Great stuff!

Great video - really informative. However, some of the copywrite lawyers can be vicious, according to what I have heard.

Outstanding

Hi Elliot, I'm waiting for the video on how to write the guitar parts, in the meantime I'm going back to listening to the wonderful Pink Sunset. Thanks.

Hi Elliot,Your videos are fantastic. I have done a lot of playing in Big Bands both pro and semi pro and all types. I was wondering the music you play is it a live band? Or a sample library as it plays the idiom very well. If it is a sample library would you be kind enough to let me know the name. Writing for big band in Note performer is so wooden.

You're the best! I'm studying jazz and I'm super interested in writing for big band but it's hard to find clear, comprehensive information about big band writing and arrangement! Your channel is a goldmine, thank you!

Subscribing. Orchestral composer with lots of experience here who's looking to learn about the mysterious world of jazz writing and arranging. Thanks for sharing your insights. : )

Hey Elliot, thanks again for these fabulous videos. I'm currently working on my 2nd big band chart. When I have a question, I refer to your videos and there is the answer.

I think now with the release of the album "Like a Tree it Grows" it’s worth adding to this list Ingmar Thomas' Revive Big Band

The Girl Has Emphysema 😁

Thanks a lot Elliot, this is really helpful. My arranging teacher won't let me attend his class anymore because instead of doing the homework (like counterpoint excercises) I just make big band arrangements for the band I play in myself. Your videos teach me everything I need to know. I have a question: I can't seem to find parts two and three of your series, neither on your channel nor on your patreon. Am I searching incorrectly or are they not available at all? All the best!

Hey Elliot! Thank you so much for doing this, you've helped me a lot in my journey of arranging. I have a question: If I need to harmonize a passing chord of Dm9 over a G7 and I have A on the main melody, so I had to put F (The 3d) on the second alto. If I would write the 9th (E) for the 1rst tenor, I would have a dissonant minor 2nd between voices, and if I avoid the root and went 7th (C) for 1rst tenor, I need to put the 6th (B) for the 2nd tenor to avoid the octave with de main melody, and have a minor 2nd anyways between the tenors. Which is the correct voice in this case? Thank you again and greetings!

Hi Elliot! How would you harmonise a note thats really low in first trumpet, (such as a D in a Bb maj 7 chord)? Great video!

speaking of thad jones, lol... would you ever make a video analyzing the way he arranges for big band? or perhaps others, like duke, nestico, etc.?

That was fun! Thanks!

WOW!!! WOW!!! WOW!!! WOW!!! I just stumbled on your content today... where have you been?? Your arrangements are so fresh and intriguing... I'm a retired band director and wannabe jazz trombonist... your charts make me want to get out my horn, but I have to bow my head to Erik!!

Great stuff Elliot. Kind of like the (K.I.S.S.) method - Keep It Simple Stupid. I learn something every time I watch your videos. Keep it coming. Thanks.

awesome video Elliott. This will help a bunch. Concise, clear, to the point!!! Bravo.

V7b5b9? Well, THAT was cool to get!

I arranged my first jazz band piece last semester. Thanks for this resource! My next one will be much better because of your input!

I learned from this one too. I love that you copped to not being able to hear the difference. Thanks for adding to my tool kit. 🙌🏼

This was helpful. Thanks!

I loved this lesson: Clear, succinct, useful. Thank alot! 🙌🏼

Excellent explanation of piano part writing . . .I think the most effective is chords/rhythm slashes. I like to work out my own voicings and often jot them into the stave myself. Another thing I find super helpful is listening to what's going on and playing some of those highly coloured notes at the right time . . .often the flat nine can be inserted as a passing note (for example) Why bang out the entire chord on beat 1? 8:46 . . so true.

I've been producing music for 20 years. Lately wanting to get into big band arrangements of our songs. Your channel is brilliant. Subscribed and looking forward to learning from you.

Hi! What program or app can I use to write hits on the top of the slash bars?

"It's not just for silliness, although it is a silly thing to do..."LOL

Very well done, thanks Elliot!

That is an amazing explanation! Thanks a lot!

Your ideas are great and very helpful. PLEASE get rid of, or turn down the background music, though, because it's hard to concentrate on what you're saying. Thanks!

Do you think you could do video on when and how to write with a DS and coda

Well, Well, Well!!! . . .I like the keep it simple approach. My pedigree is a whole lot academic and after 5 years of keyboards in a decent swing band, I'm ready to start some of my own arrangements. This really helped. I'm going to enjoy working through these and developing skills. Thanks!!!! Thank goodness for computer assisted notation . . .paper and pencil writing was soooo exhausting!!

In case anyone worndered how the full version of this turned out, here it is as part of the Desmond 100 year anniversary homage: kzbin.info/www/bejne/foHJfnV9epajrKc

Please pardon me as I tend to get nit-picky about chord symbols, but I do disagree on the G9(sus4). That could be confusing as when a rhythm player sees G9 they're immediately thinking G7(9). I think that chord is best written as F/G and pianists will add the D anyway. And even if they don't it's still in the brass and it's the least important note in the chord. Just an opinion!

This coming from a student of Herb Pomeroy, I'm up to my eyeballs in those rich tension-filled voicings that you tend to avoid! I always pick up something good on your videos. This one in particular I like the process you go thru in deciding where and how to use unisons and octave unisons. And switching from close to drop voicings. That long run of parallel voicings at the end is something I would not have thought of. I would be agonizing trying to write contrary motion lines underneath. Your writing is straightforward and effective. And the idea of dropping voices when the lead alto is high is kind of an answer to the available note voicings I'm accustomed to, a good alternative. That voicing with the #11 on the Ab7 is one I would have automatically voiced as an Ab7#11, but you found a more interesting solution. Thanx for broadening my horizons!

Very helpful. I use Sibelius and have not yet "graduated" to using a tablet of any kind. BUT, it's coming soon. I DO a lot of arranging tho and your perspective is wonderful. I appreciate your attitude throughout, too!

It's also really interesting because it not only has the B (Cb) / F tritone that calls for resolution, it also has the double chromatic approach towards the resolving chord like the Augmented 6th chord of classical music (which is just another fancy name for almost the same concept) which aims to target the V chord with the double chromatic approach, In this case : Db ---> C and B(Cb)----> C

🇧🇷❤

you're the best

Excelente Happy Birthday en Jazz !❤

Yeah, the dims sound great. 'Specially on the Db's in bars 2 & 7, which have a moody/bluesy chromatic vibe. Nice!

Yeah, definitely cut the background music. We're paying attention to what you say and show.

This is 🔥. Should have way more likes. Thanks for sharing your artistry with us.

I recall seeing a bunch of complex and fast-changing chords written in rhythmic notation on the piano part on some of Thad's stuff in my college days. I wouldn't try to play it for the reason you mentioned. (That was a great observation on your part.)

I hope you read this. I'm from Catamarca, Argentina, and it's very difficult to find where to learn these things here, so I really appreciate your content. Regards.

I hope you read this. I'm from Catamarca, Argentina, and it's very difficult to find where to learn these things here, so I really appreciate your content. Regards.

I like your use of "chromatic'' as a verb. One line was "chromaticing' to the next, I believe.

I am interested in your view to whether a shout chorus NEEDS a melody. Take your letter K in the piece that you use as an example here; there is interest but I don’t ‘feel’ myself whistling the tune there in the same way as your letter J

You are such a good teacher and composer, I like your videos very much.

Thank you thank you. I am new to your channel and appreciate this. You have no idea how much this helped me.