arrbook.pdf

Arranging by Examples

The Practical Guide to

Jazz Big Band Arranging

and Voicing Techniques

Frans Absil

December 2012

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14

Preface

This document has been created with the public domain LATEX com-puter typesetting program. Diagrams were created using the LATEX pic-ture environment.

Musical examples were created using the MakeMusic Finale 2011 mu-sic notation software. Score examples were imported into the docu-ment as Encapsulated Postscript (EPS) files, using the graphicx pack-age.

The navigation links (printed in blue) in the Adobe Acrobat Reader file(the pdf-file) were created using the hyperref package from the LATEXdistribution.

Donations:This incomplete demo version e-book is offered free of charge. Makea donation and receive the full version through e-mail. Donations areused for document maintenance and expansion. See the website forpayment instructions.

Document history:

Jan 2005: First complete version.

Oct 2008: Restyled version.

Dec 2012: Expanded version. Chapter on special techniques added.

Arranging by Examples: The Practical Guide to Jazz Big Band Arrangingand Voicing Techniques, Frans Absilc©2005-2012 F.G.J. Absil, the Netherlands.

URL Website: http://www.fransabsil.nl

All rights reserved. No part of this publication may be reproduced or transmitted in any form

or by any means, electronic or mechanical, including photocopying, recording, or any information

storage and retrieval system, without prior permission in writing from the Author.

ii

Contents

1 Introduction 1

2 Sectional harmony in 4 parts 3

2.1 Basic rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

2.2 Lead with chordal tones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

2.2.1 The danger of repeated notes . . . . . . . . . . . . . . . . . . . . . . . . 5

2.2.2 Prevent repeated notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

2.3 harmonizing non-chordal tones . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2.3.1 Dim. and sec.dom. chords . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2.3.2 Rhythmic aspects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

2.3.3 Leading tone chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

2.3.4 Substitute chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

2.3.5 Exact parallel chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

2.3.6 Connecting minor 7th chords . . . . . . . . . . . . . . . . . . . . . . . . 14

2.4 Extensions to four part sectional harmony . . . . . . . . . . . . . . . . . . . . . 18

2.4.1 Sequence of similar structures . . . . . . . . . . . . . . . . . . . . . . . . 18

2.4.2 Sequences of diatonic parallel structures . . . . . . . . . . . . . . . . . 18

2.4.3 The ‘drop 2’ voicing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

2.4.4 Repeated notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

2.4.5 Extended and altered dom. chords . . . . . . . . . . . . . . . . . . . . . 27

3 Sectional harmony in 5 parts 33

3.1 Extended 4 part sectional harmony . . . . . . . . . . . . . . . . . . . . . . . . . 33

3.2 Sectional harmony in 4ths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

4 Ensemble techniques 44

4.1 Fundamental aspects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

4.2 Four part ensemble technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

4.2.1 Full big band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

4.2.2 Reduced big band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

4.2.3 Intermediate size band . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

4.2.4 Combining trombones and saxophones . . . . . . . . . . . . . . . . . . 51

4.3 Brass voicing for extended chords . . . . . . . . . . . . . . . . . . . . . . . . . 53

4.3.1 Dominant seventh bitonal voicings . . . . . . . . . . . . . . . . . . . . . 54

4.4 Percussive voicing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

4.4.1 Examples of brass voicings . . . . . . . . . . . . . . . . . . . . . . . . . 55

iii

CONTENTS

4.4.2 Examples of ensemble voicings . . . . . . . . . . . . . . . . . . . . . . . 60

5 Special techniques 65

5.1 Bell chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655.2 Harmonization with symmetrically distributed roots . . . . . . . . . . . . . . 665.3 Intermediate leading tone harmonization . . . . . . . . . . . . . . . . . . . . . 705.4 Chromatic stepwise motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 735.5 Diatonic and exact parallel chord motion . . . . . . . . . . . . . . . . . . . . . 755.6 Variable density . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785.7 Pedal point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785.8 Classical music techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Bibliography 83

Index 84

iv

List of Figures

2.1 Examples of chord structures in 4 part sectional harmony . . . . . . . . . . . . 4

2.2 Chordal tones in lead, straightforward procedure. . . . . . . . . . . . . . . . . 6

2.3 Non-chordal tones in lead, application of secondary dominant chord structure. 8

2.4 harmonization of non-chordal tones in the lead using leading tone chords. . . 9

2.5 Cross relation between lower and upper voice. . . . . . . . . . . . . . . . . . . 10

2.6 harmonization of non-chordal tones in the lead using exact parallel chords. . 13

2.7 harmonization of non-chordal tones using exact parallel chords. . . . . . . . . 14

2.8 Diagram of the ‘drop 2’ procedure in four part sectional harmony. . . . . . . . 20

2.9 Close voicing and ‘drop 2’ voicing. . . . . . . . . . . . . . . . . . . . . . . . . . 21

2.10 Changing from close voicing to ‘drop 2’ voicing. . . . . . . . . . . . . . . . . . 22

2.11 Open voicing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

2.12 harmonization of non-chordal tones using altered dominant chords. . . . . . 27

2.13 harmonization of non-chordal tones using altered dominant chords. . . . . . 28

2.14 harmonization of non-chordal tones. . . . . . . . . . . . . . . . . . . . . . . . . 29

2.15 harmonization of non-chordal tones. . . . . . . . . . . . . . . . . . . . . . . . . 31

3.1 Sectional harmony in five parts, lead doubled an octave below. . . . . . . . . . 34

3.2 Sectional harmony in five parts, mixed voicing, ‘drop 2’. . . . . . . . . . . . . 35

3.3 Sectional harmony in five parts, open voicing, ‘drop 2 and 4’. . . . . . . . . . . 36

3.4 Sectional harmony in five parts, alternating voicing. . . . . . . . . . . . . . . . 36

3.5 Sectional harmony in 5 parts, chords in 4ths . . . . . . . . . . . . . . . . . . . . 37

3.6 Sectional harmony in 5 parts, chords in 4ths . . . . . . . . . . . . . . . . . . . . 39

3.7 Sectional harmony in 5 parts, chords in 4ths, close voicing . . . . . . . . . . . 40

3.8 Sectional harmony in 5 parts, chords in 4ths, leading tone . . . . . . . . . . . . 40

3.9 Sectional harmony in 5 parts, mixed chords structures . . . . . . . . . . . . . . 42

3.10 Sectional harmony in 5 parts, maximising the harmonization in 4ths . . . . . 43

4.1 Example of ensemble voicing diagram. . . . . . . . . . . . . . . . . . . . . . . . 45

4.2 Starting the ensemble voicing: sectional harmony in four parts. . . . . . . . . 46

4.3 Sectional harmony applied to full big band. . . . . . . . . . . . . . . . . . . . . 48

4.4 Voicing diagram full big band. . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

4.5 Sectional harmony applied to intermediate size band. . . . . . . . . . . . . . . 51

4.6 Voicing diagram reduced big band. . . . . . . . . . . . . . . . . . . . . . . . . . 52

4.7 Brass section voicings. (a): internal balance, (b): various chord types . . . . . 53

4.8 Dominant 7th chord S7 bitonal voicings . . . . . . . . . . . . . . . . . . . . . . 54

4.9 Percussive voicing for brass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

v

LIST OF FIGURES

4.10 Percussive voicing for brass using bitonal triads in the trumpets. . . . . . . . . 574.11 Percussive voicing for brass using bitonal triads in the trumpets. . . . . . . . . 574.12 Rhythmic background for brass . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

5.1 Bell chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 665.2 Harmonization with symmetrically distributed roots: minor third . . . . . . . 685.3 Harmonization with symmetrically distributed roots: major third . . . . . . . 695.4 Harmonization with symmetrically distributed roots: chords in 4ths at the

diminished fifth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705.5 Harmonization with symmetrically distributed roots: tritone-related domi-

nant chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715.6 Chromatic stepwise motion: middle voice . . . . . . . . . . . . . . . . . . . . . 745.7 Chromatic stepwise motion: bass . . . . . . . . . . . . . . . . . . . . . . . . . . 755.8 Variable density . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785.9 Classical music technique: chorale setting . . . . . . . . . . . . . . . . . . . . . 815.10 Classical music technique: counterpoint . . . . . . . . . . . . . . . . . . . . . . 82

vi

List of Tables

2.1 Basic chord structures S in four part sectional voicing. . . . . . . . . . . . . . . 42.2 Basic rules for four part sectional harmony. . . . . . . . . . . . . . . . . . . . . 52.3 Extensions and alterations of the dominant chord. . . . . . . . . . . . . . . . . 27

4.1 Checklist outer voices in big band. . . . . . . . . . . . . . . . . . . . . . . . . . 454.2 Alternatives for bitonal voicing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

vii

LIST OF TABLES

viii

Chapter 1

Introduction

Why write a book about jazz arranging techniques? Well, this practical guide to arranging inthe jazz big band style is the result of studying scores, writing arrangements and of teachingexperience. Although a number of books on this subject exist (see the reference list at theend of this manual), students keep asking for many examples and exercises as part of anarranging course. These exercises must gradually become more complex and introduce thestudent with alternative techniques of arranging. Also, I have found that students appreciatethe detailed discussion of the examples.

Therefore, this manual consists of a considerable collection of examples, that have beengrouped into categories and presented in separate chapters. Within each chapter the sectionswill introduce new aspects and in general discuss more complicated examples.

This practical guide will concentrate on a number of voicing techniques, such as sectional ⇐=harmony (see Chapter 2 and Chapter 3) and percussive voicing for a full ensemble (see Chap-ter 4). The detailed discussion of these techniques is meant to help the student master thebasics of jazz arranging for big band. Following the instructions in the text will not lead toa personal style or an advanced voicing of a musical phrase; the material presented hereinis standard practice with a guaranteed result that will sound acceptable and be playable byliving musicians (as opposed to computers). There is also a chapter with special techniques,that can be used to deviate somewhat from the typical jazz big band idiom and create varia-tion in an arrangement: see Chapter 5 for a catalogue of these alternative approaches.

The examples are presented in a common, standardized format.

• First there is a definition of the problem. Why are we presenting the example? What isthe problem that has to be solved?

• In many examples the lead voice and the basic harmony are given. These are shownin figures (a system of staves) that accompany each example. Usually each voice isprinted on a separate staff. The basic harmony is written in shorthand on the loweststaff, labeled H , with either a basic bass line or with slash (rhythm) notation.

1

CHAPTER 1. INTRODUCTION

• The details of the harmonization (this holds in particular for the chapters on sectionalharmony) are shown below the lead voice. This voice also contains marked numbers(e.g., [*1]) that refer to items discussed in the text.

• Each example is discussed in detail in the text, with a particular focus on voicing as-pects. Sometimes a number of alternative solutions to the problem is presented.

The text between the examples is the general introduction to the various techniques.Fundamental aspects and general rules (tricks) are discussed here. Important terminology isprinted slanted. and may be marked by an arrow in the margin. The book also provides an=⇒index for easy reference that contains most of the terminology; references in the index pointto either the definition or the application of the items.

Important information is shown in tables and diagrams, when appropriate. At the begin-ning of the book there is a list of tables and figures, also for easy reference.

This book is not about instrumentation; it neither covers the theory of harmony. A greatmany excellent books on those subjects are in print and should be studied by the studentarranger in parallel to this manual. For alternative discussions of voicing aspects, see [2,4, 5, 12, 13, 15]. The bibliography at the end provides a list of books on jazz arranging(see [2, 5, 7, 9, 12, 14, 18]), instrumentation and orchestration in general (see [1, 8, 6]) andcomposition or musical style (see [21, 10, 16, 17, 19]), that I find most useful.

I hope that this practical guide provides a most useful tool for the student of jazz ar-ranging or the musically interested reader. And remember that a personal style usually isachieved by first mastering the standard set of techniques and then gradually ignore themand replace them with your personal marks. Good luck with developing your own style andwith all your creative endeavours!

2

Chapter 2

Sectional harmony in four parts

Sectional harmony in four parts is one of the basic techniques in the field of arranging (see[2], pp. 29–35, [14], Ch. 10, [15], p. 451). It may be characterized as a mixture of traditionalfunctional harmony with (impressionist) modal harmony.

The problem is that of harmonizing a given lead voice over a given basic harmony for ⇐=a total of four voices; we have to find the three lower voices. The lead voice may consistof chordal tones, non-chordal tones and non-diatonic tones. We will study the technique(alternatively described as the bag of tricks) that enables you to harmonize the lead voice,especially for the latter two categories (non-chordal and non-diatonic tones in the lead) andmake sure the end result makes sense in harmonic terms and is playable from a musician’spoint of view.

Sectional harmony for more than four parts and some forms of ensemble technique oftenonly come down to a doubling of voices from a given basic four part harmonization. Thischapter will show you the technique of harmonizing a given lead in four parts.

2.1 Basic rules

In writing four part sectional harmony there is a basic set of rules that we will follow:

• Use a top-down method. Start with the given lead voice and find the three lowervoices. As an arranger you will usually compose the lead voice first and then harmo-nize that leading part. In our exercises the lead voice will be given. Do not modify thelead voice unless you find its harmonization impossible.

• Use four part harmony. Most chord structures in jazz and popular music have fourparts or more. Table 2.1 summarises the types of four part chord structures that will beused in the four part sectional technique (remember that the symbol S indicates a chordstructure): Figure 2.1 gives an example of each of these types. For the moment we will

3

CHAPTER 2. SECTIONAL HARMONY IN 4 PARTS

Table 2.1: Basic chord structures S in four part sectional voicing.

Structure Description

S6 the major triad with added 6th(note: the 6 does not indicate the inversion of the triad,but the 6 ajoutee)

S6m the minor triad with added major 6th

S+7m the minor triad with added major 7th

Sm7 the minor 7th chordS7 the dominant 7th chordS∅7 the half-diminished 7th chordS◦7 the diminished 7th chord

& c wwwwC6

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wwwwbbCo7

Figure 2.1: Example of the chord structures used in four part sectional harmony (Root C,root positions, close voicing).

forget about extensions (higher numbers than the 7th) of the basic chord structures.We will come back to that later.

• Use close voicing. The basic four part technique uses close voicing only when therange of all voices has to stay within the interval of an octave; the outer voices willin that case form the interval of either the 6th (imperfect consonant) or the 7th (milddissonant). We will also discuss the so-called drop 2-technique, which, strictly speakingis not close voicing, but is easily obtained from a close voicing harmonization.

• All parts use parallel motion. This means that the lower three voices exactly followthe motion of the leading voice. This is contrary to ‘classical’ harmony where ‘good’voice leading obliges you to use preparation and resolution of dissonant tones (the7ths, for example). Here this is of no concern.

• Prevent repeated notes in any part. You will find the four part sectional techniqueusually in medium to up-tempo pieces. Noteworthy examples are the ‘Four Brothers’(Woody Herman big band) and the ‘Supersax plays Bird’ (using a 5 part saxophonesection) recordings. From a musician’s point of view it is better to avoid repeated notesin any part (unless they are in the lead voice); this makes playing easier. harmonizationtherefore must be such, that no repeated notes will occur.

The list of basic rules is summarised in Table 2.2. Now we will discuss a number ofexercises and examples that will gradually introduce and discuss problems of increasingcomplexity. We will illustrate the various techniques for writing four part sectional harmony.

4

2.2. LEAD WITH CHORDAL TONES

Table 2.2: Basic rules for four part sectional harmony.

Basic rules

Work in a top-down orderUse four part harmonyStart with close voicingAll parts move in parallelPrevent repeated notes in any part

2.2 harmonizing a lead consisting of chordal tones only

We will start with the situation where the given lead consists of chordal tones only (see thebasic harmony on the lower staff of the example and check).

2.2.1 The danger of repeated notes

Figure 2.2 shows what happens when the basic rules from the previous section are appliedin a straightforward manner.

Example 2.1: Chordal tones in the lead voice, straightforward procedure.

Problem: Lead voice P1 consists of chordal tones only.

Discussion:

• The tonic triad C in m. 1 is harmonized using the added 6th chord type. Notethat following the lead we pass through the various inversions of the basic chord.

• On several occasions we may see the interval of a major 2nd between the uppertwo voices. This is no problem unless we are in a high range, for a specificinstrumentation. Try to avoid minor 2nds between the upper voices, since thisdissonant is too harsh.

