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Arranging 1 Workbook
by Bob Doezema
— beklee | _
COLLEGE OF MUSICIl
IIL
IV
Vv
INTRODUCTION
FORM
A. SONG FORM
B. ARRANGEMENT FORM
C. REHEARSAL LETTERS AND NUMBERS
ANTICIPATIONS
A. ANALYSIS OF ANTICIPATIONS
B. MANIPULATION OF MELODIC RHYTHM
C. IMAGINARY BAR LINE
D. DYNAMICS AND ARTICULATIONS
THE RHYTHM SECTION
A. THE DRUM SET
1, The Instruments
2. Standard specific Drum Notation
3. Notation and Parts
B. THE BASS
1, The Instrument
2. Constructing Written Bass Parts
3. Styles
4, Notation and Parts
C, THE GUITAR
1. The Instrument
2. Notation and Parts
D. KEYBOARDS
1. The Instruments
2. Notation and Parts
APPENDIXARRANGING
Arranging is the adaptation of a piece of music to a specific vocal and/or
instrumental combination. ‘This vocal and instrumental combination may range
from a single performer, with or without a small supporting group, to a full
orchestra.
‘The success of an arrangement depends on the arranger's musical technique,
good taste, and his or her ability to enhance the ausic in a way that is pleasing
to both performers and listeners. To this end, arrangers often modify and
stylize a piece of music to the extent that they are adding their own musical
ideas. In this way, arranging may involve a certain amount of composition.
There are many elements to consider in arranging music: form, instrunenta~
tion, style, tonality, melody, harmony, rhythm, etc. We will begin with a
discussion of form.
Form, in music, is the structure and shape of musical ideas and the planned
design in which these areas are repeated, contrasted, and/or varied. To determine
the form of a piece of music, one must be principally concerned with its melodic
and harmonic content. Form in music may be considered both in relation to the
shorter and separate parts of a piece and to a piece as a whole. In this course,
we will consider:
song form as it relates to jazz, rock, and popular music, and
arrangement form (how the various sections of an arrangement are put
Together).
A. SONG FORM
To understand song form we must not only consider melodic and
harmonic structure but also lyric structure. Although form will vary
from song to song, there are several typical form models thet are often
used by songwriters. Diagrams of these form models are used to graphi-
cally represent the form of a song. While letters A, B, C, etc. and
4, by ¢, etc. are used to represent a song's melodic and harmonic
structure, there are additional terns used to describe songs with lyrics.
The following is a discussion of these terms and form diagrams showing
their use.
1, Verse and chorus
In older song forms, particularly folk music, each verse represents
@ co-equal subdivision of the total lyric structure of the song. The same
melody is used for each succeeding verse in the song.Note: .In this song form each verse often ends with a refrain
(see refrain).
In simple binary, or two part, song form, the verse is
followed by the chorus. ‘The melody, harmony, and lyrics of
the chorus are different from the melody, harmony, and
lyrics of the verse. When this musical form is repeated,
each subsequent verse has different lyrics while the lyrics
of the chorus remain the same.
A B A B
ans
Verse | CHorus Ere.
Note: While binary song form is often used by contemporary
popular songwriters, many contemporary pop songs contain
additional material which provides additional musical and
lyrical contrast to the verse and chorus. This additional
material is called either a primary or a transitional bridge
(see bridge).
In complex binary song form, the verse and chorus are often
longer and more elaborate (both lyrically and musically)
than the verse and chorus of simple binary song form.
Here, the verse functions specifically as an introduction
to the chorus and ie called an introductory verse. The
chorus is the main body of the song which may be repeated
in part or in full without the verse.
CHorus Etc.The verse and chorus in complex binary song form are often so
long that musical subdivisions of the overall form become
‘apparent.
A B B
VERSE Chorus
ala|{a[b a[tlalec
Note: Until recently, complex binary form was the preferred
form of American songwriters hen writing show tunes for
theatre productions.
