ARRANGING 101

Basics to Big Band

Course Overview

Arranging 101 is a ten week online class which walks through everything you need to know to write a big band arrangement. Participants are introduced to a wide range of topics that build off of one another, such as jazz harmony and voicings. The course covers 126 unique techniques, each unpacked and demonstrated with real-world examples and accompanying exercises where everyone receives individual feedback. As a result, participants will walk away from the course with a completed big band arrangement if they finish the prescribed tasks. Every session is taught live through Zoom with Toshi Clinch, an experienced arranger who will answer your questions and guide you through each topic. If you can’t make a session don’t worry, each live Zoom is recorded and sent out to participants afterward so you can catch up or look over the content in your own time. The course has a maximum capacity of 25 people to guarantee that all participants have access to Toshi and achieve their arranging goals.

Curriculum

  • To kick the course off we start with three sessions focused on harmony. In this first class the entire focus is to understand how harmony works in Western music through the concepts of dissonance and resolution. Through discussion on methods such as functional harmony, we unpack how to both analyze how chord progressions use tension and resolution to create flow as well as how we can capture that in our own writing. The second half of the session then moves to looking at various types of reharmonization techniques, namely looking at functional substitution and modal interchange as well as introducing the concept of secondary dominants and how they operate.

    The main goal of this session is to understand how chord progressions work and be able to manipulate them to create the sounds we want to capture as arrangers.

  • After establishing the foundation of Western harmony in session 1, this class moves into the realm of jazz harmony and explores the topic of extensions and alterations. While week 1 was focused on building a solid harmonic foundation as a writer, this week focuses on refining those skills and adding a new layer of complexity into the mix. For those new to the topic, we offer a logical way of understanding color tones and how they can impact the chord symbols we write, with the main focus on establishing why we may want to use certain sounds over others. After analyzing diatonic extensions and alterations, we shift gears to look at modes and non-diatonic scales through the lens of chord-scale theory which offers countless more harmonic options that we can use. Finally, we finish the session by looking at more types of reharmonization, namely those related to jazz harmony, such as tritone substitution and symmetrical substitution.

    The main goal of this session is to understand the basics of jazz harmony and what color tones are at your disposal as a writer. We unpack a significant amount of information in this session and it is not expected that participants will walk away understanding it all, nor is it expected that participants will have mastered the concepts by the end of the 10 weeks.

  • For the final session on harmony we shift gears to one area we haven’t yet addressed in the course: non-chord tones. While it is possible to harmonize all notes through the information discussed in the first two sessions, there are other ways to handle melody notes that aren’t so easy to justify. In this session we first unpack how to identify a non-chord tone and then explore the five most common types of passing chords and how to use them to create better voice leading and add harmonic flex to a passage. 

    The main goal of this session is to understand the flexibility we have to interpret any given note as either a chord tone or non-chord tone, as well as how to correctly utilize all five of the passing chord options at our disposal.

  • This week we depart from the topic of harmony and shift over to a major component of arranging: orchestration. Unlike most arranging classes which simply go over the details of each of the common jazz instruments, in this session we go slightly deeper and look at why it is essential to understand transposition, range, and register. Specifically, we spend a majority of the session discussing the implications of register and how it can not only impact timbre but also projection, and how that can affect our writing.

    The main goal of this session is to understand the importance of knowing as much as you can about the instruments you plan to write for. Otherwise, the music you hear in your head will not come out as intended.

  • Now that we have covered harmony and orchestration, we can look at how they both come together to inform the voicings we write. In this session we discuss how voicings are more than just shapes and that viewing them as such can be problematic depending on the situation. Instead, we look at how we need to be mindful of four core aspects that impact voicings: stability, chord tones, register, and horizontal motion. Through this lens we are able to see how finding the right voicing for a given situation is one big game of compromise and that we often have to prioritize one area over another when writing. 

    The main goal of this session is to understand the four aspects which impact voicings as well as the dozens of possible voicing shapes that are at our disposal.

