Arranging For Big Band

Jazz Arranging 2: Big Band Arranging

In this second semester of jazz arranging, we will focus on arranging and orchestrating for a traditional 17-piece big band: 4 trumpets, 3 tenor trombones, 1 bass trombone, 2 alto saxophones, 2 tenor saxophones, 1 baritone saxophone (no woodwind doubles), piano, guitar, bass, and drums. The course includes one major arranging project, broken into progressive sections, along with preparatory assignments and listening/analysis exercises. Your selection, drawn from the standard jazz repertoire, must be approved by the instructor.

You will write in a straightforward manner, following the style of Count Basie’s arrangers (Sammy Nestico, Frank Foster, Neal Hefti, Ernie Wilkins, Thad Jones, etc.)  This course emphasizes mastering the craft of big band arranging, with a focus on strong fundamentals and effective voicings. The objective is to develop the skills necessary to confidently accept and complete commissions where the traditional big band sound is appropriate and expected.

Course Outline and Class Schedule

Semester: Spring 2025
Course #: MUSI 3632 (two credits)
Required Prerequisite Course: MUSI 3631, Jazz Arranging 1
Instructor: Earl MacDonald, Professor of Music, Director of Jazz Studies
Class Meeting Times: Mondays & Wednesdays, 9:05 – 9:55 AM, MUSB 109
Office Hours: Mondays, 10AM and by appointment

Suggested Textbooks: 

The following big band arranging texts are on reserve in the Music Library. 3-hour loan period.

    • Inside The Score (a detailed analysis of 8 classic jazz ensemble charts)
      by Rayburn Wright.  Kendor Music.
    • Instrumental Jazz Arranging
      by Mike Tomaro and John WilsonInside the Score, Rayburn Wright's jazz arranging textbook
    • Basics In Jazz Arranging
      by Paris Rutherford
    • Introduction to Big Band Arranging
      by Paris Rutherford
    • The Contemporary Arranger
      by Don Sebesky
    • Changes Over Time: The Evolution of Jazz Arranging
      by Fred Sturm

Additional titles and resources: https://www.earlmacdonald.com/jazz-arranging-text-books/

Suggested listening: classic big band album links & playlists

Communication policy

E-mail is the instructor’s preferred method of communication with students. Please allow 48 hours for replies. When requesting a meeting outside of office hours, students should submit several meeting time options. The instructor prefers to be addressed as Professor MacDonald.

Grading: 

The major project will be divided into manageable, constituent formal units. To support timely and successful completion of the big band arranging project, a series of smaller, weighted deadlines will be instituted. Each of the following components will contribute to a percentage of your final grade:

These are due at the beginning of Wednesday’s classes. Visit the following link for a list of suggested big band albums. Students are welcome to borrow scores from the jazz ensemble library. Start with the pieces in Rayburn Wright’s “Inside the Score.”

  • formal planning – 10%
  • preparatory assignments – 10% (throughout the semester)
  • head statement(s) – 10%
  • soli: 16 measures (1/2 chorus) minimum – 10%
  • shout: 16 measures (1/2 chorus) minimum – 10%
  • solo(s) with backgrounds – 10%
  • intro/ending – 10%
  • realization – 10%

Assignment Marking Policies

The following policies apply to all assignments unless otherwise indicated:

  1. All assignments are due by the beginning of class on their assigned date.
  2. Comments and detailed markup will not be provided for assignments submitted late or for those granted an extension. However, a completed rubric with a breakdown of scores will be included to explain the grade received. Students are encouraged to manage their time effectively to ensure timely submissions.
  3. Extensions may be granted under certain circumstances. While feedback will not be provided for extended deadlines, marks will not be penalized, and a score breakdown will be included in the rubric.
  4. Unexcused late assignments will incur a penalty of 1 point per day (equivalent to one percentage point of the total course grade). Students with extenuating circumstances, such as hospitalization, should notify the instructor to discuss individual accommodations.
  5. Revisions are encouraged after receiving feedback. Provided the original deadline was met and a good-faith effort was demonstrated, grades may be adjusted to reflect improvements.
  6. A mid-semester progress report will be emailed to students.
  7. No assignments or revisions will be accepted after the last day of Spring Semester classes, May 2.
  8. There will be no final exam for this course.
  9. The course content and schedule are subject to change at the discretion of the instructor, with any updates communicated promptly to students.

For clarification or further explanation of these policies, please contact the instructor at earl.macdonald@uconn.edu.

Grading Scale:

Grade Letter Grade GPA
93-100 A 4.0
90-92 A- 3.7
87-89 B+ 3.3
83-86 B 3.0
80-82 B- 2.7
77-79 C+ 2.3
73-76 C 2.0
70-72 C- 1.7
67-69 D+ 1.3
63-66 D 1.0
60-62 D- 0.7
<60 F 0.0

 

The following online class schedule is continually evolving and is custom-tailored to meet student needs. Check back frequently, as updates and links will be added before each class.

