admin
Fri, 10/14/2022 - 18:00
Edited Text
THE
JAZZ
SYMPHONY
ORCHESTRA
by
Jacopo
Mezzanotti
M.
Mus
in
Contemporary
Performance
Candidate
Supervisor:
Victor
Mendoza
Berklee
Valencia
Campus
July,
2015
©2015
Jacopo
Mezzanotti
ALL
RIGHTS
RESERVED
II
AKNOWLEDGEMENT
This
work
is
about
the
process
of
composing
and
orchestrating
original
songs,
as
well
arranging
already
composed
pieces,
for
an
ensemble
that
I’m
going
to
call
from
now
on
Jazz
Symphony
Orchestra,
which
is
composed
by
a
classical
ensemble1
plus
a
jazz
big
band.
Regarding
this
type
of
orchestra
my
reference
will
be
the
Metropole
Orchestra
of
the
Netherlands.
The
overall
concept
is
to
write,
produce
and
record
a
complete
concert
for
a
jazz
guitar
trio/quartet
plus
the
orchestra.
1
For
"classical"
ensemble
I
refer
to
the
symphony
music
of
the
late
classical
music
period,
precisely
to
the
first
Viennese
School
type
of
orchestra.
III
TABLE
OF
CONTENTS
The
Concept
.........................................................................................
1
Jazz
Para
El
Autismo
............................................................................
2
References
From
The
Past
...................................................................
3
Paul
Whiteman
.......................................................................................................................
4
Fletcher
Henderson
................................................................................................................
4
George
Gershwin
....................................................................................................................
5
Duke
Ellington
........................................................................................................................
7
Gil
Evans
.................................................................................................................................
8
Claus
Ogerman
.....................................................................................................................
10
Vince
Mendoza
.....................................................................................................................
12
The
Metropole
Orchestra
..................................................................
16
My
Orchestra
.....................................................................................
17
Instrument
Placement
on
Stage
............................................................................................
18
Similarities
and
differences
...............................................................
19
Works
.................................................................................................
21
Dance
.................................................................................................
22
Concept
................................................................................................................................
22
Structure
..............................................................................................................................
22
Melody
.................................................................................................................................
23
Summertime
......................................................................................
25
Concept
................................................................................................................................
25
Structure
..............................................................................................................................
25
Arrangement
........................................................................................................................
26
Besides
Your
Loneliness
.....................................................................
28
Concept
................................................................................................................................
28
Structure
..............................................................................................................................
28
Melody
.................................................................................................................................
29
D&D
...................................................................................................
32
Concept
................................................................................................................................
32
Structure
..............................................................................................................................
32
Arrangement
........................................................................................................................
32
Working
With
the
Jazz
Trio
................................................................
36
Working
With
the
Orchestra
.............................................................
38
Conclusions
........................................................................................
39
Bibliography
.......................................................................................
40
Webography
......................................................................................
40
IV
The
Concept
As
a
musicologist
I
always
been
curious
about
the
function
of
the
orchestras
related
to
the
type
of
music
they
where
playing
along
different
periods
in
history.
Studying
jazz
music
brought
me
inside
the
broad
world
of
improvisation,
a
place
that
seems
to
be
so
far
from
an
orchestra
written
arrangement,
where
no
much
space
is
left
to
creativity.
So
I
start
to
think
about
the
relation
between
an
orchestra
and
the
improvisational
component,
especially
how
much
an
“orchestral”
thinking
can
limit
this
peculiar
element
that
distinguish
jazz
from
other
music
styles.
To
do
this
I'm
going
to
use
as
reference
"Jazz
Para
El
Autismo",
a
concert
that
I
recently
written
for
jazz
symphony
orchestra
plus
the
jazz
trio
that
I'm
leading,
the
Joe
Midnights
Space
Trio.
Working
on
this
project
I
start
to
think
about
the
possible
ways
for
the
trio
to
be
free
from
the
orchestra
written
score,
rhythmically
independent,
but
at
the
same
time
to
be
enriched
by
the
infinite
musical
and
timbrical
possibilities
that
a
big
ensemble
might
bring.
Ideally
I
wanted
to
have
an
orchestra
able
to
follow
the
band
along
the
songs,
as
could
be
a
single
musician.
To
do
this
I
have
to
rethink
and
improve
some
aspects
about
jazz
orchestral
thinking,
from
a
writing
point
of
view,
to
a
more
broad
“concept”
point
of
view.
Aware
of
the
fact
that
this
concept
has
its
limitations,
I'm
going
to
explain
in
the
next
pages
the
approach
I
used
to
achieve
this
goal.
1
Jazz
Para
El
Autismo
Jazz
Para
El
Autismo
is
a
charity
event
created
by
Felipe
Saalfeld,
Jacopo
Mezzanotti
and
Jordi
Ardit
for
the
association
Musica
Para
El
Autismo2.
It
took
place
the
26th
of
May
2015
in
the
theatre
“La
Rambleta”,
Valencia,
Spain.
The
event
consists
of
a
music
concert
for
a
symphony
jazz
orchestra
plus
the
Joe
Midnights
Space
Trio3,
and
special
guests:
Daniel
Marín
(vibraphone),
Polo
Ortí
(piano)
and
Carmen
Woodruff
(voice).
I
personally
wrote
the
entire
concert
for
this
occasion,
composing
new
songs
and
orchestrating
old
ones
from
my
repertoire,
for
a
total
of
fifty-‐eight
minutes
of
written
music.
Furthrmore
I’ve
been
responsible
for
the
entire
artistic
direction,
and
part
of
the
production.
The
98%
of
the
revenue
from
the
ticketing
has
been
donated
to
the
associacion,
to
fund
music
therapies
for
autistic
kids,
with
families
that
do
not
have
economical
possibilities.
The
event
has
been
a
success
and
had
a
big
impact
on
the
local
music
scene;
the
theatre
was
full
for
96%
(623
people)
and
the
local
newspapers
talked
about
this
for
a
week,
since
was
one
of
the
biggest
jazz
events
ever
organized
in
Valencia.
2
Musica
Para
El
Autismo
is
an
ONG
funded
in
2013
in
Valencia.
The
main
goal
of
this
associacion
is
to
fund
therapies
for
kids
with
autism,
organizing
music
related
events.
For
more
informations:
official
website,
http://musicaparaelautismo.org/
3
Trio
funded
by
Jacopo
Mezzanotti
in
2012.
Musicians:
Jacopo
Mezzanotti
(guitar),
Alessio
Bruno
(double
bass),
Marcello
Spagnolo
(drums).
2
References
From
The
Past
In
this
section
I'm
going
to
give
an
historical
overview
about
some
of
the
most
important
composer
and
arranger
that
influenced
my
jazz
orchestral
thinking,
from
the
late
New
Orleans
jazz,
when
the
orchestras
where
used
as
a
rhythm
section,
trough
the
“swing
era”
when
larger
ensembles
enriched
the
possibilities
for
orchestration4
until
today
concept
of
orchestras,
used
to
support
the
emotional
path
of
a
song.
Since
this
part
could
be
very
long
and
subject
to
a
completely
different
research,
I'm
going
to
cite
only
some
of
the
composer
and
arranger
lives
path,
that
I
found
more
relevant
for
the
purpose
that
I
am
going
to
develop
in
this
research.
4
Paul
F.
Berliner,Thinking
in
Jazz,
(Chiacago,
University
of
Chicago
Press),
291.
3
Paul
Whiteman
Paul
Samuel
Whiteman
(March
28,
1890
–
December
29,
1967)
was
an
American
bandleader,
composer
and
orchestral
director.
Leader
of
one
of
the
most
popular
dance
bands
in
the
United
States
during
the
1920s
and
1930s,
Whiteman
produced
recordings
that
were
immensely
successful,
and
press
notices
often
referred
to
him
as
the
"King
of
Jazz".
