Jazz composition and arranging in the digital age /

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Sussman, Richard
Otros Autores: Abene, Mike
Formato: Electrónico eBook
Idioma:Inglés
Publicado: New York : Oxford University Press, 2011.
Temas:
Arrangement (Music)
Composition (Music)
Jazz > Instruction and study.
Instrumentation and orchestration (Band)
Musical notation > Computer programs.
Arrangement (Musique)
Composition (Musique)
Instrumentation et orchestration (Harmonie)
Musique > Notation > Logiciels.
MUSIC > Instruction & Study > Theory.
Jazz > Instruction and study
Musical notation > Computer programs
Acceso en línea:Texto completo
Tabla de Contenidos:
  • 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).
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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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