ARRANGING: JAZZ 2 BERKLEE PRESS Oncaea, Arranging lar Large Jaze knsemle Hick Lowell ad Ren uli Ete by Michael Co herklee press Contents Anuoduction What ts Book Covers How to Le this Book and CD A Note ot Range Roeominendacions Ackrowlednents About the Auth 1 Basie Information 1-1 Transposition of Insieuments 12. Instrumeng anges wnet Snel Chaastrstien 1-3 Comparison of Insinanents’ Ranges 1 Laneefuterval Tirta, Ls 1-8 Reharmemizing Apprenicl Noes 1-7 Chuid Sees ‘etal Coatext In Torte. Major Ty Tans Mines ‘Mod Tntorchsr Chori Sea Sevoraary Dorcineat Seveuth Chosd Sesles Snbstine Dominant Seveuth Chord Seales Speceal Foachon Donninane Soveath Chor! Seales Diminishee Sevorth Chord Seales ‘Modal Chord Seales 1-3 Proparing 9 Seas 19 Overview of a Aerangenrient Elements of Form fneos. loteales, aod Eeaings Modulation and Rehisi:nonization Graphing aa Arvaqgentent LAW Excisise Special Tits fr Wien frvtrursents (CT) Trach 13 40 Use in Vigor far the 2 Choad éPrinamy Deira, Seven) 2 Liaison and Qelave Wrif 21 Pressure ay ‘Ovehestatens and Tina Pts igh Tanbre Uaison (CD iseks 2 9 Meuiium-Tirabre Cian (CD Tracks 6-7) Tasw- Tombs Unison (CT Trach 81D) Octave Doubling (CD Travey HIS) Michie Sundivision (C1) Tracks (5-18 Abrupt Prasarets Sicoath Flow Sho¢t Subdivisions, Twe Groups Langer Sobsl’sons. Tluee Groups Longest Subdivisions, Tise Groups 248 Contraovatal Appuication {CD ‘Track 182 2D Rxcnises Concerted Writing with Mechanical Voicings 21 Procedue 32 Coupling the Saxes to the Brast 34 Recommented Ranges for Lead lostiuns Seb 48-1 Conceal Writing Wilks Costar, Coupling (CD Trucks 20-211 Wilks Vasile Coupling {CD Track 22-735, With Call Doubling 4D Tras’ 244 BS Concested Writing for $45. T&S. wud $85 S85 witl Constant Coupling (CD Teaek 25) aS wih Vaviahle Cop ing ¢C1 tuck 26 8.85 with Constant anne Vaviable Chaplin: 3-6 Avoitling Repeated Notes Tilting ts Fihminate Reeabal Nes Caving? ol Vives Relsamntosizing Approach Nowes kxerises Ty Track 27) Spread Voicinys I Ymoesdere 420 Syreadh for 484 ar 985 ive Part Spread for 484 Loder Unison. Melody (CD ‘rack 28) ‘Concerted Mouly 200 585 with Five Past Sarcuo (CL Tisek 291 44 Tutu Writiog Usiag Spreads Five Pant Spread for 5&5 (CL) Track 30+ Eight Pome Spices for 785 Coupling Bacitoce with Brass MinedTietre Spreua For 8825 {CD Truck 321 sand Slindard Orchasteatios 4 Bxeve'sen ‘Yoieings in Fourths 5.1 Procedure for Voicings in Fomsths Tor Ade Tor SRS To 76 Tor 885 5-2 Saiple Passares Voted in Tourts ‘14 Concerted Wrikieg Using Fours (CD trace 583 Tur Ling Foun (C0 rack $1) 3 Concerted Melly Using Pounhs (CT Track 35) 385 Subervided ard Concertce Melody Using Faunihs (1 Track 38) 3 Frsreses 6 Upper Structure Triad Voicings 61 Prwedure Fare Fora For 285 or BRS 2804 Uppur Structure Triad Voicings (CD Track 27) ne 5&5 Concertod witk Sepoonting Sareeds (CJ> Ick 381 8 285 Rehasmonizell Melody (CD Track 39) 9 R&S Dominant Seventh Reburmonazativn (CD Track 40) 91 Trercise 95 Voicings in Clusters (Seconds) 8 FL Proordure 95 ¥% 96 o AS Ling Cauntees in Brass Cowaterpoint (CD Track 41) 3 S45 Sasphone and Brass Counterpoint (CT Truck ™ 38S Concerted Mody jn Clesters (CD rack 24 wu B&5 Suse Lexie ane Chenreypeent (C1) Tick 44) Ww Exercise 1s 8 ing Bel Proclure 10s 2 Fvear