  • Following on from week 5, session 6 refines the voicing concepts covered earlier into the context of a big band. In this class we look at common conventions for voicing for each big band section, looking at specific situations such as how voicing for trumpets may differ from trombones as well as what to prioritize for each section. The last part of the session shifts gears and focuses on the rhythm section, particularly looking at the role of each instrument and how to write for each of them effectively (that includes drum notation).

    The main goal of this session is to understand how each section in a big band operates, know the appropriate voicing techniques for each horn section, and be aware of how to approach writing for each rhythm section instrument.

  • Moving away from voicings, session 7 introduces the complexity of composition and how as arrangers we also must know how to write our own lines within an arrangement. Due to the subjective nature of what constitutes a “good” composition, this session primarily focuses on techniques which can be useful if you are facing writer's block and are designed to help you understand the mechanics behind memorable melodies. The second half of the session pivots to countermelodies, specifically looking at common approaches found in jazz such as call and response, riffs, pads, hits, and contrapuntal writing.

    The main goal of this session is to understand a number of composition approaches that you can rely on when you are lacking inspiration as well as multiple standard approaches found in the big band tradition.

  • Now that we have covered almost everything you need to know to write a big band chart, we can widen our view on arranging and start looking at the large variety of sections that are found in big band charts. In this session we primarily focus on shouts and soli sections, unpacking how to voice a full band together, as well as how to approach writing solis for each independent section. Depending on time, there is also the scope to cover other sections such as interludes, solo sections/background figures, intros, outros, vamps, and so on. 

    The main goal of this session is to understand how to write harmonized tutti figures with a big band and how to write an effective soli for each section.

  • At this stage of the course we have now covered all of the necessary building blocks to write a full big band chart, however there is one key aspect that needs to be addressed before you bring a chart into your band: formatting. It doesn’t matter how great you are as an arranger if musicians can’t interpret your intention correctly. While many may think the arranging process finishes when you input the last note, it actually doesn’t end until you’ve fully formatted your score and parts. In this session we look at everything you need to be aware of when it comes to engraving sheet music, looking at common conventions in the jazz world and what you can do to make your music as clear as possible.

    The main goal of this session is to understand how to make your music readable and how to convey your intention in the simplest way possible.

  • For the final session we take a step back and look at the whole arranging process. Now that we know all of the individual components, we can look at how they fit together to create a full chart and how to go about creating an efficient and effective workflow. One of the key components we discuss is having a plan by creating an event list to help identify how an arrangement will look before we even write a single note. Additionally, we look at the concept of density and how it can drastically change how a chart is written.

    The main goal of this session is to understand how each of the components of the course fit together to create an arrangement as well as ways to create contrast in future charts once you have already written a few.

Supplemental Resources

By signing up to Arranging 101 you receive a number of free resources that go alongside each session. These include:

  • detailed readings which cover all of the techniques in more detail and include a number of recordings and score examples

  • dozens of workbook exercises with an accompanying answer key

  • feedback exercises where you can apply the techniques in your own writing and receive personalized feedback

All participants receive lifetime access to the resources, including any content that is revised or added in the future. Here’s an example of some of the readings:

A Crash Course In Big Band Voicings & The Rhythm Section

How To Start An Arrangement & Deal With Writer’s Block

Testimonials

  • Ardeshir Babak (Austria)

    "I had the privilege of taking Arranging for Big Band 101 with Toshi , and it was an incredibly enriching experience. The course was exceptionally well-structured, offering a wealth of insights and practical knowledge that significantly enhanced my understanding of big band arranging. Toshi’s passion for teaching was evident in every lesson, and his enthusiasm made the learning process both enjoyable and inspiring.

    One of the aspects I truly valued was Toshi's commitment to his students. Although the lessons were scheduled for 1.5 hours, he was always more than willing to extend the time, ensuring that all questions were answered and that we had ample opportunity for further discussion. His willingness to stay beyond the allotted time to provide additional support truly sets him apart.

