Topic: Materials for arrangement. So, let's look at the main mistakes that deserve special attention.

Yes... There is a topic that you can talk about a lot and for a long time, and at the end of the conversation you won’t move a single step. The question “how to make an arrangement” poses a hopeless impasse. You begin to ask yourself - how can you explain to a person how this needs to be done, if working on an arrangement requires not just a computer with a bunch of software, and not even a studio full of synthesizers and processing. This requires something else - taste, knowledge, hearing, musical experience, experience... Well, of course, a decent room, adequate control and a high-quality recording environment are also important.

So it is unlikely that in the next few dozen paragraphs and several thousand words I will be able to thoroughly describe the algorithm for creating an arrangement. Moreover, I cannot give unambiguous recommendations on what needs to be done so that your arrangement can immediately be heard on all radio stations. But I can still tell you something. And this will allow you to avoid the most common mistakes. Well, you know, as in the proverb - it’s clean not where they wash, but where they don’t litter. This is roughly what we will talk about - to a greater extent not about what to do, but about what not to do.

So, the most common problems that the average arranger has to face, and therefore solve them.

To begin with, we must clearly understand that an arrangement is not a work. This framing for the work, the way to present it. Therefore, you need to think about whether the content corresponds to the form that you are going to give it? For example, take a song in the chanson genre and try to make disco out of it. It is possible, of course, that you will end up with something a la disco, but for lovers of chanson it will be a slap in the face, and fans of dance genres will most likely simply ignore your gem.

Choose the genre in which the song will be listened to as authentically and harmoniously as possible. There is no need to try to pass off a Russian round dance song as bossa nova; there is no need to make a lullaby out of heavy metal. No, if your goal is experiments, then, of course, the flag is in your hands. But here we will talk about a more or less standard, “academic” approach.

Then, understand whether the chosen material is worth spending days and nights on it, trying to lick it to a “pre-hit” state. Pay attention to the source data. Is the text good? Is the music interesting? If the text is full of errors, templates, and blunders, most likely, even with the best arrangement, the final result will be negative for many. If the musical message is poor and uninteresting, you can, of course, practice harmonic substitutions, rewrite most of the melodic lines, and so on, but the question is: is it worth it? It might be easier to take on something else or come up with new song from scratch?

Of course, if we are talking about fulfilling a commercial order for an arrangement, we will have to put up with it. And bang your head against the wall, trying to shine it up and pull out a hit with pincers from the sad gray sound-letter mass. You may even be able to make a hit out of a bad song, but you will never be able to make it good. This means that the song will “sing its own” on the radio and at corporate events, and will be safely forgotten. If the issue comes down to money, then God bless her. But if a creative approach does take place, it becomes sad...

Too much doesn't mean good

One of the main problems of any arranger - no matter whether experienced or beginner - the difficulty of looking at your work with an uncluttered, fresh look. Or rather, the ear. We come up with a game, bring it to the state of ideal in our opinion, and then begin to come up with something else. And the first batch spins, spins, spins, and over time we get so used to it that we begin to forget that it exists. We come up with more and more games. And we get used to each of them. And we all think that the arrangement sounds poor, that our skills have not yet been revealed, we can do better, more interesting, bigger! And no one will appreciate our genius if we don’t add one more instrument here and two or three more here.

At one point, the realization comes that the music can no longer breathe. We crammed so many ideas, sounds, parts and voices into it that it became unclear which of it all was music. We begin to remember - well, at the very beginning I came up with a “brilliant move”, but where is it? And, well, it was blocked by another “magnificent passage” or it got lost among these two “wonderful sequences” or among the one hundred and forty-three voices of the “mind-blowing chorale.” And it’s still good if this awareness does occur. Because in most cases, without outside intervention, the arranger never understands that “this” cannot be listened to.

So what should we do now? We need to get rid of something... But from what? And this is good, and this is great, it’s offensive and pathetic, and so much time was wasted...

Don’t force him to strain his ears in an attempt to make out what is being heard somewhere. Don't try to fill every pause with some sound. If you doubt the need for a party, then it is definitely not needed. Finally, let a couple of friends listen to your intermediate work and ask them to criticize it. And be sure to hit yourself on the hands.

Sell ​​high

This often happens - we came up with a move that we think is interesting, or we designed a very beautiful sound on a synthesizer. They inserted it after the second line. We listened – very well. And we think - what if someone doesn’t hear this move or sound? Let's add it one more time after the third line, and to secure it after the fourth. And in general, since he “pushes” so much in the verse, can he be shoved into the chorus? Well, at least a couple of times? And then in the bridge, in the intro, in the code...

And so - not with one sound, but with many. What do we get as a result? The nugget that we found turned out to be a piece of granite, and exactly the same ones are lying under our feet everywhere and always, and we are too lazy to bend over for them...

It is very important to highlight the most successful moments of the arrangement. Bring them to the listener. But it’s also important not to stuff him with carrot mush for breakfast, lunch and dinner seven days a week.

So, tip three. Sell ​​little, but sell high. Repeat your successful move in another verse, or better yet, through the verse. Let the listener play the song again from the beginning, just to hear this exact moment again.

Get attention

Human hearing is part of a complex mechanism, part nervous system. These are not just ears with holes that capture the pulsation of the bass and transmit rhythmic commands to the limbs to “Twitch!” (and many, by the way, are irregular).

The arranger's task is stimulate the listener's attention, do not let him get bored, periodically throw in delicious sound inclusions, thanks to which he will not switch the song.

The human psyche is structured this way - attention lasts from 15 to 30 seconds on one object, and then addiction occurs, and the brain begins to look for new impressions and sensations. Knowing this, use it. You have a lot of means of expression: harmony, rhythm, tempo, timbral solutions, dynamic accents and declines, melodic echoes, special effects, spatial processing, modulation (both in the musical theoretical sense and in the sound design sense) and so on. Scare the listener, make him laugh, or come up with something of your own. Your task is his attention.

But it’s important not to overdo it! There is no need to make a mosaic out of music, unless, of course, you are given just such a technical task.

In general, tip four. Don't go to the desert with a can of cola in the hope that after a couple of dunes on your way you will come across a stall. In short, design attention-stimulating elements throughout the song to prevent the listener from falling asleep from boredom.

