Arrangement Seminar/Discussion

Very useful, I am looking forward to it, but is it a self-managed seminar where everyone gives their own contribution or is it led by you?

not necessarily conducted by me, let's throw down a few ideas and see

hi gep, maybe we can start by launching a topic and see what happens.

I am very interested.

First, I should clear up many doubts regarding the terminology

By Combo is meant 2 tr 2trb 2alto sax 1 tenor sax ch bs batt?

I forgot the piano

Which term is used to indicate

1tr 1trb 1alto sax 1 tenor sax 1ch pn bas batt?

The term "combo" (from combination) generally refers to a small ensemble composed of the rhythm section and one or more wind instruments.

There is no specific term to define the formation you wrote. It should fall under the definition of a combo; I would limit myself to calling it an octet...

I don't know if you have noticed the website pdfjazzmusic.com

I made a little arrangement, what do you think?

Just to liven up the topic a bit.

In part B, the guitar or piano accompaniment is missing, but it seemed a bit obvious to me.

But it could also work like this....?!?!

I heard it quickly, then I'll listen to it again calmly. There are some strange chords, did you change them on purpose?

yes I changed them, I tried to put something of my own.

Maybe you are right, I need to review that Bb7+9# that resolves to Bb79b

I hope I didn't get the chord symbol wrong

So, how do we proceed?

Let's make an arrangement of a piece from the real book.

Just to compare ideas...?

Something like this? First eight bars of Confirmation.

One could first perform an analysis of the melody, that is, establish the relationship between each note and the underlying chord, in order to then decide how to harmonize each individual note.

I hope I can manage to follow you. I know for certain that you are very advanced in the subject... Listening to past works.

geppino12575 wrote:

Extremely useful, I am looking forward to it with enthusiasm, but is it a seminar that is, shall we say, self-managed where everyone gives their own contribution, or is it conducted by you?

I quote!

I'm logging on from my holidays to say that it is a stupendous initiative (it was about time someone thought of it haha)

l'unica cosa è che tu e gep dovrete guidarci un po' per mano, visto che l'ideale è imparare ad arrangiare, piuttosto che ascoltare arrangiamenti fatti a caso (non parlo di strauss ma di me).

in the meantime I am starting to look at the first 8 measures, thanks for the initiative !!

DrJellyfish wrote:

One could first perform an analysis of the melody, that is, establish the relationship between each note and the underlying chord, to then decide how to harmonize each individual note.

I will give an example for the first measure to see if I understood correctly.

We are on F7maj, so, based on the melody:

la: third

do: fifth

la: third

sib: SUS4 (?)

la: third

mi: seventh

fa: root

fa#: enharmonically minor ninth (?)

Why do I suspect that you were expecting something different?

Hi! No, I wasn't expecting anything different, that's the point; rather, I would make a distinction between chord tones (F, 3, 5, 7 or, in some cases 6), harmonic tensions, and non-chord tones, which is what we need for the purpose of a tight four-part harmonization, which can also be the basis for writing for multiple instruments.

It would turn out like this:

A: chord tone (3)

C: chord tone (5)

A: chord tone (3)

Bb: non-chord tone

A: chord tone (3)

E: chord tone (7)

F: chord tone (fundamental)

F#: non-chord tone

at least upon a first analysis.