    Additionally, Toshi was incredibly responsive to my questions outside of class. Whenever I reached out via email, he provided detailed, thoughtful feedback that helped clarify concepts and deepen my understanding. His dedication to addressing each query with care and precision was invaluable.

    I wholeheartedly recommend this course to anyone looking to advance their arranging skills. Toshi’s expertise, coupled with his genuine passion for teaching, creates an exceptional learning environment that I am grateful to have experienced."

  • Robert Pirogovsky (United States)

    "Toshi's ten-week Arranging 101 course is jam-packed with insights on music theory, arranging, and composition—material that would typically take years and cost thousands of dollars to cover in traditional settings.

    As someone who has enrolled in online music courses offered through UCLA Extension, Juilliard Extension, and the Colburn School since 2020, I know from experience that those institutions charge over $1,000 for courses that take months to go over the same ground Toshi covers in 1-2 weeks.

    Over the years, I’ve encountered a range of teaching styles, from great to not-so-great, with most course formats offering 2-3 hour sessions that move at a slower pace. In contrast, Toshi’s 90-minute sessions in Arranging 101 were perfectly structured and engaging from start to finish—no unnecessary filler, no need for a break mid-way through, and each week a new topic building on the last. It's clear Toshi is a master of his craft, and this was honestly the most enjoyable format I've experienced online.

    The focused quality of the Zoom sessions along with the reading materials, workbook tasks, feedback tasks, and real-world examples Toshi prepared all far surpassed my expectations. And now they are a valuable resource I’ll continue to refer to in the future. 

    To have access to the scope of information so thoughtfully compiled and organized in this course, along with detailed feedback from Toshi for 10 weeks, all for only $250 is an absolute steal!"

  • Jon Magill (Australia)

    “I recently completed the Jazz Arranging 101 course run by Toshi Clinch Productions and conducted by Toshi himself. The course was conducted over a period of 10 weeks via zoom where each session was recorded and available for download should you be unable to attend at any stage. 

    Personally I have been dabbling in arranging for many years and, being largely self taught, I knew enough to be ‘dangerous’ but not entirely effective as an arranger. Toshi’s course was exactly what I was looking for. The course works through the fundamentals of arranging and also touched on composing in the context of constructing melodies and harmonies for arrangements. A lot of material is covered in the 10 weeks and there are also plenty of musical examples to illustrate the various points being made. 

    Toshi knows his stuff! His knowledge of the styles and types of jazz arranging is very comprehensive and his enthusiasm and passion for the craft are on display during the sessions. 

    A range of optional learning tasks are assigned during the course to give you exposure to the various techniques. While they are optional,  I highly recommend doing them as the feedback that Toshi provides is invaluable. His attention to detail is commendable and his willingness to address all questions made this course a thoroughly enjoyable experience. 

    I would recommend this course to anyone, no matter what your level of experience, who genuinely wants to dive into the craft of Jazz arranging. The benefit you will gain far outweighs the modest cost of the course and will definitely give you the tools you need to start writing effective arrangements.”

  • John Mainella (United States)

    “The last time I took any kind of arranging course was in 1973 while a student at the Berklee College of Music. I never did write any big band arrangements since. I am now 71 and part of my bucket list was to start writing. I have played with and directed many big bands during those years and kept wishing to arrange for them, but my skills had lapsed. Finding this course offered by Toshi Clinch was the answer to my wish.

    I learned more in these 10 weeks then I could have imagined. Not only voicings but every other aspect of arranging from small groups to big band. He presented everything about arranging from Harmony to formatting. Toshi always took time to explain any questions we had during each session and also gave great feedback to the weekly work he gave us. With some more experience in using these techniques I feel I can begin to fulfill my need to arrange. I would strongly suggest taking this course or any course he may offer. He is extremely knowledgeable but more importantly his teaching skills are exceptional. I can say this without any doubt having been a public school instrumental teacher for 44 years.”

