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Для использования в других целях, см Расположение (значения) .
"Упорядоченный" перенаправляет сюда. О фильме 2007 года см. Аранжированный (фильм) .

Обработка рукописи Джона Филипа Соузы увертюры Рихарда Вагнера " Летучий голландец" (страница 25 из 37).

В музыке , расположение является музыкальным переосмыслением ранее составленной работы. [1] [2] [ неудавшаяся проверка ] Оно может отличаться от оригинального произведения посредством повторной гармонизации , мелодического перефразирования , оркестровки или развития формальной структуры . Организация отличается от оркестровки в том , что последний процесс ограничивается назначением нот к приборам для исполнения с помощью оркестра , концерт группы или другого музыкального ансамбля. Аранжировка «включает добавление композиционных приемов, таких как новый тематический материал для вступлений , переходов , модуляций и концовок . Аранжировка - это искусство придания существующей мелодии музыкального разнообразия». [3]

Классическая музыка [ править ]

Организация и переложение из классических и серьезной музыки вернуться к ранней истории этого жанра.

Восемнадцатый век [ править ]

И. С. Бах часто делал аранжировки своих произведений и произведений других композиторов. Ярким примером является аранжировка, которую он сделал из Прелюдии из своей Партиты № 3 для скрипки соло, BWV 1006.

Партита Баха 3 для скрипичной прелюдии
Партита Баха 3 для скрипичной прелюдии

Бах превратил это сольное произведение в оркестровую симфонию, которая представляет его кантату BWV29 . «Первоначальная скрипичная композиция была ми мажор, но обе аранжированные версии транспонированы вниз до ре, чтобы лучше приспособить духовые инструменты». [4]

Бах Кантата 29 Симфония
Бах Кантата 29 Симфония

«Трансформация материала, задуманного для одиночного струнного инструмента, в полностью оркестрованное движение концертного типа настолько успешна, что маловероятно, чтобы кто-либо, впервые услышавший последнее, заподозрил бы существование первого». [5]

Девятнадцатый и двадцатый века [ править ]

Фортепианная музыка [ править ]

В частности, такой обработке часто подвергалась музыка, написанная для фортепиано , поскольку она была аранжирована для оркестра, камерного ансамбля или концертного ансамбля . [6] Бетховен сделал аранжировку своей фортепианной сонаты № 9 для струнного квартета . Наоборот, Бетховен также аранжировал свою Grosse Fuge (часть из его поздних струнных квартетов ) для фортепианного дуэта . Из-за отсутствия у него опыта в оркестровке, американский композитор Джордж Гершвин поручил аранжировке и оркестровке своей « Рапсодии в синем » Ферде Грофе . [7]

Эрик Сати написал свои три Гимнопедии для фортепиано соло в 1888 году.

Сати Гимнопедия № 3 для фортепиано соло
Сати Гимнопедия № 3 для фортепиано соло

Восемь лет спустя Дебюсси аранжировал две из них, используя диапазон инструментальных тембров, доступных в оркестре конца 19 века. «Это был Дебюсси, чьи оркестровки Гимнопедий 1896 года сделали своего композитора популярным». [8]

Гимнопедия Дебюсси 1, обработка Гимнопедии Сати 3.
Гимнопедия Дебюсси 1, обработка Гимнопедии Сати 3

«Картинки с выставки» , сюита из десяти фортепианных пьес Модеста Мусоргского , была аранжирована более двадцати раз, особенно Морисом Равелем . [9] Аранжировка Равеля демонстрирует «способность создавать неожиданные, запоминающиеся оркестровые звучания». [10] Во второй части, «Гномус», оригинальная фортепианная пьеса Мусоргского просто повторяет следующий отрывок:

Оригинальные стержни Мусоргского Гномуса 19-24
Оригинальные такты Мусоргского Гномуса 19-25

Первоначально Равель руководит этим следующим образом:

Мусоргский-Равель Гномус, первая оркестровка
Мусоргский-Равель Гномус, первая оркестровка

Повторяя отрывок, Равель создает новую оркестровку, «на этот раз с челестой (заменяющей деревянные духовые) в сопровождении струнных глиссандо на грифе». [10]

Мусоргский-Равель Гномус, вторая оркестровка
Мусоргский-Равель Гномус, вторая оркестровка

Песни [ править ]

Ряд песен Франца Шуберта , первоначально для голоса в сопровождении фортепиано, были аранжированы другими композиторами. Например, в «сильно заряженной, графической» песне Шуберта Erlkönig («Король Эрла») есть вступление на фортепиано, которое с самого начала передает «неослабевающую энергию»: [11]

Шуберт Эрлкёниг фортепиано введение
Шуберт Эрлкёниг фортепиано введение

В аранжировке этой песни Гектора Берлиоза используются струнные, чтобы точно передать драйвовую актуальность и угрожающую атмосферу оригинала.

Эрлкёниг , аранжировка Берлиоза

Берлиоз добавляет красок в такты 6-8 за счет добавления деревянных духовых инструментов, рожков и зловещего урчания литавр. С типичной яркостью Берлиоз добавляет пикантности гармонии в такте 6 с помощью ми-бемоль в валторне, создавая полууменьшенный септаккорд, которого нет в оригинальной фортепианной партии Шуберта.

Эрлкёниг , аранжировка Берлиоза

There are subtle differences between this and the arrangement of the song by Franz Liszt. The upper string sound is thicker, with violins and violas playing the fierce repeated octaves in unison and bassoons compensating for this by doubling the cellos and basses. There are no timpani, but trumpets and horns add a small jolt to the rhythm of the opening bar, reinforcing the bare octaves of the strings by playing on the second main beat.

Erl King - arrangement by Liszt opening bars
Erl King - arrangement by Liszt bars 1-4

Unlike Berlioz, Liszt does not alter the harmony, but changes the emphasis somewhat in bar 6, with the note A in the oboes and clarinets grating against rather than blending with the G in the strings.

Erl King - arrangement by Liszt bars 5-8

“Schubert has come in for his fair share of transcriptions and arrangements. Most, like Liszt’s transcriptions of the Lieder or Berlioz’s orchestration for Erlkönig, tell us more about the arranger that about the original composer, but they can be diverting so long as they are in no way a replacement for the original.”[12]Gustav Mahler’s Lieder eines fahrenden Gesellen (Songs of a Wayfarer) were originally written for voice with piano accompaniment. The composer’s later arrangement of the piano part shows a typical ear for clarity and transparency in re-writing for an ensemble. Here is the original piano version of the closing bars of the second song, “Gieng heit’ Morgen über's Feld”:

Mahler Gieng heut' Morgen uber's feld final bars of the piano version
Mahler Gieng heut' Morgen uber's feld final bars of the piano version

The orchestration shows Mahler's attention to detail in bringing out differentiated orchestral colours supplied by woodwind, strings and horn. Mahler uses a harp to convey the original arpeggios supplied by the left hand of the piano part. Mahler also extracts a descending chromatic melodic line, implied by the left hand in bars 2-4 (above) and gives it to the horn.

Mahler Gieng heut' Morgen uber's feld final bars of the orchestral arrangement
Mahler Gieng heut' Morgen uber's feld final bars of the orchestral arrangement

Popular music[edit]

Popular music recordings often include parts for brass horn sections, bowed strings, and other instruments that were added by arrangers and not composed by the original songwriters. Some pop arrangers even add sections using full orchestra, though this is less common due to the expense. Popular music arrangements may also be considered to include new releases of existing songs with a new musical treatment. These changes can include alterations to tempo, meter, key, instrumentation, and other musical elements.

