Відео

You’re welcome 😊

Oh thats cool, glad you liked the sound of it! Did you manage to record/video it? Bummer the teacher blamed you, that's crap.

@@gilevansinsideout sadly no. i just wanted to try some of those techniques out since the ensemble reminded me of birth of the cool, but i look forward to make some more complex arrangements. your channel is really helpful, i hadn't seen that method of arranging with a new chord for every melody note. i was kind of tired of the sixth diminished chords method, so this channel was like an eye opener

I’m glad you’re enjoying 😃

true!

You are welcome!

Hey there! Yeah I could do, what sort of angle do you mean? As I’ve done write a few orchestration videos already. Check those out and let me know if they don’t cover what you need

haha, well done!

Hey there, I guess I have to make a vid about the rhythm section and this technique as quite a few people have asked that question! As you probably know, in thick big band passages its typical for the pno./gtr. not to play. You can frequently hear the Count and Duke playing little piano melodies between louder ensemble passages. If the guitar is playing each beat like freddie green style, then yes it would probably have a new chord for each beat. If the lowest horn is low, then the walking bass follows a similar melody. If the lowest horn goes higher in its range, then a more typical walking bass can be written (chord symbols). I don't mind having the pno. or gtr. sitting out for parts of an arrangement. It can give you greater contrast when they come back in. And its unlikely that you'll have a thick texture like this for a whole chart anyway. I hope that helps!

@@gilevansinsideout Thanks! That helps yes. Thank you for the anwser

Haha great 😊 glad you liked it

Hello, thanks for your question. The bass generally follows the lowest horn. Sometimes the lowest horn goes higher in its range, and acts more like a part than a bassline. When this happens I let the bass player improvise or write in a different bass line outlining the harmony as usual

@@gilevansinsideout i see ,got it ,thank you for your fast reply ,it helped a lot!

Oh that’s nice to hear. There’s plenty of others like it on my channel 😃

Hello 😀 I usually write the walking part during ensemble passages like this. And then write chord symbols for solos and other sections where there isn’t a horn playing down low. Yes you did understand correctly about the trombones. Piano translates surprising well to horns. It’s not perfect of course, but the basic rules of voicing relate to most acoustic situations. I think the main difference between piano and horn voicings is that on the piano a minor or major 2nd at the top of the voicing doesn’t sound as dissonant as it might do when played by horns. During rehearsals, I always try and stay present and listen to the sound of the band. I’m never afraid of changing anything! Actually I think it’s good to change things in rehearsal, as there can sometimes be things that didn’t work.

Thank you! Yes I prefer to provide real samples. I think You’d like my other orchestration videos too

Sorry, but I played hundreds of (not Evans) Big Band arrangements and did not have the feeling there is something wrong with a fifth....

Hey, true. I'm not sure you are both talking about the same 5th. I think @casinatorzcraft is talking about the 5th or altered 5th in a chord. Do you mean a consecutive 5th?

😅

Yes please do! There is a downloadable free PDF as well as the workbook on my kofi site if you want to practice. Lots of my other videos cover this as well

Well you are going to have a good time on my channel! 😄. Lots of Gil Evans and Claude goodness

Nice. What sort of borrowing do you refer too? From related modes?

Currently doing this, it’s stressful but I’ll reach the other side. Great video!

@l.romain6447 You can do it!

Thank you, yup the Barry Harris thing is popping up in my feed now and again.

@music_magus haha yeah 😂 or negative harmony

Haha, happy to help. You’ll enjoy more of my videos then 😃

Hey Josh, yes it can! And as you know, it’s a great way to come up with more material

Happy to help! There are a variety of these sorts of videos on my channel, so enjoy them. Let me know if you have questions

Ah nevermind, you harmonise it as dominant

Hey there, generally I avoid that interval, but voice leading and good bass melody trump it. There is a minor 9 in the Bb7/G for instance

My experience is that you should not take this rule too seriously. Even with the saxophonist/arranger Lenni Niehaus (who is more at home in the mainstream) you occasionally can find unusual minor ninths - not only in dominant chords, especially in his many arrangements for saxophone ensemble.

Glad it was helpful!

You’re a busy person 😉. Thanks

Thank you. Well that’s a big question. I actually think I consider classical roles more than a lot of jazz arrangers would! 😃 the sound of a ‘thickened line’ is usually using parallel chords and lines so consecutive 5ths etc often get ignored. I do look out for it, but mostly just in the outer voices. It’s no accident that the best basslines usually reveal the strongest sounding passage. So I would say it depends on the context: the style and type of melody, harmony etc. sorry I didn’t really fully answer your question there

@@gilevansinsideout The thickened line is really an orchestrational thing. Even in classical music, which is primarily triadic, octave doublings can sometimes create the impression of forbidden consecutives (octaves *and* fifths), but generally not when you reduce the texture to its real parts.

Yes I agree

Haha true

Oh thanks. Yes it is very jazzy. Those sorts of harmonies I learnt by studying Gil Evans

Thanks Fredrik!

Thanks Gabriel! Yes it was and still is good times

Thanks!

Do you mean a walking bass part? If yes, then what I do is write the walking bass line. I generally keep the same pitches as I would for the lowest horn. Gil Evans did this as well. A few people have asked this so maybe I should make a video on it one day. If the lowest horn goes higher in range, it is ok to let the walking bass play its own part. Have a look how I write the bass part in this video: ua-cam.com/video/OStfIS_rEXQ/v-deo.html

@@gilevansinsideout So many thanks, I got you, I will wait that video, but maybe I did not express my question well enough, what I meant was specifically, what is the role of the bass player and piano player when you harmonize with 5 parts. But I understood. So many thanks. I'm gonna continue see your videos to keep learning.

Excellent. The piano or guitar player often don’t play in these passages. This is true of most big band music. Listen to Duke Ellington and Count Basie they usually play something between the phrases

Sure is. I tend to show examples in concert on my channel

@@gilevansinsideout I play bass clarinet for high school. I’ve never seen anything written in bass clef. It’s always treble

Oh maybe I wasn’t clear. I agree with you. 😀 sometimes when it’s written in concert on a score it can be in bass clef.

⁠@@Endiv_3maybe as you wrote, in high school band pieces always use the treble. But in a professional orchestral setting, the are pieces pieces like The Rite of the Spring, The Sorcerer Apprentice, Rachmaninoff Symphony 2, Prokofiev Symphony 5, Wagner operas etc. where we need to read bass clef as well

You are welcome! I’ve got a couple of similar videos coming up

Oh you have great taste 😊

Oh that’s excellent

For me it’s option B. I feel like Gil was choosing the level of dissonance as the line progresses

@@gilevansinsideout Yeah, that makes sense. Thanks!

Yes! A previous comment has mentioned this before as well

Nice! Was it a symphonic wind band?

😀

You are welcome

Hey good question, that is all Gil Evans! Have a look at some of my other big band videos. There’s lots of examples from Gil himself