The listening room
At the Arranging Desk
One miniature, 150 individual orchestrations. Find an artist, press Play, and hear how the parts fit together.
Choose an artist · search & filtersChristian McBride
Period follows the artist’s main era. Size and instruments describe this study; a section counts as one part.
150 artists · A–Z
The current artist is outside these filters. Choose a result to change the player.
Original miniature
Small Hours
8 bars · C major · 4/4 Swing eighths · 2:1
This study takes McBride’s big-band side: a forward walking bass, full reed harmony, short trombone replies and a closing octave lift. This eight-bar setting uses quarter-note walking bass beneath trumpet.
Choose Play to hear the recorded ensemble.
The passage
Read what you hear
All parts at sounding pitch · middle C = C4 · eighth notes follow the selected feel. Select a bar to inspect or replay it.
Inside the ensemble
Listen by part
Combine Solo buttons to hear a voicing or a doubling. Mute removes a part from the mix.
Downloads include every part at concert pitch. MIDI includes the selected tempo and swing feel.
Bar 01 · I · tonic
Cmaj9
Solo the walking bass first. Add piano, then the five reeds, and finally trumpet and trombone; hear the band build from the rhythm section.
Sounding pitches
High to low · muted parts are dimmed · note releases can leave a rest between attacks.
| Part | Pitch | Chord role |
|---|
From the arranging bookshelf Sebesky · Nestico
This original Christian McBride study applies the books’ approach of examining voicings, registers and instrumental combinations. It illustrates one facet of the artist’s work in a reduced ensemble; it is not a transcription or a reproduction of a book example. The melody and eight-bar progression remain the same throughout the artist collection.
Artist context: Christian McBride · bands and musical projects. The scoring choices in this miniature are our illustrative interpretation.
- Don Sebesky, The Contemporary Arranger: “Combining the Woodwinds,” printed pp. 69–70 (PDF pp. 78–79), compares balance at different registers. “Voicing the Strings,” beginning on printed p. 124 (PDF p. 133), discusses distributing string voices. “Combining Strings with Winds,” printed p. 155 (PDF p. 164), demonstrates how a flute changes the color and balance of a string line.
- Sammy Nestico, The Complete Arranger: “Close [Block] Voicing” and “Semi-Open Voicing,” printed p. 24 (PDF p. 26), contrast a compact moving saxophone block with a voice dropped an octave. The part scores and pitch inspector let you examine the spacing used in this artist’s study.
Each artist’s arrangement uses separately recorded parts, so Solo and Mute reveal the same performance heard in the full ensemble. Winds, piano and supported orchestral instruments use MuseSounds; upright bass uses Karoryfer recordings. Other colors retain the credited libraries below. Tempo changes preserve concert pitch.
Performances rendered with free MuseSounds and the libraries below. Recording credits and instrument coverage.
Recordings: VSCO 2 CE (CC0), MTG Solo Saxophones (CC BY 4.0), and Karoryfer Meatbass (CC0). Additional sounds: FluidR3 GM (CC BY 3.0). Full credits and sample changes.
Voicing & register
At the section’s first attack (beat 1), the voicing is: Alto sax 1 E5 (3); Alto sax 2 D5 (9); Tenor sax 1 B3 (maj7); Tenor sax 2 G3 (5); Baritone sax E3 (3). Bass path: C2–G2–E2–G♯2.
Timbral combination
The background follows the melody’s attacks, so the harmony moves as a block. Trombone · answer rests here, leaving the lead color exposed.
Voice leading & harmony
The opening E is the third. G–A–G makes the sixth a brief neighbor before the melody lands on D, the ninth.