Arranging Horns

[Ghost of Electricity]

I started a thread elsewhere asking for examples to listen to, this one dedicated to technical tips/advice for anyone who has had experience arranging horns. Let's talk theory!

[Kalle]

3rds and 6ths!

[Cam Jones]

yup.

[lost highway]

Careful with the 6ths, they are a great color to use sometimes, but a strong one.

 

Generally your most basic weapons are your 3rds, and 5ths with passing scale tones between. You can usually stack different octaves of chord tones. Throw in the right 7th at the right time, that's a good color. Usually you want to keep the nearest 1 away from the 7 so it doesn't discord but that can be cool too. If you like to use old classical conventions don't let two instruments that are a 5th away continue to move in parallel a 5th away. Have them swap spots. Find common chord tones between several chords in a row and have one instrument play a pedal tone on that common chord tone. These are just some basic approaches to try, typical conventions that can be really effective.

 

Really it's all about knowing your chords, getting some paper, assigning voices and then getting everyone to try it. Move a piece and try it again. It reminds me of setting up dominoes to knock over as a kid. You sit there with paper and a keyboard and map things out one measure at a time. Ten minutes later you audition the 4 bars you built up and go "Oooh that was neat" now I just need the other 12 bars. :-)

 

I did some stuff with big horns on these sloppy demos a couple years ago http://www.myspace.com/nuevoleonvsworld listen to the chorus on "State O Maine".

 

We use similar tricks to a funkier end in my band Pink Hawks: http://pinkhawks.bandcamp.com/

[PopTodd]

This thread makes me wish that I knew more about (anything about) music theory.

Great info here, people. I just wish that I knew what the hell you were saying!!!

[Ghost of Electricity]

Yes some good info here- and I've been finding more good info in my virtual perigrinations. When I get the chance I'll pass on along a bit of what I've "learned."

 

Meanwhile, if anyone else has suggestions, I'm all ears.

[lamradio]

I had to do some horn arrangement in music college.. Lost Highway pretty much gave you everything you need to know to get started. It's just like anything else in music really; get the basics and then let your ear do the rest... The ear is always the final judgment.

 

Best of luck.

[Ghost of Electricity]

So I'll try to summarize a bit of what i've been learning. Bear in mind though, this is all theoretical research and I haven't had the chance yet to get into the studio and let my ears test it out. When I do, I'll update.

 

I'll try to put this as simply as possible...Hope it may be helpful to some and those in the know please correct me when and where I'm misguided.

 

2 Horns #1:

 

Move in parallel an octave apart, e.g.tenor sax plays the root note and the trumpet plays the root note one octave higher. This is called "unison octave." So the sax plays a C and the trumpet plays the C an octave above.

 

2 Horns #2:

 

Move in parallel thirds, the third played below the root.(Does it have to be the root? could you imply the chord by playing the third and the fifth?)Anyway, for the root e.g. for a C chord the sax plays an E not and the trumpet plays the C above it. This technique is called "drop 2" or "drop 2 harmonizing." (Without checking I think this might be the technique used by two trumpets in "Ring of Fire")

 

I know moving in parallel is undesirable from a classical point of view, but apparently is acceptable in modern pop/rock/soul etc. These two techniques can be alternated, for example verse in unison octave and chorus in drop 2. Or maybe even from line to line. Again I have to test drive this stuff in the studio.

 

3 Horns:

 

Here's where it starts to get complicated.

 

Let's say we're using a trombone, sax and trumpet (in order of ascending register) and working with a C chord. The notes are C-E-G. We use the drop 2 technique to change the voicing to E-C-G, spreading the chord out which gives it some power. Then each note is assigned an instrument. Thus, the trombone plays the E, the sax the C, and trumpet G.

 

So far so good, but you might also start with an inversion of the chord, say E-G-C with the root high. Using the drop two technique this gives you Trombone G Sax E, trumpet C.

 

Or the inversion G-E-C, which yields Trombone E, sax G, trumpet C.

 

These three voicings of the chord can be alternated, avoiding parallel movement, or left in parallel if that's the effect you want.

 

These harmonies of course only deal with the basic triad- haven't thought about 6ths or 7ths yet. Nor have I yet come to four horn arrangements, which would use drop2 drop4 technique.

 

other things to be mindful of: upper registers are more percussive and lower registers "pads." Trumepts and trombones work better for single punches and saxes for melodic lines. Trumpets work well at close harmonies in the upper ranges.

 

For recording, a useful technique is to double track and hard pan left and right.

 

Well, there's the first installment. Again this is all theory I've gathered and/or implied and haven't tried it yet. I think it's a pretty good theoretical start but if you can correct my mistake before I've made it, speak up.

 

And if you find this useful, pass along your results:)

[JAK2112]

^Very Solid Advice

 

When arranging parts like these, i like to write the part out in some music program like Garageband/Logic/Whatever with MIDI instruments. That way, i can drag the notes around and hear what it will sound like (roughly) before bringing in the actual musicians. Theres many "right" or "wrong" ways to do it, but ultimately whatever sounds best to you is what is going to be "right"

[Ghost of Electricity]

^Very Solid Advice

 

When arranging parts like these, i like to write the part out in some music program like Garageband/Logic/Whatever with MIDI instruments. That way, i can drag the notes around and hear what it will sound like (roughly) before bringing in the actual musicians.

That's essentially what we're doing. The added bonus is that the program we're working with can automatically transcribe it to horn-friendly clefs.

[GtrPlyr]

ultimately whatever sounds best to you is what is going to be "right"

Yes, this should pretty much be the guiding rule. You probably don't want to get too tied up with what's the "right" way to do things as this can lead to boring and predictable horn parts.