Week 1: Jan. 21 – 24

  • orientation: “big picture” semester overview, text books & resources
  • project management
  • formal delineations, planning and road maps

Assignments:

Week 2: Jan. 27 – 31

* No classes will be held as the instructor will be out of town. However, students are still required to submit assignments and are expected to work independently by completing the assigned readings and corresponding tasks.

Due: Wednesday, Jan. 29 by 9AM, via e-mail.

    • piece selected
    • rhythmic feel(s) and tempo(s) of your arrangement (swing, latin, 3/4 etc.) chosen. Odd time signatures are outside the parameters of this assignment.
    • written project and band assessment completed
    • listening/analysis assignment #1 (2%)

Reading, Video Lecture and Assignments:

Using Inside the Score and the linked example as guides, develop a detailed and imaginative plan for your arrangement. If your piece follows a 32-bar AABA form, outline each 8-bar section, describing orchestration, texture, and density. Identify where key formal elements—such as solis, solos (with designated soloists), backgrounds, shout sections, and transitions—will occur, and design a clear intro and ending. Highlight the arrangement’s apex and explore feel changes or key modulations as needed.

Craft a visually expressive contour chart inspired by Rayburn Wright’s examples, or use a narrative format to detail how the arrangement evolves. Consider giving the in and out heads distinctive treatments to create direction and variety, avoiding reliance on codas or DS markings. Think creatively and be as specific as possible to bring your vision to life.

Worksheet: Rootless trombone section voicings — due Wed., Feb. 12

    • listening/analysis assignment #2

Week 3: Feb. 3 – 7

Due: Wednesday, Feb. 5 by 9AM via e-mail

    • listening/analysis assignment #2 (2%)
    • draft of road map/formal delineations for feedback

Lecture Topics:

Assignments:

Using copies of the provided score paper, write the lead lines and rhythm section parts for the in and out-heads of your chart. If including ensemble “hits” and backgrounds, write the top, melodic line only. Do not yet harmonize the horns.

Week 4: Feb. 10 – 14

Due: Wed., Feb. 12 by 9:10 AM

Lecture Topics:

“Complete Ensemble Voicings Overview”

    • 4-part block writing
    • “Basie 4-part,” “Basic Ensemble” (utilizing triadic extensions), “Combination Voicings”
    • Upper Extension triads

Assignments:

    • Preparatory Worksheets: due Feb. 19
      1. 4-part block, isolated chords
      2. Big Band ensemble voicings worksheet

Week 5: Feb. 17 – 21

Due:

    • lead line sketches for: in-head and out-head
    • listening/analysis assignment #4 (2%)
    • Preparatory Worksheets:
      1. 4-part block, isolated chords
      2. Big Band ensemble voicings worksheet

Assignments:

    • melody statements (in and out heads) scored: voiced/harmonized, orchestrated. Due: Feb. 26

Lecture Topics:

    • 4-part block writing, continued: harmonizing non-chord tones within passages
*Mid-semester progress reports issued.

Week 6: Feb. 24 – 28

Due:

    • melody statements (in and out heads) scored: voiced/harmonized, orchestrated
    • listening/analysis assignment #5 (2%)

Lecture Topics:

    • soli lines — melodic line writing
    • 4-part block writing, continued
    • harmonization techniques for non-chord tones
    • 4-part block writing, continued
    • rhythm section integration
    • chorale writing

Assignment:

    • Sketch your soli line, considering range and instrumental limitations. Due: March 5.

Week 7: March 3 – 7

Due:

    • Sketched soli line
    • listening/analysis assignment #6 (2%)

Lecture Topics:

    • soli line feedback
    • chorale writing
    • soli line feedback/consultations

Assignment:

    • “Beautiful Love” chorale-style head arrangement. Due: March 12th.
    • Harmonize soli. Due: March 12.

 

Week 8: March 10 – 14

Due:

    • “Beautiful Love” chorale-style head arrangment
    • listening/analysis assignment #7 (2%)
    • harmonized soli

Lecture Topics:

    • soli harmonization feedback/consultations
    • “shout choruses:” principles and examples

Assignment:

    • Shout chorus lead line: due March 26th

Spring Break: March 15 – 23

Week 9: March 24 – 28

Due:

    • shout chorus lead line
    • listening/analysis assignment #8 (2%)

Lecture Topics:

Assignments:

    • harmonize the shout chorus. Due: April 2
    • solo and background sections. Due: April 2

Week 10: March 31 – April 4

Lecture Topics:

    • backgrounds/”solo enhancements” consultations
    • Backgrounds/”Solo Enhancements” consultations
    • transitional material

Due:

    • listening/analysis assignment #9 (2%)
    • harmonized shout chorus
    • solo and background sections

Week 11: April 7 – 11

Due:

    • solo and background sections
    • listening/analysis assignment #10 (2%)

Lecture Topics:

    • Introductions and Endings — principles, examples, consultations.

