Podkopayeva Oksana Alekseevna
Postgraduate Institution Russian Academy education
"Institute of Art Education",
keyboard synthesizer teacher
GOU SPO Moscow Regional
Music and Pedagogical College, Yegoryevsk
“The development of thinking does not happen by itself, but as a result of purposeful, systematic work. First of all, for the development of thinking, it is important to create conditions that would inevitably require active mental activity from students. The best mode for the development of mental activity and independence is created by creative activity aimed at discovering something new, unknown. This new can be knowledge obtained through independent search, or methods of acquiring knowledge, ”writes E. A. Krasotina. Creative activity, built with students in the lesson on learning to play the keyboard synthesizer, serves as the basis for the development of their musical thinking. Therefore, a competent choice of methods and techniques for working with future music teachers is especially important.
Let's consider some aspects of the intonation-creative activity of a keyboardist with a view to choosing certain methods of work.
Arrangement and performance in the electronic musical instrument class are based on the following types source sound material and, accordingly, creative activity:
- work on a piece of music when playing live in various modes (Normal, Split, Single Finger (Casio Chord), Fingered);
- work in multitrack recording mode;
- playing in an ensemble with an instrument (“minus one” mode), with a teacher or other students;
- selection by ear and design music notation;
- composition and improvisation of music;
- work on sound (editing, creation of original sounds and acoustic space for their deployment).
The work on a piece of music can be conditionally divided into two stages:
I stage. mental reading text: identifying features musical language at the expense of the expressive means used by the composer, analysis of the form, texture, genre of the work, etc. On this basis, compiling a holistic impression of the text, its artistic content, style features, including individual ones. At this stage, the teacher needs to use the method of artistic reading of the text, which is characterized by purposeful cognitive activity to comprehend artistic content a piece of music that contributes to the development of not only thinking, but also attention, memory, and imagination. The action of the method of artistic reading of the text begins from the moment the teacher selects the artistic significant works for arrangement and performance by students. Before starting work on a musical score, the student must independently get acquainted with the biography and work of the composer, whose work he will arrange in the future.
At this stage of work, it is possible to play music by the student or teacher himself. There are different points of view on this matter: some teachers consider playback undesirable, since it carries a subjective vision of the work; others, on the contrary, consider listening to be an important component at the first stage of work, since it "... helps to perceive the image of the work more deeply, interests, inspires the performer" . However, it cannot be said that there is only one right way to present musical material. To achieve positive motivation, create an atmosphere of "joyful work", it is necessary to combine different approaches when working on musical works. However, it should be clarified that the teacher should play new musical material once in order to avoid meaningless imitation.
At the stage of mental intonation, it is necessary to go from general ideas about the content and form of musical material to the performance of particular tasks for its scoring, which involves not only working with musical text, but also building a plan for using various means in the process of arranging (including devices for controlling timbres, patterns, and other sound capabilities), based on available functions digital instrument. We are talking about drawing up a project for arranging a musical work (I.M. Krasilnikov), in the process of which the performer not only solves the tasks of translating the composer's idea, but also introduces his own vision of this idea into the sound, which gives originality and originality to the final product of the electronic musician's activity , individuality. All this involves the use of the method of intonation-creative anticipation, when at the moment of posing the questions: “What form should the work be given?”, “What means of expression should be chosen from the ones available on this digital instrument to draw the image?” etc., the keyboard synthesizer performer assumes how the score should be voiced. Such a “representation” (“the term “representation”, in contrast to “representation”, was introduced by B. M. Teplov (1985) to refer to the process of creating an auditory (musical) image) contributes to the development of inner hearing, and consequently, musical thinking, which operates with images, highlighting in them various signs and properties that are significant for a person.
The interpretation of a piece of music depends not only on the subjective vision of the text, but also on the capabilities and sound features of the available digital instrument. So, it's no secret that keyboard synthesizer models purchased at a lower cost are distinguished by weak timbre colors, "electronic" sound, little reminiscent of the sound of traditional instruments, and also have a limited number of built-in functions, which does not allow you to fully and professionally play music. Therefore, it is desirable to learn how to play a keyboard synthesizer, which has a sufficient number of technical parameters in its arsenal.
This method is used in conjunction with the method of intonation-stylistic comprehension of music (the term was proposed by E. D. Kritskaya). “Intonational and stylistic comprehension of music is focused on the personal interpretation of musical speech and involves a targeted selection of works of various individual, national or epochal styles.<…>. Listening, getting used to the musical speech of this or that composer forms the need for knowledge.<…>The style is addressed to hearing in its broad and narrow sense, to musicality as the ability to experience music. Style attribution does not deal with the sum of parts, but with the experience and reproduction of integral "processes-states", which is ensured by the unity of the emotional and logical, intuitive and conscious in its perception. An intonationally tuned ear allows you to directly perceive the semantic characteristics, the conjugation of themes-images, that is, to comprehend the logic of the musical composition. This method is important in working with electronic musicians, since the experience of various emotional states expressed in sounds by various composers and reflecting the era, styles, etc., in music various peoples more than relevant when learning to play the keyboard synthesizer. A huge number of style patterns built into the memory of a digital instrument and the ability to perform music of various directions when playing in various modes will contribute to achieving positive results in working on musical works. Thus, the potential of the keyboard synthesizer and the competent use of the method of intonational and stylistic comprehension of music will contribute to the development of students' musical thinking.
II stage. Work on a piece of music involves the process of scoring music text. At this stage, the performer performs a more detailed analysis of notes, durations, rhythm, harmony, etc., sets specific timbres, playing modes, options for auto-accompanying texture (if the appropriate mode is selected), keyboard split points, etc. In the course of such activity the method of stimulating artistic associativity is used, which is aimed not only at the implementation of the planned project, but also at completion in connection with emerging artistic problems during its presentation. The performer chooses the most accurate means of artistic expression for a given musical image. For example, to create a heroic, militant image, the Trumpet timbre is suitable as the main voice. But sometimes it can seem too harsh, and you have to change it to the timbre of a trombone (Trombone). Often the replacement of one timbre with another occurs due to the unnatural sound of its acoustic original in the context of this arrangement, and it cannot fulfill its expressive function here.
In the process of working on the electronic incarnation musical works it is important to use the method of "getting used to the timbre", when the performer needs not only to play the written notes on the electronic keyboard with the selected timbre, but also to try to imagine the acoustic prototype of this instrument and its characteristic method of sound production. So, the timbre taken on the synthesizer wind organ(Pipe Organ) - bright, lasting - will be better associated with original sound, if you press the keyboard more solidly, hard, as if we really play this powerful and complex instrument. Variations in the color of the sound of one instrument should also be taken into account. For example, if you use the split mode of the keyboard (Split) and in each of its divided parts expose different kinds organ, then the performer will have the opportunity to feel the technique of playing a two-manual instrument.
