For information on courses and degree options in jazz arranging and jazz composition, visit the links below.
Jazz Arranging Proficiency Examinations
Three examinations are required in Jazz Arranging for a student to move to a higher level or to present a recital. All three exams are offered during Finals Week (long semesters only) and in the week before the beginning of fall semester. Signup lists are posted outside MU339 in advance of these exams.
The Jazz Arranging Continuation Exam is required for entry into either MUJS 4610 (Jazz Arranging III) or into MUJS 5760 (Graduate Jazz Arranging). Note: In addition to passing the ACE, the student planning to enroll in MUJS 5760 must also pass the Improvisation Continuation Exam (ICE) - speak with Professor Steinel in that regard.
The Jazz Arranging Proficiency Exam is prerequisite to the Senior Jazz Arranging Recital.
The Graduate Arranging Proficiency Exam is the prerequisite to pursuing a Graduate Jazz Composition Recital.
The Arranging Continuation Exam has three parts:
1. A written exam measures the applicant's understanding of jazz harmony, jazz voicings and terminology, as well as the applicant's ability to score two short exercises – one for saxes and one for brass section, all according to UNT Jazz Arranging guidelines. (The grade of "A" in both MUJS 3610 and MUJS 3620 exempts this portion of the ACE.)
2. A keyboard exam will measure the effective use of piano voicings found in the document "Arranger's Piano," described online. The applicant will be given a lead sheet with eight bars of chord symbols, to be played (in or out of tempo) with voicings described in the above document. (Accuracy is measured, not comp'ing.) OR, the student may perform from memory "Stella by Starlight" as a ballad or in a faster tempo.
3. Following the keyboard exam, the third segment is experiential, focusing on scores and live recordings of two recent jazz arrangements, one for small ensemble, one for large ensemble (big band). Scores must be complete and accurate, printed in computer notation, and containing effective, idiomatic treatment of the two ensembles represented.
Before attempting the ACE, you may access study guides online:
ACE Review 1 - Harmonizing Devices
ACE Review 2 - Melodic Developers
ACE Review 3 - Saxes and Density
ACE Review 4 - Scoring Brass
ACE Review 5 - Arrangers Piano
II. The Arranging Proficiency Exam must be passed before a student may participate in or schedule a Senior Jazz Arranging Recital. The exam is adjudicated by three members of the jazz faculty on a pass/fail basis, and must take place before the week of final exams in the semester preceding the proposed recital. Two recent scores for large jazz ensemble and one for smaller ensemble must be submitted that clearly demonstrate the writer's ability to compose and arrange both musically and accurately in the jazz style. Scores and parts must be submitted along with the CD; the scores must be printed double-sided, and spiral bound. Scores must be accompanied by high quality live recordings submitted on CD, formatted to play on an ordinary player. Individual parts must be those read in performance.
It is recommended that this exam take place at the end of the semester the student is enrolled in MUJS 4610. All material submitted must be written and performed at this University. If unsuccessful, the student may resubmit once for reconsideration with new materials, in the week prior to the next long semester.
III. The Graduate Arranging Proficiency Exam "(GAPE)" must be passed before a student is allowed to present a Graduate Jazz Composition Recital. The exam is adjudicated by three members of the jazz faculty on a pass/fail basis, and must take place at the end of the semester that precedes the graduate recital.
Four scores must be submitted, completed within a two-year period, that clearly demonstrate the ability to compose music idiomatically for both large and small jazz ensembles. The scores must reveal successful pursuit of melodic and harmonic techniques, jazz orchestration and notation according to North Texas standards. Additionally, the music must clearly demonstrate proficiency beyond undergraduate study.
Of the four scores, two must be for large ensemble (one ballad, one with tempo), one for small group, one for yet a different ensemble. The compositions must be recorded in live performance, with high quality recordings submitted on one CD which has been formatted to play on an ordinary player. Scores must be printed double-sided, transposed, and grouped together in a spiral binder with an appropriate header.
Note: University policy prohibits testing out of a course which has already been taken for credit.