• The example shows two cases of repeated notes: m. 2, 3rd beat in P2 at [*1] andm. 3, 1st beat in P3 at [*2]. These have to be eliminated!

⊳

2.2.2 Prevent repeated notes using secondary dominants

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5


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Figure 2.2: Chordal tones in lead, straightforward procedure.

[This page is intentionally left blank in the demo version of this book.]

6

2.3. HARMONIZING NON-CHORDAL TONES

2.3 harmonizing non-chordal tones

The example from the previous section will now be modified slightly in such a way thatthe lead contains non-chordal tones. Note, however, that the lead still is completely dia- ⇐=tonic. There are only notes from the C-major scale, which is the scale that is implied by theI − IIm7 − V7 − I cadence in the given harmony.

The marked notes are the non-chordal tones that have to be harmonized with a differentchord structure. the only solution we have seen so far is the use of secondary dominants andthat is what we will apply here.

2.3.1 Use of diminished chords and secondary dominants

Example 2.2: Non-chordal tones in the lead voice, application of secondary dominantchord structure.

Problem: Lead voice P1 contains non-chordal tones (see Figure 2.3).

Discussion:

• At [*1] the non-chordal tones b and d (in fact the ∆7 and the 9th of the extendedC6 chord respectively; we will consider them now as non-chordal since they donot belong to the S7) may be harmonized using the diminished chord B◦7, whichhas a secondary dominant function relative to C . Note that we may find twonon-chordal tones in sequence, where the resolution towards a chordal tone oc-curs after the second non-chordal tone;

• At [*2] the non-chordal tones g and e are harmonized using the C♯◦7 chord,which as a secondary dominant function relative to the Dm7 chord.

• At [*3] we choose an alternative solution. The a is the non-chordal tone in the G7

(since, again, we consider four part chord structures as the starting point), thatmight have been harmonized using the F♯◦7 chord. There is a difference withthe previous two cases, however: whereas the other non-chordal tones movestepwise towards a chordal tone (here is the list, check for yourself: [m. 1]: b ր

c, b ր d ց c, [m. 2] g ց f, e ր f ), now we find a leap (m. 2, beat 4) a ր d. Usinga diminished chord here has a much weaker effect than in the case of stepwisemotion. Therefore, we now choose to extend the Dm7 chord unto the 3rd beat ofthat measure. his leads to a suspended Gsus4

7 chord, or, equivalently, a Dm7/G,which sounds as a richer dominant structure than the plain G7. Note that onbeat 4 the lead is harmonized using B◦7, since we work towards the C chord inthe next measure. This is equivalent to the G−9

7 structure and although we werenot to consider extended chord structures beyond four parts, here we have one!This is no problem, it simply sounds better (has a stronger dominant effect, sincethere is an extra leading tone a♭, see the next section) than the plain dominant7th structure.

⊳

2.3.2 Rhythmic aspects: the use of syncopations


7


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Figure 2.3: Non-chordal tones in lead, application of secondary dominant chord structure.


8


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3

œb œn œb œn œ œn œb œ œn3

œn œb œ œb œb œ œ œn œb3

œb œn œ œ œn œ œ œb œœ œb œ œ

Cm7

5 œ œ œn[*4]

œb œ œ œEo7 Cm7/F F7

b9

œ œ œb œ œ œ# œ

œ œb œ œb œ œb œb

œ œb œ œ œ œ œbœ œ œ œF7

6 œb œ Œ

œ œ Œ

œ œ Œ

œn œ Œ˙b Ó

Bb

Figure 2.4: harmonization of non-chordal tones in the lead using leading tone chords.

2.3.3 Use of leading tone chords

The next example has the opening chords of the jazz standard “How high the moon” (or it’sderivative “Ornithology”). It is familiar chord sequence that leads to a tonic R−7 cycle (fromC to B♭ through modification of the first tonic chord).

The lead now has both non-chordal and non-diatonic tones. Measures 1 to 3 are in the key ⇐=of C-major where d♯ and f♯ are no members of the diatonic scale. These tones cannot beharmonized using the secondary dominant structure, since neither of them is part of the B◦7

chord.Therefore we shall apply a new technique, which is called the leading tone chord. This ⇐=

means that we apply exact parallel motion locally, i.e., between two consecutive chords. Allvoices in the first chord move by the same distance towards the second chord, which, as youmay remember, is our aiming chord.

The distance of motion is either a minor or a major 2nd up or down. This is indicated asi ր and i ց or as 2i ր and 2i ց, where i is the step of chromatic minor second (the smallestunit in the chromatic 12 tone system). The effect of the leading tone chord is stronger usingminor 2nds compared to the major seconds. It is used more frequently moving upward thandownward.

Let us now discuss the example shown in Figure 2.4.

Example 2.3: harmonization of non-chordal tones in the lead using leading tonechords.

Problem: Lead voice P1 contains non-chordal and non-diatonic tones.

Discussion:

• At [*1] we harmonize the upbeat tone into the C chord of m. 2. We find in theupbeat measure the sequence G7 − F♯◦7 − B◦7 − C . The two diminishedchords form a chain of secondary dominants.

• M. 2 and m. 4 [*2] use the standard secondary dominant technique for the har-monization of the non-chordal tones.

• In m. 3 [*3] we apply the leading tone chord technique. The aiming chord twice isth C6 chord, which is enharmonically equivalent to the Am7 chord. Exact parallel

9


motion (upward minor 2nd step) therefore yields the G♯ m7 structure as thepreceding chord.

• In m. 5 beat 3 [*4] we encounter another aspect that requires consideration. Wehave the sequence e♭ − g in the lead (the 7th and th 9th of the F7 chord). Nowsuppose we harmonize the first note with the F−9

7 structure (again, this would bea small diversion from our basic rules) or its equivalent A◦7, as shown in Figure2.5. If we harmonize the second note with a pure F 9

7 , or its equivalent A∅7 thenwe find a cross relation between the lower and upper part: there is a minor 9thbetween the f♯ and the g that will sound harsh. Try to prevent this and use a nowfamiliar trick: use the F sus4

7 or its equivalent Cm7/F on beat 3 of that measure.Save the real dominant structure A◦7 until the last beat.

⊳

& œœœœb# œœœœF7b9

Figure 2.5: Cross relation between lower and upper voice.

2.3.4 Use of substitute chords


10



11



12


2.3.5 Use of exact parallel chords

The next example has a lead voice in C-minor and consists of diatonic tones only. In minorwe have the half-diminished chord on the 2nd degree of the scale.

We shall demonstrate two solutions to the harmonization problem for non-chordal tonesfrom this 2nd degree chord. The first solution is based on the use of a substitute chord. The2nd solution will use exact parallel chords, which is the new technique here. ⇐=

Example 2.4: harmonization of non-chordal tones in the lead using exact parallelchords.

Problem: Lead voice P1 contains non-chordal tones (see Figure 2.6).

Discussion:

• At [*1] we harmonize the non-chordal tones with the standard technique of asingle secondary dominant (B◦7 − Cm7 in m. 2, F♯◦7 − G7 in m. 3) or a sequenceof two secondary dominants (F♯◦7 − B◦7 − Cm7 in m. 4.

• At [*2] the non-chordal tone in the half-diminished chord e♭ is harmonized using

the Eb7, or equivalently the A♭5/♭97 , although this solution does not sound ideal.

• Notice that this example contains various syncopations (m. 2, beat 4 and m. 3,beat 4). The final 8th note of these syncopated groups is harmonized using thechord on the next downbeat. This is the same practise that we have used ontied-over notes.

⊳

Next, we will discuss two solutions for harmonizing the non-chordal notes in m. 3, seeFigure 2.7.

Example 2.5: harmonization of non-chordal tones in the lead using exact parallelchords.

Problem: Lead voice P1 contains non-chordal tones.

Discussion:

&

&&

&?

bbbbbbbbbbbb

bbb

cc

c

cc

P1

P2

P3

P4

H

1Ó Œ œ œ

Ó Œ œ œ

Ó Œ œ œÓ Œ œ œ

∑

2 Œ œ[*1]

œ œ[*1]

œ œ œ

Œ œ œn œ œ œb œBo7 Bo7

Œ œ œ œ œ œ œŒ œ œ œ œ œ œ’ ’ ’ ’

Cm7

3 Œ œ[*2]œ œ œ [*1]œ œ

Œ œ œ# œ œn œb œEb7 F#o7

Œ œ œ œ œ œ œ

Œ œ œ œ œ œ œn

’ ’ ’ ’Dø7

4 Œ œ œ œ œ [*1]œ œ

Œ œ œb œ œ œ œnF#o7 F#o7 Bo7

Œ œ œ œ œn œn œbŒ œn œ œ œ œb œ’ ’ ’ ’

G7

5 œ Œ Óœb Œ Ó

œ Œ Ó

œ Œ ÓÛ Œ Ó

Cm

Figure 2.6: harmonization of non-chordal tones in the lead using exact parallel chords.

13


&&&&?

bbbbbbbbbbbb

bbb

P1

P2

P3

P4

H

1 Œ[*1]œ œ œ œ œn œ

Œ œn œ œ œ œb œDo7

Œ œ œn œn œb œ œ

Œ œ œ# œ œn œ œn

’ ’ ’ ’Dø7

2 Œ[*2]œ œ œ œ œn œ

Œ œn œ œ œ œb œBø7 Cø7

Œ œn œ œ œb œ œ

Œ œ œb œ œ œ œn

’ ’ ’ ’Dø7

Figure 2.7: harmonization of non-chordal tones using exact parallel chords.

• At [*1] we harmonize the non-chordal tones d and f using the substitute chordB♭♭97 , which is not exactly equivalent with the D◦7 chord (because of its lowered9th). It, however, is equal to the G♭9

7 chord, since the four upper functions of bothchords form the same diminished chord B◦7. What we in fact do here is to pullahead the dominant chord of m. 4 (this has been discussed in previous examples.This might though lead to a clash with the rhythm section in case they play thehalf-diminished structure (the clash between b and c) and probably it is better tocorrect the chord symbol for the rhythm section in that measure.

• At [*2] we apply three consecutive exact parallel chords (B∅7 − C∅7 − D∅7)working backwards from the aiming chord on the chordal tone d. Although wenow find quite a few non-diatonic tones in this sequence they are no problem,especially at higher tempos.

⊳

2.3.6 Connecting minor 7th chords


14



15



16



17


2.4 Extensions to the technique of writing four part sectional har-

mony

2.4.1 Sequences of similar structures on parallel diatonic degrees

In this section we will discuss various other aspects of writing four part sectional harmony.First we will deal with the technique of using diatonic parallel structures. Then we will dis-cuss the ‘drop 2’-voicing in four part sectional harmony. Also we will discuss the occurrenceop repeated notes and the use of altered dominant structures.

2.4.2 Sequences of diatonic parallel structures


18

2.4. EXTENSIONS TO FOUR PART SECTIONAL HARMONY


19


2.4.3 The ‘drop 2’ voicing

So far we have strictly adhered to the rule of close voicing. However, there is another stan-dard form of four part sectional harmony, that can easily be derived form the close voicing.It is called the drop 2 voicing and it is obtained by transposing the 2nd voice from the top,i.e., P2 to the octave below. This is shown in diagram in Figure 2.8. The next example will=⇒illustrate the process (see Figure 2.9).

P1:

P2:

P3:

P4:

p1

p2

p3

p4

p1

p3

p4

p2’

p1

p3

p4

p2’8ba

?

-

-

-

-

Figure 2.8: Diagram of the ‘drop 2’ procedure in four part sectional harmony.

Example 2.6: Close voicing and ‘drop 2’ voicing.

Problem: Assign the parts for given 4-part sectional harmony: use close voicing and‘drop 2’ voicing.

Discussion:

• Figure 2.9.a shows the solution with close voicing. The non-chordal tones in m. 1[*1] are harmonized using the secondary dominant A♯◦7, the appoggiatura f♯ inm. 2 [*2] is harmonized using the same principle (in this case with a D♯◦7 chord).Beat 3 of m. 2 [*3] uses the Bm7/E structure that we have discussed before andthe penultimate note b♯ [*4], a non-diatonic note, is harmonized using an altered

dominant chord structure E♯5/♭97 . This note might also have been harmonized

using a leading tone chord structure E♯m7.

• Notice the rhythmic aspects of the example: syncopated and tied-over notes areharmonized using the chord structure on the next regular beat. Also note the16th notes in the lead in m. 2; little embellishments like these do not necessarilyhave to be harmonized, especially at higher tempos.

• Figure 2.9.b demonstrates the ‘drop 2’-voicing. We have transposed P2 one oc-tave down. The total range is now more than one octave and the result is amixed, more open voicing. Still the intervals between the outer voices are conso-nant 3rds most of the time, interspersed with occasional 2nds (9ths, to be correct).

⊳

Now, for the first time, we have to consider instrumental aspects. Since the range ofthe section gets wider as we use the drop 2 technique we might encounter instrumentation

20


&&&&?

###

###

###

###

###

ccccc

P1

P2

P3

P4

H

1 Ó[*1]

œ[*1]

œ# œ œ

Ó œ# œn œn œA#o7 A#o7

Ó œn œ œ œÓ œ œ œ œ’ ’ ’ ’

Bm7

2[*2]

œ œn ‰[*3]œ œ œ œ [*4]

œ# œ

œb œ ‰ œ œ œ œD#o7 Bm7

œn œ ‰ œ œ œn œ#

œ œ ‰ œ œ œ œ’ ’ ’ ’

E7

3 ∑∑∑∑

’ ’ ’ ’A

(a)

&&&??

###

###

###

###

###

ccccc

P1

P2

P3

P4

H

1 Ó œ œ# œ œ

Ó œn œ œ œÓ œ œ œ œÓ œ# œn œn œ

’ ’ ’ ’Bm7

2

œ œn ‰ œ œ œ œ œ# œ

œn œ ‰ œ œ œn œ#

œ œ ‰ œ œ œ œœb œ ‰ œ œ œ œ

’ ’ ’ ’E7

3 ∑∑∑∑

’ ’ ’ ’A

(b)

Figure 2.9: Close voicing and ‘drop 2’ voicing.

21


&&&??

####################

ccccc

P1

P2

P3

P4

H

1œ[*1]

œ œ[*2]

œ œ œ[*3]

œ œ

œ œ œ œ œ œ œn œ

œ œn œ œ œ œ# œ œœ œn œ œ# œn œ œ# œ

’ ’ ’ ’F#m7 B7

2œ[*4]

œ[*5]

œ[*6]

œ œn œ œ#œ œ œn œ œ œ# œ

œ œ œn œn œ œn œ#œ œ œ œn œ œ œ

’ ’ ’ ’G#m7 C#7

3

œ Œ Ó

œ Œ Ó

œ Œ Óœ Œ Ó

’ ’ ’ ’F#m

Figure 2.10: Changing from close voicing to ‘drop 2’ voicing.

problems. The bottom voice may get into a too low region, either for the instrument to playcomfortably, or from an acoustic point of view. In the latter case the fundamental of theapplied chord structure is too low. In those cases we might have to change the voicing alongthe melodic line. The preferred location for a change of the voicing is at a diminished chord,since, due to its internal symmetry (the diminished chord being constructed from minor3rds) it suffers least from such a change and is least noticeable. We illustrate this with theexample in Figure 2.10.

Example 2.7: Changing from close voicing to ‘drop 2’ voicing.

Problem: Assign the parts for given 4-part sectional harmony: use a mixed voicingand determine the appropriate point for transition.

Discussion:

• Let us first harmonize the non-chordal tones. At [*1] we use a secondary dom-inant E♯◦7 to harmonize the b. At [*2] we use an extended secondary dominantF♯97 = A♯∅7 to harmonize the g♯. At [*3] we use an altered secondary domi-

nant D♯♭5/♭97 = A7 to harmonize the c♯. At [*4] we use a secondary subdominant

A6 = F♯m7 to harmonize the a. An alternative solution is either the altered sec-

ondary dominant D♯♭5/♭97 or the leading tone chord Am7. Comparing the three

alternatives we may say that the currently used A6 is the most diatonic solu-tion, the Am7 would have been the least diatonic alternative. At [*5] we use a

secondary subdominant G♯◦7 = C♯♭97 = A♯♭9/♭137 to harmonize the g♯. Using a

plain G♯m7 would have lead to an augmented 2nd step in P3. At [*6] we use anextended secondary dominant B♯◦7 = G♯♭97 to harmonize the f♯.