2. Bridge
In standards, show tunes, and jazz tunes, the bridge is the
contrasting musical idea thet occurs specifically in the "b"
section of an aab a chorus. The bridge provides the necessary
contrast to, or "release" from the "a" sections.
CHoRUS
Note: In most instrumental jazz tunes, the introductory verse
does not exist.
In contemporary music, there are two kinds of bridges: the
primary bridge and the transitional bridge. The primary bridge is
@ complete musical and lyrical statement in which materiel different
from either the verse or the chorus is introduced. The transitional
bridge is a short musical passage within the binary song form, which
connects the verse and the chorus and which provides added musical
and lyrical impetus toward the chorus.A B A B
ry
ast oS
HORUS
Verse Ciionus |) Yease ; arose
Taansirioma Taansiriona.
Drives BaiwGEe
A B A C B
B
is and Pamar? | | cHorus,
Verse |CHORUS [| Verse ie Repeated)
A A B A B c B
at | Zab 3h Pamary |_| cs
Honus
verse | Vease |CHORUST Vease | CHoRVS 1 BRinae \Rereated)
A B A B c B
ist an Pamany | | CHorus
verse | |CHoRMS |) Verse | [CHORUS 11 aaipce [-Ifepeated)
1 I
+
Trawsisiona. TaansirionaL.
Rives BRIDGE3. Blues form
Traditional blues songs are written in a 12 bar form with
a unique melodic and harmonic structure. While blues melodies
are distinctive in their use of "blue notes", blues harmonies
follow, or are variations on, the following standard blues
chord pattern.
Pia wy i vW mom (z7)
ESSE SPP TEE PPDITET EET EET PPS
While many older "rock-and-roll" songs strictly follow this 12 bar
blues form, contemporary pop song writers often incorporate blues
melodies and harmonies in a "verse-chorus" format.
4. Hook
Since 1960, the expression "hook" has come to mean the
principal musical and lyrical component of a pop song. It is the
part of the song that the casual listener most easily remembers
and therefore, for marketing purposes, is usually the part of
the song that generates the song title. Although the "hook"
may occur anywhere in the song form, it is usually found in the
chorus so as to allow frequent repetition and musical enphasis.
5. Refrain
In older songs, particularly folk and gospel music, the
refrain is the phrase in the lyric that is repeated at intervals
Of the song.
In show tunes and jazz standards written in complex binary
form, the term "refrain" is synonymous with chorus.
In contemporary popular music, the refrain is a type of
"nook" that is found at the end of each verse.
B, ARRANGEMENT FORM
It is the arranger's responsibility to present the essential
formatic elements of a song in a way that:
~ is exciting and provocative for the listener
~ fulfills a time-frame predetermined by the performer or
record producer and
~ preserves the song's musical (and lyrical) integrity.
To achieve these ends, arrangers often:
= manipulate the song form in order to bring out a song's
best elements
= repeat the song form to allow for additional instrumental
or vocal variations and/or improvised solos and
= add to the song form by composing new sections called
introductions, interludes and endings or tags.1. Definitions
a. introduction
‘The introduction is a short instrumental passage at the
beginning of an arrangement which serves to introduce the
mood, character, and tonality of the music to follow.
b. interlude
4n interlude is a short instrumental passage, many times
melodically and harmonically similar to the introduction, which
serves as a contrasting section to the main song form. An
interlude may be found between two choruses, or between @
chorus and a new verse.
c. tag
A tag is a repetitive musical idea which is built into
the conclusion of an arrangement. A tag serves to delay the
ending.
4, arranger's chorus
In an arranger's chorus, the arranger composes over the
form of the song in such a way as to provide a satisfactory
musical summation of the piece and often the musical climax.
In a sense, the arranger becomes the improviser (on-paper).
An arranget's chorus, if used, will normally be found towards
the end of an instrumental jazz arrangement. Arranger's
choruses are rare in arrangements for vocalists.
e. solo chorus (or solo section)
A solo chorus or section occurs in an arrangement when
an individual instrumentalist or vocalist spontaneously
improvises original musical ideas over the entire form
or part of the form of the song.