UNT offers multiple opportunities for the student writer. There are many outstanding ensembles that enable the writer to hear his or her work immediately and get frequent recordings for greater study. There is also ample opportunity to build a professional recording portfolio via CD recordings by the One O'Clock and Two O'Clock Lab Bands, The UNT Jazz Singers, and the eclectic small group known as Zebras. Please take a few minutes to observe on our youtube link three outstanding UNT students who are recipients of the Herb Alpert Composition Award in 2013 : http://www.youtube.com/watch?v=E6isMU59d0k&feature=share&list=UU-QJF0zOBG744tafsutdKdw
Jazz arranging and composition are taught at three levels at the University of North Texas. For information on instructional courses in arranging and composition go here. For information on the graduate degree in jazz studies, go here then return to this page. (Press the back button on your browser.)
Two semesters of arranging classes (MUJS 3610 and MUJS 3620) are required of all jazz majors. Students may elect to continue beyond these two required semesters provided that a final semester grade of A is achieved. Students with a lesser grade must pass the Arranging Continuation Exam (ACE) or submit an electronic portfolio of arrangements that includes PDF scores and mp3 recordings that show ability at the level or beyond the exam's content. Students must also show keyboard facility by performing from memory "Stella by Starlight" at a ballad tempo or faster as desired. Two additional semesters (MUJS 4610 and MUJS 4620) are required of jazz studies majors who pursue the Arranging Emphasis within the BM in Jazz Studies. This status culminates with a Senior Jazz Arranging Recital.
For graduate jazz majors pursuing the Jazz Composition Track, requirements include four semesters of advanced composition (MUJS 5534, 5535), one semester of graduate jazz arranging (MUJS 5760) and one semester of Composition for the Media (MUJS 5540). Note: the 4th semester of Jazz Composition is labeled Recital and includes instruction, recital preparation, and the recital itself (MUJS 5535). Prerequisite to acceptance in this degree option are MUJS 4620 and successful participation in a Senior Jazz Arranging Recital, or its equivalent.
Graduate Jazz Arranging (MUJS 5760), however, is open to any graduate student at UNT who is able to submit a substantive writing portfolio or pass the Arranging Continuation Exam (ACE) whether or not the applicant has taken the junior level arranging courses (3610-20). This course is designed to expand one's perspectives on arranging for various instrumental and vocal groups.
All courses in jazz arranging include study and creative writing for both large and small ensembles. In most courses, students are required to earn the final grade of A or B to progress to the next level. But, to continue beyond the first year of arranging (Arranging I and II), the required final grade must be an A.
Finale notation is required for finished work in all courses. (Sibelius may be used instead of Finale provided the layout and appearance meet the proper standards.) Finale templates created with jazz font and structured to North Texas standards are available online .
Styles covered include sounds and techniques found in the music of Bob Brookmeyer, Billy Byers, Thad Jones, Gil Evans, Gary McFarland, Sammy Nestico, Clare Fischer, Gene Puerling, Maria Schneider, Claus Ogerman, Kenny Wheeler, and others. Pop, rock and other similar styles, while recognized for their commercial value, are not included on jazz arranging recital programs.
Graduate Degree candidates who desire to be in the Arranging track must enter the program as such. To be considered, they must do the following:
1) submit an electronic portfolio (PDF scores and mp3 recordings) directly to Professor Richard DeRosa at
Include at least two pieces for big band, several for small group combinations. Orchestral and vocal works are also welcome. Live recordings are preferred but MIDI recordings are acceptable. The portfolio in general should demonstrate prolific capability and stylistic diversity.
2) schedule a performance audition on their major instrument.
Ultimately, acceptance into the graduate jazz program is determined by a successful presentation of both auditions.
