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Jazz Composition and Arranging in the Digital Age [Kõva köide]

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(Professor of Jazz Composition, Manhattan School of Music, Patterson, NY), (Professor of Jazz Composition, Manhattan School of Music, Nyack, New York)
  • Formaat: Hardback, 544 pages, kõrgus x laius x paksus: 282x220x30 mm, kaal: 1500 g, richly illustrated with extensive musical examples throughout
  • Ilmumisaeg: 23-Feb-2012
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0195380991
  • ISBN-13: 9780195380996
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Jazz Composition and Arranging in the Digital AgeSuurem pilt
  • Formaat: Hardback, 544 pages, kõrgus x laius x paksus: 282x220x30 mm, kaal: 1500 g, richly illustrated with extensive musical examples throughout
  • Ilmumisaeg: 23-Feb-2012
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0195380991
  • ISBN-13: 9780195380996
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780195380996.html
Märksõnad:
Jazz Composition and Arranging In the Digital Age is a comprehensive and practical instructional book and reference guide on the art and craft of jazz composition and arranging for small and large ensembles. In this book, veteran composers and arrangers Richard Sussman and Michael Abene combine their extensive years of experience as musicians and instructors to demonstrate how advances in music technology and software may be integrated with traditional compositional concepts to form a new and more efficient paradigm for the creative process.

This book builds on material and issues treated in traditional jazz composition and arranging courses, including all the fundamental musical techniques and information associated with jazz arranging and composition instruction. In addition, each chapter of the book also contains specific examples demonstrating the effective utilization of music software as applied to the realization of these techniques. Software is employed both as both a learning tool in the form of examples and exercises, and as a practical tool illustrating how many modern day composer/arrangers are utilizing these techniques successfully in the real world. The book also offers several chapters devoted exclusively to the creative use of music technology and software. The extensive companion website provides listening examples for each chapter as well as enhanced software tips, expanded and additional music examples, and appendices of , basic principles and an expanded recommended listening list for further study.

Arvustused

Jazz Composition and Arranging in the Digital Age is a must have for any musician who plans to be a jazz musician. As composition and arranging are integral parts of developing a sound and style as a jazz artist, this book covers the basic considerations that will provide the skills to allow this to happen. Richard and Mike have left no stone unturned in laying out the fundamentals of composition and orchestration. This is a great book compiled by two fantastic musicians. I've already learned several things on the first read-through, and am looking forward to going back for more. * Bob Mintzer * Richard Sussman and Michael Abene have created an all encompassing look into the techniques and methods for realizing a musical arrangement in the 21st century. However, what really sets this book apart is the great care the authors take to emphasize that the only true guide for any musician is one's inner ear and creative instincts, thus constantly encouraging the reader to assume ultimate responsibility and ownership of the creative process. * Gil Goldstein * Unique and cutting edge. Just when it seemed the subject had no new approaches to uncover come Sussman and Abene. Grounded with solid basics and served up in the language of today's computer-enhanced music world. An extraordinary, must-have reference for all arrangers from the beginner to the seasoned pro. * Gary Anderson, Arranger / Orchestrator for TV & Film * This is one of the most comprehensive books ever written on the subject and the detailed helpful hints on using Finale or Sibelius make it THE book to use in this new century. This textbook is invaluable for college teachers and their students. * Richard DeRosa, Professor of Jazz Composition and Arranging, University of North Texas * A comprehensive bookboth musically and technologicallyfor the 21st-century jazz composer-arranger, written by two masters of the art. * Bill Kirchner, jazz musician/producer/historian/educator, and editor of The Oxford Companion To Jazz *