The following form diagrans graphically represent how
several different song forms may be manipulated, repeated
or added to in an arrangenent.2. Examples of arrangement forms
a. simple binary song form
LustRumentac |
Intertupe
Verse | CHorvs
CHorus,
INSTRUMENTAL
Soto Section |C#ORYS
Revrenr, Corus & Fave.
(ON VERSE StavcruRe)—W——"
Vocal. Vocal.
b. complex binary form
=——
Vocal ‘Insreumen Tal.
B B
[nanancen’s CHoRus Corus
TAG Exoina
ala/bja/jajajb/a
Vocat &
COS
‘InstRumeNTAL Noca InsTRUMENTAL_c. simple binary song form with bridges
mnt OB
INSTRUMENTAL
EuTRopUCTION
‘InsrRunentac|
Conus Tt eRLUDE
Primary
Dawae
Vecac. “Vora
4. blues
Bwes puves
INSTRUMENTAL,
Swsroouerion | | MeLeny een
Areance's |_| Bives Bwes Eno)
i MELODY mevovy NDING
Cuenus Corus CHoRusC, REHEARSAL LETTERS AND NUMBERS
Rehearsal letters and numbers are placed on the score and
individual parts at obvious phrase boundaries in the music to
facilitate the rehearsal of an arrangement and to show the
individual players the form of the piece being played. The
letters A -B -C etc. are used for each successive
"chorus" in complex binary song form or each successive
“verse-chorus" or "verse-verse-chorus" in simple binary form.
These letters are combined with numbers A - A9 - AI7 etc.
to indicate measure numbers at obvious phrase boundaries within
each "chorus" or "verse-chorus".
The following diagrams show the proper use of rehearsal
letters and numbers.
1, Pop song: simple binary form
A
Inrropuction|| Verse “Verse CHorus | |Swrerwut
-—-8—| |-—-8—|+—- 8 —|- —-8—j| |-4 4
‘Verse CHORUS oe Cronus Chorus
—8—|-—s—j | —s—| |--s—| | s
Note: Rehearsal letters and form letters may not correspond.
2. Jaze tune: complex binaty form
INTRO} [Al As An Az
Inreooucrion |} al alhialialath|a
-—10—||8/8|8|s/|s|/sjs/e
ad
CHorus : CHorvs (Sere)
€ Ce Cw Cas a
INTERLUDE ajalh|a|] tae evowa
-—10— || 8 | 8 | 8 | 8 | |-—10—
CHorus
9%3. 12 bar blues form
Dwes Bwes
ITRODUCTION MeLopy CHorus MeELopy Corus:
—38 —]|-—12 | |-—- 12 —
|. Soro CHoruses i] | Arnancer’s Cworus|| TAG Expina
[-—— 24 "| ——12_]|_ —_- _,
Note: Another system of reharsal symbols involves simply
numbering each consecutive bar in a piece of music.
Anticipations
A. ANALYSIS OF ANTICIPATIONS
In conteaporary idioms, anticipation is a rhythmic alteration
of melody in which an on-the-beat note is attacked either half-+
beat early (an eighth note anticipation) or a quarter-of-a-beat
early (a sixteenth note anticipation). ‘The result is melodic
syncopation.
regular rhythm
Cong
An ANT.
with eighth note
anticipations
regular rhythm
with 16th note
anticipations
10.Note: While eighth note anticipations are common in jazz and Latin
tunes where eighth note melodic rhythms are predominant, sixteenth
note (as well as eighth note anticipations) are common in rock and
funk tunes where sixteenth note melodic rhythms are predominant.
Harmonic anticipation occurs when there is a new chord change
on the beat following the anticipation. Harmonic anticipations
are arranged for the rhythm section in a variety of ways:
1) The entire rhythm section anticipates the harmony of
the following chord creating a rhythm section "kick".
