Dick Lowell, Ken Pullig – Arranging For Large Jazz Ensemble

Dick Lowell, Ken Pullig - Arranging For Large Jazz EnsembleДик Лоуэлл, Кен Пуллиг: “Аранжировка для большого джазового ансамбля”. Издание Berklee.

Теория, ноты для фортепиано, звуковые примеры.

Курс по джазовой оркестровке и аранжировке.

Содержание:

Introduction
What this Book Covers
How to Use this Book and CD
A Note on Range Recommendations
Acknowledgments
About the Authors
Chapter 1. Basic Information
1-1 Transposition of Instruments
1-2 Instrument Ranges and Sound Characteristics
1-3 Comparison of Instruments’ Ranges
1-4 Low-lnterval Limits
1 -5 Special Effects for Wind Instruments
1-6 Reharmonizing Approach Notes
1-7 Chord Scales
1-8 Preparing a Score
1-9 Overview of an Arrangement
1-10 Exercise
Chapter 2. Unison and Octave Writing
2-1 Procedure
2-2 Orchestration and Timbral Effects
2-3 High-Timbre Unison
2-4 Medium-Timbre Unison
2-5 Low-Timbre Unison
2-6 Octave Doubling
2-7 Melodic Subdivision
2-8 Contrapuntal Application
2-9 Exercises
Chapter 3. Concerted Writing with Mechanical Voicings
Procedure
3-2 Coupling the Saxes to the Brass
3-3 Recommended Ranges for Lead Instrument
3-4 4&4 Concerted Writing
3-5 Concerted Writing for 5&5, 7&5, and 8&5
3-6 Dealing with Repeated Notes
3-7 Exercises
Chapter 4. Spread Voicings
4-1 Procedure
4-2 Spreads for 4&4 and 5&5
4-3 Tutti Writing Using Spreads
4-4 Exercises
Chapter 5. Voicings in Fourths
5-1 Procedure for Voicings in Fourths
5-2 Sample Passages Voiced in Fourths
5-3 Exercises
Chapter 6. Upper Structure. Triad Voicings
6-1 Procedure
6-2 4&4 Upper Structure Triad Voicings
6-3 5&5 Concerted with Supporting Spreads
6-4 7&5 Reharmonized Melody
6-5 8&5 Dominant Seventh Reharmonization
6-6 Exercises
Chapter 7. Voicings in Clusters (Seconds)
7-1 Procedure
7-2 4&4 Using Clusters in Brass Counterpoint
7-3 5&5 Saxophone and Brass Counterpoint
7-4 7&5 Concerted Melody in Clusters
7-5 8&5 Sustained Texture and Counterpoint
7-6 Exercise
Chapter 8. Line Writing
8-1 Procedure
8-2 Five-Part Saxophone Soli
8-3 Line Writing in a 5&5 Concerted Passage
8-4 Building from the Bottom for Contrary Motion
8-5 Cascade Effect
8-6 Exercise
Chapter 9. Woodwind Doubling and Muted Brass
9-1 Woodwind Doubling
9-2 Muted Brass
9-3 Applications of Woodwinds and Muted Brass
9-4 Exercise
Chapter 10. Soli Writing
10-1 Procedure
10-2 Saxophone Solis
10-3 Brass Solis
10-4 Exercise
Chapter 11. Background Writing
11-1 Riff Background
11-2 Backgrounds Based on Guide Tone Lines
11-3 Compositional Approach
11-4 Exercises
Chapter 12. Shout Choruses
12-1 Characteristics
12-2 Recommended Listening
12-3 Analysis of a Shout Chorus
12-4 Exercises
Chapter 13. Style
13-1 Early Jazz Style
13-2 Count Basie’s Style
13-3 Duke Ellington’s Style
13-4 Bill Holman’s Style
13-5 Gil Evan’s Style
Chapter 14. Analysis of a Complete Arrangement
14-1 Schematic of the Arrangement
14-2 Lead Sheet
14-3 The Score and Commentary.

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