  • Rodney Gipson (United States)

    “I am confident in my skills for doing basic string arrangements from lead sheets. However, big band arranging was always a mystery to me. Toshi's course demystified the craft of big band arranging for me and provided ways to approach getting out of creative slumps and proper workflow for success. Toshi also emphasized that the concepts in the course apply to small band writing as well. I am very excited about the future of my composing and arranging journey.”

  • Kevin Green (United States)

    For anyone who loves candy, it's like being thrown into Willy Wonka's Chocolate Factory with an all-you-can-eat pass. I have been arranging music for years, yet never had any formal training. I wanted to understand more of what I was doing and acquire more tools. Well, THIS was it! Toshi helped me fill in the gaps and consider a much wider range of options in the creative process. His humble, encouraging and down to earth approach leaves no one out of the loop, no matter the skill level. I will be signing up for future classes.

  • Matt Bragg (United States)

    Enrolling in TCP's Arranging 101 course was the best thing I could have done to increase my knowledge of music arranging. While only ten weeks in duration, each week is cram packed with relevant information. Toshi shares his extensive knowledge on all matters related to music and provides a logical roadmap for you to achieve you own goals of writing arrangements, be it big band or whatever. I can assure you that there is no better value than this course. If you have any desire to do this, then do this.

  • Niek (Netherlands)

    Yesterday, I have finished the Arranging 101 cohort "Basics to Bigband". I can say that the past 10 weeks, were an intense and great experience. After searching the Internet and libraries for a long time, I must say that I am very happy that I have come across this course by Toshi. He delivers a complete and comprehensive package, with loads of background information. Also the online zoomsessions, where there is plenty of opportunity for questions and discussions, are really great. Personally, I loved the concept of handing in my tasks on a weekly basis and receive direct feedback from a professional arranger. Toshi, is a great musician, but also a great teacher, who can explain complicated stuff in an easy way.

    If you have plans to start writing for bigband, no matter your level of experience, I can recommend this course very much. You won't regret.

  • Meghan Swartz (United States)

    “Toshi's Jazz Arranging 101 course has been a blast. Toshi has a great way of breaking down the nuts and bolts of every aspect of his arranging process, from mapping out the arrangement all the way down to the final formatting of the actual charts. I really appreciate the heart Toshi has put into this course. The readings are well-crafted, and he shows up to class armed with tons of scores ready for analysis. Every week, he hosts the class, addresses everyone’s questions, stays overtime if people have more questions, and then makes himself available for emails. If you turn in the optional weekly assignments, you’ll find that he really takes his time with his thoughtful feedback. I highly recommend this course to everyone who’s interested in beginning or leveling up their jazz arranging skills.”

  • Josh T (United States)

    “As I was never really introduced to jazz harmony and composition at either university I attended, Sessions 1 and 2 really woke me up as to the different sounds and combinations that can be developed. I really enjoyed the section related to the development of a composition from PD - D - T. I now have a solid tool to expand upon as I write my own compositions and develop those compositions into larger group and big band arrangements.

    Session 4, Writing for Rhythm Section, was where I could see the most progress. As I am a wind player, this session gave me more insight as to how to best write for the rhythm section. I was not aware of how to write for a rhythm section until this section of the course was introduced. Applying the different techniques in the application task allowed me an opportunity to see how to plan and expand a little on writing for the rhythm section.

    I wish I had this class available to me sooner. I learned much more in these 10 weeks than I ever had at any formal school.”

  • Gianluca Vertua (Italy)

    "Over the years, I have studied numerous books on jazz arranging and functional harmony on my own; I had a lot of useful information in my mind, but in some cases, it was disconnected. Thanks to Toshi’s course, I began to resolve some doubts, gain clearer ideas, and most importantly, I truly understood the process of writing an arrangement from start to finish—something I had never found in any book before! The resources created by Toshi are extremely clear, practically useful, and full of examples and insights. I highly recommend this course because Toshi is very knowledgeable, kind, and approachable... I seriously believe he should write a book!"

