Writing a Sax Soli DEMONSTRATION - Big Band Arranging SECRETS REVEALED

In this lesson I show you how I orchestrate a saxophone soli. This is actually how I do it... in real time. This 8-bar soli took about 35 minutes to orchestrate. I am only slightly faster than that when I am writing on my own (without narration).
Watch as I harmonize the melody using closed voicing, choosing passing chords, etc. Then hear me talk through my considerations for choosing a particular open voicing.
Elliot Deutsch is a composer and arranger of big band music in Los Angeles, CA. His arrangements and orchestrations have been performed and recorded by Arturo Sandoval, Martina McBride, Big Phat Band, Take 6, and many others. Deutsch's collaborations with electro swing producer Atom Smith have been streamed over a million times on Spotify. As a freelance trumpeter, Deutsch has toured with Solomon Burke and The Mutaytor, and he performs regularly with the polka band Die Sauerkrauts and the party band That Vibe.
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Watch all of the other lessons in the series: • Big Band Arranging SEC...
If you are interested in private arranging lessons over Zoom, send an email to: [e-mail]
All of the background music was recorded by the Pandemonium Big Band.
#saxophone #jazzband #composing

[@SharpElevenMusic]

This man can write stunning sax soli's peeps! Way to go Elliot, love it! I think you by the way own the official Word record for longest sax soli arrangement on the Charlie Parker "Cherokee" soli arrangement 🔥🔥😂. You should apply to Guiness World Records imho

[@PandemoniumBigBand]

Lol! Let’s do an even longer one.

[@shirleyfrancis4515]

Is a recording of Cherokee available to listen to, please?

[@PandemoniumBigBand]

@@shirleyfrancis4515 Yes. It's on the @sharpelevenmusic channel.

[@mikevirtualteacher]

Hi Elliot! Great video again! I really appreciate what you do. You asked if this format was what people wanted. Yes, I’d say that the “looking over your shoulder” while you do the writing along with you talking is great for me! It teaches us what you end up doing that also the thought process behind it and that is incredibly helpful! Thanks again!

[@spudsmith]

Honestly I learn way better by watching the process in real time like this, because I'm able to pick up on tiny details you might not even be aware are noteworthy for a beginner. It's invaluable! I'd love more of this type of video please Elliot!

[@PandemoniumBigBand]

I am so glad to hear that. I’ll definitely do more of these.

[@Thouveninpascal]

@@PandemoniumBigBand Something not difficult, that is not jazz arranging.

[@krytothenseld7376]

Fascinating! As a tenor sax player long ago, I always wondered how arrangers handled the sax (or any) soli. This is brilliant!

[@joeabbo8113]

Excellent tutorial...

[@Salsuero]

Always interesting to see how different arrangers decide their voicings. For me, I might have experimented with putting the bari "strategically" on root notes or bass doubling at key spots because I like to showcase the richness of the bari's low end, even in soli sections. I know it's very commonly just doubling the lead alto down an octave, but I tend to like hearing the bari more than just as an unoriginal bit of extraness. Landing him on that Db was a good option... although, I might have given him a full or partial run with the rest of the saxes, having him diverge on a descending line at the end to hit that Db. Sometimes I will omit the bari in parts of the runs just to give the player a bit more breath since it takes so much out of them to play that horn. Nice seeing you in action.

[@Thouveninpascal]

This guy is NOT an arranger.

[@Salsuero]

@@Thouveninpascalwhatever you say, bro.

[@rileyslate2969]

Great video!

[@jenniferkim4890]

Thank you!! This was so helpful and reminded me of other voicings besides closed voicing as I write a million rushed Christmas sax solis tonight, for tomorrow rehearsal :D DEFINITELY will be subscribing!!

[@tylerpedraja6049]

Just wanted to let you know that your videos have really helped out my orchestrations. I mostly write orchestral, but a lot of the same concepts still apply. Thanks!

[@PandemoniumBigBand]

Happy to help!

[@pwongau]

Thanks Elliot, like this application example format.

[@JamieStrowhiro]

This was awesome! The likelihood of me ever having to arrange a sax soli is very small, but there's definitely stuff I can apply to my own percussion arrangements.

[@PandemoniumBigBand]

That's killer! Thanks for watching. Go bruins!

[@eriksimpson5070]

Extremely helpful!

[@KrystofDreamJourney]

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

[@ZehNettoOficial]

Fantastic! Thank you so much!

[@joaomenegalebarbi1586]

Yay, Elliot video!

[@PandemoniumBigBand]

Yay, Joao comment!

[@jackhalsey242]

Great video

[@arataka57]

Where have you been?

[@ayo1126]

Could you do a video on big band/ jazz virtual instruments? I would love to hear your recommendations if you use any at all

[@juliansanudo-kretzmann2497]

Great video! I gotta say, I’m very confused by the way you get the drop 2. I find it way easier to put all four parts in alto one, use filter to select 2nd note and drop down the octave, copy and explode to all parts. Good on ya if you prefer your method, but thought it’s worth mentioning.