Avoid clichés

Once upon a time, while studying as part of a composition course with the wonderful teacher and composer Polina Viktorovna Medyulyanova, I heard an excellent phrase from her that I remembered forever. I remembered a lot of things she said, but this phrase stuck in my mind. “When a composer has nothing to say, he uses the chromatic scale or the diminished seventh chord.” Taste and musical wisdom are concentrated in this phrase. And, of course, it implies not only the primitive means of expressiveness themselves, which are the listed elements, but also many other standard gadgets. These gadgets can be related to both the composition and the arrangement, since the arrangement almost necessarily includes the composer's beginning.

Let me explain a little. Some template elements come in very handy when there is a specific task that needs to be completed in a short time. For example, they ask a composer to write a “tearful song about love” - it comes right to the point “ golden sequence", standard harmonic revolution (example - Dm–G–C–F–Hm♭5–E7–Am). In such cases, templates help satisfy everyone - the customer is happy (“what a brilliant composer!”), the composer is well-fed.

But still, this is rather a special case, although quite common. And often the musician who came up with the song wants to arrange it himself, which means he treats this process not as a craft, but as creativity. But creativity must also have strict limits, and if within these limits any rules are violated, then these violations must be conscious and justified. So, you will have to make it a rule to avoid templates and clichés, so as not to come under fire from fellow musicians who are ready to compare you with any singing cowards on TV.

So, what are some clichés in arranging? There are a lot of them. Something, perhaps, has irritated you more than once in “hits” on the radio. For example, the last 3-4 words of the song, pronounced in a pathetic whisper. Yes, yes, working with the voice is also an arrangement. And if every arranger always stops before the final chord with a pause (stop time) filled with sweet whispers, jokers from the comedy club will soon start talking about this.

Another example of a pattern is using " Cher effect" on the voice. Once upon a time in the late 90s, the singer Cher performed the excellent song Believe, and many listeners were delighted with the way her voice was processed in places. Since then, even the most mossy provincial producer considers it his duty to shoehorn such an effect into any song, apparently considering this a sign of hit-making and skill. Essentially, this voice processing is nothing more than by-effect vocal tuning, and in many cases it is more of a waste. But there’s nothing to be done - fashion is fashion, and on all music channels in every video we see and hear singers with “kinks” in their ligaments, emitting strange uterine sounds instead of singing. Moreover, now, after a decade and a half, this effect does not appear sporadically. Sometimes, with the “hard” tuning turned on, the entire song is sung.

Another possible pattern is modulation. We are talking about tone modulation in in this case. Almost always, modulation is an admission of one’s own inadequacy as an arranger. When the arranger realizes that the song is coming to an end, but there are no ideas for development and leading to a climax, he uses a hackneyed, proven technique. And what? Very good! Copy one verse and chorus, and then once again and raise everything by a semitone or tone. Business for 15 seconds. But for some reason everyone forgets that modulation is means of expression, which requires the same careful approach as coming up with a melody, developing a rhythm section or.

There are isolated examples creative use modulation in popular music.

Ella Fitzgerald, performing Mack The Knife – throughout the song she constantly stepped up and up in key. The meaning of this is not in the arrangement technique, but in the method demonstrate vocal abilities the greatest singer.

I often did the same thing Freddie Mercury in Queen's songs and in his solo work. Howling at the top for the entire song is unsightly, but it’s also a sin to keep the remarkable vocal capabilities in check. Therefore, modulation was often used in songs, and not even by a semitone or tone, but also at wider intervals. A very good example is the song Dave Clark Time, performed by Mercury. Written for the musical, the song took into account the characteristics of the singer’s vocals, and, starting in G major, by the end it sounds large-scale in C, rising a fourth. Naturally, in addition to the transition to another key itself, other ways were used to emphasize the tense movement towards the climax - acting out, saturation with choral parts, orchestral tutti, and so on.

A song that became super popular thanks to another musical Belle– another example of excellent mastery of modulation techniques and subtle compositional taste. Riccardo Cocciante, of course, a master of his craft, every few bars he moves the tonality up a minor third, closing the tonal plane into that same diminished seventh chord, which now sounds oh so unbanal.

Well, by the way, we can’t help but remember our compatriots - the song “ Chistye Prudy» David Tukhmanov, which became popular in performance Igor Talkov. Starting in C#m, then, seemingly primitively, it goes into Dm. And there would be nothing remarkable here if at the very end, during the sad and dramatic accordion solo, an alarming pause had not suddenly arisen and the key had not returned back to C#m. How it was done - You can find and listen to this recording. This is simply a masterpiece.

The modulation is pretty clear. Don't do it if you don't need it. It must solve artistic problems, but in no case be an end in itself.

Chromatic scales, diminished seventh chords, stop-time with a whisper - you also need to be extremely careful with all of this.

I also wrote about some other cliches in the article about. The text is also part of the song, and working on the text, on its rhythm, on its melodiousness is the same arrangement. Perhaps this article will also be useful for someone.

In general, tip number five. Mirrors are useless in a room without light. Use available means of expression only when they are justified. Ask yourself every time, “why am I doing this?”

Basic principles

And a little more about what basic principles should be followed when working on an arrangement.

The principle of contrasts

The principle of contrast underlies any form of art. Painting, literature, music, cinema - they are everywhere contrasting lines. Still life – bright fruits on a monotonous background. In films and novels there are positive and negative characters, lyrics and the severity of the plot. It’s the same in music – we must not forget about contrasts.

The verse is discharged, the chorus is killer. Does the singer have a low timbre of her voice? Add a subtle high-pitched solo sound in the pauses between phrases. Rhythm section? In the verse there is a hi-hat - in the chorus there is a ride, in the verse there is a side stick - in the chorus there is a snare with a rim shot.

Development principle

Don't forget about Golden Ratio , the principles of which were most clearly formulated by Leonardo da Vinci in his Vitruvian Man. To understand how the principle of the golden ratio is implemented in music, it is not necessary to study the work of da Vinci (although, from the point of view of comprehensive development, it is very useful). It is enough to understand that this very point is located approximately in the third quarter of your opus. Around this point, you should do everything to bring development to its climax. It is in this part that it most often occurs climax, followed by a decay lasting approximately a quarter of the product.

Also, do not forget about the gradual development from verse to verse. Moreover, development does not necessarily mean densifying the tissue or adding other tools. Perhaps you will find your own way of development.

Sometimes the development can be almost imperceptible. Well, let's say we added one drum fill, or a little they gave me more delay or reverb on vocals. Or they launched some kind of one-time special effect. In general, we took some kind of step forward.

