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Basics

n

Arrangitrg

Paris

Rutherford

Fall

1999

Ux vERSrTY,r

onrH

Tpxns



BASICSN

ARRANGING

O

1998

Paris

Rutherford

CHAPTER

I

.

SIMPLE ARRANGEMENTS

STEP ONE: GETTING STARTED

TuneSelect ion . . . . . . . . .1

.

SheetMusic ndFakeBooks

. . . . . . . . . . . . . . . . . . . .

Start ing

o Work

. . . . . . .4

STEP

TwO: MELODY

-

I

Simple

Analysis

5

Melodic

evelopment. . . . . . . . . . . . .

. . . .10

Adapt ing

he Melody

. . . . . . . . . . . . . . . .

6

TuneWrit ing

. . . . . . . . . . . .

. . . . . . . . . . . . . . . .18

STEPTHREE: HARMONY.

1

Analyzing

heChanges

.. . . . . . . . . . .

3

Fundamentalass . . . . . . . . . . . . . . . . . . . .4

ChordSubst i tutes . . . . . . . . . . . . . . . . . . . .

7

STEPFOUR: HORNS I

Typical ombinat ions . . . . . . . . . . . . . . . .

3

Transpositions

STEP FIVE: RHYTHM

.

1

Function

Of Rhythm

Composite

hythmPart

STEP SIX:

WRITING FORMATS

Two-line Sketch

Part Extraction

CHAPTER

II

-

THE SMALL GROUP

STEPONE: SIMPLE

FORMS

Song

Forms

.. . . . . . . . . . . .

. . . . . . . . . . . . . . . .3

ABAB . . . . . . . . . . . . . . . . . . . .3

AABA . . . . . . . . . . . . . . . . . . . .44

Outer

Form . . . . . . . . . . . .46

STEP TWO: MELODIC DEVELOPMENT

Adding otes

Non

Harmonics)

. . . . . . . . .

. . . . . . . . 9

Embel l ishing

Melody . . . . . . . . . . . . .

0

Compositional

. . . . . . . . . . .51

STEPTHREE: HARMONIZATION

Harmonic olor . . . . . . .55

Reharmonization

... .

55

Target

Chords

... . . . . . . 8

Adding

o The

Changes

.. . . . . . . . . . . .

0

37

38

41



STEP

FOUR:

HORNS AND HARMONIC

DENSITY

99

100

101

r02

103

104

105

106

107

108

110

ll l

t12

tt4

l16

tt7

l l8

119

r20

122

r23

t24

t25

HornCombinations

Harmonic

ensitY

63

64

STEP

FIVE:

RHYTHM

SECTION

Funct ions

. . . . . . . . . . . . . .1

Reinforcement

. . . . . . . . . .

. . . . . . . . . . . . . . .73

lndiv idual

hythm

arts . . . . . . . .

. . . . .74

STEP

SIX:

MEDIUM

FORMATS

Ful lSketches

. . . . . ' . .75

The

Ful lScore

' . ' . ' . . '

80

APPENDIX

(begins

n

page

.. . . . . ' . . ' . . . . . . . . . . .

' t

App.

1

Standard

unes, Y

song

orm.

App.

2 Scales

nd

Modes

App.3.1

Jazz

Nomenclature

App.3.2

Jazz

Chord

App.

3.3

Add Chord

App.

4.1

Instrument

anges

Agp.4.2

DensitY

evels

App.

4.3

VoiceLeading

App. 5

RhythmSection

nstruments,

rooves.

App. 6

Laying Out

A Chart

(p/us

business)

App. 7 Transcriptions:

7.1 Dolphin

Dance

'l.Z

Black Orpheus

7.3 Down In The Depths

7.4

Stella

By

Starlight

7.5

Night

Dreamer

'1

.6 Reunion

'1.7

Black Nile

7.8 ContentsUnder Pressure

7.9 Au

Lait

(Metheny)

7.10 In

Case

You

Missed

t

7.l l King Cobra

7.12

Devil 's sland

7.13 You

Don't Know

What Love Is

7.14 Day

In

Vienna

7.15

Cathay

7.16

Postcards

7.11 Skylark

7.18

Wildflower

7.19

Intrigue

7.20

Indigo

7.21

Anthem

7.22

StolenMoments

7 23

Sho

Nuff

Did

Index

126



CHAPTER

ONE:

SIMPLE

ARRANGEMENTS

STEPONE: GETTINGSTARTED

1A: TUNE SELECTION (thispage)

1B: SHEET MUSIC

(see

age )

lC: STARTING TO WORK

(see

age

)

To arranging music is

to

adapt it

to a specificstyle, or

to prepare

t for

performanceby

a

specificensemble.

Adjustments

may

be

needed

n the

melody

or the

harmony; the

original

key may be unsuitable;

empo may need to be

determined, to

fit

the rhythm

patterns of a

chosenstyle. A chart for

small

or large

band will

certainiy

involve

voicings for the horns. The

list goes

on: these

are

some

of

the decisions hat

must be

made by

an

arranger.

Basicarranging should avoid adjustments, hough, that actually alter a tune in the

process

The

successful

arrangement

enhances

he

original without treading on the

composition tself. Obviously, arranging

can become quite

subjective.

1A: TUNE SELECTION

The first step in arranging

is selecting the

right tune, or becoming thoroughly

acquainted

with one that might

be pre-selected or you.

If

the

choice s

yours:

1.

Selectyour tune from

"standard

repertoire".

(Standards

have

been proven

effective, hrough hundreds of arrangements or great recordingsand live

performances.)Pick

one

that you know well. Appendix

L contains ists of

a

few older standards,

any

of

which

might fit your

need. They

are grouped

according to their

song

forms.

2.

Select

a

tune

in which there

is room

for

expressingsome

deas

of your own.

A

tune

written

with

lyrics may have fewer actual notes; removal

of the lyrics

may increase he room

you have for expressing

yourself.

3. Avoid

extremes

n

tempo, rhythmic/harmonic

complexities, etc.,

when

first using any technique

or

concept.

You

can

stretch

out

later.

Working materials

Good tunes come n many

different

formats,

each

with

its own

inherent problems. The next few

pages show some common ways that tunes are

printed,

copied,

or in

other ways made available

o

the writer.



Procedures-

18: SHEET

MUSIC

Sheet

music

is the retail

printed

version

of published music.

Sheetmusic,

whether

sold singly or in

a

collection,

appears n

a

3-line

format.

Melody,

chord symbols and

lyric appear

on

the top

line, a

simple piano

arrangement on the

bottom two

lines.

O^ly the original sheet

music version

of a

song

is reliable

to

furnish the

entire song a

intended by

the composer.

Three-line versions

(sheet

music) show the

harmonization of

a

tune two

ways: chord

symbols

(above

the

melody)

and the

written

piano

arrangement.

n the

sheet

music

o

many

older tunes, the

chord symbols

frequently

disagreewith the

piano arrangemen

If the chord

symbol doe.s

ot

show

a

change

of

bass, hen when

the

lead

line is

separated

rom

the

rest

of

the

print, the

changes

will

be

wrong.

(A

problem with

olde

fakebooks)

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Embraceable

You, corrected.

Procedures-l

Chord

symbols

correctly

reflect

the

changes

ound

in the

original

piano

chart.

Compare

the

two.

versions; note the

changed-bass

nomenclature.

Fake Books -

volumes containing

a wide

selection

of tunes,

usually

in

the

form

of

lead

sheets

or

lead

lines, extracted

rom the sheet

music.

Older

fakebooks

are

illegal

(no

royalties paid the copyright owners), and the changesneed scrutiny.

\ewe1

"legal"

fakebooki

are somewhat

ess of

a problem,

and

are good

for

the

publisher.

But, due

to

the overall choice

of

tunes,

most

legal fakebooks

are less

appealing

to the

iazz

crowd.

The Real

Book -

fakebooks

designed

o

appeal more

to

the

jazz

community.

Most of

the

leadsheets ontained

in

these editions

have

changes

hat

follow

well-known

recordings.

The

logic is great:

f you

like

the changes,

ine

-

if you

don't,

talk

to

the

artist

who recorded

them Real

Books have

long been

the staple

f.or

azz

musicians.

Transcriptions

- the

best answer

of

all

By quickly transcribing

a

tune that you

want

to

arrange,

rom a

performance

you enjoy

hearing,

you

improve your ears,

you

hory

where the rhythms and changescame rom, and you give your ear/hand/eye combo

some

good

workouts.

pg3



hocedures-l

lC: STARTING

TO

WORK

e

The lead sheet

Provide yourself

with

a

clean

ead

sheet

of

the

tune

you

are about

to arrange.

(See

pp.

20 and 53.)

The best

ead

sheet s one that you copy yourself

onto

full size,

1O-line

paper.

This will

give

you

room

to write some

of

your earlier

ideas as they occur

to you. Full size

paper

(9x12")

s available n most

music

stores hat sell printed music, particularly the bookstores hat servicecollegeand

university

music programs.

It

is

available

n

single sheets

pads

of

40 or

50)

and

in double

folds

(sold

most

economically

by

the quarter or half

ream.

.

Learning at

the piano Even

if you are not

a

pianist,

keyboard s the

very best

instrument

on

which to develop

your tune. Pianos and synthesizers

give

you

access o

the entire

range of octaves.

Writers who are not primarily

keyboardists

can soon

develop

reasonable

piano

chops"

for use in writing.

This is

called

"arranger's

piano"

- the ability

to

play

the changeswith interesting

alterations,

to find

horn voicings

easily,

and

to

keep reasonable ime while using

simple

voicings.)

While

learning

the tune, experiment

with melody

and

changesseparately.

This is called

"working

the

tune".

(Step

Chapter

II,

Step

1.)

.

Sketching

and materials

Sketching

means that you

write down some of

the

interesting

ideas

from

early

stagesof experimentation.

Write down the

ideas that

appeal

to

you,

as they occur. Use 2-line

systems

even

f

you are

working

only

the

melody), to

make

room for harmonic ideas that occur

to you

later. Keep your

first

sketches

n a folder, together

with the lead sheet.

Sketching

should

generatemore

material

than

you

need.

Save

only

the best: as

you

becomemore

fluent you will

automatically pick up speed

n

the

creative

process.

This is also true

for musicians

who write

computers

or

at

a

keyboard

with an

inboard sequencer.

The aalue

n sketching

first,

then writing

or computing, s

one

of

efficiency.

You cannot

use eaery

good idea you haue.

t is good

to work out someof the

early

stages

of

deueloping

an idea before

deciding whether to

continue with it.

The

sketching

process

will help you

saae time

and

energy.

Awareness

of fonn Every standard

will have

a good musical

form. If you are

composing

your own

tune, it

should

be

written

to

a

recognizablesongform

as

well.

Working with simple song

forms will enable

you

to make best

use

of

your

time.You

may

also gain further

insight by

playing

(or

listening to) songs

with the

same song

form as the tune

you are writing.

pg4



STEP

TWO:

MELODY

2A

SMPLE ANALYSIS

(this

age)

28 ADAPTINGA MELODY

(page

6)

2C

BASIC

TUNE

WRITING

(page

8)

Melody

is the ingredient which

establishes

he identity

of

music. Melody is most

responsible

or

the

memorability

and

success

f

a

tune. This is not to

discount

the

importance of

harmony

and

orchestration.

Success

n

writing

music, though,

can

be'

no

greater

han the

writer's

ability to handle

melody.

The

art

of

writing and

arranging melody begins

with

the analysis

of

great

tunes.

2A SIMPLE

ANALYSIS

Analysis of music is the study of its various elements.Musicians analyze music for

the

purpose of

learning from

the successes

and

failures)

of those that preceded

them.

Analysis

in

this

area s

kept simple,

and limited to melody.

Simple

melodic

analysismay be divided into three broad areas:

ANALYSIS

OF STRUCTURE

2A-1,

page 5)

Most

music

is constructed

with

phlsss

that

end with cadences.Melody is

made coherent

and

memorable through the use

of devices

developers. and

all

hanes oeether n a

musical

form.

ANALYSIS OF IMPLIED HARMONY

(2A-2,

page 12)

A

melody,

while

in

motion,

will

express

a

senseof

harmony.

This

implied

harmony may or may not be the

same

as the harmonization written by the

composer

as an

accompaniment.

ANALYSIS OF

CHARACTER

(2A-3,

page'J,4)

All melody is either active (vertical) or passive(horizontal). Good tunes profit

from a deliberatecombination of both

characteristics,

arefully placed to give

the desired

emotional effect.



Melody-l

2A-"1..STRUCTURE

describes

he

way

a

piece

of

music

is held

together.

The

most

basic strucfural

devices are

phrases,

cadences,

evelopers.

musical

form.

PHRASES: A phrase

s

the

shortest

section

of

melody

that

feels

complete.

The most

common

phrase

ength is four

bars.

Four

bar

phrases

combine

into

eight

bar sections

which are

called

double

phrasesor

periods.

A phrase

normally ends with

a longer

note,

or

a more pronounced

rest,

before

the melody

proceeds.

This

break

in

motion

(cadence)

llows

the

music

to

"breathe".

Periods

or

double

phrases)are the primary eight-bar building blocks for a

standard

length

32-bar

une. Formally,

theseperiods

are identified

by letter names according

to

the

simple

song

forms:

AABA,

ABAB,

etc.

The pause

(or

breath) at the

end

....

than the

pause

(or

breath)

at

of

an

8-bar

section

will be more

the end

of

its first

4-bar

phrase.

pronounced...

.

If breathing is

slighted

(or

inadequate),

music will feel

forced or busy.

.

If pauses

are too long

or

pronounced, hough, melodic

flow is

damaged.

(The

etters above

appear

for

demonstration

of

form

and are not those

found

in the

individual parts

of

performance-ready

charts,called

"rehearsal

etters"

-

for

communication and location

during

rehearsal,

and having little to do

with

the

actual

form of the tune being

played.)

8 BARS

pg6



Melody-l

CADENCES

are combinations

of

notes,

chords,

and

rests that

slow

the movement

of

music, hus causi.g

u

sense

of

pause.

Some

cadences

are shorter,

some onger,

dependingon size or complexity of

the

music

being

sectioned.Cadences

ccur in

harmony, melody,

rhythm

and texture.

In

Step

2, we deal only with harmonic

and

melodic

cadences.

