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  <a href="/blog/blog/7706129/composing-arranging-and-admin-in-the-sun">Composing, Arranging and Admin in the Sun</a>&nbsp;
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<p class="wp-block-paragraph">It’s been a beautiful summer! It’s been a busy summer! It’s been a summer on the golf course, teaching at Carleton University’s camps, and most importantly, a summer to be with my kids. </p>



<p class="wp-block-paragraph">From September to June, we run in opposite directions – their school, my school, their activities, my work, and concerts, but since that’s all concluded, I’ve been taking advantage of the time. </p>



<figure class="wp-block-image size-large"><img src="https://barisax.ca/wp-content/uploads/2025/08/img_1555.jpg?w=768" class="size_orig justify_inline border_" height="1024" width="768" /></figure>



<p class="wp-block-paragraph">I’m sitting on my front step, watching my kids at the park – listening to the shrieks of joy on the slide, eavesdropping on their grand plans to meet up with their friends, and watching their creativity explode when they create different play scenarios on the same play structure that they use daily. </p>



<p class="wp-block-paragraph">I don’t need to be out here – they’ve been playing on their own (semi-supervised. Haha!) most of the summer – they know the rules. There’s something inspiring about being a fly on the wall for their uninhibited play.</p>



<p class="wp-block-paragraph">I’ve taken to composing small sketches, completing arrangements, and the monotonous tasks as well – emails and the like. I’ve caught so many ideas that develop organically from being in the sun, as opposed to my office, or at the piano, or at the dining room table. The clanks off of the metal bars at the park, the cars driving by, the kids exclamations when their friends show up unexpectedly – for this musician-dad, it’s an environment of inspiration. </p>
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    <p class="post-info"><span data-time="2025-08-12T09:49:56-04:00" title="August 12, 2025 09:49">08/12/2025</span></p>

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  <a href="/blog/blog/7587235/transcription-gary-pribeck-on-moment-s-notice-buddy-rich-the-sound-of-jazz-1978">Transcription – Gary Pribeck on Moment’s Notice (Buddy Rich – The Sound Of Jazz – 1978)</a>&nbsp;
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<p>Here’s another transcription that I’ve brought over from my old blog. <a href="https://barisax.ca/2022/08/01/tim-price/">Tim Price</a> suggested this recording, and I transcribed all three tenor solos on Buddy Rich’s interpretation of John Coltrane’s, Moment’s Notice.</p>



<p>Here’s Gary Pribeck’s solo.</p>



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    <p class="post-info"><span data-time="2025-06-06T15:46:31-04:00" title="June 06, 2025 15:46">06/06/2025</span></p>

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  <a href="/blog/blog/7582184/arranging-east-of-the-sun-for-big-band-part-three">Arranging East Of The Sun for Big Band – Part Three</a>&nbsp;
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<p>The next step after I write my lead sheet arrangement, is conceptualizing the big band arrangement. This step is where I write out the form of the arrangement in full. I think about each chorus, and put down a few notes about the key elements of section of the arrangement. </p>



<p>There is no composition done at this stage, but I do sing a lot of my ideas into the voice memo app on my phone. </p>



<p>It’s important to note that this outline can change (sometimes drastically) from the time I write out the form to the arranging or recomposition of the piece. </p>



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<p>I’ve been listening, and performing some Rob McConnell charts lately, and I love the way he uses changes in time to create different moods in the music, so I want to use a rubato waltz in the intro statement of the melody. At the end of the intro, the band will head into the vamp which will swing hard, and take the band into the melody.</p>



<p>From there, the saxophones will take the melody, and trade some statements with the brass at the end of each section. I’ve sung these, and left directions for myself on my voice memo app. </p>



<p>After the melody, we’ll head into solos – to be determined. If I’m using this arrangement for the Prime Rib Big Band, I’ll put changes into everybody’s parts, because we like to have the option of solos for any player. If I’m writing this arrangement for another band, I might make the soloist(s) more specific. </p>



<p>When we get to the shout chorus, I’d like the drums to call and response with the band, with shots from the rhythm section, and on the second half of the shout chorus with get more dense. I’ve also left a note for myself to think about a modulation at that point. </p>



<p>The last full chorus of the melody will bring back some of the ideas from the first, but developed further, and the second half will bring back the waltz from the beginning. After a fermata, the vamp will return, and the arrangement will end with a drum solo. </p>