2) The guitar and/or keyboards anticipate the harmony of
the following chord while the bass remains on the beat,
3) The entire rhythm section plays on the beat, in effect,
disregarding the harmonic anticipation in the melody.
Gave DriT 5467 4 c$
; :
sun
Spe
bass =
» Faw Fruit genie ets an 078)
==
lead sheet
Fray? EniT elms? c7tens
guiter
bass
al.An anticipated note is sometimes shortened to an eighth note or
sixteenth note (followed by a rest).
Gon? DWT 0, Tn C$
Funk’ Fay? ent aun Gia wc
= +: i
B. MANIPULATION OF MELODIC RHYTHM
Each musical style employs uniquely different melodic rhythms.
Arrangers often modify a song's melodic rhythm in order to:
1) better adapt it to the musical style being employed in
an arrangement, or
2) suit their own musical taste.
While anticipation is a commonly used rhythmic device in the
manipulation of melodic rhythm, so is delayed attack. A delayed
attack occurs when an on-the-beat melody note (usually a half note
on beats 1 or 3) is attacked a half-a~beat late.
‘Dri? G7 cs
regular rhythm
Dwi G7 cS
with delayed attack
Note: Delayed attacks, like anticipations, are reflected in the rhythm
Section at the arranger's discretion.
12.‘The following comparisons denonstrate how an arranger might modify
the rhythm of a melody found on a lead sheet or published sheet music
to various different musical styles.
(ORtaINAL)
Ani avr Gri? c768) enai7
Goma Ani Yr i 4) 5
ING ae Ae v7 oe ano! ce Le Fma37
i or A (G94) 17
Carin Ani? i ang yt t Gmi7 ae ae Fa
Funk? pyi7
bt
7 Gri? cr) nt
Aut, put, At.
oR AmiT ayy PT Gni7 cree) Fna37
13.IMAGINARY BAR LINE
In 4/4 time, the third beat of the measure should always be
visible.
v
correct
incorrect
Exceptions
9.
SS
9
——————-s
Rhythms involving sixteenth notes should be written so that all
four beats are visible.
correct
2
Beams on eighth notes (and sixteenth notes) should not cross the
imaginary bar line.
correct
incorrect
14.D, DYNAMICS AND ARTICULATIONS
: Dynamic markings are the signs by which the degrees of loudness
or softness of a musical performance are indicated in a score and
parts. Dynamic markings are placed beneath the staff. Articulation
markings are the signs that indicate the manner in which a note or
notes are to be played. Articulation markings are placed directly
above the note or notes outside of the staff.
Dynamics
pp pianissino very soft
P piano soft
mp ‘mezzo piano moderately soft
mf mezzo forte moderately loud
£ forte loud
f£ fortissimo —very loud
mc ctescendo increase in volume
T=
e
Give crew ax)
fare state aera
D----5
A
(simue)
Note: Cymbal rhythms should be properly aligned with the time slashes.
Note: After a ride cymbal pattern has been established, the word
Simile may be used to indicate that the drummer should continue the
pattern in a similar way.
D. STOP TIME:
Rhythmic notation (shown below) .may be used to indicate drum
accents that are not incorporated into a tine feel but are played
as isolated accents on the drum or cymbal of the player's choice.Rive) ime
CREPERT AUD FADE)
A drummer may interpret non-specific drum notation in a variety of ways.
Therefore, specific drum notation is preferable when a specific result
is desired by the arranger.
ex. 5b) ee
Gore
(cans)
Grexs’ ™
dL pog. ewan py pe avi
Fr ; :
QRereat Avo Fave”
E. FILLS:
The word "fill" followed by @ horizontal dotted line and concluded
with a downward stroke is used to indicate a short improvised drum
solo of anywhere from one beat to as much as two bars duration. The
word "solo fili" is used to indicate a drum fill that is played without
accompanying music.
ex. 6)
GW Gave}
mi
CRePeaT fwo Fave)
26.KICKS AND FILLS:
\ A combination of drum notation D. & E.
ro ex. 1
Fouwk
(ans)
-PART DRUM NOTATION :
‘A 3part drum notation comprised of bass drum, snare drum and
cynbel is advised when a verbal indication does not adequately express
the desired drum feel. The snare drum part and the cymbal part are
stemmed together to avoid an overly complex part. After a few bars of
a this system is used, slashes with the word "simile" or bar repeat signs
tan be used to indicate a continuation of the same beat or pattern.