HARMONIC CADENCES are

chord progressions

hat

slow or stop the feeling

of

forward

movement

in harmony.

Cadencesoccur

at

the ends

of

phrasesand

periods.

We use four

harmonic

cadences:

alf. full. modal and deceotive.

The

half cadenceuses a

ii-V or

tV-V progression.With

the half cadence, he music

pauses

and

breathes)

but moves on.

Music

following a half

cadence

will feel like

a

continuation of what went

before.

. Half cadence

lf

-\ -

The

full cadenceuses a V-I or v ii-I

progression.Movement stops when

a full

cadences used. Material

that

follows a

full cadencewill

feel like the

beginning

of

a

new

section.

.

Full

cadence

The

modal

modal

and

.

Modal

cadence

cadence

s a IV-I progression.

The

music

pauses,

but with a

sound that is

somewhat

"bluesy"

The

deceptive cadencemoves not from V to I, but from V to vi.

(In

jazz

application,

a deceptivecadencemay

also

move from [V to iii, and

on.)

Harmonic

motion feels

as f it should

"tun:r

around"-

deceptiae

escribes he

effect

well,

These

cadences an

be used to briefly postpone

he

use

of

a full cadence.

o

Deceptive

cadence

-f i-.+

f

pE7



Melody-l

On

page 9,

cadences

n

"Stella

By Starlight"

are identified

and labelled.

Plav

this

example

at

the

piano

Listen

to

how the

cadences

work.

-

o

fu

bars 1.-2, nd 17-1.8,

he

ii-V progressionsare

not

cadential.but

provide good

forward motion.

The

full

cadence

n

bar

6 and 7 proceeds

o a minor IV

chord

(bar

8)

which

Progresses

cross

he

double bar

to a I

chord.

The

effect s

reminiscent

of the

modal

cadence, ontributing

to the

special qualities

of

"Stella."

The first

L6

bars

ends with

a

half cadence.

The bridge

begins with another ii-V

progression;

since t is

the

beginning of

a

section

and

not a phrase

end, the effect

is that

of

generating

additional motion.

The

ii-V half cadence

n bar 28 is borrowed

from

a

different

key. The feeling

of

half cadence s strong, and the harmonic interest s enhancedby this increase n

harmonic

color.

WHY ARE THESE THINGS

IMPORTANT? These

cadences rovide the

great sense

of

motion felt in

this

old

standard. CadencesL"

and 3o

act

normally,

and do not

"give

away" the unusual

progressions

o

unpredictable key

centers.

n this

way,

thesenormal ii-V

cadences elp keep

the

energy

level high.

The

cadenceat

mid

tune is predictable, hus lowering the energy appropriately.

Enerw

levels

-

in the typical

AABA

tune.

This is

a

good

energy

graph for a

32-bar tune. \A/hen

arranging, be

careful not to

damage he

energy flow.

pg8



Primary

cadences

n

"Stella

Melody-l

By

Starlight"

B+

6r..l

Axt

The

melodic

cadence

s

a break

in the

forward

movement

of the melod-y oward the

ns&barphrases.(Longernotevalue,orrests.).Notel|atyh:r 'Ithe

monic

cadences

oicur

separately,

he

music

breathes

but

keeps

both

cadences

ccur

at the

same

ime,

the

music

stoPs'

cadences

eep

music

from

moving

ahead.

Too

few

cadences

$ s- Choice

and

placem

ent

of

cadences

s influences

the



Melody-l

Developers

are

he,

riryry

devices

sed

o de.velop

fragment

of

melody

irst

into

a

coherent

phrase,

ater

these

phrases

nto

a fuil

tune.

The

most

common

developers

are repeat,

sequence,

answer,

and

mirror.

'

*."p":t

isjust

that:

the reuse

of

a

figure,

using

most

of

the

same

notes.

("The

Girl From

Ipanema"

develops

nis

way.f

Note:

when

a fragment

of

melody

repeats (bars

'1,-z,

-4),

the

chords

change.

Thesequence

s

a

repeat

of the

previous

phrase

or

fragment,

ransposed

p

or down,

usually

by

only a

step.

check

olt

the

ru.or,jp"riod

of

"fio*

Insensitive"

s t

sequences

he

first

period,

a

step

ower.

when

a- ragment

or

phrase

sequences

p, the

energy

level

escalates

bit.

Ih:l

the tranposition.is

largei

than

a

siep

(eithertirection),

the

energy

level

jumps

significantly

(See

bar

9,

below)'

ps

10



Melodv-l

The answer is

a

section

of

melody

completing

the

thought

from

a

previous

phraseor period.

The answer may

be

as

short

as

a fragment,

or as ,ong

as a

full eight-bar

period,

all depending

on the

material

being answered.

The

sense

of

movement,

and the

resulting

rise

in

contour, are

both

stronger

from an answer

than

from

a repeat.

In the following

example

from

"Stella"

make note

of

the

different ways

tension/release

occurs,

and its

causes.

The mirror is a

reuse

of

melodic material

in

inverted

(mirrored)

or

reversed

(retrograde).

tension than a

simple

repeat.

which intervals

are

either

The

mirror

produces more

amzds)

ezsusfis;

Melodic

motion

from

bar 1 into

bar

2

is

inverted

for bar

3 into

bar 4.

The use

of

different

rhythms

adds

nterest,

and

doesn't

damage

he

mirror.

Augmentation

and dirninution

are opposites.

A melody

s

augmented

when resued

with

doubled

note

values.

Diminution

occurs

n reuse

when

note values

are reduced

usually

by

50Vo). Augmentation

and

diminution are

valuable

ools, but are

not

part

of

simple arranging.

answer

(consequent)

pg

l1



Melody-1

LA-L.IMPLIED

HARMONY

(and

Musical

Tension)

Every

melodv

suggests sense

f

harmony

as

t moves.....

...

and all

music

has

a level

of

tension.

(excitement

and/or

expectation)

Higher tension results

from unexpected

or

opposing

ideas.

The

composer/arranger

builds

and releases ension

to createan

interesting

product.

Harmony

implied by

a melody may

or may not

be the

same

harmony found in

the

chord

progressions

hat

come

with

the

song.

Implied

harmony

is

expressed our

ways, as demonstrated

on page

12.

o

When

the

implied harmony

agreeswith the chord changes,

ension is low.

The

effect

s

calm

and

consonant.

Good

or beginnings and

cadence

areas

n

jazz

and

pop

music, and for

music needing a

simple, childlike

quality.)

.

When

the implied

harmony differs from the

changes,

ension

increases. The

energy

evel and

interest

go up.

(Good

for contemporary

azz,

even for

developing the

phrase

structures n music

requiring lower

tension

levels.)

Implied hannony agrees

with

the changes. Lowest tension.

Implied harmony

difreEg

rom

the

\*

In

the above

example, he

implied

harmony

of

the

in

bars 1

and

2; the

resulting

tension

evel is low.

4, resulting in a rise in

tension.

melody agreeswith

the changes

They

begin to differ in

bars 3

and

pg

12



MelodY-l

Implied

harmony

is expressed

hrough . . .

Stepwise

movement

beginning

on or approaching a

strong beat.

(Identify

the

scale

it

becomes he implied harmony for that area

of

melody.)

uCrya-ior

L

Ernrr-

-

t -

Aatn--

J

a

no+

2?tL

A

broken

chord

or arpeggio.

(Analysis

s made according o any

position of the

chord:

root

or

inversion.)

t l

s :1 6

Dt

i.

c-

9b

na)or

Appoggiaturas

and

escape

notes

(The

outer

two

of three

notes

will

suggest

a chord)

Any of the above,when out of sequenceor obscurredby too many notes. (Toomany

stepwise

notes obscures he

analysis. Find

repetitions

or

a

single

leap; analyze

accordingly.

)*rcj.>r

Application:

In

iazz,

agreement

between implied harmony

and

the actual changes s

usually not a

good

idea. Tension evels

are

too low.

Use

subs to

move

the bass

ine

around a bit.

('"oi

Cn-1lr

')"."g4.r.

n4j

ol t lt ' .rc/

G

"r,aaior

pg

13



Melod

2A-3

CHARACTER.

A

melody

line

is

said

to be

either

active

or static.

Active

describes

";i.]"1t

*,"d.:

up.

of

skips

and./or

sudden

changes

of

register.

o

An

active

melody

moves

betteiin

uniions

(or

8ves)

than

whe"n

chorded.

Example:

"In

Case

you

Missed

It"

-

See

Appendix

Z.

NOTE:

Rhythmic

complexity

lone

does

not

classifu

a

melody

as,'actiue,,.

Leaps,

abript

changes'o7

eiister,

etc.,

must

also

occur.

static

i"s

he

opposite

of

active.

A

static

tune (or

a

portion

of

the

tune)

is

one

in

which the movement is mostry stepwise,and/or J.,rtuir,"d.

'

voicings

feel

"more

at

home"

on

static

Tg.lodl

than

on

one

with

more

activity.

Example:

"You

Don't

Know

rA/hat

Love

Is',

- see

Appendix

7.13

However,

a

static

tune

can

also

sound

good

with

unison,

preferably

in

the

lower

ranges.

Example:

"Black

Orpheus"

-

See

Alpendix

2.02

unisons,

when

played

by

a

color

Uxtrsot) lleiNs

pg

14



in-class

ana

Frr ds"*o

tlYsis;

Dotphin

Dance

Meto

Herbje

Hancoc

G7

pg

15



Melodv-l

28:

ADAPTING

A MELODY

Adapting

a

melody

is

the

simplest

form

of arranging,

and

involves

only four

steps:

1)

Determine

the

style

in which

the

tune

should

be played.

2)

Select

he best

key for

the

circumstances.

3) Makg simple adjustments o the melodic rhythm (if needed) o put it into

the

desired

sfyle.

4)

CoPy

(or

print)

the material

accurately

or the

performers.

(Transposed,

f

transposing

nstruments

are to

be involved.

See

Step

6, this

chapter.)

When

adapting

is

all that

the

arranger needs

o

do,

it

may

be

accomplished

n

a

matter

of minutes.

The

tune need

not

be altered

at all, and

will

only be played

once.

When

the project

calls for a

chart

that is

more involved,

the

arranger

should

still

begin

with

these

same

hree

steps.

SELECTINGTHE BESTKEY (28-2)

Place

he range of

the tune

(distance

rom

top to bottom

notes)

within

the

average

playing

range

of

your

top

or

lead

horn.

For

average

playing

ranges,

see

Appenaix

a.

oFt'mrss

orucs(

/

- -

) lL

If

there is

room within

the

span. ocate

the tune

closer o the

bottom

of the average

playing

range f

the lead

is a

higher

horn

(trumpet,

alto

sax,

etc.).

Locate

he

span closer

o

the top

of

the average

playing range

f the

lead is

a lower

horn

(tenor

sax, rombone,

etc.). Then

choose he

key

that

makes

this

possible.

Fine

tuning

the selection

of

"best

key"

Brass

and

Sax players

are most

experienced

playing in

keys

ranging

from

one sharp

to five

flats

(concert).

Therefore,

when

choice

of concert

key is

between,

say,

Bb

Major

and B Major,

the

ensemble

s most

likely

to play

its

best n Bb

Major.

pg

16



Melody-l

ADIUSTING

THE

MELODIC

RHYTHM

(2B-3)

If your

style

will be

azz

(swing),

analyze

he melody

for rhythmic

placement. f too

many strong notes

fall

"on

the beat", move

some of

them

off

the beat, thus

providing

a looser relationship

between

melody and

accompaniment

(bass

ine).

The processof moving notes

to

unaccented

beats s

called

"syncopation".

Syncopation is a key element in the

melodic style

of

jazz

artd

jazz-related

music. The

decision of how much to

syncopate

a

melody is influenced by the

amount

of

motion

in

the

accompaniment.

r

When

music is felt in

"2"

fewer syncopationsare

needed

than

when

felt in

"4".

o

When

music is

felt

in

"4",

syncopation should keep

the melody from

hitting

the

strong

beats n the accompaniment

oo often.

When properly adjusted

o

swing,

a melody will

not line-up perfectly

against

he

background, and

stay

there.

There must

be

a few

soulful

surprises.

Useful

routine for adiusting

melodic rhythm, to swing:

1) Locate a phrase containing

too many

quarter

notes

or

downbeats.

Move its

last note ahead

1./2beat.

(The

process

of moving

notes from

strong

beats

to

weak

beats

s

called

syncopation.)

2) Treat additional bars

the

same

way

until

you have done

eight bars.

Adjust the melodic rhythms in 4-bar segmentsso there is a good flow.

Listen

to recordings

of uncomplicated

small

jazz

ensemble

music: when

the

arranger syncopates t the wrong

time,

the

style changes. This

is not

good.

Watch

for

symmetry

(equal

motion

to the left and right) that damages he good

unpredictability of

your

melody. Adjust the

syncopation

o relieve

some of

the

unwanted symmetry.

3)

4)

pg

r7



Melody-1

2C. BASIC

TUNE WRITING

Most

top

jazz

performers

write

at

least

some

of

their

own material.

Yet,

the ability to

write

a good

tune

is

elusive to many capable

musicians. Their

primary difficulty is

in

waiting too long

for inspiration,

rather than being willing

to start with an

idea

that

can

be

developed.

Where to start: Most

writers begin

either

with a

fragment

of melody or an appealing

chord progression.

There s no

set

rule,

and it

may

change

or you from

one day to

the next.

Try the following

routine:

When beginning

to

write an

original

tune

either: begin

with

an interesting

chord progression

3-4

bars

at

most),

Develop it according

o guidelines

found on the next few pages,

but

don't

go

far before

you put melody to what you have.

---

or: write a fragment of melodE that appeals o your ear (two bars at most).

Begin to develop it using

one or

more of the

of

the simple devices ound

on

page 16.

(Developers)

Don't go too

far before you begin to harmonize

then:

write

music Let the techniquescovered

so far

help

you make decisions.

(The

best

selection

of a song form is made after

you

have

developed your

first material for 8 or 16 bars, not

before. At that time, you can refine

and rewrite. This process s normal

to song writing.)

.

The beginning of a good

chord progression may

be as short as this:

.

And, a beginning

fragment of

melodv can

look

like this:

Combined,

they form

a

very

brief

beginning to

a

tune.

(The

fragment

is

short enough that it

should

be reused

mmediately.)