<p>Once again, this outline may change as the arrangement develops when I get to the piano and putting the notes down on paper, but this outline gives me a direction for the arrangement. </p>
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  <a href="/blog/blog/7579435/getting-started-with-rhythmic-variations-on-melodies">Getting Started With Rhythmic Variations On Melodies</a>&nbsp;
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<p>I teach a lot of instrumentalists who have a strong base in concert band music, who want to learn to play jazz. They have typically joined a big band, and don’t have a ton of room for solos, but after a while, they start to become interested in soloing, and in some cases, want to play in a small group. </p>



<p>One of the biggest hurdles that they face is how to phrase the melody. Usually, they play the melody close to what’s on the page, and then improvise at the end of the head. I was in a masterclass with Lee Konitz in 2008, and he explained that improvisation starts when the tune starts, not at the end of the melody. This has stuck with me since, and I try to pass that on to my students.</p>



<p>Here’s one of the exercises that I give students in this situation. This example is using the melody to Autumn Leaves.</p>



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<p>The students can mix-and-match the pickup variation, and the held note variation. I have them pick a set, and workshop it through the melody (where applicable), and then change one at a time – for example, blue A + red A, blue A + red B, blue A + red C, etc. </p>



<p>I find that the structure of this compliments the players who are more comfortable with reading music, and they get away from the page when they have some solid examples to work from. I have also found that once they get a few of these in their ears and under their fingers, they get more curious about what their favourite players are doing on the recordings. </p>
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  <a href="/blog/blog/7575400/arranging-east-of-the-sun-for-big-band-part-two">Arranging East Of The Sun for Big Band – Part Two</a>&nbsp;
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<p>After reharmonizing the tune, I added a bass line and shots for the rhythm section to follow. In turn, I rephrased parts of the melody to compliment the rhythm section part. </p>



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<p>East Of The Sun now opens with a vamp which I had the drummer solo, and catch the shots. Once the vamp is cued for the last time, we head into the melody. You can see where the melody is syncopated which matches the shots, and anywhere there are slash marks in the bass clef, the rhythm section is free to swing. After the last time through the melody, the vamp returns, and the drummer solos, hopefully more intensely than the intro, and the vamp ends on E9/G# shot on beat four. </p>



<p>Here’s the full PDF to check out. </p>



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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blog/blog/7571846/transcription-lester-young-on-fine-and-mellow-1957">Transcription: Lester Young on Fine and Mellow (1957)</a>&nbsp;
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<p>This post comes from my old blog, “From The Horn”.</p>



<p><em>Lester Young’s “Fine and Mellow” solo is one of my favourites. It’s the sound and feeling that draw me in. This is one of the first transcriptions that I had ever attempted in high school, and it has stuck with me since.</em></p>



<p><em>To me, the solo is all about nuance. There aren’t that many notes, and it is only a chorus long, but Lester gets to the point. Pure beauty!</em></p>



<p><em>If you’re going to learn this, make sure you have the melody firmly planted in your head. It’s important, otherwise you’ll miss the subtleties in the vibrato, rhythmic variety and the emotive qualities that Lester Young brings to this bandstand.</em></p>



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    <p class="post-info"><span data-time="2025-05-07T10:00:00-04:00" title="May 07, 2025 10:00">05/07/2025</span></p>

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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blog/blog/7568141/arranging-east-of-the-sun-for-big-band-part-one">Arranging East Of The Sun for Big Band – Part One</a>&nbsp;
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<p>I recently reharmonized and arranged the jazz standard, East Of The Sun (And West Of The Moon), for a quartet performance, and I want to expand it for the Prime Rib Big Band. I thought that it might be interesting to share my process, and it may be helpful to my arranging journey to distill my thoughts through the blog. </p>



<p>I’ll be sharing my process on – </p>



<ol class="wp-block-list">
<li>Building the lead sheet with my reharmonization.</li>



<li>Preparing the lead sheet arrangement.</li>



<li>Which instruments carry the melody, and where.</li>



<li>Creating the accompanying parts, and backgrounds.</li>



<li>Composing and harmonizing a shout chorus.</li>



<li>The final arrangement.</li>
</ol>



<p>The blog will be released over several posts, the arrangement will be finished, and performed by the band by the final post. I hope to be able to add a video with the band performing the arrangement.</p>



<p>Here’s the initial reharmonisation.</p>



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<p>In the reharmonization, I use slash chords for the first four bars of the A sections. I have a bass line in mind – you’ll see it in the next post about the quartet arrangement. </p>



<p>When I get to the B section, I use a secondary dominant (C#7 – V7 of F#m7)  – once again for arranging purposes. There’s a call and response between the melody and rhythm section. </p>