• The example starts with ‘drop 2’ voicing. This changes to close voicing at thesecond 8th note of beat 1 in m. 1 (at the E♯◦7). Then, at the upward leap, wechange back to ‘drop 2’ and again to close voicing on beat 2 in m. 2 at the G♯◦7.The example ends with another change on the last two notes; the reason for

22


&&???

###

###

###

###

###

ccccc

P1

P2

P3

P4

H

1 Ó œ œ# œ œ

Ó œn œ œ œÓ œ# œn œn œ

Ó œ œ œ œ

’ ’ ’ ’Bm7

2

œ œn ‰ œ œ œ œ œ# œ

œn œ ‰ œ œ œn œ#œb œ ‰ œ œ œ œ

œ œ ‰ œ œ œ œ

’ ’ ’ ’E7

3 ∑∑∑∑

’ ’ ’ ’A

Figure 2.11: Open voicing.

doing this is to prevent the lower voices from having a 5th leap, since this mightlead to instrumentation problems. Changing the voicing at these diminishedchords does not lead to repeated notes in any of the parts.

⊳

Theoretically, there is an even wider voicing possible for four parts. By also transposingthe original fourth part P4 from the close position voicing to the lower octave and rearrang-ing the parts we obtain an open voicing. The result for the example in this section is shownin Figure 2.11.

Example 2.8: Open voicing.

Problem: Assign the parts for given 4-part sectional harmony: use wide open voicing.

Discussion:

• The harmonization of the example has been left unchanged from the originalclose voicing.

• Both P2 and P4 from the close voicing have been transposed to the lower octave.We now obtain a range of almost two octaves. Note how the intervals betweenthe outer voices still are not too dissonant (mainly 6ths and mild dissonances ofthe minor 7th).

⊳

This voicing is almost never used. The open voicing is not suited for a homogeneousbrass section; trumpets usually stay within the range of an octave, and although this voicingis within the compass of the trombone section, the open voicing is reserved for cases ofsmooth stepwise motion (classical harmony), not for sectional harmony. For the saxophonesection the open voicing often reaches the limits of compass. Besides, the open voicing limitsthe fluency of the phrase. This voicing may be used in moderate to medium tempo, for highor middle strings or with a mixed instrumentation.

23


2.4.4 The inevitable repeated notes


24



25



26


Table 2.3: Extensions and alterations of the dominant chord.

Structure Description

−9 = ♭9 lowered 9th9 natural 9th+9 = ♯9 = −10 = ♭10 raised 9th or lowered 10th−5 = ♭5 = +11 = ♯11 lowered 5th or raised 11th+5 = ♯5 = −13 = ♭13 raised 5th or lowered 13th13 natural 13th

&

&&??

bb

bb

bb

bb

bb

cc

ccc

P1

P2

P3

P4

H

1 ‰[*1]

œ œ œ[*2]

œ œ[*3]

œ[*4]

œ‰ œ œ œ œ œ œ œ

Bo7

‰ œ œ œ œn œ œ œ‰ œb œ œ œ œ œ œ

’ ’ ’ ’Cm7

2 œ œ œ œ œ œ œ œœ œ œ œ œn œb œ œ

Bo7 Eo7

œ œ œ œb œb œ œn œbœn œ œ œ œ œb œb œ

’ ’ ’ ’

3 Œ œ œ[*5]

œ œ[*6]

œb œŒ œn œb œ œ œn œb

Eo7 Cm7

Œ œb œ œ œ œ œŒ œ œn œ œn œ œ

’ ’ ’ ’F7

4œ ‰[*5]

œ œ œ œ[*7]

œb œŒ ‰ œ œn œb œn œb œ

Bo7 Eo7

Œ ‰ œ œb œ œb œ œŒ ‰ œ œ œ œ œ œ

’ ’ ’ ’

5 ∑∑

∑∑

’ ’ ’ ’Bb

Figure 2.12: harmonization of non-chordal tones using altered dominant chords.

2.4.5 Use of extended and altered dominant chords

Next we will discuss two examples showing a variety of techniques for the harmonizationof non-chordal tones. The main aspects here will be the use of extended and altered dominantchord structures. We already have encountered an altered dominant chord in the section ⇐=on subdominant structures and ‘drop 2’voicing: the use of the S♭9

7 , the dominant chord withlowered 9th where the upper four functions are combined to create the diminished chord.

From now on we will allow all regular extensions and alterations of the dominant chordstructures as shown in Table 2.3. From this set we may pick any combination of four pitches,that however must include the 3rd and the 7th, the essential pitches in the dominant chordstructure. We will need to apply altered or extended dominant chords mainly in cases wherea non-diatonic, non-chordal tone has to be harmonized. This is shown in an example inFigure 2.12.

Example 2.9: harmonization of non-chordal tones using altered dominant chords.


Discussion:

• From the beginning to beat 3 in m. 2 the harmonization is with diatonic parallelstructures, unless this is impossible. The first chordal tone is the e♭ in m. 1 at [*1];this determines the voicing of the previous chords. Strictly speaking this should

27


&&&??

bb

bb

bb

bb

bb

ccccc

P1

P2

P3

P4

H

1 ‰[*1]

œ œ œ œ œ œ œ‰ œ œn œ œ œ œ œ

Bo7

‰ œn œb œb œn œ œ œ‰ œb œ œ œ# œ œ œ

’ ’ ’ ’Cm7

2 œ[*1]

œ œ œ œ œ œ œœ œn œ œ œ œb œ œ

Bo7

œ œb œ œb œ œ œn œbœn œ œ œn œ œb œb œ

’ ’ ’ ’

3 Œ œ œ œ[*2]

œ œb œŒ œ œ œ œ œn œb

Cm7 Bo7 G7 C7 F7

Œ œ œn œb œ œb œnŒ œ œb œ œn œb œn

’ ’ ’ ’F7

4œ ‰ œ œ œ[*3]

œ œb œŒ ‰ œ œn œb œn œb œ

Em7 Ebm7 Dm7

Œ ‰ œ œb œ œ œb œŒ ‰ œ œ œ œn œb œ

’ ’ ’ ’

5 ∑∑∑∑

’ ’ ’ ’Bb

Figure 2.13: harmonization of non-chordal tones using altered dominant chords.

lead to the following three chords at the start of the phrase: Dm7 − B♭∆7 − Cm7,all in 2nd inversion. However, the first 8th note has been harmonized usinganother inversion of the B♭∆7 chord (just a matter of taste). At [*2] we have touse a secondary dominant B◦7 since there is no diatonic way to connect the twoinversions of the Cm7 chord. At [*3] we recognize the 7 − 8 diatonic stepwisemotion with a 2nd degree chord as basic harmony. We therefore have to useCm7 − Dm7 (see the appropriate section on connecting minor 7th chords). Fromthe g in m. 1 we onwards we recognise the diatonic parallel succession of chordsuntil beat 2 in m. 2 [*4]: we have Cm7 − Dm7 − E♭∆7 − F∆7 − Gm7 − E♭∆7, allin 3rd inversion. The major 7th chord F∆7 is the result of the elimination of thetritone interval that would have occurred with a purely diatonic solution (seethe section on similar structures in diatonic parallel degrees). The final chordE♭∆7 can also be considered a substitute chord for the C9

m7 (using the four upperpitches).

• The rest of m. 2 s treated in a regular way using secondary dominants B◦7−Cm7

and E◦7 − F7 at [*4].

• In m. 3 and m. 4, beat 3, [*5] we use the suspended chord Cm7/F . The second8th note in m. 3 b♭ uses the substitute chord E♭∆7.

• In m. 3, beat 4, [*6] the lead voice has the altered, non-diatonic note a♭ which we

harmonize using the C♭9/♭137 chord (an altered dominant chord).

• We end the example with a sequence of secondary dominant chordsE◦7 − A◦7 − B♭; the second chord is used to harmonize a non-diatonic, non-chordal tone g♭ and the B♭ is replaced by the substitute chord Dm7 = B♭9∆7.

⊳

The same example will now be shown with an alternative harmonization, see Figure 2.13.

Example 2.10: harmonization of non-chordal tones using altered dominant chords.


Discussion:

28


&&&??

bbbb

bbbb

bbbb

bbbb

bbbb

ccccc

P1

P2

P3

P4

H

1[*1]

œ œn œ[*2]

œ œ œn œ œ

œ œ œ œ œn œb œb œCm7 Am7 Db±7 Ao7

œ œn œ œ œb œ œ œbœ œ œ œ œ œ œ œ

’ ’ ’ ’Bbm7

2[*3]

œ œ[*4]

œb œn[*5]

œ œ œ œbœ œn œn œb œn œb œ œ

Bb7 Bb7 Bb7

œb œ œn œb œn œb œ œœn œb œ œ œ œ œn œ

’ ’ ’ ’Eb7

3

œ[*6]

œ œ œ Ó

œ œ œ œ Ó

œ œ œb œÓ

œ œb œ œ Ó

’ ’ ’ ’Ab7

Figure 2.14: harmonization of non-chordal tones.

• M. 1 and m. 2 have now been harmonized using the secondary dominant B◦7,when appropriate [*1].

• The suspended chord in m. 3 has been anticipated in m. 2, beat 2 [*2].

• The last three 8th notes in m. 3 [*3] are harmonized with a sequence of altered

and extended dominant chords G♭10/♭137 − C

♭9/♭137 − F 13

7 .

• The last three notes in m. 4 show chromatic downward stepwise motion [*4]and can therefore be harmonized using exact parallel chords (or, equivalently,leading tone chords in sequence): Em7 − E♭m7 − Dm7. In this case it does notsound great, but may be useful in other situations, preferably in rising stepwisemotion.

⊳

Next we will look at an example that uses a combination of techniques. The example,shown in Figure 2.14, has non-diatonic tones in the lead.

Example 2.11: harmonization of non-chordal tones.


Discussion:

• M. 1 starts with two non-chordal tones g and e (also non-diatonic) [*1]. Notes1 and 3 (g and f ) yield a 7 − 6 diatonic stepwise motion on the 2nd degree inmajor; the standard solution is the connection of two minor 7th chords on 3rdand 2nd degree (see the appropriate section). The e can be harmonized using aleading tone chord. The combined result is Cm7 − Am7 − B♭m7.

• The following note a♭ [*2] is chordal, but is harmonized with the substitute chordD♭∆7 = B♭9m7.

• The non-chordal notes on beat 3 in m. 1 are harmonized with a secondary dom-inant A◦7.

29


• The non-chordal tone c in m. 2 [*3] is harmonized with an extended, altered sec-

ondary dominant B♭9/♭137 ; on the chordal tone b♭ we use an extended dominant

chord E♭97, equivalent to the substitute chord G∅7.

• The next non-chordal tone g♭ [*4] is non-diatonic. It is harmonized with an al-

tered secondary dominant B♭♭9/♭137 . The same dominant, although in different

forms, is also used on beat 3 and 4 of the same measure.

• Now we reach a flaw in the exercise. harmonizing the non-chordal f in m. 3 [*5]with the secondary dominant B♭97 leads to repeated notes in the lower voices.We will later correct that error.

• The three chordal notes in the last measures [*6] have been harmonized with anextended dominant A♭97.

⊳

We will look at a number of alternative solutions to this problem, that will also correctthe repeated notes.

Example 2.12: harmonization of non-chordal tones.

Problem: Lead voice P1 contains non-chordal and non-diatonic tones (see Figure2.15).

Discussion:

• The alternative in Figure 2.15.a uses a ‘drop 2’ voicing in the last two measures.The harmonization has not changed, except for the last four beats of the example.We will discuss these in detail.

• The repeated notes on beat 4, m. 2, have been eliminated using the progressionFm7−E♭7−A♭7 [*1]. Notice that the penultimate note c [*2] has been harmonizedusing the secondary dominant E♭97.

• This example still has some flaws. First, by using the wider ‘drop 2’ voicing, the7ths a♭ and d♭ of the B♭7 and E♭7 respectively [*3] lie in an extremely low range.This yields unacceptably low acoustic roots for these chords.

• The progression B♭7 − Fm7 on m. 2, beat 4 [*4] is poor: it lacks functional har-monic sense and therefore is weak.

• The alternative in Figure 2.15.b changes to ‘drop 2’ voicing just before the lastmeasure. This eliminates the low a♭ of the B♭7 chord, although the d♭ is stillin the low octave. The change of voicing does not take place on a diminishedchord.

• The final measure has been harmonized using the extended form of the basic har-

mony A♭9/13

7 . Although somewhat improved, this solution still does not soundgreat.

• The alternative in Figure 2.15.c has beat 4, m. 2 harmonized using the secondarysubdominant structure Fm7, the 2nd degree relative to the basic harmony E♭7(see the appropriate section).

• The final measure uses a secondary dominant structure E♭9/♭137 on the non-

chordal tone f . So we end up with a V Im7 − V7 − I cadence in A♭-major.

30


&&???

bbbb

bbbb

bbbb

bbbb

bbbb

ccccc

P1

P2

P3

P4

H

1 œ œn œ œ œ œn œ œ

œ œ œ œ œn œb œb œœ œn œ œ œb œ œ œb


’ ’ ’ ’Bbm7

2 œ œ œb œn œ[*3]

œ œ[*1,4]

œbœ œn œn œb œ œ œ œ

Bb7 Eb7 Bb7 Fm7

œb œ œn œb œ œn œn œœn œb œ œ œn œb œ œ

’ ’ ’ ’Eb7

3

œ œ[*2]

œ œ Ó

œn œb œ œÓ

Eb7 Eb7

œ œb œ œ Óœ œ œ œ Ó

’ ’ ’ ’Ab7

(a)

&&???

bbbb

bbbb

bbbb

bbbb

bbbb

ccccc

P1

P2

P3

P4

H




’ ’ ’ ’Bbm7

2 œ œ œb œn[*1]

œ œ œ œbœ œn œn œb œn œb œ œ

Bb7 Eb7 Bb7 Eb7

œb œ œn œb œn œb œ œnœn œb œ œ œb œ œn œb

’ ’ ’ ’Eb7

3

œ œ œ œ Ó

œ œ œ œ Óœb œ œ œ Ó

œ œb œ œ Ó

’ ’ ’ ’Ab7

(b)

&&???

bbbb

bbbb

bbbb

bbbb

bbbb

ccccc

P1

P2

P3

P4

H




’ ’ ’ ’Bbm7

2 œ œ œb œn œ œ œ œbœ œn œn œb œn œb œ œ

Bb7 Eb7 Fm7

œb œ œn œb œn œb œ œœn œb œ œ œb œ œ œ

’ ’ ’ ’Eb7

3

œ œ œ œ Ó

œ œ œ œ ÓEb7

œn œb œb œ Óœ œb œ œ Ó

’ ’ ’ ’Ab7

(c)

&&???

bbbb

bbbb

bbbb

bbbb

bbbb

ccccc

P1

P2

P3

P4

H




’ ’ ’ ’Bbm7

2 œ œ œb œn œ œ œ œbœ œn œn œb œn œb œn œ

Bb7 Eb7 F#o7œb œ œn œb œn œb œ# œnœn œb œ œ œb œ œ œ#

’ ’ ’ ’Eb7

3

œ œ œ œ Ó

œ œ œ œ ÓEb7

œn œb œb œ Óœ œb œ œ Ó

’ ’ ’ ’Ab7

(d)

Figure 2.15: harmonization of non-chordal tones.

31


• The example uses close voicing; there is no range problem for the lower voices.

• The final alternative in Figure 2.15.d has beat 4, m. 2 harmonized with a differentform of secondary dominant structure E♭◦7 = F ♭9

7 = A♭♭97 .

⊳

32

Chapter 3

Sectional harmony in five parts

Writing sectional harmony in five parts is a skill that is often required in contemporary bigband arranging, where the saxophone section consists of five players. Since this section isthe most frequently used in the big band and capable of incomparable fluency we find a lotof excellent writing for five saxophones and numerous ‘saxophone special choruses’ havebeen written for the five working horses in the band.

