alan raph - dance band reading and interpretation

7/17/2019 Alan Raph - Dance Band Reading and Interpretation

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reading

The basic conceptsof dance

and jazz rhythms.

ALAN RAPH



DANCE BAI{DREADI}IG AIIIII}ITERPRETATION

"l have looked over Alan Raph's book very carefully. I feel there is a great need for this work.

Howdoes

a conductor tell a fine legitimate musician'Make

this next sectionlx'ing'l' A must for everyforward looking teacher or young musician.". . . F-t.l-lOT LAWRENCE (Contposer, atranger; condut'tor of the Ilroadtt,uy .shows

"Bye Bye Birdie" antl "Hox'to Succeed in Bu,sine.s,,; Ll/ithottt Reatly 7-rying")

"This book ntakes an inrportantnrusic notation and its interpretation."

contribution toward bridging the gap that exists between dance

. . . (iERRY N'IULLIGAN (Buritone su.rophtsne, c()n1poser, urranger;G erry M ulligun Quartet )

"Dance Band Reatling antl Interpretation fills a serious gap in the practical education of musiciansrvho wish to make their living in the world of popular and contntercial music, and have strictly aclassical background."

. . . JACOB KRACHMALNICK (l'iolin soloi:;t; con('errtnaster Phitudelphia Orchestra)

"Here is a book that is complete and uncomplicated in all of its aspects. It will be of greatvalue to the aspiring player of dance music."

,,o,,,,;,,'f:,ff,i3 L^il,), ''f:,Tlif:i;,P::';?,,';,,;^;;;;r"i?fiii,,"oi li,,

"Mr- Raph's book answers all of the important questions concerning the playing of dance bandmusic."

"A clear concise presentation. This book

. . . IACK HOLLAND(Head ol Bra.ss Department,Puerto Rico Conservatory ol Music)

will be of immense value to teacher and student alike.". . . JOHN HOTOP (Guitar,"West Side Story")

"This volume teaches material whichand inspire teachers and students."

"Dance Band Reading anti Interpretationserious players in all phases of music."

was once thought 'impossible to teach' should help

. RA YM oN D sH I N E R ( o b o e, u,to, I ,, ,, i f;X:;:: t,:,; i,X,,

is musically sound. I recommend it to be studied by

. JOHN WARE (Trurnpet, New York Philharnonic Orchestra)

"Dance Band R & l will be a standard text for all of my students.". . . GINO BOZZACCO (Solo trurnpet,,.We't Sitle Story", Metropolitan Opera)

"An excellent and perceptive guide.". . . DAVID JETT (1sr rrombone, Radio City Music Halt)

"A most complete book on the subject.". . . NICK TRAVIS (Trumpet, NBC Staff Orchestra, Sauter & Finegan,

Gerry Mulligan Orchestra)



The

c0rre.ept$

All Rigite ReserYed:

ol dunceend jazz'rhStthms.

ALA|{',RAPFJ

O iAC*lfXl.by $om Fqx,futilicbing Con:pdtry;.lnc.; HerYq'r..k, N;,Y.,..'. , :lniornctionol CopyrightS*lred .. Piinied..in U.s.A



:DA}iCE BAND RE.{DI\G .{\D I\TERPRETATiON

This book is for those instrumentalistsil'houould like to famiiiarize themselves with, and be-

come proficienr in playing today's dance and lazz rhvthins wLth a correct concep[ion'

The book's basic principle combines a group of trIVE comprehensiverules (p.3)to be learned

and applied to dance and jazz parrs. Miny examples of the most commonly used rhythms arepresenied, explained, and- used in context with figures and etudes typical of actual dance band

music.For additional reading skill the examples and erudes throughout the book are presented in a va-riery of keys. As in dance ".rung",rr"nts,

this book utilizes the full range of most wind instru-ments.

CONTENTS

BASIC RULES.Example and Primer for One Bar FiguresONE BAR FIGURES

Five Etudes (one bar figures) .

SYNCOPATED QUARTERS AND ETGHTHSFour Etudes (syncopated quarters and eighths)'Comprehensive Etude.

ONE BAR FIGURES EXTENDEDThree Etudes (one bar figures extended)

page

3

ComprehensiveANTICIPATIONS

Etude .

