Contenu
- PREFACE
- Is This a Jazz Book?: What You Will Find Here / - What You Will Not Find Here
- SCORE PREPARATION & NOTATION
- Use the Standard Instrument Order
- Transposed Score vs. Concert Score
- Key Signatures vs. Keyless
- Bar Numbers, Rehearsal Letters
- Double Bar-Lines
- Structure: Composition vs. Score
- Beam According to Meter
- A Downbeat Is a Downbeat Is a Downbeat
- Time Savers
- Drum Notation
- Sound Requests
- Mutes and Playing Techniques
- Page Formats
- Page Turns
- Don’t be Fooled
- TOOLS OF THE TRADE
- The Computer
- Hardware – Analog vs. Digital
- I/O – Input and Output Devices: Computer Keyboard / Mouse / USB-MIDI Keyboard / Screen / Headphones & Speakers / Macros
- Notation Software – Playground For Geeks
- Dos & Don’ts of the Computer: Don’t Let Your Workflow Be Interrupted / Tutorials / Note Entry / Shortcuts / MIDI THRU / Page View, Layout / Fonts / Get Your Own Legal Copy / Sound Libraries – Choosing the Right Sounds / Backup Strategies / Technical Workflow / When to Write What
- CHORD CHANGES NOMENCLATURE AND CHORD-SCALE RELATIONSHIPS
- Simple Chords
- Simple Chords with Complex Alterations: Altered vs. 13(b9)
- Inner Movements within Chord Symbols
- Slash Chords
- Poly Chords
- Scales As Chords
- Roots and Tonal Centres
- Encoding and Decoding
- When Not to Use Chord Symbols
- COMPOSITION WORKFLOW
- Are We Composers, Yet?
- Musicians’ Approach to Composition
- Where Are We at, What do We Know?
- The “New” Process
- General Preparation
- Pre-Composition, Material
- Form, Sketch, Score
- Review and Analysis
- COMPOSING
- General Thoughts: Lack of Ideas / Music in Past, Present, Future / Intent / Scrapbook, Time to Compose and Time to Dig / Controlling the Listener’s Attention, Music Time / Main Events and Side Events
- Ostinati, Vamps and Riffs / Putting Harmony to a Melody / Adding a Melody to Harmony / Changing Key / Great Ideas vs. Great Development / The Mix / Risk / Instant Composing
- Processing Techniques: Classic Processing Techniques for Pitches & for Chords / The Magic Swap-O-Mat / Melody / Unison and Octaves / Counterpoint / Voice Leading, Number of Voices / Orchestration / Orchestration vs. Arrangement
- Cross Section Writing / Scales Are for Fish / Audible Structures / Two Systems / Rhythm Section / Techniques for Construction vs. Techniques for Listening
- Form: How Not to Think Jazz / Kids or Adults / Lego / The Magic Wall / Repeats, Variations, Synonyms / Phrases and Double Bar Lines / Poetry / Endings / Repair Shop
- ARRANGING
- Recordings
- Lead Sheets
- Changing the Melody
- The Touchable and the Untouchable
- Disrupting the Listener’s Expectations
- Dismantling Your Source
- Arrangement vs. Orchestration
- Hip My Arrangement
- Harmonic Drama
- Form
- Quick Solutions, Auto-Pilot
- CHECKLIST FOR COMPOSITIONS AND ARRANGEMENTS
- FURTHER CONSIDERATIONS
- Knowledge
- Decisions at Micro and Macro Level
- Style Awareness: A. Barry Lyndon / B. Le Corbusier
- What Is Style?
- How to Use Style?
- Where to Study?
- What to Study?
- Complex Stuff
- What Is Color?
- Use of Color
- What Is a Bandleader?
- Why Do Composers Need to Be Bandleaders?
- What Is Inspiration?
- Inspiration in Jazz Improvisation
- The Persistence of Inspiration: The Myth of Inspiration / The Excuse of Inspiration / Inspiration as a Means of Marketing / Inspiration Is Unreachable / Let’s Get Rid of It
- Music Theory ? Astronomy Theory: Olivier Messiaen / John Coltrane, Frank Zappa, and Slonimsky
- Making It Happen
- Stealing
- Transcribing
- Failing
- Trying to Be Special
- Trying to Push the Boundaries
- PERSONAL QUOTES
- Michael Abene
- Julian Argüelles
- Carlos Azevedo
- Jasper Blom
- Gary Husband
- Bert Joris
- David Liebman
- Bob Mintzer
- Lars Møller
- Alan Pasqua
- Jean-Michel Pilc
- Tommy Smith
- APPENDIX
- Copyright Credits for the Songs Used
- Index of Names