Using
a
large
ensemble
and
exploring
many
styles
of
music,
Whiteman
is
perhaps
best
known
for
his
blending
of
symphonic
music
and
jazz,
as
typified
by
his
1924
commissioning
and
debut
of
George
Gershwin's
jazz-‐influenced
"Rhapsody
in
Blue"5.
During
his
career,
Whiteman
recorded
jazz
and
pop
standards,
some
of
them:
"Mississippi
Mud",
"Rhapsody
in
Blue",
"Wonderful
One",
"Hot
Lips",
"Mississippi
Suite",
and
"Wang
Wang
Blues".
Fletcher
Henderson
Fletcher
Henderson
was
born
in
Georgia
in
1898.
He
studied
classical
music
with
his
mother
before
moving
to
New
York
City
to
look
for
work
as
a
chemist6.
He
ended
up
becoming
a
pianist
for
Black
Swan
records
before
embarking
on
a
career
as
a
bandleader.
Henderson's
band
helped
create
the
swing
era
sound,
but
it
was
Benny
Goodman's
use
of
Henderson's
arrangements
that
made
swing
a
popular
success.
With
the
Fletcher
Henderson
Orchestra,
he
became
the
leader
of
his
own
band.
The
group's
music
director
was
Don
Redman,
whose
arrangements
featured
a
call
and
5
Red
hot
jazz
webpage,
“Paul
Whiteman”,
accessed
June
30
2015,
http://www.redhotjazz.com/whiteman.html.
6
Leonard
Feather
and
Ira
Gitler,
the
Biographical
Encyclopedia
of
Jazz
(New
York,
Oxford
University
Press),
311.
4
response
between
different
sections
of
the
band,
a
style
that
would
come
to
define
the
big
band
sound.
In
1924,
the
orchestra
landed
a
regular
gig
at
New
York
City's
Roseland
Ballroom7.
That
same
year,
Henderson
hired
Louis
Armstrong
to
join
the
group.
Henderson
and
his
band
were
a
success
at
the
Roseland,
where
they
would
stay
for
a
decade.
They
also
made
recordings;
their
first
hit
was
a
reworked
"Dippermouth
Blues."
Though
Armstrong
left
the
band
in
1925,
he
had
bequeathed
a
new
jazz
sound
to
the
group.
Although
he
led
what
was
often
a
great
band,
Henderson’s
main
legacy
to
jazz
is
his
work
as
an
arranger8.
George
Gershwin
George
Gershwin
was
born
Jacob
Gershowitz
on
September
26,
1898,
in
Brooklyn,
New
York9.
He
started
his
studies
with
the
piano
teacher
Charles
Hambitzer
and
after
dropping
out
of
school
at
age
15,
Gershwin
played
in
several
New
York
nightclubs
and
began
his
stint
as
a
song-‐plugger
in
New
York’s
Tin
Pan
Alley.
After
three
years
of
pounding
out
tunes
on
the
piano
for
demanding
customers,
he
had
transformed
into
a
highly
skilled
composer.
To
earn
extra
money,
he
also
worked
as
a
rehearsal
pianist
for
Broadway
singers.
In
1916,
he
composed
his
first
published
song,
“When
You
Want
'Em,
You
Can't
Get
'Em;
when
You
Have
'Em,
You
Don't
Want
'Em”.
7
"Fletcher
Henderson",
The
Biography.com
website,
accessed
Jun
25,
2015,
http://www.biography.com/people/fletcher-‐henderson-‐9334611.
8
Leonard
Feather
and
Ira
Gitler,
the
Biographical
Encyclopedia
of
Jazz
(New
York,
Oxford
University
Press),
312.
9
"George
Gershwin",
The
Biography.com
website,
accessed
Jun
25,
2015,
http://www.biography.com/people/george-gershwin-9309643.
5
From
1920
to
1924,
Gershwin
composed
for
an
annual
production
put
on
by
George
White.
After
a
show
titled
“Blue
Monday,”
the
bandleader
in
the
pit,
Paul
Whiteman,
asked
Gershwin
to
create
a
jazz
number
that
would
heighten
the
genre’s
respectability.
Legend
has
it
that
Gershwin
forgot
about
the
request
until
he
read
a
newspaper
article
announcing
the
fact
that
Whiteman’s
latest
concert
would
feature
a
new
Gershwin
composition.
Writing
at
a
manic
pace
in
order
to
meet
the
deadline,
Gershwin
composed
what
is
perhaps
his
best-‐known
work,
“Rhapsody
in
Blue”10.
During
this
time,
and
in
the
years
that
followed,
Gershwin
wrote
numerous
songs
for
stage
and
screen
that
quickly
became
standards,
including
“Oh,
Lady
Be
Good!”
“Someone
to
Watch
over
Me,”
“Strike
Up
the
Band,”
“Embraceable
You,”
“Let’s
Call
the
Whole
Thing
Off”
and
“They
Can’t
Take
That
Away
from
Me”.
His
lyricist
for
nearly
all
of
these
tunes
was
his
older
brother,
Ira,
whose
witty
lyrics
and
inventive
wordplay
received
nearly
as
much
acclaim
as
George’s
compositions.
In
1935,
a
decade
after
composing
“Rhapsody
in
Blue”,
Gershwin
debuted
his
most
ambitious
composition,
“Porgy
and
Bess”.
The
composition,
which
was
based
on
the
novel
“Porgy”
by
Dubose
Heyward,
drew
from
both
popular
and
classical
influences.
Gershwin
called
it
his
“folk
opera”,
and
it
is
considered
to
not
only
be
Gershwin’s
most
complex
and
best-‐known
works,
but
also
among
the
most
important
American
musical
compositions
of
the
20th
century.11
10
"George
Gershwin",
The
Biography.com
website,
accessed
Jun
25,
2015,
http://www.biography.com/people/george-gershwin-9309643.
11
“ibid.”
6
Duke
Ellington
Born
on
April
29,
1899,
Duke
Ellington
was
raised
by
two
talented,
musical
parents
in
a
middle-‐class
neighborhood
of
Washington
DC12.
At
the
age
of
seven,
he
began
studying
piano
and
earned
the
nickname
"Duke"
for
his
gentlemanly
ways.
Inspired
by
his
job
as
a
soda
jerk,
he
wrote
his
first
composition,
"Soda
Fountain
Rag",
at
the
age
of
15.
Despite
being
awarded
an
art
scholarship
to
the
Pratt
Institute
in
Brooklyn,
New
York,
Ellington
followed
his
passion
for
ragtime
and
began
to
play
professionally
at
age
17.
In
the
1920s,
Ellington
performed
in
Broadway
nightclubs
as
the
bandleader
of
a
sextet,
a
group
that
in
time
grew
to
a
10-‐piece
ensemble.
Ellington
sought
out
musicians
with
unique
playing
styles,
such
as
Bubber
Miley,
who
used
a
plunger
to
make
the
"wa-‐wa"
sound,
and
Joe
Nanton,
who
gave
the
world
his
trombone
"growl".
At
various
times,
his
ensemble
included
the
trumpeter
Cootie
Williams,
cornetist
Rex
Stewart
and
alto
saxophonist
Johnny
Hodges.
Ellington
made
hundreds
of
recordings
with
his
bands,
appeared
in
films
and
on
radio,
and
toured
Europe
on
two
occasions
in
the
1930s.
Ellington's
fame
grew
up
in
the
1940s
when
he
composed
several
masterworks,
including
"Concerto
for
Cootie",
"Cotton
Tail"
and
"Ko-‐Ko".
Some
of
his
most
popular
songs
included
"It
Don't
Mean
a
Thing
if
It
Ain't
Got
That
Swing",
"Sophisticated
Lady",
"Prelude
to
a
Kiss",
"Solitude",
and
"Satin
Doll".
