Abstract
The purpose of this study is to create a comprehensive, historically based resource for composers to use for reference when arranging for brass and woodwinds in jazz chamber ensembles. This study includes an analysis of techniques used by master composers and provides a series of four original pieces, informed by those composers’ approaches to writing for wind sections of various sizes and instrumentation. This study examines the brass and woodwind writing of Tadd Dameron, Benny Golson, Oliver Nelson, and Duke Pearson. Each composer selected for this study has an extensive discography of music written for wind sections that feature two to five performers. This document provides an analysis of these works from multiple perspectives. It analyzes the various techniques used to best suit the size of the section (i.e. unison writing, counterpoint, melody with accompaniment, tutti style, etc.) and the combination of these techniques when arranging instruments of different relative intensities, timbres, and technical facilities.