Two Etudes (anticipations).

TWO BAR FIGURES.

Two Etudes (two bar figures)Etude (two bar figures anticipated) .

THREE BAR FIGURES .

Two Review Etudes.SINGLE -NOTE PUNCTUATION .

Four Etudes (single -note punctuation).Three Review Etudes .

Comprehensive Review EtudeDOTTEb EIGHTH AND STXTEENTH-NOTE RHYTHMSTRIPLETS

45689

r0llt2T2l313T4

r5r5l617r8I9202l22232425262728293032

SIXTEENTH-NOTES.

DOUBLE TIMECUT TIME .

Etude (cut time)HALF TIMESPECIAL MARKINGS AND EXCEruIONS TO RULES.SPECIAL EFFECTS .

Etude (special effects)

TEN FINAL DANCE ETUDES. JJ

4344lossary

Key.



to5.

,, .

Here are FIVE basic rules to the understanding ar-id interpretation of dance band mustcIhey are ro be studied and appliecl to the examples, figures, and etudes throughout this bookSpecial interpretation markings and exceptions to these rules, will be explained as they occur.

It wili be of great help to use this page as an overall guide:ack frequently, and pay particular attention to rules l, 4, and

the pages that follow. Chec

- EXAMPLES -

WRITTEN

rl.ule I . Quarter-notes are piayed short.

Rule 2.

Rule 3.

Rule 4.

Any note Longer thanis given its full tine

a quarter-notevalue.

Single eighth-notes are played sho^ t(and often accented).

Lines of eighth-motes are playedwith a "1i1" in a long-short nranner,

the same as eighth-note triplets.

RuIe 5.

Truo or more eighth-notes aresl,urred up to a quarter-note @l' itsequiualent). Whateuer foll,orus isstarted by tongui.ng (T)

*On stringed instrunents: (T) = new attack'

APPLY THESE RULES TO ALL OF THE FOLLOWING EXAMPLES, FIGURES, AND ETUDES

Tempos in rhis book, when not specified, should be medium bright: ()=126-144). lnterprtations ai other tempos will be presented and explained later.

SEE GLOSSARY (PAGE 43) FOR DEFINITIONS OF TERMS USED.

PLAYED



EXAMPLE(Eight bar melody; Apply rules I -5)

WRITTEN

PLAYED

Rule 2. Rule 3. Rule 2.

i-, ) t-3--' t- 3--t ri-.:Ru]es+&s- - -l

*RuIe,I . Quart er -nof es shorl .

PRIME,R FOR ONE BAR FIGURESWritten Played

)- t-J r r-J I

*Th€last eighth-note (in numbersbeat of the following bar. Thie is r,rl&y L,2,3 & 5) anticipates, and should "feel like" the down-it is accented.



ONE BAR FICURES

lr4ost dance bar-rd rhythms cai-i be "broken-down" into basic eighth-note trtplets. Use theKEY on page -1-1 for difficult figures.

Repeat each of the above f igures several times.



FIVE ETUDES(Mixing all of the one bar figures)

Notice that key signatures - typical of dance band parts - occur only once at rhe beginning,(21' clmrzges are marked as they take place.

.See Glossary (page a3) for explanation of tempo markings (Medium brighr, Medium slow,:tc. ).

The number above each measure indicates the one bar figure (page 5) being used.

@ledium bright @

\{edium bright @

The following etude (lll) is at a slower tempo. Make the note values slightly longer, andput more "wei.ght" on isolated notes.



IV

*Become familiar with different notations of the same figure.

Medium bright @

Review each etude making smooth.transitions from one figure to another. Play in a relaxemanner feeting eighth-note triplets ( ,J " I I throughout.

REMEIT4BER: Whenever the last eighth-rnte of a figure falls on the second partthe fottrth beat @g) it is accented as an "anticipated dowtbeat't offollowing bar.



l.

SYNCOPATE,D qUARTE,RS AI\D EICHTHS(One bar figures)

Written

EXAMPLE:

Written Played

(b) Variationa) Variation (written) (writteit)

2.

written*

Variation (b) Variation

Variatron (b) \'arration

(a) Variation (b) Variation



I3i

4.

