A comprehensive text that covers the characteristics and ranges of each instrument in the stage band; analyzing and arranging many musical styles, voice leading, passing chords, modulations, intros, endings, turn-arounds and orchestration.
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Most Helpful Customer Reviews
2 of 2 people found the following review helpful:
4.0 out of 5 stars
Beneficial book, but don't make it your first or only one.,
By M. Sweetz "Pop-a-holic" (Brooklyn, NY) - See all my reviews
This review is from: Arranging Concepts Complete: The Ultimate Arranging Course for Today's Music (Dick Grove Arranging Series) (Plastic Comb)
This book is chock-full of good information, and the accompanying CD is definitely an added bonus. Ultimately, it deserves a spot on the shelf of any arranging student. However, some of the material is dryly presented in the form of tables which the student is advised to refer to, instead of being explained as a concept from which the student can base his/her own decisions (ex. the chapters on voicings in fourths, clusters, and plural chord relationships). Also, I would not advise this book for those interested in arranging for strings...this book focuses solely on saxes, brass, woodwinds, percussion and the rhythm section.
On the plus side, the book gives a solid chapter on "Working Procedures for Writing an Arrangement", and its discussion of harmony and orchestral color in terms of "density levels", "octave span" and "weight" is refreshing, easy to understand, and unique. This book will definitely augment (pun intended) your arranging knowledge, but if you're just starting, I'd highly recommend "Modern Jazz Voicings" by Ted Pease and Ken Pullig, "Arranging for Large Jazz Ensemble" by Ken Pullig, and/or a good jazz theory book as a starting point...the denser parts of this book will make more sense after that.
2 of 2 people found the following review helpful:
4.0 out of 5 stars
horses for courses,
By ToranaDave (Sydney, NSW, Aus) - See all my reviews
This review is from: Arranging Concepts Complete: The Ultimate Arranging Course for Today's Music (Dick Grove Arranging Series) (Plastic Comb)
A very detailed mathematical aproach to band arranging. Useful tables to cover all practical situations, mostly from the point of view of horn section arranging. Somewhat light on in terms of rhythm section arranging. This book doesn't aim to teach you WHAT to write, but if you already have some experience in band arranging and are familiar with extended chords and basic harmonic and melodic concepts, it will help to guide you through the labyrinth of endless musical possibilities. Band arranging from a jazz (thus also blues/rock/pop/show music etc) perspective, not so much concert band or wind orchestra.
1 of 1 people found the following review helpful:
5.0 out of 5 stars
Alot But Not Everything You Need,
By Anonymous Reviewer (Palm Desert, CA) - See all my reviews
This review is from: Arranging Concepts Complete: The Ultimate Arranging Course for Today's Music (Dick Grove Arranging Series) (Plastic Comb)
Arranging Concepts is a complete reference source for answers to most basic questions confronting an arranger, composer or orchestrator. As a student of Grove's, it was absolutely essential as one of many of his publications I needed in my library. Dick's program, texts, classes and assignments gave a complete immersion in composing as a trade. He was a great teacher. This book sums up the basic language of composing. Sadly, many of his other works are no longer in print. But, I am very glad I have much of that library. It's invaluable to any musician. And, yes it does not answer every question. If you can also find Modern Harmony, Modern Harmonic Relationships or the very difficult to find Advanced Modern Harmony, consider yourself very fortunate.
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Inside This Book
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Key Phrases - Statistically Improbable Phrases (SIPs):
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rock measures, mixed section voicings, sectional voicings, melodic couplings, five part density, basic instrument ranges, solo proportions, four part density, one part density, passing chord approach, three part density, definitive triads, dominant approach chord, polychord notation, melody note functions, two part density, ensemble span, diatonic clusters, new composite forms, five part voicings, orchestral weight, brass voicings, vamp progression, definitive chords, orchestral notes Key Phrases - Capitalized Phrases (CAPs): (learn more)
Dick Grove, Diatonic Passing, Jazz Measures, Next Page, Higher Pitched Instruments, Sammy Nestico, The French, Dorian Mode, The Dom, Modal Measures, Rights Reserved, Free Areas, Play Straight, Gil Evans, Note Diminished Scale, Structures Root, Each Illustration, Copyright Secured Made, Lower Pitched Instruments, Concert Range Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Back Flap | Back Cover | Surprise Me!
rock measures, mixed section voicings, sectional voicings, melodic couplings, five part density, basic instrument ranges, solo proportions, four part density, one part density, passing chord approach, three part density, definitive triads, dominant approach chord, polychord notation, melody note functions, two part density, ensemble span, diatonic clusters, new composite forms, five part voicings, orchestral weight, brass voicings, vamp progression, definitive chords, orchestral notes Key Phrases - Capitalized Phrases (CAPs): (learn more)
Dick Grove, Diatonic Passing, Jazz Measures, Next Page, Higher Pitched Instruments, Sammy Nestico, The French, Dorian Mode, The Dom, Modal Measures, Rights Reserved, Free Areas, Play Straight, Gil Evans, Note Diminished Scale, Structures Root, Each Illustration, Copyright Secured Made, Lower Pitched Instruments, Concert Range Browse Sample Pages:
Front Cover | Front Flap | Table of Contents | First Pages | Back Flap | Back Cover | Surprise Me!
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