Jazz Arrangin Tutorial From the Net

8/13/2019 Jazz Arrangin Tutorial From the Net

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Jazz Arranging tutorial

SAXOPHONES

The saxophone ranges below represent the lowest pitch available to the highest.

Professional players can play comfortably throughout the entire range of the

instrument. In addition to the ranges illustrated below, the professional is capable of

the extreme high register or altissimo register, which, depending on the player, is

sometimes a 5th or 6th above the highest note given below. The extended upper range

should be limited to improvised solos and never used in a written part. It is also

generally not a good idea to write in the extreme low range for soprano, alto, or tenor,

as notes in this range have a tendency not to speak or sound forced. The baritone

saxophone is much more comfortable and reliable in the low register.

axophones are capable of playing the !a"" legato style very effectively. #nlike brass

instruments, it is easier for saxophones to perform rapid passages and angular

melodies. This would help explain some of its popularity as a !a"" instrument.

There are usually five saxophones in a big band using the following instrumentation$

% altos, % tenors, and & baritone or & soprano, & alto, % tenors, and & baritone.

Transposition: Up a major second from concert pitc!

'ecause the soprano saxophone is now a common instrument, both as a section

member and a soloist, it is included on this page and not on the(oodwind )oubles

page. The soprano can be heard on the melodic line of a saxophone section soli,

playing improvised solos, blending nicely as an inner harmony part, or doubled with a

trumpet on a melodic line. (hen used as the top line of a soli it is normally played by

the &st *lto player. In other situations it can be played by any member of thesaxophone section.

The following tunes from theAlive XV+) use soprano saxophoneIsotope,

Entropical Paradise, Oleo,North Rim, andMeaning of the Blues.

-T/ 0any sopranos now have a high 12 key.
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Transposition: Up a major si"t from concert pitc! #ritten in tre$le clef

The alto is usually the lead instrument in the saxophone section. It is a common solo

instrument and sounds well playing unison or octave melodic lines with any of the

other saxophones or brass instruments.

-T/ -ot all altos have a high 12 key.

Transposition: Up a major nint %an octa&e ' a major second( from concertpitc! #ritten in tre$le clef!

The two tenors found in the big band saxophone section are important as players of

inner harmony parts and as doublers of melodic lines. They can be heard in unison

with trombones or in octaves with a trumpet, creating a 3small group3 sound. It is the

most common solo instrument of the big band.

-T/ -ot all tenors have a high 12 key.

Transposition: Up a major tirteent %an octa&e ' a major si"t( from concert

pitc! #ritten in tre$le clef!


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The baritone saxophone is the bass instrument of the saxophone section. It is common

to hear the baritone playing as part of the saxophone section or in concert with the

other bass instruments 4 bass guitar and bass trombone.

-T/ -ot all baritones have a high 12 key or a low *.

#OO)#*N) )OU+,ES

-lute. Piccolo. /larinet. and +ass /larinet

Professional saxophone players are expected to double on a number of other

woodwind instruments. The more common of these instruments, flute, piccolo,

clarinet and bass clarinet are listed below and can be heard on theAlive XV+). *

woodwind specialist, besides playing all the saxophones, flutes, and clarinets, may

also play oboe, /nglish horn, bassoon, alto flute, or recorder. now the strengths and

weaknesses of the musicians for whom you are writing. )o not be too technical with

your writing. * saxophone player playing clarinet or flute will probably not have the

same technical abilities on those instruments as they would have on a saxophone. et

the musicians7 assistance. (rite out your ideas and have someone play them back to

you. I have found that most musicians are glad to help you avoid writing difficult or

impossible passages for their instrument.

*lways let the musicians know prior to a rehearsal or performance if there are any

special doubling re8uirements. )o not write woodwind doubles unless there is

someone in the section with the necessary skills to perform the part. If woodwind

doubling is not a strength of the saxophone section being written for, then do not have

them double.

Parts should clearly indicate instrument changes. ive ample time for musicians to

make these changes. 9see below:

Transposition: None. 0ritten as sounds!

*ll professional and most college saxophone players will also play flute, but all will

have varying skill levels on the instrument. Therefore, when writing flute parts for asaxophone player it is best to avoid extreme high or low ranges. ;imiting the upper


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range to at least a fourth below its highest note 9indicated above: is preferred.


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Transposition: Up a major nint %octa&e ' a major second( from concert pitc

and 0ritten in tre$le clef!

