Arranging by Examples
Arranging by Examples
Arranging by Examples
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b 13/ #11
E7
F.G.J. Absil
October 2008
b 13/# 11
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Suspended cymbal
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14
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voicing techniques
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Arranging by Examples:
the practical guide to jazz
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Preface
This document was created using the public domain LATEX computer
typesetting program. Diagrams were created using the LATEX picture
environment.
Musical examples were created using the Coda Music Technology Finale 2002 music notation software. Score examples were imported
into the document as Encapsulated Postscript (EPS) files, using the
graphicx package.
The navigation links in the Adobe Acrobat Reader file (the pdf-file)
were created using the hyperref package from the LATEX distribution.
Document history: 1st incomplete version in 2002, updated complete
version in January 2005, restyled version in October 2008.
c
2008
F.G.J. Absil, the Netherlands.
URL: http://www.fransabsil.nl
ii
Contents
1 Introduction
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3
3
5
5
5
7
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8
9
10
12
15
17
19
19
19
20
25
27
33
33
37
4 Ensemble techniques
4.1 Fundamental aspects . . . . . . . . . . . . . . .
4.2 Four part ensemble technique . . . . . . . . . .
4.2.1 Full big band . . . . . . . . . . . . . . .
4.2.2 Reduced big band . . . . . . . . . . . .
4.2.3 Intermediate size band . . . . . . . . . .
4.2.4 Combining trombones and saxophones
4.3 Brass voicing for extended chords . . . . . . .
4.3.1 Dominant seventh bitonal voicings . . .
4.4 Percussive voicing . . . . . . . . . . . . . . . .
44
44
46
47
49
50
52
53
54
55
iii
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CONTENTS
4.4.1
4.4.2
56
61
Bibliography
68
Index
69
iv
List of Figures
2.1
2.2
2.3
2.4
2.5
2.6
2.7
2.8
2.9
2.10
2.11
2.12
2.13
2.14
2.15
2.16
2.17
2.18
2.19
2.20
2.21
2.22
2.23
2.24
2.25
2.26
2.27
4
6
7
8
9
9
10
11
11
13
14
15
16
16
17
18
21
21
22
24
25
26
27
28
29
30
32
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
34
35
36
36
37
39
40
40
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LIST OF FIGURES
vi
42
43
4.1
4.2
4.3
4.4
4.5
4.6
4.7
4.8
4.9
4.10
4.11
4.12
4.13
4.14
4.15
4.16
4.17
4.18
4.19
4.20
4.21
4.22
45
46
48
49
50
51
51
52
52
53
54
55
56
57
58
59
61
63
63
64
65
66
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List of Tables
2.1
2.2
2.3
4
5
28
4.1
4.2
45
57
vii
LIST OF TABLES
viii
Chapter 1
Introduction
Why write a book about jazz arranging techniques? Well, this practical guide to arranging in
the jazz big band style is the result of studying scores, writing arrangements and of teaching
experience. Although a number of books on this subject exist (see the Reference list at the
end of this manual), students still keep asking for many brief examples and exercises as part
of an arranging course. These must gradually become more complex and introduce them
with alternative techniques of arranging. Also, I have found that students appreciate the
detailed discussion of the examples.
Therefore, this manual consists of a great number of examples, that have been categorised
in a number of chapters. Within each chapter the sections will introduce new aspects and in
general discuss more complicated examples.
This practical guide will concentrate on a number of voicing techniques, such as sectional =
harmony and percussive voicing. The detailed discussion of these techniques is meant to help
the student master the basics of jazz arranging for big band. Following the instructions in
the text will not lead to a personal style or an advanced voicing of a phrase; the material
presented herein is standard practice with a guaranteed result that will sound acceptable
and be playable by living musicians (as opposed to computers).
The examples are presented in a common, standardised format.
First there is a definition of the problem. Why are we presenting the example? What is
the problem that has to be solved?
In many examples the lead voice and the basic harmony are given. These are shown
in figures (a system of staves) that accompany each example. Usually each voice is
printed on a separate staff. The basic harmony is written in shorthand on the lowest
staff, labeled H, with either a basic bass line or with slash (rhythm) notation.
The details of the harmonisation (this holds in particular for the chapters on sectional
harmony) are shown below the lead voice. This voice also contains marked numbers
(e.g., [*1]) that refer to items discussed in the text.
1
CHAPTER 1. INTRODUCTION
Each example is discussed in detail in the text, in particular voicing aspects. Sometimes
a number of alternative solutions to the problem is presented.
The text between the examples is the general introduction to the various techniques.
Fundamental aspects and general rules (tricks) are discussed here. Important terminology is
= printed slanted. and may be marked by an arrow in the margin. The manual also provides an
index for easy reference that contains most of the terminology; references in the index point
to either the definition or the application of the items.
Important information is also shown in tables and diagrams. At the beginning of the manual there is a list of tables and figures, also for easy reference.
This book is not about instrumentation or the theory of harmony. A great many excellent
books on those subjects are in print and should be studied by the student arranger parallel
to this manual.
For alternative discussions of voicing aspects, see [2, 3, 4, 10, 11, 13]. The bibliography
provides also a list of books on jazz arranging (see [2, 4, 6, 8, 10, 12, 16]), instrumentation and
orchestration in general (see [1, 7, 5]) and composition or musical style (see [18, 9, 14, 15, 17]),
that I find most useful.
I hope that this practical guide provides a most useful tool for the student of jazz arranging or the interested reader in that subject.
Chapter 2
Sectional harmony in four parts is one of the basic techniques in the field of arranging (see
[2], pp. 2935, [12], Ch. 10, [13], p. 451). It may be characterised as a mixture of traditional
functional harmony with (impressionist) modal harmony.
The problem is that of harmonising a given lead voice over a given basic harmony for =
a total of four voices; we have to find the three lower voices. The lead voice may consist
of chordal tones, non-chordal tones and non-diatonic tones. We will study the technique
(alternatively described as the bag of tricks) that enables you to harmonise the lead voice,
especially for the latter two categories (non-chordal and non-diatonic tones in the lead) and
make sure the end result makes sense in harmonic terms and is playable from a musicians
point of view.
Sectional harmony for more than four parts and some forms of ensemble technique often
only come down to a doubling of voices from a given basic four part harmonisation. This
chapter will show you the technique of harmonising a given lead in four parts.
Description
the major triad with added 6th
(note: the 6 does not indicate the inversion of the triad,
but the 6 ajoutee)
the minor triad with added major 6th
the minor triad with added major 7th
the minor 7th chord
the dominant 7th chord
the half-diminished 7th chord
the diminished 7th chord
6
Sm
+7
Sm
Sm7
S7
S7
S7
C6
& c wwww
Cm6
Cm+7
Cm7
b b wwww
C7
b www
w
b b b wwww
C 7
o
b b wwww
C 7
Figure 2.1: Example of the chord structures used in four part sectional harmony (Root C,
root positions, close voicing).
forget about extensions (higher numbers than the 7th) of the basic chord structures.
We will come back to that later.
Use close voicing. The basic four part technique uses close voicing only when the
range of all voices has to stay within the interval of an octave; the outer voices will
in that case form the interval of either the 6th (imperfect consonant) or the 7th (mild
dissonant). We will also discuss the so-called drop 2-technique, which, strictly speaking
is not close voicing, but is easily obtained from a close voicing harmonisation.
All parts use parallel motion. This means that the lower three voices exactly follow
the motion of the leading voice. This is contrary to classical harmony where good
voice leading obliges you to use preparation and resolution of dissonant tones (the
7ths, for example). Here this is of no concern.
Prevent repeated notes in any part. You will find the four part sectional technique
usually in medium to up-tempo pieces. Noteworthy examples are the Four Brothers
(Woody Herman big band) and the Supersax plays Bird (using a 5 part saxophone
section) recordings. From a musicians point of view it is better to avoid repeated notes
in any part (unless they are in the lead voice); this makes playing easier. Harmonisation
therefore must be such, that no repeated notes will occur.
The list of basic rules is summarised in Table 2.2. Now we will discuss a number of
exercises and examples that will gradually introduce and discuss problems of increasing
complexity. We will illustrate the various techniques for writing four part sectional harmony.
4
P1
&c
P2
&c
P3
P4
&c
[*1]
?c
C6
?c
Dm7
[*2]
G7
C6
Apply the secondary dominant chord structure to the penultimate note. If the last
note before the aiming chord in the given lead is a chordal note in the secondary dominant chord structure, then our problem is solved. What is the secondary dominant
structure? It is the S79 (the dominant 7th chord with lowered 9, or 9) on the root a 5th
above the root of the aiming chord (the V /V in classical notation), with the root omitted. This is equivalent to the S7 a minor 2nd below the root of the aiming chord and
we end up with a strong chord progression (thinking in terms of functional harmony).
