Editing Arrangement

{{Short description|Musical adaptation of a previous work}}{{For other uses|Arrangement (disambiguation)}}{{Redirect-distinguish-for|Arranged|arraignment|the film|Arranged (film)}}
{{Use dmy dates|date=July 2021}}
[[File:Fliegende Hollander Wagner Sousa 25.jpg|thumb|[[John Philip Sousa]]'s manuscript arrangement of [[Richard Wagner]]'s ''[[Der Fliegende Hollander|The Flying Dutchman]]'' overture (page'' ''25 of 37).]]

In [[music]], an '''arrangement''' is a musical adaptation of an existing [[Composition (music)|composition]].<ref>{{cite encyclopedia |url=https://www.britannica.com/art/arrangement |title=Arrangement |encyclopedia=Britannica |access-date=2020-10-16}}</ref> Differences from the original composition may include [[Harmony (music)|reharmonization]], [[Musical phrasing|melodic paraphrasing]], [[orchestration]], or [[Musical form|formal]] development. Arranging differs from [[Orchestration#Orchestration as adaptation|orchestration]] in that the latter process is limited to the assignment of notes to instruments for [[performance]] by an [[orchestra]], [[concert band]], or other [[musical ensemble]]. Arranging "involves adding compositional techniques, such as new [[Theme (music)|thematic material]] for [[Introduction (music)|introductions]], [[Transition (music)|transitions]], or [[Modulation (music)|modulations]], and [[Conclusion (music)|endings]]. Arranging is the art of giving an existing melody musical variety".<ref name="corozine3">(Corozine 2002, p.&nbsp;3)</ref> In [[jazz]], a memorized (unwritten) arrangement of a new or pre-existing composition is known as a ''head arrangement''.<ref name="RCJE">{{cite book |last=Cook |first=Richard |title=Richard Cook's Jazz Encyclopedia |publisher=Penguin Books |location=London |year=2005 |page=20 |isbn=978-0-141-02646-6}}</ref>

== Classical music ==
Arrangement and [[Transcription (music)|transcriptions]] of [[Classical music|classical]] and [[Art music|serious music]] go back to the early history of [[classical music]].

=== Eighteenth century ===
[[J. S. Bach]] frequently made arrangements of his own and other composers' pieces. One example is the arrangement that he made of the Prelude from his [[Partita for Violin No. 3 (Bach)|Partita No.'' ''3]] for solo [[violin]], BWV'' ''1006.[[File:Bach Partita 3 for Violin Prelude 01.wav|thumb|Bach Partita 3 for Violin Prelude]] [[File:Bach Partita 3 for Violin Prelude 02.png|thumb|center|500px|Bach Partita 3 for Violin Prelude]]

Bach transformed this solo piece into an orchestral [[Sinfonia]] that introduces his [[Wir danken dir, Gott, wir danken dir, BWV 29|Cantata BWV29]]. "The initial violin composition was in E'' ''major but both arranged versions are transposed down to D, the better to accommodate the wind instruments".<ref>Mincham, J. (2016) the Cantatas of Johan Sebastian Bach. http://www.jsbachcantatas.com/documents/chapter-85-bwv-29/ Retrieved 31 August 2020.</ref>[[File:Bach Cantata 29 Sinfonia 01.wav|thumb|Bach Cantata 29 Sinfonia]] [[File:Bach Cantata 29 Sinfonia 02.png|thumb|center|600px|Bach Cantata 29 Sinfonia]]

"The transformation of material conceived for a single string instrument into a fully orchestrated [[concerto]]-type movement is so successful that it is unlikely that anyone hearing the latter for the first time would suspect the existence of the former".<ref>Mincham, J. (2016), ''The Cantatas of Johann Sebastian Bach''. http://www.jsbachcantatas.com/documents/chapter-85-bwv-29/ Retrieved 31 August 2020.</ref>

