miller g. method for orchestral arranging

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
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,
•
i
CONTENTS
INSTRUMENT
CHART
6
MANUSCRIPT
SCORE-"I'M
THRILLED"

Front Insert
MANUSCRIPT
SCORE-"SONG
OF
THE
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
VOLGA BOATMEN.
, _Back Insert
,
GLENN
MILLER
l
'.'-
'
,~.:
A
s 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.
-
•
- .
Practical
;"f.& " -
sound
written
in,trurnent
in I;Ollcert
'0
, ,

Possible
=
•

co=
(bio
Playing
r<ln9C
Playing
range Playir.g
rang~
Playing
range
'mci
actual
as
Wl';tt
n for
and
aetna! as
written
for
I;uuml
WriU"H
instrument
in
concert
,.,
.,,,
INSTRUMENT CHl\.RT
Signatnre
and
same
scale <IS

written
for
the Iastrumenr
Signanrre
and
Scale
6
Sjgl1<ltlU~
and
sound
in
Concert
Key
In~~nUl1<'jr'
KEY
CLKF
Oboe
Fli.lte
Piccolo
"
Alh'
E~
~
Saxophone
~
,~ .
Cb.rinet
Bass
Clarinet
R:LI"itone

"II
Saxophone B;
7
Practical
~
= •
=
Possible
Playing
range
Playinq
range
Playing
range
Playing
range
and
actual
as wriHen for
and
actual
as
written
for
sound
written
instrument
sound
written
Instrumem

in
concert
in
concert

d.
Signature
and
same
scale
as
wrttten
lee
the
Instrument
Signature
and
SCAle
Signature
and
llOund in
Co"c"rl
Key
c
c
English F
Horn
Gullar
'
•

Violin
C
:0
•
"

,
0
C
o';i
French
,
Horn
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
OUf
Saxophone Section.
-

11
COMBINATION
No, 1
Bb
Clarinet
E], Alto Saxophone
Eb Alto Saxophone
B],
Tenor
Saxophone
Bb
Tenor
Saxophone
Concert
Sketch
Transposed
for
Respective
Instruments.
n~
Cbrinp.l
(J
~.~

;r

,
~
.'

.
-<?"'~
-
-
•
a
Altos
.~
-~~
I

C
~
,., ['r
<,
i>~:4I'
,'~;, &>;
-
.~_
•
2
TCI1()r~

:~~.
b';;:;-"~
~.
~~:4fI,
: :
~
~:-t

COMMENTS,
Suitable
for
legato
melodies-background
for
solo
instru-
ment-background
for
solo
voice-"Fill-ins"
for
en-
sembles-melodic
line in inrroducrions-e-modulations-c-
interludes-endings
and legato
rhythmic
passages.
Easily balanced in
high
or
low registers, loud
or
soft.
The
melody
line predominates because
the

top
voice, played by
clarinet, is doubled
with
the
tenor
an
octave
lower. In the
high
register
the
clarinet
tone
strengthens
the
rather
weak
tenor
tone,
and
in the low register, the
weak
clarinet
tone
is
strengthened
by the
strong
tenor

tone.
Avoid
staccato
passages
with
this
combination,
as
short
notes do
not
permit
sufficient
duration
for good blending
of
all voices.
12
COMBINATION
No.2
Bb Clarinet
Bb Clarinet
Bb Tenor Saxophone
Bb T
enor
Saxophone
(one
Alto
racer)
Concert

Sketch
Transposed
for
Respective
Instruments.
~
2
B~
Cla~i~
~-
_,
,0.
-
_~
.4Cc~_
._"b~·~
. :

.
'~
.
-
T
.~
Tenors
/;.
,
~
~.
:

~.
,-"'.'
.
,
-
-
COMMENTS,
Suitable
for
legato melodies in which the
harmony
is such
that
it
permits
playing
in thirds. Also suitable
for
back-
ground for solo instrument or solo voice-s-melodic line
in
introductions-modulations-interludes endings
and
legato
rhythmic
passages.
Easily balanced
in high
or
low registers, loud

or
soft.
Avoid staccato passages as shore note! do
not
permit
suf-
ficient
duration
for
good
blending
of
aU voices.


