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The Trombone ForumTeaching & LearningComposition, Arranging and Theory(Moderator: zemry) Gary Lindsay, Jazz Arranging Techniques
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cozzagiorgi
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« on: Feb 15, 2017, 09:23AM »

Hi all

I received this book some days ago and I am working on the assignments. Do you know if I can find the solutions to these assignments anywhere? That would really help me.

Thanks!
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Sliphorn
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« Reply #1 on: Feb 15, 2017, 07:13PM »

I bet you could contact Gary directly.  He's a very nice guy and probably willing to help.  Look for him at the University of Miami!
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cozzagiorgi
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« Reply #2 on: Mar 05, 2017, 08:10AM »

Did it. Unfortunately he doesn't have the time to correct my exercises.
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Andrew Meronek

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« Reply #3 on: Mar 06, 2017, 09:45AM »

If this isn't for a course, post your solutions on here. Lots of us can learn from writing exercises, and some of us are pros.
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cozzagiorgi
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« Reply #4 on: Mar 06, 2017, 11:24AM »

Ok, here you go. In this exercise I have to create 4 way close voicings. Am I doing this right?

This will open the exercise:
https://app.box.com/s/s0g63m6urk2g2gm3xfmls5a211jni8he
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Andrew Meronek

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« Reply #5 on: Mar 06, 2017, 01:45PM »

Nope. Looking at that first line, the Dm7 is correct, but the Ab7 is not. The Gb is too far away form the Ab, and you seem to have written Fb instead of Eb.

If those are 4-part closed voicings, you need to contain all the notes within one octave. If the Ab is dictated to be the top note, there's only one way to do that: C-Eb-Gb-Ab. If it is not, there are three other ways; you just invert this solution, bumping the bottom note(s) up an octave. Thus, the other closed-position voicings are Eb-Gb-Ab-C, Gb-Ab-C-Eb, and Ab-C-Eb-Gb.
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« Reply #6 on: Mar 06, 2017, 01:52PM »

Oh, and it's not wrong per se, but a handy notation convention when you get crowded notes on a staff:

Given a particular beat (like beat 1 of those measures), write all the noteheads vertically, offsetting notes on adjacent lines/spaces horizontally but otherwise adjacent. Then, write all the accidentals left of all the noteheads, offsetting the accidentals in the same way you offset the noteheads to avoid writing them overlapped.
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« Reply #7 on: Mar 06, 2017, 02:04PM »

Trying to find a good visual example - whew, think I found one:

https://www.scribd.com/doc/191921664/Chord-Glossary

Go to page 12, where it goes over Augmented sixth chords. There is a nice example of notes and accidentals spelled out that happen to fall very close to each other on a staff, particularly that specific German variation.
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cozzagiorgi
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« Reply #8 on: Today at 01:46 PM »

Ok thanks for your help!

Didn't have a lot of time to work on it, but here is my latest effort. Am I doing this right?



http://imgur.com/A7ESquD

According to Mr. Lindsays book I have to respect the following guidelines:
- Avoid the interval of a major 2nd adjacent to the lead voice. It obscures the lead line.
- Never write the interval of a minor 2nd against the lead
- Avoid cluster voicings (not a problem in this exercise)
Solution for these problems is to use a "tension chart" I won't include in this post, but it lists possible substitutions.

As you can see, I had to use the tension chart on measure 2 and measure 10. But I am unsure if I am allowed to omit the root as I did in measure 10. 

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