Lets see how this works out in our example.
Example 2.2: Chordal tones in the lead voice, application of secondary dominant
chord structure.
Problem: Lead voice P1 consists of chordal tones only.
Discussion:
In m. 2, 3rd beat [*1] the aiming chord is G7 . therefore the secondary dominant
is D79 or its equivalent F 7 . The latter is used for the harmonisation, which is
possible since the note a in the lead is a chordal component in this structure.
In m. 3, 1st beat [*2] the aiming chord is C. It secondary dominant is G9
7 or its
equivalent B7 . Application of the latter is allowed, since the note d in the lead
is a chordal component of the diminished structure. Notice how the repeated
notes in the inner parts have now been eliminated.
Using secondary dominant chords will result in a chromatic downward stepwise motion
in (in particular) the lower voices. This will become more characteristic as more intermediate
dominants are chained in succession as we will see later.
6
P1
&c
P2
&c
P3
&c
P4
# n
[*1]
b
?c
?c
C6
Dm7
#o
F 7 G7
[*2]
o C6
|
B 7
Figure 2.3: Chordal tones in lead, application of secondary dominant chord structure.
[*3]
b b b n
b
?c
&c
P3
&c
o
o
B 7
B 7
[*2]
P2
# n
#
C6
[*1]
P1
P4
[*1]
#o C #o 7
C 7
&c
?c
Dm7
Dm7/G G7
b9
C6
Figure 2.4: Non-chordal tones in lead, application of secondary dominant chord structure.
the previous two cases, however: whereas the other non-chordal tones move
stepwise towards a chordal tone (here is the list, check for yourself: [m. 1]: b
c, b d c, [m. 2] g f, e f ), now we find a leap (m. 2, beat 4) a d. Using
a diminished chord here has a much weaker effect than in the case of stepwise
motion. Therefore, we now choose to extend the Dm7 chord unto the 3rd beat of
4 chord, or, equivalently, a D
that measure. his leads to a suspended Gsus
m7 /G,
7
which sounds as a richer dominant structure than the plain G7 . Note that on
beat 4 the lead is harmonised using B7 , since we work towards the C chord in
the next measure. This is equivalent to the G9
7 structure and although we were
not to consider extended chord structures beyond four parts, here we have one!
This is no problem, it simply sounds better (has a stronger dominant effect, since
there is an extra leading tone a, see the next section) than the plain dominant
7th structure.
b b b n
b
?c
P2
&c
P3
&c
# n
?c
C6
[*]
P1
P4
[*]
&c
Dm7
Dm7/G G7 9
C6
#o o
P1
[*2]
B 7
33
& c # # n #
P3
& c b b n
P4
&c
?c
G7
[*3]
G m7 Am7
P2
[*3]
[*2]
o
o o
B 7B 7
& c
F 7B 7
# n
#
#o o
G m7 Am7 F 7 B 7
o
o Eo7
B 7
n b b
B 7
b n b n n b n
# # #
n b b b n b
b
Cm7
[*4]
Cm7/F
F7 9
n b b
6
b #
b b b b
33
b n n b
#
E 7
b b n
b
F7
bB
Figure 2.6: Harmonisation of non-chordal tones in the lead using leading tone chords.
F7 9
&
b
#
C 9
Em7
&
P1
&c
P2
&c
# # n #
P3
&c
b b n
P4
&c
?c
G7
33
[*1]
#o
[*2]
#o
D 7 Em7
D 7 Em7
#
#
n
n b b
G 7
b n b n n b b n
b b b n b
b n b
33
Cm7 B 7
n b b
# # #
[*3]
5
Cm7
b n # n
b n
b b
b b b n
b
F7
bB
Figure 2.9: Alternative harmonisation of non-chordal tones in the lead using substitute
chords.
Some chords can be substituted by a harmonically equivalent chord. Take for instance
the tonic triad with added 6th C6 . We may extend this chord with the 9th (see Figure 2.8),
9 . This chord is equivalent to E
yielding the C7
m7 if we consider the upper four functions of
the original chord only. Harmonising m. 3 of Figure 2.6 using this substitute chord, we also
obtain another option for the non-diatonic notes in the lead, as shown in Figure 2.9. Now
we can use the secondary dominant chords relative to the substitute chord, as shown in the
example.
Example 2.6: Harmonisation of non-chordal tones in the lead using substitute chords.
Problem: Lead voice P1 contains non-chordal and non-diatonic tones.
Discussion:
At [*1] we harmonise the non-diatonic tones d and f with the secondary dominant structure D7 relative to the aiming chord Em7 , which is a substitute for
the C6 .
5/9
At [*3] we harmonise the lead with Cm7 , this is harmonically equivalent to the
suspended chord F79sus4 = Cm7 /F .
The next problem presents another case of using substitute chords. It is the regularly
used substitution of the 2nd degree in minor, the half-diminished chord (in this case E7 in the =
11
&b c
#
E 7
A7
? c
& b c b #
A7
? cE7
P1
&b c
P2
&b c
o
F7
P3
&b c
P4
H
(a)
P1
&b c
P2
&b c
[*3]
#o
D 7 B b7
n b
P3
&b c
b
b
P4
H
(b)
P1
&b c
P2
&b c
o o
B 7E 7
b
n b
P3
&b c
n b b
P4
H
[*4]
& b c b b
#
E 7
A7
?b c
(c)
[*5] [*6]
[*5]
P1
&b c
P2
&b c
P3
&b c
b n b b
&b c
? cE7
b
P4
H
o o o o
b
b n b
b
E 7 B 7 E 7 B 7 C7 B 7
A7
(d)
Figure 2.10: Harmonisation of non-chordal tones using substitute chords.
13
Next, we will discuss two solutions for harmonising the non-chordal notes in m. 3, see
Figure 2.12.
Example 2.9: Harmonisation of non-chordal tones in the lead using exact parallel
chords.
Problem: Lead voice P1 contains non-chordal tones.
Discussion:
At [*1] we harmonise the non-chordal tones d and f using the substitute chord
B9
7 , which is not exactly equivalent with the D7 chord (because of its lowered
9th). It, however, is equal to the G9
7 chord, since the four upper functions of both
chords form the same diminished chord B7 . What we in fact do here is to pull
ahead the dominant chord of m. 4 (this has been discussed in previous examples.
This might though lead to a clash with the rhythm section in case they play the
half-diminished structure (the clash between b and c) and probably it is better to
correct the chord symbol for the rhythm section in that measure.
At [*2] we apply three consecutive exact parallel chords (B7 C7 D7 )
working backwards from the aiming chord on the chordal tone d. Although we
now find quite a few non-diatonic tones in this sequence they are no problem,
especially at higher tempos.
P1
P2
P3
P4
H
b 1
&bb c
[*1]
[*1]
o Bo7
B 7
n b
b
&bb c
? bb c
b
b
&bb c
b
&bb c
Cm7
[*2]
o
F# 7
E b7
b
# n
[*1]
[*1]
o
F# 7
o o
F# 7 B 7
b n b
n n b
D 7
n b
G7
Cm
Figure 2.11: Harmonisation of non-chordal tones in the lead using exact parallel chords.
14
P1
P2
P3
P4
H
bb
& b
1
n
[*1]
o
b
& b n
bb
b
&bb
D 7
n
[*2]
b
n
B 7C 7
n b
b
& b b # n n
D 7
? bb
b
b n
D 7
n n b
That technique that we will apply in this case is the sequence of two diatonic minor 7th
chords on the 2nd and 3rd degree of the scale (in this case Cm7 Dm7 , see Figure 2.14).
Example 2.11: Harmonisation a lead voice with diatonic 6 7 stepwise motion: connecting minor 7th chords.
Problem: Lead voice P1 contains 6 7 stepwise motion in major.
Discussion:
At [*1] we use the secondary dominant B7 chord.
15
P1
b1
b
&
P2
b
&b
P3
&b
P4
&b
b
b
6 - 7
o
B 7
n
b
? bb
Cm7
[*1]
Cm7
[*2]
Bm7
#
n
b n
P1
b1
&b
P2
b
&b
P3
&b
P4
&b
b
b
Cm7
[*1]
[*2]
o Dm7
B 7
n
b
? bb
Cm7
[*3]
b7
n
b
16
P1
P2
1
bb
7 - 8
#o
C 7
b
&b
&
P3
&b
P4
&b
b
b
#o
F 7
? bb
Dm7
3 - 4
Gm7
Figure 2.15: Lead voice with 6 7 stepwise motion on 3rd degree of major scale.
At [*2] we apply the minor 7th chord on the 3rd degree of the major scale Dm7
to harmonise the non-chordal tone a.
