Видео

long time no see❤❤

Great to see you back on RUclips with a new video Elliot! Keep them RUclips videos coming our ways, would love to see some of your arrangements synched with the sheet music like with the Lorenzo Ferrero you idd once, that was great. Also, very much looking forward to bring your newest solo arrangement to life, such a special project. You're one of a kind!

You left F against E in that first triplet Alto 2 vs. Tenor 1 where it didn't exactly make harmonic sense to me, even as a passing tone, considering the other note options available. Putting them together in m9 or M7 chords... I get that. And you left the E natural in the Bari after changing it to Eb in the Alto 1. This is why speed editing gives me a headache. And at the end, you had the Alto 1, Tenor 2, and Bari all in unison... which is not great, but then when you changed it to drop 2, you now have both Tenors in unison... and not even split by octaves... and they're still doubling the Alto 1 part. So that is a weird decision (speed oversight). Hopefully, this would be given more thought in a more extended revision session, which I'm sure you would... as the video description insinuates as much.

Great video, Elliot. Good solid info presented in a practical way, Easy to apply.

Typist becomes arranger. The wonders of modern technology.

Love it!!

This is great, thanks. Short (even shorter than this) on a specific topic, or a specific thing about a specific topic would be great. Its really valuable to see and hear how a big band score is done. Maybe handling a bass line, writing a drum part, Thad Jones voicing, Ellington voicing, Fletcher Henderson voicing, Eddie Sauter voicing, Bob FLorence etc, .using clarinet, using sop, chart structure etc They don't all have to be in depth, just opening the topic, maybe in depth comes later. Love what you do.

Good to see you again Elliot! Great work

Is there anyway to get your arrangements?

Glad to have you back!

Really enjoyed the video! I've been writing lots of charts for Little Big Band gig recently, a video on how to write voicing's that work with a smaller horn section, while keeping the "big band sound" would be really super useful to me!

I really love your channel, however the back round music is really annoying & it has to go.

My Favourite youtuber is back!!

Love your videos man !!!!

Also why do you choose to have the tenor saxes in regular treble clef instead of treble clef 8vb? I prefer it so I don't have to deal with all those leger lines in the bottom

hes back

I love all these videos, they’re very helpful to use this stuff in my music

nice!

14:23 - orchestration essence in big band arrangements, especially for the sax section (also clarinets as reed instruments). Avoiding repeat notes leads to a very natural blend. And even if these vertical harmonies may sound a little out of place if played slowly, due to the rapid tempo of the runs you only hear a smoothly moving blended melody line 😊

This is the best lesson of this kind available for students on RUclips. You provided invaluable insight and “how to”. Bravo 👏

You work on score in UT?

Meant to write earlier. This is so clear, Eliot! Like being in a really smart class. I think I can do slashes and repeat bars perfectly!! (Will also try to follow conventions.)Thanks!!

Unfortunately it’s not visible what you exactly do with the Menus and dialogues. The result just suddenly appears on the screen. it seems that you have those dialogues on the second display.

Greetings from Walt Disney World, Florida 🙂 great video series, BTW !! Bravo !!

I personally like mixing things, just like you do in Part 2 of Girl From Ipanema video. For example starting in unison for a few notes, then going into two - part for the next few notes, and then closed voicing towards the end of the phrase, sometimes ending on drop two for the last chord. Depends on the pitch of the notes themselves in the top melody, of course. I usually use 4 saxes, ts, ts, as, as, with bari oscillating in lower register - roots etc.longer notes, quasi accompaniment, oftentimes playing in pair more with trombones than with a sax section. Love your entire series of videos.

6:50. No, it’s not silly 🙃 It’s great. We all do that. I tend to record my humming into Pro-Tools (to a tickin metronome in pre-determined target tempo of course) on an audio track, then create an instrument track with the piano or trumpet patch, and put my humming into notes transcribing myself. Then use the function “Send to Sibelius”, and voila ! It works every single time, it’s effective and leads to idiomatic, and extremely natural writing. Sometimes I hum like for 10 minutes, and trust me : some of the phrasing I would probably never create by just intellectualizing it… Love your videos - recommend them all.

I think this is a pretty good guide, but your example having a "Latin (straight)" section REALLY confused me. You spent the video talking about standard notation, legibility, and comprehending what the composer wants, and yet you chose to write in a direction SO vague that it's almost incomprehensible. And I know "latin" jazz is a thing, but even within that there are many different NON-INTERCHANGEABLE grooves, and writing just "latin" is falling in line with a culture that loves to assign stereotypes to latin-american people like me. People using music from latin america is super FLATTERING. I'm all for it. But you better learn how things work before making a chart as such. Cheers!

9:45. Nobody will be able to tell the difference, really. I use diminished passing chords (aka Barry Harris concept) as well as parallel planing, diatonic passing harmonies, or dominant workarounds (octatonic based for example) etc. At the end all comes down to articulation, linear construction, and overall musicality across the band, even timing, timber etc. You will never sound "old fashioned" 🙂 There's no such thing IMHO. I often include strings section (sort of like Nelson Riddle concept) to "sweeten" things up. Boy !! Absolutely love it. Great videos BTW - all of them recommended as a "must watch" to my music students.

Very informative and influential content. I usually write cinematic orchestral music, but I will definitely try writing for a big band learning from your videos.. waiting for more.. Thank you very much.

Can musescore 3 do that

i love your videos. you explained everything in the topic in a very concise and easy to understand manner. love your music too!

i watched this video at least 100 times

You're videos have been SO helpful in my progression as a composer!

I know i'm 3 years late, but here's a good video dispelling the myth of the tritone ban ruclips.net/video/3MhwGnq4N9o/видео.html

3:40 Do you mean leave out the root in the 2nd voice? There's no other way to arrange the chords otherwise so I presume this only applies to the 2nd voice

I wind up writing two drum parts in Sibelius, one for the drummer and one for playback. a PITA, but so far, no relief.

hello, first, thanks for sharing your knowledge with us! i have a question. when you refere to chord tones, that include all extensions ? i mean, ninth is also a "chord" tone, as well as what ever other ? or it depends on something ? thank you so much

Wish there was a trombone feature video. Sax bass drums trumpet...no bonr

Great video! What notation software do you use.

that bass player is fighting for his life

Thank you for all of the instructional videos Elliot. They have helped me a lot as a very early beginner big band arranger and composer. The advice given here as well as your arrangement of pure imagination (which is my personal favourite arrangement I've ever heard of the piece) gave me the idea to arrange pure imagination as a bossa nova so thank you for the inspiration.

I write for big band with classical tonalities

I used to play with a drummer named John Shackelford in the 70s and 80s. I wonder if they are related? Love the arrangement!

I loved your C7 vs C13 hint. I just realized that the C13 isn’t just the harmony being used, but it really conveys the message to the piano player that this is how far you can go.

Where have you been?

Fantastic, as always!!!! Thank you.

Absolutely wonderful, Elliot. Love the textures you create and your best tip-sing what you want to write. Oh year!! We’ll talk again soon!!

Have subbed!

Amazing work! Learn a lot!

wonderful!!! thank you very much