Often, arrangers will use bare piano or guitar as accompaniment in the first verse, add bass and drums in the second, overdrive guitar or synthesizers in the chorus, and so on. This is also a kind of template, but it is, so to speak, a classic, and classics, as we know, do not become outdated. True, this does not mean that every arrangement should be built exactly like this.

One of the brightest examples work on the development of a piece of music - a group song Queen entitled I Want It All. I quite often give examples from the work of this group - firstly, because of my great love for their music, and secondly, because of its unique balance. It’s not for nothing that this is “classic rock” - almost all laws are observed in it classical music. However, as you have already noticed, I do not post their entries so as not to violate the rights of the authors. Everyone can decide for themselves where and how to listen to them, I’m just giving tips. I highly recommend listening carefully to the indicated composition. An example of brilliant dramaturgy, built on just three or four chords with minor deviations. There are changes in rhythms, smooth saturation of verses, the use of different accompaniment textures, powerful dramatic guitar solos, and high-quality elaboration of the coda, excellent middle part, and chorales, in general - the arrangement itself is a work of art.

Slenderness of form

Also, don't forget about musical form. About the “third part”, about the “bridges” (I wrote about this in the already mentioned article about the lyrics of the song). Don’t forget that sometimes after rapid development you want something relaxed and abstract.

Study, read on the Internet what forms of musical works there are. Students of music schools are taught this from a thick book “ Analysis of musical works» Mazel and Zuckerman. If you find it and master it, it will be a big plus. But even if not, at least ask search engines about the main types musical forms. The most common forms in popular music are song ( AABA), verse-chorus ( ABAB), sometimes the rondo form is also used ( ABAVAG or BAWAGA) or simple periodic form ( AAA). Also, experienced composers and arrangers use a developed form, where in addition to the verse and chorus there is a connecting part - the bridge ( ABCBBC). It is unlikely that you will immediately want to master the techniques sonata form, however, if you do delve into the question, this can turn out to be quite useful knowledge.

It just seems like the form has little meaning to the listener. It's actually very powerful psychoacoustic agent to the subconscious. By alternating parts, you introduce the listener into a kind of trance state, captivating and holding his attention. Any part that is too long or too short can throw you out of the desired state, distract you and make you lose interest in the music.

In the case of the form, there is no need to invent anything. Over the centuries, musical minds have crystallized "working" patterns that we can now simply use. These schemes affect, first of all, the subconscious, so consciously it is unlikely that anyone will accuse you of plagiarism. On the contrary, if someone calls your work harmonious in form, you can be sure that you have heard a very flattering review from a professional.

Instrumentation

Basics instrumentation lie in another musical science - in counterpoint. Previously, when there was not such a variety of instruments, most often the role of an orchestra (which, by the way, also did not yet exist in the classical sense) was either one organ, or a choir, or, for example, a harpsichord. And the parties were often divided not by instruments, but by voices, by registers. There is an upper voice, a middle one, a lower one... Most often there were four voices - according to the principle of a chorale (two female voices - soprano and alto, and two male voices - tenor and bass). Then inventions and fugues began to appear, with more complex melodic patterns, and, accordingly, often with fewer voices (two or three).

Naturally, when different voices play approximately the same sound on an organ, it is necessary to ensure the readability of these voices. Accordingly, parties were lined up according to certain laws (strict writing), which ensured that each vote would be treated individually.

Now that musical means have become extremely accessible, arrangers, corrupted by this circumstance, often allow chaos in their creations. There are no resource restrictions - the internal brake is also turned off. The result is an overloaded, oversaturated arrangement.

Any instrumentation should be based on elements of counterpoint. The following voices should sound simultaneously (preferably no more!):
— solo instrument (vocals, guitar, synthesizer);
- a harmonic instrument (piano, strings, guitar, or a neat combination of them);
— rhythm (drums, percussion, );
— bass (the basis of the arrangement, the foundation);
— counter-addition (sub-voices, fill-ins, additional solo part).

To this you can add, perhaps, various special effects, and then you have to control yourself so as not to overdo it. Backing vocals should not overwhelm the vocals, they should set it off. The instruments of a harmonic group should not clash with each other either in parts or in registers.

Some of the listed elements may sometimes be missing. Occasionally you can intersperse additional games - but the main fabric should not be overloaded.

Figuratively speaking, if beautiful woman weigh it all with gold - not only will it not become even better, it risks collapsing, breaking its legs and suffocating. It's the same with music. Decorate it with a chain, ring and earrings, comb it, dress it, put on shoes. And it will be beautiful. And if it’s all decorations – collapse.

Sound engineer's view

Keep in mind that the song is not immediately sent to radio after you complete the arrangement. This arrangement still needs to be recorded, mixed and mastered. So, when working on an arrangement, think about those who will succeed you in office.

If it is difficult for a vocalist to sing, a good performance will not work. Singers are fragile people, the slightest thing gets on their nerves, they worry, nothing comes of it... If the arrangement does not allow the performer to breathe, it is a bad arrangement. The singer must be comfortable. Then he will sing beautifully and with soul. Then your arrangement will be easier and more enjoyable to listen to.

If the mixing engineer on the recording finds it too difficult to fit your parts into the mix, you can say goodbye to half of your finds, he will simply cut them out. Because a well-mixed fewer parts are better than a poorly mixed battery of sounds. Every arranger should have at least some understanding of the mixing process. When inventing games, you need to worry about what their future fate will be.

Let us remember the correspondence between form and content. A good song is well arranged. A good arrangement comes together well. A good product is easy to listen to. The recipe, as you can see, is simple. Everything should be fine.

Get creative

In general, as I said, at the end of a long conversation about the arrangement, you can come to the conclusion that you haven’t moved anywhere. In fact, I didn’t say anything new or secret; everyone who read this article probably caught themselves thinking more than once: “ and I already knew it! Yes, everything described is logical and simple. But in this simplicity, the difficulty is sometimes the need to put all theses together, approach the process meaningfully and produce a predictable result.

I hope I managed to somehow systematize all the necessary information. Well and main advice which can be given to any arranger - listen to good music, absorb it, and, if possible, analyze it. And then no rules and laws will distract you from creativity.

Separately I want to thank the subscribers of this blog, and just readers. I am very pleased that every day on average 4-5 hundred people look here, and the fact that the number of subscribers in just a few months has already approaching a hundred. I will try to reveal as many interesting and relevant musical topics as possible. I hope the ranks of readers will increase. Thanks again everyone. Well, if you haven’t subscribed yet, you can do it right now.

