MUJS 3620, Jazz Arranging II

MUJS 3620, Jazz Arranging II

General Information
MUJS 3620.001, Jazz Arranging (3 credits, offered only in the spring semester)

Required of all jazz majors

Class Time – MW 11:00 – 11:50TH or Fri Lab as scheduled

Professor: Richard DeRosa

Course description: Introduction to arranging for the large jazz ensemble. Specific technical and expressive exercises are assigned to help the student develop the writing skill and concepts necessary to realize comprehensive arrangements for this instrumentation.

Course prerequisites: MUJS 1360, 1361, 1370, 1371 (Jazz Fundamentals), 1470 (Intro to Jazz Recordings), and MUTH 1500 (Music Theory), MUJS 3610

Required text: Basics in Arranging, Rutherford - available at the UNT Copy Center located in the Student Union (across from the 2nd-floor entrance to the Bookstore)

Suggested books

Inside the Score by Rayburn Wright – Kendor Music

The Complete Arranger– Sammy Nestico

The Contemporary Arranger–Don Sebesky

Jazz Arranging Techniques – Gary Lindsay

Jazz Composition & Arranging in the Digital Age – Richard Sussman & Mike Abene

Fred Sturm – Changes Over Time: The Evolution of Jazz Arranging

Essential Dictionary Series (Orchestration, Notation, Music Dictionary) - Alfred Music

Course objectives: To introduce basic arranging concepts for musicians who are primarily performance majors: overtone series, transposition, range, registers, texture (monophonic, polyphonic, homophonic), counterpoint, harmonic voicings, form and development, manuscript preparation.

Learning outcomes and other requirements: There are three recording projects that must be approved by the instructor. Concert sketch scores and transposed scores will be used. Individual parts must be created for each of the horns in appropriate clef and key (transposed as necessary). Rhythm parts may be consolidated in a master part or separately per context. Digital calligraphy (Finale or Sibelius) is mandatory.

Topical outline of content:

1. Creating an “event list” – understanding form and development.

2. Composition – personal expression through music

3. Voicing for the trombone section (4-part voicings; root and rootless).

4. Voicing for the brass section (4-8 part voicings).

5. Voicing techniques for the sax section (5-part voicing). Soli writing

(harmonizing each note).

6. Voicing for the full ensemble (using the saxes as a layer to EQ the ensemble

sound).

7. Orchestrating the rhythm section (using them beyond slash notation; “string”

section; exploring the color palette of the guitar).

8. Developing a complete arrangement – formal elements, modulation,

extensions, etc.

7. Manuscript preparation – creating a full score (transposed), extracting

individual parts (including rhythm players), formatting scores vs. parts

(landscape vs portrait), sizing image to page.

8. Prepare the final project – a short big band arrangement that contains an

introduction, exposition, improvisation section w/backgrounds, ensemble

feature and ending.

Guidelines/suggestions for greater learning:

Students must participate in order to achieve an effective level of accomplishment. In addition to maintaining weekly assignments, the student must listen to music that reflects the current objective. An analysis (of the writing, not the performance) of the music must occur regarding tonality, range and register, melodic/harmonic and rhythmic analysis, counterpoint, texture, and development. Any performances in ensembles also provide an active environment to observe and/or influence the writing process. Students should also interact with other students or teachers who play different or less familiar instruments to learn more about potential performance problems and/or characteristics.

Guidelines for methods of student assessment:

The homework assignments are to be viewed as “practice” sessions in preparation for a recording project. Each assignment is evaluated by the teacher and returned to the student for self-study. In situations where the student’s work is unsatisfactory or even less than excellent, the student may redo and re-submit the assignment for another review. The final review determines the grade for that assignment. All assignments are issued as a minimum for satisfactory accomplishment. The more creative and inspired student is encouraged to progress beyond the minimum as desired.