The bass clarinet is sometimes used in big band charts and is usually played by the

baritone saxophone player. It provides a light feel as a bass instrument, and an

interesting texture when doubled on a melodic line.

The following charts from theAlive XV+) use bass clarinet OleoandHutones.

+2ASS

Trumpet. Trom$one. and +ass Trom$one

'rass sections in big bands come in various si"es from the = trumpets and & trombone

in the

trumpets and > trombones 9= tenors and & bass:. There are two very speciali"ed

parts in the brass section, &st Trumpet 9lead: and >th Trombone 9bass:. It is importantthat the arranger know the comfortable ranges of these instruments as they will vary

from player to player and could, if not written correctly, have a negative impact on the

success of an arrangement.

*ngular, be4bop types of lines will not work well for brass instruments, especially

when harmoni"ed. It is best to double these types of lines with a woodwind

instrument which will be better able to play awkward lines in a !a"" legato style 9see


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Transposition: Up a major second from concert pitc!

Trumpets are known for a powerful and brilliant sound. They do their best work in

musical situations which re8uire aggressiveness. In other situations, such as ballads,

where a less aggressive sound is needed a section of flugelhorns will work nicely.

'ut, not all amatuer trumpet players will have access to a flugelhorn. @erify this with

the trumpet section before writing flugelhorn parts. 'e aware that flugelhorns have a

tendency to create intonation problems, especially in the upper register and when

played by younger trumpeters.

Sounds as 0ritten!

Trombones have the abillity to play with an attractive and sonorous sound or with a

direct, pointed sound. The trombone section is normally the harmonic foundation of

the big band, often playing sustained chords or syncopated punches. It is importantthat writers know the basics of trombone slide positions and techni8ues. ome lines

are not able to be played well on trombone. *sk an accomplished trombonist to play

your trombone parts and ask 8uestions.

Sounds as 0ritten!

The bass trombone can function very easily as the fourth part of a tenor trombone

section or with the other bass instruments in the big band. It will often double the bass

guitar or baritone saxophone for added volume and punch to bass figures. The

extreme low range is best reserved for syncopated tuttirhythms and sustain pitches,

not eighth4note lines.

-T/ -ot all trombones with an added valve 9or trigger: are bass trombones.

enerally, bass trombones will have two valves and a bore si"e that is larger than thetenor trombone. The larger bore si"e makes playing in the low register easier and the


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added valves reduce some of the slide movement re8uired to get from one note to the

next.

2H3TH4

Piano. +ass. 5uitar. and )rums

In writing rhythm parts 3simple is best3 is a good general rule. ;et each rhythm

section player play$ they can probably improvise a better part than you could ever

write. Too much writing will confuse even the best players. ince many young writers

do not understand how to write for the various rhythm section instruments, a few

samples are included below.

The basic rhythm section consists of piano, bass, and drums. ome bands will replace

the piano with guitar and some will have both. n rare occasions you will see a band

with piano, guitar, bass, drums, and percussion, the instrumentation of most bands at

the #niversity of -orth Texas.

P*ANO

-T/ The range of the piano, because of the various si"es, acoustic and electronic

varieties, is not included.

Transposition: None. piano is 0ritten in concert pitc!

(hen writing for piano primarily use only chord symbols and slashes. ccasionallyyou will need to integrate the piano with the horn rhythms.

Isotope

ccasionally the piano will need to play an exact voicing. In this case it will need to

be written out. Piano in combination with horns, like in the example below, can help

add a more full texture, not unlike the overdubbing of vocal parts in the recording

studio.

North Rim
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-T/ ometimes it is best for the piano not to play at all. /specially in shout

sections when the horns are providing the main harmonic support, and the harmonicrhythm 9pace at which chords change: is very fast.

Transposition: Sounds an octa&e lo0er tan 0ritten!

The two notes above in parenthesis 9+ and ': are notes associated with 54string

electric basses, and acoustic basses 9low + only: that have a special extension on the

/ string. It is best to be conservative in this extended range, taking into account that

the next band that wishes to play the chart may not have a bass player with an

instrument capable of playing it in the register it was written.

'ass parts almost always contain written notes and rhythms that correspond to horn

parts. This integration of the horns and rhythm section leaves nothing to chance.+hord symbols imply the part is to be played ad li, notate without the chord

symbols.

