The technique most commonly used in the arrangement technique. Arrangement

06/09/2013 at 03:14

Hello to all arrangers and beatmakers! :) I'll tell you how you can make the right sound of an instrumental from the very first stages of its creation. I want to warn you right away that there will be no rules here - everyone creates an arrangement and mixes it in their own way, and this is very good. I'm just sharing some of my observations, which anyone who reads can take note of. In this article, I focus on modern sound.

Selection of instruments in the arrangement for further information. Adviсe.

Many novice musicians believe that the sound quality of a mix depends on its mixing and mastering, and are not at all aware that work on the expressiveness and distinctness of each instrument begins from the very beginning of creating a backing track (or a full-fledged composition). Each instrument in the mix should play its role - rhythmic, melodic, accompaniment, giving dynamics, etc. If the instrument/sound does not play any specific role, then it is not needed in the mix. Each instrument "sits" in a certain frequency range, more precisely, certain frequencies of each instrument characterize it in the mix as one or another instrument. It is very important not to forget about it.
Already at the stage of creating a minus, when selecting any instrument, the arranger should think about whether it interferes with other instruments in private, and if it interferes, is it possible to fix this at the mixing stage without spoiling all the charm of its sound. Solo instruments (solo parts of piano, wind, violin, synthetic instruments, etc.) playing different melodies should sound in different octaves, otherwise confusion is inevitable. To correct such a "mess" at the mixing stage by cutting frequencies means to spoil the sound of the instrument (s).

So let's start with the kick and bass.

Barrel (kick).
This instrument must be approached with special responsibility, because its character and sound set the "brand" of the instrumental. A good-sounding kick-bass pair is 50% of a mix's success. You can first pick up the barrel, then pick up the bass to it, or vice versa.
The barrel in any modern music has a "tasty" frequency part at the bottom - 50-100Hz. With some drums, this is so expressive that they even have an audible tonality. In this case, you also need to work with its height so that it sounds "in tune" with the bass. Or simply cut with a very narrow equalizer band the frequency that is responsible for its belonging to some note. But if you do not need a "tonal" kick, then it is better to immediately look for another one than to cut this frequency.
If the kick has a pronounced subwoofer part, for example, at 70Hz, then the sub-bass should sound at 50-60Hz or 80-90Hz - you should be guided by this when choosing a kick. It is the barrels, not the bass, because the subwoofer of the bass of any timbre will sound at the same frequency, because the instrumental has a specific tonality, independent of the choice of instruments.
Be careful when layering kick drums - they can sound out of phase. The low-frequency base should be left only from one kick, cutting it off at the second (this will solve both the problem of antiphase and the conflict of tonalities).

Bass
Spherical bass has 3 components - sub, mid and high overtones. All this can contain one sound, but many arrangers (myself included) most often make up bass from a separate sub (40-100Hz) and mid (100-300Hz, and it also contains high frequencies). But mid-bass is relevant only in a mix where there are no other instruments that sound in this range (double bass, low cello, low piano octaves, guitar riffs, etc.). If there are such instruments, then you should take a closer look at the choice of bass, because. its 100-300Hz can damage their perception. If there is a low bass (sub) in the arrangement, but there are no low instruments, then in the range of these 100-300 Hz, "emptiness" may appear. Then, no matter how well the mix is ​​made and mixed, no matter how interesting melodies are in it, the listener will have an obsessive thought - "something is missing", and what exactly - no listener will be able to answer. In this case, it is not necessary to mess with the bass itself, let it remain as it is, or you can, for example, this frequency range"score" by playing, for example, at low octaves on the cello. Strings, any synthetic preset - it doesn't matter, our task is just to fill this void in the lower middle. The main thing is that this "filling" tool does not interfere on the one hand low bass, and on the other - to instruments at higher frequencies :).