=== Nineteenth and twentieth centuries ===

==== Piano music ====
In particular, music written for the [[piano]] has frequently undergone this treatment, as it has been arranged for orchestra, chamber ensemble, or [[concert band]].<ref>[https://www.britannica.com/EBchecked/topic/36011/arrangement Arrangement], Encyclopædia Britannica online</ref> [[Beethoven]] made an arrangement of his [[Piano Sonata No. 9 (Beethoven)|Piano Sonata No.'' ''9]] for [[string quartet]]. Conversely, he also arranged his ''[[Grosse Fuge]]'' (one of his [[Late string quartets (Beethoven)|late string quartets]]) for [[piano duet]]. The American composer [[George Gershwin]], due to his own lack of expertise in orchestration, had his ''[[Rhapsody in Blue]]'' arranged and orchestrated by [[Ferde Grofé]].<ref>Greenberg, Rodney. ''George Gershwin'', p. 66. Phaidon Press, 1998. {{ISBN|0-7148-3504-8}}.</ref>

[[Erik Satie]] wrote his three ''[[Gymnopédies]]'' for solo piano in 1888.[[File:Satie Gymnopedie No. 3 for piano solo 01.wav|thumb|Satie Gymnopedie No.'' ''3 for piano solo]] [[File:Satie Gymnopedie No. 3 for piano solo 02.png|thumb|center|500px|Satie Gymnopedie No. 3 for piano solo]]

Eight years later, [[Debussy]] arranged two of them, exploiting the range of instrumental [[timbres]] available in a late 19th-century orchestra. "It was Debussy whose 1896 orchestrations of the Gymnopédies put their composer on the map."<ref>Taruskin, R. (2010, p. 70) ''The Oxford History of Western Music, Music in the early Twentieth Century''. [[Oxford University Press]].</ref>[[File:Debussy Gymnopedie 1, arrangement of Satie’s Gymnopedie 3.wav|thumb|Debussy Gymnopedie 1, arrangement of Satie's Gymnopedie 3.]] [[File:Debussy Gymnopedie 1, arrangement of Satie’s Gymnopedie 3.png|thumb|center|500px]] [[File:Debussy Gymnopedie 1, arrangement of Satie’s Gymnopedie 5.png|thumb|center|500px|Debussy Gymnopedie 1, arrangement of Satie's Gymnopedie 3]]

''[[Pictures at an Exhibition#Arrangements and interpretations|Pictures at an Exhibition]]'', a [[Suite (music)|suite]] of ten piano pieces by [[Modest Mussorgsky]], has been arranged over twenty times, notably by [[Maurice Ravel]].<ref>[[Pictures at an Exhibition#orchestral arrangements|Partial list of orchestral arrangements to Pictures at an Exhibition]]</ref> Ravel's arrangement demonstrates an "ability to create unexpected, memorable orchestral sonorities".<ref name="Orenstein, A. 2016, p. VIII">Orenstein, A. (2016, p. VIII. Preface to ''Mussorgsky-Ravel, Pictures at an Exhibition''. Miniature score, London, Eulenburg.</ref> In the second movement, "Gnomus", Mussorgsky's original piano piece simply repeats the following passage:[[File:Mussorgsky Gnomus original bars 19-24.wav|thumb|Mussorgsky Gnomus original bars'' ''19-24]] [[File:Mussorgsky Gnomus original bars 19-25.png|thumb|center|500px|Mussorgsky "Gnomus", original bars'' ''19–25]]Ravel initially orchestrates it as follows:[[File:Mussorgsky-Ravel Gnomus bars 19-24, first orchestraion 01.wav|thumb|Mussorgsky-Ravel "Gnomus", first orchestration]] [[File:Mussorgsky-Ravel Gnomus bars 19-24, first orchestraion 02.png|thumb|center|500px|Mussorgsky-Ravel "Gnomus", first orchestration]]

Repeating the passage, Ravel provides a fresh orchestration "this time with the [[celesta]] (replacing the [[Woodwind instrument|woodwinds]]) accompanied by string [[Glissando|glissandos]] on the [[fingerboard]]".<ref name="Orenstein, A. 2016, p. VIII"/>[[File:Mussorgsky-Ravel Gnomus bars 19-24, first orchestration 03.wav|thumb|Mussorgsky-Ravel Gnomus, second orchestration]] [[File:Mussorgsky-Ravel Gnomus bars 19-24, first orchestration 04.png|thumb|center|500px|Mussorgsky-Ravel "Gnomus", second orchestration]]