Undergraduate students who wish to pursue an arranging emphasis within their Jazz Studies degree, must either:
1) make their intention clear as enrolling Freshmen and submit an electronic portfolio of their written works;
2) for currently enrolled undergraduate students - the decision to get a Jazz Studies degree with an Arranging Emphasis should be declared no later than the completion of their sophomore year (for more info, go to Jazz Arranging Emphasis). In rare cases, a later migration may be considered, provided that an outstanding portfolio of writing warrants special consideration. Students with an arranging emphasis are also expected to continue to progress as a performer, both in terms of ensemble work and also in improvisation.
Jazz ensembles at UNT are available to play and record student work that is idiomatically sound, with manuscript formatting that is accurate and easily read. They include the nine Lab Bands, the Jazz Repertory Ensemble, the Zebras, three sections of UNT Jazz Singers, the Guitar Ensemble, the L-5 Ensemble, the U-Tubes, and many varied small groups. It is expected that each writer is a current member of one of these groups while at UNT. Exceptions must be negotiated with jazz arranging faculty. In addition, there are opportunities to write for orchestral instruments (including harp).
The Jazz Arranging Recital
The Senior Arranging Recital is presented during the student's final year of residency. The senior recital is shared with at least one other writer or player. Permission to pursue a senior arranging recital is granted following a successful Final Arranging Proficiency Examination (FAPE), given at the end of the semester preceding the recital. Each writer involved in the recital will present two numbers for large jazz ensemble and three pieces for smaller ensembles (3-hns, 4-hns, 5hns). There must be a cross-representation of styles (including one ballad) to be negotiated with faculty. The length of any arranging recital is one hour. Each writer must present 20 minutes of music with 10 minutes allotted for set-up and announcing, etc. Two full rehearsals for each piece are strongly recommended. The student is also required to be a featured performer on at least one piece and also conduct at least one piece. The recital is presented in Stan Kenton Hall or Voertman Hall. Scheduling and logistical details are listed at the end of this document, for both senior and graduate arranging recitals.
The Graduate Arranging Recital is presented during the student's final year of residency. Permission to pursue a graduate arranging recital is granted following a successful Graduate Arranging Proficiency Examination (GAPE), given toward the end of the semester preceding the recital semester, and judged on a pass/fail basis by three faculty. The length of a graduate arranging recital is one hour (45-minutes of music with time for set-up and announcing, etc.) and is presented by one writer alone. The content must include original compositions and arrangements for large jazz ensemble, jazz small groups, at least one piece for SATB vocal jazz ensemble, and one piece written for orchestral instruments with a small jazz group. All material must have been written within a two-year span preceding the recital.
For information on the FAPE and GAPE requirements, go here.
Scheduling for either level of recital must involve a faculty sponsor, with appropriate forms filled out and signed according to instructions and timing printed on the forms. For either level of recital, the writer(s) are expected to make arrangements to have a high-quality recording made of the event, and assemble three spiral-bound packets that contain transposed scores of the music to be presented. These packets will be given to the three committee members prior to downbeat.
The writers are also expected to engage the help of at least two reliable people to help with setup of the performance space and restoration to rehearsal layout immediately following the end of the recital. The dress code for an arranging recital is identical to that one would expect to see at a One O'Clock concert in Winspear Hall, in every respect.
Contact Richard DeRosa to help with recommendations to prepare a jazz arranging recital.
Undergraduate Jazz Students interested in a Jazz Arranging Emphasis
Students that have established a prowess for jazz writing may be allowed to change their status to become a jazz major with an emphasis in arranging. This decision must be determined no later than the completion of the sophomore level of study. Before doing so, the student should realize that this track requires significantly more time than the typical performance major since most of the requirements for instrumental performance still apply (including the successful completion of the jazz improvisation exams – contact Professor Mike Steinel for further information).
A formal written application must be filled out and approved via signatures from the student’s applied performance professor, Richard DeRosa – the director of jazz arranging, and Dr. John Murphy – the jazz department chair.
In preparation for this transition, the student must present a portfolio of compositions and arrangements that show substantial potential beyond the limited writing production of a typical jazz performance major. It should include one complete arrangement for big band. The portfolio will then be evaluated by professors Richard DeRosa, Akira Sato, and Steve Wiest. The student must also demonstrate a reasonable facility at the keyboard by performing Stella by Starlight from memory (contact Professor DeRosa for an appointment).