A
number
of
his
hits
were
sung
by
the
impressive
Ivie
Anderson,
a
favorite
female
vocalist
of
Duke's
band.
12
"Duke
Ellington",
The
Biography.com
website,
accessed
Jun
22,
2015,
http://www.biography.com/people/duke-ellington-9286338.
7
It
was
Ellington's
sense
of
musical
drama
that
made
him
stand
out.
His
blend
of
melodies,
rhythms
and
subtle
sonic
movements
gave
audiences
a
new
experience
yet
accessible
jazz
that
made
the
heart
swing.
13
“Some
of
Ellington’s
voicings
and
orchestrations
were
so
unique
that
you
couldn’t
tell
which
instruments
were
playing
together
on
the
records,
you
had
to
see
the
band
in
person
to
figure
it
out”14.
Gil
Evans
Gil
Evans
(Ian
Ernest
Gilmore
Green)
was
born
May
13,
1912,
in
Toronto,
Canada15.
The
Evans
family
moved
to
Stockton,
California
in
1928,
where
Gil
entered
high
school
as
a
junior,
and
started
teaching
himself
about
music.
He
spent
a
lot
of
time
listening
to
jazz
on
records
and
on
the
radio.
Gil
Evans
was
a
great
admirer
of
Armstrong:
“Everything
I
ever
learned
about
jazz
came
from
Louis
Armstrong,
how
to
handle
a
song
and
how
to
love
music”
16.
Evans
formed
his
first
small
dance
band
with
some
school
friends.
They
played
regularly
at
a
Stockton
dance
hall
where
they
made
their
first
radio
broadcasts.
One
of
the
band
members
was
trumpet
player
Jimmy
Maxwell,
who
went
on
to
work
with
Benny
Goodman
and
other
prominent
musicians.
13
"Duke
Ellington",
The
Biography.com
website,
http://www.biography.com/people/duke-‐ellington-‐
9286338,
(accessed
Jun
22,
2015).
14
Paul
F.
Berliner,Thinking
in
Jazz,
(Chiacago,
University
of
Chicago
Press),
296.
15
Leonard
Feather
and
Ira
Gitler,
the
Biographical
Encyclopedia
of
Jazz
(New
York,
Oxford
University
Press),
214.
16
"Gil
Evans",
Gil
Evans
website,
accessed
Jun
25,
2015,
http://www.gilevans.com/Home/About.
8
In
the
summer
of
1935,
the
band
played
all
summer
at
the
Capitola
Ballroom
near
Santa
Cruz,
California,
and
Gil
Evans
became
locally
known
as
“The
Prince
of
Swing”.
Evans
modeled
the
band
on
the
Casa
Loma
Orchestra,
encouraging
his
musicians
to
double
on
a
variety
of
instruments.
He
held
rehearsals
for
several
hours
a
day,
and
pushed
his
musicians
to
sound
as
good
as
possible.
Their
efforts
paid
off:
that
fall
Evans’s
band
was
hired
as
the
house
band
at
the
Rendezvous
Ballroom
in
Balboa
Beach,
south
of
Los
Angeles.
In
the
fall
of
1937,
Gil
Evans
and
His
Orchestra
went
on
its
first
tour
to
Northern
California,
Oregon
and
Washington,
and
end
up
staying
for
five
weeks
at
the
Trianon
Ballroom
in
Seattle.
In
a
letter
to
friends,
Gil
wrote:
“Everything
is
going
fine
up
here.
Up
until
now
they’ve
always
had
sweet
bands
so
we’re
still
a
little
worried…
the
main
problem
has
been
trying
to
establish
credit
in
the
various
eating
establishments”.
Gil’s
band
subbed
for
Duke
Ellington’s
Orchestra,
which
was
scheduled
at
the
Trianon,
but
had
been
stuck
in
California
due
to
a
blizzard.
Through
this
period,
Evans,
even
then
a
perfectionist
about
the
band’s
sound,
turned
down
some
offers
because
he
thought
his
band
“was
not
ready”.
Other
factors
also
contributed
to
the
fact
that
Evans
could
not
find
steady
work
for
his
band.
He
got
an
offer
to
turn
over
his
band
to
vocalist
Skinnay
Ennis;
Ennis
had
immediate
bookings,
and
Evans
stayed
on
as
his
arranger.
After
a
few
months,
the
band
was
hired
for
comedian
Bob
Hope’s
new
nationally
syndicated
radio
show,
which
was
broadcast
from
Los
Angeles,
so
Evans
and
some
of
his
musicians
moved
there.
The
well-‐established
arranger
Claude
Thornhill
was
hired
as
chief
arranger
for
the
show.
Thornhill
was
classically
trained
musician
with
a
flair
for
orchestral
sonorities.
Evans
learned
a
lot
about
orchestration
from
Thornhill,
and
the
two
developed
a
friendship,
as
well.
9
The
Hope
show
went
on
tour
in
1940,
and
Evans
visited
New
York
City
for
the
first
time.
He
was
thrilled
to
check
out
the
jazz
scene
he
has
heard
so
much
about
on
52nd
Street.
A
few
months
later,
Thornhill
formed
his
own
big
band,
and
it
was
hired
to
play
at
the
Glen
Island
Casino,
a
supper
club
near
New
York
City.
The
club
had
a
radio
wire,
and
its
shows
were
broadcast
across
the
country.
Writing
for
the
Claude
Thornhill
Orchestra,
with
its
beautiful
sounding
woodwinds
and
French
horns,
had
a
huge
appeal
for
Evans.17.
Claus
Ogerman
German
arranger,
conductor,
composer,
Claus
Ogerman
(born
1930
in
Poland)
has
been
widely-‐admired
for
five
decades
for
his
large
orchestra
arrangements
of
often
brooding
unison
strings.
His
many
strings
often
blossom
into
a
sumptuous
harmony
highlighted
by
soloing
flutes18.
He
is
best
known
for
his
brilliant
and
unparalleled
arrangements
of
Brazillian
music
on
a
series
of
Antonio
Carlos
Jobim
albums
nearly
the
polar
opposite
of
his
traditional
European
classical
music
training.
Ogerman
also
arranged
Jobim's
compositions
on
the
acclaimed
1967
album
"Francis
Albert
Sinatra
and
Antonio
Carlos
Jobim".
In
the
1950's,
Ogerman
worked
in
Germany
as
an
arranger-‐pianist
with
Kurt
Edelhagen
and
with
Max
Greger.
In
1959,
he
moved
to
New
York
City
to
begin
an
arranging
career
as
light
classical
music
interest
started
to
rapidly
decline.
Despite
being
immediately
saddled
with
lesser
arranging
assignments
in
a
fast-‐changing
American
music
business,
he
firmly
established
himself
in
the
recording
studios
with
his
17
"Gil
Evans",
Gil
Evans
website,
accessed
Jun
25,
2015,
http://www.gilevans.com/Home/About.
18
"Claus
Ogerman",
accessed
Jun
25,
2015,
http://www.mymusicbase.ru/PPB/ppb19/Bio_1929.htm.
10
versatile
skills
such
that
his
work
is
still
heard
in
commercials,
elevators
and
recordings
of
all
types.
In
1963,
he
joined
Creed
Taylor's
Verve/MGM
Records,
working
on
recordings
by
Jobim,
Bill
Evans,
Wes
Montgomery,
Kai
Winding
and
Cal
Tjader.
Taylor
sold
Verve
Records
and
brought
Ogerman
over
to
arrange
Jobim's
Wave
on
his
new
CTI
label.
Ogerman
later
worked
on
albums
by
Oscar
Peterson,
Nelson
Riddle
(his
favorite
orchestrator)
and
others
at
the
German
MPS
label.