There is less treatment of this technique in the arranging textbooks (see [2], Ch. 8, [7],p. 25, [13], p. 35). basically, there are two categories of five part sectional writing, whereone is little more than a doubling of the lead voice of the basic four part sectional harmony.However, the second technique is considerably different and makes great use of clusters thatare generated by writing the chords in 4th voicings. We will discuss both techniques in thischapter and look at examples.

3.1 The extended four part sectional harmony

Writing extended four part sectional harmony takes no more effort than writing for the four part ⇐=section. We use exactly the same techniques for the harmonization of chordal, non-chordaland non-diatonic tones in het leading voice, that we have already mastered in that chapter.

There is only one voice to be doubled and this is the lead voice. The result is that themelody is heard exactly one octave below the original and this gives it extra support. It is astandard technique of which you will encounter numerous examples in big band scores. Itis used in the already mentioned ‘Supersax plays Bird’ recordings.

Let us now discuss an example using this technique (see Figure 3.1).

Example 3.1: Sectional harmony in five parts, lead doubled an octave below.


Discussion:

33


&

&

&?

?

?

bbb

bbb

bbb

bbb

bbb

bbb

c

c

c

c

c

c

P1

P2

P3

P4

P5

H

1 œ œ œ œ œ œ œ œ


œ œn œb œ œ œ œb œœ œb œ œn œb œ œ œn


œ œ œ œFm7 Bb7

2 œ œ œ œ œn œ œ

œ œ œn œ œ œ œb

œ œ œb œb œ œ œnœ œ œ œ œ œn œ

œ œ œ œ œn œ œ

œ œ œn œGm7 C7

3

˙ Ó

˙ Ó

˙ Ó˙ Ó

˙ Ó

˙ ÓFm7

Figure 3.1: Sectional harmony in five parts, lead doubled an octave below.

• This example has been discussed extensively in the chapter on four part sectionalharmony (there it was written a minor 2nd higher). So see that chapter for thereasoning behind the harmonization.

• The lead part P1 has been doubled one octave below as P5. There is close voicingthroughout the phrase.

⊳

Obviously, the use of five voices enables us to develop several alternative voicings. Now,we will show a number of these options. We start with the example in Figure 3.2.

Example 3.2: Sectional harmony in five parts, mixed voicing, ‘drop 2’.

Problem: Lead voice P1 contains non-chordal and non-diatonic tones; assign theparts using mixed voicing.

Discussion:

• Here is the ‘drop 2’ voicing as applied to a five part section. The lead is nowsupported by an inner voice P4.

• The bottom voice has the same intervallic relationship with the lead as in thefour part section.

• It is fairly regularly used, unless the bottom voice gets into a too low range (seebelow for the solution of that problem).

⊳

We will now discuss two alternative voicings for the same problem.

34

3.1. EXTENDED 4 PART SECTIONAL HARMONY

&

&

&?

?

?

bbb

bbb

bbb

bbb

bbb

bbb

c

c

c

c

c

c

P1

P2

P3

P4

P5

H


œ œn œb œ œ œ œb œ

œ œb œ œn œb œ œ œnœ œ œ œ œ œ œ œ


œ œ œ œFm7 Bb7


œ œ œb œb œ œ œn

œ œ œ œ œ œn œœ œ œ œ œn œ œ


œ œ œn œGm7 C7

3

˙ Ó

˙ Ó

˙ Ó

˙ Ó

˙ Ó

˙ ÓFm7

Figure 3.2: Sectional harmony in five parts, mixed voicing, ‘drop 2’.

Example 3.3: Sectional harmony in five parts, open voicing, ‘drop 2 and 4’.

Problem: Lead voice P1 contains non-chordal and non-diatonic tones; assign theparts using open voicing (see Figure 3.3).

Discussion:

• An even wider voicing is obtained using the ‘drop 2 and 4’ technique. Strictlyspeaking (in classical sense) this is not a fully open voicing. The part that nowdoubles the lead is P3.

• The bottom voice P5 has the same intervallic relationship to the lead as in thecase of four part sectional harmony, although it now is now at one octave belowthe four part version.

• This technique is not commonly used. There is a risk of loss of fluency at highertempos.

⊳

Example 3.4: Sectional harmony in five parts, alternating voicing.

Problem: Lead voice P1 contains non-chordal and non-diatonic tones; assign theparts using mixed voicing and determine the appropriate points for transition (seeFigure 3.4).

Discussion:

• Here is an example of mixed or alternating voicing. Close voicing has been usedat the low points of the lead melody at [*]. The rest of the example uses ‘drop 2’voicing. Pay attention to the points where the voicing is changed; This happensat either diminished chords or at wide leaps.

35


&

&?

?

?

?

bbb

bbb

bbb

bbb

bbb

bbb

c

c

c

c

c

c

P1

P2

P3

P4

P5

H


œ œn œb œ œ œ œb œœ œ œ œ œ œ œ œ


œ œb œ œn œb œ œ œn

œ œ œ œFm7 Bb7


œ œ œb œb œ œ œnœ œ œ œ œn œ œ


œ œ œ œ œ œn œœ œ œn œ

Gm7 C7

3

˙ Ó

˙ Ó

˙ Ó

˙ Ó

˙ Ó

˙ ÓFm7

Figure 3.3: Sectional harmony in five parts, open voicing, ‘drop 2 and 4’.

&

&

&?

?

?

bbb

bbb

bbb

bbb

bbb

bbb

c

c

c

c

c

c

P1

P2

P3

P4

P5

H

1 œ[*]

œ[*]

œ[*]

œ[*]

œ œ œ œ

œ œ œ œ œ œ œb œ

œ œn œb œ œ œ œ œœ œb œ œn œb œn œ œ


œ œ œ œFm7 Bb7

2 œ œ[*]

œ[*]

œ[*]

œn œ[*]

œ

œ œ œn œ œ œn œb

œ œ œb œb œ œn œnœ œ œ œ œ œ œ

œ œ œ œ œn œ œ

œ œ œn œGm7 C7

3

˙ Ó

˙ Ó

˙ Ó˙ Ó

˙ Ó

˙ ÓFm7

Figure 3.4: Sectional harmony in five parts, alternating voicing.

36

3.2. SECTIONAL HARMONY IN 4THS

&?

951www36ww

C69

wwwww

wwwww

wwwww

wwwww∑

[*] ±7wwwww∑

± 7wwwwwC

69

wwwww

wwwww

wwwww

wwwww∑

wwwww∑

(a)

&?

735www111ww

Dm7(add11)

wwwww

wwwww

9[*]wwwww

wwwww

wwwww

(b)

Figure 3.5: Sectional harmony in five parts, chords in 4ths. (a): left: the major chord withadded 6th and 9th, top right: the alternative voicing with ∆7 replacing the root. (b): theminor 9th chord with added 11th.

• The change from open to close voicing from the first to the second note is notvery effective.

⊳

3.2 Sectional harmony in fourths

Another technique for writing five part sectional harmony uses harmonic structures in fourths.It is most frequently used when writing for a five member saxophone section in big bandmusic or for the woodwind section in a studio orchestra or symphonic orchestra.

Two types of harmonic structures can be voiced as a chord in perfect fourths:

• The major chord with added 6th and 9th: S69 ;

• The minor ninth chord with added 11th (or, equivalently, added 4th): S9/add11

m7 .

These chord structures, based on the interval of the perfect 4th, can be found on the 3rd and6th step of the diatonic major scale; the chord structure on the 3rd step corresponds to theS6

9 (major chord with added 6th and 9th), the chord structure on the 6th step corresponds

to the S9/add11

m7 (minor 9th chord with added 11th). The four consecutive perfect 4ths are themaximum number in the diatonic major scale (check this by trying to add another perfect4th to either side of the two structures).

The voicing for both chord structures for all inversions is shown in Figure 3.5. The C69

chord with the root in the lead (leftmost structure: numbers indicate the various members inthe structure) yields four intervals of the perfect 4th. The other inversions will contain oneinterval of the major 3rd. The minor 9th chords yields a perfect chord in 4ths when the 3rdis in the lead (see the fifth voicing on the bottom system in the figure).

37


This basic voicing in 4ths can be slightly modified, yielding an alternative voicing, as isindicated by the [∗] in the figure:

• In the major chord with added 6th and 9th, the S69 , the root may be replaced by the major

7th, the ∆7. This yields another perfect chord in 4ths (see the fourth voicing in the topright system) an is particularly useful for when the root is in the higher register (the∆7 in the lower voice may lead to a too low acoustic root of the chord). In short, forthe major chord we have the replacement rule: ∆7 = 1;

• In the minor ninth chord with added 11th, S9/add11

m7 , the 9 may replace the root of thestructure, as demonstrated in the fourth voicing in the bottom system. In short, for theminor chord we have the replacement rule: 9 = 1;

Let us now turn to a number of examples of five part sectional harmony in fourths.

Example 3.5: Sectional harmony in five parts, chords in 4ths.

Problem: Write five part sectional harmony using chords in 4ths for a given diatonicthe lead voice P1 (see Figure 3.6).

Discussion:

• The lead voice contains a number of stepwise 9 ց 1 motions, see [*1] in Fig. 3.6.a.The basic harmony is Gm7: this implies the replacement rule 9 = 1 and thereforewill yield repeated notes in the lower parts if both lead pitches are harmonizedusing the same chord. In order to prevent these, the diatonic parallel minorchord Am7 (on the 3rd step of the F major scale) is used at these instances, yield-ing also a modal flavour to the phrase.

• At [*2] the lead voice has the 6 or 13 of the basic harmony (a non-chordal tonein the voicing in 4ths): in that case also the diatonic parallel Am7 chord is usedto harmonize the lead. The following lead pitch can be harmonized with eitherGm7 or Am7.

• At [*3] the wide voicing using structures in 4ths may get into a too low registerfor the lower parts. In that case a narrower voicing may be used, as shown inFig. 3.6.b. This however leads to repeated notes in part P3. Note that the g in thelead in m. 2 now is harmonized with the basic chord Gm7.

• The repeated notes can be prevented by choosing the appropriate point forswitching from open to more closed voicing. In this example the entire phrasewill have to be rewritten in closed voicing, as shown in Fig. 3.7, leading to adense cluster voicing.

⊳

Example 3.6: Sectional harmony in five parts, chords in 4ths, leading tone in leadvoice.

Problem: See Figure 3.8.

Discussion:

38


&

&

&?

?

t

b

b

b

b

b

b

c

c

c

c

c

c

P1

P2

P3

P4

P5

H

1

[*1]

œ œ œ[*1]

œ œ[*3]

œ œ


œ œ œ œ œ œ œœ œ œ œ œ œ œ


’ ’ ’ ’Gm7

2

œ[*2]

œ œ œ œ œ[*1]

œ




’ ’ ’ ’

3œ Œ Ó

œ Œ Ó

œ Œ Ó

œ Œ Ó

œ Œ Ó

’ ’ ’ ’(a)

&

&

&?

?

t

b

b

b

b

b

b

c

c

c

c

c

c

P1

P2

P3

P4

P5

H

1 œ œ œ œ œ[*2]

œ œ


œ œ œ œ œ[*]

œ œœ œ œ œ œ œ œ


’ ’ ’ ’Gm7

2

œ œ[*1]

œ œ œ œ œ


œ[*]

œ œ œ œ œ œœ œ œ œ œ œ œ


’ ’ ’ ’

3œ Œ Ó

œ Œ Ó

œ Œ Ó

œ Œ Ó

œ Œ Ó

’ ’ ’ ’(b)

Figure 3.6: Sectional harmony in five parts, chords in 4ths. (a): harmonization of the 9 ց 1stepwise motion in the lead using the diatonic parallel Am7 chord. (b): More closed voicingis used to prevent too low lower parts, leading to repeated notes in middle voices.

39


&

&

&?

?

t

b

b

b

b

b

b

c

c

c

c

c

c

P1

P2

P3

P4

P5

H

1 œ œ œ œ œ œ œ




’ ’ ’ ’Gm7

2





’ ’ ’ ’

3œ Œ Ó

œ Œ Ó

œ Œ Óœ Œ Ó

œ Œ Ó

’ ’ ’ ’

Figure 3.7: Sectional harmony in five parts, chords in 4ths, close (cluster) voicing.

&

&

&?

?

t

b

b

b

b

b

b

c

c

c

c

c

c

P1

P2

P3

P4

P5

H

1 [*]

œ œ œ œ œ œ ŒBbm7 Am7 Fm7 Am7

œb œ œ œb œ œ Œ

œ œ œ œ œ œŒ

œb œ œ œb œ œ Œ

œb œ œ œ œ œ Œ

’ ’ ’ ’Gm7

Figure 3.8: Sectional harmony in five parts, chords in 4ths, leading tone in lead voice.

40


• At [*1] the lead voice has a stepwise motion f ց e (7 to 6) of the basic chordGm7. As was shown in the previous example the 6 in the lead is harmonizedwith the diatonic parallel chord Am7. The leading tone motion is harmonized byusing the exact parallel chord structures, in this case with B♭m7 − Am7.

• In this brief example the lead is entirely harmonized with exact parallel S9/add11

m7

structures, yielding an Fm7 chord on the c in the lead (which could have beenharmonized using the basic chord Gm7).

⊳

Example 3.7: Sectional harmony in five parts, basic harmony contains mixed chordstructures.

Problem: See Figure 3.9.

Discussion:

• The first solution is based on a harmonization in 4ths: the upward leading toneb ր c at [*1] in Fig. 3.9.a is harmonized using the exact parallel chord B6

9 .

• Upon arrival at the dominant chord B♭7 the harmonization in 4ths obviouslycannot be continued: this is caused by the essential, characteristic interval ofaugmented 4th (or diminished 5th) between the 3 and 7 of the dominant chord.So, in case the basic harmony contains other chord structures than the S6

9 or Sm7,we will also have to use a hybrid harmonization, leaving and returning to theharmonization in 4ths.

• In order to remind us of the older techniques, in Fig. 3.9.b the same phrase isharmonized using the secondary dominant B◦7 at the non-chordal lead tones,marked with [*]. However, note at [*2] the upper our voices in the B♭7 chord:these form three superimposed perfect 4th intervals. So the basic flavour of theperfect 4ths can be maintained somewhat also in the harmonization of dominant7th chords.

• Maximisation of the use of perfect 4ths in the voicing of dominant 7th chordsis shown in Fig. 3.10, starting at [*2]. The lead voice now is different. As anillustration of the ∆7 = 1 replacement rule for the major chord, see the voicingat [*1].

⊳

41


&

&

&?

?

t

c

c

c

c

c

c

P1

P2

P3

P4

P5

H

1‰ œ[*]

œ œ œ œ œ œbB

‰ œ œ# œ œ œ œ œ‰ œ œ# œ œ œ œ œ‰ œ œ# œ œ œ œ œb

‰ œ œ# œ œ œ œ œbœ œ œ œC

2 œ œ Ó

œ œn Ó

œ œ# Óœ œ Ó

œ œœb œ Ó

Bb7b13 A7b13

(a)

&

&

&?

?

t

c

c

c

c

c

c

P1

P2

P3

P4

P5

H

1‰[*1]

œ[*]

œ œ[*]

œ œ œ[*2]

œbBo7‰ œ œb œ œ œ œ œb

‰ œb œ œ œ œ œ œb‰œ œ œ œ œ œ œb

‰ œ œ œ œ œ œ œœ œ œ œC

2 œ œ Ó

œ œ Ó

œ œ Óœ œ Ó

œ œ# Óœb œ Ó

Bb7alt A7alt

(b)

Figure 3.9: Sectional harmony in five parts, mixed chord structures. (a): harmonization usingchords in 4ths. (b): conventional sectional harmony, using the secondary dominant

42


&

&

&?

?

t

c

c

c

c

c

c

P1

P2

P3

P4

P5

H

1‰ œ œ œ[*1]œ œ œ

[*2]

œ

‰ œ œ# œ œ œ œ œ

‰ œ œ# œ œ œ œn œ‰ œ œ# œ œ œ œn œb

‰ œ œ# œ œ œ œn œœ œ œ œC

2 œ œb Ó

œ œ Ó

œ œ Óœ œ Ó

œ œ#œb œ Ó

Bb13#

11 A7alt

Figure 3.10: Sectional harmony in five parts, maximising the harmonization in 4ths.

