Arranjo - Cicinati
Arranjo - Cicinati
Arranjo - Cicinati
MARCH 1, 2008
Scott Belck
Rayburn Wrights text, Inside the Score, has become a standard reference for
professional arrangers and university arranging courses. In this text, Wright analyzes
jazz ensemble arrangements of three influential jazz arrangers: Sammy Nestico, Thad
establishes his place in the lineage of important writers connected to that ensemble, most
writing and orchestration, and should provide a useful foundation for studying his music.
ii
iii
ACKNOWLEDGEMENTS
I would like to thank Jim McNeely for participating in this project and for his
generous gifts of time, feedback, and music. The opportunity to study his scores first
hand has been a life changing experience, and has provided me with countless hours of
surprises, excited discussions with colleagues, and a deeper understanding of the creative
process.
His input and insight on all aspects of editing, analysis and music engraving have helped
shape how I think about music, not only on this project, but also for many years. I would
also like to sincerely thank my colleague, Ryan Frane, for his editorial assistance, his
critical eyes and ears, and his shared interest in this wonderful music.
I would also like to thank my reading committee, Alan Siebert, Rick VanMatre,
and Kim Pensyl, for their editorial assistance and encouragement throughout this process.
I am especially indebted to my advisor Alan Siebert, who as been my advocate for nearly
ten years, and to Rick VanMatre who has helped guide my musical path.
This work would not have been possible without the enduring support and
encouragement of my family. I would like to thank my parents for their patience and for
expecting the best of me. But mostly I would like to thank my wife, Elisa, the most
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v
CONTENTS
Melody....................................................................................................................8
Orchestration......................................................................................................... 10
Rhythm ................................................................................................................. 13
Dynamics .............................................................................................................. 13
Orchestration......................................................................................................... 45
vi
CHAPTER 5 ABSOLUTION ......................................................................................... 84
Orchestration......................................................................................................... 85
Rhythm ................................................................................................................. 89
BIBLIOGRAPHY132
EXTRA CREDIT...................................................................................................163
ABSOLUTION.....................................................................................................220
vii
CHAPTER 1
RATIONALE
In 1982, Rayburn Wright published a unique and valuable text titled: Inside the
Score.1 In this text, Wright transcribed and analyzed large ensemble compositions and
arrangements of three of the most influential jazz composer/arrangers of the day: Sammy
Nestico, Thad Jones and Bob Brookmeyer. This book has become a standard reference
for professional arrangers as well as for college and university level jazz ensemble
arranging courses. In the intervening twenty-six years, no comparable analytical text has
Composer Jim McNeely is at the forefront of the American school of large jazz
ensemble composition and arranging. This fact is highlighted by his current position as
the Thad Jones/Mel Lewis Jazz Orchestra). McNeelys association with the Vanguard
Jazz Orchestra (in the capacity of composer-in-residence) establishes his place in the
lineage of important writers connected to that ensemble, most notably Thad Jones and
Bob Brookmeyer (Brookmeyer was a charter member of the ensemble). Wrights choice
1
Wright, Rayburn. Inside the Score. Delevan, N.Y.: Kendor Music Inc., 1982.
1
of Brookmeyer and Jones music is a testament to their influence on an entire generation
of jazz arrangers and composers.2 Jim McNeelys music represents the next step in the
evolution of the music of the Vanguard Jazz Orchestra, and as such merits a closer
examination.
From 1998 through 2002 McNeely held the post of Chief Conductor and
composer/arranger of the Danish Radio Jazz Orchestra and his work has earned nine
Grammy nominations. In addition to the twelve albums he has recorded under his own
name, he has appeared as sideman on recordings led by major artists such as Thad Jones,
Mel Lewis, Stan Getz, Bob Brookmeyer, David Liebman, Art Farmer, Bobby Watson
and Phil Woods. His commissions include works for the Danish Radio Big Band, the
Carnegie Hall Jazz Band, the Metropole Orchestra (Netherlands), the West German
In 1997, the Vanguard Jazz Orchestra recorded Lickety Split: the Music of Jim
McNeely4 (New World 80534), an album that features some of McNeelys finest large
ensemble writing to date. Of the albums eight compositions, seven are McNeely
originals. The three works discussed in this document represent diverse compositional
approaches on the part of McNeely. Taken as a whole, an analysis of these works will
2
Wright was head of the Jazz Studies and Contemporary Media program at Eastman School of
Music, where he taught jazz arranging among other subjects.
3
Jim McNeely, "Biography," , http://www.jim-mcneely.com/ (accessed November 7, 2005).
4
Gary W. Kennedy, "Vanguard Jazz Orchestra," Grove Music Online ed. L. Macy,
http://www.grovemusic.com/ (accessed 10 February, 2004).
2
provide a useful overview of the compositional style of one of todays leading jazz
composers.
vehicle for alto saxophone soloist Dick Oatts.5 At first sight it is the most traditional
example of big band arranging. An examination of this piece will provide insight into
Extra Credit is a form driven piece that discards formal sections as new ones are
added.6 It too is an example of McNeely building a piece around a central member of the
ensemble, drummer John Riley. Rileys drum part is the central focus of the piece
from which hang different melodic, harmonic and solo sections, much like laundry on a
line.7 The analysis of Extra Credit also reveals some of the ways in which McNeely
reorchestrated.
The opening passage of Absolution was initially conceived from a MIDI keyboard
improvisation performed by the composer playing into notation software. McNeely then
expanded and orchestrated the initial improvisation into a complete composition for full
ensemble. As in the two other works, McNeely constructs this composition around the
5
Jim McNeely, Lickety Split, Music of Jim McNeely, p. 6 in the liner notes, New World Records
80534, 1997, compact disc.
6
Ibid., 4.
7
Ibid.
8
Ibid., 7.
3
Each of the three works studied herein will illustrate McNeelys approach to
conceived, in essence, as a fourth chapter to Wrights Inside the Score, and taken in this
context, should offer a valuable insight into the compositional and orchestrational
writing and orchestration and should provide students and teachers of arranging and
composition a useful foundation for studying his music. As in the Rayburn Wright text,
the reductions of the scores are presented with a minimal amount of explanation, often
leaving the reader to draw his own conclusions about how to best assimilate the devices
and styles of the composer into ones own writing. The final chapter examines some of
the overarching style characteristics that all three works share, and discusses how these
4
CHAPTER 2
This document is modeled after Rayburn Wrights Inside the Score,9 a ground-
breaking book that has served as one of the primary large jazz ensemble arranging
textbooks for twenty five years. Using a series of reductions, charts, and interviews
compositional process.
form, melody, harmony and style, overall dynamic and orchestrational contour, and
detailed discussions of vertical structures, instrumental voicings, and voice leading. The
various sections that highlight the composers unique approaches to melody, harmony,
orchestration, and voice leading. Wright uses the reduction as his primary tool for
flexible, allowing him to examine salient aspects of each. For example, he discusses
mechanical voicings found in the writing of Jones and Nestico that are simply not present
9
Rayburn Wright, Inside the Score (Delevan, NY: Kendor Music Inc, 1982).
5
dissonance as a separate subheading under Brookmeyer that is not included in the
The materials and discussions of Inside the Score are presented as more of a study
and listening guide than a theoretical treatise. Wright, while pointing out important
patterns and devices, leaves the reader to draw his own conclusions and applications.
arrangements: Absolution, Extra Credit, and In the Wee Small Hours of the Morning.
The reductions presented herein are an attempt to highlight some of the unique
facets of McNeelys writing style and to discuss how he finds creative approaches to
common writing challenges. In some cases, bass lines and some instrumental lines are
transposed by octave for ease of reading and to avoid excessive use of ledger lines. In
these cases, the reductions seek to illustrate prevailing harmonies and vertical structures.
editorial key signatures and/or key changes have been added to some of the reductions.
In these instances key signatures should help illustrate how McNeely is operating (often
almost entirely diatonically) in a new or temporarily superimposed key without the clutter
of excessive accidentals.
6
NOTES ON THE EDITED SCORES
manuscripts and Finale scores used for this document were provided by the composer.
Additionally, he provided copies of the individual instrumental parts that were copied
directly from the Vanguard Jazz Orchestra book with performance markings written by
the players. The scores were then entered into Sibelius music notation software, edited,
and reconciled with the parts and the recorded version. Part of the scope of this
document was to provide the composer with engraved and edited scores and parts.
7
CHAPTER 3
In the Wee Small Hours of the Morning (hereafter referred to as Wee Small
Hours) is a mood driven arrangement. McNeely uses a variety of melodic and harmonic
devices to give the arrangement a floating, otherworldly ambiance while always keeping
one foot firmly planted in the traditional framework of a solo ballad feature. Melodic
elements and developed fragments from the chorus and the verse are constantly recurring
Wee Small Hours is composed around the sound of alto saxophonist Dick Oatts.
It is the only composition on the album not composed by McNeely and, as such,
represents a good point of departure for study because it illustrates how McNeely
MELODY
McNeely deals with melody from two distinct vantage points. First, when
melodic material is presented, McNeely heavily reinforces and highlights it through the
use of extensive doublings, repetition, and orchestrations that present the melody in a
prominent fashion. Harmony parts are usually below the melody with sufficient spacing
as to not obscure the line, and McNeely seldom uses extreme dissonance, in the form of
minor ninths or half step intervals directly beneath the lead voice. While harmony
8
provides a great degree of compositional interest, it seldom gains prominence over the
melodic content.
The second way in which McNeely deals with melody is by using a series of
working and reworking melodic materials in a highly methodical and organized fashion.
McNeely uses the melodies of the chorus and verse as germ material for constructing
then develops material using many compositional techniques that are normally associated
with western art music or classical music. His use of these techniques is not
extraordinary in and of itself. Rather, it is his pervasive use of these devices that
permeates each of these works to a degree seldom encountered in the traditional realm of
between melody and counter melody (or equal melodies as the case may be) and even
more prominently between melody and bass line. Active and interesting bass movement
oblique motion among the various lines. In this respect, it would be fair to say that
McNeelys preoccupation with counterpoint makes his style closely akin to the highly
The first instance in which McNeely develops materials from the melody is in the
rubato piano solo at the start of the arrangement. The introduction is a variation and
polytonal re-harmonization of the final phrase or four measures of the melody. Using the
9
last four measures as an introduction is a standard performance practice in many
improvised jazz settings, and McNeelys choice of this material as an opening (and
eventually closing) statement is likely a natural byproduct of his career as a pianist and
accompanist.
