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University of Vermont MU 257

Jazz Composition and Arranging Wed./Fri. 2:20-3:35 PM Room: Southwick 202

Spring 2016 Instructor: Dr. Patricia Julien Office: Music Bldg., A313 Phone: (802) 656-7760 E-mail: patricia.julien@uvm.edu Office Hours: Mon./Wed./Fri. 1:00-2:00 PM; other times by appointment COURSE DESCRIPTION Introduction to concepts and techniques used in jazz arranging and composition through study of historic works and through numerous small projects designed to provide practice in treatment of pitch and rhythm. Includes instrument ranges, harmonic voicings (e.g., 4-part close, and 5-part drop 2 and drop 4 open voicings), melody and countermelody, pads, shout chorus, sax soli, rhythm section writing, standard forms. Listening assignments (including listening journals) and score analysis. Final project involves a live reading of a full arrangement, with parts copied out, for big band. REQUIRED TEXT AND MATERIALS 1) Wright, Rayburn. Inside the Score: A Detailed Analysis of 8 Classic Jazz Ensemble Charts.

Delevan, NY: Kendor Music Inc., 1982. 2) Ten stave or twelve stave manuscript paper for assignments (to be done in pencil) 3) If final project is handwritten: big band score paper for the arrangement (in pencil), and ten stave manuscript paper for copying parts (in ink) GRADING Grading for the course is based on timely completion of all course requirements (twenty points are deducted for each class day an assignment is late). Serious and high quality work is expected at all times. The final grade is calculated as follows:

Assignments and Daily preparation and contribution ................ 45% Final project ................................................................................ 55%

Assignments will consist of a combination of closely scrutinized materials that are given a letter or number grade, and materials examined in less detail that are given a grade of Pass (with full points earned), Fail (0 points earned), or, occasionally, Pass with Distinction (greater than full points earned). Two P/F assignments add up to one traditional graded assignment. ATTENDANCE POLICY Regular attendance is expected. Two unexcused absences will be permitted (wherein the student remains responsible for the missed material); beyond that, each unexcused absence or late arrival will reduce the final tabulated “Assignments and Daily preparation and contribution” portion of your grade by one point.

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Students are required to attend three big band rehearsals plus the concert. Rehearsals are held Tuesdays and Thursdays, 4:25-5:40 PM, in the Southwick Ballroom, Room 301. Let me know in writing (e-mail is fine) by the end of the second week of classes if you are not able to attend three rehearsals. The University Jazz Ensemble (big band) concert will be: Thursday, April 21st, 7:30 PM, UVM Music Building Recital Hall GENERAL POLICY I am available to help you. I welcome office-hour meetings, and phone or e-mail discussions about course materials. Be sure that you first attempt to solve a problem or understand a concept on your own so that our work together will be from a mutually-involved standpoint. SCHEDULE (Subject to change) Week 1 Introduction Nomenclature and terminology; Spelling of all four-note chord types; Chord/Scale correspondence; Score order; Ranges and transposition; Proper rhythm notation (e.g., imaginary barline); Listening Assignments: sonorities and melodies; chord spellings Week 2 Melodic Analysis and Approach Note Methods

Determining chordal and non-chord tones in melodic lines, and methods to harmonize; Substitute chart (substitute notes in melody replacing chord tones); Approach notes; Chromatic approach and harmonization; Scale approach and harmonization; Four way close (block) harmony; Listening

Assignments: listening journal; transposition Week 3 Additions to Four Way Close Note substitution rules; Double chromatic approach; Dominant approach Assignment: analyze a given melody and harmonize in two ways—standard four- way close, and four-way close applying substitutions Open Voicings Drop 2 voicing; Drop 2 and 4 voicing; Mixed combination of close and open-block voicing Assignment: consider piece for final arrangement Week 4 Voicing continued Re-examine voicings from earlier transposition exercise; 5-part block voicing (e.g., Saxophone solis) Background Melody Writing Use of unisons; Basic jazz counterpoint; Chromatic guide tones; Various scales for chord/scale correspondence Assignments: listening journal; submit tune (in lead-sheet format—melody plus chord changes) intended for final arrangement for approval Week 5 Backgrounds Licks, riffs; Sustained open voicings (chorale style), pads, interval spacing Melodic Modification and Rhythmic Variation