43

CHAPTER 4. ENSEMBLE TECHNIQUES

Chapter 4

Ensemble techniques

In this chapter we will discuss several techniques of ensemble writing, i.e., for a group ofmixed instrumentation and variable size. Obviously we will work with the standard bigband instrumentation of five saxophones, four trumpets, four trombones plus rhythm sec-tion, but we will also have a look at smaller ensembles. We will assume here that the leadvoice is the highest part in the ensemble.

There is considerable treatment of these techniques in the textbooks (see [2], Part 5, [7],p. 131 ff., [13], Ch. 14-16). First the main aspects of ensemble writing will be discussed. Thenthe various techniques will be illustrated using examples.

4.1 Fundamental aspects

This section will discuss a number of fundamental aspects of ensemble writing. These haveto be considered irrespective of the specific technique we will apply to the ensemble.

As we did before, our examples will start from a given basic harmony and, sometimes, agiven lead voice. When writing for the ensemble take into account the following aspects:

• Choose what will be your primary effect: the melody or the harmony. Before youstart writing the ensemble phrase think about the desired effect. In the standard bigband instrumentation there will be thirteen people playing and they can achieve a veryimpressive effect, particularly at loud volume. Nevertheless, from a composer’s pointof view you still have the freedom to decide whether you will use that majestic effectemploying the combined sound only or add extra value by creating melodic sense ofyour lead voice. This obviously does not apply in situations with a pre-determinedlead voice.

• Determine the range of the ensemble phrase. Before writing any actual parts generatea clear idea of the range of the lead voice in your phrase. The phrase may have a lengthof between, say, 2 and 32 measures (a ‘tutti special chorus’). This range is affected by

44

4.1. FUNDAMENTAL ASPECTS

AS1

AS2

TS1

TS2

BS

TPT1

TPT2

TPT3

TPT4

TBN1

TBN2

TBN3

TBN4

Figure 4.1: Example of ensemble voicing diagram.

Table 4.1: Checklist outer voices in big band.

Outer voices full big band

TPT1 vs. TBN1TPT1 vs. AS1TPT1 vs. TBN4TPT1 vs. BS

the instrumentation, in particular the compass of your lead voice. But it also affects thevoicing in the upper range section. this will be the trumpets in case of a big band, butit might also involve a string or woodwind section.

• Determine the voicing of the leading section. This will usually follow from the rangeof the lead voice. In general, this is the moment when you decide to use cluster, closeor open voicing (see the chapter on strata techniques) for the leading section;

• Determine the relative range of the lower sections. The next step is to decide aboutthe range and the voicing of the other sections in the ensemble. We will indicate theseranges by the voicing diagram as illustrated in Figure 4.1. In this example we see the ⇐=three sections of the big band; each column represents the voicing of a section from lowto high. The trombones (abbreviated as TBN) use a wider voicing than the trumpets(abbreviated as TPT) that are in close voicing. We see an overlap between the threesections.

• Write the voices for the most dominant section first. In the big band the brass willusually dominate over the saxophones. Therefore we start with the brass voicing andthen continue with the saxophone voicing.

• Check the outer voices. Finally, we have to inspect the intervallic relations of theouter voices of each section. Table 4.1 contains a checklist for the big band. Obviously,this depends on the actual instrumentation. You will never find TBN1 above TPT1(unisono is possible though) and usually the top saxophone voice AS1 is one ore morevoices below TPT1.

45


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c

c

c

c

c

P1

P2

P3

P4

H

1[*1]

œ œ# œ[*1]

œ œ[*1]

œ œ[*1]

œn

œ# œ œn œ# œ œ œ œb

œ œ œ œ œ œ# œ œn

œ œ œ œ œ œ œ œœ œ œ œGm7

2 œ[*1]œ œ œ Œ 3‰

[*2]œn œ

œ œn œb œ Œ 3‰ œb œ

œ œb œ œn Œ 3‰ œ œ

œ œ œ œ# Œ 3‰ œ œœ œ œ œ

Cm7 D7

3 œb œb[*3]

œ[*4]

œ œ œb[*5]œ œ

œ œ# œb œ œ œ œn œb

œb œ œ œn œb œ œn œb

œ œb œ œ œ œ œb œ

œ œ œb œbEbm7 Ab7

4 œn œ[*6]

œ œn ‰ œn[*7]

œ œ

œ œn œn œb ‰ œn œb œ

œ œ œ# œn ‰ œ œ œ

œn œ œ œn ‰ œn œ œœ œ œ œnDm7 G7

&

&

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bb

bb

bb

bb

P1

P2

P3

P4

H

5[*7]œ œ ‰ œ

3

œ œ œb œ œ

œn œb ‰ œn3

œ œ œn œn œn

œb œn ‰ œn3

œb œ œ œ œ

œ œ ‰ œb3

œ œb œ œ œœ œ œ œCm7 Cm7/Eb

6 Œ 3‰[*8]

œ[*9]

œ3

œ œ œ œ œ

Œ 3‰ œ œ3

œ# œ œb œ œb

Œ 3‰ œ# œn3

œb œ œ œn œ

Œ 3‰ œ œb3

œ œ œ œ# œnœ œ œ# œ

Aø7 D7b9

7 ∑

∑

∑

∑

œ œ œ œGm7

8 ∑

∑

∑

∑

œ œ œ œAø7 D7

Figure 4.2: Starting the ensemble voicing: sectional harmony in four parts.

Now, we will discuss the various techniques and show examples.

4.2 Ensemble technique derived from four part sectional harmony

This technique of ensemble writing is derived from the four part sectional harmony that wehave studied in that chapter. The problem we now have to solve is the proper distributionof the four basic voices over a larger group of instruments. You will have to decide on thecorrect doublings, create an clear lead voice and choose the type of voicing for each section.

In cases where a section consists of less than four voices you will have to combine it withanother section and make sure that the combination of both has the full four part chords atall times. The first step, however, is to compose the four part sectional harmony for a givenlead voice. Figure 4.2 gives an example.

Example 4.1: Sectional harmony in four parts.


Discussion:

• The non-chordal tones in m. 1 and m. 2 [*1] have been harmonized using a sec-ondary dominant F♯◦7 and B◦7 respectively.

• The non-chordal tone f in m. 2 [*2] has been harmonized with an extended sec-ondary dominant chord E♭97.

46

4.2. FOUR PART ENSEMBLE TECHNIQUE

• In m. 3 [*3] we find the 6-7 stepwise motion on the 2nd degree (in D♭-major) Thec therefore is harmonized with the 3rd degree Fm7 chord.

• The b♭ in m. 3 [*4] is harmonized with the secondary dominant G◦7 to preventrepeated notes towards the aiming chord A♭7.

• Beat 4 of m. 3 [*5] shows a chain of secondary dominants towards the aimingchord A♭◦7 − E♭7 − Dm7.

• In m. 4 [*6] the c is harmonized with a secondary dominant F♯◦7. The aimingchord is G7.

• The rest of that measure plus the following uses secondary dominants to harmo-nize the non-chordal tones a, d, f and d [*7].

• In the final measure the chordal tone c [*8] is harmonized with the subdominantstructure A◦7 = E♭◦7. This is equivalent to a forward extension of the D7, atechnique that we have seen before.

• The non-chordal tone b♭ in m. 6 [*9] is harmonized with the secondary dominantC♯◦7.

• The last three notes use a sequence of dominant chords towards the aiming chordE♭7 − D7 − Gm7.

⊳

After completing the four part sectional setting we will demonstrate the instrumentationprocedure for three groups of instruments, from a full big band to a smaller ensemble.

4.2.1 Instrumentation for full big band

Figure 4.3 shows the instrumentation of the previous example for full big band (5SAX +4TPT + 4TBN). We will now discuss the details of that instrumentation.

Example 4.2: Sectional harmony in four parts; full big band.

Problem: Assign the parts to the 8 brass and 5 saxophones for given 4 part sectionalharmony.

Discussion:

• The trumpets play full chords in close voicing. TPT1 is in its middle range. Thisexample is a good range for this sectional technique.

• There is an overlap between the trumpet and the trombone section; we haveTBN1=TPT3, TBN2=TPT4. They will support the lower trumpet voices, espe-cially when these are in the lower range. the intervallic relationship betweenthe brass outer voices is good (mainly consonant 3rds, interchanged with milddissonant 2nds). Copying the trombones one octave below the trumpets wouldhave lead to a too low range for TBN4 and would have lead to performanceproblems.

• The trombones also are in close voicing. Full brass are kept within not too widea range for maximum fluency. TBN1 is in high range in m. 2 and m. 3; this mayrequire professional playing skills.

47


&

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AS1

AS2

TS1

TS2

BS

TPT1

TPT2

TPT3

TPT4

TBN1

TBN2

TBN3

TBN4

RH

1 œ# œ œn œ# œ œ œ œb


œ œ œ œ œ œ œ œœ œ# œ œ œ œ œ œn


1 œ œ# œ œ œ œ œ œn



œ œ œ œ œ œ œ œœ œ œ œ œ œ# œ œn


œ œ# œ œ œ œ œ œn


1 ∑

œ œ œ œGm7

2œ œn œb œ Œ 3‰ œb œ

œ œb œ œn Œ3‰ œ œ

œ œ œ œ# Œ3‰ œ œ

œ œ œ œ Œ3

‰œn œ

œ œn œb œ Œ3

‰ œb œ

2œ œ œ œ Œ 3‰ œn œ

œ œn œb œ Œ 3‰ œb œ


œ œ œ œ# Œ3‰ œ œ

œ œb œ œnŒ

3

‰œ œ

œ œ œ œ# Œ3

‰œ œ

œ œ œ œ Œ3

‰œn œ

œ œn œb œ Œ3

‰ œb œ

2 ∑œ œ œ œCm7 D7

3 œ œ# œb œ œ œ œn œb


œ œb œ œ œ œ œb œœb œb œ œ œ œb œ œ


3 œb œb œ œ œ œb œ œ



œ œb œ œ œ œ œb œœb œ œ œn œb œ œn œb


œb œb œ œ œ œb œ œ


3 ∑œ œb œb œEbm7 Ab7

4œ œn œn œb ‰ œn œb œ


œn œ œ œn ‰ œn œ œœn œ œ œn ‰ œn œ œ


4œn œ œ œn ‰ œn œ œ



œn œ œ œn ‰ œn œ œœ œ œ# œn ‰ œ œ

œ

œn œ œ œn ‰ œn œ œ



4 ∑œ œ œn œnDm7 G7

5 œn œb ‰ œn3

œ œ œn œn œn

œb œn ‰ œn3

œb œ œ œ œ

œ œ ‰ œb3

œ œb œ œ œœ œ ‰ œ3

œ œ œb œ œ

œn œb ‰ œn3

œ œ œn œn œn

5 œ œ ‰ œ3

œ œ œb œ œ

œn œb ‰ œn3

œ œ œn œn œn

œb œn ‰ œn3

œb œ œ œ œ

œ œ ‰ œb3

œ œb œ œ œœb œn ‰ œn3

œb œ œ œ œ

œ œ ‰ œb3

œ œb œ œ œ

œ œ ‰ œ3

œ œ œb œ œ

œn œb ‰ œn3

œ œ œn œn œn

5 ∑œ œ œb œCm7 Cm7/Eb

6Œ 3‰ œ œ3

œ# œ œb œ œb

Œ 3‰ œ# œn3

œb œ œ œn œŒ 3‰ œ œb

3

œ œ œ œ# œnŒ 3‰ œ œ

3

œ œ œ œ œ

Œ 3‰ œ œ3

œ# œ œb œ œb

6Œ 3‰ œ œ3

œ œ œ œ œ

Œ 3‰ œ œ3

œ# œ œb œ œb

Œ 3‰ œ# œn3

œb œ œ œn œŒ 3‰ œ œb

3

œ œ œ œ# œn

Œ3

‰œ# œn

3

œb œ œ œn œ

Œ3

‰ œ œb3

œ œ œ œ# œn

Œ 3‰ œ œ3

œ œ œ œ œ

Œ 3‰ œ œ3

œ# œ œb œ œb

6 ∑

œ œ œ œAø7 D7b9

7 ∑

∑

∑

∑

∑

7 ∑

∑

∑

∑

∑

∑

∑

∑7 ∑

œ œ œ œnGm7

8 ∑

∑

∑

∑

∑

8 ∑

∑

∑

∑

∑

∑

∑

∑8 ∑œ œ œ œAø7 D7

Figure 4.3: Sectional harmony applied to full big band.

48


AS1

AS2

TS1

TS2

BS

TPT1

TPT2

TPT3

TPT4

TBN1

TBN2

TBN3

TBN4

Figure 4.4: Voicing diagram full big band.

• Saxophones play in close voicing. There is overlap with the brass: we haveAS1=TPT2 and BS=TBN4. Again we see good intervallic relationships betweenTPT1 and the outer saxophone voices; there are occasional 2nds between TPT1and AS1. These are no problem, especially not in medium to up tempos.

• Figure 4.4 shows the voicing diagram.

⊳

4.2.2 Instrumentation for reduced big band


49



50


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AS2

TS1

BS

TPT1

TPT2

TBN1

TBN2

RH

1 œ# œ œn œ# œ œ œ œb

œ œ# œ œ œ œ œ œnœ œ œ œ œ œ# œ œn


1 œ œ# œ œ œ œ œ œn

œ œ œ œ œ œ# œ œnœ œ œ œ œ œ œ œ


1 ∑œ œ œ œGm7

2œ œn œb œ Œ 3‰ œb œ

œ œ œ œ Œ3‰ œn œ

œ œb œ œn Œ 3‰ œ œ

œ œ œ œ# Œ 3‰ œ œ

2œ œ œ œ Œ 3‰ œn œ


œ œ œ œ# Œ3

‰œ œ

œ œn œb œ Œ3

‰ œb œ

2 ∑œ œ œ œCm7 D7

3 œ œ# œb œ œ œ œn œb

œb œb œ œ œ œb œ œœb œ œ œn œb œ œn œb


3 œb œb œ œ œ œb œ œ

œb œ œ œn œb œ œn œbœ œb œ œ œ œ œb œ


3 ∑œ œb œb œEbm7 Ab7

4 œ œn œn œb ‰ œn œb œ

œn œ œ œn ‰ œn œ œœ œ œ# œn ‰ œ œ œ


4 œn œ œ œn ‰ œn œ œ

œ œ œ# œn ‰ œ œ œœn œ œ œn ‰ œn œ œ


4 ∑œ œ œn œnDm7 G7

5 œn œb ‰ œn3

œ œ œn œn œn

œ œ ‰ œ3

œ œ œb œ œœb œn ‰ œn3

œb œ œ œ œ

œ œ ‰ œb3

œ œb œ œ œ

5 œ œ ‰ œ3

œ œ œb œ œ

œb œn ‰ œn3

œb œ œ œ œœ œ ‰ œb

3

œ œb œ œ œ

œn œb ‰ œn3

œ œ œn œn œn

5 ∑œ œ œb œCm7 Cm7/Eb

6Œ 3‰ œ œ3

œ# œ œb œ œb

Œ 3‰ œ œ3

œ œ œ œ œŒ 3‰ œ# œn

3

œb œ œ œn œ

Œ 3‰ œ œb3

œ œ œ œ# œn

6Œ 3‰ œ œ3

œ œ œ œ œ

Œ 3‰ œ# œn3

œb œ œ œn œ

Œ3

‰ œ œb3

œ œ œ œ# œn

Œ 3‰ œ œ3

œ# œ œb œ œb

6 ∑œ œ œ œAø7 D7

b9

7 ∑

∑

∑

∑

7 ∑

∑

∑

∑

7 ∑œ œ œ œnGm7

8 ∑

∑

∑

∑

8 ∑

∑

∑

∑

8 ∑œ œ œ œAø7 D7

Figure 4.5: Sectional harmony applied to intermediate size band.

4.2.3 Instrumentation for intermediate size band

Figure 4.5 shows the instrumentation for an intermediate size band (4SAX + 2TPT + 2TBN).

Example 4.3: Sectional harmony in four parts; intermediate size big band.

Problem: Assign the parts to the 4 brass and 4 saxophones for given 4 part sectionalharmony.