ORCHESTRATION
through the extensive use of woodwind doubles in the saxophone section, which he lists
in the score as Reeds 1-5. Reed 1 is the solo alto saxophone and is the only part that does
not double on another instrument. Reed 2 doubles on alto saxophone, clarinet, and flute.
Reed 3 doubles on tenor saxophone, soprano saxophone (an unusual double for the
traditional tenor I book), and flute. Reed 4 doubles on tenor saxophone and clarinet
while Reed 5 plays baritone saxophone and bass clarinet, a traditional doubling.
The trumpet section switches between flugelhorn and trumpet either open or
muted. McNeely achieves colorful voicings by mixing and matching these various
trumpet options. The full ensemble passage (shout chorus) at measure 83, finds the
trumpets tripling the melody on flugelhorn, harmon and cup mutes. Only the third
The saxophone solo melody is placed in a range from third line D to E above high
C (written pitches), a very powerful register for the alto. This tessitura allows the soloist
to be easily heard above the ensemble. The highest written pitch in the lead trumpet part
is a high C#, not a particularly high note for a professional lead player. McNeely
10
maintains a warm ensemble sound throughout by keeping all of the winds within
The trombone section features none of the blended mutes heard in the trumpets.
The entire section alternates between open, cup mute, and tight plungers (a sound not
unlike a harmon mute for trumpet). As a section, the trombones function in three main
ways: as a four part open or close block voice, in independent pairs, and in a three way
voicing while the bass trombone rests or doubles the bass line (often with the baritone
saxophone).
trombone section is incomplete and unable to form a four-note voicing, such as when the
bass trombone is doubling the bass. In these instances, McNeely simply borrows a voice
from another section and places it within the voicing. The occasions when he uses this
device appear to be more from expedience than of a desire for that particular tone
combination or ensemble color. At no point are reeds or trombones used to fill out the
trumpet voicings.
arrangement. His voicings range from close position block voicings (some in drop-2 or
drop-3), to widely spread chorale style voicings, modal sounding parallel fourths and
formulized voicings such as drop-2 or drop-3 give way to a more linear approach in
which the movement of individual lines takes precedence. This is one way in which
counterpoint achieves primacy. Specific voicings and vertical structures are discussed
11
HARMONY AND VOICE LEADING
The melody to Wee Small Hours has been reharmonized through a process that
the result of a game I played in which I tried to keep the melody intact, but
McNeely establishes the mood of Wee Small Hours with a liberal use of
suspended or slash chords,11 also sometimes altered. Pedal points are prevalent as is an
By using pedal point and ostinato, McNeely creates a static harmonic canvas over
which he can exercise what often amounts to a modal approach to harmony. In other
words, none of the dominant structures resolve in a traditional functional manner (i.e. V7-
I). Both strict (chromatic) and diatonic (intervallic) planing are abundant, as well as
side-slipping harmonic shifts. As we shall see, these harmonic shifts almost always occur
in metrically weak positions (i.e. on the up beat and/or in the latter part of the measure)
and resolve chromatically. This is even more evident in Extra Credit which features
10
McNeely, Lickety Split liner notes, 6.
11
The term slash chord refers to suspended upper structure voicing over a bass note (e.g. Bb/F).
12
RHYTHM
that is typically tied inextricably to rhythm. One of McNeelys chief sources of variation
rhythms are constantly shifting and crossing bar lines. When the rhythm of a particular
passage is repeated verbatim (as is the case between the sections at measures 47 and 55)
characteristics. Wee Small Hours features several instances of McNeely using a hemiola
rhythm as a unifying motive. Subtle rhythmic variations and alterations highlight the
precision, interpretation and attention to detail inherent in the Vanguard Jazz Orchestra.
forthcoming discussions.
DYNAMICS
Dynamics are yet another aspect of composition over which McNeely exercises
deliberate and organized control. Writing for a high level ensemble such as the Vanguard
Jazz Orchestra, he is able to demand and receive a great deal of nuance, shape and color.
McNeely uses an extraordinarily high number of dynamic markings throughout all his
immediate decrescendo) shapes are prevalent with each dynamic level marked
13
specifically. As a rule, the ensemble exaggerates the dynamic shapes, often in ways that
give prominence to the dynamics over and above elements of harmony and melody. In
this respect, the dynamics may sometimes be considered a compositional device of equal
The soloist/improviser is the central focus in this arrangement. Every effort has
been made on the part of McNeely to showcase the personal instrumental sound of alto
saxophonist Dick Oatts. Melody statements are presented in a clear and uncluttered
fashion with harmony and counterpoint occupying significantly lesser roles. When the
improvised sections occur, the soloist is free to interact with the rhythm section in a true
quartet setting. The ensemble enters later with double time interjections that modulate
and help energize and propel the arrangement forward, but few true background
figures/pads are ever played during the solo sections. McNeely also uses this idea of
interplay or conversation between the ensemble and the soloist(s) as one of the major
14
Figure 3-1
Rhythmic values are sometimes halved in the final 4 measures, creating an eight
measure phrase.13
12
Chuck Sher, The New Real Book, Volume Two, ed. Bob Bauer (Petaluma, CA: Sher Music Co,
1991), 156.
13
Ibid.
15
ANALYSIS OF:
16
Figure 3-2
Wee Small Hours begins with a rubato solo statement in the piano (Figure 3-2).
On the downbeats of 1 and 3 the right hand supplies the missing third of the left hand
harmony, but otherwise both hands are harmonically independent creating a polytonal
texture that sets up and foreshadows the extended and altered harmonies heard
throughout the arrangement. The whole step movement in the left hand is also a
precursor of the rising and falling pad found throughout the arrangement.
The triadic material used for the piano introduction is a variation of the last line of
the song. The lyric at this point is time you miss her most of all. McNeely unifies the
17
Pedal points and ostinatos figure prominently in this arrangement. The Eb pedal
anchors a rising and falling figure that is first stated in the piano and subsequently in the
brass (trombone with trumpet 4) figures in measures 5-12. This figure is echoed in the
woodwinds at measure 17. The bass ostinato, a feature that figures prominently in this
arrangement, is doubled by a written drum part that creates an orchestral droning effect.
From a harmonic standpoint, McNeely often uses pedal points in the form of
ostinatos or rhythm section grooves beneath what is, in essence, a modal style of writing.
By maintaining a static or slow moving harmonic rhythm, McNeely is free to move his
The use of exaggerated dynamic shapes begins in measure five and continues
throughout the arrangement. This is one of the few places in which McNeely does not
sections while filling out chord voicings. This is the case when he uses trombones with
baritone saxophone (as in measure 54) or the saxophones with trumpet in measure 17.
The first countermelody (m.12) begins on unison Eb and expands outward into
full harmony by way of contrary motion. As the saxophone melody leaps upward (in
measure 13) the bass steps downward. This style of counterpoint is especially
18
Figure 3-3
3-3). This original counter melody is presented in the woodwinds (flutes and clarinet) in
octaves, a clear and strong way of handling the new melody that does not overpower the
solo saxophone melody. Although this new line moves above the range of the main
melody, the use of flutes and clarinet keeps it from over-balancing the saxophone solo.
Note the predominantly chromatic descent of the harmony/bass through this passage.
19
The brass pads feature close voiced chords in the trumpets with the trombone
voicing filled out by the addition of the baritone saxophone. The bass trombone doubles
the bass line. At this point, the trumpet voicings form complete seventh chords, primarily
7
in root position (with the exception of the Ami that is in third inversion for smoother
voice leading). Although there are a few internal half and whole step grinds, the vertical
structures in measures 13-16 contain numerous major 7th intervals as well as a minor 9th
(generally avoided) within the trombones. The internal interval of the minor 9th is a result
of the distance between the roots of the F/E slash chord. The phrygian nature of this
structure makes the minor ninth sound less harsh than it might in the context of a standard
tertian voicing, especially since the voice leading moves smoothly to a consonant
20
Figure 3-4
At measure 17 the pedal point resumes and the rising figure is transferred from
the trombones to the saxophones (Figure 3-4). Trumpet 4 is voiced within the saxophone
section to fill out the harmony beneath the solo alto melody. These measures are a re-
orchestration of a similar figure in measures 5-12 which uses the trombones and fourth
trumpet, creating shapes that unify the entire arrangement. For effect, McNeely
introduces an additional ostinato in the pianos right hand consisting of alternating upper
21
Figure 3-5
motion and planing within a simple counter line (Figure 3-5). Beginning from octave
Gs, the saxophones and trumpets move into close voiced chords (saxophones spacing
is in three parts with spacing similar to drop 2 momentarily) and descend primarily by
whole steps into the B minor chord in measure 21. The lead line produces a whole
tone effect. At this point, McNeely is more concerned with linear motion and smooth
voice leading than maintaining fixed vertical intervals. The substitute chords move
22
The alto saxophone solo begins above a tag that reuses the introductory material
and results in 4 consecutive measures of Eb pedal over which the soloist plays. Using
this material as a transition achieves two things. First, it unifies the arrangement by
providing a reference point of familiar material. Secondly, it obscures the start of the
new chorus (at measure 28) which contributes to the impressionistic atmosphere set up to
this point.
As this arrangement progresses, the interplay between the quartet and the
ensemble becomes more and more active. Both In the Wee Small Hours and Absolution
feature significant passages during which improvising soloists trade off with the full
ensemble. As the ensemble portions modulate upward and increase in dynamics and
energy, the intervening solo sections gather momentum and intensity constantly
propelling and energizing the music. During these times, the ensemble passages also
tend to shorten, heightening the effects of the dynamic and orchestrational crescendo.
23
Figure 3-6
augmented chords, sharp nines and elevens (Figure 3-6). Most of the harmonies in this
chorus contain either an altered fifth, a raised upper extension, or function as slash chord
or suspended 4th. All of the major and dominant chords are both extended and altered.
Harmonic rhythm is at least two chords per bar, though the pedal sections provide a more
static feel.