In general, the grades for the recording projects are based on the content of the work and the professional appearance of score and part preparation. It is the student’s responsibility to make the recording.

Grade determination - each project is worth 20% totaling 60% of the grade for all three projects. Homework assignments and class participation comprise the remaining 40%.

Attendance policy

This is a required class for graduation. Only an excused absence is acceptable (tour, sickness, academic conflict, other extenuating circumstances such as an unforeseen accident). Please do not show up to class with a communicable illness (including colds). The preferred method of notification is via e-mail. Please notify ASAP one of the TAs or your lab instructor. Lab attendance is critical to sustaining good progress. Two unexcused absences in lab will be tolerated but perfect attendance is strongly encouraged. Upon the 3rd lab absence, a student will automatically be withdrawn from the class.Absences do not preclude the delivery of assignments on schedule; they should be forwarded electronically to the lab instructor. Recording projects must be submitted on time as late projects will be penalized with a grade reduction. After one week beyond the recording date, a failure to submit a project will result in automatic dismissal from the class for the semester and a failure to complete the course.

Compliance with Federal Statutes:
The College of Music complies with "The Americans With Disabilities Act", in making reasonable accommodations for qualified students with disability. If you have an established disability as defined in this act and would like to request accommodations, please see me as soon as possible.

Scholastic Honesty Policy:
Cheating, in any form, will result in an automatic grade of "F" in the course, the removal of the student from the course, and immediate reporting of the student's actions to the office of the Dean of Students and to the office of the Dean of the College of Music.

Office of Disability Accommodation

The University of North Texas makes reasonable academic accommodation for students with disabilities. Students seeking accommodation must first register with the Office of Disability Accommodation (ODA) to verify their eligibility. If a disability is verified, the ODA will provide you with an accommodation letter to be delivered to faculty to begin a private discussion regarding your specific needs in a course. You may request accommodations at any time, however, ODA notices of accommodation should be provided as early as possible in the semester to avoid any delay in implementation. Note that students must obtain a new letter of accommodation for every semester and must meet with each faculty member prior to implementation in each class. For additional information see the Office of Disability Accommodation website at You may also contact them by phone at 940.565.4323.

Financial Aid Satisfactory Academic Progress (Undergraduates)

A student must maintain Satisfactory Academic Progress (SAP) to continue to receive financial aid. Students must maintain a minimum 2.0 cumulative GPA in addition to successfully completing a required number of credit hours based on total registered hours per term. Students cannot exceed attempted credit hours above 150% of their required degree plan. If a student does not maintain the required standards, the student may lose their financial aid eligibility.

If at any point you consider dropping this or any other course, please be advised that the decision to do so may have the potential to affect your current and future financial aid eligibility. Please visit for more information about financial aid Satisfactory Academic Progress. It may be wise for you to schedule a meeting with an academic advisor in your college or visit the Student Financial Aid and Scholarships office to discuss dropping a course being doing so.

Financial Aid Satisfactory Academic Progress (Graduates)

A student must maintain Satisfactory Academic Progress (SAP) to continue to receive financial aid. Students must maintain a minimum 3.0 cumulative GPA in addition to successfully completing a required number of credit hours based on total registered hours per term. Students cannot exceed maximum timeframes established based on the published length of the graduate program. If a student does not maintain the required standards, the student may lose their financial aid eligibility.

Academic Integrity

Academic Integrity is defined in the UNT Policy on Student Standards for Academic Integrity. Any suspected case of Academic Dishonesty will be handled in accordance with the University Policy and procedures. Possible academic penalties range from a verbal or written admonition to a grade of “F” in the course. Further sanctions may apply to incidents involving major violations. You will find the policy and procedures at:

Student Behavior in the Classroom

Student behavior that interferes with an instructor’s ability to conduct a class or other students’ opportunity to learn is unacceptable and disruptive and will not be tolerated in any instructional forum at UNT. Students engaging in unacceptable behavior will be directed to leave the classroom and the instructor may refer the student to the Center for Student Rights and Responsibilities to consider whether the student’s conduct violated the Code of Student Conduct. The university’s expectations for student conduct apply to all instructional forums, including university and electronic classroom, labs, discussion groups, field trips, etc. The Code of Student Conduct can be found at:

Student Perceptions of Teaching (SPOT)

Student feedback is important and an essential part of participation in this course. The student evaluation of instruction is a requirement for all organized classes at UNT. The short SPOT survey will be made available April 18th – May 1st to provide you with an opportunity to evaluate how this course is taught. For the spring 2016semester you will receive an email on April 18th (12:01 a.m.) from "UNT SPOT Course Evaluations via IASystem Notification" () with the survey link. Please look for the email in your UNT email inbox. Simply click on the link and complete your survey. Once you complete the survey you will receive a confirmation email that the survey has been submitted. For additional information, please visit the spot website at or email .

WEEKLY AGENDA

Week 1

M: no school (Martin Luther King day).

T: Blackboard: for the first class (Wed), download and print event lists for “Basie

Straight Ahead” and “Up Where We Belong”. Refer to posted

recordings.

W: TAs Organize Labs.

Lecture: creating an “event list” to highlight form and development. Examples are

“Basie Straight Ahead” and “Up Where We Belong”. (Listen to recordings in class).

Listen to “Corner Pocket” and start to create an event list in class. Refer to “Corner

Pocket” recording on Blackboard website. Submit assignment for next Monday’s

class.

F: TAs review student compositions (assigned over the semester break) and address any

problems; then discuss orchestration and arrangement – all projects must have an intro

and an ending.

Week 2

Blackboard: download and print the Voicing for Trombones sheet.

M: discussion of syllabus Blackboard website assignments; reminder about

recorded compositions (Project #1) being due for labs; bring laptop computers to labs.

Lecture: 4-part voicings (trbns) including range and register. Use of the bass

trombone. Voicing techniques - spread, close, rootless; voice-leading.

W: continue lecture and explain trombone voicing exercise sheet for assignment. Written

sheet is due the following Monday and piano performance occurs on the following Friday.

F: Record composition (Project #1) is submitted. Teachers return event list for “Corner

Pocket”.

Week 3

Blackboard: download and print leadsheet of “Tenderly”.

M: Students submit trombone voicing sheet (teachers grade for next lab).

Lecture/demonstration on “Rainy Day” - create voicings for trombones (in class)

using the voicing techniques discussed previously.

W: Lecture on next assignment - “Tenderly” - create pads using the voicing techniques

discussed in class and prepare piano performance.

F: Students perform trombone voicings exercise on piano. Teachers return

graded trombone voicing sheets and evaluate student performance.

Week 4

Blackboard: download and print voicing exercises sheet

M: students submit “Tenderly” arrangements (teachers review and grade for next lab).

Lecture/Assignment: voicing exercises sheet (examples 1&2 only).

W: Lecture/Assignment: voicing exercises sheet (example 3).

F: Teachers return “Tenderly” assignments and evaluate student performance on piano.

Week 5

Blackboard: download and print leadsheet on “Fall”.

M: Students submit voicing exercises sheet (all 3 examples).

W: orchestrate “Fall” for full ensemble.

Variation 1 - with lead trpt in staff for a mf volume – saxes play the melody

Variation 2 - with lead trpt 8va for a ff volumebut with the saxes playing a hip

counterline created by you.

Use two grand staffs to sketch your work – one for the saxes, the other for the brass.

F: Teachers return voicing exercise sheets (examples 1, 2 & 3). Students perform

exercises 1 & 2 on piano.

Week 6

M: Submit “Fall” assignment. New assignment - RecordingProject #2: this project is

based on the voicing exercises sheet (found in the Lesson 4Folder).Lecture: using

the sax section as EQ in the ensemble voicing. Refer to the Lesson 6 Folder for

explicit instructions for this recording assignment.