  • Marc Pouliot (Canada)

    “As a pianist, I really enjoyed discovering the world of arranging Brass. This course is well structured, advanced and very practical. It is a very important learning experience for anybody wanting to understand how to arrange brasses and horns. The exercices and tasks allow to better integrate the matter. Toshi is a top notch teacher. He also reviews very rigorously and generously with "to the point feedback" all the tasks that we send to him. I still have to digest and integrate many of the concepts and methods presented in the course, but again: such a good investement!!”

  • Chris Paraha (Australia)

    “I have loved this 10-week course. It has given me the knowledge and confidence to write Big Band charts for the high school students I'm involved with. I will write good, solid, easy-to-play arrangements because of the knowledge I have received from this course. Toshi delivers this course in a relaxed, happy and calm manner. He loves what he does, and more importantly, his desire to pass on his knowledge shows he has a passion for giving and sharing. His knowledge is strong, and his feedback is in-depth and positive. I highly recommend this course to anyone considering starting to arrange for a Big band or wanting to brush up on this jazz music genre. I highly recommend this journey. Thanks.“

  • Manuel Holzherr (Germany)

    "Toshi’s arranging course was a well-structured and insightful experience. The content covered everything from the basics to full arrangements in a clear and accessible way. His teaching approach was engaging, making complex concepts easier to grasp. The exercises were practical and reinforced learning effectively, while the examples provided useful real-world applications. Beyond the technical aspects, the course fostered a positive and creative environment. I found it to be a valuable learning experience and would recommend it to anyone looking to improve their arranging skills."

  • Miranda Sprague (United States)

    “I had a great time taking this course! Toshi is a compassionate and thorough instructor. He really takes the time to make sure you understand the concepts. Jazz harmony is a complex topic but he does a great job at simplifying it for beginners. He also was able to give a lot advice that was extremely helpful to me in my journey as a jazz arranger/composer. Arranging 101 was perfect for me as someone getting back into jazz arranging after school. It was a great refresher course and I actually think it might have been better than the class I took in college! If you are interested in arranging, you’ll be delighted by your experience working with Toshi!”

  • Rob Pallot (Australia)

    “I really enjoyed taking this course by Toshi. As a pianist who has been playing in big-bands for almost 20 years but who didn't study music/jazz formally at university/TAFE this course: filled-in lots of gaps in my knowledge; gave me a greater appreciation for big-band as a discrete style; and arguably most importantly, gave me the skills and confidence to start arranging and writing for the bands that I play in.”

  • Travis Davis (United States)

    “I play in and run a Big Band in Dallas and I signed up for the arranging class to try and write some pieces for our group. I have a degree in music but no experience in Big Band arranging. I found the class very informative and enjoyable. Thanks so much Toshi for sharing your knowledge, enjoyed the class very much.”

  • Aarón Pozon (Spain)

    "I think that if there is something beautiful and useful today with the Internet and globalization, it is being able to take these types of courses and meet professionals like Toshi. Without a doubt, for me, who had knowledge and had already written arrangements, it has been incredible to be able to put all the concepts in order in a clear and concise way. A good house always has to have good foundations, and this course and the way it is structured is perfect for that, thanks a lot"

  • Christiane Klimm (Germany)

    Great experience! I'm really glad that I signed up for the course. Toshi always was so well prepared and he put so much energy in teaching us how to arrange music for a big band. It is not that easy to find help (apart from studying at a college of course) if you want to learn about arranging. Toshi definitely offers so much quality information in a very welĺ-structured way. He ist such a great teacher. It's definitely worth it to sign up for a course. I will go on with the next one.

  • Marlon S (Canada)

    “I am fully satisfied with the decision I made in joining this program. Although I had not heard of Toshi before, I had the opportunity to get to know him through the material that he has posted on the internet. Now I can personally recommend him to any student who is interested in learning step by step about the secrets of arranging for the jazz big band.”