Ssecaphoms Soll (C19 rk 49) 167 8-3 Vins Wiring in a 58 Concen Passage (CD Track 18) 109 84 Beilding tom the Bottom for Contrary Motion (CD Track 47) im TiveBart Line Wri, Bien Tin ot Five-bart Line Wing in 78} Ensemble ML 85 Cascade Btfeot CD Track 48 4 6 Excise iis 9 Woodwind Doubling and Muted Brass BL Wesslwil Doubling, 9-2 Mined Brass ‘Churseteistics and Rarges for Hive Motes Practical Considerations for AL Mites 92 Applications of Woodwinds ara Mul Brass Unison ard Octave Combinatons 21D Treks 49 § Yoiced Woodwinds (CD Tracks 53-349 Lange Creme, Varinus Wodwines ané Muted Trass Tffees ED Track 552 126 4 There » 10 Soli Weiting 10-1 Procedure Suggested Lesa Ranges tor Soli Writing Creating the Toad Tin 30-2 Susuphone Solis Foureary Close, Daubls Leal (19 tok $67 Live Watiag (CD Track 57 185 Brns Solis For Four trumpets, Phice Trombones (C1 ‘rack 58% For Four Teampets (CD Track 59) For Turse Tromboues (CD Trach 60) 14 Exercise 11 Background Wriling U-1 RIC Background (CD Trick 61) 1-2 Backgrounds Based oo Gvido Fone Lies 11 4 Compositions! Approach WA Bercives 12 Shout Choruses 121 Characteriies 12-2 Recomaeniled Listening 12-3 Analysis Shout Chorus (CTD Trach 623 Trventing t2e Shout Melody ‘The Big Pictuce 124 Trersises ryle (Live Versions of ‘The Birthday Song) 13-1 Taal Face Syke (CD Truck 63) Ammgement by Bill Scism 13-2 Count Basie’s Seyle 1€D Trach 69 mmunrennent hy Sev Dbuke Plington's Sile (CD Track 45) Ammngornent hy Jel? Feta 134 Bill Holman’s Style (1 Track 66) Arrangement by Tea Pee 132 GAL Beans Style eC Track 61 Adraugement by Greg Hopkins 14 Anglysiv of a Complete Arrangement 141 Schematic of the Aurangement 14.2 Tau Sheet 14-4 ‘The Score and Commentary (CD Track 8h Introduction ‘What this Book Covers “The lange ataz erscamblo, or tng fond, hos prarmiasn: phe inthe history of pas. Same al tre most dynamie pecsonaitigs ul jae Duke Ellington, Counc Basie, Woody Terma, Baulely Rich, Stan Kemtoe, Maynim Perguson. Gil Tans, al Thad Benes sere leaders of large jax7 ensembles. Inez hands ove instantly recagmizalve fy the unique musica povsanalilis of Ihe amore aml earmphsers shin wre far shen "oxdays Bob Brookmneyer, Bill Helen, Maris Schute-dr, lim McNeely, Roa MeContely el my ster area! writes und bund Teaders keey that traits ali bard as ee inmportane oulst and sxeative challsage =. vortinuiig te bi ‘This bok is your guide Wy ezeating jac ra sees Heavens Ue Folasing sulecs, nets Fr such Tug e Masies: We quickly review fundamental concepts chit al arsungers ncod fo have wader hear bos Yoleing Techniques: Stauting with sieyple unison and vetave “siting steategies. we then spend many chapters exploring the ase of mechanical voicinas. sp Fourth. upper structure Use wisicings, and cluster. We also exarcine ach specialize techniques a line wiring amd tke Bsr oF wine touting "9 soenbirsting sith muted brass. Sali, Wsekegeaund, and Shon! Choruses: Separate chapters sma yee and present Troveetmres for creating cach af these zracemark clement of big ral wrrsr-gems-as Siple: This isciasion exannines Ihe qprestion oF what defines an aringer’s sigle by comiparutg ditferone vers:ons af "Happy Burlay." done an toe parodia styles of Duke Ellington, Cowan Busie, Gil Bese and thes, Analysts of a Complete