In addition, it is necessary to take into account the strokes indicated in the text. So, the staccato timbre of the organ will differ from the staccato performed by the timbre of the piano or trumpet. To achieve staccato on the organ, it is enough just to slightly and somewhat “shorter”, sharper touch the keys of the synthesizer with your fingertip, otherwise the sound will last longer. Another way to play the keys of an electronic instrument is to use when selecting a Voice classical guitar(Guitar). Touching the keys of the synthesizer should take into account the sound production on this instrument (pinch) and the nature of the timbre - chamber, lasting not long. To lead the legato melody (legato) with this voice, the fingers should slide smoothly, softly over the keyboard, and when moving to an abrupt jerky passage, they should play, as if imitating the playing of pizzicato on the strings. If you select a Saxophone Voice (Sax) or other wind instrument, it is necessary to imagine how the performer is gaining breath and trying to distribute it over the entire phrase, playing “on a support”. At the same time, the fingers of the performer on the keyboard synthesizer should move along the keyboard as if on one exhalation, transmitting a soft and at the same time deep sound.
The method of "getting used to the timbre" is most effective if it is constantly applied in the practice of working with students. It helps not only to comprehend the musical text and voice it with the selected timbres, but also to find ways to supply sound in order to form a specific artistic image, as well as to acquaint students with the structure of various musical instruments, ways to extract sound from them.
Showing illustrations, demonstrating works on any audio medium where this instrument is the leading one is also obligatory. In addition, getting used to the image of a performer on another instrument, the student takes on a different role, experiences and emotionally responds to it, and this contributes to his formation as an independent creative person.
Speaking about the nature of sound production on an electronic instrument (electronic carcass), its great diversity should be noted, since there are not only a large number of types of mechanics, types of keyboards, key sizes characteristic of different models of synthesizers, but also a sufficient number of timbres on each of them . This gives rise to an ambiguity in the relationship between muscular efforts and the sound result and does not make it possible to develop a single pattern of performing movements. In this case, “... the solution of specific technical and playing problems that arise for an electronic musician becomes possible only on the basis of the principle of auditory dominance in technical work - the main principle of the psychotechnical school of piano performance. Playing skills are formed only within the framework of learning a specific arrangement of a particular work on a given model of a keyboard instrument - in each new case, they will differ significantly from those already known to the student.
Thus, work on articulation on an electronic musical instrument is no less important component of performing activity than on traditional instruments. And this work requires significant mental effort from the performer.
When arranging musical works, an important creative task is to find an organic relationship between the timbre of the melody and the accompaniment pattern. So, when choosing any style of auto accompaniment, the musician has an association with the place and time of the sound of his prototype. For example, when choosing the style "country" (Country), there is an image of the American countryside, cowboys gathered after a hard day's work in a saloon. Perhaps a musician on a small stage will play the harmonica, another will pick up the guitar or banjo, a third will play the violin or an out-of-tune piano. And there will be a whole set of instruments characteristic of this direction of music. A certain genre at the heart of the accompaniment predetermines the features of the metro rhythm of the melody, tempo and other means. musical expressiveness. And it will be out of place in an ensemble of musicians american saloon hear the timbres of, say, an organ or string quartet, which are associated with classical music sounding in concert halls. Creative actions related to the ability to competently build a relationship between the accompaniment style and the timbres of the melody in the process of performing electronic arrangement will help to master the method of focusing on the organic interaction musical means. This method, widely manifesting itself in the process of creative activity of an electronic musician, is an active factor in the development of his musical thinking. A particular manifestation of this method can be recognized as the focus of students' attention on "the correlation of patterns and timbres with the nature of the melodic line of the piece being arranged" (IM Krasilnikov) .
Another manifestation of the method of focusing on the organic interaction of musical means in the process of performing electronic arrangement is the task proposed to the student to analyze the relationship between timbre and texture. A performer on a keyboard synthesizer - a multi-timbre instrument - must penetrate the secrets of instrumentation - according to Rimsky-Korsakov, the "soul" of the composition, since instrumentation is directly related to the figurative sphere of the work. Taking as a basis a work, in the score of which there are no references to the performance by a multi-timbre composition, the student must independently select electronic voices that most adequately correspond to the peculiarities of the texture and figurative structure of the original. Similarly, organists work on registering a musical original, in which only the most general timbre reference points of organ sound are given.
Another manifestation of the method of focusing on the organic interaction of musical means is associated with taking into account the composition of the "performers" for which the electronic arrangement is performed. If we want to get the sound of a symphony orchestra, the dynamic amplification of which is largely achieved through playing together a large number musicians and the score is built on a group basis, it is necessary to use unisons of different instruments (i.e., use such an instrumentation technique as dubbing).
During the performance of the musical text, the musician works with such parameters as tempo, agogy, dynamics, articulation, which are regulated both directly in live playing on the keyboard, and with the help of various devices and functions of the instrument. For example, the tempo is both set during the performance of pieces in real time, and is set before the start of the game in interactive mode, and using the Registration Memory function (Regist Memory) allows you to save the necessary settings (as well as other parameters) for each part of the piece. Agogics are adjusted while playing live. The dynamics is built in several ways: 1) the overall volume wheel (Volume), the settings of the main (Main Volume), divided (Split Volume), double voice (Dual or Layer Volume), accompaniment volume (Accomp. Volume); 3) due to the sensitivity of the keyboard (Touch). Articulation (electronic touch), unlike traditional instruments, is controlled digitally not only by the usual strokes (staccato, legato, etc.), but also by changing MIDI messages (vibrato, portamento, etc.).
Adjusting all these parameters contributes to the intellectualization of the performer's activity on the keyboard synthesizer. The development of the relevant components of musical thinking will be facilitated by traditional methods of work in the classroom, such as conversation, storytelling, explanation, explanation, display, demonstration, as well as the creation of problem-search situations that are aimed at stimulating the creative search for expressive means associated with performing interpretation.
No less important for the development of musical thinking is the training of improvisation. The very word improvisation came into the Russian language from Latin and is understood as “suddenly, without any preparation”, i.e. composition “on the go”. This type
The creative activity of a musician is aimed at developing the ability to fantasize, create something original, in turn, develop an ear. But any improvisation is based on the knowledge of certain rhythmic formulas, the structure of a melody, the form of a work, harmonic sequences, etc. Therefore, a musician improvising on any musical instrument composes something new or interprets famous work always relying on their knowledge in the field of musical language. Therefore, the more a person knows, the more interesting and colorful his improvisation will be. Before the start of improvisation, the performer mentally intones within himself, imagining in advance what he will play in the future, and only then proceeds to direct creative work. In other words, good improvisation is one that is prepared in advance. Therefore, to conduct this type of creative activity in the classroom, we can offer a method of pedagogical guidance of improvisation. Applying this method in working with students studying in the keyboard synthesizer class, the teacher sets the task of teaching the student to think first “to himself” and then “out loud”.