[@PandemoniumBigBand]

That is a great way to do it too. I don’t usually orchestrate on a single staff then explode because seeing it that way obscure the internal voice leading. But if you are used to reading in that way, that would certainly be easier!

[@juliansanudo-kretzmann2497]

@@PandemoniumBigBand that makes sense! I’m a pianist and always write at the keyboard. Plus I always have to go through the individual parts and deal with repeated notes and melodic interest in the inner parts.

[@spmathetron]

I'm starting to get it sounding okay all together, but I still worry about some of the inner parts sounding stupid when isolated. Is this just the nature of the beast, or will it get better with more arranging experience? As a bari player I'm kind of spoiled with soli parts because it's either the melody or something else cool. I'm making sure to avoid repeated notes but I still feel lile the tenors get a raw deal on solis 🥵

[@PandemoniumBigBand]

If the voice-leading is solid, then the inner parts will sound OK. They don’t need to be as melodic as the lead though

[@Thouveninpascal]

That guy is NOT an arranger. The first chord is WRONG, a "Bb9" , which must be a dominant Bb with a natural 9 so a Bb7.9 , has a Db leading note.., the harmonization of saxes chord is (from bottom to high) Bb- C- Db- F- Db, so a Bbm9 , with a Bb on the bass who plays a D natural.. No need to keep on, that's bullshit, nothing else. And all the ignorant comments here who find that marvelous... 11,6 k followers for that? Stupid, empty.

[@PandemoniumBigBand]

What?

[@nou6990]

oooooor maybe he simply mistyped one note in the first chord?

[@seandixon4612]

This is exactly what I need to kickstart my big band writing! Thank you Elliot!

[@PandemoniumBigBand]

Thank you! The best way to kickstart your big band writing is to get writing!

[@patrickgazard8582]

Great video, especially the stuff about using dim 7th chords to avoid repeated notes etc, but I am interested as to why you don't use the 'note input' 'explode' function for the original closed voicing - 4 part right hand/ treble clef which you then copy to the top 4 parts, then double the bari down an octave - I find it much quicker (but I am a keys player so that is my instinct!)

[@johnbirkby2913]

It's great to hear you hit a "problem" then articulate what it is and then mull over a (possible) solution. That is more useful than seeing/hearing the polished article (for me at least!)

[@PandemoniumBigBand]

I’m glad to hear that. That was my thought too

[@alanhowell3646]

In bar 7 triplet quavers you have the root on the top but notice you use the 5th on 2nd voice rather than the 6 or 13th as in your closed voicing lesson? I assume the two are interchangeable

[@RyanHannaMusic]

this is industry standard software but it sounds like ass lol

[@alexdfries]

Very informative video! I was wondering how you created the chord progressions and the process for how you picked those chords, as that is the one thing that has left me clueless on arranging.

[@impresariat1311]

Hi, Elliot. Can You make video that show how you arranging a parts of brass section when Vocal is singing. What they can play?

[@alanhowell3646]

Fantastic Elliot. So grateful to you for doing this. This is such a valuable lesson that answers lots of questions for me.

[@Music_Lad]

Voted "Sax-iest Man Alive" brilliant 😂

[@zackrickabaugh5456]

I absolutely love sax solis

[@PandemoniumBigBand]

Me too!

[@AcevedoDMA]

❤

[@omarreroch]

This is a great method for learn.

[@KrystofDreamJourney]

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

[@PandemoniumBigBand]

Thank you! I need to make more of these demos.

[@Prawno2]

That was interesting but would it not be better to play in your full closed chord voicing on the alto 1 line by keyboard then just cut and paste each note to the appropriate line. Maybe no good if you don't play keys but it would be easier and a lot quicker than trying to read a note that fits individually.

[@PandemoniumBigBand]

If that works faster for you, then do it that way!

[@gilevansinsideout]

very "Saxy"! :D

[@PandemoniumBigBand]

Oh yeah!

[@decidedlyDusty]

While I’ve learned so much from you and your channel, this is my favorite of all your videos. Seeing your process and decision making in real time was so helpful. Nice soli, great video, thanks for sharing your process and knowledge!

[@Mikejkcjla]

Hi Eliot, what do you think about writing a descending chromatic scale on the baryton part to end on the low D flat ? It would create a counter movement.

[@straightaheadsamples]

Very nice!

[@benedito_mp]

This is amazing! I learned so much from this video. Really liking this format

[@markmetzler9108]

Probably more than my little cranium can retain as a one time view, but fascinating to watch. That was fun.

[@I_M_Nonno]

Why are the tenors and bari written in bass clef?

[@PandemoniumBigBand]

Why not? They only display that way in concert pitch. When I hit the transpose button, they switch to treble.

[@I_M_Nonno]

@@PandemoniumBigBand For you no problem. Seems to add another level of complexity for us nubs to have to deal with. I understand the process, just wondered if there was a reason

[@AlmaLibreStudios]

Awesome Big band tutorial as usual! Thank you and please keep posting these!

