There is no information available.
This text has been generated by computer from the image and may contain typographical and/or grammatical errors.
ï»¿Send in coupon for full details to:
84 Blackfriars Rd â¢ Londcm 6E1 Telephone: WATerloo 6381
Please send me full details of your range of .
microphones for professional entertainers j
Name ....................................... j
Block letters please
7 Day FREE TRIAL against cash
Try these famous mouthpieces for Saxophone or Clarinet Money back in full if not suited Selmer â¢ Vandoren â¢ Kell â¢ Link Berg Larsen â¢ Brilhart â¢ Wolfetayne
Send for catalogue all leading makes of Saxophones, Woodwind and accessories
Expert overhauls, re-lacquering, etc. LESLIE EVANS MAIL ORDER LTD.
40-42 George Street, London W.l.
Appointments: 275 Colney Hatch Lane London N.M. ENTerprise 4137
Crescendo readers everywhere, Visit us in Leicester Square
KEN MACKINTOSH and his ORCHESTRA
Empire Ballroom, Leicester Square London, W.l
Apart from building the worldâs finest guitars BURNS make top performance strings and accessories. Leaflet from
Chesham Close, Cedar Road, Romford, Essex
Tel: ROmford 46465
Manufacturers of French Horns Quick Expert Brass Repair Service Makers of Cases and Canvas Case Covers
36 GERRARD ST., LONDON, W.l GER 4892
Seeing our S H Instruments PHONE US FIRST ! I !
Tuition on all Instruments Large Rehearsal RoomâEasy Parking
356 CALEDONIAN ROAD, LONDON, N.I NORth 4224
The Microphone used by more professional entertainers than any other ...
Why risk your reputation on anything less than perfection?
FINE OLD BASSES BY CELEBRATED MAKERS
A large selection of bass bows Violins, violas & âcellos Repairs and Restorations Instruments exported to any part of the world Customers seen by appointment only Please write or phone:
69 HAMBALT ROAD, LONDON, S.W.4. Tel: KELvin 5I90 After 6 p.m. TULse Hill 2044
THE DRUM SPECIALISTS Est 40 years Drum Kits and accessories â New and used â All best makes in stock â U.S. etc.
â¢Avedisâ Cymbals, personally selected Fibre Cases, all sizes Calf and Plastic Heads
Ping Sticks ââLudwigâ Hickory etc.
REPAIR SERVICE : : TERMS : : PART EXCHANGES 68 New Oxford St., London, W.C. I Tel: LAN 83I6
PHIL PARKERâS BRASS CLINIC
from Beginners to Professional Standard
PARKERâS BRASS STUDIOS LTD.
6 DANSEY PLACE, WARDOUR STREET, SHAFTESBURY AVE., W.l GER. 8994
A Gift fot you and your friends
Illustrated Model 55S âUnidyneâ
# Strongly made with stiff covers, bound with green leather cloth.
# Crescendo gold-blocked on the spine.
# All metal fittings rust-proofed.
# Holds twelve copiesâand even single pages open flat.
# Extra copies quickly and easily inserted.
Also Available, Binder complete
with first 12 issues 43/6d.
Post your order NOW with postal/money order or cheque for 13s.6d. tc CRESCENDO PUBLICATIONS LTD., !22Wardour St., London, W.l
by KENNY GRAHAM
MANY books in as many languages have been written on the subject of orchestrationâyet it is practically impossible to find a single book that will give you all that you need to know before you sit down to write your first score. This is understandable when you realise that everybody has an individual style of orchestration and therefore if a book is written on the subject it will naturally be biased toward the style of the individual writing it.
Obviously, the thing to do is to read as many books on the subject as possible and take from each what is good to develop your own style of orchestration. Very well, you sayâ but how do I know what my own style will be? How do I decide what to study and what to omit?
If you ask these questions at all I would advise you to stick to whatever you were doing before you had the idea that you wanted to write orchestrations. You must first have the ideas in your mindâs ear. That is to say you must have some idea how you want the group of musicians to sound.
This is important. There is not a single book written that can give you an original style of writing. The books can only tell you how to put the ideas you have got into practice.
So I must assume that you want to orchestrate in a particular way and that you have the ideas. Now you want to put these ideas into practice. What books do you go out and beg, borrowâor perhaps even steal?
To help you eliminate some of the many books on the market I have asked several of my colleagues what books they have on their shelves and have found useful. Tubby Hayes goes for the Henry Mancini Method. This also includes an LP recording of the sounds of the scoring that appear in the text. It is quite expensive and I havenât been through it myself. But I am assured that it is well worth the money.
