COURSE DESCRIPTION

This course trains students in the fundamental skills needed by the arranger, starting from small ensembles with vocals and rhythm section, up to choir and brass and strings. Our goal is arranging for studio and live applications, including applications for live concerts, schools, and church settings.

COURSE LEARNING OUTCOMES

Upon successful completion of this course, students will be able to demonstrate mastery of:

• Orchestration and instrumentation terminology in English, French, Italian, and German through course examinations

• Standard orchestral terminology, including dynamics, tempo markings, and bowings in multiple languages

• Proper score layout, instrument order, and professional formatting conventions

• Practical and complete ranges of orchestral instruments

• Transposing instruments and clef usage

• Idiomatic scoring practices for individual sections and instrumental choirs

• Effective combination and balance of instrumental choirs

• Scoring for small ensembles and chamber groups

• Computer-based notation procedures including score preparation and part extraction

REQUIRED TEXTS AND RECOMMENDED STUDY RESOURCES

-       All course materials will be accessed electronically though Canvas.

-       Access to MuseScore 4.

ASSESSMENT AND GRADING

Grades will be based on the following:

A | A  93-100 | A- 90-92 |

B | B+ 87-89 | B  83-86 | B- 80-82 |

C | C+ 77-79 | C  73-76 | C- 70-72 |

D | D+ 67-69 | D  63-66 | D- 60-62 |

F | Less than 59 |

Small Projects: (8 @ 50 pts) 400 points 

Students will complete eight small arrangement projects spaced throughout the semester. Each project focuses on a specific instrumental family or arrangement problem and is designed to build technical fluency, score literacy, and practical writing skills. Projects may include tasks such as: arranging a short passage for strings, winds, brass, or choir. Transcribing a keyboard texture into an idiomatic ensemble setting or re-orchestrating an existing passage to achieve a different color or balance. 

Analysis Projects (7 @ 50 pts) 350 points 

Students will complete seven small analysis assignments spaced throughout the semester. Each project focuses on a specific element of a songs arrangement and is designed to build technical fluency, score literacy, and practical writing skills. 

Midterm Project: 150 points

The midterm project is a substantial arrangement assignment completed at the midpoint of the semester. Students will produce a fully notated score demonstrating effective writing for a single instrumental family or a limited mixed ensemble, drawing on techniques covered in the first half of the course. This project emphasizes: idiomatic instrument usage, accurate notation and transposition, thoughtful distribution of musical material Students will be given dedicated class time for planning and feedback prior to submission. The midterm project serves as a synthesis of foundational orchestration skills and prepares students for the larger, integrative demands of the final project.

Final Project: 200 points

The final project is a large-scale arrangement assignment developed over the final two weeks of the semester. Students will create a complete arrangement of an original composition for a substantial ensemble, such as a multiple singer rock band with additional elements such as strings, brass and winds This project requires students to demonstrate: Integrated use of all major instrumental families. Sophisticated control of texture, color, and balance, clear formal thinking and long-range musical planning, and professional-level score preparation and notation. The final project represents the culmination of the course and reflects each student’s technical growth, musical judgment, and creative voice as an arranger.

*Please note: all due dates/times are PST (Pacific Standard Time)

AI STATEMENT

You are allowed to use Artificial Intelligence (AI) tools (e.g., ChatGPT, Gemini Pro 1.5, GrammarlyGo, Perplexity, etc) to generate ideas, but you are not allowed to use AI tools to generate content (text, video, audio, images) that will end up in any work submitted to be graded for this course. If you have any doubts about using AI, please gain permission from the instructor.

COURSE OVERVIEW

Week 1 – Introduction to Arranging

• Overview of professional notation standards

• Introduction to notation expectations

Week 2 – Notation, Parts, and Professional Standards

• Score formatting

• Part preparation and page layout

• Rehearsal marks

• Neatness and accuracy as professional criteria

• Assignment #1: Create a Lead Sheet 

Week 3 – Core Harmonic & Voice-Leading Review

• Review of triads, seventh chords, and basic harmonic progressions

• Functional harmony in commercial styles

• Smooth voice leading in homophonic textures

• Score layout and part extraction basics

• Assignment #2: Reharmonization Project 

Week 4 – Rhythm Section Writing

• Roles of piano/keys, guitar, bass, and drums

• Accompaniment styles (block chords, arpeggiated textures, comping)

• Writing from lead sheets

• Groove, and meter

Week 5 – Reharmonization

• Harmonizing melodies for rhythm section

• Voicing chords for keyboard and guitar

• Bass line construction

• Analysis Assignment #1 – Arrangement in “Let it Be” by The Beatles 

• Assignment #3: Reharmonization lead sheet with rhythm section arrangement of “Let it Be” by the Beatles 

Week 6 – Two- and Three-Part Vocal Writing

• Melody support vs. decoration

• Parallel motion, contrary motion, and spacing

• Doubling and register considerations

• Text underlay and clarity

• Analysis Assignment #2 – “Seven Bridges Road” by The Eagles

• Analysis Assignment #3 – “Dreams” by Fleetwood Mac

• Assignment #4- Create New Vocal Harmonies for “Dreams” by Fleetwood Mac  

Week 7 – Four-Part Vocal Writing 

• Commercial vs. classical choral textures

• Homophonic vs. lightly contrapuntal writing

• Expressive markings and phrasing

• Assignment #5: Vocal arrangement with rhythm section – Create polyphonic vocal parts over a new composition 

• Analysis Project #4: Polyphonic Vocal lines in “God Only Knows” by the Beach Boys 

Week 8 – Style and Texture

• Genre-specific arranging choices

• Texture – Monophony, Polyphony etc. 

• Dynamic shaping and sectional contrast

• Assignment - Midterm project rough draft

Week 9 – Midterm Assessment

Week 10 – Brass Writing Fundamentals

• Trumpet, trombone, and horn ranges and transpositions

• Section voicing (close vs. open)

• Power vs. blend in brass scoring

• Background figures and pads

• Analysis Assignment #5: “September” by Earth Wind Fire

• Assignment #6: Create a Brass Section for the song “Funk #49” by The James Gang (See Live Versions)

Week 11 – Woodwinds & Mixed Ensembles

• Flute, clarinet, saxophone roles

• Doubling strategies and color layering

• Writing countermelodies

• Assignment #7: Create an arrangement of a chosen song for mixed woodwinds and brass ensemble

Week 12 – String Writing for Commercial Contexts

• String ranges and idiomatic writing

• Pads, ostinati, and cinematic textures

• Layering strings with rhythm section

• Expressive markings for strings

• Analysis Assignment #6: Eleanor Rigby by The Beatles 

• Assignment #8: Create a string quartet arrangement of a chosen song a la “Eleanor Rigby”

Week 13 – Combining Forces

• Choir + rhythm section

• Brass + rhythm section

• Strings + vocals

• Balance and clarity in larger ensembles

• Analysis Assignment #7: “Got to Get You Into My Life” by The Beatles  

Week 14 & 15– Final Project Workshop

Week 16 – Final Exam / Final Project