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Erjazzarrcompmstrclsnotes 20
Erjazzarrcompmstrclsnotes 20
BIG P
GLOBAL CHOICES
ICTURE
LOCAL RESULTS
GLOBAL questions
What is the goal?
What is the story?
What is the synopsis?
What is the plot outline?
Who am I writing for?
What is the work plan and
when is the DEADLINE?
CONCEPT Work
(These issues should be reflected upon and clearly thought out before writing note one.)
(Significant input)
(Some input)
RECORDA ME is a new setting of Joe Hendersons PAGE ONE jazz classic for medium-advanced
big band
SOUVENIR is a lush, orchestral big band arrangement of Benny Carters beautiful ballad that
features piano.
ENTROPICAL PARADISE is a high energy Latin composition at the advanced level that is
designed to serve as an ideal concert opener or closer.
=========================================
Chorus 2 (103-124):
Short Interlude (125):
Small band SOLI:
(133 154)
SHOUT Chorus:
(155)
B recap variant:
(179 186)
A Final (195):
OUTRO (211):
Not all of the details will be present in the initial draft of the timeline/outline, but there should be
enough detail and structure so that the writer has a big picture sense (Global) of where things are
going before starting to sketch the detailed notes and rhythms (Local). Again, if the concept
changes while the chart is in progress, that is OK. Be flexible! However, update the
timeline/outline. The whole point of the timeline/outline phase is to separate the big picture
issues (e.g. form, architecture) from the details (e.g. voicings, rhythms et al).
If you consider the GLOBAL issues first (large-scale design), dealing with LOCAL issues
(note choices, reharmonization, rhythmic variants, orchestration, et al.)
should become much more manageable !
=========================================
! REHARMONIZATION !
Creative (and appropriate) reharmonization is a critical factor in the most interesting and
effective jazz arrangements for any medium. Arrangers must be absolutely fluid, masterful, and
current in the language of jazz harmony.
MUSIC PREPARATION
Make sure your parts are clear and professional:
1. Dont make the font size too small. If youre printing on 8.5 X 11, 7 staves on the title
page and 9 (maybe 10) staves on all subsequent pages make for a good clear uncrowded
visual layout. Go through every part from the perspective of a performer. Look for ways
to improve the correlation of phrases with line breaks and page breaks.
2. Allow time for page turns, double changes (saxophones), and mute changes (brass).
3. Put title and page headers on all pages of every part and every page of the score.
This will become painfully clear the first time you drop a pile of untaped parts on the floor five
minutes before rehearsal and you have to try to sort out all the different pages.
Jazz theory and harmony, principles of jazz voice leading, voicing techniques, rules governing music
calligraphy, chord symbol nomenclature, and jazz notation and articulation are presented in a very
systematic (step by step) approach. Attention is given to the function of each instrument in the ensemble,
including their range, register, transposition, dynamic capabilities, and idiomatic characteristics. Theories
of balance and blend are provided with multiple recordings and scores.
The most unique feature in Jazz Arranging Techniques is the way in which the many techniques are
examined and applied. This book provides examples of techniques used in small and large ensembles
and further explains in detail how to create voicings for four to six mixed horns (brass and reeds), five
saxophones, four trombones, four trumpets, eight brass and full ensemble (brass and reeds combined). The
over fifty scoring examples and four complete arrangements with recordings provide a wealth of material
supporting the techniques examined in this text. Parts notation for rhythm-section is covered in great detail
as well as methods of articulating horn lines, adjusting the balance and blend, etc..
With an approach that builds on earlier knowledge, Jazz Arranging Techniques is a very comprehensive
textbook that provides an accessible yet thorough examination of jazz writing.
! SCORE STUDY !
THE MOST ENLIGHTENING ACTIVITY AN ASPIRING COMPOSER/ARRANGER CAN ENGAGE IN IS
SCORE STUDY.
Buy or borrow as many scores as you can find and go through them carefully and slowly with
the recordings. Be nice to your educator friends and ask if you can borrow scores from their
libraries!
Dont move from one score to the next one until you are fairly secure that you understand most
of the approaches used in the current score youre studying. Drain every bit of knowledge you
can from each score!
Analyze what is going on at each significant structural moment in the score (e.g. How is
she/he getting that incredibly warm and luscious sound in the flugelhorns and woodwinds?)
Take notes on 3 X 5 cards if that is helpful!
LISTENING
Listening to writers whose music excites and interests you will inspire and educate.
If you combine this with score study, you will make great progress fairly quickly.
SUGGESTIONS
(in alphabetical order)
Michael ABENE
Manny ALBAM
Bob BROOKMEYER
Duke ELLINGTON
Gordon GOODWIN
John HOLLENBECK
Thad JONES
Jim McNEELY
Vince MENDOZA
Maria SCHNEIDER
=========================================
Now what?
Its time to share your music with the world
REVISIONS
Based on what you heard at the first read-through, carefully make your revisions in the score
and parts. Pass out the corrected parts and enjoy your new creative contribution to the bands
book! Start thinking about the next chart!
Finally, WRITE SOMETHING EVERYDAYeven if its just a few measures. As composers and
arrangers, were all trying to build or maintain musical, intellectual, spiritual muscles (in the
same way that one builds or maintains technique and endurance as a performer.)
Let me know if you have questions about anything we discussed today. I wish you great success
as you continue your journey as a composer/arranger. Godspeed!