9
At [*3] we have to use the substitute chord E7 , which is equivalent to the Cm7
in order to prevent a repeated note in P4 which would have occurred using the
plain Cm7 chord (as shown in m. 1).
The 6 7 diatonic step (which is equivalent to the 5 6 motion within the 2nd degree
minor 7th chord structure) is the only diatonic step in major that requires this solution. The
two other cases (5 6 on the 3rd and 6th degree of major, as shown in Figure 2.15) yield
a minor 2nd stepwise motion in the lead that can be dealt with using secondary dominant
chords.
Example 2.12: Harmonisation a lead voice with diatonic 78 or 34 stepwise motion
over minor 7th chord on 3rd degree or 6th degree respectively.
Problem: Lead voice P1 contains diatonic stepwise motion over minor 7th chord.
Discussion:
At [*1] we use the secondary dominant C7 to harmonise the non-chordal tone
b (on 3rd degree minor 7th chord in B-major).
At [*2] we use the secondary dominant F 7 to harmonise the non-chordal tone
e (on 6th degree minor 7th chord in B-major).
[*1]
& b b
o
o
E 7 Dm7 E 7
&b
P1
P2
P3
&b
P4
&b
C7
?b
(a)
[*2]
& b b
o o
C 7E 7
&b
P1
P2
P3
&b
P4
&b
?b
C7
b b
(b)
Figure 2.16: Harmonisation of non-chordal tones using subdominant chords.
18
Although at that time they were designated as substitute chords (see the appropriate
section), we have already encountered one case where we used the diminished chord on the
original root for the harmonisation process, which we here designate as a type of subdominant. That case was the substitute for the half-diminished chord on the 2nd degree in minor.
There we followed a different path of reasoning. The result of the harmonisation process is
the same, applying either a substitute chord or a subdominant chord.
[*1] 2
&
Am7
Em7 F 7 G7 Am7 Dm7 C 7 B 7
&
[*1]
P1
P2
P3
P4
&
&
?
Dm7
(a)
[*2]
[*3] 2
&
P1
&
Em7 F 7 G 7 Am7 Dm7 C 7 B
P2
Am7
P3
& b
P4
&
?
Dm7
(b)
Figure 2.17: Similar chord structures on diatonic parallel degrees.
P1:
p1
P2:
p2
P3:
p3
P4:
p4
8ba
p1
p1
p3
- p3
- p4
p4
- p2
- p2
Figure 2.18: Diagram of the drop 2 procedure in four part sectional harmony.
21
P1
P2
P3
P4
## 1
& # c
##
& # c
##
& # c
##
& # c
P1
P2
P3
P4
&
###
[*4]
# n #
o o
o
A# 7 A# 7
D# 7
Bm7
# n n
b
n
E7
n #
(a)
c
1
##
& # c
##
& # c
? ### c
#
n
n n
# n n b
? ### c
Bm7
[*3]
? ### c
Bm7
[*2]
[*1] [*1]
E7
n #
(b)
Figure 2.19: Close voicing and drop 2 voicing.
22
Now, for the first time, we have to consider instrumental aspects. Since the range of
the section gets wider as we use the drop 2 technique we might encounter instrumentation
problems. The bottom voice may get into a too low region, either for the instrument to play
comfortably, or from an acoustic point of view. In the latter case the fundamental of the
applied chord structure is too low. In those cases we might have to change the voicing along
the melodic line. The preferred location for a change of the voicing is at a diminished chord,
since, due to its internal symmetry (the diminished chord being constructed from minor
3rds) it suffers least from such a change and is least noticeable. We illustrate this with the
example in Figure 2.20.
Example 2.16: Changing from close voicing to drop 2 voicing.
Problem: Assign the parts for given 4-part sectional harmony: use a mixed voicing
and determine the appropriate point for transition.
Discussion:
Let us first harmonise the non-chordal tones. At [*1] we use a secondary dominant E7 to harmonise the b. At [*2] we use an extended secondary dominant
F 97 = A7 to harmonise the g. At [*3] we use an altered secondary domi5/9
nant D7
= A7 to harmonise the c. At [*4] we use a secondary subdominant
A6 = F m7 to harmonise the a. An alternative solution is either the altered sec5/9
ondary dominant D7
or the leading tone chord Am7 . Comparing the three
alternatives we may say that the currently used A6 is the most diatonic solution, the Am7 would have been the least diatonic alternative. At [*5] we use a
23
[*1]
P1
P2
P3
P4
##
& # # c n n
##
& # # c n # n n
# n # n
? #### c
#
? #### c
F m7
[*3]
2
## 1
& # # c n
B7
G m7
n #
#
C 7
F m
9/13
Theoretically, there is an even wider voicing possible for four parts. By also transposing
the original fourth part P4 from the close position voicing to the lower octave and rearranging the parts we obtain an open voicing. The result for the example in this section is shown
in Figure 2.21.
Example 2.17: Open voicing.
Problem: Assign the parts for given 4-part sectional harmony: use wide open voicing.
Discussion:
The harmonisation of the example has been left unchanged from the original
close voicing.
Both P2 and P4 from the close voicing have been transposed to the lower octave.
We now obtain a range of almost two octaves. Note how the intervals between
the outer voices still are not too dissonant (mainly 6ths and mild dissonances of
the minor 7th).
24
P1
P2
## 1
& # c
##
& # c
P3
? ### c
P4
? ### c
#
n
n n
# n n b
? ### c
Bm7
E7
n #
This voicing is almost never used. The open voicing is not suited for a homogeneous
brass section; trumpets usually stay within the range of an octave, and although this voicing
is within the compass of the trombone section, the open voicing is reserved for cases of
smooth stepwise motion (classical harmony), not for sectional harmony. For the saxophone
section the open voicing often reaches the limits of compass. Besides, the open voicing limits
the fluency of the phrase. This voicing may be used in moderate to medium tempo, for high
or middle strings or with a mixed instrumentation.
25
[*1]
[*2]
& b c b b
o
o
F# 7
Dm7 E 7
& b c b # n
b
?b c
1
P1
P2
P3
P4
?b c
Gm7
?b c
C7
(a)
[*3]
& b c b b
o
B 7
& b c b # n
b
? b c n b
2
P1
P2
P3
P4
? b c b n
?b c
Gm7
C7
(b)
Figure 2.22: Repeated notes in the lead voice.
26
b 1
& b c b
o E o 7 A o 7 Dm7
B 7
bb c
&
n b n b
b
? bb c b
[*1]
P1
P2
P3
P4
? bb c
Cm7
? bb c
F7
A situation where repeated notes may be tolerated is at the end of a phrase. Here they
do not cause great technical problems for the players. The musicians may even create a different articulation or tone colour by using alternative fingerings for the repeated notes. This,
however, must be coordinated by the section, if an audible result is desired. An example of
repeated notes at the end of a phrase is shown in Figure 2.23.
Example 2.19: Repeated notes at the end of a phrase.
Problem: Lead voice P1 contains repeated notes at the end of a melodic phrase.
Discussion:
Let us first discuss the harmonisation of the non-chordal tones. At [*1] we use
a secondary dominant B7 to harmonise the d. At [*2] we use a sequence of
secondary dominants before the aiming chord E7 A7 Dm7 , this last
chord being harmonically equivalent to B97 .
Repeated notes will occur in the lower voices P3 and P4. Since they are at the
end of the phrase, they are acceptable. It is in the middle of a (fast) phrase where
they may cause danger.
[*1]
P1
P2
P3
P4
[*2]
b 1
&b c
o
B 7
bb c
&
b
&b c
n
? b c b
b
[*3][*4]
[*5] [*6]
b
b
b n b
n b b
n n
? bb c
[*7]
[*5]
3
4
b
b
o
o
o
o Eo7
B 7
E 7
E 7
Cm7
B 7
n b n b n b
n b n b
Cm7
Description
lowered 9th
natural 9th
raised 9th or lowered 10th
lowered 5th or raised 11th
raised 5th or lowered 13th
natural 13th
b b
F7
structure. We will need to apply altered or extended dominant chords mainly in cases where
a non-diatonic, non-chordal tone has to be harmonised. This is shown in an example in
Figure 2.24.
Example 2.20: Harmonisation of non-chordal tones using altered dominant chords.
Problem: Lead voice P1 contains non-chordal and non-diatonic tones.