[@PandemoniumBigBand]

Thanks! Will do!

[@straightaheadsamples]

The repeated note problem in bar 5. I might've thought of the F (&of2) as V7 of Ebm7, so Bb7. So, that chord is (top to bottom) F-D-C-Ab. Then 2 Ebmin11's. Beat 3 = Eb-Bb-Ab-Gb. Then &of3 = Db-Ab-Gb-Eb

[@PandemoniumBigBand]

Good solution! There are tons of great ways to get through that figure. I like yours!

[@PandemoniumBigBand]

Also, I could have used some better samples for that demo!

[@straightaheadsamples]

@@PandemoniumBigBand Oh yeah, finalizing them as I type! Start counting down.

[@jimrunfola]

Great video, thank you!

[@MikeJamesMedia]

Interesting and solid techniques,Elliot. Thank you!

[@PandemoniumBigBand]

Glad you enjoyed it!

[@shirleyfrancis4515]

Have you any easy arrangements for sax quintet please? Maybe A,A,T,T,T, or A,A,A, T,T. Or something for optional sop lead, or even tenor lead as a feature? Many thanks

[@PandemoniumBigBand]

I've never written for those combinations. BUT if I were to write for AATTT, I would use the exact same voicing techniques. I would need to take special care not to write 3rd tenor too low.

[@GabrielBalderas]

Love your channel! Thanks for share!

[@PandemoniumBigBand]

Thank you!!!

[@luizcadu]

A former teacher I had (an amazing arranger and trombonist) used to say that changing the voicing technique in the middle of a phrase sounded like when a boy is becoming a teenager and his voice "cracks" while he is speaking lol. But he said there's not problem if there's a leap in the melody as wide as a perfect 4th or wider.

[@PandemoniumBigBand]

That’s a great tip. I agree.

[@jumpbass]

This was a super helpful video. I'm in the process of writing for small band (Tpt, Alto, Tenor, Bone, Tuba) and have been struggling getting some of the voicings right.

[@PandemoniumBigBand]

The trickiest part is keeping all of the instruments in the correct ranges. That will probably help determine which type of voicing to use.

[@juleslaborie9319]

Thank you for these valuable tips ! Could you make a video for writing trumpets soli and trombones soli too ? Or else do you have to use the same harmonization techniques as for the saxophones soli ?

[@PandemoniumBigBand]

Great idea. I’ll do another section next week.

[@grumble2009]

Love this! Thanks for showing us how the magic is made! Maybe contrary downward sixteenths in the bari for beat four of bar 8? Or does that just make it too busy?

[@PandemoniumBigBand]

I don’t tend to write contrary motion very often, unless I’m writing for a large effect. It might sound good here. Worth a try.

[@douglasbradley7244]

Thank you Elliot for another great video! I learn so much watching you work. It is also fun picking up tricks using Sibelius.

[@PandemoniumBigBand]

The goal is to let the software fade into the background so you can focus on the tricky stuff... the arranging! Unfortunately Sibelius (and the other software) takes years to learn.

[@philipvangalen4838]

Great video, I just learned a lot. One question. About halfway, while trying to avoid repeat notes, you say "I could do voice crossing but I hate voice crossing". Can you please explain why this should be avoided?

[@PandemoniumBigBand]

Cross voicing is difficult for the players to sightread. Also, the inner parts won’t have the same contour as the lead line. I usually only use cross-voicing in very dire situations

[@philipvangalen4838]

@@PandemoniumBigBand Clear, thanks!

[@tritonefreeze4058]

At 17:47, I would move the 1st tenor’s beat 3 to an Ab. Then I would move the 2nd tenor’s beat 3 to an F and move the “and” of 3 to an Eb. I guess that would make beat 3 sound like an Ab6 or F-7 chord, then the “and” of 3 an Eb-7 without the 9th. I’m not sure how good it would sound, but it’s one way to avoid the repeated notes.

[@PandemoniumBigBand]

I suspect it would sound amazing. Even at this slow tempo, the particulars of the non-chord harmonies are difficult to discern.

[@Erschophone]

Tritone: Before proposing this exact same solution (Ebmi9-Fmi7-Ebmi7) I scrolled down to see what others were suggesting: evidently we were on the same wavelength. But for me, the best thing about Elliot's solution is that it permits the 'target' chord on the & of 3 to be harmonized as a Ebmi9. I also liked his double diminished as well which lead to a Ebmi9. Fans of Oliver Nelson could/would have used an Ab∆ voicing on the third beat (with the non-diatonic "G" natural). Of course, using such a technique would require a similar sound everywhere else and is not a good solution for this very tonal context.

[@ALMAR-Music-Ltd.]

it would be nice if you did this IN CUBASE with the SCORE editor using the five Saxes from audio modeling- SWAM. having a more authentic sax section sound based on your harmonies can add a little bit of spice to your video.

[@leonli7394]

Amazing work! Learn a lot!