Mixing kick and bass.
So, when a suitable bass drum has been selected, you need to bring the sound of this pair to a good profit. Any drum has a low-frequency kick in the range of 90-120Hz. This frequency must be found with a narrow band of the equalizer, and then it should be cut off deeply with the same narrow band near the bass. You can even lift it at the barrel to enhance this kick. Because the cut is very narrow, then the bass will not suffer from this cut, but the barrel will beat more clearly. Often, even after this, the kick lacks distinctness, then we add an attack to it with any sound designer or compressor. I would recommend the first option, because. all shots of barrels in the modern Internet are already quite "pressed" by the compressor by default. Plugin example - SPL Transient Designer.
Already at the stage of mixing the bass drums, you can hang a bass saturator on the master section (for example waves rbass) and set the frequency in it, according to the key of your composition, based on a small table:
c = 66 Hz,
d = 74.25 Hz,
e = 82.5 Hz,
f = 88 Hz,
g \u003d 49.5 or 99 Hz (the most uncomfortable, from the point of view of a sound engineer, key)
a = 55 Hz,
b = 61.875 Hz. All multiples also fit, as you can see.
If used waves rbass, then by default it has a very high saturation level, so the knob intensity down to reasonable limits. Right now this plug-in should be hung up because the rest of the mix instruments need to be processed already taking into account this saturation. Some sound engineers prefer not to hang such plug-ins on the master section, explaining that this processing will also affect those instruments that do not need it. But remember, if the instrument has no low frequencies at all (or if they are cut off completely), then they will not "saturate".
If multiple bass tones are used, they also need to be processed so that they sound full and do not interfere with each other. But before you do, make sure that each of these basses really performs important role based on frequencies. One of them will be responsible for the sub part, all the rest should be cut generously (including all low sounding instruments). Mid-bass, I can advise you to process some kind of tube "insulation". Only this process is very subtle, and you won't get off with common clichés, so it all depends on your "sonic taste" :). If the composition is dynamic, then the synthetic mid-bass can also be processed with any overdrive (a plugin that makes the teeth of the saw sharper - for example, Voxengo Tube Amp) - this will make the bass sound more modern. Although you should not abuse it, because. it might get too messy. Further, any mid-bass has quite interesting-sounding frequencies in the region of 1-3 kHz, you can try to look for them and slightly raise them with a medium-width band. If there are several mid-basses and they are synthetic, then they all need to be “pressed” with a common compressor (I would recommend a simple waves rvox).

If everything is done correctly, then at this stage we have a well-kicking kick with tasty bass.

Selection of other tools.
All further selection of instruments in the red depends on the arranger's idea. You should immediately imagine what we want to place in the lower and upper mids, in the high frequency region. All further processing depends entirely on the nature of the playing on any instrument and its role in the mix. Remember, the listener listens attentively only to the range of approximately 300Hz-4kHz, the rest of the frequencies, as it were, accompanies what he is listening to. Below 300Hz - bass, which create a quality. Above 4kHz - highs that create the effect of closeness, liveliness. Therefore, you should not place such instruments and melodies on them in these frequencies, which, according to your idea, the listener should listen to and delve into. An exception - improvisation on a bass instrument, for example, in jazz - is possible only in the absence of other instruments playing at higher frequencies (not counting drums).
Playing any instrument in the lower octaves is advisable only if the bass instrument is concentrated only in the lowest frequencies (up to 100Hz), and above it has only optional overtones that can always be cut. Also, for all instruments, except for the kick and bass, it is necessary to cut the bottoms significantly.
If a leading instrument is conceived in an instrumental, then other instruments should not be "planted" into those frequencies that it concentrates on. Simply put, there should ideally be only one instrument per octave. However, this does not apply to background accompaniment instruments - pads, strings, etc., because they can always cut even their main frequency. This will have little effect on the perception of the mix, because. the listener does not listen to them, the listener simply hears them.