The Cheese That Time Forgot%as 0ritten in $ass part(
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ccasionally one will see bass parts that include the techni8ue of producing

harmonics and double stops, sometimes triple or 8uadruple stops. o to

+0PITI-*; T/+?-IA#/ 4 P;*-I-to see and hear the use of double

stops inEntropical Paradise. +onsult bass players to learn more.

Transposition: Sounds one octa&e lo0er tan 0ritten!

If writing for a band that has a piano and guitar it is sometimes advisable to have the

two instruments alternate playing. Two comping instruments playing at the same time

can be a problem, especially among inexperienced players. This can be done by

simply including the changes in both parts and writing 3Piano nly3 or 3uitar nly3

at the points one instrument should play and the other should tacet9not play:. Thus, if

you only have one comping instrument all of the chord changes will be in both parts.

?aving the piano comp for the trumpet solo and then the guitar for the tenor solo can

be a simple, yet effective contrast.

uitar parts are written in the same manner as piano parts, but in treble clef only.

0ost guitar players do not read bass clef.

*lso, most guitarists love to see written lines in their parts. ince two comping

instruments constantly playing are not needed, the guitar can double a melodic line

from the horns. This will be greatly appreciated by the guitarist.

)2U4S

)rum parts should be written as simple and uncluttered as possible. )rum parts aretraditionally written in bass clef but the percussion clef 9see below: is also acceptable.

(ritten instructions are best when describing styles$ medium swing, bossa, funk, two4

feel, etc. )o not try to write the style out note for note. If more information is needed

in the style description write it$ medium swing a la 'asie, straight eighth feel a la Pat

0etheny roup, etc.

It is not uncommon to see on a drum part the phrase 3Play &6 'ars3. This tells the

drummer to play time and is usually used when there are no horn parts being played,

such as during a solo section. It is important to write horn cues on the top of the staff,

as this will help the drummer keep his place in the music and provide guidance on

how the part is to be played. It is easy for drummers to become lost without ade8uate

cues. +ues will often include the name of what section or instrument is playing so that
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the drummer knows what to listen for. They can also help the drummer properly set4

up horn figures.

*lthough much of a drum part needs no written notation at all, there are many

occasions in big band music where the drummer absolutely needs to know what is

being played by the horns. In the example below, listen to what (illie 7'urke playsand compare it to what he sees on the page. -otice the horns cues are written on top

of the staff and the rhythmic notation in the middle of the staff are parts that are to be

played with the rest of the band 4 big hitsB. The drum fill is indicated with the word

3fill3 and he plays other fills called 3set4ups3 that are not written. This is a very

precise bit of writing but is essentially only a guide.

North Rim

#riting for ,ead Trumpet. Trom$one. and Alto Sa"opone

nowing the correct way to write for the lead instruments is very important. /very

chord is voiced down from the lead part and it is essential that parts are written in arealistic range. It is also important to know that this will vary from player to player

and from band to band.

,ead Trumpet

;ead trumpet playing is extremely demanding. 0ost lead players will not play unison

lines with the other trumpets or play improvised solos. ome will not even double on

flugelhorn. There is usually no point in writing four trumpet parts in unison when

three will suffice. ;et the lead player rest or at least indicate in the part that it is a

unison line so he or she can rest if needed. In addition, do not write improvised solos

in the lead trumpet part.

0ature, experienced lead trumpet players can easily handle the two examples below.

There are several things to take note of

There is sufficient rest before the demanding part is to be played.

The parts are not technically difficult.

They occur at the climax of each arrangement with the entire band playing.

You Don't Know What Love Is
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Meaning of the Bues

,EA) T2O4+ONE

;ead trombone parts are generally written above middle +. There are two reasons for

this &: (hen harmoni"ing trombones the lead part must be high enough to

accommodate the other voices in a register that will not be too low and produce a

3muddy3 sound, and %: the lead player can play with more 3bite3 in the register above

middle +.

!ntropi"a #ara$ise

,EA) A,TO

The line below, written by 'rian (illiams, is a good example of lead alto writing.

This counter melody, with its angular shape and legato articulation, would have only

worked for saxophone. -otice how the lines in the upper register cuts through the

band. The line is in unison with the tenors, pushing them to the top of their range.

!ar% &pring%as 0ritten for alto(
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'elow, the &st *lto is the lead voice of the section. ;ines such as this one are

indigenous to saxophone playing.