Discussion:
From the beginning to beat 3 in m. 2 the harmonisation is with diatonic parallel
structures, unless this is impossible. The first chordal tone is the e in m. 1 at [*1];
this determines the voicing of the previous chords. Strictly speaking this should
lead to the following three chords at the start of the phrase: Dm7 B7 Cm7 ,
all in 2nd inversion. However, the first 8th note has been harmonised using
another inversion of the B7 chord (just a matter of taste). At [*2] we have to
use a secondary dominant B7 since there is no diatonic way to connect the two
inversions of the Cm7 chord. At [*3] we recognize the 7 8 diatonic stepwise
motion with a 2nd degree chord as basic harmony. We therefore have to use
Cm7 Dm7 (see the appropriate section on connecting minor 7th chords). From
the g in m. 1 we onwards we recognise the diatonic parallel succession of chords
until beat 2 in m. 2 [*4]: we have Cm7 Dm7 E7 F7 Gm7 E7 , all
in 3rd inversion. The major 7th chord F7 is the result of the elimination of the
28
[*1]
b
&b c
o
B 7
bb c
&
n
b
&b c
n b b n
b
? bb c #
1
P1
P2
P3
P4
? bb c
3
o
B 7
n b
b
n
b n b
n b b
Cm7
[*3]
[*2]
b b
o G7 C 7 F7
Cm7 B 7
Em7 E bm7 D m7
n b
n b n b
4
n b b n
b n b n
b b
n b
F7
tritone interval that would have occurred with a purely diatonic solution (see
the section on similar structures in diatonic parallel degrees). The final chord
9 (using the four upper
E7 can also be considered a substitute chord for the Cm7
pitches).
The rest of m. 2 s treated in a regular way using secondary dominants B7 Cm7
and E7 F7 at [*4].
In m. 3 and m. 4, beat 3, [*5] we use the suspended chord Cm7 /F . The second
8th note in m. 3 b uses the substitute chord E7 .
In m. 3, beat 4, [*6] the lead voice has the altered, non-diatonic note a which we
9/13
harmonise using the C7
chord (an altered dominant chord).
We end the example with a sequence of secondary dominant chords
E7 A7 B; the second chord is used to harmonise a non-diatonic, nonchordal tone g and the B is replaced by the substitute chord Dm7 = B97 .
The same example will now be shown with an alternative harmonisation, see Figure 2.25.
Example 2.21: Harmonisation of non-chordal tones using altered dominant chords.
Problem: Lead voice P1 contains non-chordal and non-diatonic tones.
Discussion:
M. 1 and m. 2 have now been harmonised using the secondary dominant B7 ,
when appropriate [*1].
The suspended chord in m. 3 has been anticipated in m. 2, beat 2 [*2].
The last three 8th notes in m. 3 [*3] are harmonised with a sequence of altered
10/13
9/13
and extended dominant chords G7
C7
F713 .
The last three notes in m. 4 show chromatic downward stepwise motion [*4]
and can therefore be harmonised using exact parallel chords (or, equivalently,
leading tone chords in sequence): Em7 Em7 Dm7 . In this case it does not
sound great, but may be useful in other situations, preferably in rising stepwise
motion.
29
[*1]
P1
P2
P3
P4
[*3]
B m7
[*4]
[*5]
2
1
b
& b bb c n n b n b
o
Cm7 Am7 D b7 A 7
B b7
B b7
B b7
bb b b c
&
n b b n n b n b
b
& b bb c
b b b
n b n b
n
n
? bb b c
b
? bb b c
b
E 7
[*6]
b
b
b
A 7
Next we will look at an example that uses a combination of techniques. The example,
shown in Figure 2.26, has non-diatonic tones in the lead.
Example 2.22: Harmonisation of non-chordal tones.
Problem: Lead voice P1 contains non-chordal and non-diatonic tones.
Discussion:
M. 1 starts with two non-chordal tones g and e (also non-diatonic) [*1]. Notes
1 and 3 (g and f ) yield a 7 6 diatonic stepwise motion on the 2nd degree in
major; the standard solution is the connection of two minor 7th chords on 3rd
and 2nd degree (see the appropriate section). The e can be harmonised using a
leading tone chord. The combined result is Cm7 Am7 Bm7 .
The following note a [*2] is chordal, but is harmonised with the substitute chord
D7 = B9m7 .
The non-chordal notes on beat 3 in m. 1 are harmonised with a secondary dominant A7 .
The non-chordal tone c in m. 2 [*3] is harmonised with an extended, altered sec9/13
; on the chordal tone b we use an extended dominant
ondary dominant B7
9
chord E7 , equivalent to the substitute chord G7 .
The next non-chordal tone g [*4] is non-diatonic. It is harmonised with an al9/13
tered secondary dominant B7
. The same dominant, although in different
forms, is also used on beat 3 and 4 of the same measure.
Now we reach a flaw in the exercise. Harmonising the non-chordal f in m. 3 [*5]
with the secondary dominant B97 leads to repeated notes in the lower voices.
We will later correct that error.
30
We will look at a number of alternative solutions to this problem, that will also correct
the repeated notes.
Example 2.23: Harmonisation of non-chordal tones.
Problem: Lead voice P1 contains non-chordal and non-diatonic tones (see Figure
2.27).
Discussion:
The alternative in Figure 2.27.a uses a drop 2 voicing in the last two measures.
The harmonisation has not changed, except for the last four beats of the example.
We will discuss these in detail.
The repeated notes on beat 4, m. 2, have been eliminated using the progression
Fm7 E7 A7 [*1]. Notice that the penultimate note c [*2] has been harmonised
using the secondary dominant E97 .
This example still has some flaws. First, by using the wider drop 2 voicing, the
7ths a and d of the B7 and E7 respectively [*3] lie in an extremely low range.
This yields unacceptably low acoustic roots for these chords.
The progression B7 Fm7 on m. 2, beat 4 [*4] is poor: it lacks functional harmonic sense and therefore is weak.
The alternative in Figure 2.27.b changes to drop 2 voicing just before the last
measure. This eliminates the low a of the B7 chord, although the d is still
in the low octave. The change of voicing does not take place on a diminished
chord.
The final measure has been harmonised using the extended form of the basic har9/13
mony A7 . Although somewhat improved, this solution still does not sound
great.
The alternative in Figure 2.27.c has beat 4, m. 2 harmonised using the secondary
subdominant structure Fm7 , the 2nd degree relative to the basic harmony E7
(see the appropriate section).
9/13
31
& b b c n n
1
P1
P2
P3
P4
P1
bb 1
& b b c n n
B m7
P3
P4
P2
P3
P4
? bb b c
b
b
& b bb c n n
? bb b c
b
b
& b bb c n n
P2
P3
P4
? bb c
bb
B m7
E 7
E 7
A 7
(a)
b
n
b
[*1]
b b b
B 7E 7B 7 E 7
E 7
A 7
(b)
2
b
n b
B b7 E b7 Fm7
E 7
E 7
A 7
(c)
b
n b
#o
B b7 E b7 F 7
E b7
bb b b c
&
b
n b n b n
b
n b n b
? bb b c n
# n n b b
b
n b b
# b
? bb b c
b
1
P1
bb
& b b c n b b n n b n b
b b b n b n b
? b b c n
n b b
bb
n b
b b
? bb b c
b
B m7
E 7
P1
B b7 E b7 B b7 Fm7
& b bb c n b b n n b n b
n b n b n b
? bb b c n
n b b
? bb b c
n b b
b
B m7
[*2]
[*1,4]
& b bb c n b b n n b
n b
b
n b n
? bb b c n
n b
b
n b
n b
? bb b c
b
? bb c
bb
P2
[*3]
b
n
b
E 7
A 7
(d)
Figure 2.27: Harmonisation of non-chordal tones.
32
Chapter 3
Writing sectional harmony in five parts is a skill that is often required in contemporary big
band arranging, where the saxophone section consists of five players. Since this section is
the most frequently used in the big band and capable of incomparable fluency we find a lot
of excellent writing for five saxophones and numerous saxophone special choruses have
been written for the five working horses in the band.
There is less treatment of this technique in the arranging textbooks (see [2], Ch. 8, [6],
p. 25, [11], p. 35). basically, there are two categories of five part sectional writing, where
one is little more than a doubling of the lead voice of the basic four part sectional harmony.
However, the second technique is considerably different and makes great use of clusters that
are generated by writing the chords in 4th voicings. We will discuss both techniques in this
chapter and look at examples.
P1
b 1
&bb c
P2
b
& b b c n
P3
P4
P5
b
& b b c n b b
n
b
n b
? bb c
b
? bb c
b
? bb c
b
Fm7
B 7
b b n
n
Gm7
C7
Fm7
Figure 3.1: Sectional harmony in five parts, lead doubled an octave below.
This example has been discussed extensively in the chapter on four part sectional
harmony (there it was written a minor 2nd higher). So see that chapter for the
reasoning behind the harmonisation.
The lead part P1 has been doubled one octave below as P5. There is close voicing
throughout the phrase.
