Notes by Shawn Harrel (www.shawnharrel.com) for instrumental arranging at UMKC and Lindenwood University
Jazz Arranging
SUGGESTED BIBLIOGRAPHY
Sammy Nestico, The Complete Arranger
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Great all-in-one orchestration book for someone leaning towards jazz writing.
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Covers everything from jazz articulations to string quadruple-stops.
Don Sebesky, The Contemporary Arranger
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Another book that could stand on its own.
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Sebesky writes, “Every arrangement must have focus, balance, variety, and
economy.”
William Russo, Composing for the Jazz Orchestra
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Cheap, short, concise.
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Good for scratching the surface of jazz; a complement to other “serious”
arranging/orchestration books.
Henry Mancini, Sounds and Scores
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Seems like an “old” version of the Nestico book. Similar set up and examples, but
a bit dated.
Rayburn Wright, Inside the Score
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Analysis of 8 jazz classics by Nestico, Thad Jones, and Bob Brookmeyer.
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Includes insightful interviews with the arrangers in addition to the thorough
analysis.
Dan Haerle, The Jazz Sound
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Would answer the questions: What scales can I use with this chord? What is the
function of this chord? How could I analyze a piece for the purpose of soloing?
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Good for a detailed understanding of chord-scale relationships.
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Short and cheap.
Fred Sturm, Changes Over Time: The Evolution of Jazz Arranging
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A History book of sorts; from Jelly Roll Morton to Brookmeyer and beyond.
Notes by Shawn Harrel (www.shawnharrel.com) for instrumental arranging at UMKC and Lindenwood University
THE ARRANGING PROCESS
Initial Framework
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Start with a firm idea or concept in mind that includes purpose, form, keys,
tempos, and style.
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Both Nestico and Sebesky stress the importance of starting with a solid plan as a
foundation for your arrangement.
Understand the Notation and Unique Language of Jazz
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Articulations and melodic lines are sometimes interpreted differently than in
classical music. Tongue releases, legato tonguing and implied (not written)
accents are just a few to consider.
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The instrumentalists have a wider array of tricks up their sleeves. From mutes to
rips and falls, etc…
BUILDING FROM THE GROUND UP
THE RHYTHM SECTION
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Understand the importance of good rhythm section writing.
Understand the Triangle (Mike Steinel)
Pulse
Drums
Bass - Guitar
Harmony
Piano - Guitar
Rhythmic
Interaction
Bass
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The harmonic foundation
Electric or Upright?
Each style presents a different problem for the bass player
o Jazz, rock, folk, bossa, fusion, Latin, etc…
Write out at least one chorus of bass part. Write out all important lines or
rhythmic figures.
Understand how to write a bass line in 4/4 jazz swing.
Notes by Shawn Harrel (www.shawnharrel.com) for instrumental arranging at UMKC and Lindenwood University
Piano
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Three basic ways to write for piano
o Grand Staff
o Single Staff
o Grand Staff with band cues (Basie)
The contemporary pianist is asked to constantly improvise or “comp”
The pianist must not improvise or play a bass part (even if it appears on the
grand staff) excluding special circumstances.
Write more piano voicings for younger bands, less for better groups.
As in bass part, try to write at least one chorus of voicings.
Understand a few basic voicings for Left hand + Right hand
Guitar
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Sounds an octave lower than written
Allow the guitarist some freedoms when searing for a specific sound. Lay out
the framework and let him/her be inventive.
Guitarists can carry accompaniment alone. Also, they can double trumpets,
vibes, keyboards, and trombones.
Guitar has a limited sustaining ability.
Chord changes are preferred.
Drums
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Keep it simple!
Know the basic notation.
Use English to help (always write the style on the part).
Keep the drummer informed of what the band is doing at all times.
“Attention given to the drum part in advance will reap significant rewards in
performance.” (Nestico)
THE SAX SECTION
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Can play rapid passages and sustained ones equally well.
Unisons and octaves are common and useful.
Use of duets: two altos together with two tenors. (Add trumpets to altos and
tenors to trombones for different effect.)
Close position voicing: A A T T B, with bari doubling the melody down an
octave.
Drop-two voicing: Second part down an octave to create semi-open voicing.
Use this alternately with other voicings for the most desired effect.
Open voicing: Used in ballads, gives deep sound and inner voices can move.
Looses it mobility in bright tempos and its weight bogs it down.
Cluster Voicing: Five pitches within an octave. Use sparingly when looking
for contrast.
Use of other woodwind instruments can provide contrast, but allow for the
fact that they might not be covered by skilled players!
Notes by Shawn Harrel (www.shawnharrel.com) for instrumental arranging at UMKC and Lindenwood University
THE BRASS SECTION
Trombones
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As a section the trombones can stand alone or support the trumpets. The form
a rich “pad” for soloists.
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Closed- or open-position voicings achieve different sounds.
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The Bass trombone
o adds strength and depth to the orchestra
o Works with the bari sax to enforce important bass line figures
o Pay attention to breathing!
Trumpets
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Higher isn’t better! Use the lead trumpet with care, but do consider the higher
range potential with the jazz orchestra.
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Works equally well as a solo instrument, in full section chords, in unison, in
octaves (two on top, two on bottom) and in unison/octaves with other
instruments. Very versatile.
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Flugelhorn and a variety of mutes give the section a wider palate of colors.
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Understand the use of polychord voicings over trombones when writing
extended harmonies.