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Vocal Arranging Tips & Tricks Ian Brekke – ECCO 2016

Why Arrange? Want vs. Need

• Want – “I can visualize this song being successful in an alternative setting” o Are you adding to this and/or making it better? o If it’s worse than the original, what does this accomplish? o Artistic focus/project

• Need – “My ensemble has specific requirements to make this song work”

o Is this helping my choir? o Whether it’s artistically “better” or not is much less relevant, as this is fulfilling a need. o Practical focus/project

Why Else?

• To improve at arranging and composition • To explore a new musical style • To cross or combine musical genres • To honor another composer/arranger and/or learn their tendencies

Picking A Song – Some Considerations

• Can you “hear” a song in an alternate setting? • Is it musically, stylistically, and contextually appropriate for your ensemble? • Has someone already done this? Research and listening required. • Who owns the copyright? (Hint: It’s probably Hal Leonard) • Using your knowledge of vocal music, can it be performed well by this instrument? Often this is

a matter of preference or taste. Different Styles of Arranging

• Notational/Written • Improvisational/Circle-Singing • Recording/Looping/Layering • Gray Areas:

o Adaptation (Online Example #1) o Transcription (Online Example #2)

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Foundational Changes & Easy Arranging Starters

• Style/Feel o Primarily an Aesthetic Change (Postmodern Jukebox) o Easy to try – Record different “grooves” to test quickly o Careful of creating a parody

• Major to minor, minor to Major, and Modal Writing

o Sometimes this actually supports the lyric better o Modes often work really well with pedal tones and drones

• Time Signature

o Odd meters (5/8, 7/8, etc.) are cool o A great exercise to adapt melodic content accounting for appropriate lyric setting o (Online Example #3)

• Tempo

o Faster = Simplify

• Form o It’s okay to add, subtract, and re-arrange o Not all sections of form need to be the same

• Instrumentation/Density

o Re-voice for need OR aesthetic appeal (sometimes requires change of key) o Density is often overdone – less is more o Do not fear unison and 2-part writing

• Words/Syllables

o No words? Write some! (Online Example #4) o Syllables are a vocalist’s tool for articulation – use effectively

§ Used to enhance melody, not detract from it § (Online Example #5)

o Again, careful of parody

& b 45 .. jœ œ œ jœ ˙Aut umn in New York,

Gmin7 Amin7

A Œ jœ œ Jœ œ œ œwhy does it seem so in

Bb6 C 7 .˙ ˙vit ing?

FMaj7 Gmin7 ∑ ŒAmin7 D7b9

---

& b5

jœ œ œ jœ ˙Aut umn in New York,

Gmin7 Amin7 Œ jœ œ Jœ Jœ œ Jœit spells the thrill of first

Bb6 C 7 .˙ ˙night ing

Amin7 b5 ∑ ŒD7

---

& b9

Jœ œ .œ .œ jœgli tter ing crowds and

Gmin7

Bjœb œ .œ .œb jœb

shim mer ing clouds in

Bbmin7 Eb7.œb œn jœ ˙

can yons of steel,

AbMaj7.˙ ˙

they're

G7b9

-- -- -

& b13

.œ œ jœb ˙mak ing me feel

Cmin7 Amin7 b5 .˙ ˙nI'm

Dmin7 b5 G7b9 .˙ ˙home.

CMaj7 .˙ ˙#It's

C 7 C7#5

-

& b17

jœ œN œ jœ ˙Aut umn in New York

Gmin7 Amin7

A ‰ œ œ Jœ Jœ œ Jœthat brings the pro mise of

Bb6 C 7 .˙ ˙new love

FMaj7 Gmin7 ∑ ŒAmin7 D 7 Db7--

& b21

Jœ œ œ jœ ˙aut umn in New York

Cmin7 Dmin7

.œ jœb œ œ Jœb œb Jœis oft en ming led with

Ebmin6 F 7 .˙b ˙pain

Bbmin6 Abmin7 .˙ ÓGb7 C7b9

- --

& b25

.œ œb Jœ œ œdream ers with emp ty

F min7 C 7

C .˙ Œ œhands, they

F min7 Ab7 .œb œ jœ œ œsigh for ex o tic

DbMaj7 Ab7 .˙b Œ œlands, it's

EMaj7

- -- -

Autumn In New YorkVernon Duke

©

Medium Swing

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• Re-harmonization o Change the underlying chord so the melody note has a different function

