This is a comprehensive instructional text and reference guidebook on the art and craft of jazz composition and arranging for small and large ensembles. It is written from the perspective of doing the work using music notation software, and contains many practical and valuable tips to that end for the modern jazz composer/arranger.

Cover -- Contents -- Preface and Acknowledgments -- Preface -- Music Examples-Recording Credits -- Companion Website Audio Examples: Track List -- How to Use This Book and the Companion Website -- 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) -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 -- 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 by Bob Mintzer -- 30-4 Analysis of "Memories of Lives Past" Mixed-Section Soli by 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 -- 31-3 Analysis of "Get a Handel on It" Shout Chorus by Richard Sussman -- 31-4 Analysis of "Uncertainty" Shout Chorus by 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?" by Michael Abene -- Chapter Summary -- Exercises. 33 Completing the Big Band Arrangement.