The development of musical thinking is also facilitated by such a type of intonation-creative activity as playing by ear. This activity can take place in two directions: the selection of music from memory and the selection of a piece heard in the lesson. In both cases, it is advisable to refer to the musical notation of the melody. Correct design musical notation - putting down key signs, meter, prescribing a rhythmic pattern, note durations and their grouping, pauses, counter signs, accompanying chords - helps to structure the melody more clearly, develops coordination of movements between hearing and playing skills. When choosing a children's song, in one lesson you can sing and record a melody in a convenient key. Then - harmony, having issued it with the help of the letter designation of chords (digits). In the next lessons - to explain how the texture of the work is created based on the features of the form, genre, character, tempo and other components of musical formation. In these lessons, you can prescribe the bass part, pedal voices, subvoices, select timbres, effects, etc. Thus, all this work performed over several lessons occurs in the same sequence as when performing a blitz arrangement of a musical work for a synthesizer. This method of temporary dispersal of work on the arrangement helps to understand more deeply and in detail the patterns underlying this activity, and thus contributes to the development of musical thinking of the future teacher.
The final stage of work on a piece of music is sound editing, which includes dynamic balancing of texture voices, panorama building, use of sound engineering effects and sound synthesis tools to transform timbres and the virtual space of their deployment. These types of activities of an electronic musician are very close, as they "work" with the same effects. As a rule, the parameters that are adjusted during the sound engineering process of building up the sound are presented on the display of a keyboard synthesizer in the form of an image of a mixing console with various buttons and sliders controlled from the instrument panel. Thus, the user of a keyboard synthesizer has the opportunity not only to perform and correct musical works in terms of harmony, texture and timbre, but also to try himself as a real sound engineer at the control panel. Therefore, it would be appropriate at this stage of work on a piece of music to rely on the method of activating subject associations of electronic sound. It will help the student to correctly build his work on the creation of an electro-acoustic space of sound and sound synthesis, linking it with the musical image of electronic arrangement.
Work on the electro-acoustic sound space is associated with the final stage of work on the electronic arrangement of a musical work, often due to the task of creating an original sound field. For example, a recorded piece of music, corrected dynamically, timbre, etc., requires transferring the finished result to certain virtual spatial conditions. To solve this problem, a keyboard synthesizer performer turns to the artistic possibilities of sound engineering tools, which allow, say, to imitate the acoustic space of a concert hall, room or stadium. Consequently, the acoustic features of these sound spaces, their artistic and associative potential and compliance with certain musical genres and styles should become the subject of a special conversation between the teacher and students, guiding them in sound engineering activities.
Using the method of activating the subject associations of electronic sound will introduce students to the various possibilities of musical sound engineering, as well as organize creative work in the classroom that develops the sound engineering abilities of students. This appears to be one of the advantages of using electronic instrument V educational process: after all, not a single performer on a traditional musical instrument can afford to get the opportunity to work at a virtual sound control panel and try to implement new creative ideas related to it. Plunging into the world of electroacoustics, the keyboardist tries to put into practice his experience of living spatial and sound impressions or come up with a new virtual musical image to bring their own individuality into the interpretation of a musical work. In addition to creating a certain electro-acoustic space, the method of activating the subject associations of electronic sound will help orient the student-performer on the keyboard synthesizer and work on sound synthesis. For example, softening or sharpening its attack, lengthening or shortening the end attenuation, frequency filtering, the use of performance controls in the process of this work - all this radically changes the character of the sound and the associations it evokes. Such associations, linking sound with different mass and volume, material and shape of musical instruments, light or dark color, tension or relaxation of the performer's muscular efforts, as well as the features of virtual sound spaces obtained in the process of sound engineering processing, should be the subject of special discussions. teacher with students.
Thus, we see how intellectually complex work related to sound engineering and sound synthesis is carried out by a performer on a keyboard synthesizer. This requires knowledge about physical nature sound, its associative-pictorial possibilities, including those due to the peculiarities of its amplitude envelope, lightness, the nature of the texture, as well as various acoustic conditions for its deployment.
Summing up, we note that in the synthesizer class, you can perform various types of work: perform musical works live, and record into a sequencer, and perform in an ensemble, and edit sound. In addition, students in given class engaged in the selection by ear and composing music. For each of these types of educational and creative work and its stages, it is necessary to use appropriate methods of work, both traditional and new. The above methods should be applied quite flexibly, in accordance with the pedagogical situation in the lesson. They complement each other, allowing competent guidance in the development of students' musical thinking in the keyboard synthesizer class.
Literature
1. Age and individual characteristics figurative thinking of students / Ed. I. S. Yakimanskaya; scientific research Institute of General and Pedagogical Psychology of the Academy of Ped. sciences of the USSR. Moscow: Pedagogy, 1989. 224 p.
2. Krasilnikov I. M. Electronic musical creativity with the system of art education. Dubna: Phoenix+, 2007. 496 p.
3. Krasotina E. A. Development of the musical thinking of a part-time student as the basis for professional training / Methods for the formation of musical thinking of part-time students in the learning process / Ed. Matveeva S. Ya. M., MGZPI, 1980. 54 p.
4. Musical education at school: Proc. allowance for students. music fak. and dep. higher and avg. ped. textbook institutions / L. V. Shkolyar, V. A. Shkolyar, E. D. Kritskaya and others; Ed. L. V. Shkolyar. M.: ASADEMA, 2001. 232 p.
Each arranger always strives to make his arrangement something special, original, or at least not quite banal and similar to others. At the same time, he, more often even completely unconsciously, uses techniques that not only do not make his work original, but a generally good arrangement can completely kill.
Firstly, I want to immediately note that this article will not be about any particular mistakes that arrangers make in their work. This is the topic of a separate article, if not a whole series of articles.
Those techniques that will be discussed in this article, from the point of view, so to speak, of musical science are not exactly mistakes. Rather, these are just various cliches, clichés and other banal and hackneyed arrangement and composition techniques, and no one forbids you to use them in your work.
However, if you still do not abandon the templates listed in the article, remember that the use of each of them will be one big fat minus in favor of the triviality of your work.
Secondly, I will once again note that neither I nor anyone else forbids you and cannot forbid the use of the techniques described in the article, after all, arranging is creativity, and there is no place for any laws in creativity.
And thirdly, I do not want to hurt or offend anyone with this article. This is just my personal opinion on this issue, and if you disagree with me in some way, you can comment on this in the comments to the article.
And on this we will finish the introduction and begin our hit parade of hackneyed arrangement techniques.
10th place - Intro
In my deep conviction, most compositions do not need the so-called intros and other drawn-out long introductions.
