Dick Lowell and Ken Pullig - Arranging For Large Jazz Ensemble (Berklee Press; Book + CD)

201 Pages·2008·46.28 MB·English

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

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