==== Songs ====
A number of [[Franz Schubert]]'s songs, originally for voice with piano accompaniment, were arranged by other composers. For example, his "highly charged" and "graphic" song "[[Erlkönig (Schubert)|Erlkönig]]" ("The Erl King") has a piano introduction that conveys "unflagging energy" from the start.<ref>Newbould, B. (1997, p. 57) ''Schubert: the Music and the Man''. London, Gollancz.</ref>[[File:Schubert Erl King piano introduction 01.wav|thumb|Schubert "Erlkönig", piano introduction]] [[File:Schubert - Erlkönig - M. 1-5.svg|thumb|center|500px|Schubert "Erlkönig", piano introduction]]

The arrangement of this song by [[Hector Berlioz]] uses strings to convey faithfully the driving urgency and threatening atmosphere of the original.[[File:Erl King - Berlioz version for audio replacement.wav|thumb|"Erlkönig", arrangement by Berlioz]] [[File:Erlkonig, arrangement by Berlioz 02.png|thumb|center|500px]]

Berlioz adds colour in bars'' ''6–8 through the addition of [[Woodwind instrument|woodwind]], [[Horn (instrument)|horns]], and a [[timpani]]. With typical flamboyance, Berlioz adds spice to the harmony in bar'' ''6 with an E'' ''flat in the horn part, creating a [[half-diminished seventh chord]] which is not in Schubert's original piano part.[[File:Erlkonig, arrangement by Berlioz 03.png|thumb|center|500px|"Erlkönig", arrangement by Berlioz]]

There are subtle differences between this and the arrangement of the song by [[Franz Liszt]]. The upper string sound is thicker, with violins and [[Viola|violas]] playing the fierce repeated [[Octave|octaves]] in [[unison]] and [[bassoons]] compensating for this by [[Voicing (music)#doubling|doubling]] the [[cellos]] and [[Bass guitar|basses]]. There are no timpani, but [[trumpets]] and horns add a small jolt to the rhythm of the opening bar, reinforcing the bare octaves of the [[String (music)|strings]] by playing on the second main beat.[[File:Erl King - arrangement by Liszt opening bars 01.wav|thumb|Erl King - arrangement by Liszt opening bars]] [[File:Erl King - arrangement by Liszt opening bars 02.png|thumb|center|500px|Erl King – arrangement by Liszt, bars'' ''1–4]]

Unlike Berlioz, Liszt does not alter the harmony, but changes the emphasis somewhat in bar'' ''6, with the note A in the [[Oboe|oboes]] and [[Clarinet|clarinets]] grating against rather than blending with the G in the strings.[[File:Erl King - arrangement by Liszt bars 5-8.png|thumb|center|500px|Erl King – arrangement by Liszt, bars'' ''5–8]]

"Schubert has come in for his fair share of transcriptions and arrangements. Most, like Liszt's transcriptions of the [[Lied]]er or Berlioz's orchestration for ''Erlkönig'', tell us more about the arranger that about the original composer, but they can be diverting so long as they are in no way a replacement for the original".<ref>Newbould, B. (1997, p. 467) ''Schubert: the Music and the Man''. London, Gollancz.</ref>

[[Gustav Mahler]]'s ''[[Lieder eines fahrenden Gesellen]]'' ("Songs of a Wayfarer") were originally written for voice with piano accompaniment. The composer's later arrangement of the piano part shows a typical ear for clarity and transparency in rewriting for an ensemble. Below is the original piano version of the closing bars of the second song, "Gieng heit' Morgen über's Feld".[[File:Mahler Gieng heut' Morgen uber's feld final bars piano version for audio 01.wav|thumb|Mahler Gieng heut' Morgen uber's feld final bars of the piano version]] [[File:Mahler Gieng heut' Morgen uber's feld final bars of the piano version.png|thumb|center|500px|Mahler "Gieng heut' Morgen uber's feld", final bars of the piano version]]

