The Song-Arrangement

Dedicated Page To My Technique of Scoring Motif 8 Song Arrangements

(Revised on March 28th 2003)

       It's always better to see something in action rather than writing about.  Many posters have asked me how do I create arrangements so quickly.  In the old days, you'd write down all of your ideas on manuscript paper, fill in the necessary instruments transposing each one carefully while you build a complete chart for each musician in the show band playing down your charts.  You really never knew what it would exactly sound like until the first rehearsal taking for granted you had top musicians and there were no mistakes on the staff paper.

         The Motif 8 has made song arrangements for me a bit easier with the additional aid of sequencing software such as Sonar XL 2.2.  A good set of Studio Monitors (subwoofer too) is essential for your ears as well as a quality breakout box such as the  Echo Layla24.  Without a decent computer to hook these peripherals together, one is essentially left incomplete.  A pair of AKG 240-S headphones helps you pick up a few hours at night scoring (music not woman) while your wife awaits your arrival from your studio suite  by the wee hours of the morning.

        Before I begin, it is imperative that anybody who attempts to score big band orchestral arrangements needs to have knowledge of the "compass" (Compass of a musical instrument or voice part, from its lowest note to its highest) of each and every instrument as it relates to the location on your Motif 8.  Instruments that are scored out of range, will sound questionable and incorrect to ones ears.   Having knowledge of how instruments are played and articulated need to be practiced using the Motif as a daily ritual.  I would recommend listening to great horn players such as Charlie Parker, Wayne Shorter, John Coltrane, Phil Woods, Stan Getz,           Lee Konitz, Paul Desmond, Paquita D'Rivera, Miles Davis, Freddy Hubbard, Dizzy Gilesspie,  Maynard Ferguson, Slide Hampton, Kai Winding, etc..  My thought here is "the more you listen, the more it becomes part of  you which transmits directly to your fingers when you're ready to blow a chorus."

        My technique using the Motif 8 and Sonar 2.2 XL go hand in hand.  The first inspiration happens when a certain melody churns in my head yearning to be arranged for some kind of ensemble.  I am a bit passionate for big band writing so here it goes.  

       The main instrument that needs to be considered as the starting point is the Borsendorfer (#290) Imperial Grand Piano. (or equiv)  Rather than click record in Sonar for track #1, I lay out (on paper) the chord structure for the melody to be arranged.  Once this is memorize, I sketch out the entire outline from start to finish how long the arrangement will be in measures and in sections.  The songs I choose generally have an introduction followed by an A-B-A (Sonata Allegro) format.  "A" is the head melody followed by "B" the bridge or middle part of the song.  I then consider how many improvisations or choruses are to be improvised by my favorite internal horn sounds of the Motif 8.  (for example, Alto Sax (vib), Romantic Trumpet, Gt: JazzGTmelo, Sweet Flute & Trombone) One to three transitions or interludes need to be considered prior to any improvisation.  Once the "A" melody returns, (at the conclusion of the improvisations) an extended ending is created using chords only.  This all may sound scientific but it is the core of the song-arrangement that is first recorded using  the Borsendorfer Piano, Sonar XL 2.2 and the Motif 8.

       The next instrument to be recorded is the Dan Dean's Acoustical Bass or equiv).  If I've done my homework correctly and aware of the substitute chord changes created on the first piece of manuscript for the piano, track #2 will get expedited.  The Bass is responsible for the primary essence of the groove for the song-arrangement being created.  

        One would expect the drums on track #10 to be created next but I begin to work with the lead horn melody for "A".    For the "B" melody or bridge I sometimes change instruments depending upon the feel and transition of "A" to "B".  In "It Might As Well Be Spring", I chose to use the Jazz Guitar in "A" while the Romantic Trumpet took on "B".  In "That's All", I chose to use the Gt: JazzGTmelo for the entire lead melody.  It's a matter of feel and taste here.

         At this time a simple percussion track is recorded on track #10.  It's important to keep it simple since there were no wind or brass ensembles created as of yet.  Generally I use the high hat, bass drum and a touch of the snare drum.  This can be achieved using  4 fingers on C-D-Ab and Eb of the Dr. Jazz Kit.  Other percussive instruments can be added on a another track later on.

        Now it is time to write the ensembles.  I usually start out with the Sax Ensemble accommodating the chord structure set forth from the Borsendorfer Piano.  A very light and tight note movement envelopes around the lead melody at first.  The supporting Sax Ensemble parts remain on hold until all of the horn improvisations are completed and recorded.  Once I'm done with some decent takes of the horn improvisations, it's time to back fill the rest of the Sax Ensemble parts.  At times I do create a separate Baritone Sax part for color a effect in the low tones of the bass clef.  Once the entire Sax Ensemble is recorded and agreed upon, the Borsendorfer Piano can be deleted opening up more polyphony for the next ensemble being the brass section.

       The Brass section which can include the Medium Brass (sounds like trombones) and or high brass (sounds like trumpets) with the legend trumpet (muted trumpet), a counter melody (actually two to 4 bar phrases) with brass kicks can be created.  Counter melodies can be very challenging but if you know how to weave in and out around the main melody without causing too much dissonance, it can be executed smoothly.  Rather than writing it all out at this point, I attempt a recording of these ensembles in real time to create these counter melodies (small phrases)  and kicks. (this is spontaneous playing)  If I encounter a problem, I have Sonar there to change notes or delete a complete phrase.  Sonar is your eraser and there is no evidence of any errors left behind.  It's your critical ear that is needed before moving on.

       Now that we have the ensembles in place, it's time to add a few drums kicks to accommodate the brass and wind ensembles.  The snare drum, tom-toms get the attention here as you back fill ends of phrases and transitions created for the improvisations and melodies "A" and "B"   Congas can be added for medium swing tempos to add variety to your drum track(s). Ballads can use Wire Brushes and the Hi-hat for track #10 followed by a Ride-Cymbal, Bass Drum and Toms on another track picking up the kicks and the fills.

       The added layer of the Garritan Strings can soar well above all of your recorded midi tracks adding depth to the high end melodies and improvisations.  There is always a good chance that you will be quite inspired to create a nice melodic movement as you play the strings in real time. as the song-arrangement becomes instrumentally completed.

             Now that we have an open Piano track, it is time to create a much lighter touch for polyphony reasons.   I can basically do without the sustain pedal (polyphony consumer) for a brand new Borsendorfer Piano for track #1.   Once this is completed, it is time to reevaluate what I've done.  You might have realized now why Count Basie played very little piano while his band played down the charts.  He knew how to add very light and tasteful piano fills at the right moment. 

         The reevaluation stage is essential for making a polished product.  Your best friend here is Sonar so if you have to create another take for any of the improvisations and or lead melodies, it's quite easy.  Consider the volumes, reverb, echo etc., for each track to be mixed.  I then record all midi tracks using Sonar XL 2.2 to an Audio Track, Export it to a .wav file, compress the new .wav file (must be 16 bits) to an MP3 (128 bps) and then burn my CD.   

         I have a template created in Sonar XL 2.2 for my big band song arrangements that I'd like to share with you.   Tracks 1,2 & 3 contain The Giga Library instruments.  The remaining tracks are for the Motif 8 Internal Sounds.

 Tracks     Instruments

This concludes my technique for song arrangements using the Motif 8, Sonar XL 2.2. & GigaStudio 160.

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Copyright © 2003 by Alan Russell - All Rights Reserved