New approaches for notated jazz and the big band: The use of
pitch cell modules in Dave Panichis Simple Song (1989)
New approaches for notated jazz and the big band: The use of
pitch cell modules in Dave Panichis Simple Song (1989)Samuel
CottellUniversity of SydneyConservatorium of Music
Part 1: Jazz Orchestras (Big Bands)Ted Gioia discounts big bands
saying that they are more a tool of historical pedagogy than a
means of artistic expression. (Gioia 2011, 251).
Scott DeVeaux A jazz orchestra of fifteen or more musicians
suggests either nostalgia, the specter of superannuated bodies
shuffling to yesterdays dance music, or the academic sterility of
the university lab band. (DeVeaux 1997, 2).
Gunther Schuller is perhaps the most damning in his indictment
of big bands saying, very little truly innovative achievement in
arranging concepts can be claimed after 1960. (Schuller [1988]
2002, 662).
Research & Jazz OrchestrasRecent work by Alex Stewart has
begun to address these issues as they pertain to big band. (Stewart
2007) (Stewart 2004). Stewarts work establishes the necessity of
big bands as a training ground for musicians seeking to develop
their musical skills and technique.
Equally important to Stewart, big bands provide a means for
musicians to create and maintain professional networks in an ever
more competitive market.
Very little of Stewarts research has gone past categorizing
compositional differences among current big bands. More work needs
to be done focusing on the music these bands make.
Broader Contexts In support of my arguments I will use John
Litweilers supposition from his book The Freedom Principle: Jazz
After 1958 (Litweiler 1990) that freedom of expression comes when
musical tools become a means for expression rather than a series of
well-executed techniques
Part 2: Brookmeyer, BMI Workshops and The New York scene in the
1980s
Despite near universal acclaim for Brookmeyer's contributions,
scholarship has been slow to recognize him and the modern big band
as a viable source for artistic expression in jazz
Brookmeyer founded the BMI Jazz Composers Workshop in 1988 as a
means for students to explore new elements in jazz and big band
writing.During this time he was studying with modern composer,
Earle Brown (Module)
Modules- Earle Brown to Jazz
Earle Browns Open Form, in which players use modules to create
the music. Randomly selected
Part 3: Dave Panichi- Biography
Dave is very clear about what to expect from any gig of his
great melodies, grooves and solos! (www.davepanichi.com)
Source: www.davepanichi.com/about Photos courtesy of Dave
Panichi. 7
Pitch Cell Modules- Framework
Simple Song- INTROIntroduction , Chorale style setting with a C
pedal (first note of pitch cell) P(Principal)
Melodic Material
Melodic material derived from pitch module and intervals Unison
notes create a more melodic line
Organic Generation of Harmony Generated harmony, organically
from pitch cell material and various intervals and transpositions
Groups of 3 Chords, ascending, descendingSus Chords, have a non
resolved effect:
Rhythmic Aspects3, 4, and 5 note groupsNote durations of 3, last
note held longerPhrases in groups of 3, 4 , 5 and 73 & 5 bar
drum solos (fills) to create odd numbered phrase lengths
Textural Devices
Saxophones AATT assigned melody in unison Trumpets and Trombones
create a wash of texture in 2,3, and 4 note cells3 against Four
(Brass)
Orchestration
This harmonic/rhythmic device used at various structural points
after various interplay. Usually builds to this section. This
pattern, in various transpositions occurs 4 times at important
structural points.
Soloist Brookmeyer suggests to students that a solo shouldnt
happen until you have said everything that needs to be said in the
piece Panichi assigns a solo to the tenor sax after the second
climax of the piece, the last time through the solo backings (using
C, Db, Ab) Interject and push the soloist back into the framework
of the piece.
Practical Applications for Composers, Performers,
ArrangersGeneration of Melodic Material Generating organic
harmonyCreating new phrase lengths and form Extended writing
techniquesUnderstanding and implementing solo writing within the
jazz orchestra tradition new jazz language and sound
ConclusionsNew approaches to jazz languagePractical applications
for Australian jazz composers and arrangersPerformance
opportunities for young jazz players in a jazz orchestra
settingExpanding the language and repertoire of jazz by aligning
techniques and language with that of modern classical music
Bibliography 1Panichi, D. Blues for McCoy CDPanichi, D. Elvins
Dream CDCottell, S. Interview with Dave PanichiShand, J. Jazz: The
Australian AccentWright, R. Inside the Score Sturm, F. Changes Over
Time: The Evolution of Jazz Arranging Berkman, D. (2013) The Jazz
Harmony Book Johnson, B. (2002) The Inaudbile Music: Australian
Jazz, Modernity and
Genderhttp://www.vanguardjazzorchestra.comWhiteoak, J. (1993)
Playing ad LibDe Vaux, S. (2010) BebopJohnson, Bruce (1987), The
Oxford Companion To Australian Jazz, Oxford University
PressScarufi, P. (2007) A History of Jazz Music:
1900-2000www.bobbrookmeyer.comwww.davepanichi.com
www.jimmcneely.comhttp://www.bmi.com/genres/entry/bmi_jazz_composers_workshop
Bibliography 2Argue, Darcy James. 2009. Spirit Music: Bob
Brookmeyer at 80. Darcy James Argues Secret Society. Accessed April
16, 2014.
http://secretsociety.typepad.com/darcy_james_argues_secret/2009/12/spirit-music-bob-brookmeyer-at-80.htmlBrookmeyer,
Robert. 1981. Make Me Smile. Delavan: Kendor Music.Davis, Francis.
1982. Mel Lewis and the Jazz Orchestra Make Me Smile. Musician
48:106-108.DeVeaux, Scott. 1991. Constructing the Jazz Tradition:
Jazz Historiography. Black American Literature Forum 25 (3):
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