The orchestration shows Mahler's attention to detail in bringing out differentiated orchestral [[Timbre|colours]] supplied by woodwind, strings and horn. He uses a [[harp]] to convey the original [[arpeggio]]s supplied by the left hand of the piano part. He also extracts a descending [[chromatic]] melodic line, implied by the left hand in bars'' ''2–4 (above), and gives it to the horn.[[File:Mahler Gieng heut' Morgen uber's feld final bars of the orcherstral arrangement.wav|thumb|Mahler Gieng heut' Morgen uber's feld final bars of the orchestral arrangement]] [[File:Mahler Gieng heut' Morgen uber's feld final bars of the orchestral arrangement.png|thumb|center|500px|Mahler "Gieng heut' Morgen uber's feld", final bars of the orchestral arrangement]]

== Popular music ==
[[Popular music]] recordings often include parts for [[Brass instrument|brass]] [[horn section]]s, [[String orchestra|bowed strings]], and other instruments that were added by arrangers and not composed by the original [[songwriter]]s. Some pop arrangers even add sections using full [[orchestra]], though this is less common due to the expense involved. Popular music arrangements may also be considered to include [[Reissue|new releases of existing songs]] with a new musical treatment. These changes can include alterations to [[tempo]], [[Meter (music)|meter]], [[Key (music)|key]], [[Instrumentation (music)|instrumentation]], and other musical elements.

Well known examples include [[Joe Cocker]]'s version of [[the Beatles]]' "[[With a Little Help from My Friends]]", [[Cream (band)|Cream]]'s "[[Cross Road Blues|Crossroads]]", and [[Ike Turner|Ike and Tina Turner]]'s version of [[Creedence Clearwater Revival]]'s "[[Proud Mary]]". The American group [[Vanilla Fudge]] and the British group [[Yes (band)|Yes]] based their early careers on radical rearrangements of [[Hit single|contemporary hits]].<ref>[http://www.classicbands.com/vanilla.html Vanilla Fudge covers] (classic bands website)</ref><ref>''Close To the Edge – The Story of Yes'', Chris Welch, Omnibus Press, 1999/2003/2008 pages 33-34</ref> Bonnie Pointer performed [[disco]] and [[Motown sound|Motown]]-styled versions of "[[Heaven Must Have Sent You]]".<ref>[https://www.imdb.com/name/nm0688460/bio Bonnie Pointer bio] ([[IMDb]] website)</ref> [[Remix]]es, such as in [[dance music]], can also be considered arrangements.<ref>[https://books.google.com/books?id=raLmAgAAQBAJ&pg=PT47 ''The Remix Manual: The Art and Science of Dance Music Remixing with Logic''], Simon Langford (Elsevier, 2011, {{ISBN|978-0-240-81458-2}}) page 47</ref>

== Jazz ==
{{see also|List of jazz arrangers}}Arrangements for small [[Jazz band|jazz combos]] are usually informal, minimal, and uncredited. Larger ensembles have generally had greater requirements for notated arrangements, though the early [[Count Basie]] [[big band]] is known for its many ''head'' arrangements, so called because they were worked out by the players themselves, memorized ("in the player's ''head''"), and never written down.<ref name="randel294">Randel 2002, p.&nbsp;294</ref> Most arrangements for big bands, however, were written down and credited to a specific arranger, as with arrangements by [[Sammy Nestico]] and [[Neal Hefti]] for Count Basie's later big bands.<ref>[http://www.jazzinamerica.org/jazzresources/stylesheets/9 Swing music history] and the big bands (Jazz in America website)</ref>

[[Don Redman]] made innovations in jazz arranging as a part of [[Fletcher Henderson]]'s orchestra in the 1920s. Redman's arrangements introduced a more intricate melodic presentation and ''soli'' performances for various sections of the big band.<ref name="fletcher">{{cite web|url=https://www.pbs.org/jazz/biography/artist_id_henderson_fletcher.htm |title=JAZZ A Film By Ken Burns: Selected Artist Biography - Fletcher Henderson |publisher=PBS |date=1934-09-25 |access-date=2013-10-18}}</ref> [[Benny Carter]] became Henderson's primary arranger in the early 1930s, becoming known for his arranging abilities in addition to his previous recognition as a performer.<ref name="fletcher" /> Beginning in 1938, [[Billy Strayhorn]] became an arranger of great renown for the [[Duke Ellington]] orchestra. [[Jelly Roll Morton]] is sometimes considered the earliest jazz arranger. While he toured around the years 1912 to 1915, he wrote down parts to enable "[[Pickup group|pickup bands]]" to perform his compositions.