I want to emphasize that the intro of a separate composition is not needed, but as a preparatory track in a music album, it may be appropriate. But the key word here is "maybe", not "will".
In the vast majority of cases, the intro is stuck to the beginning of the composition without any justified reasons. As a result, the composition turns out to be longer, drawn out, and often also emphatically pompous.
In the end, if the intro is, according to your deep conviction, simply a vital and integral part in this song, then make it at least a separate track. In this case, it will be enough for a person to press the “Next” button to switch to the main part and not listen to the stream of this, in fact, musical garbage.
9th place - Cello
The cello has become so widespread in modern arrangements for quite understandable reasons: extensive performance possibilities and an unusually rich, expressive timbre.
If some composition lacks the depth of feelings, lyricism, etc., then the first thing that comes to the mind of the arranger is to add a cello part to it. And this, in my opinion, is the most banal thing he can do.
This is as vulgar a move as giving your girlfriend a lonely red rose.
Of course, the cello sounds great in capable hands (and the rose itself also looks very beautiful). But because of this, the cello has become such a common instrument that now it is better not to use it in this role at all.
After all, besides the cello, there are a huge number of other instruments that also sound great. Instead, try some less obvious instrument, such as a bassoon or at least a viola. Yes, they may not be so cloying. But the timbre of the same bassoon will already be something new in your arrangement and, with its skillful application, will add new peculiar colors to it.
8th place - Filling in the gaps
The essence of this stamp is as follows: the place in the song, where between phrases in the vocal part there are pauses of about 1 measure or more, the arranger strives to fill with at least something. And, perhaps, the most banal move is to insert short phrases of some instrument there, most often (and worse) of all - guitars.
Even worse, if the instrument repeats the phrases sung by the vocalist. And quite a clinic, if the solo part sounds without stopping at all, simultaneously with the vocals, without forming a competent, thoughtful polyphony with it. But this is no longer a hackneyed move, but a real mistake, which, as mentioned at the beginning of the article, we will not talk about here.
I don’t know where the fashion to fill such pauses came from, but this phenomenon is extremely common and, moreover, not only among amateurs.
Firstly, in my opinion, it is far from always necessary to fill in such kind of pauses in a song. This may be superfluous, including because it will divert attention to itself and make it difficult to focus on words. Pauses in this case can only be a plus, especially if the lyrics are not so easy to understand.
And secondly, if the pauses really form pits and, in the opinion of the arranger, destroy the integrity of the composition, then it is better to fill these pauses in some less primitive way than just playing along with a solo instrument.
7th place - Modulation
By modulation, I’ll say right away, here we mean a transition to another key. But there is nothing wrong with modulation itself as an expressive means. But there is a way to apply it in a way that is banal and artless. And one of these ways is just an elementary increase in key by half a tone at the end (often at the last chorus) of the song.
When an arranger lacks the skills or is simply too lazy to do something to further develop a composition that is coming to an end, he simply uses modulation. Of course, it's so easy! There is no need to compose anything, it is enough to stupidly copy the desired part of the song and raise it by half a tone.
So remember: in the vast majority of cases, modulation applied in this way is an indicator of the arranger's creative impotence.
Of course, you can find various songs where such modulation turned out to be very appropriate. But in most cases, modulation is still used to solve some very specific artistic problems, and not because the arranger did not have enough ideas to develop the composition.
6th place - Solo "in third"
Well, I hope that those who read this article know what a third is, I will not explain this here.
But I will note: few things sound as unoriginal and soviet as a guitar solo, performed, as they say, “in a third”. That is, when some (usually slow, melodic) solo is performed not in one voice, but with the addition of a parallel part a third higher / lower.
It sounds, at first glance, beautiful, but ... it's just damn banal! Among classical metal performers in the 80s (and not only), such a move was simply unimaginably popular, which now makes it not only hackneyed, but also outdated.
At the same time, the use of such an interval as a third will by no means be banal, but only if you do not apply it this way, but use it differently. The guitar solo is best left monophonic. Or if you absolutely cannot bear it and want to add a “third”, then entrust the second voice to another instrument, or at least make it noticeably quieter than the main one.
5th place - fade out
Another just an all-time common technique. For those who are suddenly not in the know, I will explain that a fade-out (eng. Fade Out) is called a smooth decay of the sound. Its opposite is fade-in (English Fade In) - on the contrary, its smooth removal. I am sure that each of you knows at least one song that ends just like that, with a fade out, that is, it gradually fades out at the end.
So, in at least 90% of cases, the presence of a fade-out in a composition only indicates that the arranger lacked the ability and/or desire to compose a normal ending.
Rarely, very rarely, is a song really such that a clear ending just ruins it. Moreover, those compositions that fade out in the studio version, the musicians somehow play live at concerts and finish them without any fades, with very, very rare exceptions.
Yes, and the fade, like the intro, only lengthens the composition and, as it were, declares to the listener: “The song ends!”, Which forces him to be distracted and press the “Next” button, even without listening to the composition to the end.
4th place - Direct Associations and Primitive Styling
As one said clever man: "If you see Music clip, in which it's raining and the song sings about rain - then this is a Russian video.
And there is some truth in these words, only in our case this phrase could be changed, for example, like this: “If a song sings about a bell and a bell always sounds in it, then this is an arrangement by a Russian arranger.” To clarify: a bad Russian arranger.
Surprisingly, to what extent arrangers often strive to deliberately emphasize in the arrangement what is being sung about or imitate in every possible way characteristics some musical style.
Well, isn't it terrible when in a song, at the mention of, say, the word "violin", the violin really starts to play along? And if in this case the song is not about the violin as such? Yes, it's absolutely monstrous!
The same applies to all sorts of primitive stylization. For example, figuratively speaking, stuff a song about Mother Rus' with balalaikas, psaltery and pity, so that it becomes “more Russian”. Or, to create the atmosphere of Paris, be sure to use the accordion. Or if the song sings about something ancient, then you should certainly insert a harpsichord into it, "in order to give it a special flavor of the Baroque era."
Such tricks are almost always terrible and, perhaps, the only case when they can be appropriate is some kind of parody. And that is not always the case. Therefore, it is not necessary to emphasize the content of the song in this way. You should always make sure that musical ideas did not climb in the direction of such a primitivism.
3rd place - Overused presets, patches and samples
In general, I have always been and remain against the use of various kinds of presets when working with sound, but especially when it comes to various kinds of virtual instruments and loops.
Now there are quite a lot of different VSTi on the market and almost all of them have a set of ready-made patches. Naturally, the arranger will not bother himself and will use ready-made “sounds”. Why do anything with an instrument if it already sounds great? It seems logical, I will not argue that some patches in virtual instruments and some ready-made loops can really sound great.
But here's the problem. If you decide to use a preset of some ordinary piano or a bass drum sample, then this is one thing. And if some non-standard instrument or loop with a special, specific sound? In this case, do not hesitate - those who have such a tool will instantly recognize it and will most likely not react positively to this.