5.

6.

written*

writtenx

written*

+For fast readins dance band music is often written so that the first and third middle



See

Use

The

Glossary (page

I(EY (page 41)

number

Bright

(Syncopated quarters and eighths)

43) for tempo markings.

for difficult rhythms.

each measure indicates the figure (on page 8) being used.bove

@

Moderate

Fast



COMPREHEI\SIVT ETUDE- One bar figures- Syncopated quarters and eighths



- - . . -r , -. "f-N -

---r -3-'r r-3-t

r-3- r-J--l 1-.f -r -J T

, 3.

r-3



L2

The number over eac

o

THREE ETUDES(One bar

h measure indicatesfigures extended)

the figure (on page Il) being used.

@

COMPREHENSIVE ETUDEOne bar figuresSyncopated quarters and eighthsOne bar figures extended

Medium bright



-. - -

Veryoften a syncopated (up-beat) notewill anticipate the following down-beat to start aure. Recall in one bar figures, anticipations came at the endof the bar.

rI At this point the player should be familiar with quite a few dance band figures anO-lf their conception. All further examples will be explained assumingthe basiJ "swing"leighth-note style. Check through the five basic rules again and remember [o use Uoifr[he Glossary and KEY as needed. J

l. First beat anticipated.

Second beat

'Third beat

Fourth beat

TWO ETUDES(Anticipations)

over each measure shows nhich beat is anticipated.

anticipated.

anticipated.

anticipated.

O-.



TWO BAR FIGURES

are identical and are used interchangeabty., and

l44

(also written)

(also ryritten)

(aiso wrirten)

(also written)



The number over each

. ,b'I'UDE,S(Two bar figures)

measure indicates the truo bar figure being used.

ETUDE(Two bar flgures anticipated)

Moderate g

Medrurn bright

Medium



i6

l.THREE BAR FIGURES

TWO ETUDES(Three bar frgures)

The number over each measure indicates the three bar figure being used.

5.

-----/



Mediunr

_- - __, _, .

rt

Moderate



The one time:^g:ure. Practice

II

SII GLE \ OTE PL-NCTL'ATION(See Glossar",' under "Punctuation" and "Tempo")

a player "sticks out" over the whole band is when he mis-reads a punctuationthe foiiowing figures and etudes carefully. Learn to "place" each note.

2.



The number over each measure indicates

Medium bright

(Single note punctuation)

the punctuation figure being used.

I

mBright



2A THREE REVIEW ETUDES

Moderate

Moderate

Medium slow

A good review of the preceeding pages from time to time, will help a great deal in becom-ing familiar with many of the most common dance figures. Learn to recognize and interpretthese figures at first sight. Listen to good dance bands at every opportunity, and develo.p skillin hearing and recognizing the various figures. In listening, note any stylistic differences of aparticular band in interpretation (longer quarter-notes, straight eighth-notes, accents, etc.).

When playing in a band always listen to, and phrase with, the lead player (first instrumentof a section). Follow him exactly whether you agree with his interpretation or not. When you

play lead, expect the same of the players in your section.



. .

Moderate lift



DOTTED EIGHTH Al\D SIXTEENTH NOTE RHYTHMS

When in sequence, dotted eighth and sixteenth-notes are playecl almost rhe same aseighth-notes". The dotted eighth-note, however, is usually piayed shot,t.

Written

When in sequence and slurred,as "swing eighth-r-rotes".

Written

When isolated (appearing once in a group

Written

swutg

Played

dotted eighth and sixteenth-irores are played exacily the same

Played

- 3--l r- 3--r

--..".---.----__---.-

of other notes) piay wirh a quick sixreenrh-nore.

Played

ETUDE(Dotted eighrh and sixreenth-nore rhythms)

Medium slow



TRIPLETSEighth-note triplets are played "concert style" (see Glossary), and are usually played "l

gato"

Quarter-nore triplets are also played legaro,Written

r__3_-_1

andin strict concert rhythm.Played,+

J-]

4 dotted eighth and sixteenth-note figure followed by a triplet, is played with a short dotteighth-note, and a quick sixteenth-nore, slurred to the iirst nbte of the tiipl"t.Written Played

>:--r..r-a.^

ETUDE(Triplets with dotted eighth and sixteenth-notes)

Written

Medium slow

D. C. al Fine



24

Four sixteenth-notes in a rowWritten

SIXTEEIVTH IVOTES

are played legato and even (concert style).Played

Aneighth-note followed by twosi.xteenth-notes is played short. The two sixteenth-notes arequick and lead tothe nexr nore.

