Jazz Arranging 2: Big Band Arranging
In this second semester of jazz arranging, we will concentrate on arranging and orchestrating music for 17-piece big band — 4 trumpets, 3 tenor trombones, 1 bass trombone, 2 alto saxophones, 2 tenor saxophones, bari sax (no woodwind doubles), piano, guitar, string bass and drums.
There will be one major arranging project, divided into constituent sections, plus preparatory and listening/analysis assignments. The UConn Jazz Ensemble will read, rehearse and perform your completed piece. The instructor must approve your selection, chosen from the standard jazz repertoire.
Course Outline and Class Schedule
Semester: Spring 2020
Course #: MUSI 3632 (two credits)
Instructor: Earl MacDonald, Professor of Music, Director of Jazz Studies
Class Meeting Times: Mondays & Wednesdays, 9:05AM – 9:55AM.
Occasional “make up” classes will take place on Fridays from 9:05- 9:55.
Room: MUSB 109
Office Hours: Fridays 9:05-9:55. MUSB 207.
Suggested Textbooks:
The following big band arranging texts are on reserve in the Music Library. 3-hour loan period.
- “Inside The Score” (a detailed analysis of 8 classic jazz ensemble charts)
by Rayburn Wright. Kendor Music. - Basics In Jazz Arranging
by Paris Rutherford - Introduction to Big Band Arranging
by Paris Rutherford - The Contemporary Arranger
by Don Sebesky - Instrumental Jazz Arranging
by Mike Tomaro and John Wilson - Changes Over Time: The Evolution of Jazz Arranging
by Fred Sturm
Additional titles and resources: http://www.earlmacdonald.com/jazz-arranging-text-books/
Grading:
The major project will be divided into manageable, constituent formal units. Each of the following will be allocated a percentage of your final grade:
- formal planning – 10% (due: 2/7/2020)
- preparatory assignments – 10% (throughout the semester)
- head statement(s) – 10% (due: 2/24/2020)
- soli (1/2 chorus minimum) – 10% (due: 3/11/2020)
- shout (1/2 chorus minimum) – 10% (4/1/2020)
- solo(s) with backgrounds – 10% (due: 4/6/2020)
- intro/ending – 10% (due: 4/13/2020)
- realization – 10% (first reading = 4/21/2020)
Instituting a number of smaller, weighted deadlines, will help students to successfully deliver the completed big band arranging project on time.
The remaining 20% is designated for ten listening/analysis assignments (2% each). These will typically be due at the beginning of Wednesday’s classes. Visit the following link for a list of suggested big band albums. Students are welcome to borrow scores from the jazz ensemble library. Start with the pieces in Rayburn Wright’s “Inside the Score.”
All assignments are due at the beginning of class on their assigned date. Late assignments will be penalized heavily. Revisions are encouraged after receiving feedback. Provided the initial deadline was met, and a good faith effort was demonstrated, grades may be increased to reflect improvements.
Time line (in reverse chronological sequence):
- reading dates: April 21, 23, 28, 30 (final 4 Jazz Ensemble rehearsals, following their April 19th concert)
- weeks to completion: 13
The following online class schedule is continually evolving and is custom-tailored to meet student needs. Check back frequently, as updates and links will be added before each class.
Week 1:
Jan. 22 (Wednesday)
- orientation: “big picture” semester overview, text books & resources
- project management
Assignments:
-
- project and band assessment (PDF, MS-Word)
- listening/analysis assignments (PDF, MS-Word)
- select the piece you will arrange — no ballads; no original compositions.
Jan. 24 (Friday): “make-up” class
- formal delineations, planning and road maps
Assignments:
-
- read: Arrangement Form, Michael Phillip Mossman ISAC article
- watch: David Berger video
- review: idea generation lists
Week 2:
Benchmark Goals:
-
- piece selected
- written project and band assessment completed
- rhythmic feel(s) and tempo(s) of your arrangement (swing, latin, 3/4 etc.) chosen
Jan. 27 (Monday) & Jan. 29 (Wednesday):
The instructor will be out-of-town this week. Work independently by completing the assigned readings and tasks.
