190980524-jazzarranging-ch2 (1).pdf
TRANSCRIPT
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CHAPTER
TWO:
THE SMALL GROUP
The small
group is a
self-contained
ensemble,
usually
with
one
to three
leads
(horns,
synthesizers,
tc.)
and rhythm
(tfuee
or
more).
Over
the years,
the majority
of
great
jazz
sorllrlds
have emanated
from the small
group. Most often, the small
group
features a
combination of
sounds.
Small
group
sounds
play a
vital role
within the orchestrationof larger jazz ensemblemusic, and small group is also the
most frequent
scoring choice
or good
and aggressive ocal backing
charts.
Writing creatively
for the
small group
is
as challenging
as any music
writing can be.
This
ensemble
s
totally transparent:
orchestration
cannot
hide
problems
that
exist.
Lastly, writing
for the small group
makes efficient
use
of
learning time:
there
is
only
a fraction
of
the
copywork
and other logistics
associated
with
learning to
write
STEPONE:
FORMSAND LAYOUT
1A:SONGFORMS
this
page)
lB: LAYING
OUT A
CHART
(page
5)
lC:
WORKING
THE TUNE
(page
6)
Song forms
are the structures on which most of
music is built.
Chapter
Two will
focus
only
on
two
(AABA
and ABAB) and how they impact upon the process
of
arranging. Stay
with these two forms
at
first:
they are most
easily
understood,
thus
freeing
more
of
your creativity
for
profitable
application.
Appendix
I
contains
a
list
of standards,
both
older
and
contemporary,
grouped
according o song form.
THE ABAB SONGFORM contains
wo eight-bar
periods
(AB)
that
repeat o
complete
he song
form.
(AB-AB)
In the typical
32-bar
song, each
AB section s 16
bars
long. As the music passes
rom A into B,
the
emotional
level
(contour)
should
rise. This usually occurs
within the
tune. If not, the arranger should
make
a change
to accommodate he
form.
(An
increase n orchestration
or in
rhythm
section)
A}.TSWEN.ING REUSEORIGINAL AIISWEn,ENDING
Important: before the second
period
(B)
can effectively
contrast or
answer the
first
period
(A),
music in
the A section
must feel like it
has been
developed
at
least
once.
Listen to the
headsof Black
Orpheus and Devil's
Island
(listening
tape) and watch
their lead
sheets
Appendix
7). Answering and contouring occurs
within
the tune
itself;
n
both
cases,
he chart
wrote
itself.
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Form
and Layout
The
contour
of an ABAB
song
looks
like
this:
The dotted line
rePresents
he
level of
interest
(tension,
energy)
already built
into
the tune.
---
TheAABA
soNGFoRM
operates
ifferentlyrom r The
irst wo
periods
re
virtually the same,except
or their cadences. his sets up the
need for a
contrasting
section,called the bridge. Here, the arrangermust decidehow to provide a senseof
departure
for the contrasting
bridge.
Listen to Skylark
and to You Don't
Know What
Love
Is
(listening
tape) and watch
their charts
(Appendix
7) In both tunes, the A section will
have a feeling
of
development
before
reaching
the cadence.
This is a must; it is the arranger's
responsibility.
The contour of
an AABA song looks like this:
AAB
The
feeling
of
departure is usually
caused
by changesboth in the
range and
the
characterof
the melody itself.
.
The bridge melody may go
higher
(as
n
Skylark) or
lower
(as
n Down In The
Depths). SeeAppendix
7.
.
Or
the departure
may be very
subtle,
as in Black Nile
(Appendix
7). The melody
line is chorded to strengthen the contrast, the feeling of departure.
Hnutd.l af
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Form and
Layout
OUTER
FORM
(THE
EXTERNAL
FORM)
Song
orms
describe
he
structure
of
mo-re
han
just
the
tune.
An
arrangement
has
form
of
its
own.
The
outer
form
shows
.hory
the
larger
sections
of a
complete
arrangement
relate
to
each
other.
In
a
simple
head
fhart,
the
tune
itself
(first
and
last
playing)
are
represented
as
"A",
the
soios
as
,,8,,.
The
outer
form,
is
,,ABA,,.
A
q9o{
arrangement
will
introduce
the tune,
develop
it
(in
various
ways)
and
bring
it back
briefly
at
the
end. (This
same
outline
is quite
common
in
classical
symphonic
music:
exposition
-
development
-
recipitulation.)
Inrnost jazzcharts,thetuneitselfusua1lyoccurs@.
solos,
solis,
and
other
developments,
ociupy
the
B
section.
see
the
following
section,
and
also
Appendix
6.1
Layout.
A
LAYING
OUT
A
CHART.