Preface and Acknowledgments xiii
Richard Sussman
Preface xv
Michael Abene
Music Examples---Recording Credits xvii
Companion Website Audio Examples: Track List xix
How to Use This Book and the Companion Website xxiii
SECTION ONE OVERVIEW AND BASIC INFORMATION
1 Introduction: Philosophical and Aesthetic Considerations
3(2)
2 Music in the Digital Age: A Brief Overview of MIDI and Music Software
5(10)
2-1 Overview of MIDI
6(1)
2-2 MIDI 101
7(1)
2-3 MIDI Messages
8(1)
2-4 An Overview of Music Software
9(6)
Chapter Summary
13(2)
3 Basic Information on Instrument Ranges and Transpositions
15(18)
3-1 The Brass Section
16(6)
3-2 The Woodwind Section
22(5)
3-3 The Rhythm Section
27(6)
4 Fundamental Musical Considerations
33(4)
4-1 Balance
33(1)
4-2 Economy
34(1)
4-3 Focus
34(1)
4-4 Contrast and Variety
34(1)
4-5 Tension and Release
34(1)
4-6 Unity
35(2)
5 Introduction to Music Notation Software
37(20)
5-1 A Brief Historical Overview
37(2)
5-2 Finale and Sibelius
39(1)
5-3 Music Notation Software Basics
40(7)
5-4 MIDI Playback and Editing
47(3)
5-5 Music Preparation Basics
50(7)
Chapter Summary
53(4)
SECTION TWO ARRANGING FOR SMALL ENSEMBLE (3-6 HORNS + RHYTHM SECTION)
6 Overview of Small Ensemble Writing: Rhythm and Rhythmic Notation/Preparing the Score
57(10)
6-1 Jazz Rhythm Basics
57(1)
6-2 Rhythmic Pulse and Style
58(1)
6-3 Jazz Syncopation and Notation (Melodic Rhythm)
59(3)
6-4 Swing Feel (Melodic Rhythm)
62(1)
6-5 Harmonic Rhythm
63(1)
6-6 Score Preparation
63(4)
Chapter Summary
64(1)
Exercises
64(3)
7 Melody and Motivic Development (3-4 Horns)
67(14)
7-1 Basic Melodic Considerations: Melodic Shape and Motion
67(2)
7-2 Melodic Motives and Phrase Structure
69(2)
7-3 Techniques of Motivic Development
71(3)
7-4 Basic Types of Musical Texture
74(2)
7-5 Applying the Techniques of Melodic Development to an Arrangement
76(5)
Chapter Summary
79(1)
Exercises
79(2)
8 Basic Harmonic Concepts (3-4 Horns)
81(24)
8-1 Chords Built by Thirds and Chord Scales
82(4)
8-2 Vertical Harmony: Basic Principles of Jazz Chord Voicings
86(1)
8-3 Horizontal Harmony
87(3)
8-4 Standard Jazz Voicing Positions
90(6)
8-5 Modal Concepts of Jazz Chord Voicings
96(2)
8-6 Melodic Motion and Voice Leading
98(7)
Chapter Summary
100(1)
Exercises
100(5)
9 Reharmonization of Approach Tones (3-4 Horns)
105(14)
9-1 Reharmonization of Approach Tones
105(6)
9-2 Repeated Notes, Static Harmony, and Voice Leading
111(8)
Chapter Summary
116(1)
Exercises
116(3)
10 Melodic Reharmonization and Counterpoint (3-4 Horns)
119(12)
10-1 Techniques of Melodic Reharmonization
119(7)
10-2 Independent Counter-melodies and Polyphony
126(5)
Chapter Summary
129(1)
Exercises
129(2)
11 Form and Planning the Arrangement/Instrumentation
131(18)
11-1 Concept and Direction
131(2)
11-2 Improvisation and Form
133(1)
11-3 Basic Elements of Form
133(4)
11-4 Outlining and Graphing the Form
137(1)
11-5 Instrumentation and Outlining the Form
138(2)
11-6 Intros
140(2)
11-7 Transitions/Kickers
142(2)
11-8 Background Parts
144(2)
11-9 Codas/Endings
146(3)
Chapter Summary
147(1)
Exercises
147(2)
12 Dynamics and Articulation/Brass Mutes
149(12)
12-1 Dynamics
149(1)
12-2 Brass and Woodwind Articulations and Phrasing
150(5)
12-3 Muted Brass
155(6)
Chapter Summary
158(1)
Exercises
159(2)
13 The Rhythm Section
161(10)
13-1 Piano/Guitar
161(2)
13-2 Bass
163(1)
13-3 Chord Symbols and Abbreviations
164(1)
13-4 Drums
165(1)
13-5 General Considerations
166(3)
13-6 Rhythm Section Styles
169(2)
Chapter Summary
170(1)
Exercises
170(1)
14 Completing the 3-to 4-Horn Arrangement
171(16)
14-1 Adding a Recap and Ending
171(1)
14-2 Score and Part Layouts and Music Spacing
172(1)
14-3 Proofreading and Part Transpositions
172(1)
14-4 Printing the Parts and the Score
173(1)
14-5 Sample 4-Horn Arrangement and Analysis: "Bill Bossa" (Richard Sussman)
174(13)
Chapter Summary
185(1)
Exercises
185(2)
15 Notation Software: Generating Parts, Page Layout, and Printing
187(10)
15-1 Finale
189(4)
15-2 Sibelius
193(2)
15-3 Printing the Parts and the Score
195(2)
Chapter Summary
195(1)
Exercises
196(1)
16 Arranging for 5-6 Horns: Harmony and Chord Voicings
197(16)
