I love this arrangement of invitation, this sort of funk/hip feel brings such a new life to the standard. This key also remind me so much of the key invitation was wrote in for the airmen of note arrangement (which I'm pretty sure it is). But well done with this piece, you've really nailed it!
wow that was AWESOME!!! is there anywhere we can view your original manuscript? also did you get a copyist at the time, or did you hand write the parts yourself? would love to hear more!
Thanks so much! I do have the original manuscript - I'll think about making that available in some form. I didn't use a copyist - this was a chart for a class - pretty sure we had to write out the parts for a grade! I spent a lot of time in the 80s and 90s writing out parts by hand . . .
@@douglasleibinger8549 that's so cool! i myself also write everything by hand, including parts! ive been looking for a traditional copyist, but I've had no luck unfortunately
Hey, just curious, you talk about substituting a root note, and I'm not super familiar with that. I understand full chord substitution, switching the 1 for the 3, etc., But I'm unsure of which notes are the best for substituting a tonic note. It seems to me like you are often using the 9th? And you recommended the 11th in some circumstances. Along these lines, would the 13th and 7th also be good substitutions? You also refer to the 11th as a good substitute for the 5th, would that also mean that the 13th would be a good 3rd substitute? Or would you want to even substitute a 3rd?
So I was a student of Gary Lindsay at University of Miami - I highly recommend his book "Jazz Arranging Techniques" lindsayjazz.com/ - this video draws from his method heavily - regarding subs, he has a very useful table with specific subs for every chord type - but in general, 9ths are good subs for roots; we generally don't sub for the 3rd or 7th; 11ths and 13ths are good subs for the 5th - however, these all depend on the chord type. Hope this helps!
well explained - exactly the way I would have written it - to be super correct the #9 in the F7(#9) would rather be a g# 🤓 - however, every musician would prefer to read the a flat in such a situation :-)
Hi Douglas! Thank you very much for the video! In the third system, the E7alt voicing should be Drop 2+4? Because it's only in Drop 2. In Fm7b5 you take it as F#, it seems to me that it is not right. Sorry for my English
Good catches! Yes, the G# in the E7alt should be dropped to create a drop 2&4 voicing - also, I'm not sure how I wrote that F# on the F half-diminished - must have been tired!
I really appreciate you taking the time to record this video! giving examples and going into detail! This really helped me with my Jazz influence assignment for class!