Yes I Do%as 0ritten for alto(

SAXOPHONE SE/T*ON

'ecause of the large range of the saxophone section, from the alto 9or soprano: downto the baritone, the saxophone section sounds well in all styles of voicings.

The example below demonstrates root position voicings. -otice that extended notes 4

Cths, &&ths, and &=ths 4 are generally kept in the treble clef range and that =rds and

Dths are voiced imediately above the chord roots.

There Is No reater Love
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In this example various types of voicings are used. -otice that at the end of the

example the baritone leaves the saxophone section and becomes part of the bass

section !oining the bass guitar and bass trombone.

Isotope

The saxophone soli below is not one of your average harmoni"ations. 0ichael *bene

uses various types of voicings within these C measures. It is almost entirely five4part

density written in a linear style. 'ill )obbins book,!a"" Arranging and #omposing$

A %inear Approach, is very useful in learning this style of writing. (hile most

saxophone section writing is in a four4part, block or drop4% diatonic parallel style,

*bene makes use of 8uartal harmony and contrary motion.

(eo%concert pitc(

/ommon &oicings used in te sa"opone soli!
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(riters will usually not use the same type of voicing throughout a saxophone soli,

although block writing was very successful with the group upersax. Thad Eones

would move from four to five4voice harmony very fre8uently. ?e would also move in

and out of the drop %, drop %4>, and root position voicings, sometimes within the same

measure.

-T/ ee the first example above for sample root position voicings.

+loc64 ;ead line is doubled an octave lower by the baritone saxophone. This

is a voicing containing four different pitches. )rop 74 (rite a block voicing and move what would normally be the second

alto part down an octave 4 baritone part. This results in the melody being

doubled an octave lower in the second tenor part. To create a five4voice, drop

% harmoni"ation, revoice the inner parts as not to double any other pitches 4

seeIsotope example above.

)rop 7184 ame concept as the drop %, but also drop the fourth note below

the lead line down one octave. This is not a common voicing. The saxophone

section needs to be in a somewhat high register for this voicing to be effective.

9uartal &oicing4 *ny harmoni"ation based on the interval of a fourth or its

inversion 4 a fifth.

T2U4PET SE/T*ON

Trumpet voicings are generally restricted to a close or semi4open voicing. If the

voicing is spread too far apart the power of the section can be diminished. -otes

written toward the low range of the instrument will not balance well with the upper

parts.

(hen voiced with trombones, trumpets ususally contain 3color3 notes, such as altered

tones and extended harmonies.


Thad Eones fre8uently used triads when voicing trumpets above trombones and

saxophones. The triads were created from the extended harmonies of the chord. In the

example below 0att ?arris uses this concept on the last two chords. The chord

symbols below the staff represent the notation using polychord symbols.There Is No reater Love
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The only trumpet soli found on theAlive XV+) is this one fromHutones.It

alternates from unison to block voicing.

T2O4+ONE SE/T*ON

;ike the saxophone section, the trombone section sounds e8ually well in close or open

position voicings. The trombone voicing is the harmonic foundation for the brass

section and will almost always contain the third and seventh of the chord.

Trombones are often used in a rhythm section role, such as the 3punches3 illustrated

below. These simulate the left hand comping of a !a"" piano player. -otice that most

of the harmoni"ations are rootless and that the third and seventh are present in each

chord. *lso, take into consideration the placement of extended harmonies within each

voicing. They are all located above the bass clef staff.

The Cheese That Time Forgot

'elow is an example of root position voicings using five trombone parts. -otice that

the third and seventh of each chord is present and that chord extensions are writtenabove the bass clef staff. Auartal harmony is used on beat four of the second measure.

Isotope
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The only harmoni"ed trombone solifound on the +) is from &es I 'o. There are five

trombone parts in this example. The top four parts play primarily rootless voicings

and the bass trombone plays chord roots.

4*XE) SE/T*ON

The mixed section soli is voiced similiar to the saxophone soli. There is a great

amount of flexibility of numbers of instruments and types of instruments that can be

used. They provide colorful changes in texture and a 3small group3 feel within a big

band setting. The problem with a mixed soli is found in balancing brass and

woodwind instruments. This should be taken into account when writing them. ee the

two examples below.