Discussion:

• The brass play ‘drop 2’ voicing. Both sections together have the full four partsectional harmony. Within the sections there are many 4ths and 5ths betweenparts; this carries the risk of sounding harsh if the tone colour for both sectionsdiffers greatly. The risk would have been reduced and the fluency increased bysimply playing in close voicing.

• The saxophone section plays a mixed voicing, open at the top and close for thelower voices. It was designed to fill the gaps that were left by the brass section(see the voicing diagram in Figure 4.6) with TS2 and BS below the trombones.This leads to an internally unbalanced voicing and gets the TS into a pretty lowregion. Applying ‘drop 2’ voicing here while keeping the AS at its current po-sition would still cover the gaps in the brass voicing and improve the voicingwithin the section.

⊳

4.2.4 Combining trombones and saxophones


51


AS1

AS2

TS1

BS

TPT1

TPT2

TBN1

TBN2

Figure 4.6: Voicing diagram reduced big band.


52

4.3. BRASS VOICING FOR EXTENDED CHORDS

&

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c

cRhythm

BrassTPTS

TBNS

Unbalancedwwwwbwwww

wF7

Betterwwwwwwwwb

wF7

wwwwbD o7

wwwwbbA o7

wD7b9

www#wwwb

wD7b9

(a)

&

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BrassTPTS

TBNS

[*1] [*3]wwwwwwww

wC±9

[*1] [*3]wwwwwwww

wC±6/9

[*2]

wwwwwwww

wC±6/9

[*1] [*3]wwww#wwww

wEm11

[*4]

wwwwbwwwwbb

wCm11

[*5]

wwwwwwww

wDm9

[*1]wwwwwwwwb

wDø 7

[*6]wwwwbwwww

wG7b9

[*6]wwww#bwwww

wG7b9

[*1] [*3]wwwwbbb

wwwwbb

wG7al t

(b)

Figure 4.7: Brass section voicings. (a): internal balance, (b): various chord types

4.3 Brass voicing for extended chords

The previous section discussed a number of examples, that were based on a four part sec-tional harmony voicing. From here on we will extend the number of voices, but beforedoing so, we will briefly touch on the aspects of brass voicing , i.e., the vertical distributionof chordal functions over the trumpet and trombone section in a big band, using extendedchords (i.e., with higher chord functions such as ♭9, ♯11, 13, etc.).

Example 4.4: Voicings for brass section

Problem: Assign parts to 4 trumpets and 4 trombones using extended chords. Fig-ure 4.7 has a number of voicing examples that we will now discuss.

Discussion:

• Figure 4.7.a demonstrates the voicing of the dominant 7th chords, S7, here F7and D♭9

7 . Although the voicing in the first measures has an octave doublingbetween TPT1 and TBN1 (good), the balance within each section is poor: thetrumpets are widely spread and (most important) the trombone section doesnot provide a good harmonic basis, since the essential 7th function and root aremissing. The voicing in measure 2 is a clear improvement. The TBNs now playthe following chordal functions: 1, 3, 7 and 9, the TPTs play a Dm chord, addingthe 13 to the F7 chord. Also note the doubling of the TPT1 part in the loweroctave: from concert f” upward this is an essential support for the lead trumpetvoice.

• Measures 3 and 4 from the same example demonstrate another aspect. The over-

53


&

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BrassTPTS

TBNS

wwwwC

wwwb

wC7

wwwwbC m

wwwb

wC 7

wwwwbbEb

wwwb

wC 7

wwwwbbbbEbm

wwwb

wC7

wwww####F#

wwwb

wC7

wwww###F#m

wwwb

wC 7

wwww#A

wwwb

wC 7

wwwwA m

wwwb

wC 7

(a)

&

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BrassTPTS

TBNS

wwww#D

wwwb

wC7

wwwwbbbAb

wwwb

wC 7

wwwwbGm

wwwb

wC7

wwwwbbbbD bm

wwwb

wC 7

(b)

Figure 4.8: Dominant 7th chord S7 bitonal voicings. (a): structures based on the octotonicscale, (b): structures based on extended chords in 3rds.

all orchestral balance benefits from an internal balance in each section. In thisexample that is demonstrated by assigning a full seventh chord (3rd measure, ◦7to both TPTs and TBNs; the combined effect is an octotonic scale) or full triad (4thmeasure, D in TPTs and A◦ to TBNS) to each individual section.

• Figure 4.7.b shows various extended chord types (i.e., with more upper chordfunctions). A common element to all these voicings is, that the TBNS provide theessential chord functions, i.e., the 3rd for the major/minor chords and 3rd plus7th for all other chord types. At [*1] we notice the lower octave doubling of thehigh lead trumpet. At [*2] the voicing of TBN3 and TBN4 will yield a differencetone, the root C below the staff. At [*3] we find full triads in the trumpets. Thetrombones may play an inverted chord, as is shown at [*4]. A cluster voicing isdemonstrated at [*5].

• When voicing a S7, try to prevent assigning the perfect chordal function 5 tothe trombones. Instead, use a lowered (♯11 = ♭5) or raised 5th (♯5 = ♭13) in theupper voices, as is demonstrated at [*6].

⊳

4.3.1 Dominant seventh bitonal voicings

When voicing an extended dominant 7th chord the balance of the voicing is increased by as-signing a full major or minor triad to the trumpets.

In total there are 12 possibilities, of which 8 are based on the octotonic scale and 4 arederived from an extended series of 3rds: these are shown in Figure 4.8. The basic chord is C7

54

4.4. PERCUSSIVE VOICING

and the characteristic, essential chordal functions 1,3 and ♭7 are assigned to three trombones.The trumpet section creates a bitonal voicing by using: ⇐=

• either the octotonic scale, leading to major or minor triads on the roots C −E♭−F♯−A(the symmetric C◦7-chord);

• or extended chords in 3rds, leading to the major triad D (or its equivalent A♭) or theminor triad Gm (and its equivalent D♭m).

Use the transposed versions of this diagram to find bitonal brass voicing possibilities forgiven lead (see the examples below).

4.4 Percussive voicing

The percussive voicing is frequently used to create a massive tutti big band sound at louderdynamics (fortissimo). Its characteristics are:

• Extended voicings (5 and 6-part chord structures are frequent), assigned to brass (trum-pets and trombones) or the full ensemble (brass plus saxophones);

• Short phrases with irregular rhythms, many syncopations and interspersed with rests.Perfectly synchronised playing of articulations (such as > or ∧) and respecting thedynamics (e.g., a sudden juxtaposition of mp and fff ) is essential and yields an im-pressive effect (listen to and study the Count Basie and Thad Jones tutti choruses!).

• Functional support by the rhythm section: the guitar and bass player will frequentlyfollow the rhythmic patterns in the horns (giving up the strumming guitar and walkingbass patterns almost completely), the drummer will prepare and support the articula-tions (loud cymbal crashes and toms), while the piano player will either support thehorns (copying the voicings in both hands) or plug in a few high notes during the restsin the horns.

• Careful voice leading in the horns is now released: repeated notes are now permissible,and augmented/diminished steps or leaps may occur in the middle voices.

4.4.1 Examples of brass voicings

Now we will present a number of examples of percussive voicings for brass section, i.e., 4trumpets and 4 trombones. In the examples the lead voice is given, as is the basic harmonyindicated in the rhythm part.

Example 4.5: Percussive voicing for brass: blues scheme

Problem: Determine the 8 part brass voicing for given lead voice and basic harmony.

Discussion:

• The chord progression is based on an extended blues scheme, such as used inthe standard ‘Blues for Alice’, see Figure 4.9. The overall dynamics are mf .

• At [*1] the opening chord F (tonic chord) is voiced using the various extendedfunctions 6,∆7 and 9.

55


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TPTS

TBNS

[*1] [*2]

˙˙˙ Jœœœœ œœœœ

jœœœœb˙

Jœœœœ œœœœ J

œœœœnF±9 F

69 F± Em11

œ œ œ œ œF

[*3]

‰ ....œœœœnn ‰ ....œœœœbbbb

‰ ....œœœœn ‰ ....œœœœbb

A 13b9

‰ .œ ‰ .œEm7 A7

....œœœœnn Jœœœœbb ....œœœœ J

œœœœn

....œœœœnJœœœœbn ....

œœœœ Jœœœœbb

Dm11 G7b5b13

Cm11

œ œ œ œ œb œD m7 G7

[*4]

Œ ‰ jœœœœnbb ˙

Œ ‰Jœœœœb˙˙

F13b9

Œ ‰ jœ œ œC m7 F7

[*5]

˙˙˙n ....œœœœbbjœœœœnnn

˙ ....œœœœbb

Jœœœœnn

Bb69 Bbm11 Am11

œ œ œb œ œBb Bbm7 A m7

Figure 4.9: Percussive voicing for brass.

• At [*2] there is an extended S9/add11

m7 chord with the 11 in the lead. This chordtype is used three times in the example.

• The lead at [*3] is fairly low, leading to an impractical concert ♮b. Therefore it isbetter to leave out the 4th part in the trumpets and double the lead trumpet.

• At[*4] we see an illustration of the avoidance of the perfect 5th function in thetrombone section, and replacing it with the d = 6 = 13.

• At [*5] there is a leading tone exact parallel chord, as is obvious from the voiceleading ց in all but the lead voice.

⊳

Example 4.6: Percussive voicing for brass: bitonal triads in the trumpets


Discussion:

• At [*1] in Figure 4.10 the voicing of the S7 structure yields a minor second be-tween TBN1, playing the major 3, and TBN2, playing the altered ♯9 = ♭10. Thisvoicing is frequently used by Thad Jones.

• The D♭7 chord at [*2] is an intermediary, alternating step chord. The trombonevoicing stresses the exact parallel movement.

• The trumpet section voicing uses full triads only, and uses chords in the key ofE♭ only (one exception).

• The example is one realisation form a set of possibilities. The full set is given inTable 4.2.

⊳

Example 4.7: Percussive voicing for brass: use extended chords only


Discussion:

56


&

?

?Rhythm

Brass

TPTS

TBNS

[*1] [*2]

[*3]

Jœœœœbbœœœœb Jœœœœ œœœœ

œœœœbEb Ebm

Jœœœœnbb œœœœbbn J

œœœœnbb œœœœ

œœœœb#

Db7 C 7

jœ œb jœ œ œC7 A 7

˙b ....œœœœbbnb Jœœœœ

Fm Eb

˙˙b#nn ....

œœœœnn Jœœœœbn

œn œ# œ œ œD 7 G7 C 7

∑

∑

∑

Figure 4.10: Percussive voicing for brass using bitonal triads in the trumpets.

Table 4.2: Alternatives for bitonal voicing.

Lead tone g b♭ b♭ c b♭ gHarmony C7 D♭7 A7 D7 G7 C7

Triad in TPTs C(m) Gm E♭(m) F (m) B♭(m) E♭(alternative E♭ B♭(m) F♯ A♭ E♭ Gmsolutions) Gm E♭ B♭m Am Gm C(m)

&

?

?Rhythm

Brass

TPTS

TBNS

[*1] [*1][*2]Jœœœœ œœœœ J

œœœœ œœœœ œœœœ

Jœœœœœœœœbb Jœœœœbnœœœœœœœœb

jœ œb jœ œ œbC

69 Bb13

#11 A7al t Eb13#11

[*1] [*1] [*1]

[*3]œœœœ œœœœ Jœœœœbb œœœœb J

œœœœnnœœœœnnœœœœbb

Jœœœœ#bœœœœnnn J

œœœœnnn

œ œb jœb œ jœDm11 Eb13#11 Ab13

#11 G13#11 C

69

wwwwwwww

œ œ œn œ

Figure 4.11: Percussive voicing for brass using bitonal triads in the trumpets.

57


• Figure 4.11 demonstrates a consistent block chord harmonization of the S7 struc-ture: the triads in the trumpets are based on extended chords. At [*1] we recog-nise the voicing demonstrated in m. 1 from Fig. 4.8.b, i.e., S[D/C7], at [*2] weuse the voicing S[Ab/C7] as shown in m. 2 from the same figure.

• Like in the previous example the bass trombone TBN4 plays chord rootsthroughout. This gives a solid base to the percussive voicing and is frequentlyused.

• Although voice leading aspects can be somewhat released in this technique, adetail should be mentioned at regarding the lead voice. At [*3] we could haveused the following chord sequence for the harmonization: A♭7 − D7 − G7 − C .However, the tone a in the lead over the A♭7 chord has the function ♭9, whosenormal resolution would have been a stepwise downward motion. In this exam-ple the lead instead has an upward stepwise motion a ր b♭ and forces us to lookfor a more appropriate harmonization.

⊳

The previous example can be used to illustrate a procedure for the technique of percus-sive voicing, consisting of the following steps:

1. Assign the chord root tones to TBN4;

2. For dominant S7 chord structures assign the essential functions 3 and ♭7 to two othertrombones;

3. Assign the trumpet parts for all chord types (you may use consistent triad usage forthe dominant S7 structures);

4. Complete percussive voicing for the 4th trombone part for dominant S7 chords, thenassign TBN1 to TBN3 parts for the other chord types.

The following example deal with a rhythmic background: the rhythmic accents and thebasic harmony are pre-defined and a voicing for a 6 part brass section is to be determined.We will discuss four alternatives, using different approaches.

Example 4.8: Rhythmic background for brass

Problem: Determine the 6 part brass voicing for given rhythmic accents and basicharmony.

Discussion:

• Solution 1 in Figure 4.12.a demonstrates a voicing in the mid-low range usingthe following approach:

1. strive towards a diatonic voicing in the key of C-major; this will determinethe selection of the chord extensions;

2. if this fails for the dominant S7, then use the S♭97 structure.

• Note in the example that the voicing in the trumpet section stays within theinterval of a 6th (a 5th is typical), yielding a cluster or triad voicing.

58


&

?

?Rhythm

Brass

TPTS

TBNS

‰ jœœœ Œ Ó

‰ Jœœœ Œ Ó

œ œ œ œC±

Œ œœœ œœœ^ Ó

Œ œœœ œœœb^Ó

œ œ œb œBb7

Œ œœœ#>jœœœ ...œœœb>

Œ œœœbb>Jœœœ ...œœœnb >

œ œ œb œA7 Bb7

...œœœ#>jœœœn> œœœ œœœb œœœ#

^

...œœœ#b > Jœœœb> œœœ œœœb œœœn# ^Bb7

œ œ œb œA7

∑

∑

œ œ œn œD7

...œœœnjœœœ^ Ó...œœœnn Jœœœn^ Ó

œ œ œ œD m7 G7

‰ jœœœ Œ ‰jœœœb Œ

‰ Jœœœ Œ ‰ J

œœœb Œ

œ œ œ œbC A7

‰ œœœ œœœ œœœn> ˙

‰ œœœ œœœ# œœœnn> ˙

D7

œ œb œ œD m7 G7

(a)

&

?

?Rhythm

Brass

TPTS

TBNS

‰ jœœœ# Œ Ó

‰ Jœœœ Œ Ó

œ œ œ œC±

[*2]

Œ œœœ# œœœ^ Ó

Œ œœœ œœœb ^ Ó

œ œ œb œBb7

[*2]

[*3]Œ œœœ### >jœœœ ...œœœn>

Œ œœœbb>Jœœœ ...œœœnb >

œ œ œb œA7 Bb7

...œœœ#>jœœœbn > œœœ œœœ

œœœn^

...œœœ#b > Jœœœb> œœœ œœœbb œœœnn# ^Bb7

œ œ œb œA7

∑

∑

œ œ œn œD 7

[*1]

...œœœ jœœœ#^ Ó...œœœnn Jœœœn^ Ó

œ œ œ œDm7 G7

[*1]

‰ jœœœ# Œ ‰jœœœbbn Œ

‰ Jœœœ Œ ‰ Jœœœ#b Œ

œ œ œ œbC A7

[*2]

‰ œœœn œœœ#b# œœœn# >˙

‰ œœœn œœœb# œœœnn > ˙˙˙D 7

œ œb œ œD m7 G7

(b)

&

?