Imagine that you bought yourself a really beautiful, original coat at a sale in a large chain store, and even for a very modest amount. Do you think you will be the only one? Tell me, will you be pleased, walking down the street, to meet passers-by in exactly the same outfit?
And after all, most arrangers work with us now - practically on the same easily accessible plug-ins, with the same presets, patches and sample libraries. This gives rise to many or simply "identical" or very similar arrangements.
By the way, the presence of such similar elements can easily be perceived by someone as plagiarism. The same YouTube, I know from experience, can ban a video due to the fact that some sample sounds somewhere in it, which someone has already used in their song before you. Tell me, do you need it?
However, fundamentally not using presets and not using ready-made loops is also not a very reasonable decision. After all, manufacturers create them to be used, not shunned.
But here you need to remember that the more non-standard, expressive and colorful the loop or patch is, the more it will be noticeable and the more likely that someone somewhere has already used it in their arrangement before you.
Therefore, if you use some original instruments and loops from popular libraries, then at least slightly process and change them to reduce the likelihood of such unpleasant coincidences.
2nd place - Saksovok
That's what I (jokingly, of course) call the saxophone. And for good reason. In general, the saxophone is an instrument with very great performance possibilities, albeit somewhat “spicy”, but still beautiful and expressive sound.
For this, the saxophone fell in love with so many arrangers, thanks to which it has become so common in various songs that it can rightfully be considered one of the most frequently used wind instruments. And this is by no means good.
Despite all the expressiveness of its timbre and serious technical capabilities, the saxophone is not such a versatile instrument as many people think for some reason. Not for nothing did he never become a permanent member of the symphony orchestra. And in the brass band, his role has never been paramount.
Of course, the use of the saxophone in the brass section is almost always mandatory (along with the trumpet and trombone), but using it as a solo instrument in any composition is one of the most commonplace moves. Especially if it's a slow ballad, and the solo is performed on the alto saxophone with its nauseatingly sugary timbre. This, by the way, is a sin not only for beginners, but also for many experienced arrangers, which is especially surprising.
A. A. Titova
graduate student of KGK named after N. Zhiganov,
teacher of the Children's Academy, Kazan
Scientific adviser - G. I. Batyrshina,
candidate pedagogical sciences, assistant professor
METHODOLOGY OF TEACHING THE BASICS OF MUSICAL ARRANGEMENT
There are several interpretations of the concept of arrangement. The shortest and most common for all is the arrangement of a musical work for performance by a different set of instruments. This understanding of the term is clearly in contact with long ago existing concepts instrumentation and orchestration of the work.
The etymology of the term arrangement (from German Arrangieren, French arranger, lit.) - to put in order, arrange, on the one hand, gives a more vague understanding of its essence. On the other hand, today the original meaning of the term is experiencing some revival. Increasingly, the words arrangement and arranger are used in a non-encyclopedic context. Arrangement is understood as the creation of a musical work based on melody and chords, including the organization of musical texture, form, instrumentation, composition of echoes, transitions, introductions and conclusions, performance and recording of parts on various musical instruments, possession of musical computer programs.
The real flourishing of the art of arranging came with the birth of popular mass genres of music in the second half of the 20th century. Due to the relatively short period of existence of a popular musical composition, the question arose of creating the accompaniment of a song with a minimum of costs and time. Computer arrangement did the best job. Gradually composers refused to record "live" musicians. The emergence of high-quality software, the development and establishment of the electronic music genre played into the hands of this process.
Over time, the so-called format of modern musical composition was formed, meeting the expectations and requirements of the music market. It changes according to the trends of musical fashion, gives music a commodity value and is focused on a successful market sale. It is the arranger that gives the musical material format, i.e. qualities that lead to the interest of the audience. Both an amateur and a professional can become the author of the original musical material. Little is required from the author of music - melody and harmony, the arranger takes care of everything else (sometimes the author and arranger are combined in one person, sometimes they work in tandem). It depends only on him whether the product he created will be able to advance into hits. It is characteristic that the arranger, at least in our country, does not seek to declare his name, does not claim authorship and royalties, but is content with only a one-time payment for his work. The name of a good arranger is known in narrow circles of performers and composers, his creative success becomes the key to further prospects for orders, and, accordingly, profits.
There is another understanding of the term arrangement. A number of musicians explain it as an arrangement of the original musical material in a new way. There is a fairly popular direction of this kind of arrangement - processing classical works. The music of Bach, Beethoven, Mozart, Borodin, Rachmaninov and many other great composers can now be heard in a new reading - as part of a verse of a vocal-instrumental composition, or as an independent instrumental work. At the same time, unlike instrumentation, the original musical material is processed - a change in harmony, shape, size, rhythm, etc., while the source of the quote remains recognizable.
Arrangers enter the profession in a variety of ways. Some of them are certainly the most competent in creating a musical composition - composers with a higher musical education, others are musicians of various specializations, and, finally, a considerable part of the army of arrangers - people who have an elementary musical education, but are well acquainted with the format requirements of the modern musical stage. .
As you know, there is no state educational system arranger training. However, the study of arrangement is often a component vocational training composers, musicologists, pop artists in secondary special and higher educational institutions. The mastering of arranging skills takes place within the framework of the courses "Computer Arrangement", "Musical Informatics", etc.There are many curricula for the study of arrangement, however, this subject, in most cases, remains optional, not special.
The main difference between the process of arranging and composition is associated with the emergence of musical and computer software that allows you to create a piece of music in virtual space, and not on paper, as it was for many centuries before. Now the musician does not need to anticipate the future sound, wait for the performers to learn the parts. The arranger can hear the first measures of the composition in full timbre composition already on initial stage creating music. The computer program allows him to edit the sound vertical, achieving the best sound.
The question remains, where and how to teach the basics of arranging to those who wish? The subject of this article is to consider the issues of teaching the basics of arranging to children of an older age. school age and students of secondary specialized institutions of additional education. The emergence of such a direction in music education is due, firstly, to the spontaneous independent desire of students to understand how to create a computer arrangement using the Internet, which does not always give a positive result, and secondly, the introduction of music education programs for learning to play the electric keyboard instruments. By studying the principles of performance and creativity on a keyboard synthesizer, teachers and students come to natural desire understand the principles of arranging to learn how to create your compositions using a keyboard synthesizer and a computer.
The curriculum for studying the basics of arrangement should include an extensive amount of theoretical knowledge in the field of composition, instrumentation, acoustics, the principles of sound synthesis, knowledge in the field of computer music programs. In addition, the program should include hours of auditory analysis, practical exercises. The stages of training should be delimited as the complexity increases. creative tasks. There are several educational programs and methodological developments on this issue, fully reflecting the range of issues related to teaching the basics of arranging,,. However, the search for teaching methods remains relevant, especially since the pedagogy of arranging is quite new, and the means for creating musical arrangement- software, synthesizer models - continue to change and improve.