His
other
collaborations
include
work
with
Benny
Goodman,
Joao
Gilberto,
Astrud
Gilberto,
Joao
Donato,
Betty
Carter,
Leslie
Gore
and
Michael
Franks.
Ogerman
arranged
best
selling
albums
for
Connie
Francis
and
The
Drifters.
He
has
written
jazz
charts
for
Stan
Getz,
Freddie
Hubbard,
and
Stanley
Turrentine,
among
others.
He
has
composed
for
many
German
films
as
well.
He
greatly
regrets
missing
Glenn
Gould's
request
to
play
on
the
arrangements
he
did
for
Barbara
Streisand's
"Classical
Barbra"
album.
In
1976,
Jobim
gave
Ogerman
the
back
side
of
his
"Urubu",
LP
to
exclusively
feature
his
strings
while
Bill
Evans
similarly
allowed
Ogerman
great
latitude
on
his
albums.
Ogerman's
piano
playing,
which
included
early
work
with
Chet
Baker,
can
be
heard
to
great
affect
on
Jobim's
best
album
"Terra
Brasilis"
(1980),
featuring
his
masterful
reworking
of
his
arrangements
from
Jobim's
1960's
American
albums,
highlighted
by
"Double
Rainbow".19
After
many
Grammy
nominations
over
the
years,
Ogerman
won
the
1979
Grammy
for
Best
Arrangement
on
an
Instrumental
Recording
-‐
George
Benson's
"Soulful
Strut"
Living
Inside
Your
Love.
He
also
solidified
the
jazz
guitarist's
pop
vocal
career
with
his
arrangements
on
Benson's
hugely
selling
album
"Breezin'".
19
"Claus
Ogerman",
accessed
Jun
25,
2015,
http://www.mymusicbase.ru/PPB/ppb19/Bio_1929.htm.
11
Since
the
1970's,
Claus
has
devoted
himself
almost
exclusively
to
serious
compositions.
His
commissions
and
projects
include
a
ballet
score
for
the
American
Ballet
Theatre
(Some
Times),
a
work
for
jazz
piano
and
orchestra
(Symbiosis)
for
Bill
Evans,
a
work
for
saxophone
and
orchestra
(Cityscape,
which
includes
Symphonic
Dances)
for
Michael
Brecker,
a
song
cycle
(Tagore-‐Lieder)
after
poems
by
Rabindranath
Tagore
that
was
recorded
by
Met
soprano
Judith
Blegen
and
mezzo-‐soprano
Brigitte
Fassbaender,
Concerto
Lirico
and
Sarabande-‐Fantasie
for
violin
and
orchestra
that
was
recorded
by
Aaron
Rosand,
10
Songs
for
Chorus
A-‐Capella
After
Poems
by
Georg
Heym
that
was
recorded
by
the
Cologne
Radio
Chorus,
a
work
for
violin
and
orchestra
(Preludio
and
Chant
recorded
by
world-‐renowned
violinist
Gideon
Kremer),
and
many
more.
After
20
years
away
from
jazz
and
popular
music,
Diana
Krall
coaxes
Claus
to
arrange
and
conduct
the
London
Symphony
Orchestra
on
her
best-‐selling
album
"The
Look
of
Love".
20
Vince
Mendoza
Born
in
1961
in
Norwalk,
Connecticut,
Mendoza
began
learning
classical
guitar
and
piano
from
an
early
age.
His
musical
influences
ran
from
Bach
to
Aretha
Franklin
to
Henry
Mancini.
However,
discovering
Miles
Davis,
Gil
Evans,
and
later,
Igor
Stravinsky
and
Alban
Berg
gave
him
a
further
complex
perspective
of
the
construction
of
musical
forms
and
ideas.
Taking
up
the
trumpet
during
high
school,
he
later
earned
a
degree
in
music
composition
at
Ohio
State
University,
before
moving
to
Los
Angeles.
The
music
of
20
"Claus
Ogerman",
accessed
Jun
25,
2015,
http://www.mymusicbase.ru/PPB/ppb19/Bio_1929.htm.
12
Joe
Zawinul
and
Wayne
Shorter
became
a
strong
influence
on
his
big
band
writing.
He
began
working
in
the
studios,
composing
music
for
television,
while
continuing
to
add
to
his
extensive
body
of
work
written
for
big
band.
He
completed
his
post-‐graduate
composition
and
conducting
studies
at
the
University
of
Southern
California.
During
this
time,
he
met
a
kindred
spirit
in
drummer
Peter
Erskine,
who
included
him
in
his
mixed
ensemble
recording,
“Transition”
on
Denon
records.
Mendoza
contributed
several
compositions
to
this
recording
as
well
as
on
some
of
Erskine’s
subsequent
recordings,
they
have
since
become
frequent
collaborators.
His
early
solo
albums
on
Blue
Note
Records,
“Start
Here”
and
“Instructions
Inside”,
were
critical
triumphs
that
featured
such
artists
as
John
Scofield,
Joe
Lovano,
Ralph
Towner,
Bob
Mintzer,
Randy
Brecker,
Peter
Erskine
and
others.
“Start
Here”
was
voted
one
of
Jazziz
Magazine’s
“Top
Picks”
and
Mendoza
was
recognized
as
“Best
Composer/Arranger”
by
Swing
Journal’s
critics
poll
in
Japan.
Through
his
profile-‐
building
stint
as
guest
arranger
and
conductor
of
the
WDR
Big
Band,
based
in
Cologne,
Germany,
Mendoza
became
widely
known
in
Europe
as
a
multi-‐talented
composer
arranger
with
a
deep
understanding
of
contemporary
styles.
His
work
on
the
CD
“The
Vince
Mendoza
/
Arif
Mardin
Project:
Jazzpaña”
with
the
WDR
Big
Band,
brought
him
a
Grammy
nomination
for
“best
instrumental
arrangement”.
Since
then,
Gary
Burton,
Pat
Metheny,
Michael
Brecker,
Charlie
Haden,
Andy
Narell,
Kurt
Elling
and
John
Abercrombie
have
prominently
featured
Vince
Mendoza’s
compositions
and
arrangements
on
their
albums.
Mendoza
has
written
commissioned
compositions
and
arrangements
for
world-‐
renowned
classical
and
jazz
groups,
that
include
the
Turtle
Island
String
Quartet,
the
13
Debussy
Trio,
the
L.A.
Guitar
Quartet,
the
Metropole
Orchestra
and
the
Berlin
Philharmonic.
His
CD
“Epiphany”
is
a
stunning
set
of
compositions
for
the
London
Symphony
Orchestra
and
jazz
soloists.
Effortlessly
combining
his
beautifully
crafted
orchestral
arrangements,
strong
melodic
compositions,
extended
forms
and
inspired
jazz
soloists,
this
is
an
album
only
Mendoza
could
conceive
and
execute
with
such
grace.
Joined
by
old
friends,
Abercrombie,
Brecker,
Erskine,
Lovano
and
Kenny
Wheeler,
as
well
as
the
sublime
bass
work
of
Marc
Johnson
and
piano
of
John
Taylor,
Mendoza
sets
the
scene
of
each
piece
with
the
orchestra,
allowing
these
seven
great
jazz
“voices”
to
deliver
the
next
layer
of
emotive
harmony
and
expression.
With
such
a
huge
palette
of
both
sounds
and
sonorities
the
results
conjure
up
strong
narratives.
Mendoza’s
skill
for
“casting”
the
hard-‐edged
brilliance
of
Michael
Brecker
for
the
harder
tempos
alongside
the
soft
lyricism
of
Joe
Lovano
for
the
poetic
pulse
of
quieter
songs
defines
his
huge
talents
as
a
truly
modern
composer,
conductor
and
arranger.