16-1 Standard Chord Voicings for 5-6 Horns
198(6)
16-2 Reharmonization of Approach Tones for 5-6 Horns
204(2)
16-3 Repeated Notes, Static Harmony, and Voice Leading for 5-6 Horns
206(1)
16-4 Five and Six Note Close Position Voicings and Use of the Sus 4 and Natural or Augmented Eleventh
206(7)
Chapter Summary
208(1)
Exercises
209(4)
17 Form and Planning the Arrangement (5-6 Horns)
213(12)
17-1 Elements of Form (5-6 Horns)
213(1)
17-2 Woodwind and Brass Doubles and Muted Brass
213(1)
17-3 Instrumentation and Outlining the Form (5-6 Horns)
214(2)
17-4 Intros, Transitions/Kickers, Background Parts, Codas/Endings
216(6)
17-5 Laying Out the Score: Workflow Concepts
222(3)
Chapter Summary
222(1)
Exercises
223(2)
18 The Soli and the Shout Chorus
225(12)
18-1 The Soli Section
225(5)
18-2 Analysis of Soli Examples 18-1A and 18-1B
230(1)
18-3 The Shout Chorus
230(3)
18-4 Analysis of Shout Chorus Example 18-2
233(1)
18-5 Recorded Examples of Solis and Shout Choruses for 5-7 Horns
233(4)
Chapter Summary
234(1)
Exercises
235(2)
19 Completing the 6-Horn Arrangement
237(26)
19-1 Adding a Recap and an Ending
237(1)
19-2 Score and Part Layouts/Transpositions/Proofreading/Printing
238(1)
19-3 Six-Horn Arrangement and Analysis: "On a Misty Night" (Tadd Dameron/arr. Willie Smith)
238(9)
19-4 Six-Horn Arrangement and Analysis: "Minor Infraction" (Michael Abene)
247(16)
Chapter Summary
259(1)
Exercises
260(3)
SECTION THREE ARRANGING FOR LARGE JAZZ ENSEMBLE (8 BRASS, 5 REEDS, AND RHYTHM)
20 Overview of Large Ensemble Writing
263(8)
20-1 Overview and Historical Perspective
263(2)
20-2 Basic Principles and Considerations
265(1)
20-3 The Expanded Sound Palette
265(1)
20-4 Laying Out the Score
266(1)
20-5 Selecting a Tune for a Big Band Arrangement
267(1)
20-6 Recommended Listening
268(3)
Chapter Summary
269(1)
Exercises
270(1)
21 Unison and Octave Writing/Monophonic Texture
271(12)
21-1 Melodic Considerations
271(1)
21-2 Combining the Instruments: Considerations of Timbre, Register, and Tessitura
272(2)
21-3 Melodic Phrase Structure
274(9)
Chapter Summary
278(3)
Exercises
281(2)
22 Concerted Writing for Brass
283(16)
22-1 Overview of Concerted Writing for Brass
283(1)
22-2 Review of Basic Harmonic and Voicing Principles (Vertical Harmony)
284(1)
22-3 Application of Basic Voicing Principles to 8 Brass
284(2)
22-4 Reharmonization of Approach Tones, Repeated Notes, and Voice Leading for 8 Brass
286(1)
22-5 Voicing Considerations If the Melody Is in the Low Mid-Register (8 Brass)
286(2)
22-6 Voicing Considerations If the Melody Is in the Mid-Upper Register (8 Brass): "The Basie Sound"
288(6)
22-7 When To Use Open Position Voicings
294(1)
22-8 Software Considerations
295(4)
Chapter Summary
297(1)
Exercises
297(2)
23 Concerted Writing for Saxes/Combining Brass and Saxes
299(16)
23-1 Standard Voicing Techniques for Saxes
299(2)
23-2 Combining Brass and Saxes: Constant and Variable Coupling
301(9)
23-3 Summary of Basic Principles of Combining Brass and Saxes: "The Basie Sound"
310(1)
23-4 Reharmonization of Approach Tones, Repeated Notes, and Voice Leading for 5 Saxes
311(4)
Chapter Summary
311(1)
Exercises
312(3)
24 Big Band Instrumental Subdivisions
315(12)
24-1 Contrasting the Brass and Sax Sections
315(5)
24-2 Cross-Sectional Instrumental Subdivisions
320(7)
Chapter Summary
324(1)
Exercises
324(3)
25 Form and Planning the Arrangement
327(12)
25-1 Elements of Form
327(1)
25-2 Instrumentation and Outlining the Form (Big Band)
328(2)
25-3 Laying Out the Score and Workflow Concepts
330(1)
25-4 Observations on the Creative Process
331(1)
25-5 Workflow Analysis of "Cross Section"
332(7)
Chapter Summary
337(1)
Exercises
337(2)
26 Modern Harmonic Concepts and Voicing Techniques
339(16)
26-1 Chords by Fourths
340(5)
26-2 Upper-Structure Triads
345(3)
26-3 Polytonal Sounds
348(1)
26-4 Other Types of Modern Chord Structures
348(1)
26-5 Clusters and Spread Voicings
349(6)
Chapter Summary
352(1)
Exercises
352(3)
27 More on Modern Harmony and Melodic Reharmonization
355(10)
27-1 Constant Structures
356(1)
27-2 Parallel Five-Voice Structures
357(1)
27-3 Modern Techniques of Melodic Reharmonization