Written Played

-J-

Two sixteenth-notes followed by an eighth-note are played quick (leading to the eighrh-notewhich is playe''C short). The eighth-note should be played exacrli in the middle of the blat (con-cert style).

Written Plaved

When playing l;ines of eighth-notes and sixteenth-nores,sixteenth-notes even.

Written Pleved

roll the eighth-notes and playthe

Played

A sixteenth-note followed by an eighth-note, andring the first sixteenrh-note into a shorl eighth-note.into whatever follows.

another sixteenth-note, isThe second sixteenth-note

played by slur-is also slurred

Written ed

ETUDE(Sixteenth- nore rhythms)

Moderate



,- -

within an arrangement in a medium slow 4, there often is a "double time" section where th

rhythm doubles lts beat and each bar in { "feels" like 2 bars in fi'

Each type of nore is played as though it were a note twice its value.

Written PlaYed

l_ri=)Long

hla' ) Short\\J = )) RoIIed

N=NEvenaaOne bar in double time should sound the same as two bars in a bright tempo.

EXAMPLE:Slow 4Double Ti,me

foot beat (J= ot-t" beat)

Sounds exactlythe same as..

DOUBLE TIME EXAMPLE

Double Time

double foot beat (.lt= o,t" beat)

E,TUDE(Double time)

Slow

Double

time

tin



:t

Cut time indicates 2

\otes on rhe up-beatWritten

CUT TIMEbeats in a nar. The hatf note ge

are strongly accented.

beat.

usually clipped shprt.

CI

ts one

Figures with eighrh-nores follow the regularlVritten

rules, but arePiayed

CUT TIME FIGURES



(Cut time)

The number over each measure indicates the cut time figure used.

Bright 2

being

@



28

HALF TIMEHalf time is the direct opposite of Double time (see p.25). Half timeoccurs inan up tempo

(fast) arrangement, where for a period of time (often toward the end) the rhythm "ha1ves" itsbeat and becomes a slow heavy swing. Each bar in { b".ortt"s one half of abar infi.

Each type of note is played as though it were a note half its value.Written - Played

f = I shortal| = l) RolledaaV=VEven

EXAMPLE:Fast 4

foot beat (J= on" beat)

Half Time ("Roll" the quarter-Ss)

"half" foot beat ( J = ott" beat)

ETUDE(Half time)

;F |--J-----#- F C

Fast 4



2.

oJ.

4.

5.

-EXCEPTIONS TO BASIC RULES

r-- J -r l=3=r -J -rlayed

Sit heavy on accented

Play even

Y dl

eighth-notes (concerr style).

quarter-notes.AA

decline

6.

Down-beats long, up-beats:>

Down-beats short,:>

up-beats:>

accented.:>

accented.:>

8.

Written

Continuous phrase (soft -tongue each

rapid

Soft attack on second eighth-note.

Straight eighth-notes (concert style) (Swing)



(FLARE)

SPEUIAL;.EEDS

( SAXOPHONE)\\ |{ITTEN SOUNDS BRASS

r Start before the beatand run three or fournotes up Lo the mainnote.

Start before the beatand run tiliee or fournotes up lo the mainnote.

Play main no[e strongand

scatter fall-offnotes with a decre-scendo.

Play main note strongand scal[er fall-offnotes with a decre-scendo.

Use half -valve; cre-ating a smooth soundfrom one note to theother.

Down Gliss: lightchroma[ic scale.Up G- iss: haif -holeor, trngered ltotesaided by lip.

Lip main note "flat"and bring up to pitch.(Or use half -valve. )

Lip main note "flat"(loose embouchere)and bring up to pitch.

Play first note and"fall down" to 2ndnote from one or twoovertones* above.

Play first note and"fall down" lo 2ndnote from one or twonotes higher (in key).