North Rim%concert pitc(

Instrumentation Trumpet, *lto axophone, Tenor axophone, Trombone, 'aritone

axophone, uitar 9octave below trumpet:
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Isotope%concert pitc(

Instrumentation Trumpet 9harmon mute:, oprano axophone, *lto axophone,

Trombone 9cup mute:, Tenor axophone

-T/ 'ecause the trombone is in a high register and could overpower the mix,

+hris 0er" has the trombone using a cup mute

P,AN*N5

Planing, also called 3parallelism3, is a techni8ue in which harmonic intervalrelationships between notes are kept the same in relation to the melodic line. This is a
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very common techni8ue in today7s !a"" writing 4 listen to 0aria chneider7s work.

Planing has its origins in the impressionistic styles of )ebussy and


19/37

'ell tones are exactly what you would expect them to be 4 a series of tones generally

emulating the sound of a bell$ a hard attack followed by immediate decay in sound.

'rass instruments usually work best and trombones will sound better at it than

trumpets$ a common techni8ue used in trombone choir music. The goal is to outline a

harmony, usually ascending, with varying entrances, but usually consistent entrances.

The words 3'ell Tone3 should be written on each part in the appropriate place andwith an accent placed above the note.

)u*tones

*4*TAT*ON

Imitation occurs when a musical idea is copied, either exactly, altered, or transposed,

in another voice.

The excerpt below shows the first five notes of the melody to North Rim.

The five notes were then manipulated to create an interesting statement within the

introduction to the composition. The second line is imitating the first line 4 see below.

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/OUNTE2PO*NT

It should be strongly noted that anyone interested in composition should study &Fth

century counterpoint, as the ability to write good counter melodies is very important.

The example below is written in the style of a fugue. The sub!ect is an eight measure

long melodic line that is then repeated a >th higher in the saxophones. The answer is a

P> higher in the saxophones, but it7s entrance is only four measures after the

trombones have started. This techni8ue of beginning the answer before the sub!ect has

finished is calledstretto. The trumpets then enter a P> higher than the saxophones.

)uring 'ach7s era the third entrance would have been in the tonic 4 the same starting

pitch as the sub!ect. This style of writing is not common to big band arrangements,but this writer has heard it used on several occasions.

North Rim
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The type of counterpoint below is very common to big band writing. The counter

melody, in the tenor saxophones, is most active when the melody has a sustained note

and visa versa. It is common for a blues melody to be stated twice and during the

second playing a counterline is added to create variety.

The Cheese That Time Forgot

PE)A, PO*NT
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The primary function of the pedal point is to create tension and harmonic interest. *

common pitch 4 usually in the bass 4 is maintained while the harmony changes.

'elow are two examples of pedal point found on the +).

Isotope

Yes I Do

OST*NATO

#sually in the bass voice, the ostinato is a pattern of notes that are repeated over and

over. travinsky used this techni8ue to great effect layering ostinato on top of ostinato

4 listen to theRite of (pring. It is a popular techni8ue of contemporary !a"" writers but

care must be taken not to overuse it.

(eo

Chroma+one
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*NT2O)U/T*ONS

Introductions are not always written for big band charts, but most will have one.

*long with interludes and endings, introductions create unity within an arrangement.

0any writers write the introduction after a substantial amount of the chart has been

completed. It is necessary to know what is to be introduced and sometimes this

re8uires writing the head of the arrangement first to get some ideas on what material

will or will not be used in the introduction. 0ost introductions use melodic, harmonic

or rhythmic material from the tune and some have very little or no relationship to thetune at all. (hen starting a new chart and the introduction does not come to you right

away, skip it and start writing the head. Ideas for the introduction will come later.

EN)*N5S

In many instances endings will repeat portions of or all of some part of the chart, most

often the introduction or an interlude. ther ending examples will include the use of

harmonic andGor melodic material of the tune. ;ess often endings are newly composed

material with no relation to the rest of the chart.

*NTE2,U)ES

Interludes are usually related to introductory material, endings, or both. This is a very

effective way to create unity and variety in an arrangement. ccasionally interludes

will introduce brand new material to a composition.

EXTENS*ON O- PH2ASE

0usic is normally written in phrases of four or eight bars. ongs of =% bars length

will usually be comprised of eight four4bar phrases or four eight4bar phrases.