  • Edmund Ng (Singapore)

    I absolutely rate this course because it covers many essential topics, it's well-taught and it's reasonably priced. Toshi's delivery is engaging and well-informed by his years of experience. He takes a lot of care in helping us participants grasp the concepts.

  • Jaka Ahacevcic (Slovenia)

    “With this course and the way Toshi passes on his knowledge, I finally gained hope that I will one day be able to write an arrangement for big band. Before that, this was unimaginable to me.”

  • Carlia Van Hoorn (Australia)

    "I really wish I had Toshi's music courses when I was in high school. They really clarified a lot of things that I wasn't explicitly taught and didn't figure out until much later. The deep-dive into historical influences and respect in delivery makes for interesting and enjoyable learning, and the courses are well structured and delivered with passion. Working alongside other interested people allows for facinating conversations and questions, and the materials are easily accessible with professional resources provided."

  • Sidney Tweel (United States)

    “What I liked best about this course was the way it is tailored to a wide variety of adult learners regardless of their skill level. There is no pressure to produce, just learn.”

  • Max Budgen (Australia)

    “Toshi has helped me develop so much as a writer and arranger. Since learning from him I have become so much more confident in structuring my charts, harmonising lines, making my sheet music readable, voicing out chords and generally just getting musical ideas accurately from my head onto a score.

    I have written many charts in various instrumentations using the techniques I honed thanks to Toshi. After having them performed in various professional settings as well as at University in my final recital and fortnightly performance practice class, I have been commissioned numerous times to write charts for other people which is a testament to Toshi’s teaching.”

  • Jack Dobson (Australia)

    “Arranging 101 with Toshi was great! I appreciated the bottom up approach, he ensured I had a solid understanding of the fundamentals and built up into more complex techniques from there. Assigned exercises were helpful and their purposes were explained well enough to complete and build on them independently. I'd definitely recommend the course to anyone starting their arranging journey"

  • Will Jones (Australia)

    “The learning experiences I gained from Toshi's courses proved to be invaluable in kickstarting my career in jazz. I was able to fill gaps in my knowledge of jazz theory which helped me arrange music for live big band performances. Under Toshi's guidance, I also developed software skills which enabled me to format professionally competitive sheet music; an educational asset I am yet to see provided anywhere else.”

  • Minnie Hill (Australia)

    "Toshi Clinch is not only an expert arranger and all round musician, but is also a skilled teacher. I have found it extremely helpful to receive composition and arranging lessons from him, both of which have remarkably improved my own writing ability. These lessons have given me the confidence and knowledge to write in numerous different musical styles and has taught me how to write for a range of different groups, including big band and smaller jazz ensembles. I would highly recommend the Arranging 101 course from Toshi!"

  • Libby F (Australia)

    “This course is very informative and covers things that can be used practically right away. Toshi is very clear and encourages questions, he has a style that is relaxed and informative. He makes you feel comfortable which helps to learn things that can be challenging. I would 100 percent recommend this course for people who would like to improve their arranging skills and I have learned a lot that will make my arrangements much better.”

  • Anthony C (Australia)

    “Loved the sessions - a mix of feeling casual yet so much learning that is gained with the way Toshi communicates and with the awesome scores and audio on top. Thank you!”

  • Anonymous

    “Fantastic course, well paced for a Big subject and lots of real world experienced examples.”

  • Anonymous

    “Toshi is a great storyteller and engaging presenter that will help you learn what you need to know — no "knuckle rapping piano teacher" vibes here.”

  • Anonymous

    “This course is such a wonderful way to start understanding the world of arranging and how to get started with what can be viewed by many beginner arrangers as a very complex space. Toshi is a great communicator and will guide you gently towards gaining the confidence, skills and techniques required to do your first arrangement!”

