빅밴드 재즈 앙상블을 위한 편곡 (버클리 음대)
Arranging for Large Jazz Ensemble (Berklee) [50449528]

버클리 음대에서 출판한 빅밴드 재즈 앙상블 편곡에 대한 종합 교본입니다.
Jeff Friedman, Ted Pease, Scott Free, Greg Hopkins, Bill Scism 등 존경받는 버클리 음대 교수진이 함께 작업한 교본으로 정통 빅밴드 재즈 스타일에서의 호른 섹션 편곡에 중점을 두고 있으며 이 내용들은 재즈뿐만 아니라 힙합에서 스카까지 다양한 다른 장르에도 적용 가능합니다.
예제의 모범 연주 음원이 온라인으로 제공되며 책 첫 페이지에 인쇄된 사이트 주소와 코드로 접속해서 스트리밍이나 다운로드 모두 가능합니다.


- Contents -

Introduction
 What this Book Covers
 How to Use this Book and Audio
 A Note on Range Recommendations
 Acknowledgments
 About the Authors

1 Basic Information
1-1 Transposition of Instruments
1-2 Instrument Ranges and Sound Characteristics
1-3 Comparison of Instruments' Ranges
1-4 Low-Interval Limits
1-5 Special Effects for Wind Instruments (Track 1)
1-6 Rcharmonizing Approach Notes
1-7 Chord Scales
 Tonal Context
 In Tonic Major
 In Tonic Minor
 Modal Interchange Used in Major
 Chord Scales for the V7 Chord (Primary Dominant Seventh)
 Secondary Dominant Seventh Chord Scales
 Substitute Dominant Seventh Chord Scales
 Special Function Dominant Seventh Chord Scales
 Diminished Seventh Chord Scales
 Modal Chord Scales
1-8 Preparing a Score
1-9 Overview of an Arrangement
 Elements of Form: Intros, Interludes, and Endings
 Modulation and Rcharmonization
 Graphing an Arrangement
1-10 Exercise

2 Unison and Octave Writing
2-1 Procedure
2-2 Orchestration and Timbral Effects
2-3 High-Timbre Unison (Tracks 2-5)
2-4 Medium-Timbre Unison (Tracks 6-7)
2-5 Low-Timbre Unison (Tracks 8-10)
2-6 Octave Doubling (Tracks 11-15)
2-7 Melodic Subdivision (Tracks 16-18)
 Abrupt Fragments
 Smooth Flow
 Short Subdivisions, Two Groups
 Longer Subdivisions, Three Groups
 Longest Subdivisions, Two Groups
2-8 Contrapuntal Application (Track 19)
2-9 Exercises

3 Concerted Writing with Mechanical Voicings
3-1 Procedure
3-2 Coupling the Saxes to the Brass
3-3 Recommended Ranges for Lead Instruments
3-4 4&4 Concerted Writing
 With Constant Coupling (Tracks 20-21)
 With Variable Coupling (Track 22-23)
 With Full Doubling (Track 24)
3-5 Concerted Writing for 5&5, 7&5, and 8&5
 5&5 with Constant Coupling (Track 25)
 7&5 with Variable Coupling (Track 26)
 8&5 with Constant and Variable Coupling (Track 27)
3-6 Avoiding Repeated Notes
 Editing to Eliminate Repeated Notes
 Crossing of Voices
 Reharmonizing Approach Notes
3-7 Exercises

4 Spread Voicings
4-1 Procedure
4-2 Spreads for 4&4 and 5&5
 Five-Part Spread for 4&4 Under Unison Melody (Track 28)
 Concerted Melody for 5&5 with Five-Part Spread (Track 29)
4-3 Tutti Writing Using Spreads
 Five-Part Spread for 5&5 (Track 30)
 Eight-Part Spread for 7&5 Coupling Baritone with Brass
 Mixed-Timbre Spread for 8&5 (Track 32)
 Beyond Standard Orchestration
4-4 Exercises

5 Voicings in Fourths
5-1 Procedure for Voicings in Fourths
 For 4&4
 For 5&5
 For 7&5
 For 8&5
5-2 Sample Passages Voiced in Fourths
 4&4 Concerted Writing Using Fourths (Track 33)
 5&5 Tutti Using Fourths (Track 34)
 7&5 Concerted Melody Using Fourths (Track 35)
 8&5 Subdivided and Concerted Melody Using Fourths (Track 36)
5-3 Exercises

6 Upper Structure Triad Voinings
6-1 Procedure
 For 4&4
 For 5&5
 For 7&5
 For 8&5
6-2 4&4 Upper Structure Triad Voictngs (Track 37)
6-3 5&5 Concerted with Supporting Spreads (Track 38)
6-4 7&5 Reharmonized Melody (Track 39)
6-5 8&5 Dominant Seventh Reharmonization (Track 40)
6-6 Excercise

7 Voicings in Clusters (Seconds)
7-1 Procedure
 For 4&4
 For 5&5
 For 7&5
 For 8&5
7-2 4&4 Using Clusters in Brass Counterpoint (Track 41)
7-3 5&5 Saxophone and Brass Counterpoint (Track 42)
7-4 7&5 Concerted Melody in Clusters (Track 43)
7-5 8&5 Sustained Texture and Counterpoint (Track 44)
7-6 Exercise

8 Line Writing
8-1 Procedure
8-2 Five-Part Saxophone Soli (Track 45)
8-3 Line Writing in a 5&5 Concerted Passage (Track 46)
8-4 Building from the Bottom for Contrary Motion (Track 47)
 Five-Part Line Writing, Bottom First
 Five-Part Line Writing in 7&5 Ensemble
8-5 Cascade Effect (Track 48)
8-6 Exercise

9 Woodwind Doubling and Muted Brass
9-1 Woodwind Doubling
9-2 Muted Brass
 Characteristics and Ranges for Five Mutes
 Practical Considerations for All Mutes
9-3 Applications of Woodwinds and Muted Brass
 Unison and Octave Combinations (Tracks 49-52)
 Voiced Woodwinds (Tracks 53-54)
 Large Ensemble, Various Woodwinds and Muted Brass Effects
9-4 Excercise

10 Soli Writing
10-1 Procedure
 Suggested Lead Ranges for Soli Writing
 Creating the Lead Line
10-2 Saxophone Solis
 Four-Way Close, Double Lead (Track 56)
 Line Writing (Track 57)
10-3 Brass Solis
 For Four Trumpets, Three Trombones (Track 58)
 For Four Trumpets (Track 59)
 For Three Trombones (Track 60)
10-4 Exercise

11 Background Writing
11-1 Riff Background (Track 61)
11-2 Backgrounds Based on Guide Tone Lines
11-3 Compositional Approach
11-4 Exercises

12 Shout Choruses
12-1 Characteristics
12-2 Recommended Listening
12-3 Analysis of Shout Chorus (Track 62)
 Inventing the Shout Melody
 The Big Picture
12-4 Exercises

13 Style (Five Versions of The Birthday Song)
13-1 Early Jazz Style (Track 63)
 Arrangement by Bill Seism
13-2 Count Basie’s Style (Track 64)
 Arrangement by Scott Free
13-3 Duke Ellington’s Style (Track 65)
 Arrangement by Jeff Friedman
13-4 Bill Holman’s Style (Track 66)
 Arrangement by Ted Pease
13- 5 Gil Evans’ Style (Track 67)
 Arrangement by Greg Hopkins

14 Analysis of a Complete Arrangement
14-1 Schematic of the Arrangement
14-2 Lead Sheet
14-3 The Score and Commentary (Track 68)