You
must
first
answer
this
important
question:
How
much
clock
time
should
be
taken
,rp
i.
the
performunce
of
the
chart?
l-e1sth
of the
tune,
best
tempo,
etc.,
together
determine
the
elapsed
time
for
each
.li'orr,s
of play.
The
deal
clock-length
or
a
chart
is
influenced
by
these
actors:
1) The length of the original
material
helps
determine
the
overall
length
of
a
chart'
Longer
tunes
can
survive
long&
arrangements.
Shorter
tunes
should
not
last
as long.
2)
The
application
of an
arrangement
also
influences
ts
best
length.
'
Performances
hat
include
the
lyric
are
usually
shorter
than
those
that
are
purely
instrumental.
A
lyric
tune
can
susiain
only
so much
musical
.
In this
case,
he
arranger
must
specifically
determine
the
length
of the
chart,
and
write
it accorlingly.
L
J
'
Performances
hat
are
purely intrumental can be sustained onger, if
the
solos
t"lu.-
interesting
and
vital.
In
this,
the
compor",
oi
arranger
writes
a
qogd
he_ad
hart
(with
introduction
and
optional
endings),
eXving
the
overall
length
up
to
the
performers.
'
Head
charts
(above)
hat
are
sure
to take
extreme
clock
time
should
also
include
written
transitions
that
can
be
inserted
between
solos
from
time
to
time
to
break
ug
lhe
unending
rhythm
groove.
The
players
themselves
will
provide
some
of the
relief
through
changes
n
rhythm
texture
during
solos.
DEVEI'PMENT
.
SOI'S,
SOUS.
pg
45
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Form
and
Layout
WORKING
THE TUNE
"Working
the
fune" refers
to
a process
of experimentation,
and
usually
involves
the
piano. During
this time,
ideas are
worked
out against
the
framework
of the
tutre
being arranged.
lhis
process
s indispensable
n
both
composing
and arranging,
and
does
not
need to
bgin
tempo.
(Rubato
experimentation
w-orks
dut ideas
thit
y"ou are
beginning
to hear.)
1.
Play
the cadences.
what
happens
when
you
substitute
cadences?
2.
Isolate the ii-V
progressions.
What
happens
when
they
sequence
where
they
shouldn't?
What
happens
when ii-V
progressions
are
placed
over a pedal
point?
3. Find
the sequences
and
other imitations).
Can
you
carry these
nto new
ideas?
4.
Improvise
with
the
non-harmonic
leaps.
Push
them
farther
than they
are
written.
Do
the
results
suggest
other developmental
deas?
5. Createan interesting
pattern
in the
rhythm
accompaniment.
Can you
maintain
the
groove
against
the
tune?
6. Find
the keynotes
in
your
tune.
(See
age 42.)
Improvise
melodic
ideas
on
the changes
hat
move
around
the keynotes.
The
Keynotes
of
a
tune
are
the
notes that
form
the
structure
on
which
the tune
is
built.
All good
tunes
may
be
reduced
to the
outline
of their
keymotes.
In
much
of the standard
repertoire,
the
strong interval relationshipsof 2nd, 3rd,7th,
9th,
etc.
connect
he
kelmotes
and the
fundamental
bass.
Intervals
of
5th and
8ve are
weaker,
Tore
commonly
found
in
cadence
areas,
where
the
energy levels
dlop
anywfY,
and
in
modal
or pentatonic
music,
where
a
lower
energy
le-vel
s
idiomaticallv
correct.
'
Keynotes
provide
a
structure
around
which
the
writer
can add
or
change melodic
material
without
compromising
the
tune.
pg46
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Form
and
Layout
KEYNOTES
alone
are found
on
this
leadsheet
of
'Just
Friends."
The standard
changes
appear
above
the
tune.
Alternatives
appear below,
on
the
bass
staff.
Notice how
much
easier
t
is to visualize the
reharmonization,
when only
the
keynotes
are present.
It becomes
much
easier
o concentrateon the
interval
relationships
between the melody
(keynote)
and
the bass
of
the changes.
. KEYNOTES AGAINST FUNDAMENTAL BASS s the critical two-part
relationship
that
influences the
"right"
and
"wrong"
choices o be made when
reharmoniztng
a
tune.
(See
Step
3, this chapter.)
Cma17
Lm/
Em7
Ag
G
ma17I
A5
AM?
D9
4t,h 6th
8ve
I
31
pg47
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Form
and Layout
SKETCHING
THE
LARGER
GROUP
Sketching
efers
to the
process
of
outlining
an
idea, to
be filled
in and
developed
later.
To
sketch
music
is to
write
the
most
important ideas
down
as
they
occur,
without
allowing
thoughts of
orchestration
to
impede
the
flow.
Vertical thoughts
(chords,
voicings,
etc.)
may be
noted non-musically
(abbreviations,
shorthand,
rhythms,
etc.).
