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EBSCO_on1061148507 |
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OCoLC |
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20231017213018.0 |
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m o d |
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cr cnu---unuuu |
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181105s2011 nyu ob 001 0 eng d |
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|a N$T
|b eng
|e rda
|e pn
|c N$T
|d OCLCQ
|d OCLCO
|d OCLCQ
|d OCLCO
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| 020 |
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|a 9780199701162
|q (electronic bk.)
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|a 0199701164
|q (electronic bk.)
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|z 9780195380996
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|z 0195380991
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|z 9780195381009
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|z 0195381009
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|a NLGGC
|b 430738846
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|a (OCoLC)1061148507
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|a MT73.5
|b .S87 2011eb
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|a MUS
|x 041000
|2 bisacsh
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|a 781.65/13
|2 22
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|a UAMI
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|a Sussman, Richard.
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|a Jazz composition and arranging in the digital age /
|c Richard Sussman and Michael Abene.
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|a New York :
|b Oxford University Press,
|c 2011.
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|a 1 online resource
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|a text
|b txt
|2 rdacontent
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|a computer
|b c
|2 rdamedia
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|a online resource
|b cr
|2 rdacarrier
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|a Includes bibliographical references and index.
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|a Machine generated contents note: SECTION ONE OVERVIEW AND BASIC INFORMATION -- 1. Introduction: Philosophical and Aesthetic Considerations -- 2. Music in the Digital Age: A Brief Overview of MIDI and Music Software -- 2-1. Overview of MIDI -- 2-2. MIDI 101 -- 2-3. MIDI Messages -- 2-4. An Overview of Music Software -- Chapter Summary -- 3. Basic Information on Instrument Ranges and Transpositions -- 3-1. The Brass Section -- 3-2. The Woodwind Section -- 3-3. The Rhythm Section -- 4. Fundamental Musical Considerations -- 4-1. Balance -- 4-2. Economy -- 4-3. Focus -- 4-4. Contrast and Variety -- 4-5. Tension and Release -- 4-6. Unity -- 5. Introduction to Music Notation Software -- 5-1.A Brief Historical Overview -- 5-2. Finale and Sibelius -- 5-3. Music Notation Software Basics -- 5-4. MIDI Playback and Editing -- 5-5. Music Preparation Basics -- Chapter Summary -- SECTION TWO ARRANGING FOR SMALL ENSEMBLE (3-6 HORNS + RHYTHM SECTION).
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|a Contents note continued: 6. Overview of Small Ensemble Writing: Rhythm and Rhythmic Notation/Preparing the Score -- 6-1. Jazz Rhythm Basics -- 6-2. Rhythmic Pulse and Style -- 6-3. Jazz Syncopation and Notation (Melodic Rhythm) -- 6-4. Swing Feel (Melodic Rhythm) -- 6-5. Harmonic Rhythm -- 6-6. Score Preparation -- Chapter Summary -- Exercises -- 7. Melody and Motivic Development (3-4 Horns) -- 7-1. Basic Melodic Considerations: Melodic Shape and Motion -- 7-2. Melodic Motives and Phrase Structure -- 7-3. Techniques of Motivic Development -- 7-4. Basic Types of Musical Texture -- 7-5. Applying the Techniques of Melodic Development to an Arrangement -- Chapter Summary -- Exercises -- 8. Basic Harmonic Concepts (3-4 Horns) -- 8-1. Chords Built by Thirds and Chord Scales -- 8-2. Vertical Harmony: Basic Principles of Jazz Chord Voicings -- 8-3. Horizontal Harmony -- 8-4. Standard Jazz Voicing Positions -- 8-5. Modal Concepts of Jazz Chord Voicings -- 8-6. Melodic Motion and Voice Leading.
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|a Contents note continued: Chapter Summary -- Exercises -- 9. Reharmonization of Approach Tones (3-4 Horns) -- 9-1. Reharmonization of Approach Tones -- 9-2. Repeated Notes, Static Harmony, and Voice Leading -- Chapter Summary -- Exercises -- 10. Melodic Reharmonization and Counterpoint (3-4 Horns) -- 10-1. Techniques of Melodic Reharmonization -- 10-2. Independent Counter-melodies and Polyphony -- Chapter Summary -- Exercises -- 11. Form and Planning the Arrangement/Instrumentation -- 11-1. Concept and Direction -- 11-2. Improvisation and Form -- 11-3. Basic Elements of Form -- 11-4. Outlining and Graphing the Form -- 11-5. Instrumentation and Outlining the Form -- 11-6. Intros -- 11-7. Transitions/Kickers -- 11-8. Background Parts -- 11-9. Codas/Endings -- Chapter Summary -- Exercises -- 12. Dynamics and Articulation/Brass Mutes -- 12-1. Dynamics -- 12-2. Brass and Woodwind Articulations and Phrasing -- 12-3. Muted Brass -- Chapter Summary -- Exercises -- 13. The Rhythm Section.
