This episode features special guest David Berger in an interview conducted by Aaron and Drew. David talks about his upbringing in music and his professional experience as a prolific and highly influential arranger, composer, transcriber, bandleader and educator.

Correction: David's arranging book is called Creative Jazz

David Berger's website:

https://www.davidbergerjazz.com/

Such Sweet Thunder Music:

https://www.suchsweetthundermusic.com/

David Berger's blog:

https://www.suchsweetthundermusic.com/blogs/news

Aaron and Drew discuss the common issues of writing too many notes, leaving too much space, and the challenge writing with the perfect balance for every situation. They discuss what music they've been listening to as well.

Aaron and Drew discuss the elusive concept of what it means to have a personal artistic voice as a writer.

Aaron and Drew introduce themselves and answer a handful of questions from the community.

Show Notes

Intro Music: "Pistachio" by Drew Zaremba, recorded by the University of North Texas One O'Clock Lab Band

https://music.unt.edu/store/lab-2015

Ending Music: "Take Your Time" by Aaron Hedenstrom, recorded by the University of North Texas One O'Clock Lab Band

https://music.unt.edu/store/lab-2016

Index/Questions

Introductions (0:32-04:28)

Drew's Story (04:28-07:47)

Drew's site: http://drewzaremba.com/

Aaron's Story (07:47-12:46)

http://www.aaronhedenstrom.com/ 

Q and A (13:10) 

Question 1 (13:58)

• Paul Birk: When arranging, do you find it helpful to do a 3-line sketch of your ideas, designating lead lines and accompanimental figures within a form before actually scoring the arrangement?

• John Williams Scoring Session Indiana Jones

Question 2 (21:09)

• Justin Pierce: As an arranger, what are your favorite books/transcriptions/exercises to practice on piano?

• The Jazz Piano Book by Mark Levine

• http://www.shermusic.com/0961470151.php

• Billie Holiday - I Love You Porgy (Decca Records 1948)

• https://www.jwpepper.com/2104842.item

• https://global.oup.com/ushe/product/jazz-composition-and-arranging-in-the-digital-age-9780195381009?cc=us&lang=en&

http://www.michaelabene.com/

• Richard Sussman

• http://www.richardsussmanjazz.com/

Question 3 (26:10)

• Cole Dapprich: What is the best way to handle doubling in an arrangement, specifically in Finale 2012 or 2014? How do I switch a part to a double and then back within the same file?

• http://www.finalemusic.com/blog/instrument-doubling-with-finale-2012/

Question 4 (27:38)

• Toshi Clinch: How do you work out the price of a commission for a client?

• Gordon Goodwin: http://www.bigphatband.com/

Question 5 (36:05)

Toshi Clinch: When selling your own arrangements, how do you decide on the price?

• Legality of selling arrangements: http://ostrowesq.com/no-you-dont-own-your-arrangement-of-that-hit-song/

Question 6 (38:18)

Toshi Clinch: What tactics do you have when you have writer's block but still have to meet a deadline?

• Sharp-9 chord: https://en.wikipedia.org/wiki/Dominant_seventh_sharp_ninth_chord

Question 7 (43:50)

Toshi Clinch: How often do you find yourself following general arranging rules when writing, and how often do you find yourself breaking away from those rules?

• Aleatoric Music: https://en.wikipedia.org/wiki/Aleatoric_music

Question 8 (50:29)

Toshi Clinch: As a professional arranger, how often do you work on your own material vs. working on material for others?

• Drum and Bass music: https://en.wikipedia.org/wiki/Drum_and_bass

Question 9 (55:35)

Toshi Clinch: How do you go about finding arranging work and maintaining a consistent workload?

• Aaron Hedenstrom Orchestra: Aaron Hedenstrom Orchestra: A Father's Love

Question 10 (1:06:12)

Chris Sharpe: What factors do you take into consideration when making an instrumental arrangement of music originally written with text? Do you feel the need to compensate for the lack of text?

• Night and Day (Cole Porter): Night And Day - Cole Porter

• Ella Fitzgerald version: Ella Fitzgerald - But Not For Me

Question 11 (1:09:22)

Camille DeVore: What are your schematics for setting up an arranging workstation (with regards to gear)

• MIDI controller: https://www.sweetwater.com/c513--MIDI_Controllers

 Question 12 (1:15:00)

Scott Neary: I would love to know how you break into the world of commission writing, arranging, and breaking into the professional world beyond writing for your own projects

• See Question 8 at 55:35

Question 13 (1:15:18)

Jordan Coffing: I wanted to know how you communicate with clients who are either non-musicians or not very musically educated?

• Rich DeRosa: http://richderosa.com/

Question 14 (1:21:56)

Eddie Eby: I would like to know how you guys approach writing in a new style or for a new ensemble?

• Romantic-era Composers: https://en.wikipedia.org/wiki/List_of_Romantic-era_composers

 Question 15 (1:27:40)

David Rice: I'd like to see how you guys approach writing drum parts: what do you guys feel is a good balance between writing out hits and just using slashes?

• Drumset notation: http://www.timusic.net/debreved/jazz-notation-chords-drums/