Record No. 11299

Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
EXAMPLE NO. 6
81
 THE MAN IN THE MOON—Blue d Record No. 11299 82

EXAMPLE NO. 7

Copyright 1941 by Mutual Music Society, Inp., 1270 Sixth Ave., New York,
 DEAR ARABELLA—^Bluebird Record No. 11326
EXAMPLE NO. 8
83

Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
 84

by Jerry Gray THE SPIRIT IS WILLING—Bluebird Record No. 1113 5.

EXAMPLE NO. 9

Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
 THE STORY OF A STARRY NIGHT—Bluebird Record No. 11462.
{Adapted from Tschaikowsky’s "Pathetique Symphony”)
by Al Hoffman, Mann Curtis, and Jerry Livingston EXAMPLE NO. 10
85

ipyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
 SUNRISE SERENADE—Bluebird Record No. 10214. 86

EXAMPLE NO. 11

Copyright 1938 by Jewel Music Publishing Co., Inc., 1670 Broadway, New York, N. Y.

Copyright 1939 by Jewel Music Publishing Co., Inc., 1674 Broadway, New York, N. Y.
Used by Permission
 87

EXAMPLE NO. 12

■ J' "i ill:

s

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d::

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Copyright owner for the British Commonwealth of Nations, excluding Canada and Newfoundland.
Id, :;]
ii"
C!^ W •' ■;t j:

"Permission to reprint granted by J. R. Lafleur & Son, Ltd. of London, England,

^ (
ui '
i ■--■J “w .« <• -4
1, . 1 ,
'll
VO >r.
- ii, : ;;

Copyright 1940 by Lewis Music Publishing Co., Inc.

o
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1
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u 5
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+ 0^
Plungers

i, ^ : ■ 1• .11.
3
;■ "2! •1 : > r,
n ‘ -a
t/'

!:s l.'i p' '.i

xA
oc x>
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n
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<1> pL. 0
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H H "3 2 OQ 3

CO ct 0 CU Q
 88

JINGLE BELLS—Bluebird Record No. 1 13 53. EXAMPLE NO. 13

Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
 89

EXAMPLE NO. 14

ISLE OF GOLDEN DREAMS—Bluebird Rec. No. 10399.

Copyright 1919 by Jerome H. Remick & Co.

Vied by Permission
 MOONLIGHT SONATA—Bluebird Record No. 11386.
90

EXAMPLE NO. 15

Copyright 1941 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
 91

EXAMPLE NO. 16
 PAPA NICCOLINI—Bluebird Record No. 11342. 92

EXAMPLE NO. 17

Copyright 1941 by Mutual Music Society, Inc,, 1270 Sixth Ave., New York,
 FOOLED—Bluebird Record No. 11416.
Lyric by Bob Russell, Music by Ros Merzger and Frank Lavere EXAMPLE NO. 18
93

'opyright 1941 by A B C Music Corp., 799 Seventh Ave., New York City
Used by Permission
 IN THE MOOD—Bluebird Record No. 10416.
94

EXAMPLE NO. 19

Copyright MCMXXXIX by Lewis Music Publishing Co., Inc.

Assigned to and copyriglit MCMXXXIX by Shapiro, Bernstein and Co.
•S
 LULLABY OF THE RAIN—Victor Record No. 27894
95

EXAMPLE No. 20

Copyright 1942 by Jewel Music Publishing Co., Inc., 1674 Broadway, New York, N. Y.
Used by Permission
 96

RHYTHMIC EXAMPLE OF SAXOPHONES WITH CLARINET LEAD EXAMPLE No. 21

Copyright 1943 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
97
 98
EXAMPLE No. 22

tr rr T r rr .r r t r ^
Copyright MCMXLII by Chappell & Co., Inc., New York,
99
YESTERDAY’S GARDENIAS—Victor Record No. 27933
100

EXAMPLE No. 23

Copyright 1942 by Mayfair Music Corporation

YESTERX)AY’S GARDENIAS—Victor Record No. 27933

Copyright 1942 by Mayfair Music Corporation

101
EXAMPLE No. 24

s
102

EXAMPLE No. 25

CRADLE SONG—Bluebird Record No. 11203.

Dead tone

2 Tenors 'T - ^--

Dead tone

Alto

Dead tone

Baritone

4 Trpts

4 Trombs,

Piano

Bass

Copyright 1943 by Mutual Music Society, Inc., 1270 Sixth Ave., New York, N. Y.
 AMERICAN PATROL—Victor Record No. 27873
EXAMPLE No. 26
103

Copyright 1942 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
 IT MUST BE JELLY—Victor Record
104
EXAMPLE No. 27

Copyright 1942 by Mutual Music Society, Inc., 1270 Sixth Ave., New York,
 105

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106
EXAMPLE No. 28

CARIBBEAN CLIPPER—Victor Record

107
108

EXAMPLE No. 29

SWING LOW SWEET CHARIOT

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Piano

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ffft- $4^ If .,ff.

Bass y i> i 1 f JLI—1 ^ ^ --

Brushes

Drums — -- —=Efc—'

Copyright 1943 by Mutual Music Society, Inc., 1270 Sixth Ave., New York, N. Y.
 109

Saxes.
bui- -- m

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> •aft. - -
---- ' -- m

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p
Trpts.

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m ■ k, ■■ k4 N J I'bJtj:
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—Ftr=r=TP-rr-r^rr ^rrr
no
APPENDAGE

Herein we will show a few examples of how the arranger

may adapt some of the ideas used by the Glenn Miller
Orchestra to his own band, or to some band for which he
is making arrangements.