The

first four

bar phrase has two

positives working for it: 1)

the

short fragment has

a leap, and is

reused mmediately, and

2)

the intervals between primary

melody

notes and

bass

notes

are interesting

and aggressive.

Note,

though,

that the tune

itself

is not aggressive.

g

l8



MelodY-l

Starting

with

a melodic

fragment

is usually easier.

The

fragment

should be short

and simple,

but should

have a quality

that

calls

for immediate reuse

of some

kind.

As you

harmonize

the first

fragment,

start with

a

chord

whose

bass

will

provide

an

interesting

nterval

relationship

to

the

melody.

(7th,

9th,

4th,

etc.)

But, don't be

too

dissonant

Reuse he material. The key to a well written melody is reuse. When melodic

material

is

imitated,

then contrasted,

t

is

time

to

repeat or

in some

way

reuse.

The

number of

options

is large: analysis

of

great tunes

will

help

you locate

a model

tune,

to imitate.

this is good

business,

at first, and

unnecessary

nce

you

get

rolling.

The

demo

fragment

may be developed

through

the devices shown

on

PP.

16

EE17.

The

fragment

has

a

good

interval

relationship

to its

harmony

(3rd,

7th, 9th, etc.)

A repeat

can call

for

a changeof

harmony.

Stay close

o

the key at

first, but borrow

from

other

keys

as

you

develop

the

melody.

The contrasting

answer

may

now

proceed

o

a

different

key center.

(The

first material

has been

used

and reused

adequately

by now.)

The

second

our

bars

will answer

the

first four. Since

he fragments

have

leaps, he contrasting

answer is

more step-wise.

The contrast

between

leaps

and the stepwise

movement

setsup the need for a cadenceand a reuse.

In the 2nd

eight

bars,

a repeat

in

the melody should

be more

aggressive,

alling

for more

color

in

the

harmony.

n

t__?

RESULT:

Two

similar

"A"

periods,

the second

of

which

has

a higher

energy

evel.

r auxi l iargs

pg

19



1)

MelodY-l

Two

repeating sections

of

music call

for a

contrasting

area:

he bridge. The AABA

form, with its bridge, is right

for

this

tune.

(The

decision

o repeat

"A"

with a

similar

8-bar period calls

for

the

contrast of

a bridge, thus

the AABA form.)

To

find the right sounds for

an

effective

"8"

bridge,

use

these measurements:

.

If the

A

sections

have an active character,

he bridge should

be less active.

If they were not, then the bridge should be more active.

o

If

they were both

in the

same

key

center

(and

this

is normal),

then

the bridge should

go

elsewhere.

o

If they stayed

n.a mid-range area,

he bridge should

go

higher.

.

If the

A sectionswere rhythmic,

the

bridge

may be

less

so.

This demo

bridge

will

provide

needed contrast

hrough the use of

leaps and

a

higher range.

The

style

is tuneful,

though, and stays

away

from heavy sounds: a

ehz

Agtus{

The

return to

"

A"

should

begin

the

same

as either

of the previous

"A"

sections.

(Usually

the

second

"A",

since

he higher

contour

is needed after a bridge.)

The same beginning

fragment

can

be developed

many

ways. Here are

iust

two:

Dm7

Sbz

Answer flrst,

tnen reuse.

(sulr

aPProPrrare

ror a rlrst

period

in

a

simple

song)

Ablc

Dm7

-t

eb/D

Em7

L) f t l tDw t

wlLl f. cl

DEguErrLE.

\ule

sequertce

uP

wrrr

good policy

for first and secondexperiences

t tune writing.

6gy(no

3)

suggest

ou're

in A1.)

pg

20

ob^z

GbmT

Bm7

E7sus4



Melody-l

Final

version

of

the

demo

tune,

in

AABA

form

Developers

Pui R|r(brtiotd

Eabr"iz

t

abz

GmZ

/c

c9

abz

pg2r



Melody-l

Opening

fragment,

developed

nto

a

longer

idea,

for

different

song

form.

When

generating

material

for an

ABAB

song

form, the

initial idea

should

be

longer.

Two

similar

4-bar

phrasescall

for

a contrasting

answer,

thus

forming

the

16-

bar

"

AB"

section

of

an

ABAB.

'When

things

become

difficult, imitate

the

structure

of a mode l tune you'like.

MODEL:

I

REMEMBER

PRIL"

FmaJT

g7(iet

Original

fragment,

developed

into a 15 bar

section,

following the logic from

"I Remember April"

.+EQIIEIfiCE



Harmony-l

STEPTHREE:

HARMONY-I

ANALYZING THE

CHANGES

(this

page)

REHARMONZATION

AND

CHORDSUBSTITUION

see

age 7

)

Jazz

and

popular tunes

are

written

with

chord

progressions

called

"the

changes."

It is

the

arranger's

choice whether to use what is given,

or

to make adjustments as

needed.Rarely

will

an arranger

eave the

originai

progressions

entirely unchanged.

Before reharmonization

comes

analysis

-

for familiarization, and for measuring

the

amount

of

harmonic

color already present between the

tune

and

its

changes.

In the

next

example,

changes epresented

y

the

chord symbols

suggest

a wrong

bass ine.

"Someone

To Watch

Over Me"

Thcre's

I some

bod

-

y

I'm long-in3

to rcc.

I

hope

thet he Turnsout

to b€

Chord

slmbols

in

older songs

may not

show the correct bass morr"m"ti.

. *

The changes

n bars

2-3 should

read: Eb/G

-

F#'? |

Bb?/F

-

Eo7

The

fundamental bass of the changes epresented by

the

generic piano arrangement

contains a

descending bass.

The

chords

above are

rather

plain. If that is

okay,

there

is no need to adjust. When the level of harmonic color doesnot fulfill the need,

though, reharmonization

takes place, nvolving

chords

that are more

colorful

(see

page24),and/or

chord substitutes,which effectively

alter the

bass

ine.

(See

page

27.)

Nomenclature is

the system of symbols hat identify the chord

sounds

hat are used.

Letter

names and numbers are used

to

express oot, mode, and other important

characteristics. SeeAppendix 3

"Nomenclature".

3A:

3B:

EI?

page23



Harmony-l

FUNDAMENTAL

BASS

Fundamental

bass

s

a

series

of notes

written

to

show

the bottom

notes

rom

a

set of

changes.

One

note

is sustained

or

each

chord, no

matter

how long

it

may

last.

(Fundamental

bass

s

not intended

for

performance

by

the bass

player,

bui

is

an

analytical

tool for

the arranger.)

"HaveYouMet MissJones"

Fundamental

bass

simplifies

the

analysis

of

two-part

structure.

Two

Part Structure

Music with

melody

and

harmony

will

always

have

at least

two

parts moving.

Melody

is

thought

of

as

Part

1

and harmony (in

this

case

he fundamental

bals) as

Part

2. These

wo

lines

have

a

contrapuntal

relationship

to

each

other.

That

is, they

moJe together

but

are not

allowed

to

become

"tied"

to

each

other.

(Except

at

cadencepoints,

where forward

movement

is

supposed

o

slow down.)

The

intervals

between

fundamental

bass

and

melody

are

strategically

mportant.

2nds,

9ths,

7ths,

are more

aggressive

han

3rds and

Sths,

6ths, and

create

highet

interest evel. Sthsand 8ves are lessenergetic,and are most useful at beginnings

and

cadenceareas.

In

more aggressive

unes,

they

are avoided.

'

In the

example

below,

the

chords in

bar

two

created

Sthsbetween

the

parts.

Chord

subs

change

the

Sths

to

3ids,

for

a different

sound.

(Miss

Jones)

A

FU

Substitute to change

5th

(top-bottom)

o

3rd

*

Passing

tone chord

for

interest

fundam.entalbass

page24



Harmon.v"-l

The level of harmonic

color

in

jazz

is

higher

than in

other popular

styles. For most

PurPoses,

major and minor

triads,

major

6th chords,

and

straight dominant

seventh

chords

are

too

plain. Shown

below

are

common devices

used to

colorize

harmony,

including

extensions,

suspensions,

alterations

and changes

of bass

note.

COMMON

COLORING DEVICES

PI,AIN

E)(IENDED

1. Extensions

are the

notes one

adds

to chords

or hamonies

from

the scale

most

representative

of the

chord.

A triad

is built by

stacking

3rds.

The triad or

7th is

extended

by then

adding

additional

Srds.

DOMINANT

2.

Suspensiorls,

or

"sus-chords",

are

the result

of

putting

the

4th into

a dominant

chord

and removing

the

3rd.

Suspensions

are described

by

chord

symbols

that

read

*sus-4'.

DOMINAIVT

AI..|TERED

3. Alterations are chromatic

changes

made to

chords. The most

common alterations

involve the 5th

9th scale

degrees.

While even a triad

may

be altered

this way,alterations

usually

take over

after the chord has

already

been extended.

4.

Change-bass

describes he

chord whose bass note is not its own

root. Change-bass

runs the

garnut

from the common

inversion

to the

hybrid

chord

(whose

bass note is

outside

the chord's

own key center)

PI,AIN &

E)MENDED

Ebg BbmajT

Dm

CHANGE OF BASS

SeeAppendix

3

for

a detailed

coverage

of

jazz

chords.

C7sus4 BbmaiTlC

c7( i l11) 7(be)

c+7(ile)

obrcb

eb o orcb

page25



Harmony-l

Determining

when

to

use

more

colorful

chords

When

a

tune

is relatively

diatonic

(even

an aggressive

azz

tune),

especially f its

tempo is high,

then

the

quality

of

chords

used

in the

changes

can

remain

simple.

9ths, 13th,

sus chords,

etc.

are

adequate.

This is

true

in

most

of

"Black

Nile"

-----

BT

ACK

NILF

abrs Ehng alg'.'. Fmg

br

Wh..rnegtuttr

E9

abr:

When

a

iazz

tune

needs

o tell a more

modal

story, has a

slower tempo,

or

contains

a

greater number

of

accidentals,

hen the quality

of chords should be

more

colorful.

Alterations

and

change-bass

re added

to the

extensionsand

sus chords in Wayne's

"Stella

By

Starlight"

- see

also

this tune

in

the

Appendix.

DomT

altered

Minor

sus-4 and

DomT

b5)

-

DomT

altered

Change

>

bass and

sus-4's

Ebs

a

ls l

page26



Harmony-l

38:

REHARMONIZATION

AND

CHORD

SUBSTITUTION

Reharmonization

is the

processof conforming u

set

of changes

o

the

requirements

of

an arrangement.

The

processoccurs

every

time an

arrangement

s written

for a

jazz

group.

Normally, two

items receive

the

closest

scrutiny:

level

of

harmonic

color,

and the 2-part relationships

(bass

against

melody).

Adjustment

of color level

mvolves he

extensions,alterations,

etc.;

adjustments

n the 2-part

structure

involves chord substitution.

The substitute is a

chord which provides

the

same

kind of

harmony

as

(or

function

as) he chord

which

it replaces.

Chord substitutesare

used for one

of two reasons:

L)

The fundamental bass

malr

causean unwanted

interval

against

the melody.

The use

of

a

"primary

chord substitute"

will

change he fundamental

bass,

thereby altering the

two-part

structure

of the tune. Basic

harmony

remains.

SKYIIRK

LtEl',EntbE

rr*t)bttCrttrrl

GE7

C 7

r- | l i

5

.El. l t

h.L

H.

F'

F

-.

-

El5

Eo7

El?

W-i

F{

.tr

ry

bt

r

rbr

rt

c, I

rt a

b* o t

?-

jc -r t . t -

L?

b.|E

r E.arh

c .G tL-. .ard

(lrbt

Fo?

}7

-

rb t c -- ' |

rd . t

-

L

Ht

AdbT

BE7

.lb--d .d

ht- A l

b

F

b-i

l l l ._

br-d tF

bJt-. .h

2) The arranger

may

just

want a

different

sound. The

original

may

be too

too bland,

or it may

even be too

aggressive

and need

taming

somewhat.

The arranger

may

want for

a particular

modal

sound to prevail.

(nPm>cr*g^e/

Dearlv

Beloved

Med.Swing

Music

bv

Jerome

Kern

Lvric bv fohnny Mercer

G7

^,7

G1

Du,7



Harmony-l

Common

Substitutes

(primary

and

secondary)are

built

over

bass

notes a

third or

fifth above

or

below or below the

original

note.

1) A primary

substitute is

based

a third

away from the original

chord;

they

have two notes

in

common.

Locating

the

"subs"

Major

chords:

Locate

he

new bassnote

and

select he

right

chord over it.

The

number of

common tones

between

sub

and original will

influence the energy level in

the music.

Minor

chords:

Locate he new bassnote and

select he right chord

over

it.

The

number

of

common tones

between

sub

and

original

will

influence

the

energy

level in

the music. There are

more

minor

scales

(than

major),

so there are more choicesof

subs

for minor

chords.

Dominant

chords:

Locate he tritone

(#4,

b5).

Build

another dominant

(or

a diminished 7th

chord)

containing the same tritone.

The

"tritone

sub" is based

an aug.4th

or

dim.Sth away

and

contains

the

same

tritone

as the original.

2 The secondary

substitute

has only one

note in

common

with

the

original,

and

is based a fifth awdf

,

up

or down. The

energy

level

of a secondary s higher than

that of a primary.

Cm? Cm1lF

CmajT majT/F

keep the sanre riad,

change

hebassnote

keep he same riad,

change the bassnote

keep

he same

ritsne

(3rd

+ ?th)

move bassup

or dqwn

#4

or b5

page28



Other substitutes

include

the

inversions

and

the

change-bass

hords.

These

substitutes

end to

be

those chosen

or

choice

#2

of

"Whv

Use

Subs?"

Suspensions:

-

A

"suspension"

s the

sus-4,

the

dominant whose 3rd is

replacedby the 4th. This

chord

updates

the

sound of

the harmonic progiession,

while leaving bass

movement

unchanges.

Inversions:

For major and minor chords,

build the

voicing

over

the

3rd

or

5th

of

the chord.

(The

only

differencebetween

a Lst-sub

and a first inversion

is

one

note in

mid-voicing.)

Changgbass

chords:

Change-bass

hords,

in

general,

are available for substitution, so

far

as

their

bass notes OR their

chord

functions

meet the needs

of

the

ananger.

