Courses

e.g. AR or AR-211
e.g. Film or "Bass Lab"

Arranging 1 for Entering Students

Course Number
AR-111
Credits
2
Course Chair
Andrea Pejrolo
Semesters Offered
Fall, Spring, Summer
Required Of
All entering students with placement score into this course
Electable By
All entering students with placement score into this course
Prerequisites
Satisfactory placement score
Department
CWP
Location
Boston Campus
Valencia (Spain) Campus
Description

In this practical course students work on the musical concepts of melody, rhythm, harmony and form as applied to the principles and techniques of writing and arranging for the rhythm section (drums, bass, guitar, keyboards, basic percussion) and a lead-line in a solo instrument, two horns (trumpet, alto or tenor sax) or voice. Students learn the conceptualization process of combining individual components to create a musically satisfying arrangement. Study of various contemporary musical styles and musical concepts that comprise them, including writing from the "bottom up" (groove-driven) and "top down" (working with a melody in a lead instrument or voice). Writing assignments will incorporate combinations of acoustic, electronic and/or MIDI instruments. The course includes a fast-pace overview of the fundamental concepts of music notation such as imaginary bar line, transposition, and rhythmic notation.

Arranging 2 for Entering Students

Course Number
AR-112
Credits
2
Course Chair
Andrea Pejrolo
Semesters Offered
Fall, Spring, Summer
Required Of
All entering students with placement score into this course
Electable By
All entering students with placement score into this course
Prerequisites
Satisfactory placement score
Department
CWP
Location
Boston Campus
Valencia (Spain) Campus
Description

The course encompasses the study of the properties of trumpet, alto sax, tenor sax, trombone, and baritone sax, and the writing/arranging processes of standard and spread voicings, approach techniques, melodic embellishment, and guide tone backgrounds. Focus is on applying the writing processes to soli and background writing for two-, three-, four-, and five-part combinations of these instruments. The course also contains an overview of the fundamental of writing for rhythm section including drums, bass, guitar, and keyboard.

 

Arranging 1 for Continuing Students

Course Number
AR-123
Credits
2
Course Chair
Andrea Pejrolo
Semesters Offered
Fall, Spring, Summer
Required Of
All students not taking AR-111
Electable By
All
Prerequisites
PW-111
Department
CWP
Location
Boston Campus
Description

In this practical course students work on the musical concepts of melody, rhythm, harmony and form as applied to the principles and techniques of writing and arranging for the rhythm section (drums, bass, guitar, keyboards, basic percussion) and a lead-line in a solo instrument, two horns (trumpet, alto or tenor sax) or voice. After a review of the fundamental concepts of music calligraphy, music notation, imaginary bar line, transposition, and rhythmic notation students learn the conceptualization process of combining individual components to create a musically satisfying arrangement. Study of various contemporary musical styles and musical concepts that comprise them, including writing from the "bottom up" (groove-driven) and "top down" (working with a melody in a lead instrument or voice). Writing assignments will incorporate combinations of acoustic, electronic and/or MIDI instruments. 

Arranging 2 for Continuing Students

Course Number
AR-124
Credits
2
Course Chair
Andrea Pejrolo
Semesters Offered
Fall, Spring, Summer
Required Of
CWPR and JCMP majors not taking AR-112
Electable By
All
Prerequisites
AR-111 or AR-123 and HR-112
Department
CWP
Location
Boston Campus
Valencia (Spain) Campus
Description

After a full review of writing for the rhythm section, students learn the properties of trumpet, alto sax, tenor sax, trombone, and baritone sax, and the writing/arranging processes of standard and spread voicings, approach techniques, melodic embellishment, and guide tone backgrounds. Focus is on applying the writing processes to soli and background writing for two-, three-, four-, and five-part combinations of these instruments. 

Chord Scale Voicings for Arranging

Course Number
AR-201
Credits
2
Course Chair
George Russell Jr.
Semesters Offered
Fall, Spring, Summer
Required Of
JCMP majors
Electable By
All
Prerequisites
AR-112 and HR-211
Department
JCMP
Location
Boston Campus
Description

Five- and six-part writing for instruments. Application of voicings in seconds, thirds, and fourths. Upper-structure triads, clusters, and other nonmechanical voicings derived from chord scales. Extensive score analysis.

Survey of Jazz Composition and Arranging

Course Number
AR-228
Credits
2
Course Chair
George Russell Jr.
Semesters Offered
Fall, Spring, Summer
Required Of
JCMP majors
Electable By
All
Prerequisites
None
Department
JCMP
Location
Boston Campus
Description
A comprehensive study of the evolution of jazz arranging and composition from the 1920s to the present. Score analysis of representative works by Fletcher Henderson, Duke Ellington, Gil Evans, Thad Jones, and others. Extensive listening. Written arrangements not required.

Scoring for Instrumental Ensembles in the Secondary School

Course Number
AR-313
Credits
2
Course Chair
Cecil Adderley
Semesters Offered
Fall Only
Required Of
None
Electable By
All
Prerequisites
CM-212 or both CM-252 and CP-210
Department
MUED
Location
Boston Campus
Description

This course analyzes orchestration for wind, string, and percussion groups as used at the secondary school level. Students explore principles of score layout and arranging for concert band and high school orchestra. Students apply this principles to the scores they create for instrumental ensembles at the secondary school level.

 

Contemporary Arranging and Composition

Course Number
AR-321
Credits
2
Course Chair
George Russell Jr.
Semesters Offered
Spring Only
Required Of
None
Electable By
All
Prerequisites
CM-371
Department
JCMP
Location
Boston Campus
Description

Development of individual writing creativity. Emphasis on the building of confidence in writing clear, memorable lead lines based on standard song forms. Discussions on the relationship of speech patterns to melody. Individual conferences with the instructor when necessary. Written projects required.

Arranging for Contemporary Jazz Ensemble

Course Number
AR-328
Credits
2
Course Chair
George Russell Jr.
Semesters Offered
Fall Only
Required Of
None
Electable By
All
Prerequisites
AR-201 and HR-212
Department
JCMP
Location
Boston Campus
Description

The arranging of original tunes combining both traditional jazz techniques and contemporary compositional concepts. Analysis of taped examples.

Big Band Arranging and Score Analysis

Course Number
AR-331
Credits
2
Course Chair
George Russell Jr.
Semesters Offered
Fall, Spring, Summer
Required Of
JCMP majors
Electable By
All
Prerequisites
AR-201, AR-228, and HR-212
Department
JCMP
Location
Boston Campus
Description
Methodology of big band arranging. Analysis of scores by classic and contemporary big band arrangers. Library assignments and class discussion. Written arrangements and score analysis projects required.

Jazz Arranging for Small Ensemble

Course Number
AR-340
Credits
2
Course Chair
George Russell Jr.
Semesters Offered
Fall, Spring
Required Of
None
Electable By
All
Prerequisites
AR-201
Department
JCMP
Location
Boston Campus
Description

Jazz arranging techniques for the rhythm section and various small-group instrumental combinations of up to three horns (melodic voices). Emphasis on developing complete rhythm section sound (with or without winds) and advanced voicing techniques (including interval-based voicings, linear approach techniques, and constant structure).

Advanced Jazz Arranging for Large Ensemble

Course Number
AR-407
Credits
2
Course Chair
George Russell Jr.
Semesters Offered
Fall, Spring
Required Of
None
Electable By
All
Prerequisites
AR-331 and CM-371
Department
JCMP
Location
Boston Campus
Description

Extended applications of standard big band scoring techniques. Analysis of devices found in the compositions of major jazz writers.

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