Ellen Rowe discusses why writing for young jazz ensembles is an interesting challenge writers should explore, how she makes the most of it, her inspirations, and her recommendations for you.
Chuck Owen talks about characterizing a melody like an author to create compelling melodies, how to use the differences between improvisation and composition, and gives access to his motive sheet and formal analysis for his piece, "Warped Cowboy."
Jorge Calandrelli reflects on the his work "Concerto for Jazz Clarinet and Orchestra," it's origin, how he dealt with perceived risks of crossover music, and its effect on his career.
John Beasley reflects on the "how" he starts a composition, how it integrates into his process overall, and the benefits of that process for his writing as a composer and arranger.
Composer and Saxophonist Christine Jensen reflects on the role of character development, melody, and her upbringing on her way of approaching improvised and composed music.
Bill Mays reflects and analyzes his multi-movement work, The Delaware Suite, talking about his motives, shapes, themes, and design. He includes a variety of example along with a PDF of the score and full recording of the suite.
Paul Read shines a spotlight on Canada's pioneering Composer, Arranger, Clarinet Player, Band Leader, and Educator Phil Nimmons in this multi-media post (including a 40+ min interview, audio examples, and more).
Florian Ross gives some advice to the composer to hone back in on what's important in this aural art-form to recapture that artistic essence.
Maria Schneider gives resources about the new law that will directly impact composers in the coming era of royalties and distribution.
Kim Richmond shares his process for writing (from sketching to part preparation) and gives examples of his works in those stages.
In this interview with Paul Read, John Clayton recounts his compositional origins, his processes, and his advice for young composers.
Michael Phillip Mossman reflects on his work as an arranger, how those opportunities shaped him, and a few pieces of directly applicable tips and ideas.
Artist Blog Curator and Composer Paul Read talks about the hidden benefits of curating this blog and asks for your feedback.
Scott Robinson reflects on the lessons he's learned as a musician abroad.
Ryan Keberle talks about soloing, technique, and conception; eight lessons he's learned while playing great composers' music as a freelance trombonist.
Adam Benjamin talks about listening with 7 different important checkboxes that musicians should definitely consider.
Bob Mintzer reflects on his process as a composer through his background, techniques for generating ideas, and executing those ideas.
Fred Hersch shares an exercise involving a hat, a kitchen timer, and a pencil that you should try today.
Asuka Kakitani reflects on her experience as a composer, the value of melody, and parenthood's influence on composition.
Terry Promane discusses his 5 favorite arranging topics dealing with preparation, practice, and process.
Paul Read reflects upon 5 things he's learned in his career so far and the process of his growth and development.
Pianist and Composer Florian Ross outlines a well-balanced metaphor about reconnecting with our roots.
Rick Lawn outlines 4 lessons for process and art that he's learned over his career thus far. Additionally, he offers a software tool to help all writers - the Orchestrator's Toolkit.
Rick Lawn remembers his mentor, composer and educator Manny Albam.
Inspired by an advice column, David Berger presents 10 questions that he had as a young arranger, and answers those questions in this excerpt from his book, "Creative Jazz Composing and Arranging."
In his essay on Jazz Composition, Adam Benjamin explores originality, practice, and methods for the jazz composer.
John La Barbera continues his "On Arranging" series talking about melody and pragmatic advice for composers.
John La Barbera's "On Arranging" series begins with the the art of arranging and advice on "line."