Arranging music for the real world : classical and commercial aspects
This reference book for the analysis of arranging techniques is written from a composer's point of view. Its aim is to help composers and arrangers improve their compositional skills as well as their understanding of various musical styles. Through a study and analysis of the scores and styles of the master composers, the author gives a broad view of the music of past and present. The skills and concepts taught will help the aspiring arranger harmonize melodies and write counter-melodies quickly and efficiently, using combinations of instruments and voices, whether for pops orchestra, television, or recordings
Musical Score, English, ©2002
Mel Bay, Pacific, MO, ©2002
sound recordings
205 pages : illustrations ; 30 cm + 1 audio disc (digital : 4 3/4 in.)
9780786649617, 0786649615
50470629
I. Overview of arranging principles : 1. Introduction : Approach to arranging ; Orchestration and arranging ; The learning process
2. Harmonics and overtones : Harmonic series ; Voicing : Close position ; Open position ; Clusters ; Fourth chords. Low interval limits
3. Doubling of notes : Types of doubling : Unison doubling ; Octave doubling ; Spaced or gapped octave doubling ; Doubling at other intervals
4. Clarity of design and motion : Diversification of texture : Monophonic ; Homophonic ; Polyphonic ; Homorhythmic ; Mixed or composite texture. Interchange of musical lines ; Rhythmic and harmonic contrast : Foreground and background. Smooth connections ; Consistency of sound ; Chordial outline of melody ; Pitch and range ; Harmony ; Dynamics : Terraced dynamics ; Bass line doubled at the octave. Motion
5. Balance and tone color : Modulations ; Achieving balance ; Tutti : Unison-octave tutti ; Chordal tutti. Tone color : Highlighting the melody. 6. A brief historical survey of orchestration : Baroque period ; Classical era : New instruments. Romantic period : Innovative forms ; Instrumental music reigns. Impressionistic period : Unique orchestral effects. Contemporary period : Woodwind and percussion dominate ; Dissonant sonorities
II. One and two-part writing : 7. One-part writing : One instrument ; Unison and octave doubling ; Alternating phrases ; Overlapping lines
8. Writing for two parts : The challenge ; Combining colors ; Ostinato ; Duet ; Consonance and dissonance ; Combining intervals
9. Motion types : Contrary ; Oblique ; Similar ; Parallel : Tessitura ; Contemporary usage of parallel octaves ; Crossing of parts
10. Seven methods for achieving variety with two parts : Unison ; Octaves ; Other intervals : Neighboring or embellishing tones. Melody with counter-melody ; Imitation with overlapping phrases ; Suspensions ; Pedal-point : Inverted pedal ; Internal pedal ; Embellished pedal ; Ostinato
CD includes demo tracks