Upon acceptance, the student must take the following advanced courses:
Advanced Jazz Arranging (MUJS 4610 and 4620)
Counterpoint (MUTH 3410)
Classical Composition (MUCP 3080)
Conducting (MUAG 3800).
The student will also change his/her applied area of instruction from performance to arranging; a minimum of three semesters of private study is required in order to present a satisfactory senior recital in this area. The first two semesters are dedicated to the bulk of the writing; at least two pieces (one large, one small) are to be written in each semester. The final semester is dedicated to one more piece and preparation for the recital.
The senior recital will consist of the following minimum:
Two pieces for big band (contrasting moods or styles)
Three pieces for various chamber groups – a 3-horn arr, a 4-horn arr, a 5-horn arr.
The five pieces must total at least 25 minutes of performed music and improvisation cannot constitute more than 40% of the written music. There must be a comprehensive representation of styles: swing, be-bop, modal, ballad, Latin, Brazilian, original (modern day).
These templates must be saved on your computer and opened with Finale. Depress the "control key" on your keyboard as you touch any link.
The following three files are new on April 11, 2008:
JF_555_08.mus
JF_544_08.mus
Steps_for_Using_JF_Templates_final.doc
JF_SmGp_08.mus
MUJS 3610.001, Jazz Arranging (3 credits, offered only in the fall semester)
Professor: Richard DeRosa. Lab instructors: three graduate teaching assistants.
Prerequisites: MUJS 1360, 1361, 1370, 1371 (Jazz Fundamentals), 1470 (Intro to Jazz Recordings), and MUTH 1500 (Music Theory)
Class meetings are 11:00 - 11:50 MW, Room 262. One-hour labs (required) meet later in the week in Bain Hall (rooms 217 or 218); labs are scheduled during the first week of class.
MUJS 3610 begins a two-semester study in jazz arranging, required of all jazz studies majors. Basic and intermediate tools, including music preparation and computer notation, for creative writing in the jazz idiom are applied to small jazz ensembles. Three major projects are written, recorded, and reviewed. Students must sustain a semester grade minimum of B in this course in order to graduate with a BM degree.
Required text: Basics in Arranging by Paris Rutherford - available at the UNT Bookstore.
Suggested reference books:
Essential Dictionary Series (Orchestration, Notation, Music Dictionary) - Alfred Music; Jazz Composition and Arranging in the Digital Age by Richard Sussman and Michael Abene; Bill Dobbins – Jazz Arranging and Composing: A Linear Approach.
Course objectives: To introduce basic arranging concepts for musicians who are primarily performance majors: overtone series, transposition, range, registers, texture (monophonic, polyphonic, homophonic), counterpoint, harmonic voicings, form and development, manuscript preparation.
Learning outcomes and other requirements: There are three recording projects that must be approved by the professor or lab instructor. Each project is usually an arrangement of a standard or jazz tune for a specified instrumentation. Concert sketch scores and transposed scores will be used. Individual parts must be created for each of the horns in appropriate clef and key (transposed as necessary). Rhythm parts may be consolidated in a master part or separately. Digital calligraphy (Finale or Sibelius) is preferred for the parts but hand calligraphy is encouraged for the sketch scores and required for the first project.
Topical outline of content:
1. Arranging basics – Overtone series, range, register, transposition, writing at
(and away from) the piano, manuscript preparation.
2. Monophonic texture – instrument choice with regard to key, range restrictions, and
expression; blend and balance with collective instruments; unison vs. octaves.
3. Polyphonic texture – counterpoint in various forms: melodic, harmonic, bass
line.
4. Homophonic texture – 3-voices to 5-voices for various horns in a small jazz
group.
5. Orchestrating for the rhythm section – writing bass lines, top line melody for
guided harmonic outline, written voicings, master rhythm parts.
