Unlike most jazz arranging books, which focus on the rudiments of arranging (transposition, ranges, notation, and so forth), this book deals with the real substance of arranging for small jazz ensembles, in addition to the rudiments. Rinzler devotes a chapter to each of the following arranging elements: intros, endings, accents/breaks/dynamics, time and tempo changes, style changes, form, rhythm section procedure, harmony and orchestration. Over a hundred musical examples demonstrate arranging techniques that apply to 147 jazz standards and modern compositions.

(Instructional). Instrumental Jazz Arranging consists of a systematic presentation of the essential techniques and materials of jazz arranging. Authors Mike Tomaro and John Wilson draw upon 50+ years of combined teaching experience to bring you a book that addresses all of the basic needs for beginning arrangers. Topics include counterpoint/linear writing, jazz harmony, compositional techniques, and orchestration. All topics serve to address issues concerned with true arranging in great detail. The book may be used in both individual and classroom instructional situations. The accompanying CDs 170 tracks in all! include many of the examples in the book, plus templates for assignments formatted for Finale .

(Berklee Guide). The definitive text used for the time-honored Chord Scales course at Berklee College of Music, this book concentrates on scoring for every possible ensemble combination and teaches performers and arrangers how to add color, character and sophistication to chord voicings. Topics covered include: selecting appropriate harmonic tensions, understanding jazz harmony, overcoming harmonic ambiguity, experimenting with unusual combinations and non-traditional alignments, and many more. The accompanying audio includes performance examples of several different arranging techniques.

In The Contradictions of Jazz, Paul Rinzler takes a new approach to jazz aesthetics and theory by exploring four pairs of opposites present in jazz: individualism and interconnectedness, assertion and openness, freedom and responsibility, and creativity and tradition. By themselves, these eight values speak volumes about the meaning of jazz and its significance. Understanding how these opposites coexist in jazz leads to an exploration of the connections linking jazz with the experiential and existential, which contrast with the connections between composition and science. Rinzler explains the various concepts, including either/or and dialectic thinking, and then examines the pairs of opposites individually, describing their position and presence in jazz. He then demonstrates how the larger meaning of these contradictory opposites depends on ideas from the philosophies of phenomenology and existentialism. Rinzler considers the opposites inherent in the product and process of jazz, as well as mistakes and the challenge of perfection, presenting these values in light of the contradictions inherent in jazz. With a full bibliography and an index, The Contradictions of Jazz is a fascinating read for fans and scholars of jazz history and aesthetics.

This book examines arranging methods and their applications. It is designed to be used in a jazz studies program and as a professional reference manual for musicians. The text begins with a historical overview of jazz band instruments and a study of their characteristics. The body of the text includes an examination of relevant terminology, notational devices, principles of theory, and arranging techniques.

Jazz Theory and Practice is the most modern introduction to jazz theory ever published. Rich with examples from the repertoire, it gives performers, arrangers and composers an in-depth and practical knowledge of the theoretical foundations of jazz.