24
Figure 3-7
25
Figure 3-8
major to Db major (Figure 3-8). This is the only arrangement of the three studied, in
Whole step and half step grinds are common throughout the ensemble voicings,
but the open fifth voicings in the trumpets are uncommon and modern sounding. The
open/parallel fifth motion in the trumpets is softened by the tenor saxophone, which
supplies an internal voice that forms a series of triads and interval sets as the passage
continues. Three of the woodwinds, the tenor, alto and soprano, form a shell that shares
the exterior voices (open fifth) in unison with the trumpets. The trombones move in a
26
series of incomplete and open shell voicings that often include a doubling of the bass as
While the full ensemble moves in a double time hemiola rhythm, the passing
chords and vertical structures are quite basic and predominantly diatonic. The augmented
sonority (F/Db) in measure 48 occurs on the fourth sixteenth of beat two and resolves
after less than a full beat. So when the rhythm and voicing become complex, the
harmony is relatively simple and consonant. This is one way McNeely highlights the
swinging nature of the ensemble while supplying a fresh and open tonality as the
simultaneously (in this case rhythm and voicing), one basic musical element remains
highly complex level while maintaining a relatively high degree of accessibility and
listen-ability.
27
Figure 3-9
In measure 51 the trombones begin one of the few background figures found in
this arrangement (Figure 3-9). This relatively traditional passage is based on a functional
progression and shows a different intervallic spacing from note to note. The spacing is a
mixture of close voicings14 (mostly stacked 3rds with some occasional 2nds and 4ths) and
open voicings15 (spread to include two or more intervals of a 4th or greater). In measure
7b5 7
52 the 7th of the Fmin does not resolve, as one might expect, to the 3rd of the Bb chord.
Instead, it jumps down a 4th and back up again to the #9 not exactly linear movement.
McNeely fills out the section by adding the baritone sax for one chord prior to the
modulation into measure 55. On beat four in measure 54 the rhythm section and soloist
have Ab7 notated while the trombone harmony is voiced as Eb min9/Ab (or Ab9sus4). The
14
Wright, 184.
15
Ibid., 185.
28
voicings in this passage provide the 3rd and the 7th of each chord but may or may not
McNeely uses background figures sparingly in this arrangement. The soloist and
rhythm section are free to interact without the constant interjections of other horns. This
creates an intimate quartet setting that makes the intermittent ensemble passages even
more effective. Wee Small Hours, Absolution and Extra Credit all feature extensive
sections in which the soloist and rhythm section work outside the framework of the entire
ensemble. This allows the musicians for whom McNeely is writing to have the
clashing with written ensemble harmonies or rhythms and without having to play over
29
Figure 3-10
Figure 3-11
McNeely reuses the hemiola based melody from measure 47 (see Figure 3-9) in
measure 55, transposed up a semitone (Figures 3-10, 3-11). The first two measures
return exactly the same, however the subsequent two measures (which now include the
saxophones) are entirely different. Each time the figure returns, its orchestration is
treated slightly differently. Inverted versions of this figure also appear toward the end of
the transitional interlude leading up to the ensemble or shout chorus at measure 83.
This type of developmental treatment is typical of each of the three scores discussed in
this document.
30
The fall at the end of measure 56 is originally notated as a sixteenth, but the
Vanguard Jazz Orchestra phrases this note as a sixteenth tied to a half note, falling off on
beat 3.16 This exaggerated interpretation of falls has sometimes been called a Full Earl
in honor of Earl Gardner the former lead trumpet of the Vanguard Jazz Orchestra.
As the improvised saxophone solo winds down, the arrival of measure 65 ushers
in a transitional, or interlude section in which McNeely develops a motive from the first
phrase of the songs verse. This interlude is constructed above rhythm section parts that
return to the materials of the introduction and initial melody statement (i.e. major triad
figures in the piano, orchestral drum part and bass pedal point).
arrangements (especially ballads), often serving the purpose of physically introducing the
singer to the stage (called a play on) and modulating to the key of the vocalist.
Arrangers such as Bill Finnegan, Jerry Gray and Ralph Burns often used these short
passages (often eight bars or less) to showcase some of their more modern, creative, or
16
This is notated as such in the appendix section of edited scores.
17
This statement is based on the authors observations and recollections of more than a year spent
traveling as a member of the Glenn Miller Orchestra (1991-92) and playing countless shows and dances, all
of which featured original vocal arrangements from these and other contemporary Swing Era
arranger/composers. These observations were confirmed in two telephone interviews (on August 22, 2007)
with established arrangers and authorities on jazz ensemble arranging and literature: Vaughn Wiester and
John Vermeulen, both of Columbus, Ohio.
31
Figure 3-12
The interlude at measure 67 is constructed upon a motive derived from the first
phrase of the songs verse (Figure 3-12). This passage features highly imitative writing
using the verse motive at various pitch levels. The seldom heard verse provides a new
source for compositional substance that manages to sound fresh while still paying
homage to the original. This motive is also used in imitation as the closing theme of the
18
Bob Hilliard and David Mann, "In the Wee Small Hours of the Morning," The Johnny Hartman
Collection (1947-1972), reissue, Hip-O 40137, 1998, CD.
32
Figure 3-13
33
McNeelys interlude features motivic development based upon imitation,
variation, and sequential transposition (Figure 3-13). McNeely moves his motives, which
function as extensions of the piano figures, freely above a static ostinato that moves from
The verse motives begin entering at measure 67 and are separated by one and one
half measures at first. The first three of these full statements occur either on the upbeat of
1 or the upbeat of 3. Gradually, as the frequency of the entrances quickens, the entrances
gravitate to all four upbeats. Each motive is presented in unison by an instrumental group
of three players of like tessitura (i.e. two trombones and tenor saxophone, three trumpets,
motive. The truncated motives coincide with the piano pattern shifting up a half step
introduces a descending retrograde line that is borrowed from the hemiola ensemble
passages at measures 47-50 and 55-59. As the motive phrases enter, their frequency
increases building up tension and creating motion toward the ensemble (shout) chorus to
come.
For the first eight bars of this passage the written dynamic never exceeds a
mezzo-piano. The energy and tension are created by a combination of increased melodic
34
Figure 3-14
In measure 76 McNeely uses the now familiar figure, only melodically inverted,
as a bookend that releases the tension built by the interlude (Figure 3-14). After the
ensemble descends chromatically into measure 79, the piano part regains the momentum
by shifting to a register two octaves above the earlier statements. The continuation of the
passage, in this manner, provides a satisfying rise and fall or undulation to the chart.
McNeely is constantly increasing and releasing the musical energy, before climbing up
35
Figure 3-15
The shout chorus at measure 83 is vintage McNeely featuring unique voicings and
includes flutes in octaves, and trumpets 1 (flugel), 2 (harmon mute), and 3 (cup mute).
Passing harmonies and vertical structures feature substitutions and secondary dominants
with a bass motion of predominantly half and whole steps. The inside nature of the
36
As before, the trombones usually provide the 3rds and 7ths of the chords. Trumpet
4 harmonizes beneath the melody primarily in thirds with occasional fourths. The
trombones and the other harmonizing instruments (such as trumpet 4, tenor and baritone
saxes, and bass), move in a very linear fashion with an emphasis on the melodic motion
Although this ensemble section is technically the climax of the piece, it is worth
noting that McNeely departs from the standard shout chorus model in several important
ways. First, the spacing is unusually open and much less dense than one might expect.
Second, the orchestration remains very light, the reeds do not switch back to saxophones
while the trumpets remain on flugel or muted. The trumpets also play this passage by
and large in the lower-middle and middle registers, thus functioning as an inner voice
doubling the melody an octave below. Third, the contrary and oblique motion in the
inner voices does not reinforce the melody in the way thickened line voicings (where all
voices move parallel to the lead voice)19 might. Fourth, the dynamic marking at the start
of the section is only mezzo-forte with only a couple of relatively brief crescendo/hairpin
figures.
It seems obvious from the above, that McNeely is not overly concerned with
creating a powerful (translated as high, loud, and dense) effect for this passage. On the
contrary, he is more interested in maintaining the mood of the piece and does so
effectively by resisting the temptation to write a bombastic, block voiced shout chorus.
19
Wright, 9.
37
Figure 3-16
Instead of relying on the upper extremes of dynamics and density, McNeely uses
rhythm to generate the intensity necessary for a satisfying climax to the arrangement
(Figure 3-16). The ensemble passage at measure 83 features classic McNeely rhythmic
development. McNeely uses rhythmic augmentation at the level of the quarter note
triplet to create an exaggerated laid back feel that results in three bar line shifts. Each
cell within the eight measure phrase is varied rhythmically. McNeely creates tension and
intensity in this passage by keeping the listener waiting for the phrases to resolve which
happens about a beat later than one expects. This approach to rhythmic writing is not
particularly idiomatic and therefore requires a very high level ensemble to execute with
38
When the final reprise of the melody returns in the solo alto saxophone, not only
is it a full step lower, but it takes place over a new piano figure that now descends,
mirroring the rising pads heard throughout the chart. Similarly, the saxophones (again
with an added trumpet voice) echo the opening pad only now descending.
The arrangement closes with a call and response of the opening verse motive
between cup muted trumpets (again working in a group of 3 players) and the alto soloist.
Here McNeelys logic is symmetrical, using the very beginning of the opening verse as
the ending, having started the arrangement with the last four bars of the song.
39
CHAPTER 4
EXTRA CREDIT
Extra Credit is an extended work for jazz ensemble (343 measures), not including
internal repeats for solos. The central organizing principle of this piece is an additive
form that discards prior formal sections as new ones are added. McNeely states:
For lack of a better term, I call it a moving rondo. It goes like this:
A B C X1 B C D X2 C D E X3 D E F X4 E X5 A
X is a II7 - V7 solo vamp, which is transposed up a whole step every time it appears.
The X vamp also provides the underpinning of the shout chorus. Each time a
section reappears it is orchestrated in a slightly different way.20
The ensemble sections are punctuated by a recurring modal solo vamp. McNeely
labels the solo section as X, which is transposed up a whole step for each successive
soloist.21 This upward modulation provides a similar lift as the rising half step
modulations that occur in Wee Small Hours. It is this form that compels McNeely to
20
Jim McNeely, Lickety Split, Music of Jim McNeely, p. 4 in the liner notes, New World Records
80534, 1997, compact disc.
21
Ibid.
40
counter melody to a reprised melody. In fact, it is the E melody which never returns,
not the F melody. It also fails to identify that a number of the solos begin prior to their
respective X sections. McNeely strictly follows the form only to the point at which his
musical sensibilities compel him to depart from it. We can take him at his word that
moving rondo is an organizing principle and not a hard fast formal template. This
results in several deviations from and additions to, the additive formula. First, since the
E melody is never reprised, the overall form is asymmetrical. This is perhaps the result
includes two newly composed sections (not included in his formal sketch) following the
final solo. These sections, a unison saxophone soli with trombone backgrounds and a full
ensemble (shout for lack of a better term) section, are no less important than those of the
additive form.