Harmonv-1

cg cgs|t.

c2

Cgga Fma;?

fuplace he

3rd

wit}r he 4th.

Thechordstill sorrrds

ominant

Keep

he

chord and

....to hange

a melody$ass relationship

move o

ib inver:ion......

without

changing the harmony

ct Eal

orcgtE

E+7le E+le c+f

Dorninant

....

ass

up a 3rd

neeriso mairesmversron

ctrange....

or the

halfdim.

..... r a riifferent dsmnant

chord builtbetvreen the

sarte outer notes

C

+

E)

See

Appendix : JazzChords nd

Add-Chords

L.

t l

t-

+

t -

ln [o-

page29



DEMONSTRATION

OF

THE REHARMONIZATION

PROCESS.

"AUTUMN

LEAVES,"

The original

changes

are good.

The

few

adjustmentsare

numbered

and

explained

below.

(Original

changes)

6maj7

Harmony-l

Em/D

Ar6/C

SOLUTIONS

(applied

on

next

Page)

(1)

Extend

or

add

to

the

longer

triads.

(2)

Sub

to sus-4's

and tritone subs.

(3)

Sub

down

to

change-bass:

min' sus4

(4)

Extend

the Em

to

create

new line.

(5)

Sub

down

to C6/9,

tritone

the next

bar.

(6)

Sub

29,

delay

he Cbass,extend

87.

page

0

B?

CmajT

^I -

a

PROBLEMS

(with

the original)

(1)

Long triads

on

strong

beats

(2)

Too many straight

dominants

(3)

Bar 17: octaves

n 2-Part.

(4)

Bars

19

+

20 are

boring.

(5)

Bar 21:

octaves

n 2-Part.

(5)

Last 4

bars: cadence

oo

long.



Harmonv-l

"AUTUMN

LEAVES''

---

FOLLOWING REHARMOMZATION.

Q

(Extend

he trrads)

@

Suspendpart

of

the domnant

($

create

sus4 from ong,

@;

s"U ciown

o

keep

pedat

@

extena to create

rnterest

hne"

,-y7

e

67tiet

-Enr7/B

Bbo?

-sm/C

D9'c5(

Abt( is)

1i;___g;

The C9 is a tritone substitute

o the

Flf07, thus

making the

appoggiaturaeven

more coherent

yet

w

EC

page

3l



Harmony-l

Final

Balance

Finally,

t is

important for

the

arrangermust see

o if that

the

2-part scheme

melody

and bass/changes)

re well balanced.

That is, the harmonization

can

be as crafty

as

one is

able, but the changes

must remain subordinate

o

the melody.

The following

should

be

true.

1) The

changes

must

flow

well. There can

be no sudden

changesor

surprises,

regardless

of

how clever

the chord(s)

responsible. Unless,

of course,

he

sudden

surprise

is also present

n

the

original

comPoser-changes.

2) The changes

must sripport

the melod|,

and

not compete.

That is,

the

amount

of

color or

alteration

in the changesshould

never

be

greater than

the

amount

of

coior or

interval

energy

in

the

melody itself.

3)

The changes

must

flow

with the same scheme

as the song

form.

That is, the

rise

in interest

evels

causedby substitutions

etc.

should progress

with the form,

and not contrarv to the form scheme.

Guidelines

for using

substitute

chords:

1) Play and

analyze the

tune.

Identify cadences

or changes

hlt

should

not

be

altered, e.g.,

hose

hat are characteristic

of

the

tune itself. Example:

the

first four

bars of

"My

Funny

Valentine"

have

a characteriitic

descending

ine

in the harmony

(either

in

the

bassor above).

Be

careful of

changing

his

characteristic

2) Analyze

the

original

changes

against the

2-part structure

of the

tune.

Locate

naccurateor

awkward chords

from

this

standpoint.

3) Choose

substitutions

to correct

the

problems

in

#2.

4)

Choose

substitutions

also

to adjust the

level

of harmonic

color

(up

or down),

as needed

5) Start

with

lstlevel subs

when

the tune

has a

diatonic or

gentle

quality

to if move to

2nd-level or change-bass

ubs

to provide

more

liarmonic

interest,or

to

keep the changes

rom being

predictable.

6)

Don't oversubstitute

page32



Horns-

STEP4: HORNS N

THE SMALL

GROUP

COMBO)

if: TffiSSo3ff"'il^'IoNS

Instrumentation for

a

small

group

is

usually 2 to

3 horns

with

rhythm

section.

When there are three or more horns, they are usually mixed. That is, there will be a

mix of brass

and woodwinds.

Mixed horns provide more

color, depth,

and varief

of

sound

than two

or

three

of

the

same

kind

of

horn.

When only two horns are

present, the mix may

be

in

terms

of instrument

type.

(Brass,

woodwind, etc.)

Or it may

be

in terms

of

instrument

register.

(High

and low

homs). In any event, the

best mix is

that

which

provides

you the greatest

versatility.

.

The first

simple

arrangement

should

be

written for two

horns with rhythm.

The emphasis s placed entirely

on

good

melodic writing.

.

These

our

combinations

of

two horns are

effective with rhvthm

section.

Front Line The homs that

play in

a

small group,

or

five to

six

horn

band are

called

the

"front

line". When

trumpet is part of a

front

line, it

should be placed

on the

lead. That is, when the horns are

harmonized, trumpet

should play the top part.

Guitar, while not

a wind

instrument, is valuable as

a doubling member

of

the

front

line. Doubling, in that guitar adds excellentcolor to unisons.Guitar can also comp,

of

course,

ncreasing the versatility

of that instrument.

Basic

Ranges The basic ranges

of

any instrument

are those nto which most

of

their music tends to fall.

For the first

severalcharts,

he

wise

arranger

will keep

close o these

basic ranges.

The best playing always

takes place in the ranges where

people have the most experience

playing.

See

Appendix

4

for ranges

and

other

information.

(1)

Trumpet

and Alto

Sax

(2)

Trumpet and

Tenor Sax

(3)

Trumpet

and Trombone

(4)

Trombone

and Tenor Sax

Upper

Registers

IN

GENERAT......

Lower

registers

Average

Playing

Ranges

Extended

Ranges

Seldom

sed

in writ ing

small

group

arrangements.

Almost

all

of what

s

heard

n

small

group

music alls within

this

range.

Useful

also

or

selecting est keys.

page

16)

Seldom sed

in

writ ing

small

group

music.

Do not

write in

this

range or

small

group

arrangements

pg

33



Horns-l

48.

TRANSPOSITIONS

A

transposing

nstrument is

one

whose

"C"

is a different

pitch than

on the piano.

All transposing

nstruments used in

jazz

music sound a

lower pitch

than written,

so

must

be

"transposed

up".

o

Trumpet

and

Tenor Sax

are Bb

transposing

instruments.

o

When

writing a transposed part for

a Bb

horn, write everything

a

whole

step

higher

than

the

concertpitches. This will

also require

adding

two

sharps to

the

concert key signature. For

example,

C

Major

for piano

becomesD major

for the

Bb

part, and

F Major

concert s written

one step higher, in

G Major.

For trumpet,

transposeup one whole

step.

For tenor sax, ransposeup

a

whole

step plus

one

octave.

Note: The

most

common transposition

errors in

jazz

occur

in

the

tenor

sax. Don't forget

the extra

octave

The

same written line, played

both by

trumpet and

tenor

sax,

will sound in octaves.

pg34



Horns-

Alto

and

baritone

saxes

are Eb transposing

nstruments.

When

writing a transposed

part

for

a Eb

hom,

write

everything

a

major 6th

above

the

concert

pitches.

This will also

require

adding

three

sharps to

the

concert key

signature.

For

example,C

Major

on

piano

becomesA

Major

when transposed or

an Eb instrument and F

Major

is written in D Major.

For alto sax, ransposeup a major 5th from the concert (written) music.

For baritone sax, ranspose

up a major 6th

plus

one

octave.

The same

written

line, played

both by

alto

and baritone saxes,

t

will

sound

in octaves.

t-

Jg-ls

4zaut?art

7u.

w



Rhythm-l

STEP

FTVE:

THE

RHYTHM

SECTION

54:

MAKEUP

OF THE

RHYTHM

SECTION

this

age)

58:

TIIE

COMPOSITERHYTHM PART

see

g

58)

The

instruments

keeping

time

and

moving the changes n

a

jazz

or pop chart

is

called the rhythm section. (Rhythm section s frequently shortened to Rhythm.)

Rhythm

function together as

a unit, and are responsible or keeping

a

solid feeling

of

rhythmic time

("g3oove")

alive

in

the playing

of

an

arrangement.

Even

when

horns play background figures, the rhythm section

is

responsible

for the

quality

of

the groove.

They must play responsively

o

each other;

thus,

their part(s)

must

be

kept as

simple

as

possible.

MAKEUP OF THE RHYTHM

SECTION

The basic rhythm section

found in

a

small

jazz

group

(or

"combo")

consistsof:

.

PIANO

(and/or

GUITAR)

.

BASS

.

DRUMS

In a simple anangement, consisting only of a good plan, good changes,an

intro,

an

ending,

and instructions regarding

style/tempo

The arranger

may

write

one composite

part

for the entire rhythm

section,

to

be photocopied

to each

rhythm

player. This

composite

rhythm

part is

discussed on page 50, and is

entirely

appropriate

whenever rhythm

players require

only

good

changes and information

on

the layout

of

the

chart. If more is

required,

a compositepart is

inappropriate.

PIANO

(or

KEYBOARD) can mean

either the

acoustic piano

or a synthesizer.

The piano

plays

stylistic

rhythm

patterns on the

changes.

The

changes may also

be played in

this

style

by GUITAR,

or by both piano and guitar.

BASSmay be upright, electric,

or

in

some groups

even a keyboard.

ln

a

simple.urangements,

the

demands are very

non-specific,

so

the

choice of

bass nstrument should be madeby the player, or

by

the leader of

the

group,

but not the writer.

DRUMS

indicates a standard drum

kit. PERCUSSIONmay

be

present as well. For a

simple

arrangement,

both

the

drummer and the percussionist

read from

composite

parts

(see

next page) and

decide

which instrument(s)

to play.

pg

36



Rhythm-l

THE COMPOSITE RHYTHM

PART

In a

simple arrangement, all rhythm

players may

play

from a

photocopy

of

a

common rhythm

part. This

composite

part

gives the

changes

and any

stop

times

that may

occur.

Instructions

may

be

written

to tell the drummer

where

to

play

something other

than straight time

(in

whatever

style)

Srru,n

l ' f rrv€ rxt

Z

When a composite rhythm

part contains

specifically notated rhythms, it is

understood that everyone n the rhythm sectionwill play theserhythms.

When requirements

of

a

chart cause

a composite

rhythm

part to look as busy as the

next

example,

he composite

s

no

longer

the correct format. Too many different

sounds

are called

for. Each player

should receive

an

individual

part

instead.

(See

Chapter

I

Step5.)

. Not a good composite hythm parh it looks too busy.

pg37



Format-l

STEP

SIX:

SMALL

FORMATS

64. TrWO-LINE

SKETCH

below)

68 INDTVIDUAL

PARTS

pg

48)

The best format for

the final version

of any arrangement depends

upon two factors.

1) Size of performing group. The larger the group, the larger the format needed or

a final version.

2) Application. The

best format is

the

least

complicated format that will

serve

without

compromising the

chart.

Rule

of thumb

.....

Simplify

as

much as possible. When music

becomesdifficult

to follow easily,

or

looks

cluttered, t is time to move

to the next larger

(or

more

comprehensivl) format.

6A. TWO.LINE SKETCHES

The

two-line sketch is the

smallestcomplete ormat. It

is written in treble/bass

clefs,

always in

concert

key.

A sketch may

contain a fair amount

of information,

including written instructions

on style, number

of

rhythm

to play, roadmap,

etc.

2-line sketches

are best

r

When a

simple

chart has unison

horns

and a straight-ahead

rhythm

groove,

via

the

composite rhythm

part,

use the

two-line

sketch.

(For

a

chart more

complex

than

this, move

up to the

three-line

sketch.)

Aggressrve

atin

1H= 44

$rDt-Alto)

When

there is

a lyric and

only a

simple rhythm

background

will be used.

(If

horns are

used in

addition

to the vocal,

then

a

3-line format is

better.)

Cdrtinuc

latin

6

pg

38



Format-l

Cautions:

the

following

are common

errors

made

in

jazz

charts.

Be careful

to check

your

work against

his

list before

having

the

music played

1. The

sketch

is

always

written

in the concert

key, without

octave

transpositions.

Where

homs

will

play

in

octaves,

one

line

may

be

written

with the

indication

"8ves"

above

or

below

the

melody.

Z. Material for the composite rhythm part apPears on the bottom line, and is

written

in bass

clef'

3.

Bar

numbers

should

appear

throughout,

placed

at

the bottom

left

of each

bar.

Computer

notation

progtams

may

place-bar

numbers

above

the

line.

These

are

"iefault

settingsi

an-d

can

be chinged

on

most

Programs.

If

not,

the

program

is

inadequate

or

serious

notating.

4.

Clefs

and

key signatures

appear

at

the

beginning

of

every

line

in

published

music.

In

abbreiiated

manuscript,

hey

may

aPPear

only

once

Per

Page,at

the

beginning

of

line

one,

or

when

ihe key

g$lq".t.

(Note:

any

clef

lacking

a key

signature automatically signalsa key of C Major or A minor.)

5.

Time

signatures

appear

only

once.

unless

here has

been

a

change

of

meter.

6.

When

possible,

title

and

authorship

appear

on

line one

of

a

Page

of sketch;

the

music

begins

on

line

two.

7. Changes

should

be

written

clearly,

and

with

chord

symbols

choLen

that are

not

hf.ely

to be

misinterpreted.

(The

style

of

nomenclature

in

Chapter

One,

Step

3,

is highlY

recommended.)

8. Lyrics, when preSent,should be "all caPs",and written over a straight edge

for

the sake

of

aPPearance'

pg39



Format-l

Two Line

Sketch

of

"Yesterdays"

Top line

=

Tenor solo,

untransposed.

Bottom

line

=

same

music exactlyas to

be

copied

for a composite

rhythm part.