Arcangement: The dial chapter presets an annotated seme fs fall-ength arrangement that empastrales mary af Lae principles presents in peceding chapters. As sith most of che aapsical examples, the seader Ba at his o¢ He disqi ony Seiler: musi ul ast a rocontad perlonmanse of ts comple surangentset a9 the CD, ‘he lege jazz ensembles scussed in this book axe dessxibed variously as Akeds, S45, FASs. and NESS. AAR Tas Four brane (wsually tree fonpets ara ce trombone and {oar saxuphores (uspally one sto. two Ionot3, and onc haitoncs, A NES bay five Brass sally thcee trumpets acl 9 Wembodes) ab Live saves (usually ACTS has seven brass Casually Four tranyses arly lvorebontes) and Five saves (ahuilly tw allan ier tenons. aad ome aritome Am RES has eight bras fusuolly faur larpets anu Four tribes, ireiudiny 3! bins trgmbors five saxophones ‘asually to altos, ava toners, and one baritone). Une eayshan section Tir such Targe ensernies eansins of pain bas. rutin, anil, very lle, siti “alos, 0 ecru ore baci ‘Thvoughnt this book. we primauily Fucns on whet to wite tor the owns. fave they traditionslly dovainare most bug bands Ht is importaat to xomciacr, howeess, (aat sauccesstul accangement also ceeds Getailed aca clear parts for the Hythe section layers. A gown! arnge” will Faititute thir sippantioe “comping rele arl oeszesiomlly snake use of theie orchestral potential. bori in tke doubling of hom Lines sacl as fa Seyarale it» oles the horn nection, INTRODIICHION, Tlow to Use this Book and (f yom ane etn arranging we sigue yt shar ith ths rex 1 sie msec -hols Faformatinn provisied i Chapter 1. Reon aeasoned Mgrs may va eo Fetes their kkaoslecgs of these key conespas. And ss choy progress tanough tae cost af the back, routs readers wiT peofubly fi i usetul to fp back Sto Chapter | far rere bout sk things as tke ranges of specific insenuments, appropsiate ito.cos for chore seates, fc the positioning ol rellearsal Tellers en «sou Fra sauce Gavengh scunsion of te iaasics, we revenaraenil Madera J Tol Pease mel Kor Pellig (Pevklee Press, 2001), Beginner al irxerenestians will wae co Ssicangs Wy suangers tude its exqlanations of mechanical and stonmechanical voicing echuiy.es ‘of thee technique i a prone bl Hat ane ere am his ins For seal ersevnbles. A worainy kro gop the aringing methots fe large As you move into tke meat of the book te Chapter 2 and beyecd, we suggest thet You Tecan he naar i she Flowing say LL. Read throug che procedwe ev deseviplinn foe each sevanging ‘you eesp dhe thewoeticel asin as well at The wep by s1ep Shudy the written examples to see howe the strategy stou kl be spplied jn specific ‘musical sitacion, Examples sange in length ftom a tew measures to entiue ploces. -ily to the corresponding records demonstration in order ra actly semultyintermlire the sound of ile musi effect. The {you alot af the more chan 60 tucks 10 Hist 1, earns F CD symbol te 4. Proctigg he lechreque hy complesing the exercigs thor appara the snd a rast shapress. A Nole on Range Recommendations ‘The range guidelings se vecoemnend ibviaighout che hoxik Foeus on che practical range swibin shit the wverage player w Il he com fostable. Chey sme intend 9 encourage the best enseuble balance ané blood. Going veyend chose boundacies