-
Melodies
and chord
symbols,,when
accompanied
by
this system
of
personal shorthand, may quickly capture the beginnTry of a chart. Detail,
-orchestration,
and
fine-tuned
development
may be
addressed
after the
linear
structure
of
a
chart
begins
to
take
on shape.
SKETCHING
IS
ALWAYS
IN CONCERT
KEY.
pg 48
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Melody-2
STEP
TWO:
MELODIC DEVELOPMENT
ADDING
NOTESTO
TI{E MELODY
CONTRAPUNTAL
LINES
(page
6)
In most arrangements, he
original melody
is
developed
n
some
way.
No tune has
been written that fits every style without adjustment of some variety.
Developmentoccurs when
a melody
is treated
one of three ways:
.
The rhythm
of
a melody
may be
changed
or the
sake
of style.
(page
19)
.
Notes may be added
to the
melody.
(this
page)
.
The melody itself
may
be changed.
(Compositional:
page 52.)
2A ADDING
NOTES
TO
THE
MELODY
A melody line may need
to have additional
notes
(or
rhythms) added when the
tempo increases r when
the
style
is more
rhythmic.
(latin,
funk, etc.) When
this
occurs/ he keynote structure itself
should not be altered.
(page
47)
Adding notes to a melody
is made easy hrough the
use
of
non-harmonic
shapes.
(so
named after LTth
century non-harmonic
tones) Added notes do not disrupt a
tune when they maintain
a
stepwise
relationship
to the
original.
This is
the
logic
of
non-harmonic
shapes.
Nowadays, we don't think
of
"non-harmonics"
as
dissonant.
It
is the
shapesof
thesedevices hat are important. By adding notes according to theseshapes,we
leave
he basic message
f
a melody intact.
THE NON-HARMONTC
SHAPESMOST
COMMON
TO
JAZZ.
2A
2B
PassingTone
(stepwise
movement)
Auxiliaries
(neighboring tones)
Appoggiatura
(jump
then
step)
EscapeNote
(step
then
jump)
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Adding
notes
to a melody increases
ts
interest
at
different
levels.
1st level: embellishing the
melody.
(lowest
level
of
increase)
.
Add notes to
provide a lift in the energy
evel of a
phrase. When the
added
notes conform to
non-harmonic
patterns,
they
act
like embellishments.
The
choice of
embellishment
depends on the selection
of
horns
(or
leads)
Different
instruments sound best on different embellishments. Listen and imitate.)
original
developed
.
Add notes to
combine two four bar phrases
nto
one
eight
bar
phrase.
*
original
developed
Add notes and increase
he activity,
to
provide a
strong boost
in
energy
level
at the
end
of a
section.
(Add
some arpeggiation
to the non-harmonic
shapes.)
(The
broken
chords facilitates he
rise
in
meiodic activity.)
original
adjusted
o's'5,o'rJ4 tae
added
notes
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MelodY-2
2nd
level:
adding
notes
to
the
keynote
structure
.
When
the energy
evel
has
already
been
raised.
faster empo'-change
of
key'
etc.)
melodic
d"evelopment
must
be
more
flamboyant
to
be
effective'
The
success
f
adding
to a
melody
at
a higher
energy
evel
depends
upon
moving
farther
"*"y"fro^
the
tune,
but
without
altering
the
keynotes'
Keynotes
at
the start
of
Just
Friends
Added
notes
anchored
to
the
keynotes.
Keynotes
and
first
changes.
New
line:
NH
shapes
and
broken
chords
added
o
keynotes.
At
a still
higher
energy
level,
broken
chords
added
to
the
keynote
structure
may
outlinJ
the
"*i"i"io"s
(and/or
alterations)
ound
in
the
chord
changes'
(Thesenew
notes
*uy
be
added
before
or
after
a
kelmote')
The
resulting
melody
begins
to
sound
like
a
new
tune,
so
it must
also
be
developed
through
the
use
of
iepeats,
answers,
seguences
nd
other
such
devices.
ncQItt
o/t
Two
comm
on
iazzernbellishments
may
be
notated
with
symbols'
wfuttfar)
Sgt/uilt'J.6
-
L.
2.
pg
51
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Melody-2
3rd level:
compositional.
The melody
itself may be
changed
or
a
few
bars.
In
the
arrangement
of an
AABA tune,
development
of the
first two
A sections
may
be
so
complete
that a third
use
(after
the
bridge) would
be detrimental.
In this
case,
new
material
should
be
written
to
replace
he first four
bars of the
3rd
A
section.
From
that
point,
at
least
bar
five of the
original
tune
should
be
used
before
the
tune
is
allowed to
cadence.
