Horn Charts Series: "Don't Stop Til You Get Enough"
Ahhh, B major. A favorite key for Michael Jackson, I think, if this reference chart is to be believed. It lists “Billie Jean” as being in B major as well, even though is it clearly in F# minor, so that seems dubious.
The problem with B major for horn players, in my experience, is that it is relatively unpracticed. While every horn is suited to a particular key set (e.g.": most brass is F or B-flat and related major/minor keys), playing outside your comfort zone is just that: uncomfortable. Once you get used to it, however, you’ll find that it isn’t all that tough. A quick remedy for low brass players to start playing all your B-flat etudes in B by switching the key signature IN YOUR MIND. It’s easier than you think. It’s just practice. Don’t be afraid.
Another thing that makes this tune tough is trying to emulate the chromatic 16th notes of the strings on the recording. It’s such a signature of the arrangement that it can’t be left out by the horn section (if there are no string players onstage, which I highly doubt there are at your wedding gig). So, more practice! Start slow to build up the muscle memory before adding speed. I prefer working with a metronome once I get the overall feel and fluidity down. Find the comfortable tempo for you (mine is usually 70-80bpm) and bump up by 5bpms each time until you can’t play it. Then, move onto something else for the rest of practice and try again tomorrow. You WILL get better with enough repetition. Give it a week, at least.
Finally, as an arranger I often encounter the dilemma of B-flat instrument transposition for B major.
“Should I write the trumpet/tenor sax parts in Db or C# major?”
Well, I gave you both here because I’ve found that it really comes down to personal preference for every player. YOU ARE WELCOME.
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See the Horn Charts archive here
In my ongoing effort to distribute correct information and spread goodwill, I'm posting PDF files of my transcribed horn charts for pop/variety band (3-piece: trumpet, tenor sax, trombone). I consider these selections as standard repertoire for the modern commercial musician, so think of these as educational tools to help you get through the gig. Like a Real Book for the pop musician—except with editing.