Arranging For Big Band

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 instructor must approve your selection, chosen from the standard jazz repertoire.

Course Outline and Class Schedule

Semester: Spring 2021
Course #: MUSI 3632 (two credits)
Instructor: Earl MacDonald, Professor of Music, Director of Jazz Studies
Class Meeting Times: Thursdays at 9:30AM. Professor MacDonald is teaching online, via ZOOM this semester.

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.
  • Instrumental Jazz Arranging
    by Mike Tomaro and John WilsonInside the Score, Rayburn Wright's jazz arranging textbook
  • Basics In Jazz Arranging
    by Paris Rutherford
  • Introduction to Big Band Arranging
    by Paris Rutherford
  • The Contemporary Arranger
    by Don Sebesky
  • Changes Over Time: The Evolution of Jazz Arranging
    by Fred Sturm

Additional titles and resources: https://www.earlmacdonald.com/jazz-arranging-text-books/

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.

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%
  • preparatory assignments – 10% (throughout the semester)
  • head statement(s) – 10%
  • soli (1/2 chorus minimum) – 10%
  • shout (1/2 chorus minimum) – 10%
  • solo(s) with backgrounds – 10%
  • intro/ending – 10%
  • realization – 10%

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 and incomplete assignments will generally not be accepted and will receive a grade of zero. If the student has extenuating circumstances (for example, they are hospitalized) that prevent them from submitting their assignments on time, please notify the instructor. These instances will be evaluated on an individual basis. 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.

A mid-semester progress report will be e-mailed from the instructor. There will be no final exam. The course content and schedule are subject to change at the instructor’s discretion and will be properly communicated to students as changes arise.

Grading Scale:

Grade Letter Grade GPA
93-100 A 4.0
90-92 A- 3.7
87-89 B+ 3.3
83-86 B 3.0
80-82 B- 2.7
77-79 C+ 2.3
73-76 C 2.0
70-72 C- 1.7
67-69 D+ 1.3
63-66 D 1.0
60-62 D- 0.7
<60 F 0.0

 

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:

  • orientation: “big picture” semester overview, text books & resources
  • project management
  • formal delineations, planning and road maps

Assignments:

Week 2: Feb. 1 – 5

Due:

    • piece selected
    • written project and band assessment completed
    • rhythmic feel(s) and tempo(s) of your arrangement (swing, latin, 3/4 etc.) chosen
    • listening/analysis assignment #1 (2%)

Lecture Topics:

Assignments:

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.

Week 3: Feb. 8 – 12

Due:

    • road map/formal delineations (10%)
    • listening/analysis assignment #2 (2%)

Lecture Topics:

Assignments:

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.

Week 4: Feb. 15 – 19

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 Feb. 25
      1. 4-part block, isolated chords
      2. Big Band ensemble voicings worksheet

Week 5: Feb. 22 – 26

Due:

    • lead line sketches for: in-head and out-head
    • listening/analysis assignment #4 (2%)
    • Preparatory Worksheets:
      1. 4-part block, isolated chords
      2. Big Band ensemble voicings worksheet

Assignments:

    • melody statements (in and out heads) scored: voiced/harmonized, orchestrated. Due: March 4.

Lecture Topics:

    • 4-part block writing, continued: harmonizing non-chord tones within passages
*Mid-semester progress reports issued.

Week 6: March 1 – 5

Due:

    • melody statements (in and out heads) scored: voiced/harmonized, orchestrated
    • listening/analysis assignment #5 (2%)

Lecture Topics:

    • soli lines — melodic line writing
    • 4-part block writing, continued
    • harmonization techniques for non-chord tones
    • 4-part block writing, continued
    • rhythm section integration
    • chorale writing

Assignment:

    • Sketch your soli line, considering range and instrumental limitations. Due: March 11.

Week 7: March 8 – 12

Due:

    • Sketched soli line
    • listening/analysis assignment #6 (2%)

Lecture Topics:

    • soli line feedback
    • chorale writing
    • soli line feedback/consultations

Assignment:

    • “Beautiful Love” chorale-style head arrangement. Due: March 25th.
    • Harmonize soli. Due: March 25.