Yesterdays

a

e

Amin FIA

'rT16

AminT

'- \

*ril

rfimz1b

y

sus

D9

F2 ctE

clD Am/C

A

I

najT/B

813

Dn/E

E7b9

r13

'

ll '

CID D9 B/G F/G

t3

Fm7(f,5)

pg40



Format-

5B. EXTRACTING

THE

INDIVIDUAL

PARTS

Individual

parts

represent

you

as

your

music

is performed.

Material,

appearance,

and layout will

introduce

you

before

one note is played.

This becomes

more and

more important

every

year

In manuscriph

'

Paper:

Use professional

Oline paper.

(12-line

paper will

look

crowded.) You

will

find good

papers at

Penders; also

at

the

University

Store. Be

sure

that

the

1O-line

s

at

least

80

b.

weight

-

100 b.

weight is

preferred.

Also, though

good

PaPer

s available

in

off-white

or buff, white is

preferred,

especially for

pencil.

o

Pencils:

Use a

soft lead

pencil for

individual

parts.

(Ex:

he Berol

Electronic

Scorer,

sharpened frequently

to

keep

stems

and

bar

lines

thin.)

o

Eraser:

Use the non-abrasive

variety,

which lifts

a pencil's

mage without

damaging the

surface

of the

paper.

(Example:

he

Staedtler

Mars Plastic

Eraser,

available from art supply stores,and most University Book Stores)

.

Rulers:

Use a triangular,

transparent

"straight-edge"

or

bar lines, and

to

underline titles,

credits,

etc.

(Available

at

most

book

storesand art

supply

stores. Also, when

you purchase

a

straight-edge,

be sure

that it has a

beveled

edge,so

that

soft leads

and

ink pens

will

not

smear.)

For computer generatedparts:

.

Print:

Laser

printing is

so

commonly available

now that

other platforms

(ink

jet, dot matrix) are used now only for personal "trial runs."

.

Paper:

Printers

use

an

extremely light weight

paper.

Once

you

are

sure

that

your music plays

the way

you want,

photocopy

your printed

parts

onto

80

lb.

white

ledger paper. This

will give

your

music the right

feel.

.

Appearance:

All

notation programs

use good

fonts

-

Petrucci,

Sonata,

etc.

In

addition,

several

"jazz

fonts"

are readily

available,

causing your music

more

and

more to

resemble

professionalhand-copied

manuscript.

o

Formatting:

The

best

format

for

individual

parts,

though, is not necessarily

hat

which is built into the default file of your software. The best format is one that

you

construct hrough the

editing process.

Turn

to page 48.

Seealso

Appendix

5.

pg4l



Format-1

FORMATTING

INDIVIDUAL

PARTS

Whether in manuscript

or computer

generated,

ollow

these

guidelines:

.

Place he instrument name at the left

(on

line one,

or where line

one would

be.)

.

Place he title

in

the

middle

of

the

page

where line

two would

be.

.

Music

begins

on line three.

o

Group four bars

to the line

except

where

the

music

would appear

cluttered

(lyrics,

too many 15th notes,

etc.)

Number

each

bar, with the number appearing at

the

bottom

left

of the bar.

Begin

page two

on

line one;

page

number

should appear

at bottom

center.

a

a

Tenor

Yesterdays

Jerome

ern,

arr. Paris

Rutherford

l0

o

Solo ad lib



CHAPTER

TWO:

THE SMALL GROUP

The small

group is a

self-contained

ensemble,

usually

with

one

to three

leads

(horns,

synthesizers,

tc.)

and rhythm

(tfuee

or

more).

Over

the years,

the majority

of

great

jazz

sorllrlds

have emanated

from the small

group. Most often, the small

group

features a

combination of

sounds.

Small

group

sounds

play a

vital role

within the orchestrationof larger jazz ensemblemusic, and small group is also the

most frequent

scoring choice

or good

and aggressive ocal backing

charts.

Writing creatively

for the

small group

is

as challenging

as any music

writing can be.

This

ensemble

s

totally transparent:

orchestration

cannot

hide

problems

that

exist.

Lastly, writing

for the small group

makes efficient

use

of

learning time:

there

is

only

a fraction

of

the

copywork

and other logistics

associated

with

learning to

write

STEPONE:

FORMSAND LAYOUT

1A:SONGFORMS

this

page)

lB: LAYING

OUT A

CHART

(page

5)

lC:

WORKING

THE TUNE

(page

6)

Song forms

are the structures on which most of

music is built.

Chapter

Two will

focus

only

on

two

(AABA

and ABAB) and how they impact upon the process

of

arranging. Stay

with these two forms

at

first:

they are most

easily

understood,

thus

freeing

more

of

your creativity

for

profitable

application.

Appendix

I

contains

a

list

of standards,

both

older

and

contemporary,

grouped

according o song form.

THE ABAB SONGFORM contains

wo eight-bar

periods

(AB)

that

repeat o

complete

he song

form.

(AB-AB)

In the typical

32-bar

song, each

AB section s 16

bars

long. As the music passes

rom A into B,

the

emotional

level

(contour)

should

rise. This usually occurs

within the

tune. If not, the arranger should

make

a change

to accommodate he

form.

(An

increase n orchestration

or in

rhythm

section)

A}.TSWEN.ING REUSEORIGINAL AIISWEn,ENDING

Important: before the second

period

(B)

can effectively

contrast or

answer the

first

period

(A),

music in

the A section

must feel like it

has been

developed

at

least

once.

Listen to the

headsof Black

Orpheus and Devil's

Island

(listening

tape) and watch

their lead

sheets

Appendix

7). Answering and contouring occurs

within

the tune

itself;

n

both

cases,

he chart

wrote

itself.



Form

and Layout

The

contour

of an ABAB

song

looks

like

this:

The dotted line

rePresents

he

level of

interest

(tension,

energy)

already built

into

the tune.

---

TheAABA

soNGFoRM

operates

ifferentlyrom r The

irst wo

periods

re

virtually the same,except

or their cadences. his sets up the

need for a

contrasting

section,called the bridge. Here, the arrangermust decidehow to provide a senseof

departure

for the contrasting

bridge.

Listen to Skylark

and to You Don't

Know What

Love

Is

(listening

tape) and watch

their charts

(Appendix

7) In both tunes, the A section will

have a feeling

of

development

before

reaching

the cadence.

This is a must; it is the arranger's

responsibility.

The contour of

an AABA song looks like this:

AAB

The

feeling

of

departure is usually

caused

by changesboth in the

range and

the

characterof

the melody itself.

.

The bridge melody may go

higher

(as

n

Skylark) or

lower

(as

n Down In The

Depths). SeeAppendix

7.

.

Or

the departure

may be very

subtle,

as in Black Nile

(Appendix

7). The melody

line is chorded to strengthen the contrast, the feeling of departure.

Hnutd.l af



Form and

Layout

OUTER

FORM

(THE

EXTERNAL

FORM)

Song

orms

describe

he

structure

of

mo-re

han

just

the

tune.

An

arrangement

has

form

of

its

own.

The

outer

form

shows

.hory

the

larger

sections

of a

complete

arrangement

relate

to

each

other.

In

a

simple

head

fhart,

the

tune

itself

(first

and

last

playing)

are

represented

as

"A",

the

soios

as

,,8,,.

The

outer

form,

is

,,ABA,,.

A

q9o{

arrangement

will

introduce

the tune,

develop

it

(in

various

ways)

and

bring

it back

briefly

at

the

end. (This

same

outline

is quite

common

in

classical

symphonic

music:

exposition

-

development

-

recipitulation.)

Inrnost jazzcharts,thetuneitselfusua1lyoccurs@.

solos,

solis,

and

other

developments,

ociupy

the

B

section.

see

the

following

section,

and

also

Appendix

6.1

Layout.

A

LAYING

OUT

A

CHART.

You

must

first

answer

this

important

question:

How

much

clock

time

should

be

taken

,rp

i.

the

performunce

of

the

chart?

l-e1sth

of the

tune,

best

tempo,

etc.,

together

determine

the

elapsed

time

for

each

.li'orr,s

of play.

The

deal

clock-length

or

a

chart

is

influenced

by

these

actors:

1) The length of the original

material

helps

determine

the

overall

length

of

a

chart'

Longer

tunes

can

survive

long&

arrangements.

Shorter

tunes

should

not

last

as long.

2)

The

application

of an

arrangement

also

influences

ts

best

length.

'

Performances

hat

include

the

lyric

are

usually

shorter

than

those

that

are

purely

instrumental.

A

lyric

tune

can

susiain

only

so much

musical

.

In this

case,

he

arranger

must

specifically

determine

the

length

of the

chart,

and

write

it accorlingly.

L

J

'

Performances

hat

are

purely intrumental can be sustained onger, if

the

solos

t"lu.-

interesting

and

vital.

In

this,

the

compor",

oi

arranger

writes

a

qogd

he_ad

hart

(with

introduction

and

optional

endings),

eXving

the

overall

length

up

to

the

performers.

'

Head

charts

(above)

hat

are

sure

to take

extreme

clock

time

should

also

include

written

transitions

that

can

be

inserted

between

solos

from

time

to

time

to

break

ug

lhe

unending

rhythm

groove.

The

players

themselves

will

provide

some

of the

relief

through

changes

n

rhythm

texture

during

solos.

DEVEI'PMENT

.

SOI'S,

SOUS.

pg

45



Form

and

Layout

WORKING

THE TUNE

"Working

the

fune" refers

to

a process

of experimentation,

and

usually

involves

the

piano. During

this time,

ideas are

worked

out against

the

framework

of the

tutre

being arranged.

lhis

process

s indispensable

n

both

composing

and arranging,

and

does

not

need to

bgin

tempo.

(Rubato

experimentation

w-orks

dut ideas

thit

y"ou are

beginning

to hear.)

1.

Play

the cadences.

what

happens

when

you

substitute

cadences?

2.

Isolate the ii-V

progressions.

What

happens

when

they

sequence

where

they

shouldn't?

What

happens

when ii-V

progressions

are

placed

over a pedal

point?

3. Find

the sequences

and

other imitations).

Can

you

carry these

nto new

ideas?

4.

Improvise

with

the

non-harmonic

leaps.

Push

them

farther

than they

are

written.

Do

the

results

suggest

other developmental

deas?

5. Createan interesting

pattern

in the

rhythm

accompaniment.

Can you

maintain

the

groove

against

the

tune?

6. Find

the keynotes

in

your

tune.

(See

age 42.)

Improvise

melodic

ideas

on

the changes

hat

move

around

the keynotes.

The

Keynotes

of

a

tune

are

the

notes that

form

the

structure

on

which

the tune

is

built.

All good

tunes

may

be

reduced

to the

outline

of their

keymotes.

In

much

of the standard

repertoire,

the

strong interval relationshipsof 2nd, 3rd,7th,

9th,

etc.

connect

he

kelmotes

and the

fundamental

bass.

Intervals

of

5th and

8ve are

weaker,

Tore

commonly

found

in

cadence

areas,

where

the

energy levels

dlop

anywfY,

and

in

modal

or pentatonic

music,

where

a

lower

energy

le-vel

s

idiomaticallv

correct.

'

Keynotes

provide

a

structure

around

which

the

writer

can add

or

change melodic

material

without

compromising

the

tune.

pg46



Form

and

Layout

KEYNOTES

alone

are found

on

this

leadsheet

of

'Just

Friends."

The standard

changes

appear

above

the

tune.

Alternatives

appear below,

on

the

bass

staff.

Notice how

much

easier

t

is to visualize the

reharmonization,

when only

the

keynotes

are present.

It becomes

much

easier

o concentrateon the

interval

relationships

between the melody

(keynote)

and

the bass

of

the changes.

. KEYNOTES AGAINST FUNDAMENTAL BASS s the critical two-part

relationship

that

influences the

"right"

and

"wrong"

choices o be made when

reharmoniztng

a

tune.

(See

Step

3, this chapter.)

Cma17

Lm/

Em7

Ag

G

ma17I

A5

AM?

D9

4t,h 6th

8ve

I

31

pg47



Form

and Layout

SKETCHING

THE

LARGER

GROUP

Sketching

efers

to the

process

of

outlining

an

idea, to

be filled

in and

developed

later.

To

sketch

music

is to

write

the

most

important ideas

down

as

they

occur,

without

allowing

thoughts of

orchestration

to

impede

the

flow.

Vertical thoughts

(chords,

voicings,

etc.)

may be

noted non-musically

(abbreviations,

shorthand,

rhythms,

etc.).

-

Melodies

and chord

symbols,,when

accompanied

by

this system

of

personal shorthand, may quickly capture the beginnTry of a chart. Detail,

-orchestration,

and

fine-tuned

development

may be

addressed

after the

linear

structure

of

a

chart

begins

to

take

on shape.

SKETCHING

IS

ALWAYS

IN CONCERT

KEY.

pg 48



Melody-2

STEP

TWO:

MELODIC DEVELOPMENT

ADDING

NOTESTO

TI{E MELODY

CONTRAPUNTAL

LINES

(page

6)

In most arrangements, he

original melody

is

developed

n

some

way.

No tune has

been written that fits every style without adjustment of some variety.

Developmentoccurs when

a melody

is treated

one of three ways:

.

The rhythm

of

a melody

may be

changed

or the

sake

of style.

(page

19)

.

Notes may be added

to the

melody.

(this

page)

.

The melody itself

may

be changed.

(Compositional:

page 52.)

2A ADDING

NOTES

TO

THE

MELODY

A melody line may need

to have additional

notes

(or

rhythms) added when the

tempo increases r when

the

style

is more

rhythmic.

(latin,

funk, etc.) When

this

occurs/ he keynote structure itself

should not be altered.

(page

47)

Adding notes to a melody

is made easy hrough the

use

of

non-harmonic

shapes.

(so

named after LTth

century non-harmonic

tones) Added notes do not disrupt a

tune when they maintain

a

stepwise

relationship

to the

original.

This is

the

logic

of

non-harmonic

shapes.

Nowadays, we don't think

of

"non-harmonics"

as

dissonant.

It

is the

shapesof

thesedevices hat are important. By adding notes according to theseshapes,we

leave

he basic message

f

a melody intact.

THE NON-HARMONTC

SHAPESMOST

COMMON

TO

JAZZ.

2A

2B

PassingTone

(stepwise

movement)

Auxiliaries

(neighboring tones)

Appoggiatura

(jump

then

step)

EscapeNote

(step

then

jump)



Adding

notes

to a melody increases

ts

interest

at

different

levels.