Assignment:

    • Intro and Ending. Due: April 16

Week 12: April 14 – 18

* Michael Abene residency: Thursday, April 17 – Friday, April 18

Due:

    • Intro & Ending

Lecture Topics:

    • music notation software guidance
    • articulation markings & dynamic schemes
    • part formatting
    • proofreading
    • Consultations, guidance
    • advanced reharmonization
    • motivic and rhythmic development
    • …and more

Assignment:

    • computer note entry.  Creation and formatting of score and parts

Week 13: April 21 – 25

    • Part taping
    • Scanning of parts
    • Highlighting roadmap instructions (D.S., etc.)

Week 14: April 28 – May 2

  • Reading sessions with the UConn Jazz Ensemble: April 29 and May 1. 2PM in von der Mehden Recital Hall.
  • evaluative, critical listening to recordings of student arrangements
Attendance

Except for final examinations, the instructor has final authority in permitting students to submit assignments late or make up examinations.

Copyright

My lectures, notes, handouts, and displays are protected by state common law and federal copyright law. They are my own original expression and I’ve recorded them prior or during my lecture in order to ensure that I obtain copyright protection. Students are authorized to take notes in my class; however, this authorization extends only to making one set of notes for your own personal use and no other use. I will inform you as to whether you are authorized to record my lectures at the beginning of each semester. If you are so authorized to record my lectures, you may not copy this recording or any other material, provide copies of either to anyone else, or make a commercial use of them without prior permission from me.

It is the responsibility of all students to acquaint themselves, and to adhere to all university policies. Please review the following:

Students are expected to follow all safety protocols and to keep current with university communications regarding COVID-19.

Policy Against Discrimination, Harassment and Related Interpersonal Violence

The University is committed to maintaining a safe and non-discriminatory learning, living, and working environments for all members of the University community – students, employees, or visitors. Academic and professional excellence can flourish only when each member of our community is assured an atmosphere of mutual respect. All members of the University community are responsible for the maintenance of an academic and work environment in which people are free to learn and work without fear of discrimination or discriminatory harassment. In addition, inappropriate amorous relationships can undermine the University’s mission when those in positions of authority abuse or appear to abuse their authority. To that end, and in accordance with federal and state law, the University prohibits discrimination and discriminatory harassment, as well as inappropriate amorous relationships, and such behavior will be met with appropriate disciplinary action, up to and including dismissal from the University. Additionally, to protect the campus community, all responsible employees (including faculty), as outlined in the Policy Against Discrimination, Harassment and Related Interpersonal Violence, are required to report to the Office of Institutional Equity any information that they receive related to sexual assaults, intimate partner violence, and/or stalking involving a student. An exception to this reporting exists if students disclose information as a part of coursework submitted to an instructor in connection with a course assignment. Even in the absence of such obligation, all Employees are encouraged to contact OIE if they become aware of information that suggests a safety risk to the University community or any member thereof. The University takes all reports with the utmost seriousness. Please be aware that while the information you provide will remain private, it will not be confidential and will be shared with university officials who can help. More information, including confidential and exempt employee resources available for support and assistance, can be found at equity.uconn.edu and titleix.uconn.edu.

Statement on Absences from Class Due to Religious Observances and Extra-Curricular Activities

Faculty and instructors are expected to reasonably accommodate individual religious practices unless doing so would result in fundamental alteration of class objectives or undue hardship to the University’s legitimate business purposes. Such accommodations may include rescheduling an exam or giving a make-up exam, allowing a presentation to be made on a different date or assigning the student appropriate make-up work that is intrinsically no more difficult than the original assignment. Faculty and instructors are strongly encouraged to allow students to complete work missed due to participation in extra-curricular activities that enrich their experience, support their scholarly development, and benefit the university community. Examples include participation in scholarly presentations, performing arts, and intercollegiate sports, when the participation is at the request of, or coordinated by, a University official. Students should be encouraged to review the course syllabus at the beginning of the semester for potential conflicts and promptly notify their instructor of any anticipated accommodation needs. Students are responsible for making arrangements in advance to make up missed work.

For conflicts with final examinations, students should contact the Dean of Students Office. Faculty and instructors are also encouraged to respond when the Counseling Program for Intercollegiate Athletes (CPIA) requests student progress reports. This will enable the counselors to give our students appropriate advice.

Students with Disabilities

The University of Connecticut is committed to protecting the rights of individuals with disabilities and assuring that the learning environment is accessible. If you anticipate or experience physical or academic barriers based on disability or pregnancy, please let me know immediately so that we can discuss options. Students who require accommodations should contact the Center for Students with Disabilities, Wilbur Cross Building Room 204, (860) 486-2020 or http://csd.uconn.edu/.

Emergency Management/Preparedness

In case of inclement weather, a natural disaster, or a campus emergency, the University communicates through email and text message. Students are encouraged to sign up for alerts through http://alert.uconn.edu. Students should be aware of emergency procedures, and further information is available through the Office of Emergency Management at http://publicsafety.uconn.edu/emergency/.

Some useful telephone numbers:

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