Spring Break: March 13 – 21 (Week 9)

Week 9: March 22 – 26

Due:

    • “Beautiful Love” chorale-style head arrangment
    • listening/analysis assignment #7 (2%)
    • harmonized soli

Lecture Topics:

    • soli harmonization feedback/consultations
    • “shout choruses:” principles and examples

Assignment:

    • Shout chorus lead line: due April 1

Week 10: March 29 – April 2

Due:

    • shout chorus lead line
    • listening/analysis assignment #8 (2%)

Lecture Topics:

Assignments:

    • harmonize the shout chorus (due: April 8)
    • solo and background sections (due: Monday, April 8)

Week 11: April 5 – 9

Lecture Topics:

    • backgrounds/”solo enhancements” consultations
    • Backgrounds/”Solo Enhancements” consultations
    • transitional material

Due:

  • listening/analysis assignment #9 (2%)
  • harmonized shout chorus

Week 12: April 12 – 16

Due:

    • solo and background sections
    • listening/analysis assignment #10 (2%)

Lecture Topics:

    • Introductions and Endings — principles, examples, consultations.

Assignment:

    • Intro and Ending (due: April 22)

Week 13: April 19 – 23

Due:

    • Intro & Ending

Lecture Topics:

    • Finale music notation software guidance
    • articulation markings & dynamic schemes
    • part formatting
    • proofreading
    • Consultations, guidance
    • advanced reharmonization
    • motivic and rhythmic development
    • …and more

Assignment:

    • Finale note entry.  Creation and formatting of score and parts

Week 14: April 26 – 30

  • Part taping.
  • Final scanning of parts.
  • Highlighting roadmap instructions (D.S., etc.).
  • Reading Sessions #1 & #2
  • evaluative, critical listening to recordings of student arrangements
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.

It is the responsibility of all students to acquaint themselves, and to adhere to all university policies. Please review the following:

Students are expected to follow all safety protocols and to keep current with university communications regarding COVID-19.

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The University is committed to maintaining a safe and non-discriminatory learning, living, and working environments for all members of the University 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. In addition, inappropriate amorous relationships can undermine the University’s mission when those in positions of authority abuse or appear to abuse their authority. To that end, and in accordance with federal and state law, the University prohibits discrimination and discriminatory harassment, as well as inappropriate amorous relationships, and such behavior will be met with appropriate disciplinary action, up to and including dismissal from the University. Additionally, to protect the campus community, all responsible employees (including faculty), as outlined in the Policy Against Discrimination, Harassment and Related Interpersonal Violence, are required to report to the Office of Institutional Equity any information that they receive related to sexual assaults, intimate partner violence, and/or stalking involving a student. An exception to this reporting exists if students disclose information as a part of coursework submitted to an instructor in connection with a course assignment. Even in the absence of such obligation, all Employees are encouraged to contact OIE if they become aware of information that suggests a safety risk to the University community or any member thereof. The University takes all reports with the utmost seriousness. Please be aware that while the information you provide will remain private, it will not be confidential and will be shared with university officials who can help. More information, including confidential and exempt employee resources available for support and assistance, can be found at equity.uconn.edu and titleix.uconn.edu.

Statement on Absences from Class Due to Religious Observances and Extra-Curricular Activities

Faculty and instructors are expected to reasonably accommodate individual religious practices unless doing so would result in fundamental alteration of class objectives or undue hardship to the University’s legitimate business purposes. Such accommodations may include rescheduling an exam or giving a make-up exam, allowing a presentation to be made on a different date or assigning the student appropriate make-up work that is intrinsically no more difficult than the original assignment. Faculty and instructors are strongly encouraged to allow students to complete work missed due to participation in extra-curricular activities that enrich their experience, support their scholarly development, and benefit the university community. Examples include participation in scholarly presentations, performing arts, and intercollegiate sports, when the participation is at the request of, or coordinated by, a University official. Students should be encouraged to review the course syllabus at the beginning of the semester for potential conflicts and promptly notify their instructor of any anticipated accommodation needs. Students are responsible for making arrangements in advance to make up missed work.

For conflicts with final examinations, students should contact the Dean of Students Office. Faculty and instructors are also encouraged to respond when the Counseling Program for Intercollegiate Athletes (CPIA) requests student progress reports. This will enable the counselors to give our students appropriate advice.

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/.

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In case of inclement weather, a natural disaster, or a campus emergency, the University communicates through email and text message. Students are encouraged to sign up for alerts through http://alert.uconn.edu. Students should be aware of emergency procedures, and further information is available through the Office of Emergency Management at http://publicsafety.uconn.edu/emergency/.

Some useful telephone numbers:

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