Hi Paul - glad you enjoy the mini-lesson! There are upwards of 200 full-length masterclasses and events on our website -- www.jazzcomposerspresent.com/archives - available to members. We're blessed to have had Bob Brookmeyer proteges such as Ayn, Dave Rivello, Darcy James Argue, Ed Partyka, Mehmet Ali Sanlıkol, and others present for the site. All of our live events end with a Q&A, so you can always bring a question to an upcoming event as well.
@@monsterjazzlicks There's a membership directly through the website itself - monthly and annual options, with different levels of access. www.jazzcomposerspresent.com/membership Reach out through the contact page if there's anything upcoming that interests you!
Hello, this was a great mini lesson. The clip from Dear John, may I ask what was the orchestration for that segment? I can hear a Bass Clarinet in the lower voice (I think), but not sure about the other instruments. Thank you Ayn and Jazz Composers Present.
Hi Jean! Thank you for your comment and checking out my mini-lesson. The orchestration is 2 clarinets (upper two voices), tenor sax (3rd voice), two fluegels (upper 2 voices) and a trombone (3rd voice). Hope this helps!
Please forgive my ignorance. I don't understand how the generated material relates to the arrangement beyond the first two half notes. For example, m65 has an A, F and B on beat one, but I can't find those notes or a transposed equivalent in her original material. Also, she stated that one should try and stay away from root position triads, but there is one at mm71-74. If anyone could shed some light on this for me, I'd be very appreciative. Thanks!
Hey Greg, thanks for the great question. To the second part, Ayn mentioned avoiding root position triads unless it makes sense to resolve to one. m71-74 is an Ab augmented triad with G in the bass at a resolution point. In this context I wouldn't consider it root position, and I think it makes sense. If you're interested Greg, we have full-length events on our website -- www.jazzcomposerspresent.com -- and they all end with live Q&As with the Presenting Artist. In this case, perhaps @ainserto can help us out with the first part of the question?
@@gregmilka7452 Thank you for your question and sorry for the delay in my reply. The "Dear John" Excerpt that I included is actually derived from a different 3-note collection exercise that I did. Sorry for that confusion as it is not in the example of the exercise that I gave (which is one I do use in teaching). The other thing as well is that the 3-note collection (as with any other material generating exercise) that I use is sometimes just a jumping off point; I may not use all the material that I initially did in the exercise, and sometimes continue with that concept while composing. As for the Ab augmented triad, JCP is correct that it doesn't count as a traditional root position triad as when inverted, it is just another augmented triad due to it's symmetry. And while I said that it is best to avoid root position triads (mainly major and minor), if it makes sense to occasionally resolve to one, then that is perfectly fine. Sort of like being on a diet and eating the occasional french fry. :-) Hope this helps and please feel free to ask more questions. Take care.
I would like to study more of this method but the video was too short. Is there more information available please?
Hi Paul - glad you enjoy the mini-lesson! There are upwards of 200 full-length masterclasses and events on our website -- www.jazzcomposerspresent.com/archives - available to members.
We're blessed to have had Bob Brookmeyer proteges such as Ayn, Dave Rivello, Darcy James Argue, Ed Partyka, Mehmet Ali Sanlıkol, and others present for the site. All of our live events end with a Q&A, so you can always bring a question to an upcoming event as well.
@@JazzComposersPresent Many thanks. Is it free to access them or do you need a patreon account? Much appreciated 👍
@@monsterjazzlicks There's a membership directly through the website itself - monthly and annual options, with different levels of access. www.jazzcomposerspresent.com/membership
Reach out through the contact page if there's anything upcoming that interests you!
@@JazzComposersPresent ok I definitely will do. Many thanks, Paul
@@JazzComposersPresent is Bob Brook Meyer on there as I couldn't see him listed?
Hello, this was a great mini lesson. The clip from Dear John, may I ask what was the orchestration for that segment? I can hear a Bass Clarinet in the lower voice (I think), but not sure about the other instruments. Thank you Ayn and Jazz Composers Present.
Hi Jean! Thank you for your comment and checking out my mini-lesson. The orchestration is 2 clarinets (upper two voices), tenor sax (3rd voice), two fluegels (upper 2 voices) and a trombone (3rd voice). Hope this helps!
Please forgive my ignorance. I don't understand how the generated material relates to the arrangement beyond the first two half notes. For example, m65 has an A, F and B on beat one, but I can't find those notes or a transposed equivalent in her original material. Also, she stated that one should try and stay away from root position triads, but there is one at mm71-74. If anyone could shed some light on this for me, I'd be very appreciative. Thanks!
Hey Greg, thanks for the great question. To the second part, Ayn mentioned avoiding root position triads unless it makes sense to resolve to one. m71-74 is an Ab augmented triad with G in the bass at a resolution point. In this context I wouldn't consider it root position, and I think it makes sense.
If you're interested Greg, we have full-length events on our website -- www.jazzcomposerspresent.com -- and they all end with live Q&As with the Presenting Artist.
In this case, perhaps @ainserto can help us out with the first part of the question?
Thank you so much! I appreciate you taking the time to help me out! All the best!
@@gregmilka7452 Thank you for your question and sorry for the delay in my reply. The "Dear John" Excerpt that I included is actually derived from a different 3-note collection exercise that I did. Sorry for that confusion as it is not in the example of the exercise that I gave (which is one I do use in teaching). The other thing as well is that the 3-note collection (as with any other material generating exercise) that I use is sometimes just a jumping off point; I may not use all the material that I initially did in the exercise, and sometimes continue with that concept while composing. As for the Ab augmented triad, JCP is correct that it doesn't count as a traditional root position triad as when inverted, it is just another augmented triad due to it's symmetry. And while I said that it is best to avoid root position triads (mainly major and minor), if it makes sense to occasionally resolve to one, then that is perfectly fine. Sort of like being on a diet and eating the occasional french fry. :-) Hope this helps and please feel free to ask more questions. Take care.
When composing with a rationalized system, always break the rules
First!
Winner! (Thanks for watching)