Lip trill note withone over[one higher,or shake horn(rougher sound).

Fast trill with keysfrom writlen no[e toone tone higher.

Play as shown in ex-ample.

Play as shown in ex-ample.

Drop from higherovertone to writ[ennote.

Start before the beatand run fivc or sixnotes down to writ-ten note.

F inger the impliednote but play it muchsofter than the othernotes.

Finger the irnpliednote but piay it muchsofter than the othernotes.

Similar to Gliss. but

notes in betweenshould be heard lessdistinctly.

Similar to Gliss. but

notes in betweenshould be heard lessdistinctly.

Half -valve and lip toabout an octave abovewritten note.

Play fast scale to noteabout an octave abovethe written note.

* Hand over Bello Hand away from

Bell.

* Bite hard to closenote.

o Open to free note.

\LL-OFF

-ISSANDO

lEAR

URN

HAKE, (TRILL)

END

MPLIED NOTE

QUEEZE (PORTAMENTO)

LOSED-OPEN

closed open close-open

vertoneg are the variou notes that can be produced rlth the ll alone in one valve settlng on brass lnatrunsnts'



Start before the beatand run thr.ee or fournoLes up Lo the nrainnote.Play main note strongand scatter fall-offnotes with a decre-scendo.

Slide finger along thefingerboard for the2nd note.

Siide along f inger -board from half-tonebclow to rnaln note.

Play first note and

"fa1l dowrr" to 2ndnote from one or twonotes highe-r (in key).

TrilI note with onetone higher.

Play as shown in ex-amp1e.

Play like fast Giis -sando down to writ-ten note.

Play implied notelightly.(Guitar, finger butdon't pluck the im-plied note. )

Same as Glissando.

Slide along finger-board to note aboutone octave above thewritten note.

* Press finger light-ly on string.

o Normal Pressure.(or; Pla1, "I" light-Iv .)

STRINGS(GUITAR)

USED IN CONTEXT

" RlP"

ALL_OF'F''

''GLiSSANDO''

''SME,AR''

''TURN''

''SHAKE''

"BENI)"

"DROP"

"SQUEEZE"

''CLOSED-OPEN''



)

OTHE,R SPECIAL TFFECTS

The following effects should be used at the player's own discrerion when playing a solo, orlead part in an ense mble.

l. FLUTTER TONGUE - Roll rongue like a Spanish "R" - (Trrrrr).2. GROWL - [Jse throar growl like a French "l{'].

3. THROAT HUM - Hum deep in throat while playing a note, rhis gives rhe rone a "rough"quality.

l. AI-TERNATE FINGERING - Repeated notes on Brass or lleed instrunlenrs are oftenplayed with an alternate or "false" fingerir-rg on every othernote.

5. HALF'-VALVE

6. HALtr-HOLE -

- (Brass) - Used frequently for ltips, Fa1l-offs, Doirs, Ghssandos, erc.Press valves halfway down.

(Open F{ole Reeds: clarinet, flure, etc. )Use ir-r a sirntlar manner to halt -va1ve or-r brass ins[runtents forGhssai-rdos, Squcezes, Doits, Smears, etc. Cover a portionof theopeir hole with fir-rger and ther-r slicie open. use on sev-eral holes for "true" Glissando upwards.

ETUDE(Special effects)

Medium slow



. , . , , ,

Note various effects through use of Dynamics.Medium slow

-

l>

f

p-f

nw

;-=T>



--'--.-// ----.-.---



Apply the same rules

Moderate (in l)

.las llt ,'.+ III

--=-------_____-_--./--\----.l



rf IVBright



Same tempo from 1* t. (feel the U"t" in I and rhe ftbars in a fast 4.)



VINore irregular (7, 9, etc. bar) phrases.

Medium bright



Moderate

^



{0 WIIModerate



Many arrangements also "swing"

Medium brightrn irreguiar meters.



Br ight

D.C. aI Fine



Bar

Comprehensive etude

Concert style

Down beat (Up beat).

Dynamics

Eighth-note triplets.

Etude

Figure

Impulse .

Legato

Markings

Part.

Punctuation

Roiled eighth-notes.

-llv ^rv -

Measure

A study in which all of the important features. of alesson are contained.