1st level: embellishing the

melody.

(lowest

level

of

increase)

.

Add notes to

provide a lift in the energy

evel of a

phrase. When the

added

notes conform to

non-harmonic

patterns,

they

act

like embellishments.

The

choice of

embellishment

depends on the selection

of

horns

(or

leads)

Different

instruments sound best on different embellishments. Listen and imitate.)

original

developed

.

Add notes to

combine two four bar phrases

nto

one

eight

bar

phrase.

*

original

developed

Add notes and increase

he activity,

to

provide a

strong boost

in

energy

level

at the

end

of a

section.

(Add

some arpeggiation

to the non-harmonic

shapes.)

(The

broken

chords facilitates he

rise

in

meiodic activity.)

original

adjusted

o's'5,o'rJ4 tae

added

notes



MelodY-2

2nd

level:

adding

notes

to

the

keynote

structure

.

When

the energy

evel

has

already

been

raised.

faster empo'-change

of

key'

etc.)

melodic

d"evelopment

must

be

more

flamboyant

to

be

effective'

The

success

f

adding

to a

melody

at

a higher

energy

evel

depends

upon

moving

farther

"*"y"fro^

the

tune,

but

without

altering

the

keynotes'

Keynotes

at

the start

of

Just

Friends

Added

notes

anchored

to

the

keynotes.

Keynotes

and

first

changes.

New

line:

NH

shapes

and

broken

chords

added

o

keynotes.

At

a still

higher

energy

level,

broken

chords

added

to

the

keynote

structure

may

outlinJ

the

"*i"i"io"s

(and/or

alterations)

ound

in

the

chord

changes'

(Thesenew

notes

*uy

be

added

before

or

after

a

kelmote')

The

resulting

melody

begins

to

sound

like

a

new

tune,

so

it must

also

be

developed

through

the

use

of

iepeats,

answers,

seguences

nd

other

such

devices.

ncQItt

o/t

Two

comm

on

iazzernbellishments

may

be

notated

with

symbols'

wfuttfar)

Sgt/uilt'J.6

-

L.

2.

pg

51



Melody-2

3rd level:

compositional.

The melody

itself may be

changed

or

a

few

bars.

In

the

arrangement

of an

AABA tune,

development

of the

first two

A sections

may

be

so

complete

that a third

use

(after

the

bridge) would

be detrimental.

In this

case,

new

material

should

be

written

to

replace

he first four

bars of the

3rd

A

section.

From

that

point,

at

least

bar

five of the

original

tune

should

be

used

before

the

tune

is

allowed to

cadence.

This

new material

should

contrast

the

original, but

remain true to

the keynotes

In

the following

example,bars

1-4

of

the

last

eight bars

are replaced

with

a more

aggressive

melody

written

around

the keynotes,

and

even

using the

tune itself

"YOU

DON'T

KNOW

WHAT LOVE

IS"

(Last

"A"

-

see

Appendix

7.)

.d-fiil.\

DEI'ETIPMES?

ON.TGIIIAL

ADDSACNVITT.

PEUSE

OP

EROKEN

FOP

CONTINUITY

Important

guidelines:

'

Development

of an

existing

melody

by adding

or deleting

notes

should

not

alter

the keynote

structure

of

the

tune.

'

Different

developmental

techniques ncrease

he

energy levels

of the tune in

different

amounts.

More

aggressive

development

should

be

saved for later

in

the arrangement,

when

the rhythm

or harmonic

energy is also

on the rise.

pE

52



Melody-2

28 CONTRAPUNTAL

LINES

Adding

a second

ine

against

the

melody

can

enhance

he overall

arrangement.

Counterpoint

is

simply the act of moving

one

line

against another.

For

the counterpoint

to be

effective,

and non-competitive,

the

second ine

must be

subordinate o the

first.

That is, the

first

line must remain

the primary

melody;

the

second added) ine must move well against t, but remain a secondary ine.

Good

secondary

ines have two

characteristics

n

common:

1) Their rests or

sustained

notes

are

a

little too

long;

they

breathe too well.

2)

A note or rhythm is reused a

little

too much for the line

to sound

good

as

a

primary melody. In low

energy

settings, he

note

is

in

the

middle

or

at

the

bottom;

in

higher

energy settings,

his note

can be

the

upper threshold.

Secondary

Primary and

Fund.

Bass

n +lJ9 r

Counterpoint

is

most

effective

when the lines

don't

"touch

each

other". That is, the

important notes n the

secondarymelody should not walk acrossor

double the

important notes

in

the primary

melody.

Good

counterpoint

Em

Faulty counterpoint

Em/O

a

r

lT-

,-1

4-4Jl

pg

53



Melody-2

Contrapuntal Bass

Lines

Bass

ines can become

part of the

contrapuntpl

structure as

well. When

repetitive

arpeggiated

bass

igures are used,

they

must relate

well

to

the

melody at

all times,

even

when the two part

structure

briefly

suggests

a harmony

not that

of the

changes

In the

following example, the bass suggests our bars

of

Dm, and four

bars

of Bb.

In

bar two, the two part structure (bassagainstmelody) doesnot make Dm. The

implied

harmony

(Am)

is compatible,

though, and the bass remains

consonant

against

he

melody.

From

"INDIGO"

(See

also Appendix

7.20)

Drfil 0,. {no3) Bh1eilm3}

An active basscan fit well againsta powerful melody. For this technique o be

effective,

more than

just

the

bass guitar must be assigned o the bottom line.

A

synthesizer

and

(perhaps)

a low reed

instrument

together

can

balance he energy

level required. Note the blank areas n the following

example: hey permit the

drums to come through.

From

"JOY

RYDER"

(See

also

Appendix

7.23)

Fmal?trc31,r4



STEP

THREE:

HARMONY-2

(Reharmonization)

LEVELS OF COLOR

ADDING CHORDS

page

0)

There s a level of harmonic color "just right" for any chart. When the level is too

low, the

product

will

sound

boring

or

naive; with

too

much

color,

most any

chart

will be

overbearing and unenjoyable

enjoyable o hear, to perform.

Jazz

harmony is normally

more

colorful and diverse than harmony used

in

other

areasof popular

music.

Harmonic

color is present

(to

varying

degrees)

n

all tunes:

notes and

chords

borrowed from

other

keys raise the

level

of

harmonic color

in

all

styles.

Even the

common chord

extensions

help to

createa

richer

harmonic

fabric.

CHANGING

THE AMOUNT

OF HARMONIC COLOR

As a set of changes s treated with extensions,

alterations and borrowed

chords, harmonic

color

increases.

Conversely,

he

removal of

some of

these

alterations will certainly

bring

the

color level down, and with it

the

tension.

See

page

25

By

substituting

a few change-bass oicings,

the arranger can slow the

fundamental basswithout changing the color level. This causesan

increase n the transparency

of

the

chart.

See

page 26,

and page

57

(bars

1

and 2).

Major can

be

changed o minor. Through the

use of

pedal point and

substitutions, a

harmonization

can be

changed

from major to modal.

SeeAppendixT - secondversionof Skylark,bars 1. 6.

Note: the technique

of shifting the modality of

a set

of changes

s most

successful

with ballads and gentle latins; such shifting of

modality

is

less

appropriate for

swing

tunes that were

originally written

in

major.

Harmony-2

3A

3B

pg

55



REHARMONIZATION

begins

with

the

decision

hat a

good

tune has

changes hat

need

help.

In contemporary

use,

"SKyLARK"

s

such

a

tune.

Enhancement

of

"SKYLARK"

nvolves chord

substitutes

(page

27) and pedal

point

(page

59)

SI(YLARK

Lttt&rmrbr

h*tltrgyCiSr-

Co? Ca?

W-t

FJ

r rlt

t

r l t ryH

-t

.

stt

skt

FE7

t

A,XT

l,l*rdt

E6 Fo? Go? AM7

D

alt?

bl .

6

Lrl

-

l-t

-

F'

ln

t

-.

t . i l

b

-t

t

ln

F-

r rr .

lt

lEr | |

hc h?- l r l . r

r .a rb L

j [ . r t ' l -

. .E t .b . tb rdL

D6 bd B? AtbT

Er'

lul. -

ln. . t t -

H lb

-.

-

brt E 15 AX,

b a 5.-- .d

-?-

Do?15

CE

lS Ct

t

E. a

DM'

A.. l b

F

b-

Fo?

1rtr--

w-.L-tu

- . .o

. ' t l

.d

f

ti '

GI '

a- r

A7

D7

d.h.

Gr?

c .t rh ,

Da F7

n-O.

Gd

C 7

t lyr-

E

d

f.a

t- oIL-

t7 D

--.

t - rbq

ri

b

rthn I r t . i .

E5 B? 19

E6

-

tr

rir.-

1. Beginning:

The

changes

are

outdated,

due

to a

combination

of the first

Maj.

6th

chord, and

the

stepwise

progression

n bars L

and 2.

(Great

une,

but

Players

nowadays

do

not

use

such

changesas

these )

The changes

need help

Solution:

The

Ab

change

(bar

4)

becamea

target

chord,

and was

approached

by borrowed ii-V progressionsbuilt over an appoggiatura. (Seeadd-chord

on

Page

60.)

New

changes or

bars

L and

2 were placed

over a Bb

pedal

point,

providing

a

better interval

relationship

between

melody

and bass.

Note also

the

interesting

sound from

bar 2 into

bar

3. See argets

on page

58.

2. The

bridge:

Original

changeswere

kept in

the

first 4 bars

of

the

bridge.

Note

the

several i-V

chord

movements

n the

bridge:

a gentle

and

consonant'

melody

at

slow tempo

requires

some activity

in

the

fundamental

bass.

pg

56

-

-

rL

-.-t

ril-l. r t Ut

rrt-

I ta-t fr

1



"SKYLARK":

REHARMONIZED.

(See

also

Appendix

Z.1Z)

T-arget

chords

are

vital

to

good

reharmonization.

Two

targets

are

circled

Nrl"

the

stepwise

and

traditional

ii-v

movement

used

to

Xpprou.i-tt,"r"

Both

targets

are vital

to

the

successful

rehar*orrir"tior,.

Harmony-2

below.

targets.

llE lrl.rr.{.r V.EbAl

- lg7(lel

Fm

c tab

aFnl

*tab

6f7lfe)

llclctclrEaaE

cmrah4

aln"jz

Gm.J7

Em l

a?

Dg

GmaJT

o.7

6?

obg

alns

ahuab

EbmrJz

m7

eb

bma,z

pg

57



Harmony-2

The

TARGET

CHORD is

a

chord

to which

other chords move. Target

chords

are

more important

to

the

changes han

the

chords

lead

to

them.

In

"SKYLARK- (Jazz

Messengers

hanges),

arget

#1

is the

Ab

major,

a

characteristicharmony

for

the

tune,

one

which

is not

replaced. The

result

is

substitute changes.

which move

to

the

same

target

as the

original changes

had moved. Successful

eharmonization

depends

upon

this technique

c ab

aFnr

A7 afmat Dt1 G?

The success

f substifute

changes

s measured

by

their

ability

to

progress

effectively to

a designated

target.

The

Color Shift

is

another

important

tool in

contemporary

harmonization.

Unexpected

movement

across a

bar line from

a

"flats"

key center

to

a

"sharps"

key

center

releases

significant

amount of musical

energy.

This is

called

color

shift.

The

progression

n

bars 2 and

3

(circled

above)

s

a

good example.

Movement

across

from

the

sound

of three flats

(Eb

and

Bb7) o the

sound

of

two

sharps

(Em7

and

A7)

is

exciting, and

attracts

mmediate attention.

Clever

use of the

color

shift enhancea

set

of

jazz

changesmore

quickly than

almost

any

other harmonic

technique

available

to

the

contemporary arranger.

Check the color shift in the following example from "Canto Triste"

(Brazil

66)

as

the

Gm7

-

C7

(bar

8) moves

suddenly to

F#m7

(bar

9).

This

tune

set trends in

the

cross-overworld

of

the

early 70's.

6m/A

4

7(f r)

, ;7rhlY

,

6674

4

7()e)

Color

shifts

should not be

overused.

Em?

bnb Efrthr

Eo?

u?rn.,

I

pg

58



Harmony-2

PEDAL POINT

is a

held

or repeated

note

piaced

below

a

series

of

moving

chords.

Moving

chords

that

make

little

sense

ogether, on

their

own, can be

made

to sound

logical when

placed

over

(or

under) the

right pedal

point.

(Abbreviation:

PP)

The Bb pedal in bars

one

and

two

of

"SKYLARK"

(Jazz

Messenger

hanges)

auses

the moving harmonies above t to

sound

logical to the melody,

and at

the

same

time to form change-bass hords.

Together, he pedal point

and

the

moving

chords

produce a rich harmonic

environment in

which the

sudden color

shift

to

E

min.

is not disruptive, but

exciting.

c nb

ahr

ebtab 6l7thr

Em?

Pedalpoint is most useful

to

jazz

and popular music

three

ways:

1) As an approach

to

a

major

cadence, o

signal the closing

of

a

section.

The

pedal in

this case

s

usually

the

IV or

the V,

if the cadence

s normal.

Such

a

pedal point

justifies

progressions

hat under

other circumstances

would

not sound

appropriate

so

close

o

a cadencearea.

At the beginning

of

a section of music, pedal point can

hold unusual

changes ogether, and also help to punctuate progression

of

the

fcrm

itself.

Example:

From

"SKYLARK" (UNT

Singers changes

The

A

pedal

supports

the

chanees

esponsible modal

reharmonization.

-

2l

pg

59



Harmony-2

ADDING

CHORDS TO

THE CHANGES

(,Add

Chord,,)

Even the

best

changes

may

not

h1rt"

9n9ugh

harmonic

motion

to

satisfy

special

needs n

an

arrangement.

When this

is

thJcase,

additional

chords

may'be'added

without

changing

the message

or flow

of

the

changes.

The

process

s

called

add

chord.

The

selection

of notes

and

chords

is

made

from

non-harmonic shaPesadded to the fundamentalbass. Providing theseadded bass

note(s)

aPPear

n

non-harmonic

shapes,

the

chords

built

on"r

tliu*

will

enhance,

not

alter, the

sound

of the

changes.

Exlmple:

This

bass

ine

cannot

support

harmonies

on

each

note

in

the

melody

withou.t

repeating

the

same

chord

over

and

over.