Extreme highs (from 8 kHz).
The first thing that distinguishes poor quality audio from good - the nature of the sound of the extreme tops. They should be enough, but they should not be intrusive, otherwise the listener will take it as a pain (and do it right). I analyzed high-quality audio of Western performers and I can say that almost always only drums sound at these frequencies, no instruments. These are: snare drum (snare), hats (hat), shakers (shaker), triangle (triangle), other high-frequency percussion. Drums sounding on such highs should not be stringy (it will cut the ears), they should be short and crisp. If a hat is chosen, then the higher it sounds, the shorter it should be. As for the short and rarely beating high-frequency percussion - such instruments are very fond of being scattered around the panorama, even very strongly. A short triangle sound, sometimes sounding from the right speaker, is already a classic of the genre of any slow-tempo compositions :).

Voice count.
It must be remembered that an arrangement for a song and a full-fledged musical composition that does not imply a voice are completely different things. The voice is the same instrument, requiring a frequency "hole" for expressive sounding.
If the minus is created under the voice specific person, it is advisable to analyze his voice for timbre, leaving the corresponding frequency range empty in the minus. If the voice is high, then we focus the instruments less on high octaves, while generously hammering the middle and lower middle zones. In the case of a low voice, just leave the lower middle empty. It happens that a branded minus of excellent quality does not go well with the voice of an equally excellent vocalist, and no amount of mixing can fix this.

A few words about equalization.
A cliché wanders around the Internet that it is impossible to work as an equalizer as a plus. Why, it is very possible. But it is pointless to raise those frequencies of any instrument that are absent or negligible in it. Only a hum or ear-cutting overtones will appear. Working in plus with an equalizer is raising only the dominant frequencies of the instrument, which are simply not enough in the mix or which need to be better highlighted. However, if you want to highlight some frequency, then you should first try to cut the overtones, and only if this does not lead to a good result, raise the desired one.

Mixing is not about creating western quality out of cacophony, it's just corrective processing for a better sound. Therefore, a good-sounding mix is, first of all, a very finely tuned hearing aid of the arranger for the competent selection of instruments and sounds in the mix.

(с) Egor Quartz Music Mishchinov
http://vk.com/egor_quartz

The topic of today's article is structure and arrangement techniques (English arrangement). It's not a secret for anyone that the word "arrangement" often causes fear and horror among students and female students of all primary courses. music universities countries. And no wonder - after all, this exceptionally creative science requires titanic efforts, constant self-development. But above all, exclusively creativity to the point, genuine love for music.

It often happens that some of your favorite fragments, or a very long and intense part of the arrangement, turns out to be completely unnecessary, and it has to be deleted for the sake of success. overall picture compositions. TopSound

In our article, we tried to understand some of the features, techniques in arranging, and also to understand its structure of creation. This profession does not stand still; what was relevant only 10-20 years ago, today in technical terms - in terms of the work process itself - has changed dramatically.

traditional instruments

Here are some basic arranging techniques with common standard musical instruments.

Usually saxophones or trumpets, but also guitars (so-called transposing instruments) are written first in the key of C. It is necessary to write them in the same range where their real sound occurs.

Everyone loves to use strokes dynamic notation such as forte, crescendo, piano, etc. In modern templates, as a rule, they are not indicated, so all these elements are complete and completely dependent on your personal imagination.

Portfolio examples with arrangements (ROK, POP, REP)

Example 1. ROCK
Group "Wires" - song "Deep"

Example 2. ROCK
Group "Hellya" - song "Coco"

Example 3. POP
The Produkt$ - song "I Have a Dream"

Example 4. POP
The song "Cling". turnkey arrangement

Example 5. REP
Song give me. Arrangement + mixing

Example 6. REP
The song "Tomboy". Arrangement + mixing

It is difficult to keep track of correspondence with the real range of the instrument on which the musical part was written. It is especially hard to figure out the first time with bass, guitar and other things. But it does not matter, an experienced musician will be able to “correct” on the spot.

Have you heard of General MIDI? You can always use your own, self-recorded sounds, but I must say, all synthesizers have their own bank of standard sounds. As a rule, the selection of timbres is based on them.