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|a Contents note continued: 13-1. Piano/Guitar -- 13-2. Bass -- 13-3. Chord Symbols and Abbreviations -- 13-4. Drums -- 13-5. General Considerations -- 13-6. Rhythm Section Styles -- Chapter Summary -- Exercises -- 14.Completing the 3- to 4-Horn Arrangement -- 14-1. Adding a Recap and Ending -- 14-2. Score and Part Layouts and Music Spacing -- 14-3. Proofreading and Part Transpositions -- 14-4. Printing the Parts and the Score -- 14-5. Sample 4-Horn Arrangement and Analysis: "Bill Bossa" (Richard Sussman) -- Chapter Summary -- Exercises -- 15. Notation Software: Generating Parts, Page Layout, and Printing -- 15-1. Finale -- 15-2. Sibelius -- 15-3. Printing the Parts and the Score -- Chapter Summary -- Exercises -- 16. Arranging for 5-6 Horns: Harmony and Chord Voicings -- 16-1. Standard Chord Voicings for 5-6 Horns -- 16-2. Reharmonization of Approach Tones for 5-6 Horns -- 16-3. Repeated Notes, Static Harmony, and Voice Leading for 5-6 Horns.
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|a Contents note continued: 16-4. Five and Six Note Close Position Voicings and Use of the Sus 4 and Natural or Augmented Eleventh -- Chapter Summary -- Exercises -- 17. Form and Planning the Arrangement (5-6 Horns) -- 17-1. Elements of Form (5-6 Horns) -- 17-2. Woodwind and Brass Doubles and Muted Brass -- 17-3. Instrumentation and Outlining the Form (5-6 Horns) -- 17-4. Intros, Transitions/Kickers, Background Parts, Codas/Endings -- 17-5. Laying Out the Score: Workflow Concepts -- Chapter Summary -- Exercises -- 18. The Soli and the Shout Chorus -- 18-1. The Soli Section -- 18-2. Analysis of Soli Examples 18-1A and 18-1B -- 18-3. The Shout Chorus -- 18-4. Analysis of Shout Chorus Example 18-2 -- 18-5. Recorded Examples of Solis and Shout Choruses for 5-7 Horns -- Chapter Summary -- Exercises -- 19.Completing the 6-Horn Arrangement -- 19-1. Adding a Recap and an Ending -- 19-2. Score and Part Layouts/Transpositions/Proofreading/Printing.
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|a Contents note continued: 19-3. Six-Horn Arrangement and Analysis: "On a Misty Night" (Tadd Dameron/arr. Willie Smith) -- 19-4. Six-Horn Arrangement and Analysis: "Minor Infraction" (Michael Abene) -- Chapter Summary -- Exercises -- SECTION THREE ARRANGING FOR LARGE JAZZ ENSEMBLE (8 BRASS, 5 REEDS, AND RHYTHM) -- 20. Overview of Large Ensemble Writing -- 20-1. Overview and Historical Perspective -- 20-2. Basic Principles and Considerations -- 20-3. The Expanded Sound Palette -- 20-4. Laying Out the Score -- 20-5. Selecting a Tune for a Big Band Arrangement -- 20-6. Recommended Listening -- Chapter Summary -- Exercises -- 21. Unison and Octave Writing/Monophonic Texture -- 21-1. Melodic Considerations -- 21-2.Combining the Instruments: Considerations of Timbre, Register, and Tessitura -- 21-3. Melodic Phrase Structure -- Chapter Summary -- Exercises -- 22. Concerted Writing for Brass -- 22-1. Overview of Concerted Writing for Brass.
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|a Contents note continued: 22-2. Review of Basic Harmonic and Voicing Principles (Vertical Harmony) -- 22-3. Application of Basic Voicing Principles to 8 Brass -- 22-4. Reharmonization of Approach Tones, Repeated Notes, and Voice Leading for 8 Brass -- 22-5. Voicing Considerations If the Melody Is in the Low Mid-Register (8 Brass) -- 22-6. Voicing Considerations If the Melody Is in the Mid-Upper Register (8 Brass): "The Basie Sound" -- 22-7. When To Use Open Position Voicings -- 22-8. Software Considerations -- Chapter Summary -- Exercises -- 23. Concerted Writing for Saxes/Combining Brass and Saxes -- 23-1. Standard Voicing Techniques for Saxes -- 23-2.Combining Brass and Saxes: Constant and Variable Coupling -- 23-3. Summary of Basic Principles of Combining Brass and Saxes: "The Basie Sound" -- 23-4. Reharmonization of Approach Tones, Repeated Notes, and Voice Leading for 5 Saxes -- Chapter Summary -- Exercises -- 24. Big Band Instrumental Subdivisions.
