LEADER 00000nam a2200781Ki 4500 
001    on1061148507 
003    OCoLC 
005    20201002142953.5 
006    m     o  d         
007    cr cnu---unuuu 
008    181105s2011    nyu     ob    001 0 eng d 
020    9780199701162|q(electronic book) 
020    0199701164|q(electronic book) 
020    |z9780195380996 
020    |z0195380991 
020    |z9780195381009 
020    |z0195381009 
035    (OCoLC)1061148507 
040    N$T|beng|erda|epn|cN$T 
049    RIDW 
050  4 MT73.5|b.S87 2011eb 
072  7 MUS|x041000|2bisacsh 
082 04 781.65/13|222 
090    MT73.5|b.S87 2011eb 
100 1  Sussman, Richard.|0https://id.loc.gov/authorities/names/
       n94060440 
245 10 Jazz composition and arranging in the digital age /
       |cRichard Sussman and Michael Abene. 
264  1 New York :|bOxford University Press,|c2011. 
300    1 online resource 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
340    |gpolychrome|2rdacc 
347    text file|2rdaft 
504    Includes bibliographical references and index. 
505 0  Machine generated contents note: SECTION ONE OVERVIEW AND 
       BASIC INFORMATION -- 1. Introduction: Philosophical and 
       Aesthetic Considerations -- 2. Music in the Digital Age: A
       Brief Overview of MIDI and Music Software -- 2-1. Overview
       of MIDI -- 2-2. MIDI 101 -- 2-3. MIDI Messages -- 2-4. An 
       Overview of Music Software -- Chapter Summary -- 3. Basic 
       Information on Instrument Ranges and Transpositions -- 3-
       1. The Brass Section -- 3-2. The Woodwind Section -- 3-3. 
       The Rhythm Section -- 4. Fundamental Musical 
       Considerations -- 4-1. Balance -- 4-2. Economy -- 4-3. 
       Focus -- 4-4. Contrast and Variety -- 4-5. Tension and 
       Release -- 4-6. Unity -- 5. Introduction to Music Notation
       Software -- 5-1.A Brief Historical Overview -- 5-2. Finale
       and Sibelius -- 5-3. Music Notation Software Basics -- 5-
       4. MIDI Playback and Editing -- 5-5. Music Preparation 
       Basics -- Chapter Summary -- SECTION TWO ARRANGING FOR 
       SMALL ENSEMBLE (3-6 HORNS + RHYTHM SECTION). 
505 0  Contents note continued: 6. Overview of Small Ensemble 
       Writing: Rhythm and Rhythmic Notation/Preparing the Score 
       -- 6-1. Jazz Rhythm Basics -- 6-2. Rhythmic Pulse and 
       Style -- 6-3. Jazz Syncopation and Notation (Melodic 
       Rhythm) -- 6-4. Swing Feel (Melodic Rhythm) -- 6-5. 
       Harmonic Rhythm -- 6-6. Score Preparation -- Chapter 
       Summary -- Exercises -- 7. Melody and Motivic Development 
       (3-4 Horns) -- 7-1. Basic Melodic Considerations: Melodic 
       Shape and Motion -- 7-2. Melodic Motives and Phrase 
       Structure -- 7-3. Techniques of Motivic Development -- 7-
       4. Basic Types of Musical Texture -- 7-5. Applying the 
       Techniques of Melodic Development to an Arrangement -- 
       Chapter Summary -- Exercises -- 8. Basic Harmonic Concepts
       (3-4 Horns) -- 8-1. Chords Built by Thirds and Chord 
       Scales -- 8-2. Vertical Harmony: Basic Principles of Jazz 
       Chord Voicings -- 8-3. Horizontal Harmony -- 8-4. Standard
       Jazz Voicing Positions -- 8-5. Modal Concepts of Jazz 
       Chord Voicings -- 8-6. Melodic Motion and Voice Leading. 