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Rewriting a rhythmically simple melody in a jazz rhythmic style; Melodic embellishment Assignment: “All the Things You Are” or other selected lead sheet (change melody both rhythmically and melodically) Week 6 Double Block Voicing, Shout Chorus, and Punch Chords Double four-way close for brass section; Analyze and listen to “Basie Straight Ahead” by Sammy Nestico; Shout chorus concept; Punch chords—rhythmic effectiveness; Open large ensemble voicings; Procedures for voicing brass sections Assignments: Read, study, and listen to musical examples, pp. 1-43, Inside the Score textbook; listening journal Week 7 More Full Ensemble Voicing Techniques, Coupling with Saxophones Ensemble orchestration; Analysis and listening Assignment: read, study, and listen to musical examples, pp. 45-109, Inside the Score textbook Week 8 NO CLASS—Spring Recess Week 9 Saxophone Section (including misc. woodwinds) 5-part harmonization techniques (close and open voicings); Four-part doubled lead; Introduction to woodwind doublings; Use of transcribed solo for “soli”; Analyze and listen to Thad Jones’s saxophone soli (letter C, “Three and One,” pp. 62-66, Inside the Score) Assignment: Write a soli melody and harmonize it for the approved tune you have chosen to arrange (16 measures composed melody, first four measures harmonized) Week 10 Form Standard jazz forms; Traditional arrangement format(s); Other forms; Balance, economy, focus, variety, clarity, logic, and imagination; Intros and endings; Use of colors for variety Assignments: listening journal; read form discussions in text (pages 8, 28, 48, 78, and 96); describe in a paragraph or two the form you intend to use for your arrangement, and depict in detailed time-line format Week 11 The Rhythm Section Bass lines—combining written notes and chord symbols plus slashes; Bass line indications (e.g., two beat, walking); Piano and guitar; Drum parts; Fills and kicks; Ensemble cues; Use of extra percussion Assignments: Score in concert pitch on a grand staff the full first statement of the melody for the tune you have chosen to arrange; revisit favorite excerpts noted in listening journal Week 12 Melodic and Rhythmic Creative Sections Introductions (various textures, contrast to statement of melody, thematic material, vamps and standard chord progressions used in introductions, using various parts of tune for the introduction); Cadences, turn-arounds; Endings, codas (various tag- ending chord progressions, use of motifs from first part of arrangement, standard ending rhythmic devices)

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Assignment: work diligently on final arrangement section by section (e.g., sax soli, shout chorus, backgrounds to solos, intro., interludes, restatement of melody in whole or in part, coda, etc.) Week 13 Review and Miscellaneous Work on individual projects to complete final arrangement; Introduction to substitute Harmony; Concerted writing Assignment: continue work on final arrangement; transfer work to big band score paper Week 14 Score analysis Continued analysis of scores by influential composers and arrangers; analysis and discussion of student final project scores Assignment: Complete the final arrangement, copy out parts, proof read score and parts Week 15 Performance Reading Final arrangement score and parts due no later than 11:30 AM, Tues., April 26th Final arrangement played in big band rehearsal: Tues., April 26th, 4:25-5:40 PM and Thurs. April 28th, 4:25-5:40 PM Week 16 Review and recordings Last class (May 4th) includes review and listening to several of the final projects All members of the university community are expected to exhibit honesty and competence in their academic work. The University of Vermont Code of Academic Integrity can be found online. Religious Holidays: Students have the right to practice the religion of their choice. Each semester students should submit in writing to their instructors by the end of the second full week of classes their documented religious holiday schedule for the semester. Faculty must permit students who miss work for the purpose of religious observance to make up this work. If you have a documented disability and wish to discuss academic accommodations, please contact the instructor as soon as possible, or contact ACCESS, the office of Disability Services on campus. ACCESS works with students and faculty to create reasonable and appropriate accommodations via an accommodation letter to professors with suggested accommodations as early as possible each semester. ACCESS: A170 Living/Learning Center; 802-656-7753; access@uvm.edu; or www.uvm.edu/access.