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)