Obviously, the use of five voices enables us to develop several alternative voicings. Now,
we will show a number of these options. We start with the example in Figure 3.2.
Example 3.2: Sectional harmony in five parts, mixed voicing, drop 2.
Problem: Lead voice P1 contains non-chordal and non-diatonic tones; assign the
parts using mixed voicing.
Discussion:
Here is the drop 2 voicing as applied to a five part section. The lead is now
supported by an inner voice P4.
The bottom voice has the same intervallic relationship with the lead as in the
four part section.
It is fairly regularly used, unless the bottom voice gets into a too low range (see
below for the solution of that problem).
We will now discuss two alternative voicings for the same problem.
34
P1
b 1
&bb c
P2
b
& b b c n b b
P3
P4
P5
b
& b b c b
n
n b
? bb c
b
? bb c n
b
? bb c
b
Fm7
B 7
b b
n
n
n
Gm7
C7
Fm7
Example 3.3: Sectional harmony in five parts, open voicing, drop 2 and 4.
Problem: Lead voice P1 contains non-chordal and non-diatonic tones; assign the
parts using open voicing (see Figure 3.3).
Discussion:
An even wider voicing is obtained using the drop 2 and 4 technique. Strictly
speaking (in classical sense) this is not a fully open voicing. The part that now
doubles the lead is P3.
The bottom voice P5 has the same intervallic relationship to the lead as in the
case of four part sectional harmony, although it now is now at one octave below
the four part version.
This technique is not commonly used. There is a risk of loss of fluency at higher
tempos.
P1
P2
P3
b 1
&bb c
b
b
& b b c n b
? bb c
b
b b
n
P4
? b c n
bb
P5
? bb c b
n
b
n b
Fm7
? bb c
b
B 7
Gm7
C7
Fm7
Figure 3.3: Sectional harmony in five parts, open voicing, drop 2 and 4.
P1
b 1
&bb c
P2
b
& b b c b
P3
P4
P5
b
& b b c n b
b
n
? bb c n b
b
? b c n
bb
Fm7
? bb c
b
B 7
[*]
n n b
b b n n
Gm7
C7
Fm7
36
& www
? ww
1
5
9
6
3
ww
w
ww
ww
ww
w
ww
ww
w
ww
ww
w
ww 7
ww
ww 7 ww
w
w
w
ww
w
w
[*]
ww
ww
w
C9
ww
ww
w
ww
ww
w
ww
ww
w
C9
(a)
& www
5
3
7
ww
w
ww
D m7(add11)
? ww
11
1
ww
w
w9
ww
[*]
ww
ww
ww
ww
w
ww
ww
w
(b)
Figure 3.5: Sectional harmony in five parts, chords in 4ths. (a): left: the major chord with
added 6th and 9th, top right: the alternative voicing with 7 replacing the root. (b): the
minor 9th chord with added 11th.
The change from open to close voicing from the first to the second note is not
very effective.
The minor ninth chord with added 11th (or, equivalently, added 4th): Sm7
These chord structures, based on the interval of the perfect 4th, can be found on the 3rd and
6th step of the diatonic major scale; the chord structure on the 3rd step corresponds to the
S96 (major chord with added 6th and 9th), the chord structure on the 6th step corresponds
9/add11
to the Sm7
(minor 9th chord with added 11th). The four consecutive perfect 4ths are the
maximum number in the diatonic major scale (check this by trying to add another perfect
4th to either side of the two structures).
The voicing for both chord structures for all inversions is shown in Figure 3.5. The C96
chord with the root in the lead (leftmost structure: numbers indicate the various members in
the structure) yields four intervals of the perfect 4th. The other inversions will contain one
interval of the major 3rd. The minor 9th chords yields a perfect chord in 4ths when the 3rd
is in the lead (see the fifth voicing on the bottom system in the figure).
37
Example 3.6: Sectional harmony in five parts, chords in 4ths, leading tone in lead
voice.
Problem: See Figure 3.8.
Discussion:
38
[*1]
[*1]
[*3]
[*2]
[*1]
P1
&b c
P2
&b c
P3
P4
P5
&b c
?b c
?b c
Gm7
tb c
(a)
[*2]
?b c
? c
b
P1
P2
&b c
P3
&b c
P4
P5
[*1]
&b c
1
[*]
[*]
Gm7
tb c
(b)
Figure 3.6: Sectional harmony in five parts, chords in 4ths. (a): harmonization of the 9 1
stepwise motion in the lead using the diatonic parallel Am7 chord. (b): More closed voicing
is used to prevent too low lower parts, leading to repeated notes in middle voices.
39
P1
&b c
P2
&b c
P3
P4
P5
&b c
?b c
?b c
Gm7
tb c
Figure 3.7: Sectional harmony in five parts, chords in 4ths, close (cluster) voicing.
[*]
&b c
1
P1
B m7 Am7
P2
P3
P4
P5
Fm7 Am7
& b c b
b
&b c
? b c b b
? c b
b
Gm7
tb c
Figure 3.8: Sectional harmony in five parts, chords in 4ths, leading tone in lead voice.
40
In this brief example the lead is entirely harmonised with exact parallel Sm7
structures, yielding an Fm7 chord on the c in the lead (which could have been
harmonised using the basic chord Gm7 ).
Example 3.7: Sectional harmony in five parts, basic harmony contains mixed chord
structures.
Problem: See Figure 3.9.
Discussion:
The first solution is based on a harmonisation in 4ths: the upward leading tone
b c at [*1] in Fig. 3.9.a is harmonised using the exact parallel chord B96 .
Upon arrival at the dominant chord B7 the harmonisation in 4ths obviously
cannot be continued: this is caused by the essential, characteristic interval of
augmented 4th (or diminished 5th) between the 3 and 7 of the dominant chord.
So, in case the basic harmony contains other chord structures than the S96 or Sm7 ,
we will also have to use a hybrid harmonisation, leaving and returning to the
harmonisation in 4ths.
In order to remind us of the older techniques, in Fig. 3.9.b the same phrase is
harmonised using the secondary dominant B7 at the non-chordal lead tones,
marked with [*]. However, note at [*2] the upper our voices in the B7 chord:
these form three superimposed perfect 4th intervals. So the basic flavour of the
perfect 4ths can be maintained somewhat also in the harmonisation of dominant
7th chords.
Maximisation of the use of perfect 4ths in the voicing of dominant 7th chords
is shown in Fig. 3.10, starting at [*2]. The lead voice now is different. As an
illustration of the 7 = 1 replacement rule for the major chord, see the voicing
at [*1].
41
& c b
[*]
P1
P2
P3
P4
P5
& c #
& c #
? c # b
? c # b
tc
bb
B 7 13 A7 13
(a)
[*1] [*]
[*2]
[*]
& c b
o
B 7
1
P1
P2
P3
P4
P5
& c b b
& c b b
b
?c
?c
C
tc
A7 alt
B 7 alt
(b)
Figure 3.9: Sectional harmony in five parts, mixed chord structures. (a): harmonization using
chords in 4ths. (b): conventional sectional harmony, using the secondary dominant
42
[*1]
[*2]
P1
&c
P2
& c #
P3
P4
P5
& c # n
n b
? c #
? c # n
tc
b # 11
B 13
A7
alt
Figure 3.10: Sectional harmony in five parts, maximising the harmonisation in 4ths.
43
Chapter 4
Ensemble techniques
In this chapter we will discuss several techniques of ensemble writing, i.e., for a group of
mixed instrumentation and variable size. Obviously we will work with the standard big
band instrumentation of five saxophones, four trumpets, four trombones plus rhythm section, but we will also have a look at smaller ensembles. We will assume here that the lead
voice is the highest part in the ensemble.
There is considerable treatment of these techniques in the textbooks (see [2], Part 5, [6],
p. 131 ff., [11], Ch. 14-16). First the main aspects of ensemble writing will be discussed. Then
the various techniques will be illustrated using examples.
TPT1
AS1
AS2
TS1
TPT2
TPT3
TBN1
TPT4
TBN2
TBN3
TS2
BS
TBN4
the instrumentation, in particular the compass of your lead voice. But it also affects the
voicing in the upper range section. this will be the trumpets in case of a big band, but
it might also involve a string or woodwind section.
Determine the voicing of the leading section. This will usually follow from the range
of the lead voice. In general, this is the moment when you decide to use cluster, close
or open voicing (see the chapter on strata techniques) for the leading section;
Determine the relative range of the lower sections. The next step is to decide about
the range and the voicing of the other sections in the ensemble. We will indicate these
ranges by the voicing diagram as illustrated in Figure 4.1. In this example we see the =
three sections of the big band; each column represents the voicing of a section from low
to high. The trombones (abbreviated as TBN) use a wider voicing than the trumpets
(abbreviated as TPT) that are in close voicing. We see an overlap between the three
sections.
