THAT CAN BE ARRANGED
are a group of three notes played in the time
of two. You’ll see these in measures 4, 8, 11,
16, 20, 21, 22, 23, 27 and 28.
Anticipations: These are sometimes referred
to as a “push,” which is a description of what
is happening. Most often, the anticipations
are played on the upbeat and tied to the
following downbeat. Sometimes, such as in
measure 26, the chord is not tied and a rest
is in place of the downbeat. Anticipations can
be single notes, chords or bass notes. You’ll
see many in this arrangement.
Contrary Motion: An example of contrary
motion is found in measure 16. Contrary
motion is two or more musical lines moving
in opposite directions.
Filler Licks: One of the first signs of a boring
arrangement is dead air! Learn to play little
melodic fragments that fill the dead space
between the melodic activity. This dead
space can also be filled with bass lines and or
chords. See measures 8, 9, 16, 21, 28 and 29.
Half Steps: One of the more colorful half
step connections in this arrangement happens on beat four in measure 21. You’ll
see A%
7 leading into A7 in measure 22.
Melodic and chordal half steps happen frequently in this arrangement.
Tritone 7ths: Pianists have used this device for
decades. In the guitar world, Lenny Breau was
one of the first to use this sound. The name
tritone comes from the interval distances of a
raised 4th. They are dominant 7 chords that
only use the 3rd and
7 intervals (no root). This
interval can also be inverted to
7 and 3rd.
If you have an interest in arranging, go for it! I
promise you will get better with each attempt.
Trust your ear—if it sounds good it is good.
Saint Louis Blues