Big-band arrangements are informally called ''charts''. In the swing era they were usually either arrangements of popular songs or they were entirely new compositions.<ref>Giddins, Gary & Scott DeVeaux (2009). ''Jazz''. New York: W.W. Norton & Co, {{ISBN|978-0-393-06861-0}}</ref> Duke Ellington's and [[Billy Strayhorn]]'s arrangements for the Duke Ellington big band were usually new compositions, and some of [[Eddie Sauter]]'s arrangements for the [[Benny Goodman]] band and [[Artie Shaw]]'s arrangements for his own band were new compositions as well. It became more common to arrange sketchy jazz combo compositions for big band after the bop era.<ref name="Bailey">{{cite web|last=Bailey|first=C. Michael|date=11 April 2008|url=http://www.allaboutjazz.com/php/article.php?id=28959&pg=1|title=Miles Davis, Miles Smiles, and the Invention of Post Bop|work=[[All About Jazz]]|access-date=23 February 2013}}</ref>

After 1950, the big bands declined in number. However, several bands continued and arrangers provided renowned arrangements. [[Gil Evans]] wrote a number of large-ensemble arrangements in the late 1950s and early 1960s intended for recording sessions only. Other arrangers of note include [[Vic Schoen]], [[Pete Rugolo]], [[Oliver Nelson]], [[Johnny Richards]], [[Billy May]], [[Thad Jones]], [[Maria Schneider (musician)|Maria Schneider]], [[Bob Brookmeyer]], [[Lou Marini]], [[Nelson Riddle]], [[Ralph Burns]], [[Billy Byers]], [[Gordon Jenkins]], [[Ray Conniff]], [[Henry Mancini]], [[Ray Reach]], [[Vince Mendoza]], and [[Claus Ogerman]].

In the 21st century, the big-band arrangement has made a modest comeback. [[Gordon Goodwin]], [[Roy Hargrove]], and [[Christian McBride]] have all rolled out [[New Big Band|new big band]]s with both original compositions and new arrangements of standard tunes.<ref>"[http://latimesblogs.latimes.com/culturemonster/2012/02/grammy-awards-2012-carrington-and-corea-among-jazz-winners.html Carrington and Correa Among Jazz Winners]" – LATimes Blog, Feb. 2012</ref>

== For instrumental groups ==

=== Strings ===
The [[string section]] is a body of instruments composed of various bowed stringed instruments. By the 19th century [[orchestral music]] in Europe had standardized the string section into the following homogeneous instrumental groups: first [[violin]]s, second violins (the same instrument as the first violins, but typically playing an [[accompaniment]] or [[harmony part]] to the first violins, and often at a lower pitch range), [[viola]]s, [[cello]]s, and [[double bass]]es. The string section in a multi-sectioned orchestra is sometimes referred to as the "string choir".<ref>{{cite book |last=Adler |first=Samuel |author-link=Samuel Adler (composer) |title=The Study of Orchestration |url=https://archive.org/details/studyorchestrati00adle_503 |url-access=limited |publisher=W. W. Norton |location=New York |year=2002 |pages=[https://archive.org/details/studyorchestrati00adle_503/page/n121 111] |isbn=9780393975727}}</ref>

