Altered Dominants - Big Band Arranging SECRETS REVEALED

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In this lesson I show you how I use alterations to spice up the dominant chords in my big band arrangements.
Support me in making lessons like this one by joining my Patreon: / pandemoniumbigband
Watch all of the other lessons in the series: • Big Band Arranging SEC...
Trombones (all 4 parts) recorded by Robert Todd, Jr. / roberttoddjr
Trumpets recorded by Elliot Deutsch
All of the background music was recorded by the Pandemonium Big Band (or Elliot Deutsch Big Band) and composed by Elliot Deutsch.
The Push: • The Push
Fake News: • Fake News feat. Mike R...
Pandemonium, Pt. 1: • Pandemonium, Pt 1 fea...
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#jazztheory #bigband #musictheory

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9 июл 2024

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Комментарии : 39

@brianmichaelfuller 2 года назад

These are some of the greatest teaching videos I’ve ever seen! And I’ve seen a lot!!! Well done

@PandemoniumBigBand 2 года назад

Thank you for the endorsement!

@SallyGreenaway 3 года назад

Great job, such a helpful resource for people looking to write more sophisticated charts

@PandemoniumBigBand 3 года назад

Absolutely right.

@MikeJamesMedia 3 года назад

Thanks, Elliot! I haven't been an active arranger in years, so these are always fun and interesting. Well done, as always.

@PandemoniumBigBand 3 года назад

Thanks Mike!!!

@MikeJamesMedia 3 года назад

@@PandemoniumBigBand I was a big Gino Vanelli fan when I was in high school, and it was all about the flat 9 with him. (or the "upper chromatic substitute". :)

@ColinDean1 3 года назад

keep em coming!

@PandemoniumBigBand 3 года назад

Working on it! I got busy last week and wasn't able to record one of these lessons. Figuring out how balance video production and paid work (arranging/performing/teaching) is tough and definitely presents a steep learning curve. Thank you for watching!!!

@thomaslongfellow4993 7 месяцев назад

Nice!!!

@ZehNettoOficial Год назад

Thanks again and again!

@alexeyaslamas732 2 года назад

Bravo! Very cool!

@ReedRobins 3 года назад

Nice work!

@PandemoniumBigBand 3 года назад

Thank you! Cheers!

@tooter1able Год назад

Elliot,. can you check the voicing on the G7#9b5 chord. You have Eb in the bones and a C# in the trumpets. Is that not a G9#5b5#9 chord???

@joedinunzio1200 3 года назад

Some things I'd be interested to hear about are arranging for a vocalist, articulations and ornamentations and dynamics.

@PandemoniumBigBand 3 года назад

Ooh. Great ideas. I’m adding all of these to my list.

@oletrenner 3 года назад

So very very helpful, thank you! Even though I play guitar your explanations hit exactly the right spot (for me)... I am hoping for more to come :) Cheers!

@PandemoniumBigBand 3 года назад

Thank you Ole! And thank you for your support on Patreon!

@michelrrr1 Год назад

In the #9 example (around 6:01), unless I'm wrong, trombones also play the minor third (Bb) instead of the written B natural.

@PandemoniumBigBand Год назад

It’s possible. I would have to go back and listen to the parts individually.

@richardwilliamsmusic 3 года назад

I love the examples! I feel like it sounds different than just playing it on piano for some reason. I also like b9 #5 the most. #9 to me I usually don't like.

@PandemoniumBigBand 3 года назад

Yeah. I don’t typically use #9 in dominant chords that function as V chords. But it is a nice option on occasion

@KiraPlaysGuitar Год назад

Me realising the #9 is enharmonic to the b3 almost broke my brain just now. Wow so... "minor major chords" min(maj7), is also very nearly a maj7 with a sharp 9 (depending on what's happening with the major 3rd). I've altered both the 3rd and the 9th when forming chords, without realising a sharp 2 and a flat 3 is the same damn note... That is kind of hilarious. Edit: "Altering thirds" sounds weird, and I guess I mean "minor 3rd", not a "flat 3", per sé.

@matt-darwin Год назад

To my ears the sharp 9 adds the most 'brightness' to the chord, whilst the sharp 5 always sounds darkest (especially when combined with the flat 9).

@arnaudbesson7464 3 года назад

Great video ! What do you think of using triads doubled lead for the trumpet section and spreads / block chord for the trombones ? Like a D major for the trumpets and C7 for the trombones ? Thanks !

@PandemoniumBigBand 3 года назад

That’s a great sound: C13#11. But I don’t usually use that one as a dominant chord. More of an ending chord.

@arnaudbesson7464 3 года назад

@@PandemoniumBigBand Thanks Elliot for sharing your knowledge with us, that's really helpful ! In fact the C13#11 chord really sounds like an ending chord. One that I really like also is the C7#5#9 chord, really tense and colourful !

@charleskleesattel6477 3 года назад

Do you have a way of categorizing the tension of chords? You mentioned that some of the altered chords are more tense. Do you use the different levels of tension to control the flow of an arrangement?

@PandemoniumBigBand 3 года назад

Yes. The big turnaround in the last A usually gets a good, very altered dominant.

@art.tarakanow Год назад

That is a great and simple explanation of using altered chords! I'll share it with my students. However I have to disagree with you on using major 2nd in the top two voices. If it's in the nice middle register for trumpets or altos it can add some thickness to the voicing even in more consonant chords. Like C6 a-g-e-c(or d) with a on the staff. Can you share your thoughts on why 2nds should be avoided in the voicings?

@PandemoniumBigBand Год назад

Honestly, that is what I was taught by Jeff Jarvis when I studied with him in conservatory. It’s also recommended by Sammy Nestico and Don Sebesky in their arranging books. Also, when I’m playing 2nd trumpet in a big band, I tend to miss partials (crack notes) when my notes get too close to the lead. Of course, it can be a nice effect occasionally… but it should be used deliberately, with the understanding that there are trade offs for voicing a section that way.

@art.tarakanow Год назад

@@PandemoniumBigBand Thanks! That's true, thirds work always - seconds only occasionally.

@KiraPlaysGuitar Год назад

So I wrote this out: b9 9 #9 10 11 #11 b13 13 #13 R b2 2 b3 3 4 b5 5 b6 6 b7 7 #2 #5 10 doesn't have to be there but you know, 10ths, spread triads 'n' that. Am I correct in omitting "b11"? I don't recall ever thinking of a b11, and after writing the chart, it makes a lot of sense why. I just want to make sure that's correct, before I confirm losing my mind 😅

@KiraPlaysGuitar Год назад

Using that chart, it's easy to see for example, 1 3 5 7 #9 #11 The #9 is enharmonic to the b3 and the #11 is enharmonic to the b5. It really exemplifies why playing the 3rd is important, otherwise what is the #9 without a major 3rd in context. ...right?

@KiraPlaysGuitar Год назад

Do we ever say #4 or #6? In other words, did I miss any, other than double sharps and flats?

@PandemoniumBigBand Год назад

We don't use #4 or #6. You occasionally see minor(add4) chords, but those are perfect 4s. I would stick to altering 5th and 9ths (and occasionally #11). It is useful to think about the others to see why we don't use them.