505 0  Contents note continued: Chapter Summary -- Exercises -- 
       9. Reharmonization of Approach Tones (3-4 Horns) -- 9-1. 
       Reharmonization of Approach Tones -- 9-2. Repeated Notes, 
       Static Harmony, and Voice Leading -- Chapter Summary -- 
       Exercises -- 10. Melodic Reharmonization and Counterpoint 
       (3-4 Horns) -- 10-1. Techniques of Melodic Reharmonization
       -- 10-2. Independent Counter-melodies and Polyphony -- 
       Chapter Summary -- Exercises -- 11. Form and Planning the 
       Arrangement/Instrumentation -- 11-1. Concept and Direction
       -- 11-2. Improvisation and Form -- 11-3. Basic Elements of
       Form -- 11-4. Outlining and Graphing the Form -- 11-5. 
       Instrumentation and Outlining the Form -- 11-6. Intros -- 
       11-7. Transitions/Kickers -- 11-8. Background Parts -- 11-
       9. Codas/Endings -- Chapter Summary -- Exercises -- 12. 
       Dynamics and Articulation/Brass Mutes -- 12-1. Dynamics --
       12-2. Brass and Woodwind Articulations and Phrasing -- 12-
       3. Muted Brass -- Chapter Summary -- Exercises -- 13. The 
       Rhythm Section. 
505 0  Contents note continued: 13-1. Piano/Guitar -- 13-2. Bass 
       -- 13-3. Chord Symbols and Abbreviations -- 13-4. Drums --
       13-5. General Considerations -- 13-6. Rhythm Section 
       Styles -- Chapter Summary -- Exercises -- 14.Completing 
       the 3- to 4-Horn Arrangement -- 14-1. Adding a Recap and 
       Ending -- 14-2. Score and Part Layouts and Music Spacing -
       - 14-3. Proofreading and Part Transpositions -- 14-4. 
       Printing the Parts and the Score -- 14-5. Sample 4-Horn 
       Arrangement and Analysis: "Bill Bossa" (Richard Sussman) -
       - Chapter Summary -- Exercises -- 15. Notation Software: 
       Generating Parts, Page Layout, and Printing -- 15-1. 
       Finale -- 15-2. Sibelius -- 15-3. Printing the Parts and 
       the Score -- Chapter Summary -- Exercises -- 16. Arranging
       for 5-6 Horns: Harmony and Chord Voicings -- 16-1. 
       Standard Chord Voicings for 5-6 Horns -- 16-2. 
       Reharmonization of Approach Tones for 5-6 Horns -- 16-3. 
       Repeated Notes, Static Harmony, and Voice Leading for 5-6 
       Horns. 
505 0  Contents note continued: 16-4. Five and Six Note Close 
       Position Voicings and Use of the Sus 4 and Natural or 
       Augmented Eleventh -- Chapter Summary -- Exercises -- 17. 
       Form and Planning the Arrangement (5-6 Horns) -- 17-1. 
       Elements of Form (5-6 Horns) -- 17-2. Woodwind and Brass 
       Doubles and Muted Brass -- 17-3. Instrumentation and 
       Outlining the Form (5-6 Horns) -- 17-4. Intros, 
       Transitions/Kickers, Background Parts, Codas/Endings -- 17
       -5. Laying Out the Score: Workflow Concepts -- Chapter 
       Summary -- Exercises -- 18. The Soli and the Shout Chorus 
       -- 18-1. The Soli Section -- 18-2. Analysis of Soli 
       Examples 18-1A and 18-1B -- 18-3. The Shout Chorus -- 18-
       4. Analysis of Shout Chorus Example 18-2 -- 18-5. Recorded
       Examples of Solis and Shout Choruses for 5-7 Horns -- 
       Chapter Summary -- Exercises -- 19.Completing the 6-Horn 
       Arrangement -- 19-1. Adding a Recap and an Ending -- 19-2.
       Score and Part Layouts/Transpositions/Proofreading/
       Printing. 