As one of the new methods, we can offer an experimental, successfully tested method of transferring painting techniques into the process of creating an arrangement. It consists in a detailed study of the techniques of painting in various directions, followed by the application of these methods in the arrangement. The student becomes familiar with the visual arts, studies the corresponding paintings, ways to fill the artistic canvas. Then, together with the teacher, he searches for means of musical expression that are similar in texture, figurative content, and technical solution. This method has several important advantages:
The student gets a clear idea of various ways filling in the musical invoice;
the student gets acquainted with artistic phenomena that connect in certain historical periods and musicians, and artists, and writers, etc.
process confluence musical creativity and fine arts gives integrity to the texture, the form of a musical work, the artistic validity of the musical image.
The great Leonardo da Vinci called music "the sister of painting". Ideas of organic fusion of the arts have been floating around for a long time and remain popular today. For electromusical creativity, visualization is also relevant and natural. Visual images arise in the process of composing and arranging. On the one hand, when working with a keyboard synthesizer, the sound of synthetic timbres, their processing, overlaying ... all this actively awakens virtual visual images. On the other hand, when working at a computer, the process of creating music is already tied to the visibility of sound - notes as midi events, signal volume level, voice panorama, moving cursor, etc. Immersion in painting helps to clearly "see" the task musical embodiment, fills the student with positive energy of creativity and, of course, inspires the search.
The method of transferring painting techniques to the arranging process consists of several stages:
- the study of the pictorial canvas, the definition and study of the stylistic direction
- familiarity with the methods of translating ideas into painting
- creating an arrangement plan, researching resources (timbres, effects, settings) of a computer program or synthesizer
- implementation of the arrangement plan, editing, mastering.
As an example of the application of the method, we can offer the study of the most striking and interesting styles.
Impressionism
The artistic meaning of this stylistic direction is an impression, randomness, blurring, an image of the world in its variability and mobility, fixing fleeting impressions.
Techniques of impressionistic painting - blurred contours, colored shadows and reflections, complex tones are decomposed into clean separate strokes placed side by side, counting on their optical mixing in the viewer's eye.
Impressionism in the arrangement - attention to the pads, sound spots, vague texture, amplification of the secondary voices due to bright timbres, smooth interweaving of timbres, form sections. musical creative tasks to master the arrangements in the style of impressionism can be any piano pieces, from educational sketches to the works of C. Debussy, M. Ravel or own compositions. As examples of the most characteristic paintings, one can offer paintings by C. Monet, P. Cezanne, O. Renoir and others.
Cubism
The artistic meaning of style is the primacy of thought, knowledge of the essence, the objectivity of subjectivity in all its simplicity. Knowledge of the subject without involving the emotional component. Visual means cubism - objectivity, decomposition of the form into elementary components (cube, ball, cone, etc.). No color palette, only brown, black and gray tones. The subject was depicted not as a whole, but in parts and not from one, but from several points of view at once.
Arrangement in the style of cubism should have a clear form, clearly distinguishable elements of texture. Particularly close to cubism is work with relief, har A ctern loops in computer program. Based on the combination of musical cubes - samples - you can create a bright musical composition in the style of cubism. Samples can be both ready, i.e. inscribed in the program or memory of the keyboard synthesizer, and, for more advanced arrangers, created independently. You can also take as a basis the music of E. Varese, whose ideas are close to cubism, J. Cage, A. Schoenberg, peers of cubism in painting. The characteristic canvases of P. Picasso - “Accordionist”, “Girl with a Mandolin”, “Three Musicians”, etc., are perfect for studying cubist painting.
Minimalism
The artistic meaning of minimalism is simplicity, a minimum of the artist's intervention in the environment. "Less is more" is the motto of the minimalists. The techniques of minimalist artists are the minimal transformation of the materials used in the creative process, the simplicity and uniformity of forms, and monochrome.
Musical minimalism is quite relevant today. There are many works that can be used as material for arranging (authors - A.Pärt, M.Nyman, F.Glass, etc.). When arranging in the style of minimalism, it is necessary to focus on pure timbres, transparency, clarity of texture, and simplicity of form.
In addition to the indicated styles, big interest represent such areas of painting as tashism (painting with spots), suprematism (the idea of pure art), naive, fantasy, graffiti and many others. The method of transferring painting techniques to the arranging process can be applied in educational courses for children of senior school age, students music colleges, schools. This method, due to its high aesthetic orientation, elevates the process of learning the basics of arrangement to an academic level.
Bibliography:
- Hakobyan L. Edgar Varese//XX century. Foreign music. Essays. Documentation. - M., GII, 2000.
- Great Soviet Encyclopedia: in 30 volumes / ch. ed. A. M. Prokhorov. - 3rd ed. - M.: Sov. encycl., 1969–1978
- Zhivaikin P.L., 600 sound and music programs. SPb., 1999
- Krasilnikov I.M., Zavyrylina S.N. Fundamentals of Theory and Practice of Computer Arrangement of Musical Works // Electronic Musical Instruments. Sample Program Package for Secondary Institutions vocational education. - Togliatti: "Print-S", 2006. - 41s.
- Krasilnikov I.M., Markushina O.A. Creation of arrangements of musical works and performing practice on a keyboard synthesizer // Electronic musical instruments. A package of exemplary programs for institutions of secondary vocational education. - Togliatti: "Print-S", 2006. - 41s.
- Mazur A. K., Sikazin V. M., Perspective principles of music performance using computer systems // Electronic technology and musical art. M., 1990.
- Petelin R. Yu., Petelin Yu. V. Sound studio in PC. St. Petersburg, 1998.
- Podkopayeva O.A. Methods for the development of students' musical thinking in the keyboard synthesizer class // Pedagogy of Art. Electronic scientific journalInstitutions of the Russian Academy of Education "Institute for Art Education", No. 3, 2011.http://www.art-education.ru/AE-magazine/archive/nomer-3-2011/podkopaeva-10-09-2011.pdf
Let's start slowly about building compositions.
The most important thing in music, and not only here, is head work. Moreover, the work of two hemispheres at once (rational and creative).
That's why this activity doubly difficult. But here large gaps in the goal-result ratio are acceptable. And no one will kick you for it. This applies only to your personal creativity.
Most difficult - work over orders. If someone has tried, knows what to compose, something according to the list of requirements is extremely, extremely difficult. This requires at least talent, experience (and not 2-3 years and preferably live performances), the ability to see your future work and generate ideas on the go (for this you need to listen to a lot of music of various styles). The same as game design, except for released products.