The unison saxophone soli at measure 287 takes place above a continuation of the
solo or X section, this time with several modulations. It provides a seamless transition
out of the solo section while maintaining a less intense, lighter and more forward moving
texture. The peak of the piece is at the ensemble section at measure 303.
The form is also the catalyst for a series of constantly changing orchestrations
while creating the necessity for newly composed theme material after each improvised
solo. Additive forms are rare in jazz writing, so Extra Credit starts from a fresh place
chooses to meet them on a large scale with expansive melodies, intricate lines, and
counterpoint.
41
MELODY AND COUNTERPOINT
discussion of the specific melody styles in Extra Credit at this point. Melodic
breakdowns and discussions are included with the reductions. It is worth noting,
however, that there are a number of general qualities almost all of the melodies do share.
First, with the exception of the A melody, they are all through-composed with very
little repeated material. Second, they tend to set up rhythmic patterns and/or motives that
are in turn developed and varied in the course of the given melody. Third, all of the
melodies contain degrees of stylistic sophistication and virtuosity that require a first rate
played against a highly rhythmic comping figure (voiced out for full brass and rhythm
sections) that is strong and interesting enough to be heard as its own independent melody.
As a general rule, McNeely seldom presents more than three separate musical
ideas at a time. One notable exception is at measure 103 where he has four discrete lines
played at once: Melody, flugel counter melody, saxophone and rhythm pad, and bass line
42
Table 4-1
brass a short 4 measure matching counter line (which also returns) enters at m.
108
5. m. 111 - D melody is presented in the bass and piano L.H. as a solo sendoff
151
43
10. m. 271 - F theme area returns at a diminished rhythmic ratio of
approximately 2:1 piano and bass play 2 beat ostinato during this sections
reprise
11. m. 287 - G section (which does not return) is a saxophone soli, played at the
12. m. 303 - H full ensemble section (chorus in close position block voicings
with saxes in drop 2 and 3 movement like a comping figure more so than a
melodic line
44
ORCHESTRATION
florid, or some combination of the two. All of the major melodic themes in Extra Credit
are presented in unison and/or at the octave. Perhaps the intricate nature of these
melodies along with the nearly continuous presence of counter lines/melodies persuaded
McNeely to avoid presenting his themes as harmonized multi-part melodies. Each major
formal section and its corresponding theme(s) and accompaniments are reorchestrated
upon their reoccurrence.22 When melodies return, they generally reappear in slightly
grooves and pads) that serve as the primary source for reorchestrated material. In this
From the outset, McNeely continues his model of presenting melodic ideas in
groups of three players, a common rule of arranging that helps ensure that a musical line
is clearly heard. It is safe to say that he that he finds three players to be the minimum for
the exposition of any content that needs to be heard (if not prominently so). The one
exception is at measure 111 where the piano and bass introduce the D section melody
in duet beneath the trombone solo. Comparative reductions of all of the reorchestrated
sections are presented alongside their respective expositions later in this chapter.
22
Actually, the A melody returns in the original orchestration unison and octaves, but only as
a shortened coda section.
45
HARMONY AND VOICE LEADING
complex way than Wee Small Hours. Wee Small Hours derives a significant portion of
its harmonic interest from its use of altered and extended (though primarily tertian)
harmonies, whereas Extra Credit features an emphasis on modal and post-tonal (or even
atonal) vertical structures. There are significant sections that function entirely linearly
with little or no regard for vertical structure (see introduction mm. 1-13 and the
standard voicing procedures (e.g. drop-2 and 3 etc.). What is interesting about his use of
these devices is the context in which he uses them and the way he quickly discards them
in favor of more linear voice leading as a section progresses. Also, because McNeely is
seldom working with a truly functional tonal progression, passing chords and
substitutions are sometimes chromatic but always with an eye on interesting counterpoint
between melody and bass movement. Voicings used run the gamut from two voice open
intervals, to three and four voice shells, to fully extended and inverted diatonic seventh
chords.
At the full ensemble chorus beginning in measure 303, McNeely finally uses the
entire ensemble in unison rhythm and close position block voicing. This traditional
concept sounds fresh because the listener has not yet heard the concerted ensemble used
in this way. A look at the reductions will show McNeely operating in a series of shifting
46
modal sections, but planing almost entirely diatonically with a significant number of
fixed voicings. This passage is a prime example of McNeely using layers of simple
As one might expect from a composition predicated upon the drummer23, rhythm
and rhythmic development are two of the most important facets of Extra Credit.
McNeely utilizes a diverse rhythmic palette that ranges from the very simple (e.g. a
recurring quarter note hit on beat 4 that occurs in over 25 percent of the measures) to
four different independent meters. There are also instances in which McNeely deals
All of Extra Credits melodies are rhythmically active and stylistically diverse.
Some of the melodies feature bebop-style syncopation, others have a straight eighth or
latin implication, while still others explore and develop rhythmic motives and hemiola.
These rhythmic melodic lines and counter lines are supported by a similarly varied
collection of grooves and vamps that lay a more basic and repetitive, though highly
rhythmic, foundation. It is in this area that the relationship of McNeelys writing and
John Rileys drumming is perhaps most obvious especially considering that, other than
the initial eight bar introduction, there is no dedicated solo space for the drum set in the
entire work.
23
McNeely, Lickety Split liner notes, 4.
47
McNeely also uses the groove from the solo sections as a unifying element.
Although the solo section never returns in the same key, the underlying rhythm section
vamp over which each soloist plays, provides a common thread throughout the work. In
spite of the modulations, the returning vamp is like a home base for the listener. The
groove from this section, which McNeely labels X, continues after the final soloist and
provides the underpinning for both the saxophone soli and subsequent ensemble chorus.
As he does in Wee Small Hours, McNeely allows for the bulk of the improvised
uses solo send-offs (i.e. ensemble interjections that spill over into the solo sections) on a
number of occasions, McNeely also introduces each of the soloists either during the
exposition of one of the main melodies, or simultaneously with material that is taken
from an earlier passage and reworked. Thus, the improvisers begin by soloing over
important melodic material and transition into the combo setting. This has the effect of
blurring formal divisions and creating a more seamless texture. It also creates an
additional line of improvised counterpoint that both complements and competes with the
written parts. The breaking down of these traditional formal barriers (between sections)
48
ANALYSIS OF:
EXTRA CREDIT
49
Figure 4-1
of three players each (Figure 4-1). McNeely also used three player groupings in the
interlude section of Wee Small Hours, although here the instrumental combinations are
different. Each group plays a repeated pattern of three pitches. Each set is presented as
an enclosure, with the second two pitches forming upper and lower decorations, or
neighbors, of the first (though set #2 moves by minor third, the sound and shape are
similar enough to the listener). All four groups are metrically independent, resulting in
50
what sounds like four separate meters being played concurrently. Although groups 1 and
2 are two beat patterns, the syncopated entrance of group 2 (on beat 4) and the fact that it
is a rhythmic retrograde of group 1 makes it sound against the grain and independent.
Figure 4-2
The introduction is built upon the four pitch sets shown in figure 4-2. The
example shows the pitches in the order presented as opposed to the standard method of
placing the 0 pitch first. The overall effect is atonal, with ten of the twelve possible
chromatic pitches ultimately present at the same time (A and Bb are the missing two).
The sounding pitches of each group are essentially discrete (Db is the only pitch
occurring in more than one set) and there are only three total pitch class sets. As each set
enters, the tension of the music increases as the pitch groups layer upon one another.
The effect of this section is both novel and intense. McNeely prefaces this
introduction with the familiar sound of an eight bar drum solo on brushes (if not a clich,
at least a very popular device among jazz arrangers of all levels). By beginning the
51
arrangement in this way, McNeely eases into an extremely uncommon and complex
Figure 4-3
The unstable circular pattern established during the introduction highlights the
powerful unisons and octaves of the diatonic melody statement at measure 13. When the
entire ensemble plays this passage, it sounds fresh and strong. The initial phrase of the
melody shares a familiar contour with a well known jazz standard Ill Remember April 24
(Figure 4-3).
24
Gene de Paul, I'll Remember April, lyrics by Patricia Johnston and Don Raye, (New York: MCA
Music Publishing, 1941, 1942).
52
Figure 4-4
53
The melody consists primarily of diatonic step-wise motion through the keys
(implied since there are no vertical structures) of C major, Eb major, and Gb major
(Figure 4-4). Major and minor third key relationships are a prominent feature of
The form of the melody is A-B-A1-B1. In typical McNeely fashion, none of the
phrases begin on the downbeat of one. The following example illustrates how McNeely
alters his melodies while keeping the overall structures intact. The devices he uses are
comparable to those of the ensemble chorus discussed earlier from Wee Small Hours (at
measure 83).
Motivic sequences are an important part of McNeelys arrangements and are one
of his primary means of creating and spinning long melodic lines. Aside from measure
17 and the first two and a third beats of measure 18, there is never more than a beat and a
half rest in this entire melody. In fact, this entire composition consists of extremely
dense melodic writing in which only two of the main melodic themes (the rhythm
changes-like pad beneath the trombone solo at measure 111 and the saxophone out
chorus soli at measure 289) ever rest for more than a beat and a half. The constantly
evolving melodies provide a refreshing contrast to the main improvised solo sections that
54
Figure 4-5
Figure 4-5 highlights some of the ways McNeely uses variation and sequence to
the shout chorus of Wee Small Hours) are the devices McNeely favors for maintaining
The Eb in measure 16 works like a pivot or common tone for the modulation. It is
initially heard as a blue note (or lowered 3rd) in the key of C. In the returning A1 phrase,
55
the Eb occurs one measure earlier and the remainder of the phrase is in Eb. McNeely
movement in thirds. For example, when the B melody returns at measure 27, it has
Table 4-2
Total = 84
(over 25% of
total measures)
The accented quarter note ensemble hit on beat 4 in measure 16 is a motive in and
of itself. It figures prominently throughout the arrangement. McNeely reuses the beat 4
hit in more than a quarter of all the measures in the arrangement (Table 4-2).
