School of Music
P.O. Box 26170
UNC Greensboro
Greensboro, NC 27402-6170
(336) 334-5789 OFFICE
(336) 334-5497 FAX

e-mail: music@uncg.edu

Jazz Arranging II

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Current Syllabi for Jazz Courses can be found on the UNCG Blackboard Course Managment System

MILES DAVIS PROGRAM IN JAZZ STUDIES
MUS 424-01 Jazz Arranging II (Three credits)

Steve Haines
School of Music #336
256-0105
sjhaines@uncg.edu
office hours: M-F 1:00-1:50 pm

PREREQUISITES

MUS 201, 202, 203, 204, 205, or graduate standing in music theory, MUS 423.

This course is planned for any music student who is interested in learning about jazz arranging and orchestrating for large jazz ensemble.

CLASSES

Tuesday and Thursday, 9:30-10:45 am, Room 233

CATALOG DESCRIPTION

Advanced study of techniques and disciplines employed in arranging music for jazz ensembles.

STUDENT LEARNING OUTCOMES

On completion of this course, the student will be able arrange for large jazz ensemble (big band).

TEACHING STRATEGIES

The teaching strategies used are lecture, class discussion, and listening.

ACADEMIC HONOR CODE

Academic integrity is founded upon and encompasses the following five values: honesty; trust; fairness; respect; and responsibility. Supporting and affirming these values is essential to promoting and maintaining a high level of academic integrity. Each member of the academic community must stand accountable for his or her actions. As a result, a
community develops in which students learn the responsibilities of citizenship and how to contribute honorably to their professions.

If knowledge is to be gained and properly evaluated, it must be pursued under conditions free from dishonesty. Deceit and misrepresentations are incompatible with the fundamental activity of this academic institution and shall not be tolerated. Members of the UNCG community are expected to foster in their own work the spirit of academic honesty and not to tolerate its abuse by others.

Each student must sign the Academic Integrity policy on all major work submitted for the course. It can be found at http://saf.dept.uncg.edu/studiscp/Honor.html.

WRITTEN WORK

Made up of one trombone combine, five assignments, three projects, and one test. One letter grade will be subtracted form the overall mark if work is late. No work will be accepted for credit one week after it is due. NOTE: Every assignment is due the next Tuesday after it is given out.

EXAMS

There are no exams for MUS 424/624-01. The test will serve in place of the final exam.

ABSENCES

A maximum of two unexcused absences will be allowed. Excess absence will result in a lowered semester grade, of a ‘WF’, at the discretion of the instructor.

GRADING

Trombone Combine 10%

Five written assignments (each 5% of total mark) 25%

Project One 15%

Project Two 15%

Project Three 15%

Test (Thursday, April 29) 20%

REQUIRED TEXT

Wright, Rayburn. Inside the Score. Delevan, NY: Kendor Music, Inc., 1982. Comes with CD.

MATERIALS

A notebook with staff paper should be brought to each class. Score, sketch and manuscript paper is needed.

TROMBONE COMBINE

Separate parts and score due Tuesday, January 20

ASSIGNMENTS

Assignment #1 saxophones: due Tuesday, January 27

Assignment #2 trumpets: due Tuesday, February 3

Assignment #3 parallel voicings: due Tuesday, February 10

Assignment #4 adding saxes to brass: due Tuesday, February 17

Assignment #5 transcription: due Tuesday, April 2
syll mus 424/624 pg 3

PROJECTS

Your chart will be played and rehearsed by the UNCG Jazz Ensemble during their rehearsals (see below). You are encouraged to bring in anything you are working on during the year. Hand in score and parts in a portfolio (make sure your name is on it.) Use the techniques described in MUS 424/624. Midi is not allowed under any circumstances.

PROJECT ONE (arrange a tune for the large jazz ensemble)

• Intro, head, solo with background, temporary ending (you may use a D.S. al Coda)
• Score for instrumentation 4/4/5/4 (eight brass, five saxophones, four rhythm)
• Your chart will be played during the hour assigned to you. You may and are encouraged to bring your chart into rehearsal prior to this date, so you can hear and then make adjustments to them. Your chart will be recorded for you
• Avoid ballads, extreme up tempo, and 3/4 or odd meters
• Your chart will be played Monday, March 5 from 2:00-2:50 pm, and from 7:00-11:00 pm
in room 111.

Due: Tuesday, March 2 in class

PROJECT TWO (write an arrangement for large jazz ensemble in 24 hours)

Our hypothetical situation: you have been contracted $1200.00 from a major television telethon to write a chart, to be aired the next day. Please note: this is a exercise of trade, rather than one of artistry. Plan your time wisely! Your biggest test here is that you complete the project on time with no major catastrophes!
• Intro, head, solo with backgrounds, D.S. al Coda
• Score for instrumentation 4/4/5/4. (eight brass, five saxophones, four rhythm)
• A leadsheet will be given to you for orchestration
• Your arrangement, including parts and score (sketch format) will be due the day after it is assigned in room 111 at 2:00 pm. If you can not attend the reading of your chart, you must make sure I get your chart by rehearsal time!
• Ensure that everyone has something to play
• Keep it simple!
• Your chart will be played either Wednesday, March 17, or Friday, March 19, at 2:00-2:50
pm in room 111

Due: Wednesday, March 17, 2:00pm in room 111

PROJECT THREE (full chart-possible Dewey Redman composition)

• Intro, head, solo with background (can be Project One with revisions) and:
Shout section required
Soli optional
Another soloist if desired
Recapitulation (can be D.S.) with permanent ending
• Score for instrumentation 4/4/5/4
• Your chart will be played during the hour assigned to you. You may and are
encouraged to bring your chart into rehearsal prior to this date, so you can hear and then make adjustments to them. Your chart will be recorded for you.

Due: Tuesday, April 3, in class
syll mus 424/624 pg 4

Bibliography

Dobbins, Bill. Jazz Arranging and Composing: A Linear Approach. Rottenburg, Germany: Advance Music Publishing, 1996.

Grantham, Donald, and Kent Kennan. The Technique of Orchestration. 5th ed. Upper Saddle River, NJ: Prentice-Hall Inc., 1997.

Kennan, Kent. Counterpoint Based on Eighteenth-Century Practice, 4th Ed. Upper Saddle River, NJ: Prentice-Hall Inc., 1999.

Mancini, Henry. Sounds and Scores: A Practical Guide to Professional Orchestration. Northridge, CA: Northridge Music Inc., 1986.

Schneider, Maria. Evanescence. Edited by Robert Thompson. Vienna, Austria: UE Publishing, 1998.

Wheeler, Kenny. Collected Works on ECM. Edited by Fred Sturm. Vienna, Austria: UE Publishing, 1997.

Wright, Rayburn. Inside the Score. Delevan, NY: Kendor Music, Inc., 1982.

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