COMllINATION No. )
1J
Eb
Alto
Saxophone
Eb Alto Saxophone
Eb
Alto
Saxophone or
Baritone
Saxophone
Bb
Tenor
Saxophone
Ep Tenor Saxophone

Concert
Sketch
Transposed
for
Respective
Instruments.
2
:ltos
~
3
.
s
3
BJ.Titone J-;:
.
rk ~
J
J-I
: ~
1
.
Alto
I
I
i I
.1
3
s
2 Tenors
~

•
s
.1
1.
1:
.
J.
~
I
./
•
COMMENTS:
Suitable
for
legato melody-c-counter-melodv
to
solo
in-
strument counter-melody
to
solo voice
or
group
of
voices_uFill_ins)J for ensembles-melodic line in inrroduc-
t
ion
s modulations-interlude~ndings-melody
line
for

ensemble
against
brass
figurations.
Easily balanced in high
or
low registers, loud
or
soft.
14
COMBINATION
No.4
Eb
Alto
Saxophone
Eb Alto Saxophone
Eb
Alto
Saxophone
or
Baritone
Saxophone
Bb T
enor
Saxophone
Bb
Tenor
Saxophone
Concert
Sketch

Transposed
for
Respective
Instruments
-
2
Tenors
1 Allo
,
COMMENTS,
Suitable for
rhythmic
rrielody-counter
melody
[0
solo in-
s~rument-counter
melody to solo voice
or
group
of
voices-c-t'Fill-ins" for
ensembles-melodic
line
in
intro-
d uc
tions-mod
ula
tions-in

terludes-c-endings.
Easily balanced in high or low registers, loud or soft.
-
15
COMBINATION
No.5
E],
Alto
Saxophone
Eb
Alto
Saxophone
Eb
Alto
Saxophone
Db T
cncr
Saxophone
B], Tenor Saxophone
Concern Sketch
Transposed
for
Respective
Instruments,
•
COMMENTS:
Suitable
for
legato or
rhythmic

melodies-background
for
solo instrument or solo
voice-melodic
line
for
mcdula-
tlons-inrcoductions interludes-cndings-background
rhythms
and
background
sustained passages.
Easily balanced in high
or
low registers, loud
or
soft,
16
COMBINATION
No.6
Eb Alto Saxophone
Eb
Alto
Saxophone
B
b
Tenor
Saxophone
B],
Tenor

Saxophone
Eb Baritone Saxophone
Concert
Sketch
I
,
~
T
~
~
:


.
v
g~
,&
Transposed for Respective
Instruments
2 Allos
'"
2
Tenors
Raritune
•
,~
,
I
.
~~

I
g~'
H~
~~.
COMMENTS:
Suitable
for
legato
for
rhythmic
melodies-background
for
solo
insrrumenr
or
solo voice-s-melodic line
for
modu-
lations-introductjons-inrerludes endings-background
rhythms
and
background
sustained passages.
Easily balanced in high or low registers. loud or soft.
17
~
.
,
COMBINATION No, 7
"Bb

Clarinet
Bb Clarinet
Bb Tenor Saxophone
Bb Tenor Saxophone
Eb Baritone Saxophone
Concert Sketch
•
I
I~
, ,
J,l

l
,~
- ·
I
"oJ
"-d
I
U
I
e
(G.
8,'n
_

_

_

""",


_

_.
__



_-
.
. .
.
.
-~
-,.
.
Transposed for Respective Instruments
",~
Ctartcets
d."._.>_:
-~
-"
.'
·
,~
2 Tenors

,

~
w=
Harito;t

'. ,_.
-"
~'.,
#t,a:
etc.
.•
,.,,,,G:e~
·
~"c
"c'".
>•.
-
etc.
'.
Jh
-i:

•
COMMENTS:
Suitable for
introductions-modulations-interludes-
endings or melodies having harmonic structure similar to
this example-s-background for solo
instrument
or solo
voice.

Easily balanced in high or low registers, loud or soft.
18
COMBINATION
No.8
Bb
Tenor
Saxophone
Eb Alto Saxophone
Eb Alto Saxophone
Bb
Tenor
Saxophone
(one
Alto
tacet
)
Concert Sketch
•
~~
-
~$
-
-
,'ff"
-
-
J b? '
(metod/I)
h
L

.
.
.
q$
.
Transposed
for
Respective
Instruments
Tenodmelod,l/J
2
Altos
•
Tenor
COMMENTS:
Suitable
for
melodic passages
where
the
top
voice (Eb
Alto)
lies
mostly
in
perfect
duet
form
(3rds

or eths)
with
the
lower
voice (lead
Tenor)
.
May
also be used
in
introductions-modulations-inter-
ludes endings
or
in
any
melodic passage
having
similiar
harmonic
structure.
Sometimes difficult to balance
due
to all voices being above
melody.
COMBINATION No, 9
fib
Tenor Saxophone
Eb
Alto
Saxophone

E],
Alto
Saxophone
B], Tenor Saxophone
Eb Baritone Saxophone
19
Concert Sketch
Transposed for Respective Instruments
Easily
halanced in high or
low
registers. loud or soft.
COMMENTS, .
Suirable for legato rhythmic passages in
introductions-
interludes-modulations and endings.
Tenor
( t d 1
"
~
r~r
,
~
b~f
"qrcr
~
,~,
" ,
-
,