?Rhythm

Brass

TPTS

TBNS

‰ Jœœœ Œ Ó

‰ Jœœœ Œ Ó

œ œ œ œC±

Œ œœœ œœœ Ó


œ œ œb œBb7

Œ œœœ> Jœœœ ...œœœ>

Œœœœn#>Jœœœ ...œœœb >

œ œ œb œA7 Bb7

...œœœbb > Jœœœn> œœœ œœœ œœœn# ^

...œœœ#> Jœœœb > œœœ œœœ œœœn# ^Bb7

œ œ œb œA7

∑

∑

œ œ œn œD7

...œœœn Jœœœbb ^ Ó...œœœnn Jœœœb ^ Ó

œ œ œ œDm7 G7

‰ Jœœœn Œ ‰ J

œœœbb Œ

‰ Jœœœn Œ ‰ J

œœœ# Œ

œ œ œ œbC A7

‰ œœœ œœœbbb œœœnn > ˙

‰ œœœnœœœb# œœœn> ˙

D7

œ œb œ œDm7 G7

(c)

&

?

?Rhythm

Brass

TPTS

TBNS

‰ jœœœ Œ Ó

‰ Jœœœ Œ Ó

œ œ œn œC±

Œ œœœ œœœb^ Ó


œ œ œb œBb7

Œ œœœ#>jœœœ ...œœœb>

Œ œœœb>Jœœœ ...œœœnb >

œ œ œb œA7 Bb7

...œœœ#>jœœœb>œœœ œœœ œœœ#n

^

...œœœ#> Jœœœb> œœœ œœœb œœœnn# ^Bb7

œ œ œb œA7

∑

∑

œ œ œn œD 7

...œœœn jœœœ^ Ó...œœœnn Jœœœ^ Ó

œ œ œ œD m7 G7

‰ jœœœ Œ ‰jœœœ# Œ

‰ Jœœœ Œ ‰ Jœœœ# Œ

œ œ œ œbC A7

‰ œœœ œœœn# œœœn>˙

‰ œœœn œœœ# œœœn > ˙˙D7

œ œb œ œDm7 G7

(d)

Figure 4.12: Rhythmic background for brass. (a): mid-low range, diatonic extensions, (b):mid-low range, all extensions, (c): mid-high range, triads in trumpets, (d): low range, basicS7 chords only.

59


• The interval between TPT1 and TPT2 is a 3rd or 4th, the dissonant interval of a2nd is avoided. This interval does occur between TPT2 and TPT3.

• As usual, the TBNs carry the essential functions (3 and 7) of the chord structure.Dissonant intervals of the 2nd are avoided between either pair of TBNs.

• Two secondary dominant chords have been used, i.e., B♭7 in m. 4 and D7 in m.8.

• Solution 2 in Figure 4.12.b demonstrates a voicing in the mid-low range usingthe following approach:

1. all chord extensions are allowed (release diatonic flavour requirement);

2. trumpets use cluster type voicing.

• We have again respected the interval rules for the TPTs and assigned essentialchord functions to the TBNs.

• Now at [*1] there is the interval of the 2nd between two TBNs, at [*2] there is asequence of two consecutive 2nds.

• Check the interval relation between TPT1 and TBN1.

• In m. 3 and m. 4, starting at [*3], there is contrary motion between (ascending)TPTs and (descending) TBNs. This calls for a crescendo and has the effect ofleading up to climax.

• Solution 3 in Figure 4.12.c demonstrates a voicing in the mid-high range usingthe following approach:

1. all chord extensions are allowed;

2. the trumpets are voiced in triads;

3. TBN1 supports TPT in the high range by doubling the lead at the loweroctave;

• note that again we find the interval of the 2nd between pairs of TBNs (see m. 2,3, 6 and 8);

• solutions 2 and 3 sound more contemporary than solution 1; this is the effect ofthe non-diatonic and more dissonant chord extensions.

• Solution 4 in Figure 4.12.d demonstrates a voicing in the low range using thefollowing approach:

1. Use the basic seventh chord S7 only.

• This example will sound most conventional and traditional. It is in deliberatecontrast with the previous solutions.

⊳

4.4.2 Examples of ensemble voicings


60



61



62



63



64

Chapter 5

Special techniques

This chapter presents a number of special arranging techniques. These will put the sectionaland ensemble writing techniques from the previous chapters into perspective, and at thesame time demonstrate various interesting alternatives to the former techniques. In a sensethis chapter is a catalogue of alternative arranging techniques, that can be applied in orderto deviate occasionally from the fairly standard big band jazz idiom.

The examples in this chapter are taken from actual compositions and arrangements forsymphonic wind band (concert band) with added rhythm section.1 The main difference withthe jazz big band ensemble is the separate woodwind section and the addition of soft brassinstruments (horns and tubas) to the brass section.

The techniques will be presented in random order. Their application does follow astrictly structured approach, as was the case in most of the exercises in the previous chap-ters. Since multiple techniques are used in the examples in this chapter, there will be muchcross-referencing to the figures below.

5.1 Bell chords

In sectional harmony and in the ensemble techniques all note attacks occur simultaneouslyfor all instruments. In a bell chord the notes from the chord structure are played one after ⇐=the other. Usually this happens in one direction, either from the lowest to the highest pitch(ascending bell chord) or, less frequently, from the top to the lowest note (descending bellchord).2

1Full score excerpts and audio demo tracks for the examples from this chapter are available on the Websitewith URL http://www.fransabsil.nl.

2A well-known example in jazz music is the ascending bell chord at the beginning of the track The Meaningof the Blues, arranged by Gil Evans for Miles Davis’ album Miles Ahead. A descending bell chord is found on the

65

CHAPTER 5. SPECIAL TECHNIQUES

&

&

?

?

bbbb

bbbb

bbbb

bbbb

c

c

c

c

L.

Rh.

H.

Ó Œ ‰ jœ

∑

∑

∑

Ballad q=72

F

Flgœn œ œ œ .œ jœ

Œ .˙‰ .œ ˙w

.œ ‰œ œ

Fm

P

P

F

Tbns

œ œ œ œ .œ jœ

Œ .˙‰ .œ ˙wn

.œn ‰œn œFm/E

œ œ œ œ .œ jœ

Œ .˙‰ .œ ˙wb

.œb ‰3œ œ œ

Fm7/Eb

œ œ œ ˙ Œ

Œ .˙‰ .œ ˙wn

.œn ‰ .œn JœDø7

∑

∑

∑

œb Œ œ ‰ JœBbm7

Figure 5.1: Three-part bell chords on the Fm tonic minor chord. There is also chromaticallydescending motion in the bass. From: ‘The Summer Knows’ (M. Legrand).

The time interval between attacks usually is constant, but the attacks might as well soundat different time intervals. The application of his technique is fairly common; most fre-quently it is used in breaks at the end of a musical phrase, or in an introduction.

Example 5.1: Bell chords.

Problem: Ascending three-part bell chord for a given tonic minor chord.

Discussion:

• Figure 5.1 shows a musical phrase, starting with three-part bell chords for trom-bones on the tonic minor Fm chord with chromatically descending bass (seebelow, Section 5.4).

• This is an upward (ascending) bell chord with note entries at a constant timeinterval; this attack pattern creates an 8th note rhythm groove.

• Note how the lead melody, trombone section and the bass part deliberately havejuxtaposed attacks (minimum coincident attacks), in order to maintain the rhyth-mical pulse.

⊳

5.2 Harmonization with symmetrically distributed roots

Root progressions in the chapters on sectional harmony and ensemble writing were basedon functional harmony. This implies that the roots moved along diatonic scales, and mostfrequently skipped a diatonic fifth of third downward.3 This yields familiar chord changessuch as the I − IIm7 − V7 − I or Im − IV m − V ♭9

7 − Im cadences in major and minor,respectively.

However, there is an alternative system for root progressions, based on symmetricallydistributed roots. Integer division of the twelve chromatic steps in the octave yields possi-=⇒

same album, at the end of I don’t wanna be kissed. For the source of both these 12-tone bell chords, listen to the2nd movement of the Alban Berg Violin Concerto.

3Check the basic harmonic progressions in the examples from the previous chapters.

66

5.2. HARMONIZATION WITH SYMMETRICALLY DISTRIBUTED ROOTS

ble symmetries at root movement R3i (minor third), R4i (major third, and R6i (augmentedfourth, diminished fifth). The direction of the root movement may be either downward orupward. In [15] the use of symmetrically distributed roots is presented as a separate tech-nique for harmonic progression, as an alternative to diatonic progressions,

The chord structure may remain constant (e.g., series of parallel dominant seventh chordsS7) or may be change during the root movement. When using this type of root progression,smooth voice leading by the smallest possible steps or leaps is essential.

Example 5.2: Harmonization with symmetrically distributed roots.

Problem: Symmetric roots at the interval of a minor third R3i for a given melody.

Discussion:

• Figure 5.2 shows how the original harmonization with chromatically descending7th chords in m. 1–4 may be replaced with a sequence based on descendingsymmetric roots at the interval of R3i, i.e., the minor third. The result is thechord sequence Em7 − D♭97 − B♭97 − G♭13

7 , with changing chord structure.

• The same technique is applied in m. 5–8, where the root movement sequence of

descending 5ths, Gm7−C7−F −B♭7, is replaced with Gm7−E97 −D♭9∆7−B♭♯117 ,

again with changing chord structure.

• The simple ‘one note’ melody in this example enables the alternative harmo-nization with symmetrically distributed roots. In general, it will require a bit oftrial-and-error in order to allow such an approach.

⊳

Example 5.3: Applying symmetrically distributed roots.

Problem: Symmetrically distributed bass part at the interval of a major third R4i fora given melody.

Discussion:

• Figure 5.3 shows the instrumental coda of a folk song about the hard labour onthe land throughout the ages. A dissonant musical texture supports the lyrics.The lead voice repeats the last vocal melodic phrase in m. 1–4, and is doubledwith three-part diatonic parallel chords for flutes. The middle voices in clarinetsfill out the basic harmonies. There is a traditional cadential closing in G minorfor brass in m. 5–6.

• In m. 3–4 the bass part plays symmetrically distributed roots at the major thirdR4i (i.e., e− c− a♭ and their tritone-related counterparts b♭− f♯− d). This yieldspassing shrill dissonances with the other parts (note the E♭/E and the E♭/F♯chords in particular), strongly expressing the mood of this farmer’s song.

⊳


Problem: Using chords in fourths with symmetrically distributed roots at the interval

67


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c

c

c

c

L.

Rh.

H.

Ó ‰ œ jœ

∑

∑

∑

Bossa Nova q=160Flg

F1

œ œ œ ‰ œ jœ

wwnww

œn ‰ Jœn œ œnEm7

Sax

F

F

2 jœ .œ ‰ œ jœ

wwbbwwb

œb ‰ Jœb œ œEb7

3

œ œ œ ‰ œ jœ

wwnww

œ ‰ Jœ œ œDm7

4

˙ ‰ œ Jœ

..œœb jœœ^ ‰ œœ

^ jœœ..œœ Jœœb# ^ ‰ œœ Jœœ

œb ‰ Jœb œ œ œnDb7-5 Ab7-5

f

f

F

F

5œ œ œ ‰ œ Jœ

˙b ˙

˙ ˙bwn

œ ‰ Jœ œ œGm7

&

&

?

?

L.

Rh.

H.

6

Jœ .œ ‰ œ Jœ

˙# œ œ.˙ œ..˙ œœb

œ ‰ Jœ œ œC7

7œ œ œ ‰ œ Jœ

˙ ˙nwww

œ ‰ Jœ œ œF

f

f

8˙ ‰ œ jœ

˙ Ó

˙b Ó

œb ‰ jœb œ œBb79

9

œ œ œ ‰ œ jœ

wwww

œ ‰ Jœn œ œEm7

F

F


wwbbwwb

œb ‰ Jœb œ œEb7

11

˙ œ œ œ

˙˙n œœbfl

œœ œœ^

˙˙ œœ œœ œœ

œ ‰ Jœ œb œ œDm7 Db79 C96

f

f

12 ∑

∑

∑

∑

(a)

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Rh.

H.

Ó ‰ œ jœ

∑

∑

∑

Flg

F1

œ œ œ ‰ œ jœ

wwww

œ ‰ Jœ œ œ œnEm7

F

F

Sax


wwbwwb

œb ‰ Jœb œ œ œbDb79

3

œ œ œ ‰ œ jœ

wwwwb

œb ‰ Jœ œ œnBb79

4

˙ ‰ œ Jœ

..œœb jœœ>> ˙∆∆

..œœn Jœœbb >> ˙∆∆

œ ‰ Jœ œ œb œG7b13 Ab79

f

f

f

5 œ œ œ ‰ œ Jœ

wwwwb

œ ‰ Jœ œ œGm7

F

F

F

Tbns

&

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Rh.

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6

Jœ .œ ‰ œ Jœ

ww#ww#

œ ‰ Jœ œ œ œE79

7 œ œ œ ‰ œ Jœ

wwbwwb

œ# ‰ Jœ# œ œDb±79

f

f

f

8 ˙ ‰ œ jœ

˙n Ó

˙b Ó

œb ‰ jœb œ œBb7#11

9

œ œ œ ‰ œ jœ

˙˙bb œœ œœ œœ^

˙n œœ œœ œœb ^

œ œ œ ‰ œ Jœb ^A7-5

F

F

F

Sax

10jœ .œ ‰ œ jœ

‰ ..œœb >> œœ œœ

‰ ..œœb >> œœ œœ

‰ .œb > ‰ œ JœAb96

11.œ jœ ‰ œ Jœ

œœn œœ œœn^ ‰ œœ

^ jœœ^

œœ œœ œœb ^ ‰ œœ Jœœ

œ œ œ ‰ œ jœ^Dm7/G G7b9/13 C96

f

f

f

12 ∑

∑

∑

∑

(b)

Figure 5.2: Harmonization with symmetrically distributed roots: minor third (R3i). (a) origi-nal harmonization, (b) symmetrically distributed roots. From: ‘One Note Samba’ (A.C. Jobim).

68

5.2. HARMONIZATION WITH SYMMETRICALLY DISTRIBUTED ROOTS

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bb

bb

bb

L.

Rh.

H.

œœœn ‰ œœœn œœœ Jœœœn

.œn .œ.˙

∑

.œ .œF7 Gm7/D

f

f

f

Flts

Clars

œœœ ‰ œœœ œœœ Jœœœ

.œ œ jœ.˙

∑

.œ .œCm7F7/Eb

œœœ Jœœœ œœœ œœœbb œœœn

œ œ œ œ jœ#‰ œ œ œn Jœ#

∑

‰œn œ œ

Jœ#F/Bb C7b5

b9 Eb/F#Eb/E

Symmetric Roots

œœœ#nnJœœœn œœœ ‰

œ jœ œ jœ‰ œn œ œ ‰∑

‰ œb œ œ ‰D/Ab C/D Gm

FBrass

∑

œ jœ œ œ ‰

.œ œb ‰.œ œ‰

.œ œb ‰Gm/D Eb7

F

F

Œ . jœjœœ Œ

‰œ# œ Jœ Œ

∑

Œ Jœn Jœ

Œ

‰ œ# œ Jœ ŒD Gm

F

Figure 5.3: Harmonization with symmetrically distributed roots: major third (R4i). Diatonicand exact parallel motion in the upper stratum for flute section. From: ‘The Farmer’s Song’(F.G.J. Absil).

of the diminished fifth R6i.

Discussion:

• In Figure 5.4 there is another fragment from The Farmer’s Song. Throughout thesong the harmonies gradually progress from a medieval to a contemporary id-iom. The example shows the application of chords in fourths in the saxophones;two altos, one tenor and a baritone saxophone play meandering syncopated 8thnote patterns.

• The application of symmetrically distributed roots at the diminished fifth, R6i,takes place in the three upper saxophone parts (altos and tenor). The first chordconsists of the pitches c−f −b♭; together with the bass g this yields a G11

m7 chord.The root sequence for these chords in 4ths is (c − g♭ − c − f♯) − (d − e♭ − d −

f♯ − d) − (f♯ − c) − (e − b♭) − d. This progression contains a number of thesetritone-related pairs.

• The baritone saxophone part does not fit into this scheme. It is coupled to thetenor saxophone part (parallel at the minor seventh, see Section 5.5), adding evenmore dissonance to this phrase.