6. Creating formal elements – intro, ending, transition from expositional contents.
7. Manuscript preparation – concert sketch score, transposed score, individual
transposed parts, master rhythm part and individual rhythm parts.
8. Prepare 3 recording projects that incorporate all three textures and
contrapuntal techniques. Formal aspects include an introduction and ending.
There will be some performances in class so students are expected to bring
their instrument. The three main projects are recorded in ensembles outside
of the class.
Grading in MUJS 3610 is influenced by quality of work and calculated equally from the three projects, weekly assignments, and attendance. Assuming that most students are novice writers, all assignments are designed as "minimums". It is highly encouraged, especially for those who may have an interest in continuing into the optional second year of arranging, that the student strive to add considerable depth beyond the basic assignment.
Disabilities: We observe the Americans With Disabilities Act in making reasonable accommodation for qualified students with a recognized disability. If you have a disability registered with UNT, see Richard DeRosa during office hours in Week One.
General Information
MUJS 3620.001, Jazz Arranging (3 credits, offered only in the spring semester)
Class Professor: Richard DeRosa. Lab Instructors: three graduate teaching assistants.
Prerequisite: MUJS 3610 with a grade of A or B, or equivalent in proven experience.
Meetings: Class meetings are 11:00 - 11:50 MW, Kenton Hall (Room 282). One-hour labs (required) meet later in the week in Bain Hall (rooms 217 or 218); labs are scheduled during the first week of class.
Course description: MUJS 3620 completes the two-semester study in jazz arranging required of all jazz performance majors. The course focuses upon arranging and orchestrating music for the large jazz ensemble. Two major projects are written, performed and recorded. Computer notation is required in all finished product.
Suggested Reference Texts: Inside the Score by Ray Wright, The Complete Arranger by Sammy Nestico, The Contemporary Arranger by Don Sebesky, Jazz Composition and Arranging in the Digital Age by Richard Sussman and Michael Abene, Changes Over Time: The Evolution of Jazz Arranging by Fred Sturm
Grading in MUJS 3620 is influenced by quality of work, and calculated equally from the two major projects and the weekly assignments.
Topical Outline of Content:
1. Creating an "event list" - how to listen to music as an arranger.
2. Voicing for the trombone section - rooted and rootless voicings, open and closed voicings, voice-leading, accompanying
melodic elements.
3. Voicing for the brass section - fundamental harmonic register, extended harmonic register, how to mix the two, as
accompaniment, as a tutti "shout" ensemble, mutes.
4. Voicing for the saxophone section - soli voicing techniques (block, drop 2 & 3, independent), adding the saxes to the
brass - how to EQ the ensemble sound.
5. Harmonic techniques for non-chord tones and how to create harmonic "flex" (approach and passing chords).
6. Integrating the Rhythm (and "string") section into the horn ensemble beyond chord symbols and slashes.
PROJECT I
Arrange for large jazz ensemble (5 saxes, 4 tpts, 4 tbns, 4 rhythm) the three selected excerpts provided by the professor.
PROJECT II (to be performed and recorded no later than Wednesday of pre-finals week)
Use the concepts from Project I and the weekly assignments to create a full chart for large jazz ensemble. The arrangement should be based on a Great American Standard or Jazz Standard. Original compositions are generally not allowed unless granted consent by the professor.
• Score for the same ensemble as Project I
All projects should have an intro, exposition, improvisation section, ensemble feature (“shout”) and an ending. Transitional material between sections is encouraged.
Assuming that most students are novice writers, all assignments are designed as "minimums". It is highly encouraged, especially for those who have intentions to continue into Arranging III and IV, that the student strive to add considerable depth to each assignment and Project.
Students interested in continuing the study of arranging by enrolling in MUJS 4610 must pass the MUJS3620 course with a semester grade of A. Students who qualify must notify Professor DeRosa of their intention to enroll prior to the end of the 3620 semester. Once notified, the Arranging Continuation Exam will be scheduled during the final examination week. Review materials are available online: go to ACE.