§ Ex: If the melody note is the 3rd, change chord so it functions as the 5th. o Trial and error is crucial – don’t settle too early

Effective Starter “Tricks”

• Use pedal tones/drones o Pedal tones create stability, simplicity, and naturally enhance melodic content o 5ths in men add further stability, or shift it to women for men’s melody o Choral exercise – full choir drone, shifting to closest correct note on chord changes

• Ostinatos = Motor that drives an arrangement

o Similar to style/feel in their function

• Write More Unisons o Incredibly effective for teaching blend, balance, style, and listening o Allows the ensemble to feel successful right away

• 2-part Writing

o Prioritize using 3rd and 6th intervals combined with good voice leading o Study Phil Mattson – he’s the master

• Write FOR the lyrics, not against them

• Pass the melody around

o (Online Example #6 & #7)

• Have a section or sections drop out for effect

& bbb 44 œOh,

œ œ œ œ œ œ œShen an doah, I long to

Eb œ œ œ Œ œ œhear you A

˙ œ œ œ œway you rol lin'

Abœ œ œ Œ œriv er Oh,

Eb

- - - - -

& bbb5

œ œ œ œ œ œ œShen an doah, I long to

Ab Bbœ œ œ Œ ‰ jœ

hear you 'way,

Cmi Bb˙ œ œ œ

I'm bound

Eb œ œ œ Œ œ œa way, 'cross the

Gmi

- - -

& bbb9

˙ œ œ œwide Mis sour

Cmi Bbwi.

Eb

- -

&?

bbb

bbb

Ó Œ œ

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Ó Œ œœœ œœ œœ œœ œœ œœ œœ

Shen an doah, I long toœœ œœ œœ œœ œœ œœ œœ

EbMa6 œœ œœ œœ Œ œœ œœhear you Aœœ œœ œœ Œ œ œ- - -

&?

bbb

bbb

˙̇ œœ œœ œœ œœway you rol lin'

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˙̇ œœ œœ œœ œœ

AbMa7

œœ œœ œœ Œ œriv er Oh,œœ œœ œœ Œ œœ

EbMa7

- -

&?

bbb

bbb

œ œ œ œ œ œ œShen an doah, I long to

œ œ œ ˙

18

œœ œœ œœ ˙̇

AbMa7 Bb7œ œ œ Œ ‰ jœ

hear you 'way,

œ œ œ ‰ Jœœœ œœ œœ ‰ Jœœ

Cmi7 Bb7

- -

Shenandoah Examples

©

(CLOSED VOICINGS)

(DROP 2 VOICINGS)

(SPREAD/OPEN VOICINGS)

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Process – Different Approaches Everyone arranges a little differently based on natural preference. Here are a few considerations as you figure out your own:

• Arranging from a lead sheet o (Online Examples #8 & #9)

• 7th Chord Voicings

o Closed o Drop 2 o Open/Spread

& bbb 44 œOh,

œ œ œ œ œ œ œShen an doah, I long to

Eb œ œ œ Œ œ œhear you A

˙ œ œ œ œway you rol lin'

Abœ œ œ Œ œriv er Oh,

Eb

- - - - -

& bbb5

œ œ œ œ œ œ œShen an doah, I long to

Ab Bbœ œ œ Œ ‰ jœ

hear you 'way,

Cmi Bb˙ œ œ œ

I'm bound

Eb œ œ œ Œ œ œa way, 'cross the

Gmi

- - -

& bbb9

˙ œ œ œwide Mis sour

Cmi Bbwi.