,
-
j-,==[
,,f
/
~=
I 1
\
:'
"u~
t t'
:e\:e'

~~

~",\#b

l'
'" ,
~_\1'~b~:e
#1':'


"


1\2/JlOS
, ,

-

,
,
,
I"
~
Tenor
~
-
-'
~a~itone
,
U
~-
~.'
20
COMBINATION
No. 10
Bb
Tenor
Saxophone
Eb Alto Saxophone
E], Alto Saxophone
Bb Tenor Saxophone
En
Baritone Saxophone
Concert Sketch
~.
_ I
~_
,

:l

.::
.
·
-
~
·
Ii"
trr-
~
I~
·
·
-:Jlf
.".
;.
'-r:
·
·

-
~-
-
".
Transposed
for
Respective
Instruments
-n,

~
/'=
I I
""
me
-
.
-
/
COMMENTS:
Suitable for introductions, modulations, interludes and
endings.
NOTE:-Bb
Clarinet, Eb Alto or Eb Baritone may be
substituted for the lead
Tenor
in all examples similar
to
that shown in Combination No, 10, providing the key
is
changed to suit the solo instrument used.
T a d
\
U.~nor
'""2

ek
,!

~!::e.

_.e~"
\
~
Alto~
~.
l~:;
____
·
·
.
•
'1
~
'-
> "
.
•
~enor
' '
~.
~
,-~
L-"
\
naritone
·
~
-
.

".
-"
.
21
COMBINA
nON
No.
11
Eb
Alto
Saxophone
E],
Alto
Saxophone
Eb
Alto
Saxophone
Bb
Tenor
Saxophone
B~
Tenor
Saxophone
Concert
Sketch
~
&M
~.'f
~:
•.

:
.

"
,~'
for Respective
Instruments
3
Altos
2 Tenors
Suitable for
rhythmic
passages-introductions-modula-
tions-interludes-endings-background
for
solo voice
or solo
instrument.
Easily balanced in high and middle registers, medium loud
or loud.
CAUTION:
(1)
Numerous
dissonances
make
low
re-
gister
writing
sound

thick
and
muddy.
(2)
A void as
much
as possible having an
interval
of
a second
between
the
two
top
voices as lead
may
be covered
by
second
voice.
22
COMBINATION
No, 12
Eh
Saxophone
Eb Saxophone
Bh
Tenor Saxophone
Bh
Tenor Saxophone

Eb Baritone Saxophone
Concert Sketch
> ,
!
I
I
r.
-
-
~~
L
I-
-
~ft
,,,
,
,
>
c>
,
,
-'
-
~
-
,
r ,

"~
~,

2
~~
,
' '
"
,
"
'"
,
,



Transposed for Respective Instruments
_,
_.
ce~"
,:~'"
~:
~!f:
~~
~
fI
~
Tenor
s
~
__
:e:
eb

fc
,
-
,~
,
I"'
I
~a~itone
z»; I
'

,
"
~ce
L

-'

,
L J
23
"
~
.~:
_
.ij_
e
"~e
.#
fZ:

~~
"
~
-
,.
~
tc
,\~
-,
,.
b_,
ij.
p,
~ ~
,.
-
,
~
'" '
-
~
""-
-
-'
-
COMMENTS,
Suitable
for
rhythmic
passages-introductions-modula-

tions-interludes endings-background
for
solo voice Dr
solo
instrument.
Easily balanced in high or
low
registers,
loud
or
soft.
It
is possible
to
use
many
combinations
other
than
those
shown,
and
it should be
the
aim
of
every
student
to
experi-

ment
with
the
thought
of
finding
new,
good-sounding
harmonic devices and colorings.
The
results. whether good
or
bad, should be observed
for
future
reference.
24
THE
TRUMPET SECTION
John Best
Steve Lipkins
R. D. McMickle
Billy May
NOTE:-The
Trumpet Section has not been designated
as 1. 2, 3 and 4. as each
trumpet
player was capable
of
playing first parts.

Our
arrangements were such that the
parts were evenly divided.
21
EXAMPLE No. I
Concert Sketch
Transposed
foe
Four
Trumpets.
,

;:::::;
-rs-:
A
~~
<r»>.
-e:
;;
-
-
,
,
.
,
3
"
COMMENTS,
Suitable for legato
melodies-background

for solo
instru-
ment
or solo
voice-
"fill-ins"-melodic
line in
introduc-
tions-moduIations-incec1udes
and endings.
Easily balanced in
high or low registers, loud or soft.
Muted
or
open.