General Information
MUJS 4610.001, Jazz Arranging (3 credits, offered only in the fall semester)
Professor: Richard DeRosa
Meetings: Class meetings are Monday 9:00 - 10:40 and Wednesday 9:00 - 9:50 in Room 292.
Prerequisites for undergraduate students:
1) MUJS 3620 with a semester grade no less than A.
For students with a lesser grade than A:
2) The student must perform at the piano from memory the tune “Stella by Starlight”; aspects for evaluation include good standard jazz voicings with good voice-leading. It can be performed as a ballad or in a medium swing style; contact Professor DeRosa to arrange an appointment.
3) Arranging Continuation Exam. The ACE is given in the final week of the MUJS 3620 semester and by appointment prior to the beginning of fall semester. A portfolio of writing may be presented in lieu of the exam but the quality of the work must be equal or beyond the realm of the exam. Send a digital portfolio (PDF scores and mp3 recordings) directly to
Course description: MUJS 4610.001 is required of all graduate jazz majors in the arranging track (unless substantiated otherwise) and undergraduate jazz majors who have an arranging emphasis. The course focuses on intermediate and advanced writing for various jazz settings and upon score analysis. The work sequence is comprised of a series of short but intense writing assignments that are designed to instill strong concepts for better writing that can be applied to jazz and styles beyond.
AGENDA – Most assignments will be performed in class and at times the professor may feel that more time spent on a particular subject will be beneficial to the class as a whole. In some cases, redoing the assignment may be requested.
Grading is subjective and based upon the musical quality of the assignments. Attendance and participation are essential. Provided that the instrumentation is adequate, weekly projects are usually performed in class.
Topical Outline:
1. Melodic Composition - melodic steps, climax points, using space effectively, using chromaticism effectively.
2. 2-part counterpoint - from Bach to Mulligan to Marsalis.
3. Free Counterpoint - from Baroque-influenced (Bach/Modern Jazz Quartet) to Contemporary (Bartok/Brookmeyer)
4. Fugue - from Baroque-influenced (Bach/Modern Jazz Quartet) to Contemporary (in the style of Bartok/Stravinsky).
5. Constant structure harmony - planing or parallel techniques, pandiatonicism (Oliver Nelson, Gil Evans).
6. Random structure harmony - abstract voicings (Herbie Hancock).
Suggested reference texts: as found in MUJS 3620.
General Information
MUJS 4620.001, Jazz Arranging (3 credits, offered only in the spring semester)
Professor: Richard DeRosa
Meetings: Class meetings are Monday 9:00 - 10:40 and Wednesday 9:00 - 9:50 in Room 292..
Course description: MUJS 4620.001 is required of undergraduate Jazz Studies major who have an arranging emphasis qualification. Some graduate students may also be required to take the course if the program director feels that a greater background in arranging is required.
Prerequisite: MUJS 4610 with a grade of A or B, or consent of the class professor.
Reference texts: as found in MUJS 3620.
Grading is subjective and is based upon a series of short but intensive assignments that are designed to develop general advanced concepts while capturing specific styles for jazz writing and beyond. All assignments are presented via MIDI. The sound quality must be good and each example must include MIDI performances of the rhythm section instruments in support of the writing assignments.
Topical Outline:
1. Spectrum of Blues Harmony - Gospel, mainstream, progressive, pandiatonic - sparse to dense, basic to advanced harmonic progression.
2. Harmonic color - using chord substitution to affect style and emotion.
3. Chord Inversion - to create interesting bass lines, better counterpoint, capture a floating essence.
4. Modulation - via pivot chords and tones, within strict phrasing and to create formal extension
5. Form and Development - intros, transitions, interludes, endings, pedal points, motivic development, "send-offs", chorale, pyramids, extended (non-song) form.