505 0  Contents note continued: 19-3. Six-Horn Arrangement and 
       Analysis: "On a Misty Night" (Tadd Dameron/arr. Willie 
       Smith) -- 19-4. Six-Horn Arrangement and Analysis: "Minor 
       Infraction" (Michael Abene) -- Chapter Summary -- 
       Exercises -- SECTION THREE ARRANGING FOR LARGE JAZZ 
       ENSEMBLE (8 BRASS, 5 REEDS, AND RHYTHM) -- 20. Overview of
       Large Ensemble Writing -- 20-1. Overview and Historical 
       Perspective -- 20-2. Basic Principles and Considerations -
       - 20-3. The Expanded Sound Palette -- 20-4. Laying Out the
       Score -- 20-5. Selecting a Tune for a Big Band Arrangement
       -- 20-6. Recommended Listening -- Chapter Summary -- 
       Exercises -- 21. Unison and Octave Writing/Monophonic 
       Texture -- 21-1. Melodic Considerations -- 21-2.Combining 
       the Instruments: Considerations of Timbre, Register, and 
       Tessitura -- 21-3. Melodic Phrase Structure -- Chapter 
       Summary -- Exercises -- 22. Concerted Writing for Brass --
       22-1. Overview of Concerted Writing for Brass. 
505 0  Contents note continued: 22-2. Review of Basic Harmonic 
       and Voicing Principles (Vertical Harmony) -- 22-3. 
       Application of Basic Voicing Principles to 8 Brass -- 22-
       4. Reharmonization of Approach Tones, Repeated Notes, and 
       Voice Leading for 8 Brass -- 22-5. Voicing Considerations 
       If the Melody Is in the Low Mid-Register (8 Brass) -- 22-
       6. Voicing Considerations If the Melody Is in the Mid-
       Upper Register (8 Brass): "The Basie Sound" -- 22-7. When 
       To Use Open Position Voicings -- 22-8. Software 
       Considerations -- Chapter Summary -- Exercises -- 23. 
       Concerted Writing for Saxes/Combining Brass and Saxes -- 
       23-1. Standard Voicing Techniques for Saxes -- 23-
       2.Combining Brass and Saxes: Constant and Variable 
       Coupling -- 23-3. Summary of Basic Principles of Combining
       Brass and Saxes: "The Basie Sound" -- 23-4. 
       Reharmonization of Approach Tones, Repeated Notes, and 
       Voice Leading for 5 Saxes -- Chapter Summary -- Exercises 
       -- 24. Big Band Instrumental Subdivisions. 
505 0  Contents note continued: 24-1. Contrasting the Brass and 
       Sax Sections -- 24-2. Cross-Sectional Instrumental 
       Subdivisions -- Chapter Summary -- Exercises -- 25. Form 
       and Planning the Arrangement -- 25-1. Elements of Form -- 
       25-2. Instrumentation and Outlining the Form (Big Band) --
       25-3. Laying Out the Score and Workflow Concepts -- 25-4. 
       Observations on the Creative Process -- 25-5. Workflow 
       Analysis of "Cross Section" -- Chapter Summary -- 
       Exercises -- 26. Modern Harmonic Concepts and Voicing 
       Techniques -- 26-1. Chords by Fourths -- 26-2. Upper-
       Structure Triads -- 26-3. Polytonal Sounds -- 26-4. Other 
       Types of Modern Chord Structures -- 26-5. Clusters and 
       Spread Voicings -- Chapter Summary -- Exercises -- 27. 
       More on Modern Harmony and Melodic Reharmonization -- 27-
       1. Constant Structures -- 27-2. Parallel Five-Voice 
       Structures -- 27-3. Modern Techniques of Melodic 
       Reharmonization -- 27-4. Independent Countermelodies and 
       Polyphony with Modern Harmonies -- Chapter Summary -- 
       Exercises. 
505 0  Contents note continued: 28. Woodwind and Brass Doubles 
       and Mutes -- 28-1. Woodwind and Brass Doubles -- 28-2. 
       Woodwind Doubles, Dynamics, and Balance -- 28-3. Woodwind 
       and Brass Doubles and Mutes: Homogeneous Combinations -- 
       28-4. Woodwind and Brass Doubles and Mutes: Mixed 
       Combinations -- 28-5. Orchestral Colors Within the Big 
       Band -- 28-6. More Instrumental Subdivisions and Color 
       Combinations -- Chapter Summary -- Exercises -- 29. Line 
       Writing and Polyphony -- 29-1. Basic Principles of Line 
       Writing -- 29-2. Line-Writing Procedure -- 29-3. 
       Increasing or Decreasing the Number of Harmonized Voices: 
       "Lineaology" -- 29-4. Additional Examples of Polyphonic 
       Big Band Writing -- Chapter Summary -- Exercises -- 30. 