Well-known examples include Joe Cocker's version of the Beatles' "With a Little Help from My Friends," Cream's "Crossroads", and Ike and Tina Turner's version of Creedence Clearwater Revival's "Proud Mary". The American group Vanilla Fudge and British group Yes based their early careers on radical re-arrangements of contemporary hits.[13][14] Bonnie Pointer performed disco and Motown-themed versions of "Heaven Must Have Sent You."[15] Remixes, such as in dance music, can also be considered arrangements.[16]

Jazz[edit]

Arrangements for small jazz combos are usually informal, minimal, and uncredited. Larger ensembles have generally had greater requirements for notated arrangements, though the early Count Basie big band is known for its many head arrangements, so called because they were worked out by the players themselves, memorized ("in the player's head"), and never written down.[17] Most arrangements for big bands, however, were written down and credited to a specific arranger, as with arrangements by Sammy Nestico and Neal Hefti for Count Basie's later big bands.[18]

Don Redman made innovations in jazz arranging as a part of Fletcher Henderson's orchestra in the 1920s. Redman's arrangements introduced a more intricate melodic presentation and soli performances for various sections of the big band.[19] Benny Carter became Henderson's primary arranger in the early 1930s, becoming known for his arranging abilities in addition to his previous recognition as a performer.[19] Beginning in 1938, Billy Strayhorn became an arranger of great renown for the Duke Ellington orchestra. Jelly Roll Morton is sometimes considered the earliest jazz arranger. While he toured around the years 1912 to 1915, he wrote down parts to enable "pickup bands" to perform his compositions.

Big-band arrangements are informally called charts. In the swing era they were usually either arrangements of popular songs or they were entirely new compositions.[20] Duke Ellington's and Billy Strayhorn's arrangements for the Duke Ellington big band were usually new compositions, and some of Eddie Sauter's arrangements for the Benny Goodman band and Artie Shaw's arrangements for his own band were new compositions as well. It became more common to arrange sketchy jazz combo compositions for big band after the bop era.[21]

After 1950, the big bands declined in number. However, several bands continued and arrangers provided renowned arrangements. Gil Evans wrote a number of large-ensemble arrangements in the late 1950s and early 1960s intended for recording sessions only. Other arrangers of note include Vic Schoen, Pete Rugolo, Oliver Nelson, Johnny Richards, Billy May, Thad Jones, Maria Schneider, Bob Brookmeyer, Lou Marini, Nelson Riddle, Ralph Burns, Billy Byers, Gordon Jenkins, Ray Conniff, Henry Mancini, Ray Reach, Vince Mendoza, and Claus Ogerman.

In the 21st century, the big-band arrangement has made a modest comeback. Gordon Goodwin, Roy Hargrove, and Christian McBride have all rolled out new big bands with both original compositions and new arrangements of standard tunes.[22]

See also: List of jazz arrangers

For instrumental groups[edit]

Strings[edit]

The string section is a body of instruments composed of various bowed stringed instruments. By the 19th century orchestral music in Europe had standardized the string section into the following homogeneous instrumental groups: first violins, second violins (the same instrument as the first violins, but typically playing an accompaniment or harmony part to the first violins, and often at a lower pitch range), violas, cellos, and double basses. The string section in a multi-sectioned orchestra is sometimes referred to as the "string choir."[23]

The harp is also a stringed instrument, but is not a member of nor homogeneous with the violin family and is not considered part of the string choir. Samuel Adler classifies the harp as a plucked string instrument in the same category as the guitar (acoustic or electric), mandolin, banjo, or zither.[24] Like the harp these instruments do not belong to the violin family and are not homogeneous with the string choir. In modern arranging these instruments are considered part of the rhythm section. The electric bass and upright string bass—depending on the circumstance—can be treated by the arranger as either string section or rhythm section instruments.[25]

A group of instruments in which each member plays a unique part—rather than playing in unison with other like instruments—is referred to as a chamber ensemble.[26] A chamber ensemble made up entirely of strings of the violin family is referred to by its size. A string trio consists of three players, a string quartet four, a string quintet five, and so on.