Managing
to
combine
his
own
sophisticated
solo
work
with
widely
acknowledged
skills
as
a
sympathetic
vocal
arranger
has
seen
him
earn
the
respect
and
ear
of
both
the
serious
minded
jazz
and
classical
audience
as
well
as
that
of
discerning
contemporary
music
fans
and
artists.
Mendoza’s
arranging
has
appeared
on
many
critically
acclaimed
projects
that
include
dozens
of
albums
with
song
writing
legends
such
as
Björk,
Chaka
Khan,
Al
Jarreau,
Bobby
McFerrin,
Sting
and
Joni
Mitchell.
He
has
6
Grammy
awards
and
25
nominations
His
skill
for
creating
classic,
sophisticated
string
arrangements
also
led
to
his
orchestral
score
on
the
multi-‐million
selling
album
“Swing
When
You’re
Winning”
by
the
enfant
terrible
of
British
pop,
Robbie
Williams.
He
was
the
orchestral
voice
behind
14
the
score
to
Lars
van
Trier’s
“Dancer
in
the
Dark”
featuring
Björk,
as
well
as
the
dreamy
orchestrations
on
her
recent
CD
titled
“Vespertine.”
For
the
CD
“Nights
on
Earth”
Mendoza
recruits
an
all-‐star
cast
of
longtime
collaborators
like
guitarists
John
Abercrombie,
John
Scofield
and
Nguyen
Le,
drummer
Peter
Erskine,
percussionist
Luis
Conte,
organist
Larry
Goldings,
steel
drummer
Andy
Narell,
pianists
Kenny
Werner
and
Alan
Pasqua,
saxophonists
Bob
Mintzer
and
Joe
Lovano.
He
is
also
joined
by
such
new
friends
as
Brazilian
vocalist
Luciana
Souza,
Malian
kora
player
and
singer
Tom
Diakite,
Argentinian
bandoneon
master
Hector
del
Curto,
Algerian
drummer
Karim
Ziad,
French
saxophonist
Stéphane
Guillaume
and
young
American
jazz
stars
in
bassist
Christian
McBride,
drummer
Greg
Hutchinson
and
trumpeter
Ambrose
Akinmusire.
21
21
"Vince
Mendoza",
official
web-‐site,
accessed
Jun
25,
2015,
http://vincemendoza.net/about-‐vince.
15
The
Metropole
Orchestra
The
Metropole
Orchestra
of
the
Netherlands,
founded
in
1945
by
the
Dutch
Broadcasting
Corporation,
developed
a
reputation
as
a
fully
symphony
orchestra
whit
an
integrated
big
band22.
At
today
is
one
of
the
most
versatile
orchestras
worldwide,
able
to
play
many
different
styles
such
as:
jazz,
pop,
world,
cabaret,
film
scores.
This
ensemble
is
for
me
one
of
the
most
important
references
for
innovation,
especially
regarding
music
and
production
concept.
For
research
purpose
I'm
going
to
use
as
reference
the
time
period
between
2003
and
2013,
when
the
composer
and
arranger
Vince
Mendoza
took
over
as
chief
conductor,
bringing
a
more
international
and
versatile
character.
Furthermore,
in
January
2015
I
personally
had
the
opportunity
to
visit
a
rehearsal
of
the
Metropole
Orchestra
in
Hilversum
(the
Netherlands)
during
the
preparation
of
a
Duke
Ellinghton
tribute
concert,
and
to
speak
personally
with
Vince
Mendoza
about
some
aspects
of
his
way
of
thinking
in
terms
of
arrangement.
22
“Metropole
Orchestra”,
official
website,
accessed
May
14,
2015,
http://www.mo.nl/en/the-‐orchestra.
16
My
Orchestra
The
instruments
that
I
used
for
the
arrangements
are
the
following:
-‐
Violin
I
(6)
-‐
Violin
II
(6)
-‐
Viola
(4)
-‐
Cello
(4)
-‐
Double
Bass
(3)
-‐
French
Horn
(1)
-‐
Bassoon
(1)
-‐
Oboe
(1)
-‐
Clarinet
(1)
-‐
Flute
(1)
-‐
Flute/Piccolo
(1)
-‐
Trumpet
(3)
-‐
Trombone
(4)
-‐
Sax
alto/soprano
(2)
-‐
Sax
tenor
(2)
-‐Percussions
17
Instrument
Placement
on
Stage
The
following
example
shows
the
floor
plan
of
the
concert
Jazz
Para
El
Autismo
at
theatre
“La
Rambleta”,
26th
of
May
2015.
Fig.
1
–
Jazz
Para
El
Autismo,
stage
plan.
18
Similarities
and
differences
Following
my
reference,
I
choose
the
instruments
trying
to
get
close
to
the
sound
of
the
Metropole
Orchestra,
with
some
modifications
due
to
the
artistic
choice
of
the
arrangements.
Apart
from
this,
there
are
some
important
differences
between
the
projects
I
had
the
opportunity
to
revise
about
the
Metropole
Orchestra,
and
my
project.
First,
the
main
musical
focus
is
going
to
be
on
the
guitar
trio.
This
brought
me
to
change
the
position
of
drums
and
double
bass,
the
MO
usually
have
them
center
placed
inside
the
orchestra,
while
I
took
it
out
and
place
it
in
front
of
it
(see
fig.1).
In
this
way,
I
change
the
role
of
the
rhythm
section,
from
being
part
of
the
orchestra
behind
the
soloist,
to
be
in
front,
as
the
main
focus
of
the
concert.
This
gives
to
the
trio
more
unity
and
freedom,
especially
from
a
rhythmic
point
of
you,
let’s
say
that
is
a
way
for
me
to
preserve
the
band
musical
style.
The
second
detail
that
differs
from
the
MO
is
the
placement
of
the
instruments
inside
the
orchestra.
There
are
many
different
stage
placements,
and
for
what
I
could
establish,
from
the
video
material
I
revised
from
the
MO,
they
mostly
have
the
brass
section
behind
the
strings.
Talking
whit
some
of
the
players
of
the
string
section
of
the
MO
after
a
rehearsal,
I
realized
that
they
where
not
happy
about
that
situation,
simply
because
when
the
trombones
where
playing
behind
them,
they
could
not
ear
what
they
where
playing.
Therefore,
I
start
to
think
about
a
way
to
avoid
this,
and
I
chose
to
place
the
big
band
as
it
is
traditionally
used
in
jazz
concerts,
all
together
on
one
side.
In
this
way,
in
the
swing
parts
that
I
wrote,
I
will
be
sure
that
the
sound
and
rhythm
of
it
will
be
more
solid
and
consistent.
19
Another
difference
from
MO
is
that
the
conductor
is
not
anymore
in
front
of
all
the
musicians,
but
in
a
middle
position:
in
front
of
the
orchestra
but
behind
the
trio
and
the
soloists.
This
because
I
ideally
thought
of
an
orchestra
able
to
follow
the
guitar
trio
and
to
achieve
this
there
are
two
points
to
be
satisfied:
the
trio
as
to
be
independent
from
the
orchestra,
and
the
orchestra
need
a
reference
that
serve
as
a
“glue”
between
the
two.
This
“glue”
is
the
conductor,
which
needs
to
listen
the
way
that
the
trio
is
playing
along
the
concert,
and
adapt
his
conduction
to
achieve
a
perfect
rhythmic
synchronization
with
the
orchestra.
20
Works
In
the
next
part
of
this
research,
I
am
going
to
analyze
four
compositions
that
were
part
of
the
concert
Jazz
Para
El
Autismo.
For
each
one
I’am
going
to
explain:
the
concept,
the
structure,
the
melody
(for
original
compositions)
or
the
arrangement
(in
case
of
rearrangement
of
a
song
from
another
composer).