56
Figure 4-6
The angular melody at measure 31 illustrates how McNeely deals with layers of
complexity (Figure 4-6). The chromatic melody (initially in g minor) moves in a highly
rhythmic and unpredictable fashion while the accompaniment figures are also very active,
57
independent, and syncopated. The vertical harmonies are simple inverted triads with
added 9ths in trombones. The voicings are simple open fourths in the trumpets with a
Notwithstanding the layers of complex and simple writing going on at this point,
there are only two independent lines occurring at the same time keeping the texture
comprehensible in spite of the heightened activity. The underlying groove features a bass
line that moves logically (largely by steps and thirds) while the main melody is constantly
sequencing and developing in a self referential way that keeps the listener grounded.
58
Figure 4-7
recurring vamp. Measure 55 (Figure 4-7) illustrates a three voice comping pad played in
by unison brass and saxophones. McNeely layers melodies, building until the open
modal solo section at measure 63. The section functions as a background figure and
send-off for the tenor solo, as well as the underpinning of the C melody that fully
arrives in measure 95. The saxophones move in second inversion triads that are matched
at the unison by the combined brass and piano voicing. The trombones, moving in
59
parallel fourths, are another case in which McNeely uses a two pitch open brass voicing
(a fourth or a fifth), though he uses this device more frequently in the trumpet section.
Note that the underlying harmony is considerably different than the notated chord
changes provided in the solo part. The four bar send-off at measure 63 is an example of
McNeely transferring a piano-ism (in this case a montuno25 in octaves) to his ensemble
writing. The change of texture, from harmonized block chords to the unison montuno
figure, provides an energizing release from the static repetition of the prior vamp. It
signals the arrival of something entirely new. McNeely resolves this particular montuno
with a strong quarter note hit on beat four, keeping with that established motive.
pianist side is notable as one of the very few instances that identify the arranger as a
piano player. In other words, the vast majority of McNeelys writing is instrumentally
idiomatic, lying well within the natural confines of the instruments technique and range.
25
A montuno is a syncopated repeated piano vamp common in Cuban and/or Salsa music.
60
Figure 4-8
61
The section at measure 79 features a more understated approach to re-voicing and
re-harmonization (Figure 4-8). The underlying chord qualities remain essentially the
same, with only the addition of the major 7ths that were not present in the passage at 31.
The trumpets feature the most extensive modifications, changing from open 4ths to fully
voiced and inverted 7th chords. The trombone voicing is the same, but with the addition
of an added pitch a 4th above (producing the fifth of the chords) what were formerly three
note shells.
The main area of harmonic interest and intensity is found on the fourth beat of
measures 84 and 85. Here McNeely uses a distinctively dissonant and uncommon
D
polychord: . This structure functions like a major ninth chord with a #9 and a #11.
Ebma7
The open spacing of the voicing intensifies an internal half step grind between trumpets
62
Figure 4-9
(Figure 4-9). This section is effective for several reasons. First, the ideas are introduced
and established as a repeating vamp, with each melody firmly established before another
melody is layered upon it. Second, the straight eighth note feel of the arrangement lends
itself to the type of rhythmic layering (with multiple, simple independent rhythmic levels
performed simultaneously) found in Latin or Salsa music. Third, the melodic ideas are
relatively short and memorable. Lastly, the counterpoint is written in a way that moves
63
logically, almost bounces, passing from one idea group to the next. The interlocking bass
Although the bass line coupled with the harmony above results in some rather
chromatic slash or suspended chords, the triadic nature of the piano and horn pads does
not come across as a particularly complex element. The strong internal logic and relative
simplicity of each of the separate elements of this passage create a complex texture that is
64
Figure 4-10
65
The beginning of the trombone solo section introduces material that is quite
different from what has been heard to this point in the chart (Figure 4-10). The passage
functions as both the exposition of a new melody area and an introductory sendoff for the
new soloist. At this point the texture changes dramatically from full ensemble to rhythm
progression in the solo chord changes for the trombone (I -V7/ ii - ii7- V7 in the key of C
semitone to the vi chord. After the next two measures, which consist of ii7- V7-I in the
changes are included in any of the rhythm section parts at this point.
This is one of several instances in which the chord symbols provided in the solo
part are interpreted very loosely (if not entirely ignored) by the soloist. At measure 47
tenor saxophonist Rich Perry takes a sparse chromatic approach to the solo changes while
feels compelled to explicitly outline the notated progression. McNeely avoids this
altogether by using a pedal point beneath his own piano solo, with no notated chord
changes whatsoever. This allows him complete harmonic freedom. All of the soloists
approach their respective solo sections as one chord modal vamps, centered on the ii7
66
Figure 4-11
The main interest of this section is the development of a one measure, three pitch
rhythmic motive which is presented eight times in the sixteen measure passage (see
Figure 4-11). This pattern has a strong clav reference, being the first half of a 3-2
pattern. McNeely treats this motive differently from those discussed up to this point.
The melodic and intervallic contour is maintained throughout (leap up of a fifth or more,
leap down). Even when the motive is displaced by anticipation or delayed entrance, it
remains in tact most of the time (five out of eight times), hitting the accented fourth beat.
67
Figure 4-12
amount of re-voicing (Figure 4-12). Melody group #1 adds two saxophone voices while
losing two trombone voices. The comping pad (formerly played by Reeds 1, 2, and 4) is
here played only by piano right hand. The New melody group adds Reeds 2 and 3.
The overall effect of this new orchestration is negligible, but it technically adheres to the
composers plan to re-orchestrate sections as they return. The bass and piano melody
stated beneath the trombone solo at measure 111 returns at measure 159. Here it is
presented as its own theme and is doubled by a low register ensemble of baritone
68
saxophone and trombones three and four. Aside from the simple re-orchestration and
absence of a coinciding improvised solo, this section is the same as that at measure 111.
Figure 4-13
This low register D melody resolves into a transition section (at measure 175)
in which the bass and piano recall a familiar sounding three note pitch group ostinato
from the introduction (Figure 4-13). The pitch group of the piano is 0,1,3 which is one of
the original three groups present in the introduction. The metric layering of the concert
F#s gives this passage an improvised or random effect that is unlike the introduction with
69
The open vamp piano solo section begins at measure 191 in the key of A minor. It
occurs above a bass ostinato that walks up the first four tones of the minor scale.
7 7
Although McNeely has notated all of the X solo sections as standard ii -V
progressions, on the Vanguard Jazz Orchestra recording all of the soloists treat their
respective vamps as primarily modal grooves with very little reference to any dominant
70
Figure 4-14
71
The two part texture at measure 207 features inventive contrapuntal writing on the
part of McNeely (Figure 4-14). A new E melody is presented in the form of an angular
and active unison saxophone soli. The new material is set against a unison reprise of the
D melody by the trombone section. This is the same melody that had previously served
as the trombone solo send-off. The E melody never returns, whereas this is the third
Both melodic lines are active, so McNeely uses unisons throughout. The first half
of the new melody (up through measure 214) has the character of an improvised line that
plays off the rhythmic contour of the trombone line. Interesting counterpoint is produced
as the lines move in turns while the other rests or sustains. The first half of the new line
Measure 215 again finds McNeely layering unequal metric divisions. The
rhythmic motives. Here he superimposes a four note 3/4 motive above the ongoing
development of the original three note 4/4 motive. This new hemiola section is built
upon a four note motive that uses the four tones of an Eb7 chord, descending from the
seventh. As the section builds, the seventh (Db) shifts upwards a semitone to D natural,
forming and Ebma7 chord. Measures 216-222 express the highest degree of musical
72
Figure 4-15
73
The F theme that arrives in measure 223 is perhaps the most startling section in
the arrangement (Figure 4-15). Here we find another example of McNeely employing
devices normally associated with classical composition. The result is a passage that
sounds unlike anything typically heard in the realm of jazz, and for good reason.
McNeely achieves a disconcertingly random and atonal effect while working with only a
The F theme is based on two pairs of outwardly expanding and then contracting
chromatic lines. The second pair is presented in imitative entrances and is a loosely
based transposition of the first. All the lines move primarily by half step. It is the
rhythmic irregularity of each line that imparts this section with much of its seemingly
random nature. McNeely uses long note durations (by way of tied notes and dotted
rhythms) coupled with asymmetrical values that have no audibly discernible pattern.
Orchestrationally, three of the lines are presented by groups of three players, with
one line (line #1) played by a group of four. Lines one and two initiate the expanding
sequence together while lines three and four have staggered entrances at five and eight
measures respectively.
McNeely approaches this section (and its subsequent return) freely. Each line
forms an incomplete chromatic scale, but all omit different scale degrees. The lines turn
around at different intervals and the transposed versions are not literal copies. His
primary concern appears to be with the overall effect of the passage rather than a strict
74
Figure 4-16
The send-off for the trumpet solo at measure 239, while not a main theme area,
exhibits more of the developmental character of McNeelys writing (Figure 4-16). In this
short transitional section, McNeely recalls the initial A section melody from measure
13. Here he sequences and transposes six phrases from the earlier theme in a way that
75
Figure 4-17
creatively deviating from his initial formal map (Figure 4-17). Instead of changing the
orchestration of the original four chromatic lines, he rhythmically diminishes the lines
76
themselves by a ratio of approximately 2:1. The passages now goes by in a rough
double-time while the instrumental groups remain exactly the same. Again, it appears
McNeely favors the overall effect of the music of the moment in choosing not to be
This rhythmic change makes perfect sense from a listeners standpoint since the
section occurs some seven minutes into the arrangement (the total playing time is nearly
nine minutes). The quickened pace helps propel the music forward while keeping the
77
Figure 4-18
The modern sounding of line of the unison saxophone soli at 287 is a melodic
extension of the angular and active themes heard thus far (Figure 4-18). Each phrase
peaks slightly higher as the chords modulate upward. McNeelys use of a half step upper
neighbor tone lends a distinctly modern flavor to the line implying the sound of an
augmented scale.
78
Figure 4-19
saxophone soli from measure 287 to 302 (Figure 4-19). Here he works with a fixed,
close position voicing and planes it primarily diatonically. The underlying chord
progression is the same as those of the solo sections and McNeely treats it as a sequence
79
Figure 4-20
Much of the impact and intensity of the shout chorus at measure 303 comes
from the strength of the close block voicings (Figure 4-20). This is the first use of this
writing style up to this point and it provides a powerful contrast to the seemingly endless
chromatic substitutions, and side-slips are not present here. The entire ensemble chorus
80
Figure 4-21
McNeely uses two main devices to create and maintain intensity throughout this
section (Figure 4-21). One is a series of constantly shifting key centers. The other is his
development of the upbeat rhythm in measure 309 which returns in 313, twice as fast.
