Arrangement Seminar/Discussion

or rather, the piece is not in C major: when I write a modal track or one with sudden key changes, I prefer not to have accidentals in the key signature, in order to avoid an avalanche of natural signs...

But, getting back to us, these harmonizations? Come on, they aren't difficult at all!

I had a quick and somewhat crazy thought.

Measure 1: E-7 9 11 (to be clear, D on E); A7 b5 and on the last quarter a nice A7

Measure 2: D♦9 ; Db7 b5 #9

Measure 3: C7 b9; F7add6

Measure 4: Bb6 Bb7

Measure 5: Eb♦; E♫

Measure 6: Bb6/F ; G7 #5 b9

Measure 7: C-9 F7

Measure 8: Bb add6

In my opinion, measures 6-7-8 could be improved slightly ... it's just that I'm rushing off to another commitment.

I downloaded your versions; Doc, if you can manage it, maybe condense them into a nice lead sheet that satisfies everyone (for those who want to rely on the provided one) ... so that everyone can then develop their own arrangement.

Laura rises from the ashes. Mythical!

And something like:

Measure 1: B-7b5

Measure 2: E7b9

Measure 3: A-7 G-7

Measure 4: B-7b5 E7

Measure 5: A-7b5

Measure 6: D7b9

Measure 7: G-7 F7 b13

Measure 8: Bb∆

?

hey I'll be away for a couple of days and look how much stuff ....

I will follow you better from next week, but I wanted to spend a few words on the 'step back': it is a piece of work I did with jellyfish a while ago and I found it extremely useful and interesting, I recommend not neglecting it !! It starts from banal chordal harmonizations but then the discussion becomes more engaging (and difficult) and the results are guaranteed (but first you have to understand the method). A bit like how the rules of counterpoint ensure a guaranteed basic result ...

bye

Egidio wrote:

Laura rises from the ashes. Legendary!

And something like:

Measure 1: B-7b5

Measure 2: E7b9

Measure 3: A-7 G-7

Measure 4: B-7b5 E7

Measure 5: A-7b5

Measure 6: D7b9

Measure 7: G-7 F7 b13

Measure 8: Bb∆

?

From my point of view it could work, it has some passages in common with some previous harmonizations; the F7 Bb closing always leaves me perplexed...

Frank wrote:

I downloaded your versions; Doc, if you can, maybe condense a nice chord progression that satisfies everyone (for those who want to rely on the one provided) ... so that everyone can then develop their own arrangement.

I wouldn't want to impose a chord progression of my choice; either we use the original one or we choose or assemble one together from those proposed.

That being said, the piece seems really challenging to arrange to me...

I've looked through Doc's version; harmonically I find it interesting and I particularly like (obviously a matter of taste) a couple of colors you used.

... I prefer the final part to the center-initial one

Regarding the signature, the idea was to simplify or find a common one... but it seems to me there is a bit of heterogeneity, they are moving in pairs

So, given Gozzo's post, if we take a step back, I ask you for one last effort... let's stick to a limited number of measures.

... perhaps it is also worth opening a new topic, this one has become quite long and dispersive. In short, we have made a few attempts

how do you propose to diversify? like transferring the basic arrangement into the seminars section etc...?

DrJellyfish wrote:

how do you propose to diversify? like transferring the basic arrangement into the seminars section etc...?

I only understood partially, but you made me think that if you listen to TheSimon, maybe you could have a section opened in seminars... at least it's more organized, you can make theoretical topics and practical topics.

Look at Gozzo's one on Orchestration and Modale's one on Jazz-Modal"}{

DrJellyfish wrote:

But, getting back to us, these harmonizations? Come on, they aren't difficult at all!

.

..eheh. What do we do then.

Prepare 8 easy measures (maybe extracted from your first example) and shall we start with the arrangement?

mmm... we should decide how to proceed: block harmonization (that of the first proposed study), melody (re)harmonization, instrumentation and orchestration etc... naturally if we take a piece like Laura, for example, and we want to arrange it directly (I mean obtaining a finished product), we must use all these techniques...

but have you gotten stuck or did you move the topic ??!!

io anyway I did the harmonization of the chordal notes. Everything should be correct, otherwise I am in a worse position than expected

Yeah!

Even though I would have treated the C in measure 21 as an Ab7 anticipation. :-)

ah yes it's true, but I must say that this jazz custom of indicating chords only on the downbeat is rather disturbing and misleading, at least for someone who doesn't have a trained eye )

But I find you in good shape.

Anyway, it's useless to post the harmonization I had in mind because it is practically identical to Ale's. If one sticks to the basic rules, the solution is unique.

I would be curious to know if others have also reached the same conclusions.

But I also did something like Ale, then I thought it was too basic and I got the suspicion that I had "made a mistake".

Practically it was just about developing the chord progressions... no?

AleGozzo wrote:

but have you stalled or moved the topic ??!!

In reality, we were waiting for DrJellyFish's thoughts on opening a dedicated section in the seminars... then the sea, etc., did their part