Modern Jazz Voicings. Arranging For Small Jazz Ensemble

Description

Introduction From the Big Bands to Kind of Blue and Beyond What You Need to Know History of This Book Acknowledgements About the Authors How to Use ThisBook and CD PART I : Background and Basics Chapter 1. Instrumental Information 1-1 Transposition Transposition Table 1-2 Ranges and Sound Characteristics Range and Sound Characteristics Chart Synthesizer Chapter 2. Fundamental Toolsand Techniques 2-1 Tensions Melodic Tensions Harmonic Tensions Tensions and Triads Tensions and Sixth Chords Available Tensions 2-2 Anticipation and Delayed Attack Anticipation Delayed Attack 2-3 Reharmonizing Approach Notes Characteristics of Approach Notes Reharmonizing Specific Approach Note Patterns Independent Lead Chapter 3. Basic Voicings 3-1 Five-Part Soli Voicings Typical Five-Part Instrumental Combinations Lead Range 3-2 Five-Part Spreads Characteristics Adjacent Note Spacing and Suggested Ranges for Spreads Uses of Spread Voicings 3-3 Five-Note Soli Voicings Chord Tone Lead/Tension Substitute Tension Lead/Chord Tone Substitute Tension Lead/Related Tension Substitute Comparing the Techniques Beware Minor Ninths 3-4 Exercises Chapter 4. Chord Scales 4-1 Chord Scale Theory Characteristics 4-2 Forming a Chord Scale Tonal or Modal Context How Tensions Affect Chord Scales How Melody Affects Chord Scales Chord Scales for Non-Diatonic Chords (Modal Interchange) 4-3 Avoid Notes 4-4 Notation and Labeling off Chord Scales 4-5 List Of Tonal Chord Scales Chord Scales In Tonic Major Chord Scales In Tonic Minor Modal Interchange Chord Scales Used In Major Chord Scales For The V7 Chord (Primary Dominant Seventh) Secondary Dominant Seventh Chord Scales Substitute Dominant Seventh Chord Scales Special Function Dominant Seventh Chords Extended Dominant Seventh Symmetric Diminished Scale Diminished Seventh Chord Scales 4-6 List of Modal Chord Scales 4-7 Exercises PART II : Modern Jazz Voicings Chapter 5. Voicings In Fourths 5-1 Characteristics Augmented Fourths 5-2 Five-Part Voicings in Fourths Lead Range Five-Part Examples Using All Adjacent Fourths Voicings in Fourths as a Soli Technique Musical Examples 5-3 Four-Part Voicings in Fourths Examples Lead Range Four-Part Examples Using All Adjacent Fourths Inverted Four-Part Voicings in Fourths Constant Structure Fourths Over a Pedal Point 5-4 Three-Part Voicings in Fourths Examples Lead Range Three-Part Examples Using All Adjacent Fourths Inverted Three-Part Voicings in Fourths Three-Part Voicings With a Perfect Fourth and a Major Second Three-Part Voicings With an Augmented Fourth and a Minor Second Three-Part Voicings in Fourths Over Pedal Points 5-5 Exercises Chapter 6. Voicings In Seconds (Clusters) 6-1 Characteristics 6-2 Five-Part Clusters (Voicings in Seconds) Lead Range for Five-Part Voicings Low Interval Limits Examples of Five-Part Cluster Voicings 6-3 Four-Part Clusters (Voicings in Seconds) Lead Range for Four-Part Voicings Similar Sounding Four-Part Voicings 6-4 Three-Part Clusters (Voicings in Seconds) Lead Range for Three-Part Voicings Similar Sounding Three-Part Voicings 6-5 Using Clusters (Voicings in Seconds) More Applications of Clusters 6-6 Exercises Chapter 7. Voicing With Upper Structure Triads 7-1 Characteristics 7-2 Six-Part Upper Structure Triads Lead Range Six-Part Upper Structure Triad Voicings in a Modal Context 7-3 Five-Part Upper Structure Triads Lead Range 7-4 Four-Part Upper Structure Triads Lead Range 7-5 Three-Part Upper Structure Triads 7-6 Uses of Upper Structure Triads Special Situations 7-7 Exercises Chapter 8. Writing For Six Parts 8-1 Basic Six-Part Writing 8-2 Six-Part Spreads 8-3 Six-Part Tutti Writing 8-4 Six-Part lfoicings in Fourths 8 -5 Six-Note Voicings in Fourths 8-6 Six-Part Spreads with Top Five Notes in Fourths 8-7 Six-Part Clusters (Voicings in Seconds) 8-8 Exercises