Features of percussion instruments

Record the sounds of drums in simple notes. To do this, you must understand the GM (General MIDI) standard. A simple rule of thumb with this format is that the drums try to write a couple of octaves above their normal pitch if the part is easy to read.

Note that most of modern styles includes many percussion instruments. They will be recorded on several staves. Then they are transposed into a convenient key, reducing the number of unnecessary characters, and a range convenient for the musician (that is, 1-2 octaves). Also, don't forget about translating notes for a real drummer into his professional "language".

Watch the video. A great example of how drums are recorded using MIDI. The signals are transmitted from the controller (in this case, electronic drums) to the computer and already in the sequencer they are “hung” and the necessary sounds are adjusted. As a controller, you can use a regular midi keyboard with traditional keys or pads (even an inexpensive synthesizer with a midi output will also work).

Drums are conditionally subdivided into only 5 groups. The main one includes all sizes of drums. And also the toms that allow you to see the main line of drums, and the whole extra work sticks on parts of the drum. Next important group– pedals, both closed and open. This group is called the hi-hat. In Latin American music, the work of congas, bongos, timbales is considered separately as a third community. There are also percussion instruments with the so-called soft and sharp attacks. The first include shakers and maracas, and the second - triangles, claves.

You can read about recording drums and percussion instruments in our article.

Understanding the structure of the arrangement

Get started to get started creating and drawing a structure. At this stage, it is important to determine the exact number of measures for all parts. How many verses, choruses, what will be the coda, and what will be the guitar solo. You will need a sheet of music or a regular sheet for this, just mark it with bars, while respecting the structure of the song.

The next step is to select the timbres that you will use in your arrangement. Now we need to decide on the functions of each, which of them will be the solo, and who will be the accompaniment.

The third stage - take as a basis some book template, or better - one that you came up with yourself, and take care of the main painstaking task - write notes for them.

As a rule, the template should look accessible and simple, so it lies in C major (this makes it easier to work with the material due to the lack of accidental keys on musical staff) and has a length of 1-2 bars. You will only have to remake it to the keys you need and put it in the required number of measures. This is how music is produced. It is possible that some instruments will end up with too many empty bars this way. This is normal, because unlike the classical arrangement - the simplification of someone else's work, now we are talking about true creativity. It doesn't matter if you later want to add something, so to avoid confusion, we recommend recording empty measures. In general, at this stage you should prepare individual musical scores for all your instruments.

After carrying out the titanic work, it is worth allowing a short break, and then the new round no less profound creativity. Assemble a draft of the entire score of the song. Remember, you don't have to regret music papers, write down all empty bars, unless of course you are writing a clean copy for a studio, for a publisher or, say, an orchestra. Having saved a couple of musical sheets, it happens that the composer then loses hours and days to recreate the picture he needs.

Next - in the sequencer of the device on which you work, whether it be a synthesizer or a computer, you have to enter all the parts, tracks. It is not necessary to pore over individual parties for a long time, but it is better to do this work as quickly as possible. Why, you ask. Simply, time will pass, and you can always return to them if you want to change them. It's a shame, but it really often happens that some of your favorite fragments, or a very long and intense part of the arrangement, turns out to be completely unnecessary, and you have to delete it for the success of the overall picture of the composition.

Final part

Now it's time to listen to the finished recording, do it carefully, and then decide whether to work on improving it or leave the masterpiece as it is. Attention, this stage is really very interesting, the most responsible in the whole work. Now you will need to work on adjusting the timbres in finished works. Most likely, you will have to move some of the fragments up or down an octave. Record again unsuccessful sections or parts. Try to "revive" the solo parts

On this, you almost reached the final. Now, if there is an opportunity and desire, add reverb or other elements of sound processing. Also, correct balance the volume of each musical unit in your ensemble.

