im ot FTAA AI He ivi mit nyContents Imreduction What this Book Covers ow to Use this Book and CD A Note on Range Recommendations ‘Acknowledgments ‘About the Authors 1 Basie Information LL Transposition of Instruments 2 Instrument Ranges and Sound Characteristics 1.3. Comparison of Instruments” Ranges Le Lowlnerval Limits [3 Special Elfects for Wind Instranents (CD Track 1) 146 Reharmonizing Approach Nowes LT Chord Seales Tonal Context, In Tonie Major Tn Tonie Minot “Modal Interchange Used in Major ‘Chor Scales forthe V7 Chord (Primary Dominant Severs Secondary Dominant Seventh Chord Seales Substitute Dominant Seventh Chord Seales ‘Special Function Dominant Seventh Chord Scales Diminishod Seventh Chord Scales Modal Chord Seales 8 Preparing « Seore 9 Overview of an Arrangement Elements of For: Intros, Interludes, and Endings Modulation and Reharmenizaton raping an Amangement 1-10. Exercise Unison and Octave Writing 21 Procedure 2.2 Orchestration and Timbral Tests 23. Migh-Timbre Unison (CD Tracks 2-8) 2-4 Mediuon-Timbze Unison (CD Tracks 6-2) 2-5. Lovw-Timbre Unison (CD Tracks §-10) 246 — Oeiave Doubling (CD Tracks 11-15) 2-7 Melodie Subaivsion (CD Tracks 16-18) Abrupt Fragments Smoosh Flow 0 Is 9 20 20 21 2 24 25 28 29 30 30 31 3 3 36 8 SS 9Short Subtvisions, Two Groups Longer Subdivisions, Three Groups Longest Subdivisions, Two Groups 2-8. Contrapuntal Application (CD Track 19) 2.9 Bxercises Concerted Writing with Mechanical Voicings 31 Procedure 3-2 Coupling the Saxes to the Brass 3 Recommended Ranges for Leal Instruments 34484 Concerted Writing ‘With Constant Coupling (CD Tracks 20-21) With Variable Coupling (CD Track 22-23) With Full Doubling (CD Track 24) Concerted Writing for 5&5, 785, and 885 ‘5&5 with Constant Coupling (CD Track 25) 785 with Variable Coupling (CD Track 26) ‘8&5 with Constant and Variable Coupling (CD Track 27) 3-6 Avoiding Repeated Notes Féiting to Eliminate Repeated Notes Crossing of Voices Reharmonizine Approach Notes 37 Exercises Spread Voicings 41 Procedure 4.2 Spreads for 4&4 and S&S FFive-Part Spread for 444 Under Unison Melody (CD ‘Track 28) Concerted Melody for 5&5 with Five-Patt Spread (CD Track 29) 43° Tutti Writing Using Spreads Five-Pan Spread for 5&5 (CD Track 30) Eigh-Part Spread for 7&5 Coupling Battone with Brass Mixed-Timbre Spread for 885 (CD Trick 32) [Beyond Standard Orchestration 44 Bxorises Yoicings in Fourths 5-1 Procedure for Voicings in Fourths For 4&¢ For 5&5 For 785 For 8&5 5-2. Sample Passages Voiced in Fours “444 Concerted Waiting Using Fourhs (CD Track 33) ‘5&5 Tutti Using Fourth (CD Track 34) 7&5 Concerted Melody Using Fourths (CD Trick 35) 8&5 Subdivided and Concerted Melody Using Fours (CD Track 36) 53. Exercises a 2 3 45 0 9 50 31 51 33 35 5s 35 56 36 37 37 30 ra ot 6 6 67 6 ” » n B B us 1 1 16 n n * » 80) aL fi