       The Soli Section (Big Band) -- 30-1. Basic Principles and 
       Method for Creating the Soli Section -- 30-2. Analysis of 
       "Analycity" Soli by Richard Sussman Examples 30-1A, B, and
       C -- 30-3. Analysis of "Swangalang" Sax Soli / Bob 
       Mintzer. 
505 0  Contents note continued: 30-4. Analysis of "Memories of 
       Lives Past" Mixed-Section Soli / Michael Abene -- Chapter 
       Summary -- Exercises -- 31. The Shout Chorus (Big Band) --
       31-1. Basic Characteristics of the Shout Chorus -- 31-2. 
       Analysis of "Unithology" Shout Chorus / Richard Sussman --
       31-3. Analysis of "Get a Handel on It" Shout Chorus / 
       Richard Sussman -- 31-4. Analysis of "Uncertainty" Shout 
       Chorus / Michael Abene -- Chapter Summary -- Exercises -- 
       32. Arranging for Vocalists and Instrumental Soloists -- 
       32-1. Basic Principles for Accompanying a Soloist -- 32-2.
       Principles Specific to Vocalists/The Importance of the 
       Lyric -- 32-3. Analysis of "Who Cares?" / Michael Abene --
       Chapter Summary -- Exercises -- 33.Completing the Big Band
       Arrangement -- 33-1. Adding a Recap and an Ending -- 33-2.
       Score and Part Layouts/Transpositions/Proofreading/
       Printing -- 33-3. Analysis of "Fletcher" / Richard Sussman
       -- 33-4. Analysis of "Uncertainty" / Michael Abene. 
505 0  Contents note continued: 33-5. Analysis of "Art of the Big
       Band" / Bob Mintzer -- Chapter Summary -- Exercises -- 34.
       Summary of Music Notation Software Techniques -- 34-1. 
       Summary of Music Notation Techniques and Features -- 34-
       2.Comparison of Finale and Sibelius -- 34-3. Additional 
       Software Tips -- 34-4. Using a Sequencer in Conjunction 
       with Notation Software -- 34-5. Where Do We Go from Here? 
       -- Chapter Summary. 
588 0  Print version record. 
590    eBooks on EBSCOhost|bEBSCO eBook Subscription Academic 
       Collection - North America 
650  0 Arrangement (Music)|0https://id.loc.gov/authorities/
       subjects/sh85007416 
650  0 Composition (Music)|0https://id.loc.gov/authorities/
       subjects/sh85029403 
650  0 Jazz|xInstruction and study.|0https://id.loc.gov/
       authorities/subjects/sh2008106050 
650  0 Instrumentation and orchestration (Band)|0https://
       id.loc.gov/authorities/subjects/sh85066783 
650  0 Musical notation|0https://id.loc.gov/authorities/subjects/
       sh85089012|xComputer programs.|0https://id.loc.gov/
       authorities/subjects/sh99005296 
650  7 Arrangement (Music)|2fast|0https://id.worldcat.org/fast/
       815058 
650  7 Composition (Music)|2fast|0https://id.worldcat.org/fast/
       871761 
650  7 Jazz|xInstruction and study.|2fast|0https://
       id.worldcat.org/fast/982179 
650  7 Instrumentation and orchestration (Band)|2fast|0https://
       id.worldcat.org/fast/974433 
650  7 Musical notation|xComputer programs.|2fast|0https://
       id.worldcat.org/fast/1030780 
650  7 Musical notation.|2fast|0https://id.worldcat.org/fast/
       1030779 
655  4 Electronic books. 
700 1  Abene, Mike.|0https://id.loc.gov/authorities/names/
       n86133992 
776 08 |iPrint version:|aSussman, Richard.|tJazz composition and 
       arranging in the digital age.|dNew York : Oxford 
       University Press, 2011|z9780195380996|w(DLC)  2010053107
       |w(OCoLC)781144002 
856 40 |uhttps://rider.idm.oclc.org/login?url=http://
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       db=nlebk&AN=1926250|zOnline ebook via EBSCO. Access 
       restricted to current Rider University students, faculty, 
       and staff. 
856 42 |3Instructions for reading/downloading the EBSCO version 
       of this ebook|uhttp://guides.rider.edu/ebooks/ebsco 
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