To my mind this seems an excellent method because the whole thing about orchestration is the transferring of ideas to paper so that musicians can turn the written notes into audible sounds. Obviously the sooner you
get used to seeing sounds written down the better.
Jimmy Deuchar finds The Walter Piston book on orchestration a âmustâ, as does Don Banks. Both Jimmy and Don have found this book a help in the past and, indeed, in the present as a reference book.
Eddie Harvey suggests the following books: âHarmonyâ by Walter
Piston, âForm In Briefâ by Lovelock, âThe Professional Arrangerâ by Russ Garcia and âOrchestrationâ by Forsythe. All these he has found a help in this study of putting sounds to paper.
My own choice includes the Piston booksâtwo volumes of âThe Orchestraâ by Prout, âInstrumentation And Arranging For The Radio And Dance Orchestraâ by Norman Ellis (this book is a little dated in style but includes the ranges of all instruments and slide positions for trombone, etc.), âOrchestration For
The Theatreâ by Francis M. Collin-son and âInstrumentationâ by Prout.
All these books have told me something that I needed to know. They have also told me many things that I havenât needed to know. As yet, anyway. It is possible for Ihe ophicleide to make a come-back, I suppose.
So there you go: a great list of books that just a few arrangers have found useful in learning their craft. All of them, however, have to admit (myself included) that it doesn't matter how many books you have and studyâthere is nothing to beat having a bash and seeing how it turns out. If it sounds as you heard it in your mindâs ear when musicians play the notes you have written, you are well on the way to winning. If it sounds nothing like you expected, donât be too disheartened. Try again and again and, if necessary, still again. If it was all easy going it wouldnât be worth doing in the first place.
So rememberâby all means study, take lessons, ask questions, have a go âbut keep going until you can put down your ideas onto paper. And then still keep going. Youâve still got more to learn.
Show me the man who knows it all and Iâll show you a man who knows nothing.
conducted by LESLIE EVANS
T HAVE been reading two books *â recently in a tutor-series covering most instrumentsâone called âThe Art Of Saxophone Playingâ by Larry Teal, the other âThe Art Of Clarinet Playingâ by Keith Stein. These books are the type of tutor I like to seeâthe major portion devoted to description and technical know-how, and only a relatively small portion to music-illustration or exercises. After all, there is a wide choice when it comes to studies, tunes, exercises, etc. in other books, but very few books of actual instructional material.
I shall probably have plenty to say from time to time on important aspects arising from these books, both in mentioning the good points, and, to me, the debatable points, from a teaching or playing angle. At the moment I will just mention one straightforward subject, which is mentioned to a different degree in both books. This is the method of taking in air. in relation to the mouthpiece and to embouchure, when drawing a new breath. Not the breathing itself, nor the control when blowing. Just the method of releasing the embouchure on intake. The other aspects of breathing and blowing are dealt with very fully, and in a very interesting fashion in both books, and
there is much to learn and to note in each approach.
In the clarinet book, the only mention of intake in relation to embouchure is: âThe air should be drawn in instantly through the mouth corners . . In the saxophone book: âTo ensure the passage of a large amount of air into the lungs quickly, both the lips and the throat must have a good sized aperture. Breathing through the corners of the mouth restricts the size of the opening and also tends to constrict the throat. This type of inhalation is usually accompanied by considerable noise, and too much time is required to obtain a full breath. If one simply drops the lower jaw, still keeping the upper teeth anchored, the throat should assume the full opening similar to its position while yawning. This can be done so that the embouchure returns to playing position retaining its original shape.
In the Robert Willaman book âThe Clarinet And Clarinet Playing", which is another well-written technical book, I was disappointed to read so very little about breathing and breath control, and there is no mention in that chapter anyway regarding actual method of intake.
My own views? I have always taught (<Continued on page 36)
Every effort has been made to trace copyright holders, obtain permission from them and to ensure that all credits are correct. The National Jazz Archive has acted in good faith at all times and on the best information available to us at the time of publication. We apologise for any inadvertent omissions, which will be be corrected as soon as possible if notification is given to us in writing.
In the event you are the owner of the copyright in any of the material on this website and do not consent to the use of your material in accordance with the terms of conditions of use of this website, please contact us at email@example.com and we will withdraw your material from our website forthwith on receipt of your contact details, written objection and proof of ownership.