Independent Study Final (4-17-10)
Master of Puppets
* Score and Parts (5 Sax, 8 Brass & Rhythm)
Composed by: Hammett, Hetfield, Burton & Ulrich
Arranged by: A. C. Glass
Form: Intro, A, A, B, C, modulate, B, C, modulate Solos, Counterpoint, modulate A, B, C, Ending
Soloists: Tenor 1, Alto 1 or Trumpet 2
Style: Swing, Baroque/Rock Counterpoint
About the Arrangement:
The song Master of Puppets by the band Metallica has made most top 10 lists of best Hard Rock/Metal Songs, often times being number one on the list itself. Despite such achievements and partially due to the lack of wide stream popularity of Metal music in general this song, it’s guitar licks, and melodies are mostly unknown to the general public. Yet this song provides great material for musical arrangement, which was proved by the composer Michael Kamen (1948 – 2003) when he provided the symphonic score for Metallica’s Strings and Metallica concert.
This composition intends to go one step further in stretching the melodies into complex swing rhythms while also turning the song’s “slow” section into a wind sextet, emphasizing the counterpoint and having each of the trumpets taking turns on the melodic portions. The main intention of this composition was to create a swift tempo (180), minor mode swing chart based on melodic ideas from rock without compromising the Big Band style. Any individual who is unfamiliar with the work of Metallica would never suspect that this chart was based on a Heavy Metal song or even a pop song for that matter.
The ensemble work often becomes a wall-of-sound as various rhythms in each section are pitted against each other accented by moments of silence. During the counterpoint the drummer presents a rock ballad feel and they are encourage to develop their own musical ideas although a drummer familiar with the source material may also be encouraged to mimic ideas from Lars Ulrich before revering back into a swing feel. The transition back into the swing section includes heavy drum work on the Toms which also allows for additional interpretation by the drummer.
In this piece each section is expected to explore the heights and depths of their range. There are bass line section which reach the far ranges on the bass instruments. The First Trumpet is expected to reach F # above the staff twice in the composition’s introduction as well as a later lines which reach to an E above the staff with the Second Trumpet often on a C.
Independent Study Midterm (3-1-10)
The Right One
* Score and Parts (5 Sax, 8 Brass & Rhythm)
Composed by: A. C. Glass
Form: Intro, A, A, B, Sax Soli, Ending w/solo break, Solo sections, C, A, A, Ending
Soloists: Alto 1 (Option Trumpet 2), Tenor 1, Drums (2 bars)
Style: Upbeat Swing
About the Arrangement:
Intro: The beginning of the song introduces the feeling and movement found in the building bridge of the song. A strong base is formed on the back of the Trombones with the higher sections (saxophone, trumpets, piano) taking turns presenting a variation. This section is in a minor key to contrast and emphasize the over all upbeat feel of the main melody.
Melody: The melody in the Trumpet section is one of repetition. It is meant to be “catchy” tune with deceptive simplicity. The first four bars of the melody are repeated a second time with a single beat delay, followed with descending passages complimented by the saxophone. Throughout the main melody the saxophones also fill the passage with arpeggios. As the second ending moves to the “B” section the saxophone’s arpeggios are combined with the descending passage, creating a new variation which is then showcased in the “B” section itself. The B section’s multiple pieces are arranged so that they can be effectively practiced as section as well as together as the whole band.
Solo Section: The only backgrounds from the horn sections found in the solo sections are to remind the listener of the main melody through implications found in the patterns taken from the Trombone section. The solo builds as any other typical swing solo would but then deviates by having 8 measures of diminishing intensity, preceding the building bridge.
Building Bridge: Using the ideas introduced in the very beginning of the song this section uses the syncopation of the drums (which has been moved to the trumpets) in waves of sound receding back and forth until a large wave of music returns to the main melody.
Independent Study Extra Credit
Thriller
* Score and Parts (5 Sax, 8 Brass & Rhythm)
Composed by: Michael Jackson
Arranged by: A. C. Glass
Soloists: Opening Drums (1 bar), Guitar, Trading Fours (Tenor 1, Trumpet 2, Alto 1)
Style: Funk (not R&B)
About the Arrangement:
This arrangement includes all 3 verses and choruses as found in the original recording but many stylistic changes has been employed, including a change in the bass melody and tightening each melodic line. The song is a 5 minute performance but this time can be reduced by excluding sections B through D.
Although every section in the band holds parts of the melody at various intervals, there is a special emphasis put on the trombone section. The second and third verses and chorus are held by the Trombones (with the Trumpets switching away from the melody to background accents.) At the end of the song the lush chords filling out the background of the solo section are also held by the Trombone section. During the third verse the Alto Saxophones carry a bebop line, which is a direct contrasted with the Trumpet choral carrying the movement created by ghostly wind noises from the original recording.
The vocal “rap” section as performed by Vincent Price has been transformed into the solo section with multiple soloists trading fours and eventually soloing over the top of each other, leading in to the final chords of the song.
The highest Trumpet note in the chart is an “Eb” although younger ensembles can use the written alternate note “Bb”.