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Arranging: Small Ensemble and Horns
Lesson 1: Chord Symbol Identification
- Major Chords
- Minor Chords
- Dominant Chords
- Augmented Chords
- Diminished Chords
- Half Diminished Chords
Lesson 2: Rhythm Section Notation Review
- Drums: 3-Part Notation
- Drums: Stop-Time Notation
- Drums: "Kicks Over Time" Notation
- Bass: Written Out Pitches
- Bass: Rhythmic Notation with Slashes
- Bass Activity 2
- Guitar
- Guitar: Melodic Lines
- Guitar: Comping Parts
- Keyboards: Melody Parts
- Keyboards: Comping and Solos
Lesson 3: Instrumentation: Trumpet and Trombone
- Trumpet
- Trumpet With Concert Pitch Melody
- Breakdown of Ranges by Area
- Trumpet Mutes
- Tenor Slide Trombone
- Pedal Tones
- Trombone Range Breakdown
- Slide Positions
Lesson 4: Instrumentation: Alto, Tenor, and Baritone Saxophones
- Eb Alto Sax
- Alto with Concert Pitch Melody
- Breakdown of Ranges by Area
- Bb Tenor Sax
- Tenor With Concert Pitch Melody
- Breakdown of Ranges by Area
- Eb Bari Sax
- Bari Sax With Concert Pitch Melody
- Breakdown of Ranges by Area
Lesson 5: Unison Writing
- Writing within a Given Specific Key
- Transposing to Fit a Specific Instrument
- Combinations of Horns on Unison Melodies
- Two Octaves Playing the Melody
- Three Octaves Playing The Melody
Lesson 6: The Arranging Process and the Midterm Project
- Considerations Before Writing Pitches
- The Arranging Process
- Midterm Project Review
Lesson 7: Melodic Development
- Eighth-Note Anticipations: Melodic Development
- Quarter-Note Anticipations
- Eighth-Note Delayed Attacks
- Quarter-Note Delayed Attacks
Lesson 8: Melodic Development Continued
- Straight vs. Swing
- Sixteenth-Note Anticipations
- Sixteenth-Note Delayed Attacks
Lesson 9: Harmonization: 2-Part Couplings (Soli Writing)
- Melodic Couplings: Diatonic Thirds and Sixths
- Intervals of Fourths and Fifths
- Seconds and Sevenths
- Orchestrating the Harmonized Melody
Lesson 10: Three-Part Soli Writing
- Harmonizing A Diatonic Melody with Triads
- Diatonic Approach-Chord Harmonization
- Chromatic Approach Chord Harmonization
- Applying Triadic Voicings to 4-Part Chords
Lesson 11: Three-Part Soli Writing (Continued)
- Tension Substitution
- Omit 2, 3, or 4 Technique
- Harmonization with Diatonic Major and Minor Triads
- Special-Case Voicings
Lesson 12: Background Lines
- Voice Leading Background Lines
- Common Tones in Background Lines
- Creating Complex Background Lines
- Final Project
Ready to Enroll? |
Online Summer Term Starts July 1st
Course Info
| For-credit tuition: $1,400 |
|
Non-credit tuition: $1,200 Add 6 CEUs: $25.00 |
| Credits: 3 |
| Duration: 12 weeks |
| Catalog #: BME-131 |
Course Faculty 
| Jerry Gates Associate Professor in Contemporary Arranging, Directed Studies in Arranging, and Contemporary Twelve-Tone Composition. | |
| Jeff Perry Berklee faculty since 1997, and currently teaches arranging in the Contemporary Writing and Production department. | |
| Jeri Sykes Composed music and designed sound for theater and film, and has written several commissioned works for performing ensembles at Berklee. | |
Student Comments
“I have always loved the idea of writing for horns and writing multi-stave parts, but I’ve never been able to get my ideas to work on paper. This course gave me a great foundation for writing lines and crafting ideas that can be played in a the real world!” - F. Gros
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Berklee College of Music is accredited by the New England Association of Schools and Colleges (NEASC)