By the way, I also want to invite everyone who is interested in sound and synthesizers to my profile

1) Means and methods of attaching plants in an arrangement. Tools and auxiliary materials.

2) The vessel as an element of arrangement.

3) Preparation plant material.

4) Dried flowers: techniques for preserving and processing plants.

Floral arranging is fulfillment various compositions from live and dried flowers and other parts of plants, from tree bark, seeds, and other similar materials.

A floral arrangement can act as an addition to a gift or as a gift itself.

Materials for fastening plants.

1) Floristic sponge (oasis) comes in two types: for living plants - Green colour and for artificial and dried flowers of brown or gray color. Advantages: plant stems can be fixed at any angle, the risk of water rot is reduced. An oasis for fresh flowers cannot be forcibly immersed in water; a dry block is placed on the surface of the water until it is completely saturated with water.

2) Holding devices: tattoos, wire, wire mesh, moss pads, hole holders. At the same time, you can also use wet sand, gravel, plasticine, plaster, window putty, and funnels.

· Tattoos (kenzan) – used to secure oases and are a lead circle with vertical spikes. If the composition is very large and several oases are used, then they are connected with several hairpins. In turn, the tattoos are attached to the vessel with a special mass or plasticine.

Branches and stems can be directly mounted on tattoos.

• Wire and wire mesh - the stems of some plants are wrapped with wire to strengthen them so that they cannot bend and disrupt the composition. If a large number of plants are attached to the oasis or the plants themselves are heavy, then before installing them, a floral mesh is laid on its surface, which prevents the destruction of the oasis under the weight. It also makes a convenient holder in tall, wide-necked or narrow-necked vases. The mesh is cut out in the form of a square, the edges are folded around the perimeter of the neck, inserted inside or attached outside. Instead of a mesh, you can use lattices of twigs, which are tied with wire, ribbon, raffia, or glued and fixed to the vase with tape. Also, a fastening made of branches can be an independent decorative element of the composition.
• Moss pads - made from moistened sphagnum moss, it is shaped into a hemisphere and wrapped with wire to better secure the flowers. The pad is placed in water for a few minutes and placed in a vessel. Using a sharp stick, make indentations in it into which plants are inserted at the desired angles.
• Hydrogel is a special water-absorbing polymer. The volume of absorbing water is tens of times greater than the volume of the polymer itself. The hydrogel has different shades and expressive shine. They gradually, dosedly release water to plants, preventing rotting.
• Hole holders are plates of various shapes, several mm thick, in which holes are punched. They can be ceramic, plastic, metal. These plates are used to cover vessels into which water is poured, and plants are inserted into the holes.

Tools and auxiliary materials: pruning shears, scissors, floral knife, several types of wire, small pliers, wooden sticks to strengthen stems, plasticine or window putty, plastic bags, tape, test tubes, polystyrene foam, wrapping paper, braid, dyes, glue, cardboard, fishing line.

The vessel can be of various shapes, colors, and made of all kinds of materials, the main thing is that it should emphasize the beauty of the composition without dominating or overshadowing it. The choice of container depends on the nature of the composition, texture and color of the plant material, background, destination and installation method.

1) Vase- this is a vessel whose height is equal to or greater than the width, usually with a narrower neck; for making bouquets and compositions it is better to purchase simple, modest, dimly colored vases. Vessels of all shades of brown and green, as well as white and black are harmoniously combined with flowers of any color. Brightly colored vases or vases decorated with variegated painting or modeling are better suited for winter bouquets.

For simple, modest flowers, simple unglazed clay vases, wooden vessels, and wicker baskets made of straw or willow are selected.

Flowering branches, as well as dry branches and branches with berries, bouquets of pubescent plants, meadow grasses, sedges, and reeds go well with ceramics.

Bouquets of cereals look better in glass vases.

For large, heavy flowers (dahlia, chrysanthemum), it is better to choose massive, rough ceramic vases.

Carnations, roses, orchids, anthuriums are placed in expensive vases or handmade metal ones.

Flowers with a leafless thin stem (gerbera, chamomile), as well as graceful, fragile flowers, are placed in porcelain or glass vases.

Low-growing plants or flowers with a short stem (violets, snowdrops, primroses, muscari, lilies of the valley) are placed in low flat vases or small wine glasses made of smoky crystal or glass.

Rule for selecting a vase:.

1) The most main principle– the principle of analogy: the shape of the bouquet should either repeat the shape of the vase or continue it.

2) You cannot place round-shaped bouquets in a slender, tall vase; the composition must be given the same elongated shape by selecting plants with slender stems.

3) A tall, wide-mouthed vase is suitable for a single-sided bouquet with a well-designed front part

4) A low and wide vase is necessary for a short and wide bouquet.

If a vase needs to be “fitted” into a table setting, it should be made of the same material as the dishes.

5) Jugs – suitable for creating antique compositions and kitchen bouquets

6) Baskets - most often woven baskets are used natural materials(vine, bamboo). The size of the basket should correspond to the size of the plants and material. The weaving should be tight.

A tray is a flat vessel with raised edges. Used to create tabletop compositions.

Other items - frying pans, ladles, milk jugs, teapots, sugar bowls, large shells, driftwood, children's toys, fruit vases, etc.

A container of cut watermelons, melons, and zucchini.

Vases-stands - made from tree slices, roots, thick pieces of bark, slate slabs, stones, etc.

Flowers are cut under the leaf node, at an angle with a sharp knife. When using a dull knife, the stem tissues wrinkle, which prevents water from penetrating. Leaves are removed from the lower part of the stem, which quickly rot in water. This is not done for roses and chrysanthemums, because... their leaves absorb water; thorns and bark cannot be removed. For better water absorption, the lower cut is renewed under running water. If the stems of a plant secrete milky juice when cut (poppy, spurge, dahlia, zinnia), then the sections are treated with flame or dipped in boiling water, then the sections are placed in cold water. The stems of bulbous plants should be cut green, because... the unpainted part of the stem does not absorb water well and must be removed. Autumn branches and bamboo are soaked in a concentrated sugar solution, so they become glossy and last a long time. An infusion of shag is injected into the stems of water lilies so that the flower remains open and preserves for a long time. Daisies are treated with salt. Dust particles are removed from lilies, tulips and some other flowers.

plants, because substances released by some plants are toxic to others.