In most circumstances the string section is treated by the arranger as one homogeneous unit and its members are required to play preconceived material rather than improvise.

A string section can be utilized on its own (this is referred to as a string orchestra)[27] or in conjunction with any of the other instrumental sections. More than one string orchestra can be utilized.

A standard string section (vln., vln 2., vla., vcl, cb.) with each section playing unison allows the arranger to create a five-part texture. Often an arranger will divide each violin section in half or thirds to achieve a denser texture. It is possible to carry this division to its logical extreme in which each member of the string section plays his or her own unique part.

Size of the string section[edit]

Artistic, budgetary and logistical concerns, including the size of the orchestra pit or hall will determine the size and instrumentation of a string section. The Broadway musical West Side Story, in 1957, was booked into the Winter Garden theater; composer Leonard Bernstein disliked the playing of "house" viola players he would have to use there, and so he chose to leave them out of the show's instrumentation; a benefit was the creation of more space in the pit for an expanded percussion section.[28]

George Martin, producer and arranger for The Beatles, warns arrangers about the intonation problems when only two like instruments play in unison: "After a string quartet, I do not think there is a satisfactory sound for strings until one has at least three players on each line . . . as a rule two stringed instruments together create a slight 'beat' which does not give a smooth sound."[29] Different music directors may use different numbers of string players and different balances between the sections to create different musical effects.

While any combination and number of string instruments is possible in a section, a traditional string section sound is achieved with a violin-heavy balance of instruments.

Suggested string section sizes
ReferenceAuthorSection sizeViolinsViolasCelliBasses
"Arranged By Nelson Riddle"[30]Nelson Riddle12 players8220
15 players9330
16 players10330
20 players12440
30 players18660
"The Contemporary Arranger"[31]Don Sebesky9 players7020
12 players8220
16 players12040
20 players12440

Further reading[edit]

NameAuthor
Inside the score: A detailed analysis of 8 classic jazz ensemble charts by Sammy Nestico, Thad Jones and Bob BrookmeyerRayburn Wright
Sounds and Scores : A Practical Guide to Professional OrchestrationHenry Mancini
The Contemporary ArrangerDon Sebesky
The Study Of OrchestrationSamuel Adler
Arranged by Nelson RiddleNelson Riddle
Instrumental Jazz Arranging: A Comprehensive and Practical GuideMike Tomaro
Modern Jazz Voicings: Arranging for Small and Medium EnsembleTed Pease, Ken Pullig
Arranging for Large Jazz EnsembleTed Pease, Dick Lowell
Arranging concepts complete: the ultimate arranging course for today's musicDick Grove
The complete arrangerSammy Nestico
Arranging Songs: How to Put the Parts TogetherRikky Rooksby

See also[edit]

  • Transcription (music)
  • Instrumentation (music)
  • Orchestration
  • Reduction (music)
  • Musical notation
  • American Society of Music Arrangers and Composers
  • Electronic keyboard (or Electronic Music Arranger), which allows for live music arrangement
  • List of music arrangers
  • List of jazz arrangers
  • Category:Music arrangers

References[edit]

