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ARRANGING FOR LARGE JAZZ ENSEMBLE Modulation and Reharmonizat Modulating ro a new key and reinventing ihe harmonic accompaniment for a given melody are vital techniques to a good arrangement. Both strategies add interest and prevent monotony. In addition, modulation is often used to establish a suitable range for the instruments involved in a new section, Graphing an Arrangement Below is a graphical outline of Dick Lowell’s arrangement of “1625 Swingerama Ave.,” ‘a. composition by Ken Pullig. The full score appears in the final chapter of this book Although no notes are shown here, you can see that the arrangement contains all the crit- ical elements. There is plenty of variety and contrast. It has an introduction and matching ending, in the bookends style. It also includes an interlude, several contrasting written, textures, modulations, space for soloists, and a developed final chorus. When creating your own arrangement, develop your initial concept fully enough to show this amount of detail in a graph. The process will greatly facilitate the next steps to musical sketch and full score. (Swing) ~ In felody Chorus 0 8 Melody Ch ae key of BS) A a9 Aly Ars fu ans vninon bess trumpets (unison) conapanat trumpet ako gst)“ ‘anes (ied) wit as hie (broken ee) Bl «. ic Soto 1 tenor Interlude Solo 2 (trumpet tenon) gg Interlude 4g (crumped) gg _ (KeyolP) B Bo BI7 B25 (oo ackgrouné) ombone sues ombone_—_—teor solo ends teckaround —wombore —— tackgrund romper soto begin backround DI pevetoped Chorus 32 (Key of A) (Key of B5) D Do Diy ps 0 Ads bass Bras lead shout ection” Same as into ni pan so (the "bookends" concep) snd sneered ‘ith ferent fal chord 30