Straight meter; exact note values: each quarter-note is divlded into two equal eighth-notes.

Down beats are on the uumbers (I , 2, 3, 4).Up beats are on the &s (19 29, 3&' 1&).

r-3--r r3r r3- -3-

Volume markings (lf , p, nW, nf , f, ff).(See "rolled eighth-notes" be1ow. )

A study; with musical form and direction.

A rhythmic statemenr or patrerit (shorr or long).

Any one of theeightrolled eighth-nores rhar under-Iie each bar of regular metered dance band music.

Smooth; slurred.

Markings in dance band music are basically thesame as those found in concert music.

> sharp attack and decline.,r heavy. - long.. short. ,^slur or tie.I breath. <crescei-rdo (Iouder).

:>decrescendo or diminuendo (softer)'The music that one instrument reads from.

Short rhythmic accents to highlight various im-pulses of a bar. Often used by one sectior-t of a bar-rd,while a melody is beir-rg played by another section, tocreate rhythmic excitement.

E,ighth-note triplets, with the first two nores ti.ed.The basis for interpreting dance band musi.c.

Swi.r-rg elghth-notes

Syncopation

Tempo markings

Same as rolled eighth-notes (see above).

Figures involving accented up beats.

Approximate metronome markirrgs :

Slow, SIow heavy, Medium slow: .l =$Q - 72 (longetnotes, heavy accents, more weight on notes. )

Medium, Moderate, Moderate lift, Medium bright:)=tz - tq+Bright, Bright 2, Fast, Very fast: )=t++ - 208 (eighth-notes become more even, pultctuation figures tend tobe played in more of a concert style, shorter notes.lighter accents. )

Time Regulat t, 2, tr, 8

Double: l=$ tt i+iStop:

Up bear

Cut;

Half :

rr)t=')

1t,r - aT.)



KEY(E,ight "swing" eighth-r-iotes to the bar)

n order to in[erpret the rhythrn of difficult figuresi

I. Place an "X" for each separate note of the figure on the appropriateline of the diagram.

Example: (cne bar figures #5)

l.-JI L-3-r r.-3J '-3J2. Beat a constant "swing" eighth-note rhythm with the hand and sing

each "X" as it occurs.Leave lines blank wherever rests occur"

For quarter-notes, place "X" and leave the next line blank.

lf part of the flgure has a note longer than a quarter-note (orine afier the initial "X" through all the beats it covers.

two tied eighth-notes) draw a

L-3J L3JUse this KEY for I through 4bar phrases.

Example: (one bar figures #13)

++-+ + l + l

L- 3-r t-3J

31 t--3-J L-3J t-3J

Ir-3-J L3--.t r-3---t t-3-r r--3J L3l L-3-J L-3 rL-3r L-3J L- 3J LJ-

llllll[ )Jr

L-3- L3-J r-3J L-3-r L3--r l-3J t-3J t-3J t-3- t-3J t-JJ r-3-r L-3--l L-JJ L3-

.. .-H.4l ) | L) I t I ) t)

3 , L-J-r L-J---t t--3J L-3J L-3r L- 3J L 3-l I 3J L-3--l i-3-r t- 3J ,-3--.r l-3-'3J L-3 |



rAh,Rap'6

Alan Raph is one of the few instrumentalists wmaintains an outstanding reputation as a performerboth the concert and dance band fields. A graduateNew York University (Music Education), he has studiecomposition with Mme. Nadia Boulanger at the Scho

of Music in Fontainebleau, France.

Mr. Raphhas been

a member(bass trombone) o

the Gerry Mulligan ((Concert Jazz Bandtt since its iception in l9 60, and has played and recorded with manof the top bands in the country, including Gordo

Jenkins, Eddie Sauter, Fred '$?'aring, Larry Elgar

Quincy Jones, Elliot Lawrence, Bob Brookmeyer a

Manny Albam.

He is leader of the"Chamber

Brass Players" (.cordings on Golden Crest, Music Minus One and Class

Editions), and his background in the concert field icludes the Little Orchestra Society (solo trombone)NBC-TV Opera Bolshoi and Leningrad Ballets, S)-

alan raph - dance band reading and interpretation

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