Write the voices for the most dominant section first. In the big band the brass will
usually dominate over the saxophones. Therefore we start with the brass voicing and
then continue with the saxophone voicing.
Check the outer voices. Finally, we have to inspect the intervallic relations of the
outer voices of each section. Table 4.1 contains a checklist for the big band. Obviously,
this depends on the actual instrumentation. You will never find TBN1 above TPT1
(unisono is possible though) and usually the top saxophone voice AS1 is one ore more
voices below TPT1.
45
[*1]
[*1]
[*1]
[*1]
P1
b 1
& b c # n
P2
b
& b c # n # b
P3
P4
P1
P2
P3
P4
b
&b c
n
#
b
&b c
Gm7
? bb c
&b
[*7]
b5
n n
n
b
& b b n
n b
b b
b
Cm7/E
&b
Cm7
? bb
3
b
b n
#
# n
b b
n n n
3
3
E m7
A 7
Dm7
G7
# n b n
b # n
D7
b9
[*7]
n n n
b n b n b
# b b
A 7
[*8] [*9]
[*6]
[*5]
n n b n b
[*4]
# b n b
D7
b b b
[*3]
[*2]
n b
3
n
Cm7
b
& b n b
[*1]
Gm7
A 7
D7
Figure 4.2: Starting the ensemble voicing: sectional harmony in four parts.
After completing the four part sectional setting we will demonstrate the instrumentation
procedure for three groups of instruments, from a full big band to a smaller ensemble.
AS1
AS2
TS1
TS2
BS
TPT1
TPT2
TPT3
TPT4
TBN1
TBN2
TBN3
TBN4
RH
2
b 1
& b c # n # b n b
b
& b c # n b n
b
&b c
n
? b c #
? b c # n # b n b
b
b b n n n
n 3 b b b n n
n
? b c #
? b c # n # b n b
b
b 1
&b c
b b
3
b 3 b n b n b
n b
n
#
n b
n n n
n 3 b b b n n
n b
b b
#
n
b b
b
n b
? b c
b
Cm7
D7
E m7
b b
b b
G7
Cm7
C m7/E
n b n
3
b # n
# 3 n b n
b # n
3
A 7
D7
b9
Gm7
48
b b
3
#
Dm7
n n b n b n b n n n n
A 7
Gm7
# b b
b b
n b # n
b
n b
b n n b
3
b # n
3
b b n n
3
b n b n b # n
3
b b n n
6
b
n b n
b # b n b n n b n b n b
n
n n n
b
& b c # n # b n b
n b # n
b
n b
b n n b
3
b
3
4
n b b n n n
b
&b c
? b c
b
? b c
b
# b b
b 1
2
& b c # n
b
& b c # n b n
3
3
4
5
6
b # b n b n n b n b n b
n
n n n
A 7
D7
TPT1
AS1
TPT2
AS2
TPT3
TBN1
TS1
TPT4
TBN2
TS2
TBN3
BS
TBN4
Saxophones play in close voicing. There is overlap with the brass: we have
AS1=TPT2 and BS=TBN4. Again we see good intervallic relationships between
TPT1 and the outer saxophone voices; there are occasional 2nds between TPT1
and AS1. These are no problem, especially not in medium to up tempos.
Figure 4.4 shows the voicing diagram.
AS1
AS2
TS1
TS2
2
b 1
& b c # n b n
3
b n b n b
? bb c # b n b
b b b n n n b b
b 3 b n b n b
n b n n n
#
n b
b
&b c
? b c # n # n
b
b 4n
n 3 3b
b
n n
b 1
2
& b c # n
TPT2
b
& b c # n # b n b
3
b # b n b
TBN1
TBN2
TBN3
b
& b c # n b n
? b c
b
3
n
? bb c #
? bb c # n # b n b
n b
b
n b
# n b n
3
b # n
3
6
b
n b
b b
#
n b n
3 b # n
3
b b
3
#
n n b n b n b n n n n
3
# n b n
n b
3
b b n n n
b b
# b b
3
3
n n b n b n b n n n n
b n
n 3 b
b
n
n
b b
3
#
b b n n n
TPT1
# n b n
n b
TPT3
RH
b 1
&b c
? bb c
Gm7
Cm7
D7
E m7
A 7
Dm7
G7
Cm7
Cm7/E
A 7
D7
b9
Gm7
A 7
D7
The saxophone parts would have been better if played by a section that consists
of AS-AS-TS-BS, where the lower voice in the saxophones gains extra power
below the trombones.
Figure 4.6 shows the voicing diagram.
TPT1
TPT2
TPT3
AS1
AS2
TBN1
TS1
TBN2
TS2
TBN3
AS1
AS2
TS1
BS
TPT1
2
b 1
n b
b 3 3
& b c # n # b n b # b
b
&b c
6
n b b 5n b
# b b
n
n
n
n n n
3
3
n
b b b n n
# n
n
3 b
3
3
? b c # n b n b n b n b # n b n
#
n b n
b
n b
3
3
? b c
# b b n n n
b
b 4n
n 3 3b
b 1
2
b
n n
& b c # n
TBN1
3 b # n
b b
3
6
b
3
TBN2
b b
? bb c # n # b n b
#
b 1
&b c
? b c
b
Gm7
Cm7
D7
n b
n n
n b
3
b b
n
n b
n n
#
b b
E m7
A 7
RH
3
3
b
# n b n
& b c # n b n b n b n b # n b n
n b
3 b b n n
3 b # n
#
n b b
? bb c
n b
33
TPT2
Dm7
G7
Cm7
Cm7/E
A 7
D7
b9
Gm7
A 7
D7
51
Sax.
& b b # n # n # b n
b n
? b #
TBNS
Brass
& b b # n # b n
TBNS
b n
? b #
?b
Rhythm
G m7
b
C 13 9
This leads to an internally unbalanced voicing and gets the TS into a pretty low
region. Applying drop 2 voicing here while keeping the AS at its current position would still cover the gaps in the brass voicing and improve the voicing
within the section.
AS1
AS2
TBN1
TS1
TBN2
TS2
TBN3
BS
TBN4
The voicing diagram is shown in Figure 4.10. AS1 plays the lead voice, doubles
by BS at the lower octave. This lead voice is too high for TBN1, and therefore
TBN4 plays the lead at the lower octave, an effect used by Duke Ellington. Both
sections mix very well and will yield a full sound.
w
& c b www
b www
TPTS
www
?c w
Brass
ww
ww
Better
Unbalanced
TBNS
?c
Rhythm
w
F7
b www
w
b b wwww
D 7
# www
b www
A 7
b
D7 9
F7
b
D7 9
(a)
ww
& ww
[*1] [*3]
TPTS
Brass
ww
? ww
TBNS
? w
Rhythm
C
ww
ww
[*1]
ww
ww
C
[*3]
ww
ww
ww
ww
[*2]
6/9
6/9
# www
w
[*1] [*3]
ww
w
w
w
E m11
b wwww
[*5]
www
w
b ww [*4] www
b ww
w
C m11
D m9
ww
ww
[*1]
w
b www
D 7
[*6]
w
b www
ww
w
w
b
G7 9
[*6]
w
b # www
ww
w
w
b
G7 9
b bb wwww
[*1]
[*3]
b w
b www
G 7al t
(b)
Figure 4.11: Brass section voicings. (a): internal balance, (b): various chord types
ww
& ww
C
Brass
TPTS
w
? b ww
TBNS
? w
C7
Rhythm
b www
w
Cm
b ww
w
Eb
w
b b www
b ww
w
C7
C7
E bm
bw
b b b www
b ww
w
F#
#w
# # # www
b ww
w
C7
C7
(a)
C7
C7
bw
b b b www
w
? b ww
b ww
w
b ww
w
b ww
w
TPTS
? w
C7
C7
C7
ww
ww
Am
b ww
w
C7
D bm
w
b www
Gm
A
w
# www
b ww
w
b b www
bw
TBNS
Rhythm
b ww
w
# ww
& ww
D
Brass
Ab
F #m
# ## wwww
C7
(b)
Figure 4.12: Dominant 7th chord S7 bitonal voicings. (a): structures based on the octotonic
scale, (b): structures based on extended chords in 3rds.
either the octotonic scale, leading to major or minor triads on the roots C E F A
(the symmetric C7 -chord);
or extended chords in 3rds, leading to the major triad D (or its equivalent A) or the
minor triad Gm (and its equivalent Dm).
Use the transposed versions of this diagram to find bitonal brass voicing possibilities for
given lead (see the examples below).
TPTS
& b
? b
Brass
[*1]
TBNS
Rhythm
?b
[*3]
[*2]
b
b n ... b b b b .... n n ... b
. J
J
n.
