TABLE OF CONTENTS CHAPTER 1 PREREQUISITES FOR WRITING AN ARRANGEMENT... 1 1.1 Basic Concepts... 1 1.1.1 Density... 1 1.1.2 Harmonic Definition... 2 1.2 Planning... 2 1.2.1 Drafting a Plan... 2 1.2.2 Choosing a Key... 3 1.3 Sketch... 3 1.4 Score... 4 1.4.1 Placement of the Instruments... 4 1.4.2 Presentation... 9 1.5 Rhythmic Variations... 9 1.5.1 Anticipation... 10 1.5.2 Delay... 10 1.5.3 Diminution and Augmentation... 10 1.6 Articulations... 11 1.6.1 Staccato... 11 1.6.2 Tenuto... 11 1.6.3 Accent... 11 1.6.4 Marcato... 12 1.6.5 Legato... 12 1.6.6 Breath Mark... 12 1.6.7 Fermata... 13 1.7 Typical Jazz Articulations... 13 Exercises... 14 1.8 Melodic Variations... 16 1.8.1 Passing Tone... 17 1.8.2 Neighbour Tone... 17 1.8.3 Double Neighbour... 17 1.8.4 Chord Tones... 18 1.9 Melodic Contour... 18 Exercises... 19
Jazz Arranging CHAPTER 2 INSTRUMENTATION... 23 2.1 Brass... 23 2.1.1 Trumpet (B )... 23 2.1.2 Flugelhorn (B )... 24 2.1.3 Tenor Trombone... 25 2.1.4 Bass Trombone... 28 2.1.5 French Horn (F)... 29 2.1.6 Tuba... 30 2.2 Woodwinds... 30 2.2.1 Piccolo (C)... 30 2.2.2 Flute (C)... 31 2.2.3 Alto Flute (G)... 33 2.2.4 Oboe... 33 2.2.5 English Horn (F)... 34 2.2.6 Clarinet (B )... 35 2.2.7 Bass Clarinet (B )... 35 2.2.8 Bassoon... 36 2.3 Saxophones... 37 2.3.1 Soprano Saxophone (B )... 38 2.3.2 Alto Saxophone (E )... 38 2.3.3 Tenor Saxophone (B )... 39 2.3.4 Baritone Saxophone (E )... 41 2.4 Strings... 41 2.4.1 String Section... 42 2.4.2 Violin... 44 2.4.3 Viola... 44 2.4.4 Cello... 44 2.4.5 Double Bass... 45 2.4.6 Bowing... 45 2.4.7 Bowing Techniques... 46 2.4.8 Effects... 48 Exercises... 52 2.5 Harp... 54 2.5.1 Pedals... 54 2.5.2 Arpeggios... 55 2.5.3 Pedal Changes... 55 2.5.4 Glissandos... 56 2.5.5 Effects... 57 Exercises... 57 2.6 Choir... 59 vi
TABLE OF CONTENTS 2.7 Rhythm Section... 59 2.7.1 Guitar... 60 2.7.2 Piano... 62 Exercises... 68 2.7.3 Electronic Keyboards... 70 2.7.4 Bass... 71 Exercises... 80 2.7.5 Drums... 82 2.8 Percussion... 87 2.8.1 Vibraphone... 88 2.8.2 Xylophone... 88 2.8.3 Marimba... 89 2.8.4 Glockenspiel... 90 2.8.5 Timpani... 91 2.8.6 Unpitched Instruments... 91 CHAPTER 3 PARALLEL WRITING... 95 3.1 Low Interval Limits... 95 Exercises... 96 3.2 Tension Resolution... 97 Exercises... 102 3.3 Parallel Writing... 103 3.3.1 Chord Tones... 104 3.3.2 Extensions... 104 3.3.3 Approaches... 104 3.3.4 Foreign tones... 106 Exercises... 107 3.4 Four-Part Parallel Writing... 108 3.4.1 Harmonizing Chord Tones... 108 3.4.2 Harmonizing Extensions... 109 3.4.3 Harmonizing Foreign Tones... 110 Exercises... 111 3.4.4 Harmonizing Sustained Tones... 113 3.4.5 Rhythmic Anticipations... 114 3.4.6 Options for Maj and Min Chords... 115 3.4.7 Options for Dom7 Chords... 116 3.4.8 Options for Min7 Chords... 119 3.4.9 Special Voicings... 119 Exercises... 123 vii