wil pt players ito sameace lig’ ard low tore in mare dtficul «9 enatrol intonation nad tone, ste To joofessinnltevel players, these Hinitasiarm cars Ie extend, This is ge chavs somtieaes incluce notes boyond te practical range. For instance, 2 professional lead (up slayer vid be able te play a high concert above high « Well heyemnd nur susyente pructical Nail oF Kigh Ra, cute ledger Tine above the stall al player in rage high cli, coll to play tha high Feonsisently—er, perkups, aa 1! When you shy new kre tle abies of she musicians n a band, pley it sae by tomu-aing wathin the prectica racge. ‘or antes bau will be sable AWRANKING FOR LARUE ENSEMBLE Acknowledgments, Mary thurs to our colleagues jn the jase composition departigent uf Berklee College of “Music for their ideas, suggestions, snd musical contributions: Ted Pease, Greg Bopkias, oll Cree, JelT riedntan. Bil. Scism, Bob Plkiegton. and Jackson Schule About tite Authors Dek Lowell, Assciate Professor i the Tar Conensit'on Depaatraen bas lag at Berklee College of Music for thirty yours, An aetive composer ansl manger, he has witlen the riafocitg al original compositions ané acrangentents fo three CDs relewsed bay the New York-tbusual Dave Sih The Tanel, Trmnimist Rick Sleplam yeas feuturad sm his arungement af “My Budely," writen for the Buddy Righ Big Band. His mange c Keen Hadlsy Big Banal bucky voval prone Rebecca Lis, He is also under coarract wieh Heavy Hirors,« production company speciuling in prercconde music Fw televisinn, Segments of his music are being used fon daytime television, An active erumpeter, be has poxformnesl with a waricty OF enlertainers inoluling ony Bennett, Ssoumy Davis Hr, Jack Jones, Shirley Bassey, Cavol Chanaing, Ray Bolgen Jeny Lewis, and Mel Tors, He has also paged in the Hany Aste Shaw’ bia bands, Janes an Ken Pullig joined the faculty of Berklce College of Music in 1975 and was named Chait fof the jacr compersiten: deparionent in 1945. Te was awarded iu Massach.seils Cour of the Arts Fellowship in 1979 for his exconeed jucy rompsinam, “Suite No. 2 or Sraall Taz Taserie.” Fr many yous: he lel his ten-piece java: ensennble Decoedtm mm Terformamees threugghont Now Flan, & frselance irumpere, eis weguelsely Fonte ‘pith the Cambridge Syarphouie Brass Bnscinblo, He has pesfocened with Mel Toca. Ray Charles. Tolmuy Mathis, Reta Moreno, Biome Warwick, and mamy others. Tr racer yours, Palig has prescated clinics on jazz. composition and srrangimg in Krance, Hinland Germany. and Argeativa, la 1997, he 993 guest eoadoctocicompaser sith the 1322 Company in Vigevane. Lavy TE . asic Information ranges ho eure i a anstunnen's ten a 1-2 ange ints an soond harareistes thin bad intone 12 Compavsur of instumens’ ras. 144 Lit ws wer itervts tw ave uy ering 15 Special etfets for wind insuuments 18 etarmoniingsporoach notes, 4-4 hui sales: eich sees woek with wich ens 14 reusing seu Yr un ram Tala Use the rable below to tanspase parts tor Instruments commonly inchded in large joa ensembles. Fur example, in o¢der ta hewe aa E> alto sanophone play a comoedt (flat pitch, you write the mos g pn the ate"s part a rao sth ahowe whl would be Brine, tthe roncer, seas Lnsroment ——_Conesot Pte Weiven Nowe "Transposition fram Concert Beh Feats anna