The Voice in Arranging - Rethinking the role of  vocalists in big bands and large ensembles

Giulia Bättig

This research explores how the voice can be used creatively in large ensembles and big bands. It is structured in five parts, starting with an introduction explaining my interest and personal connection to this topic. I then analyzed the work of composers and arrangers that used vocalists in their large ensembles before me - for example Kenny Wheeler, John Hollenbeck and Martin Fondse. There I looked at how they used vocalists in their works and found that oftentimes, the voice still is used as a doubling part for the lead melody, but seldomly is used as an independent part in the arrangements. I then moved on to analyzing my own compositions I’ve written for a vocal section and large ensemble. I saw that I unconsciously often used the same kind of arrangement style, and drew a lot of conclusions for my future works out of this analysis. In part four, I compiled my research of others and my own work into a small handbook of arranging tools for big band and voice section. With this, I want to inspire other composers and arrangers to write for vocalists in new and creative ways. After this, I concluded my research with a reflection and conclusion in the last part. In my presentation, I want to talk about my progress working with others and my own music, and the conclusions I drew out of it, as well as showing some examples of my analysis and the handbook I wrote.

PART 6 - BIBLIOGRAPHY

⬅️ To Part 5

Table of Contents

fin.

Books:

Jesperson, Otto. Language: Its Nature, Development and Origin. George Allen and Unwin Ltd., 1968.
Joyce, Jimmy. Scoring for Voice: A Guide to Writing Vocal Arrangements. Alfred Publishing, 2002.
Fred Sturm. Changes Over Time: The Evolution of Jazz Arranging. Advance Music, USA, 1995.
Sammy Nestico. The Complete Arranger. Kendor Music, Inc., Delevan, NY, 1993.
Davenport, Michael, and S. J. Hannahs. Introducing Phonetics & Phonology. Hodder Arnold, 2010.

Websites:

Koopman, John. A Brief History of Singing. Lawrence University, 1999, http://www2.lawrence.edu/fast/KOOPMAJO/brief.html.

The Sound of English, Pronunciation Studio Ltd, thesoundofenglish.org/.
IPA Chart with Sounds, InternationalPhoneticAlphabet.org, https://www.internationalphoneticalphabet.org/ipa-sounds/ipa-chart-with-sounds/

Scores:

Wheeler, Kenny. The Sweet Time Suite. Second Floor Music, 1990.
Wheeler, Kenny. Gentle Piece. Second Floor Music, 1990/1995.
Rüegg, Matthias. Perpetuum Mobile. 1986/1996.
Hollenbeck, John. Eternal Interlude. Grand Blvd. Music, 2009.
Fondse, Martin. Absolution. 2019.(unreleased)
Fondse, Martin. Welcome to Colonia!. (unreleased)
Fondse, Martin. Adams Ace. 2022. (unreleased)
Fondse, Martin. No Pressure. 2022. (unreleased)
Weiss, Dan. Fourteen Part I. 2012.
Weiss, Dan. Fourteen Part II. 2012.
Weiss, Dan. Fourteen Part III. 2012.
Weiss, Dan. Fourteen Part V. 2012.
Weiss, Dan. Fourteen Part VI. 2012.
Weiss, Dan. Fourteen Part VII. 2012.
Partyka, Ed. Overcast. 2008.
Partyka, Ed. Song Shir. 2011.
Knecht, Benjamin. Hanging. 2016.

(Most of these scores I got from the composers themselves, which is why they sometimes do not have a publisher.)

My own Scores:

Bättig, Giulia. Blue Springs, Alabama. 2017/18.
Bättig, Giulia. Vastness. 2020.
Bättig, Giulia. Never Seek. 2021.
Bättig, Giulia. Allconsuming. 2019.
Bättig, Giulia. Katastrophengesetz. 2019.
Bättig, Giulia. Dim, Dark, Venta. 2020/21.
Bättig, Giulia. Droplets. 2020.

Tip

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Giulia Bättig - The Voice in Arranging - Rethinking the role of vocalists in big bands and large ensembles - 2023