/xtended, and sometimes truncated phrases, are not uncommon in !a"" writing. This

is one of many ways to bring variety and interest to your writing. The followingexamples make good use of this techni8ue.
http://webpages.charter.net/dbristol4/tutorial/vcd/techost2.vcd


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SHOUT /HO2US

In a traditional sense, the shout chorus is the pinnacle of the big band chart. imilar to

the development section in onata *llegro form. This is where the writer can exhibit

his skills, creating something new and different within the arrangement. This is the

most exciting part of the chart. In much of today7s contemporary !a"" writing theshout chorus is no longer a tuttisection, where everyone plays the same rhythm. It has

become more subdued and sophisticated 4 less stereotypical of the big band era. ;isten

to the music of 0aria chneider and Eim 0c-eely.

0ost of the examples below represent the traditional approach.

4UTE) +2ASS

0any textural colors and shades can be created using muted brass. 0any different

types of mutes were created and used during the swing era. till in common use today

are the following cup, straight, plunger, harmon, bucket, and sometimes the hat. 1or

the latter two 9bucket and hat:, you are more likely to see written into the part 3play

into stand3, as a more convenient replacement. ?ave a musician friend demonstrate

each of the various types of mutes and ask what to avoid when writing for them.

There are certain circumstances where mutes are essential. To help ad!ust balance

problems, to blend better with flutes and clarinets, and to create special harmonic

textures.

(hen writing muted parts, give the player ample time to take a mute out or put it in 4

especially trombonists. 0ute changes should be clearly indicated in the parts 4 seeexample below. #se the term 30ute ut3 not 3pen3, because open could have a

different meaning, such as a solo section in which the repeats are open ended.

)OU+,*N5

There are many different instrumental combinations that can be utili"ed by the !a""

arranger. 'elow are several examples found on the +).

Trom$ones and 5uitar in unison

North Rim%as 0ritten(


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Tenor Sa"opone and 5uitar in unison

Chroma+one%as 0ritten(

Trumpets and Alto Sa"opones in unison

The Cheese That Time Forgot%as 0ritten(

Tenor Sa"opone. Trom$one. and +aritone Sa"opone in unison

Meaning of the Bues%concert pitc(

Tenor Sa"opone and Trom$one

0eaning of the 'lues

Piccolo. /larinet. Tenor Sa"opone. Trumpet and 5uitar in octa&es
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(eo%concert pitc(

+ass Trom$one. +aritone Sa"opone < +ass

Isotope

#OO)#*N)S

(oodwinds can be used in clever ways in big band charts. In most cases woodwind

parts are not essential to the success of the arrangement, but instead, can add a change

of texture that one could not get in any other manner.

In the example below, the addition of the soprano sax and flutes provides a lighter feel

and an interesting texture.

Meaning of the Bues%concert pitc(

-,U5E,HO2NS

These are usually used in ballads or when a softer sound is needed, such as when

doubling flutes or clarinets. (hen in the upper register, the flugelhorn can produce an

edgy sound somewhat like a trumpet. (riting in the upper register can defeat the

purpose of using the instrument. It sounds excellent in unison or in harmony as an
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extension of the trombone section. In some situations it can produce a 8uasi41rench

horn sound.

!ar% &pring%concert pitc( 1 8 flugelorns in unison

UN*SONS = O/TA>ES

In general, unison and octave lines are used when there is harmonic support. uch as a

saxophone soli in octaves with trombones playing punches, or a trumpet unisonmelody with saxophones playing a sustained harmony. The examples below show

various ways in which unisons and octaves are used on the +).

This first example is from the chartHutones. ;isten to the trombones in

unisonwith harmony being supplied by the rhythm section.

In this section fromIsotopethe saxes play in octaveswhile the rhythm, and

then the trombones, supply the harmony.

Trumpets in unison can add a great deal of power and intensity when written

in the mid to upper registers. This example from &ou 'on)t *no+ ,hat %ove

Isdemonstrates this ability. The trumpets have no problems being heard as

nine other wind instruments 9saxophones and trombones: provide sustained

harmony.

/nsemble tuttipassages in octaves are somewhat common in big band charts.

This example from -here Is No .reater %oveoccurs at the beginning of the

shout section. 'eginning in a density of one leaves room for greater harmonic

density later in the chorus.

T#O1PA2T

In much of tonal music, two4part density is written in parallel thirds and sixths. This

tends to be too commercial sounding for most !a"" writers and is usually avoided. Itcan still be used to good effect in the correct situation.