358(3)
27-4 Independent Countermelodies and Polyphony with Modern Harmonies
361(4)
Chapter Summary
362(1)
Exercises
363(2)
28 Woodwind and Brass Doubles and Mutes
365(18)
28-1 Woodwind and Brass Doubles
365(2)
28-2 Woodwind Doubles, Dynamics, and Balance
367(1)
28-3 Woodwind and Brass Doubles and Mutes: Homogeneous Combinations
368(4)
28-4 Woodwind and Brass Doubles and Mutes: Mixed Combinations
372(7)
28-5 Orchestral Colors Within the Big Band
379(1)
28-6 More Instrumental Subdivisions and Color Combinations
379(4)
Chapter Summary
381(1)
Exercises
382(1)
29 Line Writing and Polyphony
383(22)
29-1 Basic Principles of Line Writing
383(1)
29-2 Line-Writing Procedure
384(9)
29-3 Increasing or Decreasing the Number of Harmonized Voices: "Lineaology"
393(3)
29-4 Additional Examples of Polyphonic Big Band Writing
396(9)
Chapter Summary
402(1)
Exercises
402(3)
30 The Soli Section (Big Band)
405(12)
30-1 Basic Principles and Method for Creating the Soli Section
406(4)
30-2 Analysis of "Analycity" Soli
410(1)
Richard Sussman
30-3 Analysis of "Swangalang" Sax Soli
411(2)
Bob Mintzer
30-4 Analysis of "Memories of Lives Past" Mixed-Section Soli
413(4)
Michael Abene
Chapter Summary
416(1)
Exercises
416(1)
31 The Shout Chorus (Big Band)
417(16)
31-1 Basic Characteristics of the Shout Chorus
417(1)
31-2 Analysis of "Unithology" Shout Chorus
418(5)
Richard Sussman
31-3 Analysis of "Get a Handel on It" Shout Chorus
423(3)
Richard Sussman
31-4 Analysis of "Uncertainty" Shout Chorus
426(7)
Michael Abene
Chapter Summary
431(1)
Exercises
432(1)
32 Arranging for Vocalists and Instrumental Soloists
433(20)
32-1 Basic Principles for Accompanying a Soloist
433(2)
32-2 Principles Specific to Vocalists/The Importance of the Lyric
435(3)
32-3 Analysis of "Who Cares?"
438(15)
Michael Abene
Chapter Summary
451(1)
Exercises
451(2)
33 Completing the Big Band Arrangement
453(32)
33-1 Adding a Recap and an Ending
453(1)
33-2 Score and Part Layouts/Transpositions/Proofreading/Printing
454(1)
33-3 Analysis of "Fletcher"
454(9)
Richard Sussman
33-4 Analysis of "Uncertainty"
463(9)
Michael Abene
33-5 Analysis of "Art of the Big Band"
472(13)
Bob Mintzer
Chapter Summary
482(1)
Exercises
483(2)
34 Summary of Music Notation Software Techniques
485(8)
34-1 Summary of Music Notation Techniques and Features
485(2)
34-2 Comparison of Finale and Sibelius
487(1)
34-3 Additional Software Tips
488(1)
34-4 Using a Sequencer in Conjunction with Notation Software
488(2)
34-5 Where Do We Go from Here?
490(3)
Chapter Summary
491(2)
Appendices (on the Companion Website)
A Summary of Basic Arranging and Voicing Principles
B Recommended Recordings for Further Study
C Recommended Reading for Further Study
Index 493
In addition to his many accomplishments as a jazz pianist, composer, and arranger, Richard Sussman has also achieved widespread acclaim as a jazz educator, clinician, and music technologist. He has been a member of the Jazz Composition faculty at Manhattan School of Music for over 25 years, where his duties have included teaching undergraduate and graduate level courses in jazz arranging, as well as the direction of all aspects of Music Technology and Software within the Jazz Program.

Richard Sussman received the prestigious ASCAP award for Jazz Composition in 2008, honoring jazz legend Hank Jones. Richard went on to work as an arranger with Hank on several projects, including a concert with the acclaimed Metropole Orchestra of Amsterdam. Richard was the last arranger to work with Hank Jones prior to his passing in May 2010.





Michael Abene is widely acknowledged to be one of the greatest living jazz composer/arrangers, and the list of artists he has collaborated with reads like a modern day "Who's Who" of jazz. Michael is also a greatly respected jazz educator. In addition to teaching jazz composition and arranging at the Manhattan School of Music, Mr. Abene co-directed the BMI Jazz Composers Workshop for many years. He is also a much sought after guest conductor and clinician. Michael has been director of the esteemed WDR Radio Big Band of Cologne, Germany since 2003.