Tsim)
~ (REPEAT Awo Fave)
Note: See also example 7 at the top of this page.
27.Crash cymbal accents and a constant hi-hat part are distinguished by the use
of (x's) above the staff for crash and (x's) in the top space for hi-hat.
Descriptive words are also helpful. a
Note: Bar repeat signs indicate an exact repetition of the previous!
bar or bars while slashes and the word "simile" indicate a similar
continuation of the previous drum pattern allowing the player the ~
freedom to interpret and react to the accompanying music.
28.Name,
HOMEWORK
Supply a drum part for the following swing blues tune, given these specific
a instructions:
1) “Basic time playing" throughout, except where otherwise indicated.
Dynamics: mf, Beaters: Sticks.
2) Include horn cue "kicks over time" notation for the following melodic
thythms: the first two eighth notes in bars 1 and 5, and the lest
two eighth notes in bars 2, 6, 10, and 14.
3) Include cymbal accents for the following melodic rhythms: The eighth
note anticipations into bars 8 and 16.
4) Include "drum fills" in bars 4 and 7 and a "solo drum fill" in bar 15.
Meo. Si
(ame Jeme) F7 Bir F7 cnt F7
Leap Sueer
7
Gmit C7 #7 D7) Gmi? C7
D 7 =
F7 . p7)) -Gmi? oc? Fre
-
29.Name
HOMEWORK:
Supply a drum part for the following bossa nova tune, given these specific
instructions:
1) "Basic time playing" throughout, except where otherwise indicated.
Dynamics: mf. Beaters: Sticks.
2) Include a ride "cymbal rhythm over time” in bars 1 and 2 using the
thythn |[JFLA) AP DP dls, aise indicace that
this ride cymbal ‘part will continue in a similar way.
3) Include "stop time" figures with rhythmic notation in bars 7, 8, 14
and 16 using the thythn of the melody in each case.
4) Indicate light “drum fills" in bars 4, 15 and beats 3 and 4 of bar 7.
(Mes. Bossa Nova
9°92 cgi
Leap
‘SHEET
v7 cm Gi Gtmay7
Pavmg
;
Fni? a7 Fmi7 Br7 Gus4)
Ebmaj7 * ait 7)” nit ty pain Bb? Fine
7 5 z
Ebnai? BION) GI CTs) pmi7 9) arlba)
SF
a 7 ie
DC alfine,
30.Name
HOMEWORK:
Supply a drum part for the following rock balled tune, given these specific
instructions.
1) A "3 part notation" system throughout consisting of:
a) the bass drum playing the rhythm of the bass part,
b) the snare drum playing on beats 2 and 4, and
c) a constant eighth note rhythmic pattern on the ride cymbal.
Rock Basa) Pit G
Gale % "% % %
SYNTH
BASS
Dams
pa
*:
= =: fy
ad 7
Sa
os
31.Name,
HOMEWORK:
Supply a drum part for the following funk tune, given these specific
instructions.
1) A "3 part drum notation" system consisting of:
a) the bass drum playing the rhythm of the bass part,
b) the snare drum playing on beats 2 and 4 and
¢) a constant sixteenth note rhythmic pattern on the closed high hat
except for open high hat on the Ab7(#I1) accents at the end of
bars 2 and 4, and cymbal accents on the sixteenth note
anticipations of beat 3 in bars 2 and 4.
