6 things to know about

jazz composition
BY VINCE MENDOZA

October 23, 2014

115

Most of the influential composers in jazz history—such as Jelly Roll Morton, Thelonious
Monk, and Duke Ellington—approached the craft of their music from the perspective of
the player. In addition to the written note, the interaction and/or invention on the part of
the players in an ensemble is essential to the success of a jazz composition. I keep this in
mind when I’m writing my own music. I carry this philosophy into all musical styles,
improvisational or not, as the connection to the player in an ensemble is essential for the
successful communication of ideas. Here are six things I’ve learned about jazz
composition:
Photo by Pamela Fong.

1. Write Singable Melodies

Players can only be as expressive as the paths that are given to them. Great melodies will
inspire expression and improvisation from the player, and will inspire you in turn to write
great counterpoint. Be able to sing the melodies you write so you can feel how instrumental
players might interpret them. A great way to practice melodic construction is by writing
simple shapes that tell a story right from the very first phrase.

2. Intervals and Rhythm

Igor Stravinsky said that he was most concerned with intervals and rhythm. Rhythm is also
the heart and soul of jazz.

Create a groove that you like and improvise melodic ideas based on it, working out the
details later. Also, try varying the intervals in your melodic ideas, keeping a close eye on the
ones that might make your music more unique in your approach to writing. Experiment—
you might prefer to use mostly whole-steps, or perhaps half-steps or fourths, or a
combination of all of them to make your own unique sound.

3. Use Transitions

How do you make a transition from one phrase to another or from one section of a song to
another? Or even from one song to another? Transitions give us a feeling of continuity in
our performances. They are important on many levels. Without them, the music makes no
sense. The opening phrase of your song should lead me to the next one. A good transition
inside of a song can be as simple as a melody or bass motion that gets you from one key
area to another.
4. Manage Your Energy and Form

A great composition or arrangement will manage the energy of the performer from the
beginning of a piece to the end. Also, the way you decide to put your forms together can
make a difference in the energy of the piece. Does the song shut down after a minute to
make room for a “free” solo? Is the entire ensemble playing at full force for two minutes?
Where will you go from there? Do we really need to hear the entire melody again after
three solos? The answer to these questions (and others), are entirely yours and will be part
of your unique approach to song construction.

5. Listen

We don’t create art in a bubble, and we can’t deny the humanity in music, as we rely on the
inspiration of the community to drive our creativity. As we get more insular in our daily
activities, it’s important to keep track of the music and musicians that inspire us, and to
keep looking and listening for music that will push us in new directions. For example, I
pause to think about what Debussy would have been writing had he not heard the
gamelan.

6. Make It Feel Good

I tell my students about this with regard to drum and percussion parts, but it goes for
everything I write. If a part sits well on an instrument, the player will lean intothe part and
make it sing. The best way to learn this skill is to listen to players of many different styles.
Keyboard players need to think not only about what notes to play in the chord, but how
they fit in to the rhythm section. Think about the instrumentalist who’ll be playing your
music, and the resulting experience will bring people together. Thatis creative music at its
best!
Vince Mendoza has been at the forefront of jazz and contemporary music as a composer, conductor, and recording artist
for the last 20 years, garnering six Grammy awards and 28 nominations. Mendoza’s new album Nights on Earth features
his own compositions arranged for small and large ensembles. Find out more atvincemendoza.net.