Category Archives: Jazz Arranging

Charles Ives for Jazz Orchestra Pt. 1 – “Tom Sails Away”

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I’d like to welcome composer and arranger Jack Cooper to Professorscosco as my first featured guest contributor. I’ve invited Jack to share with you some of his arrangements of Charles Ives’ music from his monumental 2014 release, Mists – Charles … Continue reading

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Memories of Manny Albam – by Allen Myers

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I had the opportunity to study with Manny Albam a few years before Allen, but his post on his blog brings back memories. – Scott September 3, 2014 Memories of Manny Albam  By Allen Myers Reblogged by Scott Healy, October 15, … Continue reading

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Linear Harmony #5: Block and Layered Counterpoint

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I’m revising a piece for my ensemble, perhaps for a recording in the near or far future. I’ve used “Take it Inside” in many posts because it’s a good example of linear harmony. It’s also free and I have the … Continue reading

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Linear Harmony #4 – Inner Roots and Voice Leading Pt. 2

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…the effect is fluid and free, almost like a composition is improvising with itself. I like this technique and I use it often. Thinking about strong lines and counterpoint first, and chords and harmonic movement second can make it all … Continue reading

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Linear Harmony #2 – Inner Roots and Voice Leading – Pt. 1

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The layering of chords, with inner roots and strong voice leading are an important part of linear harmony; it’s a melodic way of writing with chords, and with apologies to Schoenberg and Debussy, a jazzy way of using “Klangfarbenmelodie”, or … Continue reading

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The First Jazz Composer?

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Claude Debussy? Discuss…. Professorscosco is worn out by the holidays, a burning, but very cold rooftop New Years jazz gig, and a long bike ride today, and is thus not inclined at the moment to pontificate about music theory. But … Continue reading

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Top Down #7: Melodic Pedal Point and Vertical Dissonance

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We hear melodic pedal points all the time in blues, country, rock, jazz and classical…. it’s a complicated, jargony name for a simple concept: a note in the top voice repeats or sustains while other voices move underneath. A high … Continue reading

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Top Down #6: Melodic Motion–Space is the Place

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You can give your writing rhythmic tension by varying the “groove” under a melody, melodic line, or syncopated figure. You can also create space for counterlines and more music material under, after and around your melodic figures. This adds a … Continue reading

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Scoring and Controlling Improvisation #1–Rhythmic Cells

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I’ve written a lot of ensemble music where my intention was to create an improvised texture, or a feel of rhythmic and melodic freedom—fully notated music that sounds non-metered and non-harmonic. Sometimes it works, sometimes it don’t. In many instances … Continue reading

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The Doctor is In

In an arrangement for my ensemble I performed a lot of surgery on Duke’s classic Solitude. I’ll provide an analysis and score and musical samples in my next post, but I wanted to give a little background on the technique … Continue reading

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