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An Examination Of Maria Schneider’S Big Band Artistry Through The Lens Of Wind Band Arranging, Amy Birdsong
An Examination Of Maria Schneider’S Big Band Artistry Through The Lens Of Wind Band Arranging, Amy Birdsong
Dissertations, 2020-current
Within the world of instrumental music there tends to be strict adherence to styles and genres that have historically been connected to a standard collection of instruments. Wind ensembles are expected to perform contemporary art music, orchestral transcriptions, or military marches, with little expectation of individual creative interpretation. Jazz ensembles, or “big bands,” are expected to perform styles of music such as “swing,” which cannot be properly notated using western notation, while also being rigidly glued to reduced instrument choices, repetitive chord cycles and standard song forms. While wind ensemble performers are confined to read and perform all aspects of …
Bluegrass: A Voicing, Cade Botts
Bluegrass: A Voicing, Cade Botts
Masters Theses
In 2010, Fred Bartenstein’s detailed the voice stackings found in bluegrass in his article “Bluegrass Voicings.” [1]This paper will go beyond this discussion of the arrangement of voices to an examination of the harmonic voicing styles found in bluegrass music. Stamps-Braxter’s 1937 arrangement of “Farther Along”[2] and transcriptions of recordings by bluegrass legends Bill Monroe, Stanley Brothers, Reno & Smiley, the Osborne Brothers, Dolly Parton, and the Grascals will be used as a case study to look at multiple chord voicings. Based on the analyses of these transcriptions, a list of “voice leading conventions” for bluegrass compositions will …
Jazz Choir Arranging: Tips And Best Practices, Connor Bennion
Jazz Choir Arranging: Tips And Best Practices, Connor Bennion
WWU Graduate School Collection
Countless available arrangements exist for jazz bands and traditional choirs, but the field of publicly available vocal jazz ensemble arrangements is still emerging. Educators directing vocal jazz ensembles may be drawn to creating their own arrangements when they want their ensembles to perform songs for which there are no publicly available arrangements, or when published arrangements do not fit the needs of their ensemble. However, educators without a background in arranging may be at a loss for where, or how, to begin. Scholarship on arranging music for jazz choirs is limited, leaving educators wishing to improve their arranging skills scant …