The example below, written by /ric


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The example below is of two4part density using parallel fourths, also called 8uartal

harmony 9see ?*


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In the example below, /ric :. *n emphasis on rhythm, rather

than harmony was desired in this section. The bass instruments are used like a bass

drum to set4up the syncopations in the upper parts. This concept is also used in the

first four bars of the intro to leo.


-*>E1PA2T
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1ive4part density is generally associated with the saxophone soli, the mixed

instrument soli, and full ensemble passages. *nything larger than five4part density

should be reserved for notes lasting a second or longer. This will give the listener

more time to hear, and appreciate, a complicated harmony.

'elow is a mixed ensemble, 8uartal voicing utili"ing five different pitches. It is also

an example of planing 9see


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SU+ST*TUT*ONS

/xperienced arrangers generally do not repeat the same chord progression from

chorus to chorus. ubtle changes can make a substantial difference in the writing

8uality.

'oth of the examples below were taken from the bridge of -here Is No .reater %ove

arranged by 0att ?arris. ee the


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EXTENS*ONS = PO,3/HO2)S

+hord extensions refer to adding to, or extending, a triad. This includes Dths, Cths,

&&ths, &=ths and their alterations. nowing how to voice extended chords is crucial to

!a"" ensemble writing. ?ere are a few general rules to follow

&. #se ma!or seventh intervals, or its inversion, minor seconds. harp nines 92C:

should be voiced above ma!or thirds and thirteenths 9&=: above sevenths 9D:.

%. *void minor ninths. This is created when not following the above rule.=. )o not write the extended notes too low, generally above 1 below middle +.

>. ometimes thinking of extended chords as polychords is helpful. eeNorth

Rimexamples below.


-otice on + Dalt 2C 9/b or )2: is above =rd 9/:.

*bene7s voicings below are very dense. The first, third, and seventh bars use six4part

density$ the fifth bar is seven4part density. -otice the use of the 0Dth intervals.

(eo
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ometimes chords can not be easily understood using traditional chord symbol

notation. In this case polychord symbols should be used. Polychords are written using

a hori"ontal line to separate the two chords, indicating both chords are to be played

together. This is different from inverted chords which use a diagonal line to indicate a

bass note other than the root.

The chord symbol notation below is the best way to write a 'b 0a!D, 2C, 2&& chord.

North Rim

North Rim
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*N>E2S*ONS

The use of inversions is a long4established techni8ue. enerally, inversions are used

to provide smooth bass lines and complimentary motion between the melody and

bass. +omplicated !a"" harmonies increase the number of inversions possible and add

to the number of chord choices from which the !a"" writer may draw. /xperiment

with chord voicings using different bass notes. (rite a melody note and a bass note

and see how many possible chords can be spelled which contain those two notes.+hallenge a friend to do the same.

Inverted chords are written with a diagonal slash between the chord and the bass note

4 +G'b J + triad with 'b in the bass.

In the example below, the bass note is the 5th of the +D chord and the Dth of the *D

chord.

Isotope

?ere, the 'b is the Cth of the *b sus chord and the ) is the 5th of the sus chord.
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Isotope

'elow, the 1 is the 0a!or Dth of the b 2&& chord.

North Rim

9UA2TA, HA24ON3

Auartal harmony refers to chords stacked in intervals of a fourth or its inversion, a

5th, sometimes called 8uintal harmony. It is still a very contemporary sound in !a""

writing and occurs fre8uently on theAlive XV+). This tutorial will demonstrate other

musical examples that use 8uartal harmony. The examples below clearly demonstrate

this techni8ue.

Cheese That Time Forgot%concert pitc(

Cheese That Time Forgot%concert pitc(

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-T/ Transpose the top bass clef part 9beginning on middle +: down one octave

and observe how the notes now stack in fourths.

/ontrapuntal Ela$oration of Static Harmon %/ESH(

+/? occurs when a moving line provides counterpoint to a stationary, or static

harmony.

The most common uses of +/? are below

&. 1ound in many tunes including/eelingsandM0 /unn0 Valentine.

%.!ames Bond -heme

1rom the +), ailey uses +/? which is similiar to the well known !ames Bond-hemebut with a clever twist at the end.
http://webpages.charter.net/dbristol4/tutorial/vcd/harmqua3.vcd


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4eaning of te +lues
http://webpages.charter.net/dbristol4/tutorial/vcd/harmces1.vcd

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Jazz Arrangin Tutorial From the Net