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Guidelines for additional reharmonization techniques in

3 or 4 horn writing 

3 horns:

There are 3 additional techniques for 3 horn (re)harmonization:

Constant structure 4ths voicings: notes are drawn from the mode of the moment;

intervals may be perfect 4ths (or not); avoid 3rds; beware of low interval limits; avoid

b9 intervals on major 7th chords; ambiguous voicings (not containing chord sound 3

and/or 7) are best when following or followed by voicings containing chord sound

Inverted 4ths voicings: this type of voicing contains a perfect 4th and a 2nd (major or minor) between the top 2 or lower 2 voices; it is a respelled 4ths voicing; this may also

be viewed as a "closed" voicing in 4ths

Cluster voicings: all adjacent intervals are 2nds (major or minor); notes placed

immediately below the melody (no space between the top 2 voices); notes are selected

from not only the chord (tones) but also from the mode of the moment (all available

tensions); voicings may be incomplete (missing 3 and/or 7) as long as the chord sound

is still implied; these are effective for-tightly spaced voicings on the low notes of a

melody, background punches and higher lead for brilliance; avoid clusters to

harmonize an active 8th note passage (the result is a blurred melodic effect).

Listen to the masters!

4 horns

Constant structure 4ths voicings: notes are drawn from the mode of the moment;

intervals may be perfect or augmented 4ths (diminished 5ths); avoid 3rds but, if 

absolutely necessary, a 3rd may occur between the top 2 voices; beware of low

interval limits; avoid b9 intervals on major 7th chords; ambiguous voicings (not

containing chord sound 3 and/or 7) are best when following or followed by voicings

containing chord sound; in tonal contexts, "avoid notes" may not be used, but in a

modal context, they may

Inverted 4ths voicings: these are best used in context with voicings that contain all 4thsto establish the context; this type of voicing contains a perfect 4th and a 2nd (major or 

minor) between the top 2 and lower 2 voices; it is a respelled 4ths voicing where 2 of 

the voices have been displaced by an octave; this may also be viewed as a "closed"

voicing in 4ths

Cluster voicings: all adjacent intervals are 2nds (major or minor); notes placed

immediately below the melody (no space between the top 2 voices); notes are selected

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7/30/2019 4ths and Cluster Writing

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from not only the chord (tones) but also from the mode of the moment (all available

tensions); if necessary, use a 3rd between the top 2 voices (this will compromise the

density but allow for clarity; voicings may be incomplete (missing 3 and/or 7) as long

as the chord sound is still implied; these are effective for tightly spaced voicings on the

low notes of a melody, background punches and higher lead for brilliance; avoid

clusters to harmonize an active 8th note passage (the result is a blurred melodic

effect).Listen to the masters!

ths and cluster writing http://www.jazztrumpet.com/arranging/additionalvoicings

of 2 4/14/13 5:38