Eb

- -

&?

bbb

bbb

Ó Œ œ

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Ó Œ œœœ œœ œœ œœ œœ œœ œœ

Shen an doah, I long toœœ œœ œœ œœ œœ œœ œœ

EbMa6 œœ œœ œœ Œ œœ œœhear you Aœœ œœ œœ Œ œ œ- - -

&?

bbb

bbb

˙̇ œœ œœ œœ œœway you rol lin'

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˙̇ œœ œœ œœ œœ

AbMa7

œœ œœ œœ Œ œriv er Oh,œœ œœ œœ Œ œœ

EbMa7

- -

&?

bbb

bbb

œ œ œ œ œ œ œShen an doah, I long to

œ œ œ ˙

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œœ œœ œœ ˙̇(Shen an doah,

AbMa7 Bb7œ œ œ Œ ‰ jœ

hear you 'way,

œ œ œ ‰ Jœœœ œœ œœ ‰ Jœœhear you)

Cmi7 Bb7

- -- -

Shenandoah Examples

©

(CLOSED VOICINGS)

(DROP 2 VOICINGS)

(SPREAD/OPEN VOICINGS)

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• Accompanied vs. Un-accompanied o Accompanied works = Voices are functioning as a melodic “section”

§ Often primarily homorhythmic § Accompaniment is able to supply harmony, rhythm, counter-melody, and motor.

Voices are the featured instrument. o Un-accompanied works = Voices fulfill ALL roles

§ Melody, harmony, rhythm, counter-melody, motor § Often polyrhythmic § Use of vocal bass, vocal percussion common § (Online Example #10)

• Writing Vertically vs. Horizontally

o Vertical = Great voice leading, good for homorhythmic o Horizontal = Very “Sing-able” lines, good for polyrhythmic o Often influenced by instrumental background

• Finding your writing space and tools

o Where? With what? When?

• Record yourself o Raw ideas, scratch tracks, etc. o Allows you to experience externally vs. internally o Sibelius/Finale playback is okay, but it’s not vocal

&?

bbb

bbb

˙̇ œœ œœ œœI'm bound

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˙̇ œœ œœ œœ

EbMa7 œœ œœ œœ Œ œ œœa way, 'cross theœœ œœ œœ Œ œ œœ

Gmi7

˙̇ œœ œœ œœwide Mis sour

˙̇ œœ œœ œœ

Cmi7 Bb7wwi.

ww

EbMa6

- - -

2 Shenandoah Examples

(CLOSED/DROP 2 COMBO)

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General Words of Wisdom

• Start your arrangement at the first part you can “hear” o Hint: This is often not the beginning

• Be ready to set aside several sections/revisions of your work

o Do not throw away or delete – You will probably miss it!

• Good piano voicings are generally good vocal, horn, and string voicings o Start practicing piano!

• Consciously direct your audience’s focus

o In any given section, which part do you believe is the most important? The least important? Does your arrangement emphasize what you want it to emphasize?

o Hint: If it doesn’t, this almost always involves simplifying something too dense o Remember: Your audience is hearing this for the first time

• Prioritize good voice leading unless going for a specific effect

o Counterpoint rules, while helpful, are not universally applicable in 2016. You WILL get parallel 5ths. Everyone is doing it!

• Be aware of the effective “life span” of each arranging idea

o i.e. How long can the listener enjoy it before they’re bored or tired of it? o Sometimes great ideas are under-utilized, others are exhausting

§ Consider audience’s focus, complexity, and context o If you have a great/interesting idea, bring it back (recall) o Avoid the “kitchen sink” arrangement – too many ideas confuses the listener (ie. too

many colors mixed together end up brown)

• Golden Arranging Rule – 50% Familiar, 50% Surprise!

• Sing your work often as you are writing

• Seek out the feedback of someone you respect and/or study successful works

• Work with a pianist on written accompaniments

• Arranging is hard. Get used to it!

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“Do or do not. There is no try.”

Questions? Additional Resources

• “A Cappella Arranging” by Dylan Bell & Deke Sharon • “Arranging for Large Jazz Ensemble” by Ken Pullig & Dick Lowell • “Barbershop Arranging Manual” by the Barbershop Harmony Society • “Choral Arranging” by Hawley Ades • “Circlesongs: The Method” by Roger Treece • “The Complete Guide to Teaching Vocal Jazz” by Steve Zegree • “Jazz Arranging Techniques” by Gary Lindsay • “Modern Jazz Voicings” by Ken Pullig & Ted Pease • “Scatability” iPhone App by Michele Weir • “The Vocal Jazz Ensemble” by Paris Rutherford • http://www.acdacal.org/repertoire-standards/jazz-choirs/