Since
this
experience
has
been
for
me
an
occasion
for
a
real
case
of
study
and
research,
I
wanted
for
every
arrangement
to
follow
a
conceptual
guideline,
created
by
myself,
with
the
purpose
to
avoid
to
lose
the
focus
during
the
writing
process,
and
eventually
to
measure
the
level
of
accomplishment
at
the
end
of
it.
21
Dance
Concept
The
concept
I
had
in
mind
was
to
write
a
song
with
a
traditional
swing
big
band
section
arrangement
and,
as
a
contrast,
a
melody
presented
by
the
rest
of
the
orchestra
(strings
woodwinds)
and
differently
rearranged
along
the
tune,
this
over
a
latin
rhythm
played
by
percussions
and
drums.
Another
tool
that
I
wanted
to
use
was
a
continuous
improvisation
element,
to
be
carried
throughout
the
entire
piece.
I
decided
then
to
give
this
part
to
the
percussionist,
writing
only
some
suggestions
along
the
song
to
be
interpreted
freely
and
to
improvise
whit
that.
In
addition,
during
the
guitar
solo
section
the
percussion
is
constantly
interacting
with
it,
creating
a
collective
improvisation
over
written
orchestra
parts.
Structure
For
this
song,
I
wanted
the
structure
to
be
built
over
the
conceptual
elements
that
I
have
just
explained.
The
structural
elements
I
wanted
are:
an
introduction,
to
set
the
groove,
an
A
part
that
could
vary
each
time
we
listen
to
it,
a
B
part
that
involved
a
traditional
big
band
sound,
improvisation
sections,
and
a
coda.
The
result
of
this
is
a
structure
that
almost
does
not
follow
symmetry
or
apparent
geometry:
BARS
INTRO
THEME
THEME
THEME
A
B
A
SOLO
A
B
SOLO
32
31
24
55
36
31
OPEN
24
GUITAR
THEME
THEME
PERCUSSION
CODA
Fig.
2
–
Dance,
structure.
22
10
The
only
constant
element
is
the
“Theme
B”
section,
which
is
the
swinging
part.
Melody
As
we
can
see
in
the
fig.
2
the
song
is
composed
by
two
main
themes:
A
and
B.
The
theme
A
is
played
over
a
latin
rhythm,
and
it
is
divided
in
two
main
elements:
a
melodic
phrase
(4+2
bars)
and
a
harmonic
part
(2
bars).
Fig.
3,
Jacopo
Mezzanotti,
Dance,
mm.
12-‐20
Fig.
4,
Jacopo
Mezzanotti,
Dance,
mm.
23-‐31
In
fig.
3
we
can
see
the
main
melodic
element
played
by
the
violas,
the
phrase
is
8
bars
long
and
is
divided
in
two
elements
X
and
Y,
divided
by
two
bars
of
harmony
played
by
violins,
cellos
and
double
bass,
that
give
space
to
the
ending
line
of
the
phrase.
23
This
theme
is
repeated
with
a
harmonic
interlude
between
the
various
repetitions
(fig.
4).
The
melody
is
orchestrated
every
time
in
a
different
way,
to
keep
the
attention
of
the
listener.
The
main
key
of
the
song
is
Fm
but
as
we
can
see,
the
main
melody
is
written
between
F
minor
and
F
diminished
creating
an
ambiguous
atmosphere.
The
theme
B,
on
the
other
hand,
is
a
completely
different
arranging
and
composing
style,
here
I
used
a
more
jazz
big
band
traditional
approach,
starting
with
thickened
saxophone
lines
with
trumpets
and
trombones
hits
(Fig.5),
to
develop
slowly
into
a
big
orchestra
crescendo
that
mix
the
different
styles
of
the
song
before
going
back
to
the
original
latin
feeling.
Fig.
5,
Jacopo
Mezzanotti,
Dance,
mm.
56-‐61
This
first
fragment
of
the
theme
B
is
played
by
the
saxophones
harmonized.
As
we
can
see
in
the
original
score
this
second
theme
is
longer
than
the
previous
one,
it’s
a
31
bars
melody
whit
different
sections
that
ends
with
a
7
bars
orchestral
crescendo,
to
bring
the
tension
to
the
maximum
before
going
back
to
the
other
atmosphere
of
the
theme
A
and
introduce
the
guitar
solo.
24
Summertime
Concept
The
concept
for
this
song
is
to
take
a
famous
jazz
standard
tune
and
find
an
interesting
arrangement
for
it.
My
choice
went
on
one
of
the
most
arranged
jazz
standards
of
all
time:
Summertime,
by
George
Gershwin,
from
the
opera
Porgy
and
Bess.
Since
the
song
is
well
known
to
be
in
Am
key,
my
idea
for
a
change
has
been
to
drastically
use
A
major,
but
in
a
way
for
the
listener
to
do
not
be
shocked
from
the
change.
As
we
are
going
to
see
in
detail,
I
used
the
key
of
Dbm
harmonic
which
contain
both
chords,
Am
and
A
major.
First,
let
see
the
new
structure
of
the
song.
Structure
Since
I
wanted
to
rearrange
in
a
completely
new
way
I
thought
that
I
could
also
work
on
the
structure,
always
in
a
way
for
the
listener
to
do
not
ear
drastic
changes.
Because
this
rearrangement
is
not
intended
to
be
singed,
but
played
with
guitar
or
another
instrument,
I
decided
to
cut
the
last
two
bars
of
the
original
structure
and
connect
directly
the
end
of
the
theme
with
the
beginning
(see
fig.
7).
This
gives
a
sense
of
unfinished
structure
and
brings
a
subtle
tension
to
the
performance.
The
structure
of
the
new
arrangement
is
the
following:
THEME
THEME
GUITAR
SOLO
THEME
CODA
BARS
14
14
14+14
14
3
Fig.
6
–
Summertime,
structure.
25
The
arrangement
structure
is
simple,
the
trio
plays
the
first
theme
and
the
orchestra
enters
at
the
end
of
it
and
supports
the
next
theme
exposition.
For
the
guitar
solo
is
similar,
the
first
14
bars
are
only
in
trio
and
in
the
second
ones
the
orchestra
enters
with
the
background.
The
last
theme
shows
something
new,
the
trio
goes
away
and
the
orchestra
plays
the
first
part
of
the
theme,
fading
out
slowly
in
the
last
bars
of
the
melody
that
is
played
again
by
the
guitar.
Arrangement
Since
the
melody
is
famous
and
beautiful
by
itself
I
did
not
want
to
modify
it,
what
I
changed
are
the
chords
that
support
it.
Perhaps
playing
the
melody
of
Summertime
I
realized
immediately
that
there
is
a
lot
of
space
between
the
phrases,
and
this
brought
me
to
think
to
use
it
as
an
opportunity
to
interact
with
the
song
without
change
it,
just
adding
different
colors
in
these
empty
spaces.
Following
this
concept,
as
said
earlier,
I
decided
to
cut
the
last
two
bars
of
the
original
theme
which
didn’t
contain
any
melody
but
the
pick
up
to
go
back
to
the
top.
As
we
see
the
last
note
of
the
melody
is
C,
the
same
last
note
of
the
pick
up,
this
allow
the
listener
to
grab
the
same
color
of
the
pick
up
even
though
there
is
no
pick
up.
The
result
is
that
the
second
time
we
play
the
melody
is
like
a
surprise
since
there
is
no
preparation
for
it.
26
Fig.
7,
Jacopo
Mezzanotti,
Summertime,
mm.
1-‐16
27
Besides
Your
Loneliness
Concept
Here
my
goal
was
to
compose
a
song
as
an
emotional
journey,
using
harmony
and
melody
in
a
way
to
express
a
good
balance
of
tension
and
release,
and
use
the
orchestra
to
emphasize
subtly
this
path.