Dm7

en7

A+7bs

Dm7

vl

.

t) A

a

a)

a

/ 'L I l

It

Fundamental

Bass

But

a note

or two

added

to the

fundamental

bass

can

provide

the

foundation

for

additional

chords.

These

new

note(s)

should

be

aided

via

non-harmonic

llupu-t,

g.B.-passing

r

leading

tones,-auxiliaries,

ppoggiatura

or escape

note.

Chords

built

over

non-harmonic

additions

need

"ot

66

in

the

originll

changes

n

order

to

sound

right

in

the

context

of the

arrangementl

I

Dm7Am7Ab9 en7 Bbg"us+ +7be

@ ISQV Dm7

You

can

effectively

use

add

chord:

1) When

a

cadence

needs

more

motion.

2)

I4/hen

the

changes

go

by too

slowly

to

balance

a

colorful

melody

pg

60



Harmony-2

1) When a

cadence

needs

more

motion:

Increase

he harmonic motion

by adding

additional

ii-V

movement.

This

addition

can occur

while

the melody is still moving....

original

with the

additions

.......

OR,

when the melody itself

cadences.

(Example:

"BLACK

ORPHEUS")

DbmajT

667

\- 16

passingtoneshanes{

2)

When

the changes

go by too slowly to balance

a colorful melody:

Add chords to a new non-harmonic bass ine. The new non-harmonic bass

line will enable some

great

chordal

sounds;

therefore, t should

not depart

unnecessarily rom the original

key

center.

By using

a variety

of chord

types,

the

new

changes

do

not

becomepredicable.

the original

When there is

reasonal empo

fewer add-chords

areneeded.

In a slower

tempo, he

need

for add-chord

is greater.

ahnorbmajzbmajz

Cwq Fql"

Bbq

,/r

6,2

Eb7,



Horns-2

STEP

FOUR: HORNSAND

HARMONIC

DENSITY

if fi3N3SH,BlffiiT,:

20

30

Most

jazz

perform.rnces

eature

brass

and woodwind

instruments

in

front line*

or

backing instrumentation. (Trumpets, saxesand trombones are the most common.)

Since

much of

the

tradition in

jazz

is

linked

to the idiom of

these

horns,

a writer

interested

n

jazz

should first concentrate

his/her listening and writing on

combinations

of

these instruments.)

HORN COMBINATIONS

Project II involves

three

horns

with

rhythm. The

horns

should

be

chosen rom

between rumpet,

trombone, alto and tenor

sax. Access o these

horns is usually

good, and

thesehorns blend

together

well in most

combinations.

They

are also

most easily found in good jazz recordings,your best source of model and perspective

while learning the

idiom of

jazz.

Common

groupings of

horns.

(Easiest

accessor

research istening)

1) Trumpet*

2) Trumpet*

Alto Sax

Alto

Sax

Trombone

Tenor

Sax

(3-a

Rhythm)

(3-a

Rhythm)

3)

Trumpet*

4) Alto Sax

Tenor Sax

Tenor Sax

Trombone

Trombone

(3-a

Rhythm)

(3-4

Rhythm)

*

The Fluegelhornmay be substituted for trumpet if the style of your chart

is

"pretty"

(versus

aggressive), .8.,

BossaNova or

laid

back

"straight

eight"

arrangements. Or,

if the tempo

is

slow,

and

the cutting

quality of

trumpet

would overload

the texture you

want to

achieve.

(Ranges

and

characteristics

of the

Fluegelhorn are

found in

Appendix 4.1.)

Front line refers o the lead instruments in a small group

(2

or 3 horns

and rhythm),

or

in a

"front

line band"

(4

to 5

horns and

full rhythm). The

name comes rom

positioning

horns

across he front of a performance

area,standing

in

front of the

rhythm players.

Nowadays, guitars

and

synths

can

play

the

leads in

any

style

equally

well as horns, None-

the-less,

front

line"

refers to

wind

instruments.

pg

63



Horns-2

48: HARMONIC DENSITY

when more

than

one instrument

plays on

the

same

line,

or

with

the

same

rhythms,

the weight

of the sound

increases. The

effect is

measured in terms of

harmonic densiw.

The level

of harmonic

density

("density"

for

short)

describes

he

number

of different

notes n the chords. ncluding the melody (or lead). Density doesnot describe he

number of different

horns

playing

on

the

same notes.

DENSITY

LEVELS

--

1o

Unisons

and

octaves

The

level

of

harmonic

density

in

unisons and octaves

s

"one"

regardless

of how many

homs

or other instruments

may

be

involved

at the same

time.

--

2" Two different notes

that

move

together

with

the

same

or

similar rhythms have

a density

level

of

two.

(Ten

horns may

be

written

on

these

notes, and the

density level

is still two )

.

Densitl-2 may involve

a

variety

of

intervals,

but

only two notes at a time;

--

3o Three notes

moving

together

have

a

density

level

of three.

Most

Density-3

s

in

close position,

and

clustering is

common.

Note

Both octaves

nd unisons

have

a densityT:evel

f

one.

//

Doublingat he

o-ctave

oes

not

add

"ne'w

otes"

(This

s

still density-2)

o

a

Density describes

only those

notes that move together

on the

same

ine.

Density writing

does

not include

music

where two

or more

lines

move individually.

That is

Counterpoint.

(Listen

to

the Fluegelhorn

improvisation during the head

of

"DE

SAMBA".)

ps64



Horns-2

WHEN

TO

WRITE HORNS

IN DENSITY,

AND AT

WHAT

LEVEL:

Best

decisions

on the

use

of density

are

made

on the

basis

of the character

of the

lead

lines

themselves.

Character

of the

melody

o when the melody line is less active. chords are more appropriate.

This

means

a higher

level

of density.

You Don't

Know

what

Love

Is

(bars

r-4

- seealso

Appendix

z.)

When

lead.sare

more

active

(quickly

moving

a

wide

range),

chords

are

less

appropriate. This means

a lower level

of density.

(Unisons

and

8ves)

"Take The'A Train" (SeealsoAppendix 7.)

Note:

In instrumental

music,

frequent

changes

n density

tend

to damage

he

coherency

of

the

music.

However,

where

density-L

is

in

use, it

is not

unirsual

for

the density

level

to increase

or

cadences,

where

the velocity

of the music

is

at

its

lowest.

pg

65



Horns-2

DENSITY OF

ONE

(Unisons

and

octaves)

Unisons and octaves

have

a

density

of one

(density-l)

regardless

of

how

many

instruments may

be playing.

.

Density-l

lg

a

good

choicefor

lines that

have

a high level

of

activity.

Example:

"IN

CASE

YOU

MISSED IT"

(See

Appendix

7.10)

Density-I is

also

good

or less active

lines

in

low

ranges,

where

the

higher

densities

would

sound

strange or

forced.

Blample:

"BLACK ORPHEUS"

(See

Appendix

7.02)

.

Density.l

is

also

good

or slower and

quieter

tunes

with

rich

changes,

Example:

"DOLPHIN DAI.ICE"

(See

Appendix

7.01)

.

Density-l

is

extremely

powerful

used in

both

the top

and

bottom

of

a

chart, when

both top and bottom

are active

melodies

Example: "JOY

RYDER"

(See

Appendix7.24)

Uxtrsatr,l

llzlNs

pg

66



Horns-2

DENSITY

OF TWO

Two-note

harmonieswritten

on

the same

ine

have

a

density of

two.

(Density-2)

Density-2

doesnot refer to

octaves,or

to

counterpoint.

.

3RDSAND

4THS

are the

most conunon

intervals used for density-2. Th"y

may be mixed, and are

easily invertible. In the

following example, ake

note also of the additional movement in bars 13-1,5, hich (usedsparingly)

adds interest without

compromising

the

harmonic

density.

Example:

DEVIL'S

ISLAND"

(See

Appendix 7.12)

3--r^oA

.

Density-2

can also be used

effectively

with

three

horns.

Briefly doubling the

lead

one octave

ower introduces

a

changeof sound

in

3-horn

writing, away

from

the

normal

concentration

on 3-density

and

unisons. Such changes n

texture

(brief

and used

sparingly)

enhance

the interest level

of

the music.

6tt67

g[be{$tt)

Example:

IN

CASE YOU MISSED T"

(See

Appendix

7.10)

F7sus4 F Fil



Horns-2

DENSITY OF

THREE

Chords

with

three

different

notes

have

a

density

level

of

three.

(Density-3)

A fourth instrument doubling the

lead

at

the

octave

does

not

increase

he level of

density.

Density-3 is typically found in

close

position,

and

in

low to

mid

ranges;

density-3 written

in

the higher ranges is

more aggressive and

harder

to

handle.

MOSTCOMMON DENSITY-3 OICINGS

Dm? Dm?

clo

Alo rrcbabrcrrc

D

/F I

1. Close

position

chords

and their

inversions

are

most

effective

when used

in unusual harmonies,

and with

change-bass

chords.

,....

ut

are

best used n change$ass voicings

where

harmonic clarity is

mostimportant,

2. Close

position

chords

containing

major +

minor

2nds

for

color

and

power.

Whole steps

are

common

at both

top and

bottom.

Half-stepsare better at

the

bottom

than at

top.

3.

Quartal

chords

are most

effective

when

the

tempo is

slow, or

when the

rhythm section reinforces

the voicing.

Open

voicings

encourage

nner

movement.

4. Open position chords

Built by stacking fourths,

quartals

provide a modal

'quality

to the

chart.

Th"y

can easily

be

overused;

quartals

combine

well

with tertian voicings

(triadic

chords)

Triads

canbe

plain

and straightahead,

Voicings

with

2nds are the mostcommon choice n highenergy

jazz,

Densitjes

uilt in 4ths

iuartal

)

best uggestmodalharmc:y

,

'

Some are difficuit o describe

with

svmbol

Open

pcition

densities are bestused whetr

the mwamentis dow.

pg

68



Exceqpts

below

demonstrate

the four

typical

density-3

voicings listed

to the

left.

Note that

in

each

example,

more

than

one voicing type

is used. This

is

good.

(Each

is found

also

in

Appendix

7, and

may be

heard

on

the listening

tape.)

Also: close

position

and faster

movement

go

together.

Wider

and slower

do, too.

Example

1a) from "KING COBRA"

(Triadic

voicings,

close

position

best use: on melody lines whose mplied harmonies are

vague or obviously

apart from

the changes.

Example

2a) from

"DAY

IN VIENNA"

(Close

position

voicines

that contain

2nds.

Tlpical use: with

a

melody whose

implied

hannony is

very

close to the changes)

Example

3a) from TOU DONT KNOW WHAT

LO\m IS"

(Quartal

voicings)

Best use is where

he

implied

harmony s

close o the

changes

but you don't want densitywith 2nds. (Don'toveruse )

Example

4a)

from

"KING

COBRA"

(Open

position

voicings:

slow movement)

Best use is with climaxing and reinforced chords (don't

overuse ),

or

slower lines where

you

want inner

movement.

q

4

{

(

7 Db

.A?



Horns-2

PARTICULARLY

GOOD

USE

OF DENSITIES

IN THESE

APPENDIX TUNES:

7.7

"DOLPHIN

DANCE"

Density-1 is

used throughout. The

changes are

diverse

and

colorful,

tempo

is

slow,

and rangesare

never high.

7.5

"NIGHT

DREAMER"

Density-L

is

constant throughout

the head. To keep

density-l

from

losing

energy,

enough activity

and ornamentation was built

compositionally nto the tune itself. (Bars7,1'J.,1.4, 6,L9 of the lead sheet)

7.6

"REUNION"'

Various

3-densities

are used

throughout

the

entire head. For

two reasons he unrelenting

use

of

density-3 does

not

"get

old":

1) The variation

in the

types of density-3

(see

page 94); and,

....

2)

The melodic idiom

(guitar/vibes)

is

enhancedby consistency.

7.9

"AU

LAIT" Density-1

throughout is

good

when

the

time feel

and harmonic

outline

changes as

continuously as

on

this

tune. Higher densities

would

be

unhelpful; therefore, they

would clutter

the

texture.

7.10 "IN CASEYOU MISSED T" Density shifts from 1o o 3o at the bridge. This

change

in

density

to

provide

the

contrast

needed for

the sake

of

form

is

very good.

Since his tune

is

basically a

high energy density-l

sound,

the

bridge returns to

density-L

(octaves)

as

soon as the

contrast

is set by higher

densities.

Final

cadence s

a

higher density:

this is normal.

7.13

"YOU

DON"T KNOW

WHAT LOVE IS"

Classic

use

of

varying densities.

The quartals at first give way

in

bar 9 to

octaves,as the melody becomes

more active. All possible

closeposition densities

are used by the bridge;

therefore, he

solo

texfure

provides the ideal relief

for

the

AABA

form,

where the bridge

calls for a contrast. Note the

return

to

A:

compositional,

very active, to avoid overusing the diversity choiceof densities n the A's.

7.1.5

"CATHAY"

Interesting

combination of category 2 and category 4 Density-3

voicings,

all change-bass nd

doubled at the

octave.

The

contemporary and

modal

effect

is due also

in part to the

combining of

sax

and synthesis.

pg70



e Densities

ile

voicings

do exiqt

containing

six

and seven

d.ifferent

notes,

densities

of

-4 and

-5

are

thought

of as

.t:p""^1:::',1:

:::::l"la:

"

J1q:,:l'","bi:

consistf

.more

t" fir"

ti;y"*

fuLyins

ifferent

so densities

arger

than

-5 are

usually

a

result

of

combining

smaller

aeniit6s.

-4

Four

different notes,generally

rom

chords

hat

would

default to

stacked

hirds.

,sition

bottom

note

s root

or

bass

of the

Slow

moving,

with

a pyramid,shapi

Invers.ion

ange

(bottom

note

s 3rd

or

7th of

chord)

Usually

open voiced,

with

an

hourglass

hape.

i7

Am{T/C$

Dg:trs4

AmqiT

resuit

of adding

an extension

r

alterations

o the

4o

voicing.