Jazz Arranging 3.5 Harmonizing Approaches... 126 3.5.1 With a Diminished Chord... 126 3.5.2 With a Chromatic Chord... 128 3.5.3 With the Dominant Chord... 128 3.5.4 With a Diatonic Chord... 129 3.5.5 With a Parallel Chord... 132 Exercises... 134 3.5.6 Harmonizing Consecutive Approaches... 137 Exercises... 139 3.6 Open Positions... 140 3.6.1 Second Voice Dropped an Octave... 141 3.6.2 Third Voice Dropped an Octave... 142 3.6.3 Second and Fourth Voices Dropped an Octave... 143 3.6.4 Minor Ninth... 144 Exercises... 145 Formative Evaluation 1: Four-Part Writing... 148 3.7 Tutti... 150 3.7.1 Trumpets in Tuttis... 150 3.7.2 Trombones in Tuttis... 152 3.7.3 Saxophones in Tuttis... 155 Exercises... 159 3.8 Two-Part Writing... 163 3.8.1 A Cappella Duo in Parallel Writing... 163 3.8.2 Acceptable Poor Resolutions... 167 3.8.3 Pentatonic Scale in Two-Part Writing... 168 3.8.4 Writing for Two Independent Voices... 169 3.8.5 Chromatic Lines in Writing for Two Independent Voices... 169 3.8.6 Duo with a Rhythm Section... 171 3.8.7 Inversion... 171 Exercises... 172 3.9 Three-Part Writing... 176 3.9.1 Principles of Three-Part Parallel Writing... 176 3.9.2 Special Voicings in Three-Part Writing... 177 3.9.3 Second Independent Voice... 178 3.9.4 Open Voicing in Three-Part Writing... 178 Exercises... 179 3.9.5 Fourths in Three-Part Writing... 182 3.9.6 3-2 Voicings in Three-Part Writing... 184 Exercises... 187 viii
TABLE OF CONTENTS 3.10 Five-Part Writing... 188 3.10.1 Pentatonic Scale in Five-Part Writing... 188 Exercises... 194 3.10.2 Approaches in Pentatonic Writing... 195 Exercises... 198 3.10.3 Five-Part Writing in Fourths... 199 Exercises... 201 3.10.4 Major Triads in the Upper Voices... 202 3.10.5 Use of Major Triads in the Upper Voices in Five Parts... 206 Exercises... 210 3.10.6 Use of Major Triads in the Upper Voices in a Tutti... 212 Exercises... 214 Formative Evaluation 2: Two-, Three-, and Five-Part Parallel Writing... 215 CHAPTER 4 COUNTERMELODIES... 219 4.1 Chorale-Style Writing... 219 4.1.1 Three-Part Chorale Style... 219 Exercises... 226 4.1.2 Four- and Five-Part Chorale Style... 230 4.1.3 Special Voicings... 231 Exercises... 234 4.2 Observations on Rhythm... 237 4.3 Observations on Melody and Harmony... 238 4.4 Rhythmic Decoration... 241 Exercises... 243 4.5 Melodic Decoration... 246 4.5.1 Tension Resolutions as Sources of Melodic Decoration... 246 4.5.2 Fifths and Ninths as Sources of Melodic Decoration in Dom7 Chords... 248 Exercises... 251 4.6 Chorale Style Applied to the Melody... 254 Exercises... 256 4.7 Guide Tone Lines... 258 Exercises... 264 Formative Evaluation 3: Writing Countermelodies... 267 ix
