<p>MUJS 3620, Jazz Arranging II</p><p>General Information MUJS 3620.001, Jazz Arranging (3 credits, offered only in the spring semester) Required of all jazz majors</p><p>Class Time – MW 11:00 – 11:50 TH or Fri Lab as scheduled</p><p>Professor: Richard DeRosa [email protected] [email protected] 973-953-1471</p><p>Course description: Introduction to arranging for the large jazz ensemble. Specific technical and expressive exercises are assigned to help the student develop the writing skill and concepts necessary to realize comprehensive arrangements for this instrumentation.</p><p>Course prerequisites: MUJS 1360, 1361, 1370, 1371 (Jazz Fundamentals), 1470 (Intro to Jazz Recordings), and MUTH 1500 (Music Theory), MUJS 3610</p><p>Required text: Basics in Arranging, Rutherford - available at the UNT Copy Center located in the Student Union (across from the 2nd-floor entrance to the Bookstore)</p><p>Suggested books Inside the Score by Rayburn Wright – Kendor Music Sammy Nestico – The Complete Arranger Don Sebesky – The Contemporary Arranger Fred Sturm – Changes Over Time: The Evolution of Jazz Arranging Essential Dictionary Series (Orchestration, Notation, Music Dictionary) - Alfred Music</p><p>Course objectives: To introduce basic arranging concepts for musicians who are primarily performance majors: overtone series, transposition, range, registers, texture (monophonic, polyphonic, homophonic), counterpoint, harmonic voicings, form and development, manuscript preparation.</p><p>Learning outcomes and other requirements: There are three recording projects that must be approved by the instructor. Concert sketch scores and transposed scores will be used. Individual parts must be created for each of the horns in appropriate clef and key (transposed as necessary). Rhythm parts may be consolidated in a master part or separately per context. Digital calligraphy (Finale or Sibelius) is mandatory. Topical outline of content: 1. Creating an “event list” – understanding form and development. 2. Composition – personal expression through music 3. Voicing for the trombone section (4-part voicings; root and rootless). 4. Voicing for the brass section (4-8 part voicings). 5. Voicing techniques for the sax section (5-part voicing). Soli writing (harmonizing each note). 6. Voicing for the full ensemble (using the saxes as a layer to EQ the ensemble sound). 7. Orchestrating the rhythm section (using them beyond slash notation; “string” section; exploring the color palette of the guitar). 8. Developing a complete arrangement – formal elements, modulation, extensions, etc. 7. Manuscript preparation – creating a full score (transposed), extracting individual parts (including rhythm players), formatting scores vs. parts (landscape vs portrait), sizing image to page. 8. Prepare the final project – a short big band arrangement that contains an introduction, exposition, improvisation section w/backgrounds, ensemble feature and ending. </p><p>Guidelines/suggestions for greater learning:</p><p>Students must participate in order to achieve an effective level of accomplishment. In addition to maintaining weekly assignments, the student must listen to music that reflects the current objective. An analysis (of the writing, not the performance) of the music must occur regarding tonality, range and register, melodic/harmonic and rhythmic analysis, counterpoint, texture, and development. Any performances in ensembles also provide an active environment to observe and/or influence the writing process. Students should also interact with other students or teachers who play different or less familiar instruments to learn more about potential performance problems and/or characteristics. </p><p>Guidelines for methods of student assessment:</p><p>The homework assignments are to be viewed as “practice” sessions in preparation for a recording project. Each assignment is evaluated by the teacher and returned to the student for self-study. In situations where the student’s work is unsatisfactory or even less than excellent, the student may redo and re-submit the assignment for another review. The final review determines the grade for that assignment. All assignments are issued as a minimum for satisfactory accomplishment. The more creative and inspired student is encouraged to progress beyond the minimum as desired. </p><p>In general, the grades for the recording projects are based on the content of the work and the professional appearance of score and part preparation. It is the student’s responsibility to make the recording.</p><p>Grade determination - each project is worth 20% totaling 60% of the grade for all three projects. Homework assignments and class participation comprise the remaining 40%.</p><p>Attendance policy Only an excused absence is acceptable (tour, sickness, academic conflict, other extenuating circumstances such as an unforeseen accident). Please do not show up to class with a communicable illness (including colds). The preferred method of notification is via e-mail but the phone is acceptable as well. Please notify ASAP.</p><p>Compliance with Federal Statutes: The College of Music complies with "The Americans With Disabilities Act", in making reasonable accommodations for qualified students with disability. If you have an established disability as defined in this act and would like to request accommodations, please see me as soon as possible.</p><p>Scholastic Honesty Policy: Cheating, in any form, will result in an automatic grade of "F" in the course, the removal of the student from the course, and immediate reporting of the student's actions to the office of the Dean of Students and to the office of the Dean of the College of Music.