I mean that your work, written on a whim (inspiration) or, moreover, forced out of your fingers (random composition), has zero value for your development as a composer. If you compose “out of your head” (imagine and play the product mentally) and know how to pick it up, then even this is only 50% of development. Do not hesitate when you are asked to do something according to the plan. And the tougher the plan, the better for you and your development. To do this, I advise you to listen to opera.
I hope I've provided some food for thought.
Arrangement. What is this mixture and how to prepare it? I don't know the scientific definition.
I'll give mine. This is a harmonic / melodic complex of instrumental composition, including the following structural components:
1. Melodic line.
2. Rhythm part.
3. Bass part (actually, in VIA it is customary to bring the bass into the rhythm section, however, as we know, in other bands this may be different).
4. Accompaniment (rhythmic, harmonic or melodic)
5. Instrumental background (lining or pedal) - intermediate, filling components and very variable (up to an independent part).
My definition. In my opinion, it is more accurate than the classical one, where only the melody and accompaniment are singled out (which includes almost everything).
The birth of a composition can occur at any of the stages. It doesn't really matter where you start.
Now about the important.
Before you start talking about theory, you need to understand the basis of the composition itself. Before you start creating, ask yourself the question “What do I want to achieve by creating this composition?”. Do you just want to have a good time or do you make a certain order? Or have you caught the right mood?
That's it. Before creating, you need to consider what an ordinary person should understand when listening to your composition. If everything is created at random "anyhow", then nothing good will come of it, except that you will spend a couple of pleasant hours.
Set goals and improve.
So, we have decided on a goal. For example, we want something sad, sad.
First, we create a similar mood for ourselves, because creating a sad composition if available joyful mood, agree - stupidity. Every musician should be an actor. Watch concerts where guitarists, pianists, violinists, etc., performing solo parts, seem to be talking. What is it, a showcase? It is the fusion of the musician with his instrument and music. It can be called the highest stage of development of a musician.
Next, we work with the head. If not, then do not start the sequencer and do not pick up any instrument yet. Keep thinking or turn on music related to the intended mood. In the end, one of the 5 listed items should flash. Grab it. Rush to the computer or instrument.
Creativity begins.
We select what we snatched from a series of thoughts (the head, starting from this moment, begins to work in an enhanced mode, and does not stop working until the end of creativity). After that, we will wrap around what we have with the necessary components.
This is actually an arrangement. You are the bass and the drums and all the instruments in general.
Here are a few approaches. The first and the best is to compose everything in your head and pick it up. It is not always possible to do this, especially if you are a beginner.
The second is purely theoretical. The worst.
And the third is a combination of both. The most compromise.
Initially, you will have to decide on many things at once. Here and timbre selection of instruments (as a means of expressing mood), phrasing of the composition, the use of automation. A bunch of everything. And it is unlikely that I will touch on these components in this article, because. you can talk about it for a very long time. Let's talk about the base, moreover, the base is theoretical and structural.
There was a question about chords. Well, let's imagine that we composed 4 chords in B minor. B minor, D major, G major, E minor.
Let's get right to the rhythm. What rhythm should be in a sad, sad melody? Not too fast, let's set the chords by bar (integer) duration. Let's make BPM 100. The size is clear - 4\4. Let's hit the chords. We listen several times to the created accompaniment. If nothing comes to mind, very bad. But if you like the chord progression, you can continue. I just wanted to add one more chord in the last measure, because. E-minor just asks to be finished (allowed). You can add either G major, or A major, or F sharp minor. I chose F sharp.
We continue further. Melody.
While I digress important thing. The melody can be original or it can be adjusted to the accompaniment. So let's get to the theory. In the mode, stable and unstable notes are distinguished. 1, 3, 5 - stable. 2, 4, 6, 7 - unstable. Based on practice, it somehow came out on its own that 4 and 6 are more suitable for the term “relatively unstable”, because. do not require momentary resolution (resolution is an attraction to stable steps of the mode). Depending on what is being adjusted, we use this principle.
Each chord (but only in squared compositions!!!) must be played individually using stable steps of each chord per strong fraction of a meter, which will correspond to the Aeolian (submedinant), Ionian (tonic), Lydian (subdominant), Dorian (descending introductory sound) , the Phrygian mode (mediant), respectively. It to a question on how to pass in the given sequences. You ask. And how is this Aeolian mode - submedianta? Indeed, in this composition, this is the main key, sl-but the tonic. And I will answer. These frets are built only from natural major, because minor is itself a derivative. And we have already considered the sophistication with minors in the previous article.
This is the most primitive way of building, but this is the base, and nowhere from it.
The complication of the melody can be achieved by introducing intermediate (leading) notes with a natural (logical) increase in “short-duration” notes. Such an overflow can be carried out for more rigid compositions. This is not suitable for atmospheric, melancholy tracks.
Add the rest of the bass and drums. In our case, they should play the role of a single rhythm section.
I remember a funny episode. It was a long time ago, 6 years ago. For the first time I came across an arrangement. Then at the time of the ensemble in free time I had the opportunity to drive some toy synthesizer with might and main. The keys were for children (very small) and could only be saved with batteries. But at the time it seemed fantastic to me. I started stuffing my guitar composition (the melody used unstable notes to its fullest, so it was very, very beautiful - even now I can hardly repeat this). Already starting with the enumeration, I began to make changes. Then he added a bass with completely his own melody (and what about, there was even a pitch bend, which I tortured especially zealously), drums with the most complicated rhythm. In short, it turned out such a mess that it's hard to imagine. However, I sat and was crazy about what I composed. Since, probably, only one imagined what it was. My point is that overcomplicating each game will not lead to good. Perhaps it will be technically and melodically perfect, but it will be hard to listen to and the desired lou (level of understanding) will not come to the listener after the first listening.
Publication date: March 05, 2002
Beginning bands pay little attention to one important thing - the arrangement. If you have interesting musical material, then a good arrangement will emphasize its merits. If your melodies are not too expressive, then you can diversify them with the help of arrangements.
H Modern technologies make it possible to use any timbres, sounds and noises. A huge number of sounds can be downloaded from the Internet. What sounds can be added to arrangements? Almost any, - the main thing is that it be done with taste and meaning. In album The Alan Parson's Project "Tales Of Mystery And Imaginations..." Sounds like a real "live" thunderstorm. In song The Beatles "Good Morning" the sounds made by different animals are heard. These sounds are chosen with meaning. Do you know how? The answer is at the end of this article.
All styles have their own arranging techniques and their overplayed clichés. It is impossible to tell everything in detail. What you need to do before creating an arrangement:
Write lyrics and melody.
Pick the right tone. It is chosen, first of all, for the convenience of the vocalist, and secondly, for the convenience of the main solo instrument. For the guitar, for example, there are not many convenient keys.