Applied Composition/Arranging Curriculum
The student begins planning the graduate recital from the first semester. The obligation is to create 45 minutes of music that features compositions as well as arrangements. This goal is only a minimum. Ideally, the student is encouraged to write beyond the recital to include recordings with the One O'Clock and Two O'Clock Lab Bands, The UNT Jazz Singers, or the Zebras or any other opportunities that may arise. The presentation of the recital is comprehensive with regard to ensemble types, musical styles and techniques. The student will perform and conduct on at least one piece each.
Semester 1 - jazz instrumentation (big band, small group, various sizes)
Semester 2 - vocal writing (jazz and non-jazz, a cappella, setting text, polyphony, voice-leading, vocal charts with inst
accomp., etc.)
Semester 3 - orchestral instruments (the "orchestral" jazz band - mutes, ww doubles, notated rhythm parts; various
chamber settings, studio orch - with and w/o rhythm section, including strings, orchestral woodwinds, harp.)
Semester 4 - recital preparation - the student schedules an oral comprehensive exam with 3-faculty evaluators (Professor Murphy, Professor DeRosa, and one other professor in a related area). Other obligations include securing a
performance hall and performers for all musical works that include rehearsals, manuscript preparation,
conducting preparation, MIDI demos for vocal and string groups, booking support personnel (piano tuner,
sound engineer, recording engineer, videographer, stage hands), writing program notes and a recital program.
A student with expertise in any of the aforementioned areas of the curriculum may alternatively focus on scoring music for the media, review a deficient area, or explore new musical territory.
"Commissioned assignments " may be generated through a particular need from somewhere in the department - i.e. a special chart for a student vocalist, a particular arrangement to accommodate a guest artist, special music projects that service the school or community at large.
All comp/arr students will be expected to create good MIDI demos (using one of the digital audio programs - DP, Logic, Cubase, etc.) of their instrumental work. This has become beneficial, if not expected, in the industry as it helps performers practice the music for a recording session and provides producers (or clients) with a clear impression of the work prior to the human performance. The professor will guide the student in this endeavor.
For balance, the student is encouraged to find his or her own "voice". Students should bring in music that they want to explore. The professor will support a personal direction and ultimately help carve out a path for the student to hone specific career aspirations.
General Information
MUJS 5540 Composition for the Media (3 credits)
Professor: Richard DeRosa
Class Time – M 4:00 - 5:50, W 4:00 – 4:50 in room 322.
Offered only in Spring, Composition for the Media explores the styles, techniques, and business aspect of writing and producing music used to enhance drama. The student will create musical underscoring to timed narrative, a 30-second radio political ad, an audiobook, a theatrical scene, several cues for film.
Primarily for graduate jazz studies majors in the arranging track. Classical Composition majors who have some experience writing in a more commercial context are also welcomed but this is not mandatory. Other students who may be interested should consider carefully the weight of the course commitment and the considerable time it will take to complete the assignments.
Prerequisites:
1) Students must have a comfortable command with creating digital audio soundtracks primarily through any of the following applications – Logic, Digital Performer, ProTools, Cubase, or some other similar format. A lesser alternative would be Finale with a Garritan Sound library. All projects are generated via this digital format. Mixing is as important as musical creation.
2) Students outside of the Graduate Jazz Arranging track must present a digital audio representation of at least one music work for consideration to be accepted.
3) The student must be an accomplished writer who can produce music quickly and also at a high quality standard. The average workload is at least one minute of music per week (composed and produced). Assignments become more difficult and time-consuming as the semester progresses.
Suggested Text References: The Reel World - Scoring for Pictures by Jeff Rona
Creative Synthesizing Techniques for Music Production by Andrea Pejrolo
Acoustic and MIDI Orchestration for the Contemporary Composer by A. Pejrolo and R. DeRosa
Lessons From a Street-Wise Professor by Ramon Ricker
Grading: Determined from class participation and from the quality of the assigned projects.
Five projects will be written and recorded. Students' work will usually require at least one revision to attain an acceptable industry standard.
General Information
MUJS 5760.500, Jazz Arranging (3 credits)
Professor: Richard DeRosa
Class Time – M 4:00 - 5:50, W 4:00 – 4:50 in room 322.