Fn Gnes7 Fani7 eni7 Dri qo)
leap
SHEET
BASS
Gnas FR ni7 Fingi7 7G) alt
32.The Bass
1, THE TNstRUMENT,
The bass is a transposing instrument. The written range is one
octave higher than the sounding, or concert, range.
Concert Range:
written Range:
HI
ay
The bass is alvays notated in the written range even on a concert score.
The bass has four strings that are tuned to the following pitches.
(Alternate tunings of the E string are possible, but rarely used.)
| written:
‘A. TEPES OF AVAILABLE BASSES:
1, Acoustic basst
‘he term arco is used to indicate the bass is to be played
with a bow and pizzicato (pizz) when played with the fingers.
a) fretted
b) fretless
33.IL, CONSTRUCTING WRITTEN BASS PARTS
. The first note played in the bass at a point of chord change is
usually the root. Playing the root helps clarify the chord
progression. When an inversion or hybrid voicing is indicated,
use the prescribed function at the point of chord change (i.e.,
C7/3b bass or G/Db bass).
Other chord tones may be used freely once the root has been
established. The 5th is the most common alternate choice.
Non-chord tones may be used as passing tones or in other approach
note patterns. These non-chord tones must resolve to chord tones
in chromatic or diatonic stepwise motion.
Stepwise motion is usually used to connect the last note sounded
on a chord to the root of the next chord change. This stepwise
"Link" allows smooth motion from chord to chord and is a voice-
leading consideration. (This linking tone is not necessary when
moving between consecutive roots of adjacent chords.)
Pedal points and ostinatos require the repetition of a single note
or a pattern of notes through a series of chotd changes regardless
of the relationship of the note (or notes) to the chords in the
progression.
See the following pages for examples that demonstrate the above.
34.III. STYLES:
7 ‘The bass helps to establish the appropriate feel of the music.
Each musical style (swing, latin, rock, ballad, etc.) employs a
uniquely different bass line rhythm and pattern of notes. The
following examples demonstrate several commonly used styles.
ex.1)(Suine
emi) = e769) Fri ptr +
@ chmaj7 ni) a7)
+
cni7 BniT Bhni7 67
Sa : 3)
(DC al)
REPEAT 15 Good
@) Ebmas7
ca
fim ta
‘The above example demonstrates the following:
1) In the introduction, the bass plays the roots of the chords
in a rhythm that is concerted for the entire band.
2) at letter A the bass plays a swing, or"walking” bass line,
consisting entirely of quarter notes with the exception of
four rhythm section kicks at A6, Al0, Al2 and Ald. Note
the predominant stepwise motion including both diatonic
and chromatic passing tones.
3) At AI3 - Al7 the bass plays pedal tones (indicated in the
oa chord symbols) in a rhythm that is concerted for the entire
rhythm section.
35.Gmi7
7 : a
(ch7(60s4)) Dhnas7 C7(sus4)
Gi : 5
su: Gmi7
(C7604) Drews) 7h, i
‘The example above demonstrates the following:
1) In bars 1-4 a bossa nova bass line in its purest form.
Note the consistent dotted quarter note-eighth note
rhythm and the specific alternation between the root
and the Sth.
2) I bars 5-6 and 13-14,two of the many
variations of bossa nova bass lines that are played
ina variety of “latin” styles.
3) In bars 8, 12, 15 and 16, the pattern is altered so that
the bass will accent the roots of chords in a rhythm
that is concerted for the entire band.
36.F maj 7 Fi7 B7
The example above demonstrates the following:
1) In’ bars Bl ~ B4 a samba bass line in its purest form with
the exception of anticipatious. Note that this bass style
is really a bossa nova pattern played at twice the tempo.
2) In bars Al - A4 one of virtually endless variations that
are played in a variety of samba feel styles.
3) In bars A7 - A8 the samba pattern is altered to accomodate
rhythm section accents.
Note: Because the samba and bossa nova bass lines may be identical except
for tempo, samba ausic is often notated in cut time. The example above
could be notated as follows:
37.GANGA FEEL :
nz) @ Gmi? a a
ime che.
