Woah, I just hit 4k subs, amazing! Especially for such niche content. I think I'll do a Q&A in celebration. If you have any arranging, music theory or Gil Evans questions. Just comment them below!
I am ALWAYS interested in how my favorite writers approach the dreaded "repeated note" problem, especially at brighter tempos. Not surprisingly, you've got some nice ones here!
Thanks Tom. Yeah it’s an interesting one that. Not every arranger minds a repeated note. But of all the Gil I have studied I have found very few repeated notes. Which is why in other videos it’s one of my ‘rules’
Great arranging, Alex. It looks so effortless for you. You are a really a master of the craft. I love sax sections like this. How does your approach compare to the classic Supersax arranging, which, of course, immediately comes to mind?
Hello, I don't think this is very different to the super sax methods. If anything, my approach of completing target/important chords first is one of the important points. This brings greater focus to the voice-leading.
Even though it's still creative, the 'manual' for voicing makes it very educational. What I as not Jazz educated musician still think about is when to use flat 9 and when major 9 or flat 7/major 7 (also with flat 5)
Hello. All this material is so interesting. I'm still working through the manual. Can I just ask though if you've ever seen this technique used for strings?
Hello Mark, thanks for purchasing the workbook! Yes I have seen it for strings, the only difference really is that the melody and harmonic rhythm of string parts is usually slower. Let me know if that helps
@gilevansinsideout Hi, yes I can see why that might be necessary. The saxes can articulate more clearly than a string quintet in fast moving passages like these. But a string quintet might be clearer than a chamber orchestra. I'm trying to do some string quintet and orchestral arrangements of some Piazzolla. It's difficult to find guidance! Maybe there isn't any. I'll carry on working through your stuff for the moment, but I might need help at some point!
I wasn't really clear. I was thinking of how to extend this work to cover Gil Evans, etc, but for string 5tet. In the first instance it would be good to know if any has actually done it!
Yes thats right. See if you can find Piazzolla's work Estaciones Porteñas. Its the four seasons of Buenos Aires. I would take some guidance from Ravel's string quartet. Look for who is carrying the melody and how they are accompanied.
Good question. I don't know if anyone has. But it would definitely be possible I think. Especially if you choose some of the slower numbers. Gil arranged for some strings and ensemble on the Helen Merrill album 'Collaboration'.
Woah, I just hit 4k subs, amazing! Especially for such niche content. I think I'll do a Q&A in celebration. If you have any arranging, music theory or Gil Evans questions. Just comment them below!
I am ALWAYS interested in how my favorite writers approach the dreaded "repeated note" problem, especially at brighter tempos. Not surprisingly, you've got some nice ones here!
Thanks Tom. Yeah it’s an interesting one that. Not every arranger minds a repeated note. But of all the Gil I have studied I have found very few repeated notes. Which is why in other videos it’s one of my ‘rules’
Great arranging, Alex. It looks so effortless for you. You are a really a master of the craft. I love sax sections like this. How does your approach compare to the classic Supersax arranging, which, of course, immediately comes to mind?
Hello, I don't think this is very different to the super sax methods. If anything, my approach of completing target/important chords first is one of the important points. This brings greater focus to the voice-leading.
Great job Alex!
Thanks for your awesome playing Patricio!
Even though it's still creative, the 'manual' for voicing makes it very educational. What I as not Jazz educated musician still think about is when to use flat 9 and when major 9 or flat 7/major 7 (also with flat 5)
Use your ear on when to use a b9 or b5. If it sounds good, it is good. And use them when they make the voice leading better for the player.
@@gilevansinsideout So much individuality comes down to taste. Always use the one that sounds good to you! Thanks Alex.
Yes please use what sounds good to you, it’s one of the ways to make unique music to you 😀
God this channels so fucking good and informative
haha! Thanks
Lovely Vid Man!
Thank you Alex
Great info and explanations. Thanks!
Glad it was helpful!
nicely done as always prof!
Haha thanks Gabriel
Hello. All this material is so interesting. I'm still working through the manual. Can I just ask though if you've ever seen this technique used for strings?
Hello Mark, thanks for purchasing the workbook! Yes I have seen it for strings, the only difference really is that the melody and harmonic rhythm of string parts is usually slower. Let me know if that helps
@gilevansinsideout
Hi, yes I can see why that might be necessary. The saxes can articulate more clearly than a string quintet in fast moving passages like these. But a string quintet might be clearer than a chamber orchestra.
I'm trying to do some string quintet and orchestral arrangements of some Piazzolla. It's difficult to find guidance! Maybe there isn't any. I'll carry on working through your stuff for the moment, but I might need help at some point!
I wasn't really clear. I was thinking of how to extend this work to cover Gil Evans, etc, but for string 5tet. In the first instance it would be good to know if any has actually done it!
Yes thats right. See if you can find Piazzolla's work Estaciones Porteñas. Its the four seasons of Buenos Aires. I would take some guidance from Ravel's string quartet. Look for who is carrying the melody and how they are accompanied.
Good question. I don't know if anyone has. But it would definitely be possible I think. Especially if you choose some of the slower numbers. Gil arranged for some strings and ensemble on the Helen Merrill album 'Collaboration'.