⊳


Problem: Application of tritone-related dominant chords to a given lead texture.

Discussion:

• The example in Figure 5.5 is a transitional phrase in the montuno section of aLatin mambo for solo trombone and symphonic wind band. The woodwindsplay scalar runs in parallel thirds. The lower part in the upper staff (unisonoFrench horns and trumpets) quotes snippets from the main theme; note the as-cending tendency of these motives.

69


bbb

bbb

bbb

bbb

86

86

86

86

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Figure 5.4: Harmonization with symmetrically distributed roots: chords in 4ths at the aug-mented fourth/diminished fifth (R6i). Chromatic parallel motion in the lower saxophones.From: ‘The Farmer’s Song’ (F.G.J. Absil).

• The saxophone section (two altos, two tenors) changes every two measures fromplaying 4-part sectional harmony (as discussed in Chapter 2) to 2-part Latin mon-tuno riff patterns and then back to sectional harmony. The 4-part sectional har-mony (m. 2–3 and m. 6-7-7) consists of an ascending-descending lead voice withintermediate chords in the lower saxophone. In m. 2–3 the fundamental chordis A♭69, the intermediate chords contain pitches from the leading tone dominantchord G♭9

7 and Galt7 .

• The symmetrically distributed roots and the tritone-related dominant chords,R6i, are found in m. 3–4 and m. 7–8. Here the B♭7 chord is temporarily replacedwith the E♭5

7 chord (beats 1 and 2 in m. 5) and the G♭97 dominant chord with the

D♭♭57 chord, respectively. This yields a brief harmonic twitch, due to the contrastwith the diatonic scales in the woodwinds.

⊳

5.3 Intermediate leading tone harmonization


70

5.3. INTERMEDIATE LEADING TONE HARMONIZATION

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Figure 5.5: Harmonization with symmetrically distributed roots: tritone-related dominantchords (R6i). Variable density setting in the saxophone section. From: ‘Bone in the Barrio’(F.G.J. Absil).

71



72

5.4. CHROMATIC STEPWISE MOTION

5.4 Chromatic stepwise motion

In chromatic stepwise motion the motion of a particular voice in a harmonic setting is in as- ⇐=cending or descending semitone steps. The familiar examples is the chromatic motion in thebass, but the same technique can be applied to any middle or upper voice.

Example 5.6: Chromatic stepwise motion.

Problem: Chromatically descending bass line starting from the root chord throughthe seventh.

Discussion:

• Figure 5.1 shows the ‘classical’ chromatically descending bass. The chord root Fremains constant as the bass voice moves through the chord functions 1 − ∆7 −

7 − (6) (root–major seventh–minor seventh–added sixth).

• In the example this yields the chord sequence Fm−F∆7/E − Fm7/E♭− F 9/D.The last chord is enharmonically equivalent to D∅7. The descending bass contin-ues its semitone descent towards B♭m/D♭.

⊳


Problem: Double chromatically descending bass line for a given lead melody.

Discussion:

• Figure 5.2 also features a chromatically bass line, but now in two parallel lines,consisting of chord roots.

• Here is the sequence of bass notes, with the upper chromatic line in brackets:c♯− (f♯)− c− (f)− b− (e)− b♭− (e♭)−a− (d). This combines continuous motionwith a strong feeling of cadential rootedness, through a sequence of IIm − V7

chord changes.

⊳


Problem: Combined chromatically moving voices in multiple layers and instrumen-tal groups.

Discussion:

• In Figure 5.6 there is an intricate combination of both chromatically ascendingmotion in the middle voice with a descending bass line.

• The trombones play to chromatically ascending (semitone upward) phrases: e−f − f♯ − g and e♭ − e♮ − f − g♭ in half notes.

• The bass plays chromatically descending pedal points. With the middle voice ofthe bass part in brackets this yields: a−(e)−a−(e♭)−a♭−(e♭)−a♭−(d)−g−(d),with both lines slightly out of phase.

73


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Figure 5.6: Chromatic stepwise motion in both middle voice (ascending) and bass pedalpoint (descending). Diatonic and exact parallel motion in the upper layers (trumpets, Frenchhorns and woodwinds). From: ‘The Summer Knows’ (M. Legrand).

• The overall impression of this phrase is one of descending motion in the outervoices (woodwinds, trumpets, bass), which is counteracted by the contrary mo-tion in ascending direction in the middle voices (French horns, trombones and ⇐=saxophones).

⊳


Problem: Combined chromatically moving middle voices.

Discussion:

• In Figure 5.4 the lower saxophones (tenor and baritone saxophone) are mov-ing both in chromatically ascending and descending steps. These meanderingvoices in legato semitones create additional tension to this already fairly disso-nant phrase (see Section 5.2 for other aspects of this harmonization).

• The interval between the two saxophones is constant: a minor 7th, with the up-per voice (tenor saxophone) as part of chords in 4ths (three-part chords in 4thsfor two altos and tenor saxophone).

⊳


Problem: Chromatically ascending bass line for given lead voice.

Discussion:

• The example in Figure 5.7 shows how the chromatically ascending bass con-tributes to the building up of the climax in the bridge of this arrangement.

• The bass guitar plays 16th note rock patterns on the ascending semitone se-quences d♭ − d − e♭ − e♮ − f − g♭ − g♮ and g♭ − g♮ − a♭ − a♮ − b♭ − b♮ − c.

• Since the bass notes are all roots of dominant 7ths chords, there is also consider-able chromatic stepwise motion in the middle voices (clarinets and saxophones).

74

5.5. DIATONIC AND EXACT PARALLEL CHORD MOTION

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• The ascending tendency is balanced with the descending leaps in the lead motifin trombones and French horns.

⊳

5.5 Diatonic and exact parallel chord motion


75



76

5.5. DIATONIC AND EXACT PARALLEL CHORD MOTION


77


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5.6 Variable density

When the number of voices in a phrase is no longer constant (the latter is the case in almostall sectional harmony writing; that’s why it is called 4- or 5-part sectional harmony) we areusing variable density.=⇒

Varying the number of voices in a phrase is an additional tool for dissonance and tensioncontrol. The extreme case of variable density is when an instrumental section is opening upfrom or closing into a unisono phrase.

Example 5.11: Variable density.

Problem: Applying variable density as a background to a solo lead melody.

Discussion:

• The example in Figure 5.8 is the introduction to an up-tempo jazz standard forsolo trombone and band. The woodwinds are playing triplet runs. The onlyother element is an offbeat pedal hihat.

• Each woodwind phrase starts with two voices at the interval of a third. Then,through contrary motion, an open triad voicing is reached. Along the way thedensity is varying.

• Note that the woodwinds are playing an incomplete D♭107 chord in m. 5. It is the

trombone that provides the missing 7th as a long note in the previous measure.

⊳

5.7 Pedal point


78

5.7. PEDAL POINT


79


5.8 Classical music techniques

In jazz arrangements there is also a place for applying techniques originating from the clas-sical music domain. The pedal point in Section 5.7 and the bell chords in Section 5.1 are suchtechniques.

Here we mention two additional options. A chorale harmonization provides a harmonic=⇒background, that is characterized by smooth voice leading, long-held chords, and a com-bination of triads and seventh chords. When possible, voice leading is stepwise. Rules forthe voicing of chord inversions are respected, and extended chords (ninth and higher chordfunctions) are sparse. Additional harmonic interest is achieved using suspensions. Whenusing a chorale setting, the rhythm section is either tacet (silent) or bass and harmony instru-ments (keyboard) must respect the voice leading in the other instruments. For an overviewof classical theory of harmony, see [20] or [11].

Another option is using counterpoint. This could be a simple form of motif imitation in=⇒multiple voices, but might also be a multi-part fugue. The main characteristic of counter-point is the melodic independence of the individual voices. The harmonic progressions arethe result of the combination of voices; chord structures can be classical (triads and seventhchords) or from the jazz idiom (extended chords). During counterpoint phrases, it is mostlikely for the rhythm section to remain silent (tacet). The double bass might play unisono(or at the lower octave) with the lowest voice in the counterpoint setting. An excellent intro-duction to tonal counterpoint, with lots of examples and exercises is [3].

Example 5.12: Chorale setting.

Problem: Apply a chorale setting to a given melody.

Discussion:

• The melody in Figure 5.9, the closing phrase from the opening chorus of thisjazz standard, is harmonized with a four-part chorale setting for clarinets. Thisorchestral colour hints at a soft, intimate and delicate organ sound.

• The harmonic structures are all seventh chords S7, with one exception: theNeapolitan 6th chord, A♭/C , in m. 5.

• Note the stepwise voice leading in all parts. Occasionally there is a leap (seem. 4), but here the classical voice leading rule ‘a leap is followed by stepwise motionin the opposite direction’ is respected.

• Note how the suspensions in m. 3, 5 and 6 contribute to the classical music idiom.

• The pizzicato double bass is doubling the lowest part of the chorale setting atan octave below. The rhythmic subdivisions in the bass support the up-temposwing rhythm (walking bass and 8th note swing pattern).

⊳

Example 5.13: Counterpoint.

Problem: Write a Baroque style fugue on a given motif.

Discussion:

80

5.8. CLASSICAL MUSIC TECHNIQUES

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Figure 5.9: Classical music technique: a four-part chorale setting for clarinets, as backgroundto the solo trombone lead. From: ‘Autumn Leaves’ (J. Cosma).

• Figure 5.10 shows a three-part fugue in G minor for wind quintet, which is theintroduction to an up-tempo swing jazz standard. The fugue subject is a motiffrom the jazz standard melody (see the first four notes for flute, g − a − b♭ − e♭).

• The order of the three fugue subject entries is, as is the rule in traditional Baroquemusic,: tonic-dominant-tonic key.

• A special feature in this fugue is the sequence of entries in the stretto (the partsentering at shorter time intervals than during the fugue exposition); the fourstarting notes for French horn, clarinet, English horn and flute once again formthe main motif g − a − b♭ − e♭.

• The chromatic descending bass voice (bassoon) is repeated at an octave below,while the flute reaches the highest pitch in contrary motion. This creates a localclimax.

⊳

81


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Figure 5.10: Classical music technique: counterpoint (three-part fugue and imitation) forwind quintet, as an introduction to a jazz standard. From: ‘Autumn Leaves’ (J. Cosma).

82

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[2] Gordon Delamont. Modern Arranging Technique. Modern Arranging and Composing.Kendor Music Inc., Delevan, NY, 1965. iv + 239 pp.

[3] Arnold Schoenberg (edited by Leonard Stein). Preliminary Exercises in Counterpoint.Faber & Faber, London, Boston, second (revised) edition, 1970. ISBN 0-571-09275-6.xvi + 231 pp.

[4] Frans Elsen. Jazz arranging course. Technical report, Royal Netherlands Conservatory,The Hague, 1983. (in Dutch, unpublished lecture notes).

[5] Russell Garcia. The Professional Arranger Composer (Book II), volume 2. Criterion MusicCorporation, Hollywood, CA, 1979. iv + 91 pp.

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[7] Henry Mancini. Sounds & Scores: a Practical Guide to Professional Orchestration.Northridge Music Inc., USA, 1986. ISBN 0-89898-667-2. x + 243 pp.

[8] Norman Del Mar. Anatomy of the Orchestra. Faber & Faber, London, 1983. ISBN 0-571-13185-9. 528 pp.

[9] Sammy Nestico. The Complete Arranger. Kendor Music, Inc., Delevan, NY, 1993. x +340pp.

[10] Ken Rattenbury. Duke Ellington: Jazz Composer. Yale University Press, New Haven andLondon, 1990. ISBN 0-300-05507-2. xii + 327 pp.

[11] Walter Piston (Revised and expanded by Mark DeVoto). Harmony. Gollancz, London,revised edition, 1982. ISBN 0-575-02538-7. xx + 594 pp.

[12] Nelson Riddle. Arranged by Nelson Riddle. Warner Bros. Publications Inc., Miami, FL,1985. ISBN 486-21266. 200 pp.

[13] William Russo. Composing for the Jazz Orchestra. The University of Chicago Press,Chicago & London, 1961. ISBN 0-226-73209-6. vi + 90 pp.

83

BIBLIOGRAPHY

[14] William Russo. Jazz Composition and Orchestration. The University of Chicago Press,Chicago & London, 1968. ISBN 0-226-73213-4. xvii + 825 pp.

[15] Joseph Schillinger. The Schillinger System of Musical Composition, volume I and II of DaCapo Press Music Reprint Series. Da Capo Press, New York, fourth edition, 1946. ISBN0-306-77521-2 and 0-306-77522-0. xxiii + 1640 pp.

[16] Gunther Schuller. Early Jazz: Its Roots and Musical Development, volume 1 of The Historyof Jazz. Oxford University Press, New York, Oxford, 1968. ISBN 0-19-504043-0. xii + 401pp.

[17] Gunther Schuller. The Swing Era: The Development of Jazz 1930-1945, volume 2 of TheHistory of Jazz. Oxford University Press, New York, Oxford, 1989. ISBN 0-19-507140-9.xviii + 919 pp.

[18] Don Sebesky. The Contemporary Arranger. Alfred Publishing Co., Inc., Van Nuys, CA,definite edition, 1994. ISBN 0-88284-485-7. xv + 237 pp.

[19] Fred Sturm. Changes Over Time: The Evolution of Jazz Arranging. Advance Music, USA,1995. ISBN 0-89898-667-2. 222 pp. (Order # 11350).

[20] Arnold Schoenberg (translated by Roy E. Carter). Theory of Harmony. University ofCalifornia Press, Berkeley, Los Angeles, third edition, 1978. ISBN 0-520-04944-6. xxi +441 pp.

[21] Walter van der Leur. Something to Live For: The Music of Billy Strayhorn. Oxford Univer-sity Press, New York, Oxford, 2002. ISBN 0-19-512448-0. xxiii + 328 pp.

84

Index

altered dominant chord, 27appoggiatura, 20

baroque music, 81bell chord, 65big band, 1, 33, 37, 44, 45, 47, 65bitonal voicing, 55, 56brass section, 65brass voicing, 53

chorale harmonization, 80chordal functions, 27, 53chords in 4ths, 33, 37, 69chromatic stepwise motion, 73classical harmony, 23, 80close voicing, 20, 45cluster voicing, 33, 38, 45, 54concert band, 65contrary motion, 74, 78, 81counterpoint, 80cross relation, 10

diatonic parallel structures, 27, 38diminished chord, 7dominant chord

altered, 27extended, 27

drop 2 voicing, 4, 20, 34

ensemble technique, 3, 44ensemble technique

fundamental aspects, 44intervals between outer voices, 45voicing diagram, 45

exact parallel chords, 9, 13, 41, 56extended chord structure, 7, 27, 53, 54extended chords, 80extended four part sectional harmony, 33

fugue, 80

functional harmony, 3

half-diminished chord, 13harmony

classical, 23functional, 3modal, 3

imitation, 80instrumentation, 20, 23, 44, 47inversion, 80

lead voice, 1, 44, 53leading tone chord, 9

mixed voicing, 34, 51modal harmony, 3montuno, 70

octotonic scale, 54open voicing, 35, 45

percussive voicing, 1, 55

repeated notes, 4, 38, 47, 55rhythm section, 80riff pattern, 70

secondary dominant chord, 41, 46sectional harmony, 1, 3, 33, 46sectional harmony

aiming chord, 9basic rules, 3chordal tones, 5extended four part, 33five parts, 33four parts, 3, 46instrumental aspects, 20instrumentation, 23lead voice, 3non-chordal tones, 7, 9

85

INDEX

non-diatonic tones, 9other aspects, 18repeated notes, 4

special chorus, 33, 44string section, 45substitute chord, 13, 14symmetrically distributed roots, 66symphonic wind band, 65syncopations, 13

tritone, 28, 67, 69

variable density, 78voicing

bitonal, 55, 56change of, 22close, 4, 20, 45cluster, 45, 54drop 2, 20, 34in 4ths, 33mixed, 34, 51open, 23, 35, 45percussive, 55

voicing diagram, 45voicing techniques, 1

walking bass, 55, 80woodwind section, 37, 45, 65

86

arrbook.pdf

Documents

sectional harmony

extended chords

examples of ensemble

exact parallel chords

bell chords

substitute chords

examples of chord structures

examples of brass voicings