To avoid confusion, sanba (in 4) with # tine signature, or samba (in 2)
with @ or tine signature is indicated to clarify vhich notation
is being usd.
ex. 4) (ROCK? «1 € D € D
= >>
}
() é D €
a
~Peeeeeeee cence ce ecaaeececeateeceaCeeeCCEE
Although there are many different rock feels and styles, there are
elements of bass part writing that are common to most rock variations.
1) In example #4, the root of the chord is the only function of
the chord used to construct the part, with the exception of
the 8th bar.
2) In example #5, a short melodic pattern that defines the chord
change is repeated in a rhythmic pattern that remains constant
throughout a particular section of the arrangement. It is
important that the bass rhythm is consistent with the bass
drum rhythm of the drum set part.
(Cegneeeacy
Funk
Gay? FART nit Das? Abas? HiT
>
ex. 6) i
A.
(Funk-Fusion) «7 BrGus4)
2
mot =
WE,
Although there are many different coumercial funk and funk-fusion styles
and feels, again there are elenents of bass part writing that are common
to all the variations.
oe
39.fee eae eee gee eee gEEE gE EEE Cg EEE EE CEzgPE EEC aPC EEC EAA EAE
1) In example #6, the root of the chord, with few exceptions,
is the only function of the chord used to construct the part.
Note: while rock bass parts typically employ eighth note
rhythms, funk bass parts typically employ sixteenth note
rhythns which are determined by the melodic and harmonic
rhythms that are unique to each different tune. While
rock bass parts typically sustain or repeat the roots of
chords, funk bass parts are sparsely written with short
percussive attacks that are often played with a "slap"
technique.
2) Example #7 demonstrates how funk-fusion bass parts are typically
more active both rhythmically and melodically. These bass
lines are many times one of the most important elements of the
music and define the character of the whole arrangement.
Funk-fusion bass parts often employ a rhythmic ostinato figure
that remains constant throughout each section of an arrangement
and is synchronized to sone degree with the bass drum of the
drum set part.
ex. 8)
(Gomeneray =
ereee Eas? Bhic Fino) Bini
me
Ami PZ GmiT C7us4) Fmaj7 B7EM) Bhai? C7Gus4) a
The example above denonstrates a commercial ballad bass part which employs
dotted quarter note-eighth note and/or double dotted quarter note-sixteenth
note rhythms. Again the root of the chord is used exclusively (with the
possible exception of fills or melodic passages).
TV. NOTATION OF PARTS (see also the above examples) -
‘A. PLAYING CHANGES:
Slashes are used to indicate the number of beats each chord
receives and that the player should construct his or her own bass
ex. 9) part in the labeled feel at his or her discretion.
eo-Bare Ebmaj7 mitts) prey
me
Gni9 o7 Fni7 o7 os
40.Time slashes with chord symbols may be used when the arranger desires
to allow the player the maximum freedom to react spontaneously to the
music. This is particularly common when the bass player is supporting
improvised solos in most jazz styles.
(Bossa Nova’ F maj? - may?
mF
Dm D7 CTus4) Demos? Ebay?
Time slashes and chord symbols may be replaced with a specifically
written part when the arranger desires the bass player to play specific
notes in a rhythm that is concerted for the entire rhythm section.
Note: The following notation may also be used to indicate occasional
harmonic anticipations in the bass part.
ehmay?
Guna’ Fmoj7 i
Fnaj7 Gmi7 c7
C, WRITTEN BASS PARTS:
In most musical situations it is preferable to construct @
specifically written part in the indicated style.
Note: While many styles are currently played on both electric and
acoustic bass, other styles, especially funk, contemporary rock and
the more active latin feels are played exclusively on the electric
bass. This is due to the fact that the electric bass allows for auch
r nore rapid "guitaristic" playing than does the acoustic bass as well as
the thumb slap and pop techniques so typical of the contemporary electric
bass sound.
41.