The Voice in Arranging - Rethinking the role of vocalists in big bands and large ensembles
(2023)
author(s): Giulia Bättig
published in: KC Research Portal
This research explores how the voice can be used creatively in large ensembles and big
bands. It is structured in five parts, starting with an introduction explaining my interest and
personal connection to this topic. I then analyzed the work of composers and arrangers that
used vocalists in their large ensembles before me - for example Kenny Wheeler, John
Hollenbeck and Martin Fondse. There I looked at how they used vocalists in their works and
found that oftentimes, the voice still is used as a doubling part for the lead melody, but
seldomly is used as an independent part in the arrangements.
I then moved on to analyzing my own compositions I’ve written for a vocal section and large
ensemble. I saw that I unconsciously often used the same kind of arrangement style, and
drew a lot of conclusions for my future works out of this analysis. In part four, I compiled my
research of others and my own work into a small handbook of arranging tools for big band
and voice section. With this, I want to inspire other composers and arrangers to write for
vocalists in new and creative ways. After this, I concluded my research with a reflection and
conclusion in the last part.
In my presentation, I want to talk about my progress working with others and my own music,
and the conclusions I drew out of it, as well as showing some examples of my analysis and
the handbook I wrote.
Keith Jarrett: The Köln Concert, re-composition for a big ensemble
(2023)
author(s): Stefano Gullo
published in: KC Research Portal
As a composer, you are free to create, and often the melodic choices, the harmonic solutions are the result of something truly personal. The colors found within a piece are the representation of what the composer feels and wants to put on paper, he is free to express a concept without being bound by any kind of expectations or rules.
In this project, I am exploring the ways in which I can integrate and use Keith Jarrett’s improvisations as material for writinf for large jazz ensembles. To answer this question I learned about his life, his philosophy in music and how his musical style developed through the years, to get along with his musical idea and try to respect his first intention.
And to prepare myself for start writing the re-composition I analyzed the transcription of the Concert in Köln, seeing how he approached the improvisation and how he used the musical elements such as the construction of the melody, the use of the rhythm and the harmonic background; all elements that I used in my work.
The project demonstrates that even if is working on an improvisation, which offers such a varied material and is developed without an apparent fixed structure, it is possible to recreate compositions that have a coherence; also respecting the intention and the sound context that characterized that moment.
(cover art designed by Barbara Wojirsch, copyright believed to be owned by ECM).
The Sound of the Big Band: Between evolution and continuity
(2017)
author(s): Claudio jr de Rosa
published in: KC Research Portal
Name: Claudio Jr De Rosa
Main Subject: Jazz Saxophone
Research Supervisor: Patrick Schenkius
Title of Research: The Sound of the Big Band: Between evolution and continuity
Research Question:
How can I define the essential characteristics of the voicings in the writing of Gil Evans, Bob Brookmeyer, and Maria Schneider? How can I internalize them and make them part of my arranging vocabulary?
Summary of Results:
The main goal of this thesis is outlining the fundamental elements of the style of three jazz masters of Big Band arranging: Gil Evans, Bob Brookmeyer, and Maria Schneider, focusing on their voicings through a deep analysis of some of their works.
The second part, however, is intended to be more practical and personal. Knowing
the elements that characterize the style of these writers, I will show some components that stood out in the previous analysis included in some of the 13 arrangements I did during my Master.
Biography:
Saxophonist, composer, arranger, award winner, Claudio Jr De Rosa is a rising personality in the European Jazz scene. After a Master in Classical Saxophone, he is concluding the Master in Jazz under the guidance of J. Ruocco, H. Huizinga, and P. Schenkius. He recorded jazz CDs with his trio Zadeno Trio and with the CJDR Jazz 4et, and toured extensively in Europe and Asia. As an arranger, he wrote for the NSJO, KC Big Band, CvA Big Band, and CJDR Jazz Ensemble. He won the “Louis van Dick Arranging Jazz Award 2016” and his music was performed by the Jazz Orchestra of the Concertgebouw.