The
result
is
a
medium-‐ballad
rumba
song
that
follows
this
emotional
path:
Fig.
8
-‐
Besides
Your
Loneliness,
orchestra
dramatic
development.
Structure
As
shown
in
fig.
7
the
structure
is
A
A
B
A’
with
a
B
section
that
is
almost
double
compared
with
the
A.
The
first
two
A
are
14
bars
each
one
while
the
last
one
is
16,
this
because
the
last
time
I
repeated
a
two
bar
melody
twice
to
give
a
feeling
of
ending
repetition.
In
the
B
part,
I
wanted
to
present
a
different
music
material
that
could
create
a
contrast
from
the
previous
section.
To
achieve
this
I
had
to
create
a
longer
development
for
the
listener
to
enter
gradually
and
feel
comfortable
in
the
new
material.
Here
the
orchestra
enter
and
create
a
24
bars
crescendo
that
support
the
dramatic
path
of
the
28
melody,
that
culminate
in
a
D7
chord
and
leave
one
measure
of
silence
before
going
back
to
the
last
head.
Fig.
9
–
Besides
Your
Loneliness,
orchestra
dramatic
development.
The
entire
song
is
repeated
twice,
the
first
time
is
the
theme
and
the
second
time
the
solo
part.
The
solo
is
played
over
the
first
two
A
and
the
B,
to
go
back
to
the
theme
in
the
last
A.
Melody
The
melody,
together
with
the
harmony,
has
one
of
the
most
important
roles
in
this
song.
The
first
part
of
the
melody
is
a
homage
to
one
of
the
most
important
composers
of
last
century
that
strongly
influenced
my
musical
background,
his
name
is
Gustav
Mahler.
Here
is
the
original
viola
intro
from
Mahler’s
tenth
symphony:
29
Fig.
10,
Gustav
Mahler,
symphony
n.
10,
Adagio,
mm.
1-‐4
Besides
Your
Loneliness
A
theme:
Fig.
11,
Jacopo
Mezzanotti,
Besides
Your
Loneliness,
mm.
1-‐8
We
can
see
in
these
two
figures
the
material
I
used
as
quotation
from
Mahler’s
composition.
The
first
five
note
pitches
are
exactly
the
same,
then
the
similarities
are
less,
and
ends
when
the
melody
reach
the
high
C-‐sharp,
to
develop
into
a
different
musical
path
from
the
citation.
The
A
theme
is
repeated
twice
but
the
second
time
with
a
different
ending,
to
release
the
tension
and
to
prepare
for
the
next
section.
Also
the
harmony
follows
the
same
concept,
the
first
ending
shows
a
Dmaj7
going
to
Gmaj#11
as
pick
up
for
the
next
30
A
theme,
while
the
second
time
the
Dmaj7
turns
to
a
D7
chord
to
present
the
new
key
of
the
new
section.
In
the
B
part,
we
can
listen
a
new
melodic
material
that
contrast
with
the
previous
one.
First,
now
the
melody
is
structured
in
a
straight
line
of
eight
bars,
and
repeated
three
times,
the
last
one
a
fourth
above.
If
in
the
A
section,
the
melody
was
moving
inside
a
range
of
a
minor
10th
interval,
now
the
new
line
has
a
diminished
5th
interval
range.
Is
a
simpler
phrase
with
longer
notes,
that
leave
much
more
space
to
the
orchestra
background
development
and
room
for
another
musician
to
improvise
over
the
theme.
In
fact,
during
the
soprano’s
solo,
in
the
B
part
of
the
form,
guitar
and
vibraphone
play
the
theme,
as
would
be
a
background
for
the
improviser,
and
to
bring
slowly
back
the
attention
of
the
listener
to
the
main
theme
that
is
coming
back.
If
usually
the
higher
note
of
the
melody
is
used
to
emphasize
the
most
dramatic
moment
of
the
song,
here
I
used
it
to
emphasize
the
most
relieving
part,
the
ending,
that
bring
back
all
the
tension
built
along
the
entire
piece.
This
is
made
possible
by
the
last
three
notes
in
a
half
tone
distance
each
other
with
the
following
relation
toward
the
main
key
of
D
major:
9th,
b3rd,
3rd.
31
D&D
Concept
For
this
song,
I
focused
on
the
arrangement
and
orchestration
side,
using
for
it
a
composition
by
the
pianist
Polo
Ortí.
I
wanted
to
express
and
enhance
the
key
points
of
the
songs
using
the
different
colors
of
the
orchestra,
and
find
a
way
to
interact
with
it.
Structure
The
song
is
an
81
bar
theme
and
for
this
arrangement
I
thought
to
play
it
twice
at
the
beginning,
the
first
time
in
quintet
(drums,
double
bass,
guitar,
vibraphone
and
piano),
and
the
second
time
orchestrated.
To
introduce
the
orchestra
I
wrote
a
24
bars
crescendo
before
the
second
exposition
of
the
theme.
For
the
beginning,
I
decided
to
write
an
orchestra
introduction
using
a
rhythmic
element
that
we
are
going
to
see
again
at
the
end
of
the
song.
The
main
structure
is
repeated
five
times
in
the
entire
arrangement
and
each
time
in
a
different
way.
The
arrangement
scheme
is
the
following:
INTRO
BARS
20
THEME
81
THEME
PIANO
VIBRAPHONE
SOLO
SOLO
81
81
81
THEME
CODA
81
12
Fig.
12
–
D&D
Structure.
Arrangement
The
song
starts
with
a
drums
solo
of
4
measures
to
enter
in
the
real
intro
of
16
bars.
Since
the
melody
of
this
song
is
long
and
is
composed
by
different
melodies
32
connected
together,
I
thought
to
use
the
various
colors
of
the
orchestra
to
emphasize
these
fragments
with
the
use
of
different
instruments,
or
combinations
of
them.
For
this
reason,
I
decided
to
expose
the
first
time
the
theme
with
the
vibraphone
and
guitar,
so
the
listener
have
a
chance
to
ear
clearly
the
melody
without
being
confused
by
the
rapid
change
of
the
instrumentation.
After
this
first
exposure
will
be
much
easier
to
divide
the
theme
without
losing
their
attention.
The
orchestration
starts
with
the
violins
plus
parts
of
the
woodwinds
(flute,
oboe,
clarinet),
playing
the
most
recognizable
part
of
the
melody:
Fig.
13,
Polo
Ortí/Jacopo
Mezzanotti,
D&D,
mm.
102-‐109
At
the
same
time,
we
see
the
rest
of
the
strings
support
the
harmony
(Fig.
13).
The
orchestration
gradually
change
until
the
entrance
of
the
big
band
section
that
now
plays
the
same
melody
fragment
but
in
another
key
(Fig
14).
33
Fig.
14,
Polo
Ortí/Jacopo
Mezzanotti,
D&D,
mm.
127-‐136
From
here,
until
the
piano
solo,
the
melody
is
dived
between
the
entire
orchestra,
with
a
natural
fading
effect
of
timbres
(Fig.
15)
Fig.
15,
Polo
Ortí/Jacopo
Mezzanotti,
D&D,
mm.
141-‐153
The
background
for
the
solos
has
been
written
with
the
same
concept,
but
with
a
lighter
effect,
to
avoid
taking
too
much
focus
apart
from
the
soloist.
In
this
case,
the
34
woodwind
section
is
left
apart,
and
the
background
is
built
alternating
strings
and
big
band
section,
culminating
every
time
with
a
crescendo
to
launch
the
next
part.
The
last
time
we
ear
the
theme
I
used
a
“heavier
orchestration”
adding
more
instruments
playing
the
theme,
and
starting
immediately
with
the
big
band,
to
achieve
amore
direct
sound
effect.