All! Finally, just dial Elton John, tell the singer that everything is ready for you. Let him rather take your work, of course, if you don’t feel sorry for giving it away.

I am also attaching to this video old article from the first version of the course on instrument compositions

To create the right arrangement, first of all, it is necessary to clearly understand what function the musical instrument performs in musical fabric works. For better orientation all musical instruments divided into several groups. The functions of each group are different.

Each group of instruments has its own, well-established rules for writing parts that sound good in any style. Since there are a variety of instrument compositions in each style of music and it is impossible to consider them all in this article, we will consider the most common compositions and groups of instruments.

The introduction of such a definition is necessary, firstly, because this type of composition has already become stronger historically. Secondly, it helps to somehow organize the huge number of ensembles that can be organized within a given group.
Now, let's look at the most common instrument groups:

The basis of most modern arrangements is the -group.
The diagram shows the classic composition: Drums, Bass, Guitar, Piano.

Of the other groups of instruments, brass, stringed, and electronic instruments are of great importance.

The main function of these instruments is the creation of pedals and all sorts of counterpoints, or soloing. Occasionally they are also involved in the organization, but, as a rule, they have a mixed function (i.e. they play the role of both a solo and a rhythm instrument)

Such groups of instruments as woodwinds, percussion with a certain pitch, etc. are found mainly in orchestral compositions of instruments, however, I would like to note that modern arrangements are very typical of the use of these instruments in an unexpected environment of chamber compositions (for example, flute, xylophone, guitar , bass, percussion).

Thus, starting writing an arrangement, determine what composition of instruments you have, or what composition of instruments corresponds to the figurative structure of the music.

This is a very important point.

As a rule, beginning composers and arrangers try to use all the instruments for which they have already learned to write. For example, there is nothing worse than inserting strings, drums, etc. in place and out of place into each one. It's like an instrumentalist who tries to show all the technique he owns in one piece.

In fact, there are no secret techniques for arranging and composing. The main secret it is moderation. If you listen to the most outstanding arrangements, you can notice only one pattern - the skillful use of pre-selected resources.

Since music provides us with an unlimited number of possibilities, the ability to limit oneself is the first step on the way to creating high-quality sound.

Write on the sheet the number of instruments, their names and the role that these instruments will play in your arrangement.

Task: listen to your favorite music and try to classify the composition, groups of instruments and see what functions they perform.

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.
The hardest part is working on 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 from the most different 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? scientific definition I don't know.
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 modes are built only from the 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, melancholic 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 (well, there was even a pitch bend, which I tortured especially zealously), drums with the most difficult 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.

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 the creation of a piece of music based on melody and chords, including the organization musical texture, forms, instrumentation, compositions of undertones, transitions, introductions and conclusions, performance and recording of parties on various musical instruments, knowledge 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 successful market sales. It is the arranger that gives the musical material format, i.e. qualities that lead to the interest of the audience. The author of the original musical material can become both an amateur and a professional. 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 a transposition of the original musical material into new way. There is a fairly popular direction of this kind of arrangement - processing classical works. The music of Bach, Beethoven, Mozart, Borodin, Rachmaninoff 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 in the study of arrangement, however, this subject, in most cases, remains additional, not special.

The main difference between the process of arranging and composition is associated with the emergence of music 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 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 the keyboard synthesizer, teachers and students come to a natural desire to understand the principles of arranging in order to learn how to create their compositions using keyboard synthesizer and 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 arrangements are 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 looks for means musical expressiveness, similar in texture, figurative content, 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.

"Sister of painting" called music great Leonardo da Vinci. 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:

• studying painting canvas, definition and study of style direction
• acquaintance 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 style directions.

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. The visual means of cubism are objectivity, the decomposition of the form into elementary components (cube, ball, cone, etc.). Absence 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 the techniques of painting to the process of arranging can be applied in educational courses for children of senior school age, students of music colleges and schools. This method, due to its high aesthetic orientation, elevates the process of learning the basics of arrangement to an academic level.

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