81
Figure 4-22
The top of the phrase in measure 315 is the climax of the piece (Figure 4-22). As
the line reaches its peak, all voices move in parallel motion while the harmony lifts by
whole step. The modulation is heard as moving from g minor to G major. At the peak of
the phrase the brightness of G major presents an extreme contrast to the prior dark g
minor.
82
The upper saxophones move in diatonic triads, the trumpets in inverted diatonic
seventh chords, and trombones move in root position diatonic seventh chords. The lead
line (in the first trumpet) is clearly heard as it is always separated from the next voice by
a third.
to a final quote of his A. This section functions like a codetta, returning a portion of
the initial theme and ending, of course, with an accented quarter note hit on beat four.
83
CHAPTER 5
ABSOLUTION
Absolution is another mood driven piece (in the spirit of Wee Small Hours) in
which McNeely paints an austere and prayerful image. The often monophonic texture is a
have a speech-like (or even chant-like) cadence and a contour with a preponderance of
linear motion. Phrases are replete with repeated pitches in a manner intimating recitative.
The conversational nature of Absolution creates a through-composed form with only four
Much of the melodic substance is derived from various combinations of two basic
pitch groups and two rhythmic cells.26 One pitch group is a simple digital gesture (4-3-2-
1) in the key of G minor while the other can be seen as an upper portion of an F
pentatonic scale (Figures 5-1 and 5-2). Many of the important melodies in Absolution
26
McNeely, Lickety Split liner notes, 7.
84
The pitch groups are used to form two melodic groups that interact
conversationally.27 From the outset, the melodies McNeely creates with these groups
tend to polarize around the pitches of C and G (the fifth and ninth of the initial tonal
center of F). The resulting tonality is static and ambiguous with no sense of cadence or
closure.
Absolution. The line between improvised and composed material is often blurred as
and random effects. In other instances (i.e. measure 49), McNeely writes out elongated
ORCHESTRATION
melody statements are made by a unison duet of tenor saxophone and trombone. The
trombone is written in an unusually high register, in a cup mute, and hovering around
high Cs. This instrumentation and register (rather than the typical grouping of three
players placed in more idiomatic ranges) brings out a tension in the sound that might be
associated with the internal struggle one seeking absolution might endure. This melody
is joined intermittently with a unison group of five additional players. This interplay of
27
Ibid.
85
groups evolves to a varying number of unison instrumental combinations throughout the
first thirty one measures. There are several passages that are orchestrated for groups of
three players, but in this arrangement (perhaps because of high proportion of unison and
octave materials) the number of players in a given instrumental group often fluctuates.
Absolutions saxophone writing features only one deviation from the standard big
band orchestration with Reed 1 playing soprano saxophone. As in Wee Small Hours, the
trumpet section features a blending of cup and harmon mutes along with flugelhorns.
The highest written pitch in the lead trumpet part is a high E, not considered an extreme
upper register demand for a professional lead player. Aside from the muted trombone
duet with the tenor saxophone, the trombone section uses no mutes.
A large part of the solo section is in standard quartet format consisting of rhythm
that function in a conversational and developmental way. Working with two alternating
groups an octave apart, McNeely constructs two expanding lines that add pitches (one at
time) as they move outward. This additive approach results in gradually lengthening
lines that eventually transform into a sequence of imitative descending motives. These
86
HARMONY AND VOICE LEADING
Absolution uses modal and non-functional harmony throughout. The bulk of the
extended modal passages are built around major tonality/key centers as opposed to the
more traditional use of minor keys or modes. In the few sections with a faster harmonic
The first thirty one measures of Absolution are presented in unison monophonic
statements with the only incidental harmony resulting (in two instances) from lines that
branch off and move in oblique motion below a held pitch (Figure 5-1).
Figure 5-1
Figure 5-2
87
Figures 5-1 and 5-2 illustrate the only two polyphonic occurrences prior to
measure 32. Both techniques are scored throughout the ensemble. The use of these
McNeely offsets the harmonic simplicity of the modal passages with moments of
triads a half step apart while measures 169-171 use stacked major triads, also a half step
apart. These sections provide a contrast to the open voiced consonance of the measures
pattern. This pattern undergoes an extended succession of shifts, alternating between the
analysis of this section accompanies a reduction and listening guide (see Figure 5-22).
strict and diatonic planing, spread voicings, and structures built of stacked fifths. Both of
the extended monophonic sections (the opening 31 bars and the solo section and
backgrounds mm. 65-100) are followed by chorale sections that include a modulation and
fixed mechanical voicings that move in a mixture of diatonic and strict planing.
88
RHYTHM
no less vital. In keeping with the more tranquil mood and pace of the composition,
rhythmic cells and motives are varied in a more conversational and less obvious manner.
Rhythmic ideas are reinforced through repetition that results from the pervasive imitation,
while variations and hemiola patterns tend to be less exaggerated and more leisurely than
those of Extra Credit and Wee Small Hours (Figure 5-3 below).
Figure 5-3
89
McNeely employs an entirely different approach to rhythmic development in the
passage that begins in measure 121. Here he takes a seven pitch motive (constructed
from a pentatonic scale descending from the fifth scale degree) and subtly alters it while
continuously changing the meter of the bars in which the motive occurs as well as the
measures between occurrences. As the passage progresses, the motives and meters are
diminished, quickening the repetitions and increasing the musical energy and tension.
Also in the realm of rhythm, McNeely continues his practice of utilizing so-called
medieval technique of isorhythm, working with repeated rhythmic and pitch groups.28 A
As in Wee Small Hours and Extra Credit, McNeely constructs an entire piece
around the sound of a central soloist.29 Tenor saxophone soloist Rich Perry presents the
main melodic material (in duet with the trombone) as well as the main body of
improvised soloing. It is his sound that provides the impetus for the arrangement.
Absolution also calls for a small amount of improvisation from every member of
the ensemble, both collectively and individually. The first fifty measures include four
instances in which members of the ensemble improvise (ad lib) on a given melodic
fragment. Measure 121 initiates a sequence of call and response between the band and
28
McNeely, Lickety Split liner notes, 7.
29
Ibid..
90
soloists in which every member is called upon to play a short improvised statement
91
ANALYSIS OF:
ABSOLUTION
92
Figure 5-3
McNeely uses several distinct (and relatively simple) devices as the building
blocks for Absolution. The use of pitch groups combined with rhythmic cells, rather than
melodic motives, allows McNeely the freedom to develop his rhythmic approach while
still maintaining a recognizable thematic reference point (Figure 5-3). The shapes of
Figure 5-4
Rhythmic cell #2 is the more prevalent of the two and most often paired with
pitch group #1 creating a clearly defined motive that McNeely uses in a highly
developmental way (Figure 5-4). Cell #1 is less likely to appear in its pure form and is
93
Figure 5-5
of the arrangement (Figure 5-5). The bass doubles the lower voice of the piano. It serves
as unifying factor as well as a building block for the isorhythmic section at measure 65.
using combinations of the two rhythmic cells combined with the two pitch groups above
the static piano/bass ostinato. Almost all of the melodic movement is linear and there are
numerous repeated pitches in both groups. The musical effect resembles a blend of
94
Figure 5-4
Measure 32 initiates the first true polyphony with the entire ensemble moving in
parallel fifths (Figure 5-4). These pitch sets are drawn from the initial group (b3-2-1), the
final three pitches of pitch group #1. This melodic line follows strict intervallic planing.
95
Figure 5-5
Measure 37 begins the first of two chorale sections that feature an extensive use
of diatonic and strict planing (Figure 5-5). For his voicings, McNeely uses a tetrad shell
which is a three note vertical structure consisting of a fourth and a second (from the top
down).30 All the winds are scored on one of the three pitches. The time feel of this
passage changes from swing to straight eighth notes, creating a more classical sounding
texture.
The voicings of the saxophones in this chorale passage are doubled by the brass in
uniquely McNeely fashion. Again, with an emphasis on bringing out the lead line, three
trumpets double melody while only one trumpet plays the voice a 4th below. Trombones
one and two play the bottom note of the three note shell voicing in unison.
30
Gary Campbell, Expansions, 2nd ed. (Houston, TX: Houston Publishing, 2002).
96
Figure 5-6
step in measure 43 (Figure 5-6). This use of strict chromatic planing differs from
measure 40 as the lead line and third voice move entirely out of the key. In McNeelys
writing, this type of harmonic shift almost always occurs in a metrically weak position.
When the line turns around and comes back to the tonal center, McNeely resumes
diatonic planing.
97
Figure 5-7
98
Figure 5-7 shows how McNeely sets up an imitative pattern and uses it to
modulate. Working with three groups of three players, McNeely establishes a sequence
in which Group 1 plays a motive (constructed from pitch group #1) that is in turn
higher than expected. This resolution initiates a quick modulation in which the other
groups and rhythm section play the entire motive a half step higher. The entire sequence
This type of modulation (in which the harmony shifts unexpectedly and directly in
a metrically weak position in the back half of the measure) occurs frequently enough in
the three compositions studied herein, that it could be considered a consistent style
characteristic of McNeely.
99
Figure 5-8
composition (Figure 5-8). Here, four instrumental groups begin an elongated version of
pitch group #1 in staggered entrances. The phrase is then improvised by the same
players.
100
Figure 5-9
The rising pentatonic line at measure 53 is the only section of the composition to
return later in the chart (Figure 5-9). It does so in measure 188 as a bridge to the final
seven measures of the piece. The line itself is broken up and spread throughout the winds
in a series of pyramid entrances. Figure 5-9 shows a reconstructed version of the line in
its entirety.
minor thirds, the notes of the Eb pentatonic scale work as common tones. In other words,
the Eb pentatonic can function as an appropriate scale choice for any of the chords in the
progression.
triple) and the use of hemiola in the rhythm section and trombones. Since the section
only lasts twelve beats, McNeely could have chosen to remain in 4/4 time, but the change
101
to triple meter aligns the downbeats of the phrases in a way that seems more logical, at
In this short four measure passage, McNeely moves from one extreme to another
in terms of dynamics, register, and dissonance. The intensity of the line increases as it
rises and moves from a very consonant pentatonic sound to a very dissonant resolving
The lead trumpet scoring from measures 56-60 has high concert D tied whole
written high E is an unusual and difficult demand for any lead trumpet player. This is
another example (as in the upper register trombone and tenor saxophone melody/duet at
the beginning) in which McNeely uses orchestration to create audible (and likely
physical) tension.
