This book is written from a composer's point of view and is intended to be a reference book for the analysis of arranging techniques. 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 both the past and of the present. This allows the musician to navigate within the contemporary music scene with an essential awareness of and appreciation for all genres of music. The skills and concepts taught in this book will help the aspiring arranger harmonize melodies and write counter-melodies quickly and efficiently utilizing various combinations of instruments and voices, whether for pops orchestra, television, or recordings, according to the demands of modern commercial music. Includes access to online audio.               

Preface

Part One: Overview of Arranging Principles
1. Introduction
Approach to Arranging
Orchestration and Arranging
The Learning Process

2. Harmonics and Overtones
Harmonic Series
Voicing (Spacing)
- 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
Chordal Outline of a 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

Summary
Assignments


Part Two: One and Two-Part Writing
7. One-Part Writing
One Instrument
Unison and Octave Doubling
Alternating Phrases (Switching of Roles)
Overlapping Lines

8. Writing for Two Parts (Two Melodic Lines)
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
1. Unison
2. Octaves
3. Other Intervals
- Neighboring or Embellishing Tones
4. Melody with Counter-Melody
5. Imitation with Overlapping Phrases
6. Suspensions
7. Pedal-Point
- Inverted Pedal
- Internal Pedal
- Embellished Pedal
- Ostinato

Summary
Assignments

Appendices
A. Solutions to Assignments
Part One Assignments
Part Two Assignments

B. Scores for Study
Renaissance
Romantic
Baroque
Classical
Impressionistic
Contemporary

C. Instrument Ranges
Strings
Woodwinds
Saxophones
Brass
Percussion, Fretted, and Other Instruments
Voices
Recorders

D. Bibliography
Orchestration/Arranging (Traditional Texts)
Orchestration/Arranging (Commercial Texts)
Composing for Film
Vocal Arranging
Music Business

Index