Make harmonization of the melody. In other words, pick up a chord progression. Using the same chord progressions is a problem for many aspiring songwriters. There are ways to change and diversify the harmony. These methods are chord substitution methods, auxiliary chords, etc. - have long been known and described in textbooks (it is better to start studying arrangements with jazz books, since jazz, in fact, is the cradle of improvisation and self-valuable arrangements. Books such as D. Hurley"Jazz-rock. Arrangement for keyboards", V.Manilov, V.Molotkov"Technique of jazz accompaniment on a six-string guitar", A.G. Rogachev"System Jazz Harmony Course", etc.) - Choose the appropriate size. In rock and pop songs, there are usually double measures (4/4, 2/4), less often - triple (6/8, 12/8). Very rare - more complex sizes. Composition "Money" Pink Floyd from the album "Dark Side Of The Moon" - the one where the cash register sounds in the introduction - in its first movement it is written in 7/4 time.
Decide on the structure of the song. The structure is likely to depend on the length and nature of the text.
Let's say your song looks like this:
Verse 1-Chorus-2 Verse-Chorus-3 Verse-Chorus-4 Verse-Chorus-Chorus.
What can be done? Add intro and code. The intro can be 2-4 bars from the chorus and 2 bars of drums before the first verse. You can connect verses 1 and 2 together by removing the chorus between them. Before the 4th verse, you can modulate one tone up. Before modulation, a drum solo will sound good, 2-4 bars is enough. The first half in the penultimate chorus can be sung in chorus "a capella", that is, without accompaniment.
The tempo of the song is also important. Disco is characterized by a tempo of 112 ... 137 beats per minute, house and grunge - 130 ... 145, jungle - 165 ... 175, hardcore - 170 ... 175. In many styles there is no such hard limit - techno, for example, can be from 80 to 500 beats per minute.
You, as an arranger, are your own judge. It's up to you to decide how to add sparkle to your song. If you're looking for commercial success, the easiest way is with brass and/or strings in an arrangement. The pioneers of this type of arrangement in rock music are The Beatles. The song "Eleanor Rigby" features only strings (4 violins, 2 violas, 2 cellos) and vocals. Arranged by George Martin. In "Yesterday" - strings and guitar. The Beatles were also the first of the rock musicians to be attracted to record Symphony Orchestra(song "A Day In The Life"), mellotron ("Flying"), synthesizers (album "Abbey Road").
The easiest way to add brass- saxophone solo in the middle of the song. Your friends and family will love it. But there is one "but". If in other cases you can use a synthesizer or a computer, then a live saxophonist is needed here. You can pre-record the solo with notes. All wind players, string players and keyboardists can read music well (this does not apply to guitarists). If you find a jazz saxophonist, he will play you better than you yourself would like.
A good way to add power and dynamics to a song is to record full brass section. Its composition may be different:
Two instruments (e.g. trumpet and trombone; two saxophones)
Three instruments (clarinet, trumpet, trombone - a typical composition of Dixieland, good for retro styling; two trumpets and a trombone; trumpet, saxophone, trombone; three saxophones - "chorus" saxophones)
Four (two trumpets and two trombones; trumpet, trombone, clarinet, saxophone)
Other options are also possible. The Beatles song "Honey Pie" features 5 saxophones and 2 clarinets, while "Savoy Truffle" features 6 saxophones. The parts of all instruments need to be thought out and notated, even if you are arranging on a computer. Winds can be entrusted with conducting the melody in chords or in polyphonic presentation (the melody in an octave sounds very powerful), sustained pedal notes, short sharp chords (especially with alterations), voices and undertones.
If you're going to be recording live musicians, be aware that the horns don't sound the way they're written on the sheet music. When using synthesizers, these problems do not arise. The less brass are used in the accompaniment, the more powerful they will sound at the climax. Balance brass with other instruments, especially strings. good examples the use of the wind section-song by V. Vysotsky with the ensemble "Melody" (arranged by G. Garanyan), the last albums Beatles, group recordings Blood, Sweet & Tears.
Another way to decorate the arrangement is to add string group. Here again you can use synthesizers and a computer. Strings can be entrusted with the same functions as winds: holding a melody, pedal notes. Fast passages and arpeggios sound very impressive with strings. In the "disco" style, violins can be given short phrases with a sharp rhythm. This approach has already become commonplace. At the climax, the violins may play a sustained pedal note in the highest register. When using strings, their balance with other instruments is also important. Examples of using a string band - The Beatles albums, recordings electric light Orchestra.
If you are a guitar band, you can easy to diversify the guitar arrangement.
For example, two guitars play accompaniment with chords. Give them the chords in different positions. One guitar can be used with a capo or with a different tuning. Keith Richards ( Rolling Stones) plays in the system D-sol-re-sol-si-re (from the sixth string to the first). Many varieties of open tuning are used in the blues and folk music(Anglo-Celtic, for example). The Rolling Stones often play three guitars at the same time, and they do not interfere with each other. One guitar plays short monophonic phrases and is placed in the center of the stereo panorama. The other two are channeled and play a rhythmic pattern with chords. One of the guitars (Richards) is tuned unconventionally. The rhythmic pattern of all parties is different. Therefore, they do not clog each other, the arrangement is dense and rich. In your guitar arrangements you can use slide playing (especially in blues), 12-string guitar. A lot of information on this topic can be found on the site.
It is very important to consider guitar and keyboard balance. Their functions in the arrangement are similar and they play in the same register. If the arrangement is very rich, then sometimes it is better to sacrifice a less significant part.
If you don't play acoustic instruments, then sound can be imitated different ways. This will diversify your arrangement. Alternate the bright, powerful sound of electronics (in the culmination) with the muffled (in the accompaniment). Use old analog synthesizers. Analog sound is back in vogue in the West. An analog synthesizer will allow you to get unusual timbres and noises. Do the names say anything to you: dilruba, tampura, swara-mandala? I don't know what it is either. But it's all in the Beatles song "Within You Without You".
Nobody is forcing you to record a symphony orchestra. But if you make a competent arrangement on your demo recording, then this will cause you more respect. There is an erroneous opinion that all the shortcomings of the recording can be corrected by mixing. Not true. The more serious you are about creating an arrangement and recording, the fewer mistakes you will have to correct when mixing. And the less unkind words you will hear from the sound engineer. The job of the arranger is to combine a huge number of good options choose the best one.
Finally, I will advise good textbooks on arranging:
V. Molotkov. Arrangement for guitar.
G. Garanyan. Arrangement for pop instrumental and vocal-instrumental ensembles.
G.P. Dmitriev. Percussion instruments. Interpretation and current state.
N. Rimsky-Korsakov. Orchestration principles. (This book is still reprinted in the USA as a textbook for music colleges. Even Americans do not consider it shameful to learn from our classics). And others.
P.S. Promised answer: In the song "Good Morning" Lennon suggested recording animal sounds so that each subsequent one could eat or scare the previous one. That is, the animals seem to be chasing each other.