Incompatible: carnations and roses; sweet peas and roses; dark red roses and tea roses; lilies of the valley and violets; lilies of the valley and lilac; lilies and daisies; lilies and poppies; lilies and cornflowers; poppies and orchids; forget-me-nots and tulips; tulips and daffodils; tulips and lilies of the valley; yellow primroses and muscari; yellow primroses and other primroses.

A. A. Titova

master's student at the N. Zhiganov State Conservatory,

teacher of the Children's Academy, Kazan

Scientific supervisor – G. I. Batyrshina,

Candidate of Pedagogical Sciences, Associate Professor

METHODOLOGY FOR TEACHING THE BASICS OF MUSICAL ARRANGEMENT

There are several interpretations of the concept of arrangement. The shortest and most common for all is the arrangement of a piece of music for performance by another set of instruments. This understanding of the term clearly comes into contact with long ago existing concepts instrumentation and orchestration of the work.

The etymology of the term arrangement (from German Arrangieren, French arranger, lit.) - to put in order, to arrange, on the one hand, gives a more vague understanding of its essence. On the other hand, these days the original meaning of the term is experiencing some revival. Increasingly, the words arrangement and arranger are used in a non-encyclopedic context. Arrangement refers to the creation of a musical work based on melody and chords, which includes the organization of musical texture, form, instrumentation, composing backing vocals, transitions, introduction and conclusion, performing and recording parts on various musical instruments, and mastering musical computer programs.

The real flowering of the art of arrangement came with the birth of popular genres of music in the second half of the 20th century. Due to relatively short term existence of a popular musical composition, the question arose about creating an accompaniment to the song with a minimum of cost and time. The computer arrangement coped with the task in the best possible way. Gradually, composers abandoned recording live musicians. The emergence of high-quality software and the development and approval of the electronic music genre played into the hands of this process.

Over time, the so-called format of modern musical composition has emerged, meeting the expectations and requirements of the music market. It changes according to the trends of musical fashion, gives the music a marketable value and is focused on successful market sales. It is the arranger who gives the musical material format, i.e. qualities that lead to the interest of the listening audience. Author of the original musical material can become both an amateur and a professional. Little is required from the author of the music - melody and harmony, everything else is taken care of by the arranger (sometimes the author and arranger are one person, sometimes they work in tandem). It depends only on him whether the product he created can become a hit. It is characteristic that the arranger, at least in our country, does not seek to declare his name, does not claim authorship or royalties, but is content with only a one-time payment for his work. The name of a good arranger is known in narrow circles of performers and composers; creative luck becomes the key to further prospects for orders, and, accordingly, profit.

There is another understanding of the term arrangement. A number of musicians explain it as a rearrangement of the original musical material in a new way. There is quite popular destination This kind of arrangement is a reworking of classical works. The music of Bach, Beethoven, Mozart, Borodin, Rachmaninov and many other great composers can now be heard in a new interpretation - as part of a verse of a vocal-instrumental composition, or as an independent instrumental work. At the same time, unlike instrumentation, the original musical material is processed - a change in harmony, form, size, rhythm, etc., but the source of the quotation remains recognizable.

Arrangers come to the profession in different ways. Some of them, of course, are the most competent in creating a musical composition - composers with higher musical education, others - musicians of various specializations, and, finally, a considerable part of the army of arrangers - people who have a primary musical education, but are well familiar with the format requirements of the modern musical stage .

As is known, there is no state educational system training of arrangers. However, studying the arrangement is often a component vocational training composers, musicologists, pop artists in secondary specialized and higher educational institutions. Arrangement skills are mastered within the framework of the courses “Computer Arrangement”, “Music Informatics”, etc.There are many training programs for studying arrangement, however, this subject, in most cases, remains an additional one, and not a special one.

The main difference between the arrangement process and composition is associated with the advent of musical computer software, which makes it possible to create a musical work in virtual space, and not on paper, as was the case for many centuries before. Now the musician does not need to anticipate the future sound or wait for the performers to learn the parts. The arranger can hear the first bars of the composition in full timbre composition already at initial stage creating music. A computer program allows him to adjust the sound vertical, achieving the best sound.

Remains open question, where and how to teach those interested the basics of arrangement? The subject of this article is to consider the issues of teaching the basics of arrangement to older children school age and students of secondary specialized institutions of additional education. The emergence of this trend in music education is due, firstly, to the spontaneous independent desire of students to understand how to create a computer arrangement using the Internet, which does not always give a positive result, and secondly, to the introduction of programs for learning to play electric keyboard instruments into the process of music education. As educators and students explore the principles of keyboard performance and creativity, they naturally want to understand the principles of arrangement so they can create their own compositions using the keyboard and computer.

The curriculum for studying the basics of arrangement should include a wide range of theoretical knowledge in the field of composition, instrumentation, acoustics, principles of sound synthesis, and knowledge in the field of computer music programs. In addition, the program should include hours of auditory analysis, practical classes. The stages of learning should be differentiated as the complexity of creative tasks increases. There are several educational programs and methodological developments on this issue, fully reflecting the range of issues related to teaching the basics of arrangement. However, the search for teaching methods remains relevant, especially since the pedagogy of arrangement is quite new, and the means for creating a musical arrangement are software, synthesizer models continue to change and improve.

As one of the new methods, we can propose an experimental, successfully tested method of transferring painting techniques into the process of creating an arrangement. It consists of a detailed study of painting techniques of various directions with the subsequent application of these methods in the arrangement. The student gets acquainted with the phenomenon of fine art, studies the corresponding paintings, and methods of filling the artistic canvas. Then, together with the teacher, he looks for funds musical expressiveness, similar in texture, figurative content, technical solution. This method has several important advantages:

the student receives a visual representation of in various ways filling in the musical texture;

the student becomes acquainted with artistic phenomena that connected musicians, artists, writers, etc. in certain historical periods.

integrity of the process musical creativity and fine art gives integrity to the texture, form of a musical work, and artistic validity of the musical image.

The great Leonardo da Vinci called music “the sister of painting.” Ideas of an organic fusion of arts have been around for a long time and remain popular today. For electromusical creativity, visualization is also relevant and natural. Visual images arise during the process of composing and arranging. On the one hand, when working at a keyboard synthesizer, the sound of synthetic timbres, their processing, overlay... all this actively awakens virtual visual images. On the other hand, when working at a computer, the process of creating music is already tied to the visibility of the sound - notes as midi events, signal volume level, voice panorama, moving cursor, etc. Immersion in painting helps to clearly “see” the task of musical implementation, fills the student with positive creative energy and, of course, inspires search.