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|a Contents note continued: 24-1. Contrasting the Brass and Sax Sections -- 24-2. Cross-Sectional Instrumental Subdivisions -- Chapter Summary -- Exercises -- 25. Form and Planning the Arrangement -- 25-1. Elements of Form -- 25-2. Instrumentation and Outlining the Form (Big Band) -- 25-3. Laying Out the Score and Workflow Concepts -- 25-4. Observations on the Creative Process -- 25-5. Workflow Analysis of "Cross Section" -- Chapter Summary -- Exercises -- 26. Modern Harmonic Concepts and Voicing Techniques -- 26-1. Chords by Fourths -- 26-2. Upper-Structure Triads -- 26-3. Polytonal Sounds -- 26-4. Other Types of Modern Chord Structures -- 26-5. Clusters and Spread Voicings -- Chapter Summary -- Exercises -- 27. More on Modern Harmony and Melodic Reharmonization -- 27-1. Constant Structures -- 27-2. Parallel Five-Voice Structures -- 27-3. Modern Techniques of Melodic Reharmonization -- 27-4. Independent Countermelodies and Polyphony with Modern Harmonies -- Chapter Summary -- Exercises.
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|a Contents note continued: 28. Woodwind and Brass Doubles and Mutes -- 28-1. Woodwind and Brass Doubles -- 28-2. Woodwind Doubles, Dynamics, and Balance -- 28-3. Woodwind and Brass Doubles and Mutes: Homogeneous Combinations -- 28-4. Woodwind and Brass Doubles and Mutes: Mixed Combinations -- 28-5. Orchestral Colors Within the Big Band -- 28-6. More Instrumental Subdivisions and Color Combinations -- Chapter Summary -- Exercises -- 29. Line Writing and Polyphony -- 29-1. Basic Principles of Line Writing -- 29-2. Line-Writing Procedure -- 29-3. Increasing or Decreasing the Number of Harmonized Voices: "Lineaology" -- 29-4. Additional Examples of Polyphonic Big Band Writing -- Chapter Summary -- Exercises -- 30. The Soli Section (Big Band) -- 30-1. Basic Principles and Method for Creating the Soli Section -- 30-2. Analysis of "Analycity" Soli by Richard Sussman Examples 30-1A, B, and C -- 30-3. Analysis of "Swangalang" Sax Soli / Bob Mintzer.
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|a Contents note continued: 30-4. Analysis of "Memories of Lives Past" Mixed-Section Soli / Michael Abene -- Chapter Summary -- Exercises -- 31. The Shout Chorus (Big Band) -- 31-1. Basic Characteristics of the Shout Chorus -- 31-2. Analysis of "Unithology" Shout Chorus / Richard Sussman -- 31-3. Analysis of "Get a Handel on It" Shout Chorus / Richard Sussman -- 31-4. Analysis of "Uncertainty" Shout Chorus / Michael Abene -- Chapter Summary -- Exercises -- 32. Arranging for Vocalists and Instrumental Soloists -- 32-1. Basic Principles for Accompanying a Soloist -- 32-2. Principles Specific to Vocalists/The Importance of the Lyric -- 32-3. Analysis of "Who Cares?" / Michael Abene -- Chapter Summary -- Exercises -- 33.Completing the Big Band Arrangement -- 33-1. Adding a Recap and an Ending -- 33-2. Score and Part Layouts/Transpositions/Proofreading/Printing -- 33-3. Analysis of "Fletcher" / Richard Sussman -- 33-4. Analysis of "Uncertainty" / Michael Abene.
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|a Contents note continued: 33-5. Analysis of "Art of the Big Band" / Bob Mintzer -- Chapter Summary -- Exercises -- 34. Summary of Music Notation Software Techniques -- 34-1. Summary of Music Notation Techniques and Features -- 34-2.Comparison of Finale and Sibelius -- 34-3. Additional Software Tips -- 34-4. Using a Sequencer in Conjunction with Notation Software -- 34-5. Where Do We Go from Here? -- Chapter Summary.
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|a Print version record.
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| 590 |
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|a eBooks on EBSCOhost
|b EBSCO eBook Subscription Academic Collection - Worldwide
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| 650 |
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|a Arrangement (Music)
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| 650 |
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|a Composition (Music)
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| 650 |
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|a Jazz
|x Instruction and study.
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| 650 |
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|a Instrumentation and orchestration (Band)
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| 650 |
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|a Musical notation
|x Computer programs.
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| 650 |
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|a Arrangement (Musique)
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| 650 |
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6 |
|a Composition (Musique)
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| 650 |
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|a Instrumentation et orchestration (Harmonie)
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| 650 |
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|a Musique
|x Notation
|x Logiciels.
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| 650 |
|
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|a MUSIC
|x Instruction & Study
|x Theory.
|2 bisacsh
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|a Arrangement (Music)
|2 fast
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| 650 |
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7 |
|a Composition (Music)
|2 fast
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| 650 |
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|a Instrumentation and orchestration (Band)
|2 fast
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| 650 |
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|a Jazz
|x Instruction and study
|2 fast
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| 650 |
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|a Musical notation
|x Computer programs
|2 fast
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| 700 |
1 |
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|a Abene, Mike.
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| 776 |
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|i Print version:
|a Sussman, Richard.
|t Jazz composition and arranging in the digital age.
|d New York : Oxford University Press, 2011
|z 9780195380996
|w (DLC) 2010053107
|w (OCoLC)781144002
|
| 856 |
4 |
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|u https://ebsco.uam.elogim.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1926250
|z Texto completo
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| 938 |
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|a EBSCOhost
|b EBSC
|n 1926250
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| 994 |
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|a 92
|b IZTAP
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