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| Preface | |
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| Introduction | |
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| An Overview of Jazz Arranging | |
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| Introduction | |
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| Definitions | |
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| Generic Form of Jazz Arrangements | |
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| Introductions | |
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| Themes, Riffs, or Tunes | |
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| Solo Sections | |
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| Interludes or Transitions | |
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| Endings | |
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| Layouts | |
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| Notation Conventions | |
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| Imaginary Bar Line | |
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| Vertical Alignment | |
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| Avoid Linear Augmented and Diminished Intervals | |
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| Line Concepts-Melodic Writing | |
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| Introduction | |
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| Pitch Collections | |
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| Modal Pitch Collections (Modes) | |
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| Tonal Pitch Collections (Scales) | |
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| Tonal Concept of Melodic, Harmonic, and Bass Zones | |
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| More Pitch Collections | |
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| Pentatonic Scales | |
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| Blues Scales | |
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| Symmetrical Scales | |
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| Melodic Structure and Embellishment | |
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| Principal Tones | |
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| Secondary Tones | |
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| Rhythmic Concepts in Line Writing | |
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| Norms | |
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| Concept of Rhythmic Levels | |
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| Anticipations and Delayed Attacks | |
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| Metric Superimposition | |
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| Articulation of Phrases | |
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| Leaps | |
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| Concept of Polyphonic, or Compound, Lines | |
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| Lines Anticipating Harmonic Changes | |
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| Intervallic Lines | |
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| Three Conceptualizations of Reharmonization | |
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| Introduction | |
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| Reharmonization of an Existing Harmonic Progression | |
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| Tonal Goals | |
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| Substitution and Interrelationships of Tonic and Subdominant Sonorities | |
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| Reharmonization of Secondary Melodic Tones in a Soli Texture | |
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| Reharmonization as a Reconceptualization of Known Themes, Riffs, and Tunes | |
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| Pedal Points | |
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| Ostinatos | |
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| Vamps | |
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| Constant Structure Harmony | |
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| Nonfunctional Harmony | |
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| Bass Motion and Bass Lines | |
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| Introduction | |
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| Three Forms of Bass Motion | |
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| Harmonic Root Motion-Root Motion by Fifth (Downward) | |
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| Linear Bass Motion-Root Motion by Step | |
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| Static Bass Motion-Pedal Point | |
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| Bass Line Construction | |
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| Walking Bass Lines and Slash Chords | |
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| Latin Bass Lines | |
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| Funk Bass Lines | |
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| Bass Lines for Ballads | |
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| Bass Part Example-Sound Position | |
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| Writing for the Rhythm Section and Saxophones, Trumpet, and Trombone | |
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| Introduction | |
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| Rhythm Section Notation Conventions | |
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| Writing for Piano, Guitar, and Bass | |
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| Writing for Drums | |
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| Specific Notation | |
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| Piano | |
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| Guitar | |
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| Drums | |
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| Using Incomplete Rhythm Sections | |
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| Writing for Saxophones, Trumpet, and Trombone | |
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| Introduction | |
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| Saxophones: Soprano, Alto, Tenor, and Baritone | |
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| Brass Instruments | |
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| Transposition | |
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| Dynamics and Articulations | |
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| Rehearsal Letters and Numbers | |
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| Basics of Voicings | |
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| Introduction | |
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| Low Interval Limits | |
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| Five Golden Rules of Tonal and Modal Voicing | |
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| Basics of Voicings | |
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| Voicings Determined by the Top Note-Soli Textures | |
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| Spread Voicings-Chords Built from the Root for Maximum Weight | |
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| Cluster Voicings-Chords Primarily Made Up of Seconds | |
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| Quartal Voicings-Chords Primarily Made Up of Fourths | |
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| Upper Structure Triads | |
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| Miscellaneous Voicings-Chords Built from the Third or Seventh (or Fifth or Sixth) | |
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| Melodic Analysis for Soli Textures and Reharmonization of Secondary Tones | |
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| Introduction | |
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| Melodic Analysis for Soli Textures | |
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| Distinguishing Principal and Secondary Tones | |
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| Altering and Embellishing the Melodic Line | |
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| Rhythmic Anticipations and Delayed Attacks | |
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| Adding Principal and Secondary Tones | |
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| Reharmonization of Secondary Tones | |
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| Diatonic Voice Leading | |
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| Dominant and/or Substitute Dominant Voice Leading | |
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| Parallel Voice Leading | |
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| Harmonic Application Concepts | |
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| Scoring Melodic Foreground and Middleground Textures | |
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| Introduction | |
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| Scoring Melodic Foreground and Middleground | |
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| Pitch Unison and Octave Unison Textures | |
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| Soli | |
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| Contrapuntal and Homophonic Textures | |
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| Introduction | |
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| Four Types of Relative Motion | |
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| Contrapuntal, or Polyphonic, Texture | |
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| Two-Part Counterpoint | |
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| Counterpoint Examples | |
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| Guide Tone Concepts | |
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| Three-Part Counterpoint | |
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| Four-Part Counterpoint | |
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| Harmonic Progression with Linear Counterline | |
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| Homophonic Texture | |
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| Introduction | |
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| Homophonic Examples | |
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| Scoring Backgrounds or Accompaniment for Solos | |
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| Introduction | |
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| Scoring Backgrounds for Solos | |
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| Melodic Backgrounds | |
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| Guide Tone Writing | |
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| Harmonic Backgrounds | |
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| Rhythmic/Percussive Backgrounds | |
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| Modal and Tonal Concepts | |
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| Introduction | |
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| Modal Concepts | |
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| Modality | |
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| Modal Cadences and Vamps | |
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| Modal Cadences | |
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| Modal Vamps | |
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| Tonal Concepts | |
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| Tonality | |
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| Chord Scales | |
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| Extensions to the Basic Chord Sound: Tensions | |
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| Dominant Suspended Fourth Chords (Sus4 Chords) | |
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| Three Functional Tonal Chord Categories and Diatonic Reharmonization | |
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| Tonal Cadences | |
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| Concept of Harmonic Rhythm | |
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| Tonal Shifts and Modulation | |
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| Chromatic Additions to the Diatonic Collection | |
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| Secondary Dominant Chords | |
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| Substitute Dominant Chords | |
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| Related Subdominant Chords of Secondary and Substitute Dominant Chords | |
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| Bop Matrix | |
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| Modal Interchange | |
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| Diminished Chords | |
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| The Blues | |
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| Introduction | |
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| Evolving Blues Scale | |
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| Blues Form and Progression | |
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| Blues Examples and Analysis | |
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| Bessie's Blues | |
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| Straight, No Chaser | |
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| Au Privave | |
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| Blues for Alice | |
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| Footprints | |
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| Midnight Waltz | |
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| Unit 7 | |
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| Nostalgia in Times Square | |
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| Ranges for Common Woodwind Doubles and Other Brass Instruments | |
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| Common Woodwind Doubles | |
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| Piccolo | |
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| Flute | |
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| Oboe | |
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| English Horn | |
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| B[flat] Clarinet | |
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| B[flat] Bass Clarinet | |
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| Bassoon (Nontransposing) | |
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| Other Brass Instruments | |
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| French Horn in F | |
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| Bass Trombone | |
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| Tuba | |
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| Intervals of Transposition for Common Woodwind Doubles and Other Brass Instruments | |
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| Two Full Scores | |
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| One for Billie B., Tom Boras | |
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| Lead Sheet | |
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| Concert Score | |
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| Suzanne, Tom Boras | |
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| Lead Sheet | |
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| Concert Score | |
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| Glossary | |
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| Index | |