Jazz Arranging CHAPTER 5 SPECIAL TECHNIQUES AND REHARMONIZATION... 269 5.1 Pastel Writing... 269 Exercises... 273 5.2 Reharmonization with Major Triads... 276 5.2.1 Role of the Rhythm Section in Reharmonization with Major Triads... 281 Exercises... 283 5.2.2 Tutti in a Reharmonization with Major Triads... 285 Exercises... 288 5.3 Reharmonization Using a Chord as a Bass Line... 290 5.4 Reharmonization with Maj7 Chords... 293 5.4.1 Maj7 Reharmonization for Four Instruments... 293 5.4.2 Maj7 Reharmonization for Five Instruments... 294 5.4.3 Role of the Rhythm Section in Maj7 Reharmonization... 294 5.4.4 Voice Crossing... 296 5.4.5 Tutti in Maj7 Reharmonization... 298 5.4.6 Saxophones in a Brass Soli Harmonized with Maj7 Chords... 299 Exercises... 300 5.5 Pickups... 302 Exercises... 303 5.6 Modal Reharmonization... 305 Exercises... 308 5.7 Polytonality... 309 CHAPTER 6 LINEAR WRITING... 313 6.1 General Principle for the Formation of a Chord Scale... 313 6.2 Scale Analysis... 315 Exercises... 318 6.3 Tonal Centre Scales... 319 6.3.1 Maj Chord Scales... 319 6.3.2 Min Chord Scales... 320 6.3.3 Dom7 Chord Scales... 321 6.3.4 Min7 Chord Scales... 324 6.3.5 Min7( 5) Chord Scales... 325 6.3.6 Dim Chord Scales... 326 6.3.7 Other Scales... 327 Exercises... 330 6.4 Construction of Five-Note Block Chords... 331 6.4.1 Balance and Transparency... 332 Exercises... 336 6.5 Analyzing the Melody... 337 6.6 Harmonizing a Melody Using Linear Writing... 338 Exercises... 342 x
TABLE OF CONTENTS 6.7 Linear Writing for Fewer Than and More Than Five Parts... 348 6.7.1 Three- and Four-Part Linear Writing... 348 6.7.2 Structures Derived from Voicing in Fourths... 349 Exercises... 350 6.7.3 Linear Writing for Six or More Parts... 352 Exercises... 354 Formative Evaluation 4: Linear Writing... 355 Addendum: Mathematical Formula to Calculate the Length of an Arrangement... 358 Exercises... 359 Supplemental Exercises: Four-Part Parallel Writing... 360 ANSWER KEY... 365 Chapter 1... 366 Sections 1.1 to 1.7... 366 Sections 1.8 and 1.9... 368 Chapter 2... 371 Sections 2.1 to 2.4... 371 Section 2.5... 373 Sections 2.6 and 2.7... 375 Chapter 3... 380 Section 3.1... 380 Section 3.2... 380 Section 3.3... 382 Section 3.4... 384 Section 3.5... 391 Section 3.6... 396 Formative Evaluation 1... 400 Section 3.7... 403 Section 3.8... 408 Section 3.9... 413 Section 3.10... 417 Formative Evaluation 2... 427 Chapter 4... 430 Section 4.1... 430 Sections 4.2 to 4.4... 437 Section 4.5... 441 Section 4.6... 447 Section 4.7... 449 Formative Evaluation 3... 454 Chapter 5... 457 Section 5.1... 457 Section 5.2... 459 Sections 5.3 and 5.4... 464 Section 5.5... 466 Section 5.6... 469 xi
Jazz Arranging Chapter 6... 470 Sections 6.1 and 6.2... 470 Section 6.3... 471 Section 6.4... 473 Sections 6.5 and 6.6... 475 Section 6.7... 482 Formative Evaluation 4... 487 Addendum... 490 Supplemental Exercises... 491 GLOSSARY... 497 BIBLIOGRAPHY... 505 INDEX... 507 xii