.
b.
n
. b
n ... b .. n ... n
J
.
J
J
b9
F9 F
E m11
A 13
E m7
A7
D m11
b 13
G 7b 5
D m7
G7
.. n
..
J
.. b
. b
. J
C m11
j
b b n
J b
F 13 9
[*4]
C m7
[*5]
j
n b b ... n n n
F7
B b9
Bb
b b ... n
. n
J
B bm11
B b m7
A m11
A m7
bass patterns almost completely), the drummer will prepare and support the articulations (loud cymbal crashes and toms), while the piano player will either support the
horns (copying the voicings in both hands) or plug in a few high notes during the rests
in the horns.
Careful voice leading in the horns is now released: repeated notes are now permissible,
and augmented/diminished steps or leaps may occur in the middle voices.
56
b
b
& b
J
J
[*1] [*2]
b n b b n
? b n b b
J
J
TPTS
Brass
TBNS
Rhythm
D b7
j
b
C7
E bm
# b
[*3]
C7
A7
j
Eb
b b n b ...
b .
J
.
n b
# n n .. n b
. J
n
Fm
D7
G7
C7
Figure 4.14: Percussive voicing for brass using bitonal triads in the trumpets.
g
C7
C(m)
E
Gm
b
D7
Gm
B(m)
E
b
A7
E(m)
F
Bm
c
D7
F (m)
A
Am
b
G7
B(m)
E
Gm
g
C7
E
Gm
C(m)
Example 4.8: Percussive voicing for brass: bitonal triads in the trumpets
Problem: Determine the 8 part brass voicing for given lead voice and basic harmony.
Discussion:
At [*1] in Figure 4.14 the voicing of the S7 structure yields a minor second between TBN1, playing the major 3, and TBN2, playing the altered 9 = 10. This
voicing is frequently used by Thad Jones.
The D7 chord at [*2] is an intermediary, alternating step chord. The trombone
voicing stresses the exact parallel movement.
The trumpet section voicing uses full triads only, and uses chords in the key of
E only (one exception).
The example is one realisation form a set of possibilities. The full set is given in
Table 4.2.
Example 4.9: Percussive voicing for brass: use extended chords only
Problem: Determine the 8 part brass voicing for given lead voice and basic harmony.
Discussion:
Figure 4.15 demonstrates a consistent block chord harmonisation of the S7 structure: the triads in the trumpets are based on extended chords. At [*1] we recognise the voicing demonstrated in m. 1 from Fig. 4.12.b, i.e., S[D/C7], at [*2] we
use the voicing S[Ab/C7] as shown in m. 2 from the same figure.
57
&
J
?
J
TPTS
Brass
b
b
[*1]
TBNS
n
J
b # 11
[*2]
[*1]
b # 11
C B 13
A 7al t
E 13
j
? j b
b
Rhythm
6
9
n
n
[*3]
b
b
[*1]
b
b b n n
J
J
[*1] [*1]
n n
# n n n n
b
J J
ww
ww
ww
ww
#
#
#
6
D m11 E b 13 11 A b 13 11 G 13 11 C 9
j
b
j
n
Figure 4.15: Percussive voicing for brass using bitonal triads in the trumpets.
Like in the previous example the bass trombone TBN4 plays chord roots
throughout. This gives a solid base to the percussive voicing and is frequently
used.
Although voice leading aspects can be somewhat released in this technique, a
detail should be mentioned at regarding the lead voice. At [*3] we could have
used the following chord sequence for the harmonisation: A7 D7 G7 C.
However, the tone a in the lead over the A7 chord has the function 9, whose
normal resolution would have been a stepwise downward motion. In this example the lead instead has an upward stepwise motion a b and forces us to look
for a more appropriate harmonisation.
The previous example can be used to illustrate a procedure for the technique of percussive voicing, consisting of the following steps:
1. Assign the chord root tones to TBN4;
2. For dominant S7 chord structures assign the essential functions 3 and 7 to two other
trombones;
3. Assign the trumpet parts for all chord types (you may use consistent triad usage for
the dominant S7 structures);
4. Complete percussive voicing for the 4th trombone part for dominant S7 chords, then
assign TBN1 to TBN3 parts for the other chord types.
The following example deal with a rhythmic background: the rhythmic accents and the
basic harmony are pre-defined and a voicing for a 6 part brass section is to be determined.
We will discuss four alternatives, using different approaches.
Example 4.10: Rhythmic background for brass
Problem: Determine the 6 part brass voicing for given rhythmic accents and basic
harmony.
Discussion:
58
j
&
TPTS
Brass
Rhythm
TBNS
?
J
b ^
^
b
#
j
j
n
b ..
.
# > . # . >
>
>
b b > b n > ... b # > ... b >
J
J
B b7
Bb7
?
b b
A7
b n ^
#
B b7
^j
n ...
. ^
n n .. n
J
A7
D7
j
j b n
>
n >
J J # n
D m7
D7
G7
A7
D m7
G7
(a)
j
& #
TPTS
Brass
Rhythm
TBNS
?
J
C
^
#
[*3]
#
# #
>
bb >
b ^
[*2]
Bb7
B b7
A7
^
n
j
j
n ... # ...n b
> > >
[*2]
b n > .. b # > .. b >
. .
J
J
B b7
b n ^
b # n
A7
&
J
TBNS
? J
Brass
Rhythm
j
&
?
J
TBNS
Rhythm
b ^
TPTS
Brass
B b7
B b7
D7
b b
^
b
^
b
B b7
j b .. ..
# > . # .
>
>
b > b n > .. # > .
J . ..
B b7
n b b
A7
B b7
A7
j
b
>
>
b
J
B b7
D7
(c)
^
#
b n ^
# n
A7
D m7
[*1]
> >
> >
^
... b b ... n # n
J
J
n >
>
# b > ... # ... b > n ^
#
J
J
A7
j
j
# n b # #
b
n b # n
>
[*2]
b # [*1]
n b n >
J J # n
. ^
n n .. n
J
(b)
TPTS
^j
...
#
D7
n . b ^
n ..
J
. ^
n n ..
J
G7
G7
D7
G7
^j
n ...
D m7
b >
n J b b b b n n
J
b >
#
n
#
n
n
J J
. b ^
n .. b J
D m7
A7
D7
G7
D m7
A7
D m7
j j # n n
#
>
#
n >
J J # n
G7
D7
b
A7
D m7
G7
(d)
Figure 4.16: Rhythmic background for brass. (a): mid-low range, diatonic extensions, (b):
mid-low range, all extensions, (c): mid-high range, triads in trumpets, (d): low range, basic
S7 chords only.
59
60
Sax.
? b b c b
J b
Dm B
j
b c
b
&
TPTS
Brass
j
b
& b c
TBNS
? b b c b
b
J
Bb
Bb
n
# 11 J
13 A b13
? b b c j
Rhythm
b
n
J
G m7
Gm
b
b
Eb
b
b
#
D b 13 11
b
b
Bb
n
n
C m11
C m7
Eb
b n
#
D b 13 11
j
n
n
b
J
[*1]
n
b
Jb
n
b n b b
J
C m Bb
j
n
b bb
J
b
G 7 9/ 13 F 9
F7
j
b
#
A b13 11
j
b
j
..
..
. n
J
Dm
j
..
..
..
.
. n
J
Bb
G m9
j
. n
b n ..
n ..
nn .
b
b
J
ww
ww
w
B
G
Dm
j
ww
n ...
ww
.
.
.. www
nn . b
w
J
C m9
B 7alt
n.
B b9
6
j
b
Sax.
j
&
?
J
j
&
TPTS
Brass
TBNS
?
J
6
C9
C
D m11
J
#
J
[*1]
#
? j
Rhythm
E m9
n
D m9
D m7
A m9
Am
[*3]
# ..
.
b
b b
J
n n ....
b b
J
[*2]
b
J
G 7alt
E m11
E m7
# n
J 7al t
[*1]
F 13
[*2]
# ..
.
n.
G7
J
n
#
J
n ..
A7
j
b
..
..
.
n n
J
n
J
..
..
b
J
..
..
D m9
D m7
b b
J
b
J
G 7al t
[*2]
G7
[*1]
Sax.
& b j b
? b
J
j
& b
TPTS
Brass
TBNS
b
? b b
J
F
13 E b 9# 11
? b b
Rhythm
J
[*2]
b
J
#
J
b b
J
n #
J
D 7alt
j
n
# n
b
b n
b
n b
J
n #
J
b
n b
J
n #
J
j
n n
b9
D 7
b
[*3]
j
13 E b 9# 11
b
J
b b
J
D 7alt
j
n
b
J
b n
j
n n
b9
D 7
b
b
n b
J
F
13 E b 9# 11
b
J
j
b
#
J
b b
J
n #
J
D 7alt
b n
b9
D 7
b
63
? b #
&b
F
Brass
TPTS
? b #
TBNS
?b
A 7alt
Rhythm
b n
b # n
#
E b 13 11 D 7al t
n n ..