<p>In the last four bars of B, and the end of the C section, I’ve added Coltrane changes (with extensions to make the melody fit), and added Tadd Dameron’s turnaround from Lady Bird. With the turnaround, I substituted an AMaj7 where there would normally be an EbMaj7, using a tritone substitution in the group of parallel major chords. </p>



<p>Lately, I’ve been listening to Jerry Bergonzi, and I love when he drops Coltrane changes through the melody as a colour change from the common chord changes. It’s something that I’ve been working on bringing into my own playing lately.</p>



<p></p>
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    <p class="post-info"><span data-time="2025-04-30T10:06:46-04:00" title="April 30, 2025 10:06">04/30/2025</span></p>

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<h2 class="heading-secondary heading-blog alt-font">
  <a class="no-pjax" href="/blog/blog/7564359/my-pedalboard-the-mayfly-voxbox">My Pedalboard – The MayFly VoxBox</a>&nbsp;
</h2>

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<p>I reintroduced a pedalboard back into my rig a few months ago, and <a href="https://barisax.ca/2025/02/19/my-pedalboard/" target="_blank" rel="noreferrer noopener">wrote a post about the setup in February</a>. The first pedal on my chain is the <a href="https://www.mayflyaudio.com/VoxBox/" target="_blank" rel="noreferrer noopener">MayFly VoxBox</a>, which is a microphone effects loop. </p>



<p>First off, I use this pedal because it SOUNDS GOOD! I hear my sound clean and unaltered when I play through the pedal, and it dials in so quickly when I change venues and sound systems. </p>



<p>The VoxBox allows me to plug my microphone (an <a href="https://store.sdsystems.com/lcm85-for-wind-brass-instruments.html" target="_blank" rel="noreferrer noopener">SD Systems LCM85</a>) into the pedal, set the input level, and from there, I send the signal through my effects loop, and back to the VoxBox, where I can set the blend of wet to dry signal. Then I send it through my reverb pedal (the MayFly JellyFish – a great pedal for another post) to the amp or sound system. </p>



<p>My microphone doesn’t need phantom power (48V), but if I did, the pedal comes with a switch to power your microphone as well. </p>



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<p>The feature that is so exciting and practical for me is the set of foot switches. There’s a latched switch that engages or disengages the loop – loop on or loop off, but then MayFly has added an unlatched foot switch, Momentary Swap, that momentarily swaps the signal to the opposite setting that you’re on – if you’re playing through the effects loop, is changes the signal to dry, and if you’re playing dry, it engages the loop. This is such a great feature, because sometimes I need to make a hard stop with the effects loop, but want to get it back immediately. </p>



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<p>As all of MayFly’s pedals, it’s so easy to use and to dial in my sound quickly with different sound systems, in different rooms, and I love that it’s made in Ottawa as well. </p>



<p>I’m really happy with this being the “brain” of my pedalboard. It allows me to have full control of my sound and signal before, and after sending it through all of my pedals, always getting the sounds that I want.</p>



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    <p class="post-info"><span data-time="2025-04-23T10:06:06-04:00" title="April 23, 2025 10:06">04/23/2025</span></p>

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<p>I’ve played Tadd Dameron’s tune, Lady Bird for years, and have had most of my students who are working at  developing their improvisatory skills work on the changes to this tune. It dawned on me, as I was writing the changes out on the board a few weeks ago that the turnaround represents all of the key centres that Dameron takes the tune through. </p>



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<p>This is in Eb – I was working with a bari player that day. </p>



<p>The first ii-V is in C, the second in F, the third is in E, but is substituted by the Bb major (which I’m dealing with as a tri-tone substitution), and takes you back to the top. </p>



<p>Maybe this was super obvious, but it was the first time that I realized this – it’s always exciting to discover new concepts within a piece that I’ve played for years!</p>
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  <a href="/blog/blog/7556918/transcription-edmond-hall-on-caravan">Transcription: Edmond Hall on Caravan</a>&nbsp;
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<p>This is a post from my old blog “From The Horn”. </p>



<p>I have a clarinet student who is almost ready to start transcribing their own solos, and at this point, I usually provide a solo so that they can see the process of transcribing. I suggested this clarinet solo by Edmond Hall on Caravan, and here’s the original post that it came from (in 2013). </p>



<p><em>During a lesson with Tim Price, he had me listen to Edmond Hall. At first, I thought (and said) , “That sounds like Bob Wilbur.”</em></p>