  • Anonymous

    “I took this course to improve my knowledge of writing big band charts. The course has certainly achieved this! I saw the most progress in my understanding when we covered form and event lists. The content made me listen to arrangements as a whole entity, dissecting the sections and understanding how they worked together.”

  • Anonymous

    “This course was excellent, it gave me a fresh insight into jazz harmony and arranging. It has helped my understanding of all styles of music and helped my improvising. Toshi is organised and clear in his teaching, and he gives excellent feedback so you know exactly where you need to improve. I thoroughly recommend it.”

Instructor

Toshi Clinch is a renowned Australian arranger and educator who is deeply passionate about growing the world of jazz education through accessible formats. Falling in love with music at the ripe age of six, for years Toshi was captured by the mystery behind writing music for big band. Fast forward to 2013, he was given the opportunity to explore his curiosity at the prestigious University of North Texas where he majored in Jazz Arranging under the tutelage of Grammy-nominated composer Rich DeRosa (JLCO, Metropole Orkest, WDR Big Band) and had opportunities to write for guest artists such as Danilo Perez (Dizzy Gillespie, Wayne Shorter). After graduating in 2016, Clinch quickly established himself as one of the go-to arrangers for Royal Caribbean Cruise Lines, writing arrangements for a number of vocalists from T.V. shows such as America’s Got Talent, The Voice, X Factor, as well as performers from Broadway and the West End. Notably, during this period he also had the opportunity to write for major artists such as Yo-Yo Ma, James Morrison, the Glenn Miller Orchestra, and the Tommy Dorsey Big Band. Toshi has produced a number of his own big band albums including Vesuvius (2017), Gillespiana (2020), and Duke Ellington’s Sacred Concerts (2022).

In recent years, Toshi has focused on music education by starting his own music education business. Through this program he has provided hundreds of performance opportunities to up-and-coming musicians as well as collaborated with international artists such as Jacob Collier, Terri Lyne Carrington, Dick Oatts, the Jazz at Lincoln Center Orchestra, and was nicknamed the “Quincy Jones of Australia” by Rich DeRosa for his prolific output.

In 2019, alongside the youth program, he started offering online courses in a variety of topics such as arranging, music theory, and jazz styles such as Bebop, Swing, and Latin Jazz. As a result, he has now helped hundreds of participants achieve their musical dreams, with many going on to make their mark on the international jazz scene.

Receive Personal Feedback

Unlike many online courses available these days, we are invested in helping you achieve your arranging goals using the age old method of assisted application. As such, Arranging 101 is designed to not only teach you arranging techniques but help you practice them with guidance from a professional arranger every step of the way. Upon completion of any one of the weekly exercises, participants receive in-depth feedback from the instructor. The feedback is tailored to each person’s level of experience as well as their personal arranging goals and when necessary, participants may resubmit work and receive additional comments.

Each task is built on the techniques discussed and provides a general prompt so that participants can choose a musical direction of their liking. If you want to write an arrangement in the style of Count Basie, you can do that. However, if you prefer something more modern, or something outside of the realm of jazz, that’s possible too. By the end of the course, each task will come together to create your very own completed big band arrangement. For those that may need clarification or assistance on topics, there is also ample time in every class to ask questions as well as an unrestricted discussion time at the end of each zoom call.

Course Details

Capacity: Maximum 25 participants

Course Length: 10 Weeks with a mid course break (Oct 5 - Dec 14)

Session Length/Times: 90 minutes
5:30pm-7pm US Pacific | 8:30pm-10pm US Eastern

Cost: $350 USD
(payment plans available, 100% Refund if you’re not satisfied)

Delivery: Online via Zoom (every live session is recorded and provided to participants shortly afterwards with attendance being optional)

Resources: Readings, exercises and recordings are provided weekly and you’ll receive lifetime access to all content

Online Community: Join current and previous participants in a closed forum where you can discuss all things arranging

Feedback: Upon completion of the weekly feedback task, you will receive personalized comments from Toshi