.
b n
b # n
..
n b
J
A
.
# ...
n nn ...
.
j
b
# 11
G 13
# 11
C 13
J
b b
J n # n b n #
Dm C
F
n
b b
J n # n b n #
F 13
E 7alt
J n
#
E b13 11 D 7alt
b
J
.
.
n ..
.
...
.
.
n ..
.
G m11
n
J
n
J
# 11
C 13
Solution 1 demonstrates what happens when TPT1 is doubled at the lower octave by AS1 lead, and two octaves below by BS. We see a problem at [*1] where
the saxophones go below TBNs. This creates a muddled sound. At [*2] the BS
does not double the lead: instead it takes care of the chordal function 3 (the f )
in the lower octave; this is a sudden change in the voicing.
Solution 2 has BS doubling TBN4, playing chord roots. In order to achieve a
good voice leading in AS1, that will still stick out audibly in the ensemble voicing, we created the acceptable doubling of the 7 at [*3]. This is a better alternative
to the first solution and will yield an internal sound balance in the saxophone
section.
Solution 3 is based on neither lead doubling by AS1, nor root doubling by BS.
From the brass voicing we select 5 functions from the chords and assign them to
the saxophone parts, still trying to maintain an acceptable AS1 lead voice.
64
? bb
b
n ..
b
&bb
.
n ...
TPTS
Brass
TBNS
? bb
b
Eb
Rhythm
...
? bb
b
13
C m11
..
n ..
#
F 13 11
j
j
# n n n # n n n b b
b
n
J
b
b
J
n ##
J
n
b n
# b
J
B b13
D 13
E b13
n ##
b
b
n b n
n # b
D 13
#
D b 13 11
n #
n
n b
n
b
#
C 9 11
b
b
n
n.
B b13
n
F 13
^
>
n ^ b >
b
& b b n
Sax.
? b
bb
TPTS
Eb
Rhythm
Sax.
? b
bb
b
& b b
TPTS
Brass
TBNS
? b
bb
Eb
Rhythm
? b
bb
b
& b b
B b7
[*3] F 7
^
>
n b ^ b >
b ^ >
^ >
n b
? b
bb
F7
B b7
>
n ..
.
^
n b b
^
^
n
>
...
^
n b >
TBNS
? b
bb
b ^
G7
j
b
D 7
D 7
..
>
>
n ..
>
...
[*5] >
.
n ..
G7
j
b
>
J
>
b
J
b ^
b ^
n b
C m7
B b m7
^
j
n b
F7
(a)
j
>
b >
J
^
^
b
b ^
[*4]
n b ^
b
^
^
b
[*5]
^
^
b
n b b
b
C m7
F7
B b m7
[*1]
E b7
j
>
b >
J
>
J
[*5] n >
b
J
^
j b
E b7
~..~F~al
n
~~l~
>
[*2]
> ~.F~a
n n b
. ~~ll
b
>
>
>
> ~. ~Fa
. ~~ll~
n b >
. b
> .
..
ll ~~
Fa~~
~~~
Brass
>
^
b
& b b n
^
^
..
>
>
n ..
Ab
G7
[*1]
b > ^
G m7
^
n
n ^
^
^
~.. ~F~a~ll
>
>
> ~.F~all
> ^
n
. ~ n b n
> .
~.. ~F~a~ll~
Ab
>
bn b n b >
G7
b > ^
G m7
F m7 B b 7 E b
>
C7
^
n
n ^
C7
F m7 B b 7 E
^b
>
(b)
Figure 4.22: Bitonal ensemble voicing for intermediate size big band. (a): trumpets in B,
(b): trumpets in A
66
67
Bibliography
[1] Alfred Blatter. Instrumentation and Orchestration. Wadsworth/Thomson Learning,
Schirmer, Belmont, CA, second edition, 1997. ISBN 0-00-02-82-864570-70-7. xix + 508
pp.
[2] Gordon Delamont. Modern Arranging Technique. Modern Arranging and Composing.
Kendor Music Inc., Delevan, NY, 1965. iv + 239 pp.
[3] Frans Elsen. Jazz arranging course. Technical report, Royal Netherlands Conservatory,
The Hague, 1983. (in Dutch, unpublished lecture notes).
[4] Russell Garcia. The Professional Arranger Composer (Book II), volume 2. Criterion Music
Corporation, Hollywood, CA, 1979. iv + 91 pp.
[5] Kent Kennan and Donald Grantham. The Technique of Orchestration. Prentice-Hall Inc,
Upper Saddle River, NJ, fifth edition, 1997. ISBN 0-13-466327-6. xiv + 411 pp.
[6] Henri Mancini. Sounds & Scores: a Practical Guide to Professional Orchestration.
Northridge Music Inc., USA, 1986. ISBN 0-89898-667-2. x + 243 pp.
[7] Norman Del Mar. Anatomy of the Orchestra. Faber & Faber, London, 1983. ISBN 0-57113185-9. 528 pp.
[8] Sammy Nestico. The Complete Arranger. Kendor Music, Inc., Delevan, NY, 1993. x +340
pp.
[9] Ken Rattenbury. Duke Ellington: Jazz Composer. Yale University Press, New Haven and
London, 1990. ISBN 0-300-05507-2. xii + 327 pp.
[10] Nelson Riddle. Arranged by Nelson Riddle. Warner Bros. Publications Inc., Miami, FL,
1985. ISBN 486-21266. 200 pp.
[11] William Russo. Composing for the Jazz Orchestra. The University of Chicago Press,
Chicago & London, 1961. ISBN 0-226-73209-6. vi + 90 pp.
[12] William Russo. Jazz Composition and Orchestration. The University of Chicago Press,
Chicago & London, 1968. ISBN 0-226-73213-4. xvii + 825 pp.
[13] Joseph Schillinger. The Schillinger System of Musical Composition, volume I and II of Da
Capo Press Music Reprint Series. Da Capo Press, New York, fourth edition, 1946. ISBN
0-306-77521-2 and 0-306-77522-0. xxiii + 1640 pp.
68
BIBLIOGRAPHY
[14] Gunther Schuller. Early Jazz: Its Roots and Musical Development, volume 1 of The History
of Jazz. Oxford University Press, New York, Oxford, 1968. ISBN 0-19-504043-0. xii + 401
pp.
[15] Gunther Schuller. The Swing Era: The Development of Jazz 1930-1945, volume 2 of The
History of Jazz. Oxford University Press, New York, Oxford, 1989. ISBN 0-19-507140-9.
xviii + 919 pp.
[16] Don Sebesky. The Contemporary Arranger. Alfred Publishing Co., Inc., Van Nuys, CA,
definite edition, 1994. ISBN 0-88284-485-7. xv + 237 pp.
[17] Fred Sturm. Changes Over Time: The Evolution of Jazz Arranging. Advance Music, USA,
1995. ISBN 0-89898-667-2. 222 pp. (Order # 11350).
[18] Walter van der Leur. Something to Live For: The Music of Billy Strayhorn. Oxford University Press, New York, Oxford, 2002. ISBN 0-19-512448-0. xxiii + 328 pp.
69
Index
altered dominant chord, 27
appoggiatura, 23, 25
big band, 1, 33, 37, 44, 45, 47, 61
bitonal voicing, 54, 57, 65
brass voicing, 53
chordal functions, 11, 27, 53
chords in 4ths, 33, 37, 67
classical harmony, 25
close voicing, 20, 45
cluster voicing, 33, 38, 45, 54
cross relation, 10
diatonic parallel structures, 19, 28, 38
diminished chord, 7
dominant chord
altered, 27
extended, 27
drop 2 voicing, 4, 20, 34
ensemble technique, 3, 44
ensemble technique
fundamental aspects, 44
intervals between outer voices, 45
voicing diagram, 45
exact parallel chords, 9, 12, 41, 56, 65
extended chord structure, 7, 8, 27, 53, 54
extended four part sectional harmony, 33
functional harmony, 3, 5
half-diminished chord, 11, 14
harmony
classical, 25
functional, 3, 5
modal, 3, 20
tritone, 20, 29
turnaround, 61
voicing
70
INDEX
bitonal, 54, 57, 65
change of, 23
close, 4, 20, 45
cluster, 45, 54
drop 2, 20, 34
in 4ths, 33
mixed, 34, 52
open, 24, 35, 45
percussive, 55
voicing diagram, 45
voicing techniques, 1
walking bass, 56, 67
woodwind section, 37, 45
71