</p><p>WEEKLY AGENDA</p><p>Week 1 (Jan 18) M: no class W: Syllabus discussion; Blackboard website assignments; Finale for labs F: Lab – submit original composition for teacher review; address any problems and then discuss orchestration and arrangement – all projects must have an intro and an ending. Record composition (Project #1) in the next week. </p><p>Week 2 (Jan 23) Blackboard: download and print event lists for “Basie Straight Ahead” and “Up Where We Belong”. Refer to posted recordings. M: Lecture: creating an “event list” to highlight form and development. Examples are “Basie Straight Ahead” and “Up Where We Belong”. (Listen to recordings in class). W: Listen to “Corner Pocket” and start to create an event list in class. Finish assignment for next lab. Refer to “Corner Pocket” recording on Blackboard website. F: Teachers examine event list for “Corner Pocket”.</p><p>Week 3 (Jan 30) Blackboard: download and print the Voicing for Trombones sheet. M: Students submit composition recording (Teachers grade and review for next lab). Lecture: 4-part voicings (trbns) including range and register. Use of the bass trombone. Voicing techniques - spread, close, rootless; voice-leading. W: continue lecture and explain trombone voicing exercise sheet for assignment. Written sheet is due the following Monday and piano performance occurs on the following Friday. F: Teachers return original compositions - graded and reviewed.</p><p>Week 4 (Feb 6) Blackboard: download and print leadsheet of “Tenderly”. M: Students submit trombone voicing sheet (teachers grade for next lab). Lecture/demonstration on “Rainy Day” - create voicings for trombones (in class) using the voicing techniques discussed previously. W: Lecture on next assignment - “Tenderly” - create pads using the voicing techniques discussed in class and prepare piano performance. F: Students perform trombone voicings exercise on piano. Teachers return graded sheets and evaluate student performance.</p><p>Week 5 (Feb 13) Blackboard: download and print voicing exercises sheet M: students submit “Tenderly” arrangements (teachers review and grade for next lab). Lecture/Assignment: voicing exercises sheet (examples 1&2 only). W: Lecture/Assignment: voicing exercises sheet (example 3). F: Teachers return “Tenderly” assignments and evaluate student performance on piano.</p><p>Week 6 (Feb 20) Blackboard: download and print leadsheet on “Fall”. M: Students submit voicing exercises sheet (all 3 examples). Lecture: using the sax section as EQ in the ensemble voicing – demonstration with voicing exercises, example 3. W: Lecture/Assignment/Recording Project #2: orchestrate “Fall” for full ensemble. Variation 1 - with lead trpt in staff for a mf volume – saxes play the melody Variation 2 - with lead trpt 8va for a ff volume but with the saxes playing a hip counterline created by you. Use two grand staffs to sketch your work – one for the saxes, the other for the brass. F: Teachers return voicing exercise sheets (examples 1, 2 & 3).</p><p>Week 7 (Feb 27) M: Review for recording project 2. Finale lecture – big band template, score (landscape format), parts (portrait format), appropriate music to page ratio, bar layout, nesting rests, convenient page turns, exploding parts. Bring laptop computer to class. W: Review for recording project 2. Assignment for next lab: submit score (1st and 2nd blank pages), alto sax 1 (1st and 2nd blank pages), and piano (1st and 2nd blank pages); all formatted with proper bar layout and margins. F: Teachers review recording projects (score and parts). Schedule recordings.</p><p>Week 8 (March 5) Blackboard: download and print “Take the ‘A’ Train” sax soli voicing techniques and sample sax soli on “Moonlight in Vermont”. M: Harmonizing melody notes (soli writing). Analyze voicing techniques – block w/doubled lead 8vb, drop 2, drop 3, independent – on “Take the ‘A’ Train”. Discuss advantages and disadvantages of using each technique. Discuss harmonic techniques for voicing non-chord tones – diatonic and chromatic planing, dominant and diminished approach, tonicization of any “target” chord. W: continue with lecture. (Moonlight in Vermont – sax soli analysis) F: submit recording project #2. Teachers listen and critique and then grade projects.</p><p>Week 9 (March 12) Blackboard: download and print “Farmer’s Market” M: Lecture demonstration to create (in class) a sax soli on “What’s New”. W: Lecture/Assignment: arrange the intro to “Farmer’s Market” in a harmonized soli style for 5 saxes. Use block w/doubled lead 8vb and drop 2 voicings where necessary. Display your work only on a grand staff and indicate which saxophone is to be used for the lead voice. F: Teachers return recording projects.</p><p>Week 10 (March 26) Blackboard: download and print two documents: harmonic techniques for approach and passing chords plus ensemble examples. Print “Lullaby of Birdland” leadsheet. M: Lecture: techniques and examples of soli writing for the full ensemble. W: continue lecture. Assignment: “Lullaby of Birdland” – add passing harmony. F: Teachers return “Farmer’s Market” assignment.</p><p>Week 11 (April 2) Blackboard: download onto laptop the “Darkness Within” score and “Alone Together” score plus its leadsheet that shows altered harmony compared to the original. M: Lecture on integrating the rhythm (and “string”) section for support and contrast. Analyze “Darkness Within” and “Alone Together”. Also discuss harmonic substitution. W: Lecture on planning an arrangement: Recording project #3 – final project for big band; review the project agenda. (Students begin working ASAP). F: Teachers review “Lullaby of Birdland” assignment.</p><p>Week 12 (April 9) Blackboard: refer to Final Project folder for required details. M: Q&A regarding final projects (students are actively writing) W: Q&A regarding final projects (students are actively writing) F: Teachers review projects and address any Finale questions; schedule recordings </p><p>Week 13 (April 16) M: Q&A regarding final projects (students are actively writing) W: Q&A regarding final projects (students are actively writing) F: Teachers review projects and address any Finale questions (students stop writing and begin manuscript prep)</p><p>Week 14 (April 23) M: Q&A regarding final projects (students may be excused to continue preparation) W: students submit recorded project with score and parts. F: Labs are suspended (teachers examine projects).</p><p>Week 15 (May 2) M: No class, no exam. W: No class, no exam. F: Teachers review graded projects with students</p>