The [[harp]] is also a stringed instrument, but is not a member of nor [[homogeneous]] with the violin family, and is not considered part of the string choir. [[Samuel Adler (composer)|Samuel Adler]] classifies the [[harp]] as a plucked string instrument in the same category as the [[guitar]] ([[Acoustic guitar|acoustic]] or [[Electric guitar|electric]]), [[mandolin]], [[banjo]], or [[zither]].<ref>{{cite book |last=Adler |first=Samuel |title=The Study of Orchestration |url=https://archive.org/details/studyorchestrati00adle_503 |url-access=limited |publisher=W. W. Norton |location=New York |year=2002 |pages=[https://archive.org/details/studyorchestrati00adle_503/page/n99 89] |isbn=9780393975727}}</ref> Like the harp, these instruments do not belong to the violin family and are not homogeneous with the string choir. In modern arranging these instruments are considered part of the rhythm section. The [[electric bass]] and upright string bass—depending on the circumstance—can be treated by the arranger as either string section or [[rhythm section]] instruments.<ref>{{cite book |last=Sebesky |first=Don |title=The Contemporary Arranger |publisher=Alfred Pub. |location=New York |year=1975 |pages=117}}</ref>

A group of instruments in which each member plays a unique part—rather than playing in unison with other like instruments—is referred to as a [[Chamber music|chamber ensemble]].<ref>{{cite web |title=Oxford Music Online |url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/05379?q=chamber+music&hbutton_search.x=0&hbutton_search.y=0&hbutton_search=search&source=omo_epm&source=omo_t237&source=omo_gmo&source=omo_t114&search=quick&pos=1&_start=1 |access-date=22 July 2011}}</ref> A chamber ensemble made up entirely of strings of the violin family is referred to by its size. A [[string trio]] consists of three players, a string quartet four, a [[string quintet]] five, and so on.

In most circumstances the string section is treated by the arranger as one homogeneous unit and its members are required to play preconceived material rather than [[Musical improvisation|improvise]].

A string section can be utilized on its own (this is referred to as a string orchestra)<ref>{{cite web |url=http://www.collinsdictionary.com/dictionary/english/string-orchestra |title=String orchestra |work=Collins English Dictionary |edition=11th |access-date=21 October 2012}}</ref> or in conjunction with any of the other instrumental sections. More than one string orchestra can be utilized.

A standard string section (vln., vln 2., vla., vcl, cb.) with each section playing unison allows the arranger to create a five-part texture. Often an arranger will divide each violin section in half or thirds to achieve a denser texture. It is possible to carry this division to its logical extreme in which each member of the string section plays his or her own unique part.

==== Size of the string section ====
Artistic, budgetary and logistical concerns, including the size of the orchestra pit or hall will determine the size and instrumentation of a string section. The [[Broadway theatre|Broadway]] [[Musical theatre|musical]] ''[[West Side Story]]'', in 1957, was booked into the Winter Garden theater; composer [[Leonard Bernstein]] disliked the playing of "house" viola players he would have to use there, and so he chose to leave them out of the show's instrumentation; a benefit was the creation of more space in the pit for an expanded percussion section.<ref>{{cite web|last=Burton|first=Humphrey|title=Leonard Bernstein by Humphrey Burton, Chapter 26|url=http://www.westsidestory.com/site/level2/archives/bibliography/bibliography.html|access-date=22 July 2011|archive-url=https://web.archive.org/web/20110629180202/http://www.westsidestory.com/site/level2/archives/bibliography/bibliography.html|archive-date=29 June 2011|url-status=dead}}</ref>

[[George Martin]], [[Producer (music)|producer]] and arranger for [[the Beatles]], warns arrangers about the [[Intonation (music)|intonation]] problems when only two like instruments play in unison: "After a string quartet, I do not think there is a satisfactory sound for strings until one has at least three players on each line . . . as a rule two stringed instruments together create a slight 'beat' which does not give a smooth sound."<ref>{{cite book |last=Martin |first=George |author-link=George Martin |title=Making Music: the Guide to Writing, Performing & Recording |publisher=W. Morrow |location=New York |year=1983 |pages=82}}</ref> Different music directors may use different numbers of string players and different balances between the sections to create different musical effects.

While any combination and number of string instruments is possible in a section, a traditional string section sound is achieved with a violin-heavy balance of instruments.

