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Do my meaning for the word capstone capstone picture books google layout custom paper size all right so now we're moving to some great music and again I have three guests here what we've been able to do is film some of the UT jazz orchestras concerts so we filmed not last Friday's concert we didn't turn it around that fast but we filmed some concerts in the fall and then we came up with some of the best material from that really edited it nicely video on audio wise and today's class is all about you you're going to drive a lot of the class today so please ask any questions that you'd like Eva about the music that you hear or about my guests here Dave sayers is going to be banking those questions are using the ask professor button and will be answering a lot of those during our kind of extended interplay at the end of class today so please react to the music oh and anything feel free to give us any feedback you have about the music or anything you'd like to know from my fine guests today all right and our first guest is as I mentioned dr. John Mills professor jazz studies at the butler School of Music he's a jazz saxophonist and a jazz flutist and a great jazz composer in addition to having all many other skills he's a composer in many idioms so if you've heard aspects commercial or maybe had a Chevrolet - moment right there's a dr. Mills there - ad and all other kinds of idioms - so he's a remarkable musician and person so we're going to talk to John a little bit and then we'll listen to a piece of his music so let's start out with what attracted you to jazz in the first place well I had the opportunity to hear a lot of different kinds of music growing up around my household everything from classical music to pop music and to jazz and I was always attracted by the harmony of the music before I knew what harmony really was underneath the melody I was tracing this other movement I found really fascinating and I ended up going to the piano without any particular instruction just looking for those sounds that I heard in all kinds of music and sometimes discovered things in my search I could maybe Debra found what I was looking for that I was trying to duplicate but I found something else and of course I was also interested in the rhythmic nature of all kinds of music and I felt like jazz had the best combination of that harmonic interest that kind of fascinating harmonic movement and the rhythm so what I love all kinds of music but jazz puts those things together in a very special way yeah it's cool I agree with you totally about that let's talk about what it's like to compose and arrange for a big band the process that I know that's a very complicated question now it's a lifelong process and I'm going to ask you to give kind of a short answer to that and also talk maybe a little bit about what's different and similar between actually just writing music and then arranging it for a large jazz ensemble like the Jazz Orchestra well there's a sort of a line between where composition where it's all your original thoughts and your original chord progression and every bit of it is is coming from you to an arrangement where essentially you're taking somebody else's work and adapting it for a particular instrumentation for a particular setting and you know there's a there's a line in between there where the cross from composition to arranging you know it's gets a little ambiguous where one stops and the other starts when you are arranging you still inevitably infant compose things like no specific counter lines in the saxophones for instance or the alternate chords in the brass so in a way you always take over a little bit and become a bit of a composer but the arranger is essentially taking somebody else's work giving it a new treatment maybe you can compare it to somebody doing a remake of a film or taking a book and turning it into a movie you know it as another source whereas with composition you're the you're the novelist you're the film director you're all those things right yeah great so when you're would it be accurate for us to say that when you're composing a piece for the Jazz Orchestra or preparing something for it you would write the music the basic sketch first with just kind of the harmonies and the melody and the rhythms and then apply it to the instruments later that's true I would compare it maybe to somebody making a sketch of a maybe drawing on your buildings or something where the broad outlines and the shapes and the positioning is all set first and then the last stage of the process is applying maybe the watercolor others right colors and maybe some fine-tuning some things so there's definitely a preliminary stage where the basic elements of the piece are put into play and the finishing touch is sort of transferring that to the score getting into the specifics the nuts and bolts of how you want to move between the different instruments and that sort of thing yeah right thanks for that so let's talk about your piece that's coming up your fragments of your imagination this one like many of your compositions you've definitely established an identity as a composer and when I think a big part of that identity of a catchy rhythms that you create and they're very interesting they're also challenging for the players you mentioned rhythm already when we were talking earlier today so can you talk about some of your rhythmic influences or some of the rhythms that influence or affect your writing well with jazz always being sort of very aware of its history and its traditions but also sort of moving forward I like the combination of taking the the instruments of jazz tradition some of those harmonies and maybe update the rhythmic setting into maybe some kind of rhythmic grooves that could only happen in 2017 I thought I'm searching for whether I get it or not and there's an element of the multiple syncopations that go on at once in the music I like to write and I think it's a reflection of the way that I can jazz quartet behaves even they're playing a simple jazz standard the drummers playing cross rhythms and the pianist is catching certain accents and the bass players doing variations and this the soloist is playing no variety of rhythms and all that going on is actually quite complex and transferring all that rhythmic energy that's inherent in a spontaneous jazz performance into a schoolroom arrangement very cool well that's definitely one of the things that we want to be listening for as we watch and listen to fragments coming up do you have another tip or two of something else we might want to listen for or check out while we're watching this video one thing that I think it's sort of a way jazz sort started moving maybe back in the seventies was evolving past necessarily having a thirty-two bar form like most of the jazz standards and the idea that instead of having that ABA cycle as the sort of the arc of the music to have a much longer story so kind of keep count of all the different passages I separate sections you hear before the piece makes its full cycle and it's it may take a minute and a half two minutes before you get through all the stages I'm right very cool yeah thanks for that so in just a moment were going to be listening to fragments of your imagination and please ask questions if you like you know yeah and then now we'll get to those we get to the interplay and when we come back from fragments will be with Brian Canard who's a master student in jazz composition we'll be talking about his piece so hope you enjoy the UT jazz orchestra playing John Mills as fragments of your imagination [Music] [Music] [Music] and [Music] [Music] you [Music] [Applause] [Music] [Applause] [Music] [Music] [Applause] [Music] haha [Music] [Music] [Applause] [Music] [Music] thank you [Music] [Music] [Music] you [Music] [Music] [Applause] [Music] [Music] word 2018 capstone level 3 writing a research paper for money State University of New York at Cortland.