The
ending
is
a
big
orchestra
crescendo
that
moves
up
always
a
minor
3rd
until
goes
back
to
the
starting
chord
(F#sus4),
here
there
is
a
trading
between
the
orchestra
and
the
drums,
until
a
two
bars
fragment
of
the
main
melody
calls
the
ending.
35
Working
With
the
Jazz
Trio
An
important
aspect
of
this
project
is
the
work,
or
better
the
pre-‐work
and
the
preparation
to
the
concert
with
my
trio.
Since
hiring
and
organizing
an
orchestra
is
a
big
task
and
an
expensive
work,
is
crucial
to
prepare
the
show
previously
with
the
rhythm
section.
First,
I
write
the
arrangements
and
I
try
them
with
the
trio,
then
I
see
what
works
better
and
what
not,
and
according
to
what
is
essential
and
what
is
not,
I
revise
the
scores.
For
me
is
really
important,
during
this
first
step
of
the
process,
to
teach
the
song
to
the
musicians
by
ear;
I
don’t
won’t
for
them
to
read
anything
until
the
score
is
ultimate,
first
because
I
can
see
immediately
if
what
I
wrote
is
recognizable
by
a
professional
musicians,
and
second
because
this
will
help
the
process
of
learning
the
song
in
a
more
natural
and
spontaneous
way.
Furthermore,
every
time
I
write
a
new
composition
or
arrangement,
I
have
in
mind
the
players
that
are
going
to
perform
it,
to
emphasize
their
skills
and
put
them
in
a
confortable
music
environment.
From
this
pre-‐work,
I
can
adjust
the
orchestra
experience
to
the
rhythm
section
and
I
can
create
a
solid
base
for
the
orchestra
rehearsal.
I
ultimate
then
the
scores
and
I
prepare
the
mockups.
I
pretend
then
from
the
rhythm
section
to
learn
all
the
arrangements
by
memory,
in
a
way
to
have
their
full
attention
on
the
interplay
and
improvisation
during
the
performance.
John
Hicks
said
about
Art
Blackey
with
the
Jazz
Messanger:
“With
Blackey,
you
had
to
memorize
the
music,
since
you
couldn’t
have
it
on
the
band
stand”23.
23
Paul
F.
Berliner,Thinking
in
Jazz,
(Chiacago,
University
of
Chicago
Press),
303.
36
At
this
point
the
trio
is
ready
for
the
orchestra
rehearsals,
where
the
only
main
focus
is
going
to
be
on
the
orchestra
itself,
adjusting
tuning
and
note
issues,
and
most
important,
trying
to
find
the
balance
between
the
different
time
perception
of
the
players,
and
achieving
a
good
groove
all
together.
37
Working
With
the
Orchestra
Complementary
of
the
work
with
the
trio,
is
the
preparation
and
workout
of
the
orchestra.
In
most
cases,
we
have
orchestras
composed
by
classically
trained
musicians,
that
have
a
different
approach
to
the
scores
and
to
the
direction,
if
compared
with
jazz
trained
players.
In
this
case,
I
used
a
mixed
orchestra,
so
from
one
side
I
have
a
big
band
of
jazz
musicians,
and
on
the
other
side
an
orchestra
of
classical
players.
The
key
point
here
is
to
find
the
common
ground
between
their
various
timing
perception
and
unifying
it,
to
achieve
a
unique
style
of
playing
the
same
music
material.
The
most
important
role
for
this
to
be
possible
is
the
orchestra
conductor,
who
has
the
task
to
find
an
adequate
way
of
conducting
for
this
type
of
repertoire.
During
the
rehearsal,
I
think
that
is
a
good
idea
to
have
at
first
separate
groups,
for
example
string
only,
string
plus
woodwinds,
big
band,
and
finally
all
the
orchestra
together.
A
good
option
would
be
also
to
have
a
rehearsal
with
the
trio
plus
the
conductor,
in
a
way
to
show
him/her
the
way
of
playing
of
the
band.
Finally,
a
couple
of
complete
rehearsals
with
the
trio
plus
the
orchestra,
focusing
mainly
on
the
rhythmical
connection
between
the
two
groups.
38
Conclusions
Having
the
opportunity
to
arrange
for
such
an
orchestra
is
a
unique
experience,
for
this
reason
I
wanted
to
build
a
real
concert,
with
real
musicians
and
deadlines,
to
be
involved
in
a
real
life
situation.
I
spent
four
months
to
write
Jazz
Para
El
Autismo,
and
during
this
time
I
had
the
chance
to
see
an
evolution
of
my
approach
to
the
arrangement
process,
and
at
the
same
time
also
to
my
stylistic
way
of
playing,
being
more
aware
of
all
the
aspects
of
a
music
performance.
I
had
also
the
wonderful
chance
to
meet
one
of
my
heroes,
Vince
Mendoza,
and
to
take
some
suggestions
and
ideas
about
jazz
orchestra’s
thinking.
Working
then
with
more
than
forty
musicians,
being
responsible
for
them,
being
able
to
make
hundred
of
decisions
on
the
spot,
during
the
rehearsals,
has
been
for
me
a
music
and
a
life
lesson.
Now
I’m
more
aware
of
my
possibilities,
my
capacity
to
take
decisions,
and
I
learned
that
the
first
step
to
be
a
successful
musician
and
arranger
is
to
have
a
clear
idea
of
what
is
going
to
happen
in
every
moment
of
the
performance,
and
how
this
influence
the
perception
of
every
musician
on
stage.
Furthermore,
I
learned
to
be
in
command
of
any
kind
of
unexpected
situations
that
might
happen
during
a
jazz
concert,
finding
a
way
to
solve
it,
not
only
as
a
musician,
but
also
as
an
arranger.
39
Bibliography
Berliner,
Paul
F.
Thinking
in
jazz:
The
infinite
art
of
improvisation.
Chicago:
University
of
Chicago
Press,
1994.
Feather
Leonard
and
Ira
Gitler.
The
Biographical
Encyclopedia
of
Jazz.
New
York:
Oxford
University
Press,
2007.
Gridley,
Mark
C.
Jazz
Styles:
History
and
analysis.
Upper
Saddle
River,
NJ:
Pearson,
2012.
Mahler,
Gustav.
“Symphony
n.
10”.
[1910].
Österreichische
Nationalbibliothek,
MS
Mus.
Hs.41000,
retrieved
on
June
28,
2015,
International
Music
Score
Library
Project,
imslp.org
on
28
June
2015.
Webography
Wikipedia,
“Paul
Whiteman”.
Accessed
20/06/2015.
https://en.wikipedia.org/?title=Paul_Whiteman#cite_note-‐redhotjazz.com-‐1.
The
Biography.com
website,
"Fletcher
Henderson".
Accessed
Jun
25,
2015.
http://www.biography.com/people/fletcher-‐henderson-‐9334611.
The
Biography.com
website,
"George
Gershwin".
Accessed
Jun
25,
2015.
http://www.biography.com/people/george-‐gershwin-‐9309643.
The
Biography.com
website,
"Duke
Ellington".
Accessed
Jun
22,
2015.
http://www.biography.com/people/duke-‐ellington-‐9286338.
Gil
Evans
website,
biography.
Accessed
Jun
25,
2015.
http://www.gilevans.com/Home/About.
Music
base,
"Claus
Ogerman".
Accessed
Jun
25,
2015,
http://www.mymusicbase.ru/PPB/ppb19/Bio_1929.htm.
Vince
Mendoza
official
website,
about
Vince.
Accessed
Jun
25,
2015.
http://vincemendoza.net/about-‐vince.
Metrole
Orchestra
website.
Accessed
on
14/05/2015
http://www.mo.nl/en/the-‐orchestra.
40
Media of