  1. ^ Cook, Richard (2005). Richard Cook's Jazz Encyclopedia. London: Penguin Books. pp. 20. ISBN 0-141-00646-3.
  2. ^ "Arrangement". Britannica. Retrieved 16 October 2020.
  3. ^ (Corozine 2002, p. 3)
  4. ^ Mincham, J. (2016) the Cantatas of Johan Sebastian Bach. http://www.jsbachcantatas.com/documents/chapter-85-bwv-29/ accessed August 31, 2020.
  5. ^ Mincham, J. (2016) the Cantatas of Johann Sebastian Bach. http://www.jsbachcantatas.com/documents/chapter-85-bwv-29/ accessed 31 August 2020.
  6. ^ Arrangement, Encyclopædia Britannica online
  7. ^ Greenberg, Rodney: George Gershwin, page 66. Phaidon Press, 1998. ISBN 0-7148-3504-8.
  8. ^ Taruskin, R. (2010, p.70) The Oxford History of Western Music, Music in the early Twentieth Century. Oxford University Press.
  9. ^ Partial list of orchestral arrangements to Pictures at an Exhibition
  10. ^ a b Orenstein, A. (2016, p. VIII. Preface to Mussorgsky-Ravel, Pictures at an Exhibition. Miniature score, London, Eulenburg.
  11. ^ Newbould, B. (1997, p.57) Schubert: the Music and the Man. London, Gollancz.
  12. ^ Newbould, B. (1997, p.467) Schubert: the Music and the Man. London, Gollancz.
  13. ^ Vanilla Fudge covers (classic bands website)
  14. ^ Close To the Edge – The Story of Yes, Chris Welch, Omnibus Press, 1999/2003/2008 pages 33-34
  15. ^ Bonnie Pointer bio (IMDb website)
  16. ^ The Remix Manual: The Art and Science of Dance Music Remixing with Logic, Simon Langford (Elsevier, 2011, ISBN 978-0-240-81458-2) page 47
  17. ^ Randel 2002, p. 294
  18. ^ Swing music history and the big bands (Jazz in America website)
  19. ^ a b "JAZZ A Film By Ken Burns: Selected Artist Biography - Fletcher Henderson". PBS. 25 September 1934. Retrieved 18 October 2013.
  20. ^ Giddins, Gary & Scott DeVeaux (2009). Jazz. New York: W.W. Norton & Co, ISBN 978-0-393-06861-0
  21. ^ Bailey, C. Michael (11 April 2008). "Miles Davis, Miles Smiles, and the Invention of Post Bop". All About Jazz. Retrieved 23 February 2013.
  22. ^ "Carrington and Correa Among Jazz Winners" – LATimes Blog, Feb. 2012
  23. ^ Adler, Samuel (2002). The Study Of Orchestration. New York: W.W. Norton. pp. 111.
  24. ^ Adler, Samuel (2002). The Study Of Orchestration. New York: W.W. Norton. pp. 89.
  25. ^ Sebesky, Don (1975). The Contemporary Arranger. New York: Alfred Pub. p. 117.
  26. ^ "Oxford Music Online". Retrieved 22 July 2011.
  27. ^ "String orchestra". Collins English Dictionary (11th ed.). Retrieved 21 October 2012.
  28. ^ Burton, Humphrey. "Leonard Bernstein by Humphrey Burton, Chapter 26". Archived from the original on 29 June 2011. Retrieved 22 July 2011.
  29. ^ Martin, George (1983). Making Music: the Guide to Writing, Performing & Recording. New York: W. Morrow. p. 82.
  30. ^ Riddle, Nelson (1985). Arranged By Nelson Riddle. Secaucus, NJ: Warner Brothers Publications Inc. p. 124.
  31. ^ Sebesky, Don (1975). The Contemporary Arranger. New York: Alfred Pub. pp. 127–129.
Sources
  • Corozine, Vince (2002). Arranging Music for the Real World: Classical and Commercial Aspects. Pacific, MO: Mel Bay. ISBN 0-7866-4961-5. OCLC 50470629.
  • Kers, Robert de (1944). Harmonie et orchestration pour orchestra de danse. Bruxelles: Éditions musicales C. Bens. vii, 126 p.
  • Kidd, Jim (1987). Unsung Heroes, the Jazz Arrangers, from Don Redman to Sy Oliver: [text with recorded examples for a presentation] Prepared on the Occasion of the 16th Annual Canadian Collectors' Congress, 25 April 1987, Toronto, Ont. Toronto: Canadian Collectors' Congress. Photo-reproduced text ([6] leaves) with audiocassette of recorded illustrative musical examples.
  • Randel, Don Michael (2002). The Harvard Concise Dictionary of Music and Musicians. ISBN 0-674-00978-9.