I nve

ned

position (

hourglas

A13

AmaiT

A

i7lc$

osi,sr

A13

Ama17

Am47lcf

D9sr64

CmgT

rity'4.

voicings

may accommodate

ive

instruments,

y

doubling

he

ead

one

octave

ower.

position

(pvramid)

Invened

position

lhoirglassl

Am7

A13

Ama17

AmajT/C$

Dgssa

CmajT

A13

A mdT

AmaiT/Cfi

D9:trs4

voicings

esemble

he 4o voicings,

are

more

colorful,

he

position

pyramid)

Am7

A13

A

maj

A m4

7/Ci

Dgs'rs4

C

maj

7

Block oicings

are

density-4

lose

position

with

the

ead

doubled

one

octave

ower.

They

give

a solid

and easilyplayed

sound

or saxes.

Block

oicings

are

bestusedwhere

here s

movement,

nd

n

a medium

ange.

ExtensiJe

usewiiioate

the music.

Cmal7

Em7

Amg

Cmaig

Dgsr64

Ags&

c

oDO

G6

Bot

Em7

Pm7

Bbmaj9

3gf'

oicings

9J9p

tt"

2nd voice

one

octave, ushing

he sound

nto

open

position.

Drop-two

is

used

) when

he

ead

s at

the

or

above

he

staff

(concert),

anilor

2) for

a

less-aggres*sive

ound.

(Ope'n

voiced

chords

c6nform

to

fewerchord

,y*L"fil

Am9

Dgsq

Am9

Bbmajg

Bei

Emz

E*'#e

Dm/E

Bbma;s

Erg

D1r3

Drg

*

10E



voicing

moving

ine

or

saxes.requires

he

use f

compatible

hords

here

he.

ine

s

n stepwisc

ovemenr

ompatible

horls

are

hose

u'r

f;;;;;;r

i"

;.

,-*i'.;p;;:H,';:"J1,

*.

chord

hange.-(See

)

t'rrsr,

orce

he

opening

hord.

hen

";i;i:l;ii

fi, in

voice

;il;il;"

compatibles.

Ebg",,"r

The mostconvenient lace o move rom blcck to drop_2s at a

leap.

ebs.,*

Drop-2

voicings

Gm7

and

its

compatible

hords

drawn

rom thererated care)

Gm7

ebg

altos

tenors

bari

,l-

Compatible

Chords

Three

i.ne

ketchfor

saxes;

middre

rine

uses

ctave

cref

transposed

for

aattb

sares

7ob



Rhythm-2

STEP

FIVE:

THE

RHYTHM

SECTION

5A. FUNCTIONS

58.

SLASHRHYTHMS

sffi=ff8T*,,

The rhythm

section

lays

down

the primary groove for a chart. For this to occur at its

best,

hythm

players must

play responsively

o each

other.

The arrangementshould

give sufficient information,

but leave

as much freedom as possible. Always

However,

specific

music

should be written for the

rhythm section

when

the chart

becomes

unpredictable,

and

when

horns and rhythm are integrated.

(5C)

In any

chart where

either of

these

conditions

exist, each

member

of the rhythm section

must receive

an

individual

part

Detailed information

on each

of

the rhvthm

section

instruments is located in

Appendix

5.

Also in Appendix

5 are style

sheets

or various Latin and

Contemporarygrooves.

5A. FUNCTIONS OF THE RHYTHM

SECTION

The rhythm

section

performs four

basic functions within any

ensemble.

Two

were

discussed n Chapter I,

Step5:

1,)Keeping time in the proper

style.

(As

mentioned above)

2)

Comping

and

establishing he

changes.

In

addition to these, he rhythm section also

3) Plays he form of the

chart.

4) Integrates he band.

58 SLASH RHYTHMS VERSUS

SPECIFICNOTES

Slash

rhythms with

chord changes and style information tell the rhythm

sectionmost

of

what they need to know. In

places where

the rhythm

section

should play

specific

rhythms together,

the

below

style

is

effective.

In a

three-line sketch, rhythm

section

may be written

on

the bottom line

of

eachsystem,

with specifit bassnotes appearing

onlv

where needed.

pgTl



Rhythm-2

PLAYING THE

FORM

(5A-3)

The

rhythm

section

itself

is responsible

for

varying

the

motion

or

rhythmic style

to

portray

the

songform of the

tune,

and also

to punctuate the

overall form

of

the

arrangement tself.

Examples:

e

In the arrangement

of

an AABA

tune, the bridge

should somehow contrast

the

feeling of the

"A"

sections.

In a chart on

"Autumn

Leaves),

he rhythm

section

may change he rhythmic sfyle at

the

bridge.

The resulting contrast

satisfies the

need, thus reducing the need for the horns to change.

Example:

"AUTUMN

LEAVES"

(not

present in

the

Appendix)

The break

in

rhythm

and

the change

from"2

FEEL"

to"WALK IN 4"

are the arranger's

responsibility.

When

moving

from the head

to

the next

area

of a chart,

the

rh5rthrn

section may lay out for a few beatspreceding the next double bar. Ttris

short

break helps

to

punctuate

the oqfline of the fom of the ehart.

In

the

following

slnmple, there

is a brief break in the rhythm before

he

first

improvisation.

Ohis

is

also an example

of

integration,

which

follows.)

Example:

TOU

DON1I KNOW

WI{AII

LO\IE

IS"

(See

Appendix 7.13

)

pg72



INTEGRATING

THE

BAND

(sA-4)

Rhvthm-2

During

the

first

three

functions

(time,

changes

and

form),

rhythm

and

horns

occupy

ifferent

space'

At

times,-the

rhythm

sectiJn

and

horns

join

together

rhythmically,

producing

an

integrated

effect

of

one_ness.

1) Partial ntegration nvolvespiano,

guitar (if

present)

nd

the

bass.

2)

Full

integration

nvolves

he

entire

rhythm

section.

PARTIaL

II\nEGRATIoN

occurs

when

all

but

the

drums-

play

on

the

horn

line

or

the

orn

rhythms'

ll'he

dnrmmer

may

catch

some

ofthe

"rrythms,

but

will

continue

o

eep

he

feeling

of

time

ana

nus

Joing

throulho;

thi.

effect.

'

Partid

integratigo

i

good

or

slower

but.rhythmic

ensemble

deas

hat

eed

o

be ntense

but

lelvingroom

rot

r

ai-L

of

the

contoui.

bartially

integrated

sgo^ri3g_need

ot U6 ou4:ust i"t"_*

ssarnpte:posfcARDS" see

d;

6;;"-iil.

z.ro.i

tu

lartialintegration

always

eads

o

full

integration,

even

f

the

full

integration

s

a

beat

or

tw6.

lt

is

a

matte"

orinticip"tio'and

climax.

f,lample:

"Al{fHEMo (See

also

6;;dili;;;"'"'

pE73



Rhythm-2

Full

Integration

occurs

when

the entire

rhythm section

plays on

the

horn

rhythms.

Fully

integrated

scoring

is used to bring

an entire chart

to its climax. In

the

caseof

the

following

example,

the

introduction

itself

begins

with

partial integration,

for

power, which

then

culminate

in a

fully

integrated

texture.

'

Example:

Beginning

of

"INTRIGUE"

Partial

integration

leads

to

full

integration at the 1/2-note triplet section and following. (SeeAppendix7.24)

QUums

f i l l ino

l {

EndsetuD

tA

I3r

I

The

amount of music

needing

to be fully

integrated

depends

on

the intensity

of the

music leading up to that point:

o

Music with

slower

tempo

or

with

lower levels

of

intensity will

require

only a few beats

of full integration

for the

effect

to feel

complete.

'

Music with

faster

tempo

or

higher

intensity

(ranges,

rhythmic

complexity,

etc.)

will

require

more

full integration.

This

music

will

also requirb

a

longer area

of partial integration

leading

up

to the

fully integratld

sound.

5D.

INDIVIDUAL

RHYTHM

PARTS

When

the rhythm

section

players

are

given

individual

parts, these

parts

must

conform

to individual

horn

parts, in

every

respect.

(Format,

bar numbers,

etc.)

Whether

to write individual

parts,

or a

composite rhythm

part

(to

be

photocopied

for

each ndividual)

is a very important

discovery that

must be made

with

every

chart

that

one

writes.

Material

expectations

on

the

part

of both player

and

leader are

very

important

to the

success f an arrangement

RhUthm

t_3-

pg74



Formats-2

STEP

SIX:

MEDIUM

FORMATS

6A.

FULL

3-LINE

SKETCHES

33

ffffi. .i"Xt?,

In a full 3-line

sketch

for small

band

charts,horn and

lead lines are

completely

notated. But they fit on one or two lines,and not on separate ines for eachhom.

Music for the rhythm

section ncludes

the changes,

occasional

bass

notes

(as

needed),

style instructions,

and some information

for

drums

and

percussion

relating to

style.

(The

primary aim at

this point is

still to provide music where

interaction between the

rhythm

players is as important

as that which is written.)

\

t/hily

P+

.

Sketches should

be written entirely

in the concertkev

NOTATION

SOFTWARE.

Computer

generated

sketches

should

conform to the

same

guidelines.

Good

notation

programs provide

completecontrol of your layout. If

your software is inflexible,

you

should change o different software,

or

handcopy

your final

sketch.

Afut

7 i'u,? .--z

7

".?x

atLY-

11

?

T,

a

pg75



Formats-2

THE FULL

3-LINE

SKETCH

(See

also

Appendix 6.L)

Three-line sketches

are

good

for

final versions

of

charts with:

.

Two to four horns

with

rhythm

in styles

that

are not intricate,

o

Vocal

solo

with

rhythm and occasionalhorn fills.

(Appendix

6.1)

.

Vocal group

with

a rhythm section that

will

read

from

composite.

THE

3-LINE

SKETCH

COMBINESA SINGLELINE

WTTH

A

TWO-LINE

GROUPING.

Horns or

other

leads may appear

(B)

on a

single ine at top.

The two

linesbelow show

rhythm section.

section.

@est

when

he

chan

has

simple horn

lines and he

rhythm exceeds

a composite)

Hornsmay

occupy

wo ines, n

which

case

the rhythmsection ppears n thebottom ine..

(If

during his

part

of

thechart

your

rhythm

notation ecomes

oobusy,

hen

you

should

be

usinga 4-line ormat.)

Vocal solo appear on the top

line, with rhythm sectionand

occasionalhorn backgrounds

on the

two

line frame

below.

Vocal

group

occupies he op two lines,

and

the rhythm section s

written

to

a one-line

compositeat the bottom.

(The

rhythm must

be uncomplicated or this format

to

work.)

FF7

B td{

(q)

Conllnue atin

Ebr(t t t

here'sthat'arn-y

'l

AlA 89

pE76



formats

-2

3.LINE SKETCH OF

"HERE'S

TI{AT RAII{Y DAY

..

3 HORNS

AI{D RHNHM.

The chart

calls

for

specific

horns,

but may

be

copied

o any

size

hythm

section.

A COMPLETE ORMATncludes

lef,

keyand

time

signature,

nd brackets o

show

he

divisionof spacewithina systemof staves.

Unison

nd

medium

o high

melody s

notatedon

the top statf, eaving

wo

staves or the rhythmsection.

r )

\

uhils

v+3

?Vu-o1is

-

\\-/

T1t

frr

BARNUMBEFIShould ppear t he

bottom eft of

each

bar.

They may

be

placed

abovedoublebars,

enclosedn a box.

Lowerhorn linesmove o the

middlestatf;

he rhythm hen

occupieson the

bottom

staff.

Arrows show

changes

n location

RHYTHMSECTIONs notated

on the

bottom

staff

(composite)

when

the

horns

or

leads

occupy

a two 2-staff

group.

pg77



Formats-2

A NEW

FORMAT

S

REQUIRED

t the beginning

f each

page.

(except

ime

signature,

of course.) Professional

opyists

nd notation

oftwarewill

begin

each ine

with

hi s

information.

n

pencil

sketches

ormats

are

optional

fter

he

page

op.

ARROWS

may

be used

o indicate

he

new ocation

f an instrument.

i;-

6*/el

NOTE:

lefs hatare

minus

a

key signature

mply

C Major.

M

lr\|c

3b

n7

pg

78



Formats-2

The

4-Line

Sketch

The

four-line

format

is

useful

for

situations in

your

chart

where

both

horns

and

rhythm

section

equire

double staff

systems.

Each

set

of

stavesshould

be

bracketed

wherever

ormats are

established

or restated. Each 4-line group is

called a

"scheme".

Typical 4-line

sketch

pageswill have

three

schemes.

See

Appendix

6.1: f you

are

notating

your music via

computer software,

you will want

for your music

to

be

layedout properly. You should not assume hat the softwarewill read your mind.

Somenotation templatesare

very

good, some are not

STOLN{

MOMET{TS

THE FULL

SCOREFOR THE ABOVE

SKETCH

(next

page)

-l+

When

your music is too

complex

to

fit

easily

into a

sketch

ormat,

the final version

should be a FULL

SCORE. Each ndividual instrument

receivesa

separate

ine.

(Keyboards

are written

on either one or two

staves,depending

upon the

complexity

of

their

music.)

PLEASE

NOTE

THESE

CONYENTIONS:

o

Instrument names

(or

their abbreviations)

are placed n the left margin

on

page one. Bracketsshould continue on subsequentpages; nstrument names

or

abbreviations

may

or

may not

continue,

depending how normal

or

unusual

your score ormat

is

to

the

situation

in which the scorewill

be read.

.

Clef signs

and key

signaturesare recommended

or

the

start of eachpage......

they are required when

changes

of

key have

occurred within a previous page.

.

Eachbar should be numbered. When

possible,place the

numbers at

the bottom

left

of the bar

being

numbered.

pg79



Formats-2

THE FULL

SCORE

REPRESENTED

ON

THIS

PAGE

CONTAINS

THE

MUSIC FOUND

IN THE

4-LINE

SKETCH

ON

THE

PREVIOUS

PAGE.

BRACKETS

are

required

at the

beginning

of

each

page

of

full

score

o

identify

and

group families

or types

of

instruments. When it is feasible,

bar

lines

should

be

broken to

group

the

staves

dentically as

the

bracketed

format.

.

"CoIl"

(or "colla")

means

o

copy exactly.

CoIl

is

used

to

create

unisons only within

instruments using

the

same

transpositions.

o

Proper alignment

of

notes

and rests

to

their

respective

beats

s important

to

the readability and

professionalism

representedby your full score.

TPA|Fn

ilros*t'

r4vntut

BIPI5{,I'

qAtA

txw6

(with

boss)

basics in arranging.pdf

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