Glenn Miller’s method for orchestral arranging.

139 Pages·1943·3.3 MB·English

by  Miller

GLENN
MILLER'S
METHOD
FOR
ORCHESTRAL

ARRANGING·

•
MUTUAL MUSIC SOCIETY, INC., NEW YORK, N. Y.
,

GLENN MILLER'S

METHOD FOR ORCHESTRAL ARRANGING

Copyright 1943 by MuJuol Music Soc:idy, Inc,
]270 Sixth Ave'., New York. N. Y.
AU Rights. Reserved
Interuatlonal Copyright Secured
i
The origiIUoI compositions contained in ehis collection are fully protected under the
copyright laws of the United States of Americ3. and all countries under IntermtiODal
copyright. The copying of ejrher ,he sepd'ue parn or the whole or any portions
of the original material thereof by any process whatsoever is forbiddl;Zl and subject
to the pem.lties provided under Section 28 of the copyright laws,
•
CONTENTS
INSTRUMENT CHART 6

THE SAXOPHONE SECTION 10

THE TRUMPET SECTION 24

THE TROMBONE SECTION . ...... 36

THE BRASS SECTION 45

THE RHYTHM SECTION 55

MAKING A SMOOTH ARRANGEMENT. 58

MAKING A RHYTHMIC ARRANGEMENT ...... 71

ORCHESTRAL EFFECTS 75

APPENDAGE. . ... 110

MANUSCRIPT SCORE-"I'M THRILLED" .. Front Insert

MANUSCRIPT SCORE-"SONG OF THE

VOLGA BOATMEN. , _Back Insert
,
GLENN MILLER
l
As a young arranger, I was always searching for same
'.'­
,~.: ' work char actually described the process involved in
making orchestral arrangements. Many comprehensive
volumes have been written about harmony, theory, coun­
terpoint, orchestration and composition, but to my knowl­
edge. no book has ever been written which actually told
how to make an arrangement. If this book in any way
solves this problem Jor ambitious young arrangers it shall
have fulfilled the purpose for which it is intended.
6 INSTRUMENT CHl\.RT
Signanrre and Scale Possible Practical
Sjgl1<ltlU~ Signatnre and Playing r<ln9C Playing range Playir.g rang~ Playing range
and sound in same scale <IS 'mci actual as Wl';tt.. n for and aetna! as written for
Concert Key written for I;uuml WriU"H instrument sound written in,trurnent
In~~nUl1<'jr' KEY the Iastrumenr in concert in I;Ollcert
CLKF
" .
Alh' E~ ~
Saxophone ~
,~
.,,,
..
,
=
,
R:LI"itone "II
Saxophone B; ;"f.&--." ­
-
.
'0
• co=
,., (bio
Cb.rinet
Bass
Clarinet
Fli.lte
Piccolo
•
-
Oboe
7
Signature and SCAle Possible Practical
Signature Signature and Playing range Playinq range Playing range Playing range
and llOund in same scale as and actual as wriHen for and actual as written for
Co"c"rl Key wrttten lee sound written instrument sound written Instrumem
the Instrument in concert in concert
English F
Horn
French
, Horn
=~ •
Gullar
'-­
•
:0
Violin C •
.."..
,
0
C o';i
...d.
c
c
=
8
The arranger may write the "possible" playing range of
an instrument only when it is in the hands of an excellent
performer. Extremely technical passages should not be
written in extremely high or low registers.

For more comprehensive data regarding all instruments

see Cecil Forsyth's "Orchestration."
9
SECTIONS
In the following pages are shown some of [he uses of the
various sections of the dance orchestra as employed by the
Glenn Miller Orchestra.
10
Mose Klink Tex Beneke
Skippy Martin Will Schwartz Ernie Caceres
THE SAXOPHONE SECTION
Instrument Doubles Played by
I. Bb 'Clarinet Eb Alto Saxophone Will Schwartz
2. Eb Alto Saxophone Bb Clarinet Skippy Martin
3. Eb Alto Saxophone Eb Baritone and Bb Clarinet Ernie Caceres
4. B], Tenor Saxophone B[, Clarinet and Bb Bass Clarinet Mose Klink
5­ B], Tenor Saxophone Bb Clarinet Tex Beneke
NOTE:-The following examples show some of the uses
of Saxophone Section.
OUf
-