W: The Glenn Gomez guest artist visits the class. Assignment for next lab: submit score

(1st and 2nd blank pages but with proper title, composer, and arranger), alto sax 1 (1st

and 2nd blank pages), and piano (1st and 2nd blank pages); all formatted with proper

bar layout and margins.

F: Teachers return the graded “Fall” assignments.

Week 7

M: Lecture continues regarding the preparation of Project #2.

W: Review for recording project 2. Finale lecture – big band template, score (landscape

format), parts (portrait format), appropriate music to page ratio, bar layout, nesting rests, convenient page turns, exploding parts. Bring laptop computer to class.

F: Teachers preview recording projects (score and parts). Schedule recordings.

Week 8

M: Record projects in class and in selected big bands (2:00, 3:00, etc. as assigned).

W: Record projects in class and in selected big bands (2:00, 3:00, etc. as assigned).

F: Students submit score and final recording of Project #2. Teachers help students to

select a tune for Project #3 .

SPRING BREAK - During the spring break, the students should begin formulating ideas by constructing an event list, placing existing melodic material, adding new melodic material (counterlines, bass ostinato, intro/ending, etc.) where appropriate.

Week 9

Blackboard: download and print “Take the ‘A’ Train” sax soli voicing techniques and

sample sax soli on “Moonlight in Vermont”.

M:Harmonizing melody notes (soli writing). Analyze voicing techniques – block

w/doubled lead 8vb, drop 2, drop 3, independent – on “Take the ‘A’ Train”. Discuss advantages and disadvantages of using each technique. Discuss harmonic techniques for voicing non-chord tones – diatonic and chromatic planing, dominant and diminished approach, tonicization of any “target” chord.

W: continue with lecture.(Moonlight in Vermont – sax soli analysis)

F: Teachers return project #2.

Week 10

Blackboard: download and print “Farmer’s Market”

M: Lecture demonstration to create (in class) a sax soli on “What’s New”.

W: Lecture/Assignment: arrange the intro to “Farmer’s Market” in a harmonized soli

style for 5 saxes. Use block w/doubled lead 8vb and drop 2 voicings where necessary.

Display your work only on a grand staff and indicate which saxophone is to be used

for the lead voice.

F: Students submit “Farmer’s Market” assignment.

Week 11

Blackboard: download and print three documents: “harmonic techniques for approach

and passing chords” plus “ensemble examples” and “Lullaby of Birdland”

leadsheet.

M: Lecture: techniques and examples of soli writing for the full ensemble.

W: continue lecture. Assignment: “Lullaby of Birdland” – add approaching and passing

harmony.

F: Students submit “Lullaby of Birdland” assignment. Teachers return “Farmer’s Market”

assignment.

Week 12

Blackboard: download onto laptop the “Darkness Within” score and “Alone Together”

score plus its leadsheet that shows altered harmony compared to the original.

M: Lecture on integrating the rhythm (and “string”) section for support and contrast.

Analyze “Darkness Within” and“Alone Together”.Also discuss harmonic

substitution.

W: Lecture on planning an arrangement: Recording project #3 – final project for big

band; review the project agenda. (Students begin working ASAP).

F: Teachers return “Lullaby of Birdland” assignment.

Week 13

Blackboard: refer to Final Project folder for required details.

M: Q&A regarding final projects (students are actively writing)

W: Q&A regarding final projects (students are actively writing)

F: Teachers review projects and address any Finale questions; schedule recordings

Week 14

M: students record final projects in class or with selected big band (2:00, 3:00, etc.)

W: back-up recording day (if needed)

F: Labs are suspended (teachers examine projects).

Week 16 – Final Exam week (no exam given)

M: Teachers review graded projects with students during normal class time.

W: Teachers review graded projects with students during normal class time.

F: Teachers review graded projects with students during normal lab times.