The method of transferring painting techniques to the arrangement process consists of several stages:

• study of paintings, definition and study of style direction
• acquaintance with methods of translating ideas into painting
• creating an arrangement plan, researching resources (voices, effects, settings) of a computer program or synthesizer
• implementation of the arrangement plan, editing, mastering.

As an example of the application of the method, we can offer the study of the most striking and interesting stylistic trends.

Impressionism

The artistic meaning of this style direction is impression, chance, blur, the image of the world in its variability and mobility, the recording of fleeting impressions.

Techniques of impressionistic painting - blurred contours, colored shadows and reflections, complex tones are decomposed into clean, separate, adjacent strokes, counting on their optical mixing in the viewer's eye.

Impressionism in the arrangement - attention to pads, sound spots, vague texture, strengthening of the background voices due to bright timbres, smooth interweaving of timbres, sections of form. Musical creative tasks for mastering arrangements in the style of impressionism can be any piano pieces, from educational etudes to works by C. Debussy, M. Ravel or one’s own compositions. As examples of the most typical paintings, we can offer paintings by C. Monet, P. Cezanne, O. Renoir and others.

Cubism

The artistic meaning of style is the primacy of thought, knowledge of the essence, the objectivity of subjectivity in all its simplicity. Knowledge of a subject without involving an emotional component. Visual media cubism - objectivity, decomposition of form into elementary components (cube, ball, cone, etc.). No color palette, only brown, black and gray tones. The object was depicted not as a whole, but in parts and not from one, but from several points of view.

An arrangement in the Cubist style should have a clear form and clearly distinguishable elements of texture. Particularly close to cubism seems to be the work with relief, character A tern loops in a computer program. Based on a combination of musical cubes - samples - you can create a bright musical composition in the style of cubism. Samples can be ready-made, i.e. written into the program or memory of a keyboard synthesizer, and, for more advanced arrangers, created independently. You can also take as a basis the music of E. Varèse, whose ideas are close to cubism, J. Cage, A. Schoenberg, peers of cubism in painting. The characteristic paintings of P. Picasso are perfect for studying Cubist painting - “Accordionist”, “Girl with a Mandolin”, “Three Musicians”, etc.

Minimalism

The artistic meaning of minimalism is simplicity, a minimum of artist intervention in environment. “Less is more” is the motto of minimalists. The technical techniques of minimalist artists are minimal transformation of the materials used in the creative process, simplicity and uniformity of forms, and monochrome.

Musical minimalism is quite relevant today. There are many works that can be used as material for arrangement (authors - A. Pärt, M. Naiman, F. Glass, etc.). When arranging in the style of minimalism, it is necessary to focus on pure timbres, transparency, clarity of texture, and simplicity of form.

In addition to the designated style directions, big interest represent such areas of painting as tachisme (painting with spots), suprematism (the idea of ​​pure art), naive, fantasy, graffiti and many others. Transfer Method techniques painting on the arrangement process can be used in educational courses for children of high school age, students of music colleges and schools. This method, thanks to its high aesthetic orientation, elevates the process of teaching the basics of arrangement to an academic level.

Bibliography:

1. Hakobyan L. Edgar Varez//XX century Foreign music. Essays. Documentation. - M., GII, 2000.
2. Big Soviet encyclopedia: in 30 t./ch. ed. A. M. Prokhorov. - 3rd ed. - M.: Sov. encycl., 1969–1978
3. Zhivaikin P.L., 600 sound and music programs. St. Petersburg, 1999
4. Krasilnikov I.M., Zavyrylina S.N. Fundamentals of theory and practice of computer arrangement of musical works // Electronic musical instruments. A package of sample programs for institutions of secondary vocational education. – Togliatti: “Print-S”, 2006. – 41 p.
5. Krasilnikov I.M., Markushina O.A. Creation of arrangements of musical works and performing practice on a keyboard synthesizer // Electronic musical instruments. A package of sample programs for institutions of secondary vocational education. – Togliatti: “Print-S”, 2006. – 41 p.
6. Mazur A.K., Sikazin V.M., Promising principles of music performance using computer systems // Electronic technology and musical art. M., 1990.
7. Petelin R. Yu., Petelin Yu. V. Sound studio in PC. St. Petersburg, 1998.
8. Podkopaeva O.A. Methods for developing students' musical thinking in the keyboard synthesizer class // Pedagogy of Art. Electronic scientific journalInstitutions Russian Academy Education "Institute art education", No. 3, 2011http://www.art-education.ru/AE-magazine/archive/nomer-3-2011/podkopaeva-10-09-2011.pdf

This article is devoted to examining the most common mistakes that novice composers make when creating music/arrangements for symphony orchestra. However, the errors that will be discussed are quite common not only in symphonic music, but also in arrangements of pop, rock music, etc.

There are two groups of errors characteristic of composers:

1. 1. The first group is due to a lack of knowledge and experience. This problem is easy to solve.
2. 2. The second group is the result of a deficiency life experience and unformed taste. This factor is difficult to explain, but often it plays even more important role than training.

We'll talk about this below.

So, let's look at the main mistakes that deserve special attention.

1. Unconscious borrowing

Unconscious borrowing can also be called unintentional plagiarism. Almost everyone encounters this error. To solve this problem, you should listen to as many different types of music as possible. Often, listening to one composer or performer will have a strong impact on you, creating a strong connection between you and the elements of the music.

However, if you listen to enough different composers and musical groups, then you will not unknowingly copy them, but will write your own unique material. Borrowings can help you, but they should not make you a copy of some other composer.

2. Lack of balance

3. Boring textures

Same type textures bore the listener over a long period of time. If you listen to the scores of professionals, you can often see that every measure some changes are made to the orchestra, which color it in a new way. It is very rare that one instrument is used to perform a melody. Duplications are constantly being added, timbres are changed, etc.

To avoid monotony, study other people's arrangements and analyze the techniques you see in them.

4. Extra effort

We are talking about unusual techniques games that require maximum concentration from the performer. Often more simple techniques help to obtain a more harmonious arrangement. Rare tricks It is advisable to use it when it is justified, in other words, if the desired emotional effect cannot be achieved in any other way.