102
Figure 5-10
The resolving chord in measure 57 is an Ab major 7 (#11) (Figure 5-10). The outer
intervals are held in tact while the inner voices shift to create highly dissonant upper
structures. The final result is a spread voicing of a non-functional vertical structure that
is the result of stacked major 7th intervals. The three sets are (spelled as written): Ab-G-
F#, E-Eb-D, and B-Bb. The notes E, B, Eb and Bb are doubled at various octaves. The
roots of the stacks spell an E major triad. As the inner voices shift, the outer notes (Ab
103
Figure 5-11
McNeely uses two brass groups for the tenor solo send off at measure 62 (Figure
5-11). The rhythms of the first group are swapped and reversed in the second group.
Although this rhythmic layering produces an articulated note on every part of the running
triplet figure for 3 measures, the aural effect is random, like two voices speaking (or
104
Figure 5-12
Figure 5-13
isorhythm.31 McNeely uses a five note rhythmic pattern called a talea (Figure 5-12). He
combines it with a sequence of six pitch groups (in parallel fifths). One time through the
31
McNeely, Lickety Split liner notes, 7.
105
Figure 5-14
The repeated twelve measure solo section results in five occurrences of the color
and six occurrences of the talea, expressed as a ratio of 5:6 (Figure 5-14).
106
Figure 5-15
The background figures at measure 77 show the brass working in two groups
alternately adds one pitch to each group. The trumpets are harmonized in various
combinations of fixed voicings that plane in the key of B minor. The trombones are in
unison. The two groups trade phrases while adding pitches, slowly growing the phrases
until measure 89 where they work in imitative versions of the same descending motive.
107
Figure 5-16
At measure 89 the two groups have morphed to form variations of the initial pitch
group #1 combined with rhythmic cell #2 (Figure 5-16). These melodies are
subsequently combined with another common rhythmic cell that emerges throughout the
arrangement but that is not explicitly labeled by McNeely (see Figure 5-17 below).
McNeely uses the descending phrase shape extensively through the remainder of the
arrangement. The imitative phrases at this point, while relatively busy, still function as
Figure 5-17
108
Figure 5-18
Measure 101 jumps out forcefully with a highly complex and dissonant harmony
of stacked augmented chords in unison rhythm (Figure 5-18). This intense arrival point
signals the end of the solo section and the lead-in to the second chorale section.
109
Figure 5-19
The chorale section at measure 112 is similar (though slightly more harmonically
complex) to its earlier counterpart at measure 37 (Figure 5-19). Both sections set up and
maintain patterns of fixed voicings that are planed in both diatonic and strict fashion.
The passages are performed in straight eighth note feel creating anthem-like melodies.
Both chorales are modal with a major tonality, occurring over a pedal point. McNeely
planes voices strictly during side-slips, but otherwise maintains mostly diatonic
movement.
The main differences in the second chorale are the use of an open fourth spacing
(measure 37 uses a tetrad of a fourth and second) and the use of a four voice texture
110
versus the earlier three. The formula used here is based on two fourth intervals, the
Figure 5-20
In measure 117 McNeely uses an oblique internal side-slip in which the inner
voices move up, planing by half step on the upbeat of 4 (Figure 5-20). This is akin to the
internal movement in measure 57 where the outside voices are held while the internal
111
Figure 5-21
At measure 121 McNeely builds a unique ensemble section based upon the
development of four major ideas and/or devices (Figure 5-21). The first device is an
modulating directly) to another unrelated and distant key. He resolves deceptively half
the time.
112
Figure 5-22
The second device he uses is a descending pentatonic motive that is related to the
initial pitch groups, but new to this part of the composition (Figure 5-22). Like the
cadence formula, this motive is constantly shifted, modulated and frequently anticipated.
Beginning in measure 141, McNeely adds interest to the line by harmonizing it at the
changes. As the occurrences of the descending motive increase, the time between
necessitate subtle rhythmic and melodic shifts in the pentatonic motive, but it remains
audibly in tact throughout. McNeely builds tension by slowly and irregularly increasing
the frequency of ensemble entrances, and by anticipating the new entrances with ties
across the bar line. All of this activity occurs with the constantly shifting harmonic
resolutions.
113
The fourth idea underlying this section is that of imitation and interplay between
the soloists and the ensemble, and eventually within the ensemble as it breaks into two
alternating imitative groups. Each of the wind players is called upon to play a brief
improvised statement in a sequence of call and response that continues until measure 165.
The solo spaces gradually become smaller as the meter changes shorten the intervals
114
Figure 5-23
entrances that gradually rise to the climax of the passage at measure 173 (Figure 5-22).
intensity until the addition of the Db in measure 171 which breaks the pattern signaling
115
The reductions in figures 5-24 and 5-25 are listening guides for the passage at
measure 121.
Figure 5-24
116
Figure 5-25
McNeely increases the melodic density at measure 157 by adding a third harmony
part another sixth below. The result is a series of inverted triads in an extremely open
voicing. By measure 165 the energy and intensity is at its peak. The rapidly alternating
phrases, while moving within an active and complex texture, are very consonant and
inside. The polychord resolution (i.e. Db over D) going into measure 169 is a sharp
117
Table 5-1
7 7 7
Abs olu tio n: R es oluti o n of bVI -bVII -I pr og re ssi on (m m. 12 1- 1 64 )
Distance from
bVI7 bVII7 expected
Resolves to: resolution
Gbma7(#11) Ab7sus4 Bb7sus4
in tact
Gbma7(#11) Ab7sus4 B7sus4
up a step
Gma7(#11) A7sus4 B7sus4
in tact
Gma7(#11) A7sus4 F7sus4
tritone
Dbma7(#11) Eb7sus4 F7sus4
in tact
Dbma7(#11) Eb7sus4 F#7sus4
up a step
Dma7(#11) E7sus4 F#7sus4
in tact
Dma7(#11) E7sus4 A7sus4
up a minor 3rd
Fma7(#11) G7sus4 A7sus4
in tact
Fma7(#11) G7sus4 Bb7sus4
up a step
Gbma7(#11) Ab7sus4 Bb7sus4
in tact
Gbma7(#11) Ab7sus4 F#.(b6)
tritone
McNeely uses this progression found in Table 5-1 a total of 12 times and resolves
it up by the expected whole step exactly half of the time All of the deceptive resolutions
are to remote keys, either a half step, minor third, or tritone away.
118
Figure 5-26
The chord at measure 169 is an intense and unexpected arrival point, especially
after the long section of consonance created by the use of so many pentatonics (Figure 5-
26). The voicing is spread and the musical tension results from three major seventh
intervals within the structure, though some are displaced by octave. Major sevenths
occur between: D and C# (enharmonic Db), A and G# (enharmonic Ab), and F# and E#
(enharmonic F).
119
Figure 5-27
The returning piano/bass ostinato at measure 173 has a more major sound to it
than previous versions (Figure 5-27). However, the superimposition of the Eb tonality
above the E major bass line produces a harsher or angrier sound. The pattern has been
changed from three measures to two, but is clearly recognizable as a form of the original
line. The pattern is now anticipated on beat four of the prior measure rather than
120
Figure 5-28
The concluding measures of Absolution feature intervallic writing not heard thus
far (Figure 5-28). The open sounds of the stacked fifth voicings are thickened with the
internal half step grinds that frequently occur among the lower saxophones, lower
trumpets and upper trombones. The trumpets move in unison with the saxophones in this
passage while the trombones move generally within a fixed voicing with a half step often
121
CHAPTER 6
CONCLUSIONS
In his synopsis of the writing styles of Sammy Nestico, Thad Jones, and Bob
Brookmeyer, Ray Wright points out nine basic qualities they all have in common with
each other, as well as other fine writers. These are all equally applicable to the writing
SUMMARY
1. Each chart has a focus.32 All three of the compositions studied in this
well as primary soloists around whose sounds and styles the arrangements are
compositional challenges from the outset. He then looks for creative solutions
Although McNeely may use a diverse palette of harmonic colors and voicings,
his charts remain harmonically consistent within themselves. They also share
32
The nine sub-headings in this list are taken from Wright's Inside the Score, page 182.
122
a consistency in the overall harmonic approach that is individual without
melodies that are clearly presented and reinforced by voicings, dynamics and
orchestration.
of these charts.
ways that often cause his melodies and lines to undergo significant changes
and variations. In using devices such as motives, pitch groups, rhythmic and
melodic cells, and intervallic series, McNeely unifies his compositions while
6. Harmony serves the needs of the chart. McNeely uses a wide palette of
also employs numerous harmonic formulae and other devices that are
tempered by the smoothness of his instrumental lines and the internal logic of
123
7. Balance in the use of variable elements is achieved by having some
rhythm remains accessible and listenable while the level of complexity and
instances, the harmonies are not only justified by, but created by the voice-
(whether they are tonal, chromatic, modal, or even atonal) are arrived at in a
logical way that is seamlessly integrated into the overall fabric of the
composition.
McNeely seldom ventures into extremes of register for any of the winds. And
124
MCNEELY-ISMS
There are a number of areas that stand out when looking at McNeelys overall
techniques or the general the style features that apply to all three compositions, the key
Harmonically, any and every type of vertical structure is fair game. McNeely
uses simple triadic harmony, inverted triads, altered and extended chords, augmented and
symmetrical sonorities, various slash and suspended chords, bitonality, interval structures
such as stacked 4ths, 5ths, and major 7ths, atonality, and linear chromatic writing. He
uses degrees of consonance and dissonance that range from extended monophonic
writing to stacked augmented chords a half step apart. The use of any given vertical
McNeelys melodies are similarly diverse. They can range from a simple three
note pitch group to an extended foray into the virtuosic world of angular post-bebop
chromaticism. His melodic lines are, without exception, rhythmically vital and active. In
counterpoint and the creation of interesting counter melodies. His constant awareness of
counterpoint extends to the relationship of his melodies to the bass movement. These
considerations result in active and interesting bass lines with (often inverted) harmonies
McNeelys instrumental voicings are likewise varied. His most favored voicing is
the unison followed by unison with octaves. Many of his angular and chromatic lines
125
a fixed mechanical or intervallic voicing over a significant period (such as the chorale
sections of Absolution), but he is not prone to using standard voicings such as drop-2 or
drop-3 for any length of time. Sometimes it seems that McNeely is trying to find a way
to get as many players (or instrumental colors) as possible on a given melody line, and
then filling out the harmony with who is left (e.g. measure 83 in Wee Small Hours).