<p><em>It wasn’t – it’s a great solo by Edmond Hall on Duke Ellington’s tune – Caravan.</em></p>



<p><em>Check out his use of dynamics. The piece builds into the last bridge, where Hall blows over it and then takes it home.</em></p>



<p><em>Enjoy!</em></p>



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  <a href="/blog/blog/7554092/bass-saxophone-update-new-gear">Bass Saxophone Update: New Gear!</a>&nbsp;
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<p>I’ve had the bass saxophone for three months, and in that time I’ve loved playing it more and more. I’ve used it on jazz gigs, saxophone choirs, and some recording sessions for movies and tv, and in these varied settings, I have changed up some of my gear.</p>



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<p>The first piece of gear that I’ve changed is the mouthpiece. I ended up purchasing the Vandoren V5 bass saxophone mouthpiece. I was using my metal Otto Link, and it was good, but I found that it was a little too buzzy, and the stock mouthpiece was too closed for me. The Vandoren piece seems to split the difference – enough volume for any situation, and I can shape the sound the way I need for each musical situation. I may end up getting this piece opened up a little bit in the future for more flexibility, but as of now, I’m happy with the way the setup speaks. I think one other important aspect of this piece is that I can still use baritone saxophone reeds (my Gonzalez Jazz Local 627’s play really well with this piece). </p>



<p>The second piece of gear that I acquired was the Gard bass saxophone gig bag. One of the only issues that I’ve had with the Thomann bass saxophone is the case. I love the wheels (they are super smooth – I’d love for BAM to use these wheels on their Hitech baritone saxophone case), but the handles are sewn into the exterior fabric of the case, and they were starting to pull off already. In addition to that, on Fridays, I’m playing both baritone and bass saxophones, so I wanted to make the load a little lighter. The gig bag is huge, but it’s really convenient, and surprisingly sturdy – I haven’t used many gig bags. It goes into the back of my SUV comfortably, and I feel like the horn is protected enough to not worry.</p>



<p>The last piece of gear is the Balam harness from Boston Sax Shop. I’ve had this harness for a few years, and it works beautifully – the weight is distributed evenly on my shoulders. I was toughing it out with a neck strap when I had to stand, but since the switch to the Balam, my neck and back have been much happier. I’m actually using it on baritone sax as well again, and I feel like I can stand for longer.</p>



<p>These have been the gear updates for this new adventure in low woodwinds. There may be more in the future, but I’m pretty happy with these setups right now!</p>
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    <p class="post-info"><span data-time="2025-04-03T15:31:43-04:00" title="April 03, 2025 15:31">04/03/2025</span></p>

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  <a href="/blog/blog/7551230/three-things-i-ve-learned-from-being-a-regular-member-of-a-group">Three Things I’ve Learned From Being A Regular Member Of A Group</a>&nbsp;
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<p>I’ve been so fortunate to be a founding member of the Prime Rib Big Band, and the Crius Saxophone Quartet, as well as a member for several years of the Ravens Saxophone Quartet, and several other groups. Over the years of being a collaborative member of these groups, I’ve learned a few things about being a regular member of a group.</p>



<figure class="wp-block-image aligncenter size-large"><img src="https://barisax.ca/wp-content/uploads/2025/03/unnamed.png?w=424" class="size_orig justify_inline border_" alt="" height="318" width="424" /></figure>



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<li>Efficiency – The longer I’ve been with a group, the more efficient the rehearsals become. Working with a group regularly makes the getting the music right the focus, and I have found that we don’t tiptoe around each other like when a group is newly formed. This doesn’t mean that we are nasty or short with each other, but rather there is an understanding that develops between the members that we’re all pulling towards the same goal – to create great music.</li>



<li>Trust – there’s a musical trust that comes from working together. I find that as the group rapport develops, I take more chances, and trust that the other members are going to hold their parts down. It’s interesting, because even when you’re playing with great players, there is a learning curve to getting inside of each others’ sound, and time feel. As that comfort level develops, the music gets so much more exciting to me. </li>



<li>Personal Connections – The camaraderie that is built through the good and bad gigs, and the long rehearsals cannot be recreated without time – driving to gigs and rehearsals together, grabbing a drink after a gig and connecting with bandmates between the notes only makes the music stronger and more meaningful.</li>
</ol>



<p>I used to think that subbing in to gig and rehearsals was the way to go, and I do still love the rush of sight-reading in a new group, and getting put in musical situations that are unpredictable, but there’s something deeper that has grown on me with staying a regular member of a group. </p>



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