Course description: MUJS 5760 is required of graduate jazz studies majors who are in the jazz composition/arranging track. This course is also open for elective credit for other graduate students who satisfy the course prerequisites.
Prerequisites: MUJS 4620 with a grade of A, and the submission of an electronic portfolio (PDF scores and mp3 recordings) that shows a substantial writing ability for large ensembles.
Reference texts: Changes Over Time – The Evolution of Jazz Arranging by Fred Sturm plus texts from 3610-20 and 4610-20.
MUJS 5760 is approached from various perspectives:
1) an analysis of the evolution of jazz arranging through significant arrangers from the 1920s to the present; in preparation for the comprehensive exam (outside of this course), each student will give a short lecture presentation (with accompanying handouts) of two arrangers (one prior to 1960, one after 1960).
2) with reference to the presentation of arrangers in item 1, the student arranges a short excerpt to capture that specific style (Ragtime, Dixieland, Basie/Sinatra style, Duke, re-harmonizing Great American Standards, Mulligan/Baker, Gil Evans w/Claude Thornhill or Miles Davis, Bill Holman, Oliver Nelson, Thad Jones, Clare Fischer, Brecker Bros., Latin and Brazilian, etc).
3) a focus on writing for orchestra and voices.
4) the business of composition and arranging (simulating professional assignments - create anything in any style with tight deadlines – essentially “arranging on demand”).
5) creating a public school jazz band chart with all of the restrictions required by today's top publishing companies.
The class is also designed as a forum for the composer/arranger. Students may suggest concepts that they would like to pursue as a group.
All students will be expected to create good MIDI demos (using DP, Logic, ProTools, etc., or minimally using Finale with Garritan sounds) of their writing. This has become beneficial, if not expected, in the industry as it helps performers practice the music for a recording session and provides producers (or clients) with a clear impression of the work prior to the human performance. The professor will guide the students in this endeavor.
For undergraduate Jazz Studies students who are interested in a Jazz Arranging Emphasis.
Arranging Emphasis Application Form
Students who have established a prowess for jazz writing may be allowed to change their status to become a jazz studies major with an emphasis in arranging. This decision is best determined no later than the completion of the sophomore level of study but special cases may be considered for students of outstanding accomplishment. Before doing so, the student should realize that this track requires significantly more time than the typical performance major since most of the requirements for instrumental performance still apply (including the successful completion of the jazz improvisation exams – contact Professor Mike Steinel for further information).
A formal written application (the link is found directly above in green letters) must be filled out and approved via signatures from the student’s applied performance professor, Richard DeRosa – the director of jazz arranging, and Dr. John Murphy – the jazz department chair.
In preparation for this transition, the student must present a portfolio of compositions and arrangements that show substantial potential beyond the limited writing production of a typical jazz performance major. In addition to smaller works, it should include at least one complete arrangement for big band. The portfolio will then be evaluated by professor Richard DeRosa. The student must also demonstrate a reasonable facility at the keyboard by performing "Stella by Starlight" from memory (contact Professor DeRosa for an appointment).
Upon acceptance, the student must take the following advanced courses:
Advanced Jazz Arranging (MUJS 4610 and 4620)
Counterpoint (MUTH 3410)
Classical Composition (MUCP 3080)
Conducting (MUAG 3800).
The student will also change his/her applied area of instruction from performance to arranging; three semesters of private study are suggested in order to present a satisfactory senior recital in this area. The first two semesters are dedicated to the bulk of the writing; at least two pieces (one large, one small) are to be written in each semester. The final semester is dedicated to one additional piece and preparation for the recital.
The senior recital will consist of the following minimum:
Two pieces for big band (contrasting moods or styles)
Three pieces for various chamber groups – a 3-horn arr, a 4-horn arr, a 5-horn arr.
The five pieces must total approximately 20-25 minutes of performed music and improvisation cannot constitute more than 40% of the written music. There must be a comprehensive representation that includes some of the following styles: swing, be-bop, modal, ballad, Latin, Brazilian, original (modern).