We are very excited to introduce to you our three-day intensives as part of our Summer 2016 series.
About the Program
This course is an intermediate-advanced level of jazz arranging & composition. Students will study and create work using the essential techniques required for jazz arranging such as proper notation, melodic alteration, reharmonization, and orchestration from small group to mid-sized jazz ensemble. Basic principles for big band arranging will be addressed as well. The work of historically important jazz arrangers will be studied (via recordings and/or scores). Students will be expected to compose several projects and be asked to explain/defend their creative choices for each.
Topics: Arranging techniques, listening sessions, composition exercises, composition and arranging history, from small group to big band.
Dates: July 18 – 19 – 20
All sessions will be held from 11am to 5pm at our main space around the corner of Times Square. More detailed outline and information on the schedule will follow.
Prerequisites:
-Participants should be able to read music and have knowledge of basic music theory
-At least 17 years of age
-Some of our intensives are better suited to intermediate and advanced musicians with a minimum of a few years on their instrument; other summer intensives, such as the beginner vocal and choir, are open to everyone. More details can be discussed during registration.
About the Faculty
Alan Ferber- For the last four years, Alan Ferber has been recognized as one of the leading trombonists of his generation in Down Beat magazine’s International Critics’ Poll and Readers’ Poll. He has released five albums as a bandleader, all of which blur traditional boundaries through an intriguing mix of influences. Ferber’s music draws from a broad stylistic base considering the array of artists with whom he has closely worked: Esperanza Spalding, Charlie Hunter, Sufjan Stevens, the Vanguard Jazz Orchestra, Peter Gabriel, Toshiko Akiyoshi, The National, Harry Connick Jr, Lee Konitz, Dr. Dre, Kenny Wheeler, John Hollenbeck, Don Byron, and They Might Be Giants. His discography lists over 100 CDs on which he has played trombone. As a composer and arranger, Alan has written for the Atlantic Brass Quintet, Paul McCandless, Sara and Rachel Caswell, the Asphalt Orchestra, Sarah Darling, Steel Magnolia, and Jon Gordon. He is also the recipient of a 2013 Chamber Music America New Jazz Works grant, funded by the Doris Duke Foundation. Alan is currently an adjunct professor of jazz trombone and composition at New York University’s Steinhardt School, Johns Hopkins University’s Peabody Conservatory, and Montclair State University’s John J Cali School of Music.
SPECIAL GUEST
Doug Beavers was catapulted to international musical significance when he was discovered by 10-time Grammy® winner Eddie Palmieri and called on to transcribe and arrange the complete repertoire from his seminal La Perfecta group of the 1960s. Beavers went on to tour, record and perform for Eddie’s new La Perfecta II as lead trombonist and arranger, winning a Grammy® with Palmieri for his work on his 2005 release Listen Here. In addition to producing, arranging, and orchestrating many stateside releases, he has released four solo projects, the most recent entitled Titanes del Trombón, released on the prestigious Artistshare® label in 2015. The album launched through a series of CD release shows at SOB’s New York, San Jose Jazz Summerfest and the Barranquijazz festival in Barranquilla, Colombia. Titanes del Trombón has since topped world salsa and latin jazz charts and has garnered positive reviews in a host of prestigious publications.
Tuition:
$495 Early bird special for registrations received by April 30th
-Participants registering before April 30th will also receive a free ticket to a show at Club Bonafide or free admission on a Harlem Jazz Tour!
$545 for registrations received after May 1st
Registration:
To sign up for this Summer Intensive, fill out this brief registration form.
General Information
For more info regarding our summer program, housing, travel, and more, visit our General Information page. For a more in-depth experience, inquire about adding a private lesson with someone from the NYJW Faculty during your visit. Learn more about how you can combine Summer Intensives to create a customized Summer Package. Feel free to reach out via email at info@newyorkjazzworkshop.com with any additional questions.
What to expect:
When you join us for one or more of our intensives, you can expect to become a member of our tightly knit community. There will be musicians from all over the world looking to learn, explore and make connections. You will be making connections that last a lifetime. A typical day will be as follows:
11:00am – 1:00pm: Morning Sessions
1:00pm – 2:00pm Lunch Break
2:00pm – 5:00pm: Afternoon Sessions
Evenings: Free
Student will normally organize small groups or go check out some concerts. See “Fun Evening Activities” in the General Information page for more details. There will be opportunities for every student to perform outside of the school, more details coming up soon.
Course Outline
July 18:
1) Course overview/What Is Arranging? The 4 elements of arranging/Stompin’ At The Savoy examples Melodic considerations (motifs, phrasing, melodic rhythm)
Contrafact examples: Steve Swallow’s Deconstructed, Monk’s Evidence, Charlie Parker’s Donna Lee, Tadd Dameron’s Hot House
2) Notation/Layout (Beaming/3rd Beat Rule)
Part Preparation (paper size/quality, taping, page turns, etc)
Melodic rhythm (swing)
Hand out “Smile” rework, analyze
3) Compose your own melody (“contrafact”) over a standard chord progression of your choice.
July 19:
1) Range, Transposition, Register, and Intensity of Brass & Woodwinds
-Listen to “Kopi Luwak” (big band) while following along with score.
-Listen to other examples: Joe Henderson “Power to the People”
Discuss ranges and instrumental choices.
2) Intros & endings
“Us”, “Angel’s Landing” example
Score and Parts Layout
3) Listen for intros/endings on recordings
-Choose a favorite and write your own intro & ending in that style on a tune of your choice
4) Rhythm section notation
Range, Transposition, Register, and Intensity of Brass & Woodwinds
July 20
1) Starting an arrangement
Listen to “Smile” following along with handouts
Unison writing
Two-voice writing
Writing for jazz quintet (trp., tenor sax, piano, bass, drums)
2) Harmonization Techniques
4-Way Close (Block voicings)
Drop 2, 3, 2&4
b9 Rule, Low Interval Limits
3) Line vs. Voicing
Approach Techniques
Writing for 5 horns and its correlation to Big Band
Where:
The New York Jazz Workshop Summer Series is held in our space at Michiko Studios in midtown Manhattan, just a few blocks from Times Square.
New York Jazz Workshop at Michiko Studios
149 West 46 street, 2nd floor
New York, NY 10036
between 6th and 7th avenue.