Of course, famous composers use all the maximum capabilities of the orchestra, but how much nerves does this cost them? Golden Rule- the simpler the better. If you do gravitate towards the avant-garde, first try to find an orchestra that is willing and able to play it.

5. Lack of emotions and intellectual fullness

I keep saying that balance is key. Your music will only have intellectual and emotional depth if you live an interesting and fulfilling life.

Almost all composers spent a lot of time traveling and actively participated in public life. Where will you get new ideas if your whole life is concentrated within four walls? The intellectual factor involves reflecting your worldview in your music.

Study philosophy, esotericism and related disciplines - this will help you develop creatively. Create great music can only a person with great soul. To write music, it is not enough to learn how to do it. The ability to communicate with people and the environment is of great importance.

6. Hysteria and intellectual overload

Excessive feelings or cold intellectuality do not lead to anything good. You need to put emotions controlled by the mind into music. Otherwise you will lose the very essence of musical art.

7. Using templates

Creativity dies where established cliches, cliches, etc. are used. Using all this, you become like an auto-arranger. You should strive to make each of your work unique, to reflect your individuality in it. This also applies to the arrangement of a pop song. Therefore, you should constantly look for new techniques, cross styles and avoid repetition.

Good-sounding templates can certainly serve you well, but you may end up losing yourself as a result.

8. Ignorance of tools

Incorrect use of instrument ranges is not uncommon. Without knowing the techniques, you can write parts that musicians simply cannot perform.

It is also worth paying attention to the fact that a successfully written part has a good sound even when performed with virtual instruments, while parts that were not written taking into account the specifics of the instrument will sound unconvincing even when performed live.

A professional musician just needs to look at the sheet music to understand how compatible this part is with his instrument. In other words, most of the parts can be played, but they may be so inconvenient that learning them is pointless, or written in such a way that even when played, for example, on a guitar, their sound will resemble another instrument.

To avoid this, you should listen carefully to the solo pieces for the instruments you are working with. The best option is to master the basic techniques of the game. You can also consult with the soloist, showing him your work.

This will help you quickly learn how to write comfortable parts that you can play. When writing for session musicians, how easily your parts can be sight-played or how quickly they can be taken down matters a lot.

9. Scores with artificial sound

Because most of authors work on a computer with virtual instruments, it is very important to achieve a realistic sound of your arrangements with virtually no corrections. As mentioned above, well-written parts sound good even when played back by a computer. This statement is true for both a rock band and a full symphony orchestra.

You should aim to achieve an effect where the listener is not wondering whether the orchestra sounds mechanical or whether the drums are programmed. Of course, by listening carefully, you can easily understand whether this is a live performance or a program one.

Hands and ears are your main helpers.

______________________

Each arranger always strives to make his arrangement something special, original, or at least not completely banal and similar to others. At the same time, he, often even completely unconsciously, uses techniques that not only do not make his work original, but can completely kill an overall good arrangement.

Firstly, I would like to immediately note that this article will not focus on any specific mistakes that arrangers make in their work. This is the topic of a separate article, if not a whole series of articles.

Those techniques that will be discussed in this article, from the point of view, so to speak, music science are not exactly errors. Rather, these are simply various cliches, clichés and other banal and hackneyed techniques of arrangement and composition, and no one forbids you to use them in your work.

However, if you still do not abandon the templates listed in the article, remember that the use of each of them will be one big fat minus in favor of the triviality of your work.

Secondly, I note once again that neither I nor anyone else forbids you from using the techniques described in the article and cannot forbid you; after all, arrangement is creativity, and there is no place for any laws in creativity.

And thirdly, I do not want to offend or offend anyone with this article. This is just my personal opinion on this issue, and if you disagree with me on something, you can speak about it in the comments to the article.

And with this we’ll finish the introduction and begin our hit parade of hackneyed arrangement techniques.

10th place - Intro

In my deep conviction, most compositions do not need so-called intros and other protracted long introductions at all.

I want to emphasize that there is no need for an intro of a particular composition, but as a preparatory track in music album it may be appropriate. But the key word here is “maybe,” not “will.”

In the vast majority of cases, the intro is stuck to the beginning of the composition without any justifiable reason. As a result, the composition turns out to be longer, more protracted, and often also emphatically pathetic.

In the end, if the intro is, in your deep conviction, simply a vital and integral part of a given song, then make it at least a separate track. In this case, a person will only have to press the “Next” button to switch to the main part and not listen to the stream of this, essentially, musical garbage.

9th place - Cello

The cello has become so widespread in modern arrangements for obvious reasons: extensive performance capabilities and an unusually rich, expressive timbre.

If some composition lacks depth of feeling, lyricism, etc., then the first thing that comes to the arranger’s mind is to add a cello part to it. And this, in my opinion, is the most banal thing he can do.

This is as vulgar a move as giving your girlfriend a single red rose.

Of course, the cello sounds beautiful in skillful hands (and the rose itself also looks very beautiful). But because of this, the cello has become such a common instrument that it is now better not to use it in this role at all.

After all, there are a huge number of other instruments besides the cello that also sound great. Try some less obvious instrument instead, such as a bassoon or at least a viola. Yes, they may not be so sweet. But the timbre of the same bassoon will already be something new in your arrangement and, if used skillfully, will add new and unique colors to it.

8th place - Filling in pauses

The essence of this stamp is as follows: the arranger tries to fill the places in the song where pauses of approximately 1 bar or more are formed between phrases in the vocal part. And perhaps the most banal move is to insert short phrases of some instrument, most often (and worst of all) the guitar.

It’s even worse if the instrument repeats the phrases sung by the vocalist. And it’s absolutely clinical if the solo part sounds without stopping at all, simultaneously with the vocals, without forming a competent, thoughtful polyphony with it. But this is no longer a hackneyed move, but a real mistake, which, as mentioned at the beginning of the article, we will not talk about here.

I don’t know where the fashion for filling such pauses came from, but this phenomenon is extremely common and, moreover, not only among amateurs.

Firstly, in my opinion, it is not always necessary to fill such pauses in a song. This may be unnecessary, including because it will distract attention and make it difficult to concentrate on the words. Pauses in this case can only be a plus, especially if the lyrics of the song are not so easy to understand.

And secondly, if pauses really form holes and, in the opinion of the arranger, destroy the integrity of the composition, then it is better to fill these pauses in some less primitive way than simply playing along with a solo instrument.

