Closed Voicing, pt. 2 - Big Band Arranging SECRETS REVEALED
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- เผยแพร่เมื่อ 2 มิ.ย. 2024
- This is the second in a planned set of tutorials showing you how to arrange music for jazz ensemble. In this video I cover 'partial band closed voicing' and the use of unison counterpoint.
Support me in making lessons like this one by joining my Patreon: / pandemoniumbigband
Watch all of the other lessons in the series: • Big Band Arranging SEC...
Credits:
Will Vargas - alto sax 1 & 2, tenor sax 1 & 2, bari sax
Michael Briones - trombones 1, 2, 3
Robert Todd Jr. - bass trombone, and trombones 1-3 for counterpoint example
Elliot Deutsch - trumpets 1, 2, 3, 4
Musical example is a shout chorus for "Jazzytown Express" written by Elliot Deutsch
Audio mixed by Elliot Deutsch
Video edited by Elliot Deutsch
Thank you to Jason Lee for a ZOOM lesson on mixing a large jazz ensemble.
Thumbnail photo by Matt Akana
All of the background music was recorded by the Pandemonium Big Band during the pandemic.
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#jazzensemble #composing #musictheory - เพลง
"Horn players need to rest." That's something that SHOULD be taught from the very beginning. I used to be impressed with the horn players in the dance quartet or quintet. My forearms would get tired during a gig but when I thought about the horn players playing for 3 to 3/2 hrs. I wondered how they did it.
It's interesting how the first alto you can still hear clearly the melody even though it's only one sax instead of both altos on the melody. Yes, I'd definitely love more videos with examples like these, these are great!
Glad I can help! More in the works. Definitely subscribe. Someday I’ll get my act together enough for scheduled releases. For now, just making this stuff in my free time.
This is just what I needed for writing horn parts. Thanks a bunch!
FINALLY.. found a great resource for my studies. Your presentations are fun and and clear. From one old music educator (70) to another young composer/educator, Great job Elliot.
Thank you Jerry! Please subscribe. I have a new lesson coming together (finally) for tomorrow.
Super interesting, thank you from Paris, Eliott !!
You’re welcome from Los Angeles!
Thanks!
You’re welcome! Ha!
I really love your work here on TH-cam Elliott. While highly subjective personal taste is always the bottom line, I gotta say, both of the "what would it sound like" demos are a lot nicer than the full tutti example. In symphonic writing (which is my thing) it's conventional wisdom that the more (and more diverse) the number of instruments employed, the more the overall sound sort of "grays out". The two examples, on the other hand, each has their own vivid color, and neither noticeably loses any sonic weight by subtracting a section. Thanks again - your work is clearly thought out and beautifully played.
Thanks. Saludos desde Colombia.
Lovin' these videos. Really great!
Very helpful!
Once again, great video ! Full of insightfull lessons !
Just great! Thanks!
Very useful. Thank you very much!
Glad it was helpful!
impecable gracias !!!
Been binging these videos. Thank you for the content!
That’s really nice. Thank you!
Yeah man keep em coming!
More to come!
Have subbed!
This is so helpful! Thank you!
Alex, I am so glad.
Such a great inspiration! Thank you so much!!!
I’m glad you dig it!
Brilliant series Elliot! Hope more is on the way! 👌
Thank you! More are definitely on the way. The next arranging tutorial will probably be up in 2 weeks. New music coming next week.
Watching these videos and it is expanding my brain
This video is so astoundingly helpful! Thank you for breaking things down so concretely and effectively. I can't wait to watch more videos and see where my writing goes!
You're so welcome! Please let me know if there are any other topics you want to see me break down.
@@PandemoniumBigBand I would love to see you talk about writing for big band and vocalist! Also more about writing for the rhythm section, especially piano/guitar. And if you find yourself with too much free time, maybe something on instrument doubling; which pairings work, when to use them. I'd also love to hear you talk about the various mutes we can ask for from trumpets & trombones and when to ask for them. More harmony talk is always welcome. I'm sorry to ask so much of you, but I watched all of your videos yesterday and I feel incredibly empowered to write. I can't wait for more! Thank you for all of the fantastic work you've done!
Love it. No nonsense arranging for the common man ✊🏿
Yes! You get it!
This is a very much needed topic that needs to be discussed much more often. I appreciate the secrets being revealed 🤣 Automatic like👍
Thanks Eddy.
It's really interesting on how you can manipulate the parts and interchange melodies within them. Fantastic!
Elliot- GREAT JOB and thank you much. .....a question, if you will allow.... about the unison counterpoint: When or perhaps would you harmonize a counterpoint melody? Your videos have been systematically helpful, revealing and give such great "sound (!)" advice,. Thanks in advance--Tom B.
Only harmonize a counterpoint melody if the main melody is unison (or octave unison)
Si Zentner stuff but so nice!
Ha!
Elliot, Question: I see where you use the 9th a lot in many of your voicings. Are there any rules or guidelines in choosing where to use it.?
Would you ever double the bari part on the bass trombone?
Yes I would, but not frequently. Intonation is a big issue with parts like that, even with pro players.
I have a question: how about if you have fewer voices? say 3
When recording the trumpet section parts how far from the microphone are you ?
My bell is 6 to 12 inches from the mic. I am using a condenser mic. If you’re using a ribbon, you might want to be further back or record off axis
Thanks for responding . I assume your keeping this same distance during a shout scream part. Also what are your thoughts on using a curved soprano to voice lead a sax section instead of the alto?
@@romeleone9429 I’ll set my gain for the loudest section of the piece so that I can keep the same mic setup throughout. As for using a soprano as a sax section lead.... there isn’t any difference between the sound of a strait or a bent soprano sax. It is a great sound to use. Thad Jones used this technique in a bunch of his most famous charts. Because of the soprano’s range, you might need to use a slightly open voicing in order to keep all of the lower parts in their comfortable instrument ranges.
@@PandemoniumBigBand thanks that really helps . By the way your work is really amazing thanks for sharing
Thoughts on counterpoint with no harmony in the melody.
Great! I write that texture frequently.
how do you decide who gets the melody and who gets the counterpoint line?
The million dollar question. That’s where your artistic decision making comes in.
That is a good question. Sometimes I decide based on the contour of the counterpoint. If it is busy, or has large intervals, I give it to the woodwinds... if it's more melodic, trombones. But definitely follow your ears!
First 👍🏼
Second!
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"On a mission from god"
Dude I like your lessons! Maybe just a bit slower? 🙈🤭
I offer private lessons over zoom. If you sign up, we can go at whatever speed you need.
@@PandemoniumBigBand Thanks but I already have a great teacher 😄.
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Yes you are!