Non-tertian voicings are used throughout these charts. There are numerous
instances of open fourths and fifths in the brass voicings as well as significant sections
based on quartal harmony. During the extended passages of modal harmony, McNeely
uses a great deal of planing, primarily diatonic with strict planing used to highlight side-
slipping or outside tonal shifts. Often, McNeely uses open voicings that spread the
approach to the individual voices that often takes precedence over a fixed voicing. This
linear approach also effects which substitute and passing chords are used, leading to a
more chromatic sound with relatively few secondary dominant passing chords. In other
words, he may start a passage with the saxophones in a drop-2 voicing but move away
from it for no obvious reason. On the other hand, he may start the passage in close
One reason for this flexible approach to voicings may be that he doesnt employ
(at least in the traditional sense) many of the conventional devices associated with big
band writing such as the customary saxophone soli or a flag waving shout chorus.
Drop-2 or drop-3 voicings are helpful in a typical saxophone soli, where an arranger
126
might be required to harmonize a lead line for anywhere from sixteen to sixty four
measures.
McNeely often uses non-traditional chord progressions and sequences that are
movements based on thirds and whole and half steps. He frequently moves upper
techniques commonly associated with European art (or classical) music. A few of the
devices found include: serial techniques, pitch class sets, melodic and rhythmic cells,
McNeelys rigorous application of such techniques sets him apart and his highly
uses instrumental groupings that often combine players from across the ensemble while at
registers (e.g. the low register ensemble in Extra Credit). On occasion, he may borrow a
voice from another section to complete a harmony. McNeely frequently doubles the bass
line in the bass trombone and/or baritone saxophone. The trumpets and trombones do not
always work together as a concerted brass section. Important melodic ideas are almost
always presented by a group of three or more players, with three being the most common
grouping.
127
All three charts feature extensive space for the soloist(s) to interact with rhythm
section only. When background figures are present, they are given to thorough
compositional development and are not just pads or comping figures behind a soloist.
The relationship of the soloist(s) to the entire ensemble is more organic than one might
composition, not just in narrowly defined solo sections. The concept of interplay
McNeely exercises thoughtful and deliberate control over every aspect of the
compositional process. It is his attention to musical detail that allows him to execute the
big picture concepts that serve as the impetus for each of these pieces.
There are numerous occasions in each of these three charts, in which McNeely
combination. In each case, McNeely uses the pattern, device or framework up to the
point at which he feels musically compelled to depart from it. Without exception, the
overall musical effect takes precedence. In other words, he doesnt allow the device or
procedure to interfere with the overall effect of the music. He readily breaks from the
career as a player. McNeely comes to writing at the height his career as a world-class
improviser, accompanist, and jazz soloist having worked Stan Getz, Chet Baker, Phil
128
Woods and countless other first-tier jazz artists. His compositions feature thoughtful and
creative ways of integrating and supporting improvising soloists in a manner born from
his ability to do so as a pianist. His melodic writing reveals the wit and sophistication of
writing, it seems his deep connection to the keyboard serves as the wellspring for much
categories: traditional big band arrangers and composers who take a more orchestral
approach to large jazz ensemble writing (soundscape composers for lack of a better term).
Among the former group are writers such as Bob Mintzer, Toshiko Akiyoshi, Tom Kubis,
Gordon Goodwin, Bob Curnow, Slide Hampton, John Fedchock and Bill Holman (who
these writers fall primarily within the tradition of big band arranging that can trace its
The charts of these arrangers tend to include many of the standard devices and
techniques found in a traditional arrangement, such as: saxophone solis, shout choruses,
solo backgrounds and pads, mostly swing eighth notes, clear divisions between formal
sections, limited improvised solo space, and a harmonic vocabulary derived mainly from
the bebop era with a functional tonic to dominant relationship. The arrangements of
these writers are generally available through commercial publishing houses who find a
129
good part of their market with college and high school jazz bands as well as some
The orchestral approach of the soundscape writers may be said to emanate from
the writing of Duke Ellington, Gil Evans, and Bob Brookmeyer, who is both a
contemporary composers in this category are fewer. This group includes Maria
Schneider, Brookmeyer, Kenny Wheeler and McNeely. These composers treat the
color, dynamics as shapes, more expansive and integrated solo space, less dependence on
percentage modal and non-functional harmony. These writers tend to work primarily as
composers rather than as arrangers, preferring to work with their own material. Many of
their arrangements are self-published and their works are generally not as commercially
The McNeely style is unique for several reasons. Whereas someone like Maria
Schneider forms an ensemble around her concept of sound, McNeelys sound is, in large
part, a product of his interaction with a long established group of players with its own
tradition of interpretation and writing. His style is a direct descendent and synthesis of
the groove oriented, rhythmically vital style of Thad Jones and the large-scale canvases
130
compositions display very little of the homogeneity of sound found in the works of
Schneider.
The three works studied herein reflect McNeelys comprehensive mastery of the
processes of composition and orchestration, his assimilation of the jazz language, and the
diversity of his creative approach. Each piece presents a wealth of material for further
study and, as Wright mentions in his conclusion, the discussions begun here only scratch
131
BIBLIOGRAPHY
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Campbell, Gary. Connecting Jazz Theory. Houston, Tex.: Houston Publishing, 2002.
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Cliffs, N.J.: Prentice-Hall, 1982.
Delamont, Gordon. Modern Arranging Technique. Delevan, N.Y.: Kendor Music, 1965.
Evans, Gil. The Gil Evans Collection, 15 Study and Sketch Scores from Gil's
Manuscripts. Edited by Joe Muccioli. Translated by Co-editor Jeff Sultanof.
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132
Grigson, Lionel. Practical Jazz: A Step by Step Guide to Harmony and Improvisation.
London, England: Stainer and Bell, 1988.
Grove, Alfred Thomas. Arranging Concepts Complete. Sherman Oaks, Calif.: Alfred
Publishing Company, 1985.
Haerle, Dan. About Jazz Language, Theory Text for Jazz Composition and Improvisation.
New York, N.Y.: Warner Brothers, 1982.
Harris, Eddie. The Intervallic Concept. New York, N.Y.: Charles Colin, 1984.
Kennan, Kent, and Donald Grantham. The Technique of Orchestration. 6th ed. Upper
Saddle River, N.J.: Prentice Hall, 2002.
Lowell, Dick, and Ken Pullig. Arranging for Large Jazz Ensemble. Edited by Michael
Gold. Boston, Mass.: Berklee Press, 2003.
Mancini, Henry. Sounds and Scores. Miami, Fla.: Northridge Music, 1986.
Nestico, Sammy. The Complete Arranger. n.p., U.S.A.: Fenwood Music Company, Inc.,
1993.
Rinzler, Paul. Jazz Arranging and Performance Practice: A Guide for Small Ensembles.
Lanham, Md.: Scarecrow Press, 1999.
Rosen, Charles. Sonata Forms. 2nd ed. New York, N.Y.: W. W. Norton and Co., 1988.
Russo, William. Jazz Composition and Orchestration. Chicago, Illinois: The University
of Chicago Press, 1968. Reprint, Chicago, Illinois: First Phoenix Edition, 1974.
Schneider, Maria. Maria Schneider Jazz Orchestra: Evanescence. Edited by Fred Sturm.
n.p., U.S.A.: Universal Edition Publishing Musikverlags GmbH, 1997.
133
Sebesky, Don. The Contemporary Arranger. Van Nuys, Calif.: Alfred Publishing
Company, 1994.
Sher, Chuck. The New Real Book, Volume Two. Edited by Bob Bauer. Petaluma, CA:
Sher Music Co, 1991.
Slonimsky, Nicolas. Thesauras of Scales and Melodic Patterns. New York, N.Y.:
G. Shirmer, 1997.
Sturm, Fred. Changes Over Time: The Evolution of Jazz Arranging. Rottenburg,
Germany: Advance Music, 1995.
Weiskopf, Walt, and Ramon Ricker. The Augmented Scale in Jazz. New Albany, IN.:
Jamey Aebersold, 1991.
________. Coltrane: a Players Guide to his Harmony. Albany, N.Y.: New Albany,
1990.
Wheeler, Kenny. Kenny Wheeler Collected Works on ECM. Edited by Fred Sturm. n.p.,
U.S.A.: Universal Edition Publishing Musikverlags GmbH, 1997.
Wright, Rayburn. Inside the Score. Delevan, N.Y.: Kendor Music Inc., 1982.
Other Media
de Paul, Gene. I'll Remember April. Lyrics by Patricia Johnston and Don Raye. New
York: MCA Music Publishing, 1941, 1942.
Stewart, Alexander. "Composition and Performance in Contemporary New York Big
Bands (1989-1999)." PhD diss., City University of New York, New York City,
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134
Hilliard, Bob and Mann, David. "In the Wee Small Hours of the Morning." The Johnny
Hartman Collection (1947-1972). Reissue. Hip-O 40137, 1998. CD.
. Lickety Split, Music of Jim McNeely. Liner notes. New World Records 80534,
1997. Compact Disc.
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APPENDIX A
SELECTED DISCOGRAPHY
RECORDINGS AS LEADER
McNeely, Jim. In This Moment: The Jim McNeely Trio. Stunt 02142, 2003. CD.
________. Play Bill Evans (The DRJO and Jim McNeely ). Stunt 02042, 2002. CD.
________. Nice Work, The Danish Radio Jazz Orchestra & Jim McNeely. DaCapo
________. Lickety Split: The Vanguard Jazz Orchestra Plays the Music of Jim McNeely.
________. Sound Bites (w/ the Stockholm Jazz Orchestra and Dick Oatts). Dragon 311,
1991. CD.
________. Jim McNeely at Maybeck (Volume 20). Concord 4522, 1992. CD.
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________. From the Heart. Owl 045, 1985.
Farmer, Art and Slide Hampton. In Concert. Enja 4088, 1984. LP.
137
The Vangaurd Jazz Orchestra. The Thad Jones Legacy. New World 80581-2, 1999. CD.
Woods, Phil. You and the Night and the Music. Venus 79038, 2002. CD.
________. Plays the Music of Jim McNeely. TCB Music TCOB95402, 1995. CD.
________. The Phil Woods Little Big Band: Real Life. Chesky JD47, 1990.
Woods, Phil and Jim McNeely. Flowers for Hodges. Concord CCD 4485, 1991. CD.
138
Stan Getz Quartet
139
APPENDIX B
EDITED SCORES
140
IN THE WEE SMALL HOURS
OF THE MORNING
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EXTRA CREDIT
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ABSOLUTION
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