7th place - Modulation

By modulation, I’ll say right away, here we mean a transition to another key. But in the modulation itself, how expressive means there is nothing bad at all. But there is a way to apply it in a way that is banal and artless. And one of these ways is simply to simply raise the key by a semitone at the end (usually at the last chorus) of the song.

When an arranger lacks the skills or is simply too lazy to do anything to further develop a composition moving towards its conclusion, he simply uses modulation. Of course, it's so simple! There is no need to compose anything, just simply copy the desired part of the song and raise it by a half tone.

So remember: in the overwhelming majority of cases, modulation applied in this way is an indicator of the creative impotence of the arranger.

Of course, you can find various songs where such modulation turned out to be very appropriate. But in most cases, modulation is still used to solve some very specific artistic problems, and not because the arranger did not have enough ideas for developing the composition.

6th place - Solo "in third"

Well, I hope that those who are reading this article know what a third is, I will not explain it here.

But I will note: few things sound as unoriginal and Soviet-like as a solo guitar part performed, as they say, “in thirds.” That is, when some (usually slow, melodic) solo is performed not in one voice, but with the addition of a parallel part a third higher/lower.

At first glance, this sounds beautiful, but... it's just damn banal! Among classical metal performers in the 80s (and not only) such a move was simply unimaginably popular, which currently makes it not only hackneyed, but also outdated.

At the same time, the use of such an interval as a third will by no means be banal, but only if you do not use it this way, but use it in a different way. It is better to leave the guitar solo monophonic. Or if it’s really unbearable and you want to add a “third,” then assign the second voice to another instrument or at least make it noticeably quieter than the main one.

5th place - Fade-out

Another simply unprecedentedly common technique. For those who are suddenly not in the know, let me explain that a fade out is called a smooth attenuation of sound. Its opposite is fade-in - on the contrary, it is a smooth fade-in. I am sure that each of you knows at least one composition that ends exactly like this, with a fade-out, that is, it gradually fades out at the end.

So, in at least 90% of cases, the presence of a fade-out in a composition only indicates that the arranger lacked the ability and/or desire to compose a normal ending.

It's rare, very rare, that a song really is such that a clear ending just ruins it. Moreover, those compositions that fade out in the studio version, the musicians somehow play live at concerts and finish them without any fades, with very, very rare exceptions.

And the fade, like the intro, only lengthens the composition and, as it were, declares to the listener: “The song ends!”, which forces him to get distracted and press the “Next” button, even without listening to the end of the composition.

4th place - Direct associations and primitive stylization

As one smart person said: “If you see Music clip, in which it is raining and the song is about rain - then this is a Russian video.”

And there is some truth in these words, only in our case this phrase could be changed, for example, like this: “If a song is sung about a bell and a bell definitely sounds in it, then this is an arrangement by a Russian arranger.” Let me clarify: a bad Russian arranger.

It’s surprising, but to what extent arrangers often strive to deliberately emphasize in the arrangement what is being sung or to imitate in every possible way characteristics some musical style.

Well, isn’t it terrible when in a song, when you mention, say, the word “violin,” a violin actually starts playing along? And if in this case the song is not about the violin as such? Yes, this is absolutely monstrous!

The same applies to various kinds of primitive stylization. For example, a song, figuratively speaking, about Mother Rus' should be stuffed with balalaikas, gusli and psaltery, so that it becomes “more Russian”. Or, to create the atmosphere of Paris, be sure to use an accordion. Or if the song is about something ancient, then you definitely need to insert a harpsichord into it, “to give it a special flavor of the Baroque era.”

This kind of technique is almost always terrible and, perhaps, the only case when it might be appropriate is some kind of parody. And that's not always the case. Therefore, you should not emphasize the content of the song in this way. You should always make sure that musical ideas do not go towards such primitivism.

3rd place - Hackneyed presets, patches and samples

In general, I have always been and remain an opponent of using various kinds of presets when working with sound, but especially if it concerns various kinds of virtual instruments and loops.

Now there are quite a lot of different VSTi on the market and almost all of them have a set of ready-made patches. Naturally, the arranger will not bother himself and will use ready-made “sounds”. Why do anything to an instrument if it already sounds great? It seems logical, I won’t argue that some patches in virtual instruments and some pre-made loops can actually sound great.

But here's the problem. If you decide to use a preset of some ordinary piano or a bass drum sample, then that’s one thing. What if there is some non-standard instrument or loop with a special, specific sound? In this case, do not hesitate - it will be instantly recognized by those who have such an instrument and with high probability will not react positively to this.

Imagine that you bought yourself a really beautiful, original coat at a sale in a large chain store, and for a very modest amount. Do you think you will be the only one? Tell me, will you be pleased, walking down the street later, to meet passers-by in exactly the same outfit?

But most of our arrangers now work this way - practically on the same easily accessible plugins, with the same presets, patches and sample libraries. This gives rise to many or simply “identical” or very similar arrangements.

By the way, the presence of such similar elements can easily be perceived by someone as plagiarism. YouTube, I know from experience, can ban a video because it contains some sample somewhere that someone has already used in their song before you. Tell me, do you need it?

However, as a matter of principle, not using presets and not using ready-made loops is also not a very reasonable solution. After all, manufacturers create them to be used, not shunned.

But here you need to remember that the more non-standard, expressive and colorful a loop or patch is, the more noticeable it will be and the more likely it is that someone somewhere has already used it in their arrangement before you.

Therefore, even if you use some original instruments and loops from popular libraries, then process and change them at least a little to reduce the likelihood of such unpleasant coincidences.

2nd place - Saksovok

This is what I (jokingly, of course) call the saxophone. And for good reason. In general, the saxophone is an instrument with very great performance capabilities, albeit somewhat “spicy”, but still a beautiful and expressive sound.

This is why so many arrangers fell in love with the saxophone, thanks to which it began to appear so often in various songs that it can rightfully be considered one of the most frequently used wind instruments. And this is not at all good.

Despite all the expressiveness of its timbre and serious technical capabilities, the saxophone is not such a universal instrument as many people for some reason think. It is not for nothing that he never became a permanent member of the symphony orchestra. And in the brass band, his role has never been paramount.

Of course, the use of a saxophone in the brass section is almost always mandatory (along with the trumpet and trombone), but using it as a solo instrument in any composition is one of the most banal moves. Especially if it is a slow ballad, and the solo is performed on the alto saxophone with its sickeningly sweet timbre. This, by the way, is a sin not only for beginners, but also for many experienced arrangers, which is especially surprising.