Week 3:
Feb. 3 (Monday)
Due:
-
- Preparatory Assignments:
- song selection
- rhythmic feel(s) & tempo(s) decided
- project and band assessment
- Preparatory Assignments:
Lecture Topics:
-
- formal planning
- density & dynamic contour charts
- orchestrational choices
Assignments:
-
- road map (formal delineations), density and orchestration plans — due Friday, Feb. 7 (10%)
Using “Inside the Score” and the above, linked example as models, create a detailed plan for your arrangement. If your song follows a 32-bar AABA form, address each 8-bar section. Describe the orchestration, texture and density. Demarcate where all formal units will take place — solis, solos (including who!), backgrounds, ensemble “shout,” transitional passages, intro/ending etc. Designate the apex. Indicate feel changes and key modulations, if applicable. Use your imagination to include as much specificity as possible. Your plan could be presented as a detailed list (headings and bullet points) or as a graphic, dynamic contour chart, similar to Rayburn Wright’s examples on pages 8, 28, 48, 78, 96, 116, 150, and 160-16.
Feb. 5 (Wednesday)
Due:
-
- listening/analysis assignment #1 (2%)
Lecture Topics:
-
- consultations for road map, density and orchestration plans
- range considerations: optimal lead line ranges, limitations
- sketch scores [David Berger video]
- rootless trombone section voicings
Assignments:
-
- Worksheet: Rootless trombone section voicings — due Monday, Feb. 10
- lead line sketches for: in-head and out-head — due Monday, Feb. 17
Using copies of the provided score paper, write the lead lines and rhythm section parts for the in and out-heads of your chart. If including ensemble “hits” and backgrounds, write the top, melodic line only. Do not yet harmonize the horns.
Feb. 7 (Friday)
Due:
-
- road map/formal delineations (10%)
Week 4:
Feb. 10 (Monday)
Due:
Lecture Topics:
“Complete Ensemble Voicings Overview”
-
- 4-part block writing
- “Basie 4-part,” “Basic Ensemble” (utilizing triadic extensions), “Combination Voicings”
- Upper Extension triads
Assignments:
-
- Preparatory Worksheets: due Friday, Feb. 14
-
-
- 4-part block, isolated chords
- Big Band ensemble voicings worksheet
-
Feb. 12 (Wednesday)
Manchester High School Jazz Festival. NO CLASS.
Feb. 14 (Friday) — make-up class
Due:
- listening/analysis assignment #2 (2%)
- Preparatory Worksheets:
-
- 4-part block, isolated chords
- Big Band ensemble voicings worksheet
Lecture Topics:
- 4-part block writing, continued
Week 5:
Feb. 17 (Monday)
Due:
-
- lead line sketches for: in-head and out-head
Assignments:
-
- melody statements (in and out heads) scored: voiced/harmonized, orchestrated (due: Monday, Feb. 24)
Lecture Topics:
-
- 4-part block writing, continued: harmonizing non-chord tones within passages
Feb. 19 (Wednesday)
NO CLASS. [Professor MacDonald is recording today.]
Week 6:
Feb. 24 (Monday)
Due:
-
- listening/analysis assignment #3 (2%)
- melody statements (in and out heads) scored: voiced/harmonized, orchestrated
Lecture Topics:
-
- soli lines — melodic line writing
- 4-part block writing, continued
- harmonization techniques for non-chord tones
Assignment:
-
- Sketch your soli line, considering range and instrumental limitations. Due: Monday, March 2.
Feb. 26 (Wednesday)
Mid-semester progress reports issued.
Lecture Topics:
-
- 4-part block writing, continued
- rhythm section integration
- chorale writing
Due:
-
- listening/analysis assignment #4 (2%)
Week 7:
March 2 (Monday)
Due:
-
- Sketched soli line
Lecture Topics:
-
- soli line feedback
- chorale writing
Assignment:
-
- “Beautiful Love” chorale-style head arrangement. Due: March 9th.
March 4 (Wednesday)
Due:
-
- listening/analysis assignment #5 (2%)
Lecture Topics:
-
- soli line feedback/consultations
Assignment:
-
- Harmonize soli. Due: March 11.
