Characteristics of the Basie Sound | Arranging for Big Band in the Basie Style
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- Опубликовано: 3 авг 2024
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This video tutorial covers the basic elements of the "Basie Sound". The elements that go into charts that were produced by writers like Sammy Nestico, Neil Hefti, and Quincy Jones.
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Thank you for the informative video!
Thank you,Maestro.⭐⭐⭐⭐⭐
I would love to see something similar for early Basie (1930s and 1940s). Particularly a favorite of mine.
Excelent, thank you master
Excellent job-great info and explanation!
interesting and very informative video. I will have to try some of these tips in my own composing. Thanks!
Interesting, root and first inversion chords are favored in classical music. Here I’m seeing a lot of second and third inversion chords.
Nice video
There are actually a few examples of dim7 chords with the added notes in Basie - Straight Ahead and Hayburner. I think that they are not uncommon in this style.
Not totally uncommon, but more common in a style like Thad Jones.
At 16:31 isn't that the E13th chord moving up to the F13?
WEll done! Clear! Thanks much. Love the "...don't even think about the drop 2 or drop 4 anymore---just voice the chord out". When voicing a six chord where the 6th is the melody tone , is it okay in closed position, to voice the 5th below the 6th? What other tone could you put in to make it 'sonorous'? Thanks
Yes, you could add the 5th below the 6th but that is not ideal. I would typically make that a Major 9 chord or something along those lines. Say you have an "A" in the melody for a C6 chord. You could skip the 5th and voice it downwards, E, D, B. That would actually make it a CMaj13 chord. Depends on the style though, if you are writing in an early big band style, voicing the 5th, 3rd, and root downwards in close position would sound fine and fit the style. (i.e. 1940s era)
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This is great!! thank you so much! do you offer online classes?
I don't have online classes, but I"m open to doing one on one or small group classes via Zoom in 2023. Email me at jim.martin@pdfjazzmusic.com if you are interested.
At 4:51 Why does the 9th ONLY appear in the trombones?
It's the most logical place for it in that particular voicing. I suppose you could move the alto up to a "b" to add the ninth but that intermixes with the trumpet section. No room for it in the sax voicing because you need the 3rd and 7th. The only other change I would make is have alto 2 play an F#, which would add the 13th to the voicing. Then the chord symbol would be A13.
Hi, I had made a composition for my jazz band and before we start rehearsing it I was hoping of receiving some feedback. Can I send it to you?
sure, you can email me at jazzarrangingclass@gmail.com