First, let us assume that a common instrumentation is

five Brass,—three Trumpets and two Trombones,—four
Saxes,—two Altos and two Tenors, and the conventional
four Rhythm—Bass, Piano, Guitar and Drums.

One of the outstanding features of our band are the high

Saxes, Clarinet on top. In order to get this five Saxophone
effect, distribute the five voices as shown in the following
chord:

:Tenor
Alto P Trpt. (in Hat)
T:

The Trumpet, added as the fifth voice, produces a very

good blend.

Let us take the first four bars of our arrangement of

"I’m Thrilled” and score it in the above manner:

Clar.
1-1 ,l. p^frfr:=ff=q -r r

2 Altos --
ft#

Tenor iff tT]

Trpt.
. In Hat

LiJ aJ J ^ .-4-=g\ ^ ^ j jj O' “

 Ill

This is a good imitation of the effect produced with four

Saxophones with Clarinet lead, and solves the main prob¬
lem from that end. This device may also be applied to a
swing phrase. If the fifth voice becomes too low for the
Trumpet, this can be corrected by scoring the Trumpet
as the second, third or fourth voice.

Let us take a few bars of the Saxophone chorus from our

arrangement of "Jingle Bells” and score it for two Altos,
two Tenors and Trumpet, scoring the Trumpet as the
third voice:

Alto

Alto

Trpt.

Tenor

Tenor

This same device may be used in a slow moving melody of

the "sweet” ballad type.

Suppose the problem is to get a four Trombone effect such

as we use in "Tuxedo Junction.” The thing to do in this
case is to score two Trumpets on the two top voices and
two Trombones on the two lower voices. The effect
112

will be remarkably similar to four Trombones, provided

that each man is careful to listen to the other three in order
to get an even blend.

The following sketch shows this procedure:

Plungers
Q + o + o
2 Trpts.

Plungers etc.
+ o^
2 Trombs
-if f

In the above example there is one Trumpet remaining to

play a solo chorus or a special part that may be written
when this type of background is required.

Scoring brass in open position—more than an octave—

always produces a broader soimd. It often gives the im¬
pression of a larger section, because of the greater spread

of voices.

C Cdim. aI’9 G9

The above method of scoring brass, (open position) ap¬

plies both in ensemble (with Saxes) or soli (brass only).
 113

Remember, too, that Trumpets, Trombone and Saxes used

as individual sections in ensemble scoring (full band) will
always give the band a bigger sound.

There is a tendency among young arrangers to score sec¬

tions in closed position (within an octave) when the full
band is used. This is not a good general rule because the
orchestra will lack the depth and roundness which should
supplement the higher voices.

A Saxophone section of four should have one member

who doubles Baritone. This enables the arranger to get
added depth when desired. With the Baritone and two
Trombones, the arranger can apply the device used in
the first chorus of our arrangement of "The Spirit is
WUling.”

2 Altos
cl r c/^r

1 Tenor — U-U- =)-—1-U- -=ta=;t- [/ r

>-
iu c-= ^- ^'J P .... f V
2 Trombs. 9- Y.-
^^-
Baritone -J- J-J.
- -d---
Guitar ^ D Em7 m G A G F|fm Em7

-5- -j[—^-jl—^ —1-^—

Piano ^ i
& Bass
, .
-J-^- trs' ,, J J- ■

Drums --: -7^.——

114

The same device or one of a similar nature may be used,

with Saxophones supplementing a Trumpet or Trombone
solo.

When scoring for the full band, the production of depth

and round, solid foundation is predicated largely on the
manner of Saxophone voicing shown in the previous ex¬
ample. It is used to supplement the top voices in brass
or in soli form for the Saxophone section, and produces
a richness of tone quality not otherwise obtained in the
absence of four Trombones. Whether the arrangement is
“swing” or “sweet”, this roundness and depth of found¬
ation is too important to be taken lightly.
 115

The following Glenn Miller arrangements have been pub¬

lished for dance orchestra. Adapted from the original scores
for general usage, they will be of interest to the arranger.

A STRING OF PEARLS
—Bluebird Record No. 11382

AMERICAN PATROL
—Victor Record No. 27873

ANVIL CHORUS
—Bluebird Record No. 10982

BOULDER BUFF
—Bluebird Record No. 11163

CARIBBEAN CLIPPER
—Victor Record No. 20-1536

IT MUST BE JELLY
' (’Cause Jam Don’t Shake Like That)
—Victor Record No. 20-1546

JINGLE BELLS
—Bluebird Record No. 11353

LONG TALL MAMA

—Victor Record No. 27943

MOONLIGHT SONATA
—Bluebird Record No. 11386

SONG OF THE VOLGA BOATMEN

—Bluebird Record No. 11029

SUN VALLEY JUMP

—Bluebird Record No. 11110

THE SPIRIT IS WILLING

—Bluebird Record No. 11135

TSCHAIKOWSKY’S PIANO CONCERTO

HERE WE GO AGAIN
—Victor Record No. 20-1563

WHEN JOHNNY COMES MARCHING HOME

—Victor Record No. 20-1600

STAR SPANGLED BANNER - AMERICA

116

For their co-operation and assistance in the writing of

this book, I offer my sincere thanks to the following:

J. C. MacGregor Jerry Gray

Bill Finegan Charlie Hathaway Milton Ager

Lewis Music Publishing Co.

Shapiro Bernstein and Co.

Chappell and Co., Inc.

Mayfair Music Corp.

Green Brothers and Knight, Inc.

Jewel Music Publishing Co,, Inc.

Jerome H. Remick and Co.

ABC Music Corp.

Peer International Corp.

Printed in the United States of America

by
Robert Teller Sons Sc Dorner, New York
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 Duke University Libraries

D01501751K

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