Week 8:
March 9 (Monday)
Due:
-
- “Beautiful Love” chorale-style head arrangment
Lecture Topics:
-
- soli harmonization feedback/consultations
March 11 (Wednesday)
Due:
-
- listening/analysis assignment #6 (2%)
- harmonized soli
Lecture Topics:
-
- “shout choruses:” principles and examples
Assignment:
-
- Shout chorus lead line: due Monday, March 23
Spring Break: March 16 – 19 (Week 9)
Week 10:
March 23 (Monday)
Due:
-
- shout chorus lead line
Lecture Topics:
-
- feedback/consultations
Assignment:
-
- harmonize the shout chorus (due: April 1, 2020)
March 25 (Wednesday)
Due:
-
- listening/analysis assignment #7 (2%)
Lecture Topics:
-
- writing drum parts with Finale
- Backgrounds/”Solo Enhancements”
Assignment:
-
- solo and background sections (due: Monday, April 6)
Week 11:
March 30 (Monday)
Lecture Topics:
-
- backgrounds/”solo enhancements” consultations
April 1 (Wednesday)
Due:
- listening/analysis assignment #8 (2%)
- harmonized shout chorus
Lecture Topics:
-
- Backgrounds/”Solo Enhancements” consultations
- transitional material
Week 12:
April 6 (Monday)
Due:
-
- solo and background sections
Lecture Topics:
-
- Introductions and Endings — principles and examples
Assignment:
-
- Intro and Ending (due: April 13)
April 8 (Wednesday)
Due:
- listening/analysis assignment #9 (2%)
Lecture Topics:
-
- Introductions and Endings consultations
Week 13:
April 13 (Monday)
Due:
-
- Intro & Ending
Lecture Topics:
-
- Finale music notation software guidance
- articulation markings & dynamic schemes
- part formatting
- proofreading
Assignment:
-
- Finale note entry. Creation and formatting of score and parts
April 15 (Wednesday)
Due:
- listening/analysis assignment #10 (2%)
Lecture Topics:
- Consultations, guidance
- advanced reharmonization
- motivic and rhythmic development
- …and more
Week 14:
April 20 (Monday)
- Part taping.
- Final scanning of parts.
- Highlighting roadmap instructions (D.S., etc.).
April 21 (Tuesday)
Reading Session #1
April 22 (Wednesday)
- evaluative, critical listening to recordings of student arrangements
April 23 (Thursday)
Reading Session #2
Week 15:
April 27 (Monday)
- evaluative, critical listening to recordings of student arrangements
April 28 (Tuesday)
Reading Session #3 (if necessary)
April 29 (Wednesday)
- evaluative, critical listening to recordings of student arrangements
April 30 (Thursday)
Reading Session #4 (if necessary)
*The course content, schedule and grading scheme are subject to change at the instructor’s discretion.
Communication policy
E-mail is the instructor’s preferred method of communication with students. Please allow 48-hours for replies. When requesting a meeting with me outside of my office hours, please submit several meeting time options. I prefer to be addressed as Professor MacDonald.
Some useful telephone numbers, websites and services:
- Counseling and Mental Health Services: 486-4705 (after hours: 486-3427) www.cmhs.uconn.edu
- Career Services: 486-3013 www.career.uconn.edu
- Alcohol and Other Drug Services: 486-9431 www.aod.uconn.edu
- Dean of Students Office: 486-3426 www.dos.uconn.edu
- UConn Sexual Harassment and Relationship Violence
- UConn Equity, Diversity, Equal Employment Opportunity, and Affirmative Action
Student Code
You are responsible for acting in accordance with the University of Connecticut’s Student Conduct Code. Review and become familiar with these expectations.
Academic Integrity
This course expects all students to act in accordance with the Guidelines for Academic Integrity at the University of Connecticut. Consult UConn’s guidelines for academic integrity. Cheating and plagiarism are taken very seriously at the University of Connecticut. As a student, it is your responsibility to avoid plagiarism.
Policy Against Discrimination, Harassment and Related Interpersonal Violence
The University is committed to maintaining an environment free of discrimination or discriminatory harassment directed toward any person or group within its community – students, employees, or visitors. Academic and professional excellence can flourish only when each member of our community is assured an atmosphere of mutual respect. All members of the University community are responsible for the maintenance of an academic and work environment in which people are free to learn and work without fear of discrimination or discriminatory harassment. More information is available at equity.uconn.edu and titleix.uconn.edu.
Attendance
Except for final examinations, the instructor has final authority in permitting students to submit assignments late or make up examinations.
Copyright
My lectures, notes, handouts, and displays are protected by state common law and federal copyright law. They are my own original expression and I’ve recorded them prior or during my lecture in order to ensure that I obtain copyright protection. Students are authorized to take notes in my class; however, this authorization extends only to making one set of notes for your own personal use and no other use. I will inform you as to whether you are authorized to record my lectures at the beginning of each semester. If you are so authorized to record my lectures, you may not copy this recording or any other material, provide copies of either to anyone else, or make a commercial use of them without prior permission from me.
Students with Disabilities
The University of Connecticut is committed to protecting the rights of individuals with disabilities and assuring that the learning environment is accessible. If you anticipate or experience physical or academic barriers based on disability or pregnancy, please let me know immediately so that we can discuss options. Students who require accommodations should contact the Center for Students with Disabilities, Wilbur Cross Building Room 204, (860) 486-2020, or http://csd.uconn.edu/.