Extras: Multiple masterclasses which cover topics such as Sibelius, conducting, and music business, as well as access to 400+ digital scores, scroll down to learn more

Requirements: Any digital notation software such as Sibelius, Finale, Musescore etc (you can opt to do everything by hand too)

Expression of Interest

Extras

When you sign up to an Arranging 101 cohort you also receive a number of extra resources for free. These include:

Introduction to Sibelius Masterclass

When it comes to composing, one of the biggest setbacks is feeling comfortable with notation software. In this masterclass you’ll come away with the skills to use Sibelius efficiently, removing any boundary you may have with the software. In particular, we’ll be looking at hot keys, functions, and tricks professionals use to achieve maximum productivity.

Big Band Conducting Masterclass

It’s one thing to write amazing music and another to lead other musicians through performing it. In this masterclass we’ll cover the in’s and out’s by looking at everything from how to have a productive rehearsal all the way to what to do when something goes wrong in a performance. You’ll come away with the confidence to conduct your own big band and be able to make the most out of any score.

The Business Behind Arranging Masterclass

If only it was as simple as writing music. To be a professional arranger it takes more than creativity and requires some business skills to establish a sustainable career. In this masterclass we dive into the nuts and bolts about how to land a commission and get paid to do what you love.

Digital Score Library

Not only do we provide in-depth analysis of a number of scores throughout the course but by participating you also receive access to a digital score library of over 400 PDFs. They are made up of a mixture of small group and big band arrangements that Toshi has personally written or transcribed throughout his career.

Frequently Asked Questions

  • Arranging 101 is designed to work for those with full time commitments. Each week there is a 90 minute live session and up to 90 minutes of accompanying work. This work includes readings and optional exercises.

  • Everyone’s background is different so it is difficult to provide a specific answer. In most cases Arranging 101 will help consolidate your previous music knowledge and give you new approaches to writing music. Unless you are making a living writing big band arrangements, it is likely that you will find value in the course. Feel free to send an expression of interest and we can discuss your situation in more detail.

  • Yes. If you would prefer an invoice for whatever reason we can generate one for you. We commonly invoice schools and institutions for educators signing up.

  • All sessions and resources have lifetime access. If the storage provider changes, participants will be notified and given a new link.

  • Yes. The course covers a lot of different techniques which will allow you to write for any size of jazz combo as well as give you a framework that can be applied to any instruments you want to write for. At the bare minimum you will walk away knowing how to write for the common jazz instruments and understand enough about voicing to apply to any jazz setting.

  • Zoom is an online meeting software similar to Skype as it allows users to share their webcam, microphone, and screen (only if they choose to). Once you’ve signed up for the class you’ll be provided a link to a zoom meeting and all you will have to do is click on it and create a free account. From there, every week you use the same link to access the class when a live session is taking place.

  • While the main goal of the course is to help participants understand how to write for big band, almost all of the techniques discussed can be used in a variety of places. If you are looking to write any sort of jazz related chart, then this course will be helpful.

  • Yes. Both the live zoom sessions and the recordings both feature english subtitles. At this stage they are automatically generated by zoom so may not be 100% accurate, however particiapnts can ask for clarification at any time if needed.

  • Every live session is recorded and sent out to participants within 24 hours. You’ll miss out on the chance to ask questions in real time, but you can still email your questions and receive feedback each week.

  • Yes. We provide all participants with a digital participation certificate after the final session.

  • Yes. We cover the necessary skills to edit/reorchestrate existing repertoire for common issues such as brass register and non conventional instrumentation.

  • Yes. We are more than happy to split the fee into a payment plan based on your situation. Let us know if you’d like this option and we can go from there.

  • There are a few components which go into an Arranging 101 week. First you will receive the necessary readings for the week (typically a week before the accompanying zoom session) and ideally complete them. Then you will attend the zoom session or watch the recording. Finally, when you feel like you understand the material you will complete the the application tasks and email them to the instructor for feedback.

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