{| class="wikitable"
|+Suggested string section sizes
!Reference
!Author
!Section size
!Violins
!Violas
!Celli
!Basses
|-
|rowspan="5"|"Arranged By Nelson Riddle"<ref>{{cite book|last=Riddle|first=Nelson|title=Arranged By Nelson Riddle|year=1985|publisher=Warner Brothers Publications Inc.|location=Secaucus, NJ|pages=124}}</ref>
|rowspan="5"|Nelson Riddle
|12 players
|8
|2
|2
|0
|-
|15 players
|9
|3
|3
|0
|-
|16 players
|10
|3
|3
|0
|-
|20 players
|12
|4
|4
|0
|-
|30 players
|18
|6
|6
|0
|-
|rowspan="4"|"The Contemporary Arranger"<ref>{{cite book|last=Sebesky|first=Don|title=The Contemporary Arranger|year=1975|publisher=Alfred Pub.|location=New York|pages=127–129}}</ref>
|rowspan="4"|Don Sebesky
|9 players
|7
|0
|2
|0
|-
|12 players
|8
|2
|2
|0
|-
|16 players
|12
|0
|4
|0
|-
|20 players
|12
|4
|4
|0
|-
|}

== Further reading ==

{| class="wikitable"
!Name
!Author
|-
|''Inside the score: A detailed analysis of 8 classic jazz ensemble charts by Sammy Nestico, Thad Jones and Bob Brookmeyer''
|Rayburn Wright
|-
|''Sounds and Scores: A Practical Guide to Professional Orchestration''
|Henry Mancini
|-
|''The Contemporary Arranger''
|Don Sebesky
|-
|''The Study of Orchestration''
|Samuel Adler
|-
|''Arranged by Nelson Riddle''
|Nelson Riddle
|-
|''Instrumental Jazz Arranging: A Comprehensive and Practical Guide''
|Mike Tomaro
|-
|''Modern Jazz Voicings: Arranging for Small and Medium Ensemble''
|Ted Pease, Ken Pullig
|-
|''Arranging for Large Jazz Ensemble''
|Ted Pease, Dick Lowell
|-
|''Arranging concepts complete: the ultimate arranging course for today's music''
|Dick Grove
|-
|''The complete arranger''
|Sammy Nestico
|-
|''Arranging Songs: How to Put the Parts Together''
|Rikky Rooksby
|}

== See also ==
* [[Transcription (music)]]
* [[Instrumentation (music)]]
* [[Orchestration]]
* [[Reduction (music)]]
* [[Musical notation]]
* [[Musical setting]]
* [[American Society of Music Arrangers and Composers]]
* [[Electronic keyboard]] (or Electronic Music Arranger), which allows for live music arrangement
* [[List of music arrangers]]
* [[List of jazz arrangers]]
* [[:Category:Music arrangers]]

== References ==
{{reflist|30em}}

;Sources
* {{cite book |last=Corozine |first=Vince |title=Arranging Music for the Real World: Classical and Commercial Aspects |year=2002 |publisher=Mel Bay |location=Pacific, MO |isbn=0-7866-4961-5 |oclc=50470629 |ref=Corozine}}
* Kers, Robert de (1944). ''Harmonie et orchestration pour orchestra de danse''. Bruxelles: Éditions musicales C. Bens. vii, 126 p.
* Kidd, Jim (1987). ''Unsung Heroes, the Jazz Arrangers, from Don Redman to Sy Oliver: [text with recorded examples for a presentation] Prepared on the Occasion of the 16th Annual Canadian Collectors' Congress, 25 April 1987, Toronto, Ont.'' Toronto: Canadian Collectors' Congress. Photo-reproduced text ([6] leaves) with audiocassette of recorded illustrative musical examples.
* Randel, Don Michael (2002). ''The Harvard Concise Dictionary of Music and Musicians''. {{ISBN|0-674-00978-9}}.

== External links ==
*An oral history of pop music arranging, compiled by [[Richard Niles]]: [https://www.youtube.com/watch?v=wEFHOt9AaWs Part 1], [https://www.youtube.com/watch?v=B30tJK76xfY Part 2], [https://www.youtube.com/watch?v=Bpx2Xyni91Y Part 3]

{{Music industry}}
{{Music topics}}

{{Authority control}}

[[Category:Arrangement]]