This
new material
should
contrast
the
original, but
remain true to
the keynotes
In
the following
example,bars
1-4
of
the
last
eight bars
are replaced
with
a more
aggressive
melody
written
around
the keynotes,
and
even
using the
tune itself
"YOU
DON'T
KNOW
WHAT LOVE
IS"
(Last
"A"
-
see
Appendix
7.)
.d-fiil.\
DEI'ETIPMES?
ON.TGIIIAL
ADDSACNVITT.
PEUSE
OP
EROKEN
FOP
CONTINUITY
Important
guidelines:
'
Development
of an
existing
melody
by adding
or deleting
notes
should
not
alter
the keynote
structure
of
the
tune.
'
Different
developmental
techniques ncrease
he
energy levels
of the tune in
different
amounts.
More
aggressive
development
should
be
saved for later
in
the arrangement,
when
the rhythm
or harmonic
energy is also
on the rise.
pE
52
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Melody-2
28 CONTRAPUNTAL
LINES
Adding
a second
ine
against
the
melody
can
enhance
he overall
arrangement.
Counterpoint
is
simply the act of moving
one
line
against another.
For
the counterpoint
to be
effective,
and non-competitive,
the
second ine
must be
subordinate o the
first.
That is, the
first
line must remain
the primary
melody;
the
second added) ine must move well against t, but remain a secondary ine.
Good
secondary
ines have two
characteristics
n
common:
1) Their rests or
sustained
notes
are
a
little too
long;
they
breathe too well.
2)
A note or rhythm is reused a
little
too much for the line
to sound
good
as
a
primary melody. In low
energy
settings, he
note
is
in
the
middle
or
at
the
bottom;
in
higher
energy settings,
his note
can be
the
upper threshold.
Secondary
Primary and
Fund.
Bass
n +lJ9 r
Counterpoint
is
most
effective
when the lines
don't
"touch
each
other". That is, the
important notes n the
secondarymelody should not walk acrossor
double the
important notes
in
the primary
melody.
Good
counterpoint
Em
Faulty counterpoint
Em/O
a
r
lT-
,-1
4-4Jl
pg
53
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Melody-2
Contrapuntal Bass
Lines
Bass
ines can become
part of the
contrapuntpl
structure as
well. When
repetitive
arpeggiated
bass
igures are used,
they
must relate
well
to
the
melody at
all times,
even
when the two part
structure
briefly
suggests
a harmony
not that
of the
changes
In the
following example, the bass suggests our bars
of
Dm, and four
bars
of Bb.
In
bar two, the two part structure (bassagainstmelody) doesnot make Dm. The
implied
harmony
(Am)
is compatible,
though, and the bass remains
consonant
against
he
melody.
From
"INDIGO"
(See
also Appendix
7.20)
Drfil 0,. {no3) Bh1eilm3}
An active basscan fit well againsta powerful melody. For this technique o be
effective,
more than
just
the
bass guitar must be assigned o the bottom line.
A
synthesizer
and
(perhaps)
a low reed
instrument
together
can
balance he energy
level required. Note the blank areas n the following
example: hey permit the
drums to come through.
From
"JOY
RYDER"
(See
also
Appendix
7.23)
Fmal?trc31,r4
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STEP
THREE:
HARMONY-2
(Reharmonization)
LEVELS OF COLOR
ADDING CHORDS
page
0)
There s a level of harmonic color "just right" for any chart. When the level is too
low, the
product
will
sound
boring
or
naive; with
too
much
color,
most any
chart
will be
overbearing and unenjoyable
enjoyable o hear, to perform.
Jazz
harmony is normally
more
colorful and diverse than harmony used
in
other
areasof popular
music.
Harmonic
color is present
(to
varying
degrees)
n
all tunes:
notes and
chords
borrowed from
other
keys raise the
level
of
harmonic color
in
all
styles.
Even the
common chord
extensions
help to
createa
richer
harmonic
fabric.
CHANGING
THE AMOUNT
OF HARMONIC COLOR
As a set of changes s treated with extensions,
alterations and borrowed
chords, harmonic
color
increases.
Conversely,
he
removal of
some of
these
alterations will certainly
bring
the
color level down, and with it
the
tension.
See
page
25
By
substituting
a few change-bass oicings,
the arranger can slow the
fundamental basswithout changing the color level. This causesan
increase n the transparency
of
the
chart.
See
page 26,
and page
57
(bars
1
and 2).
Major can
be
changed o minor. Through the
use of
pedal point and
substitutions, a
harmonization
can be
changed
from major to modal.
SeeAppendixT - secondversionof Skylark,bars 1. 6.
Note: the technique
of shifting the modality of
a set
of changes
s most
successful
with ballads and gentle latins; such shifting of
modality
is
less
appropriate for
swing
tunes that were
originally written
in
major.
Harmony-2
3A
3B
pg
55
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REHARMONIZATION
begins
with
the
decision
hat a
good
tune has
changes hat
need
help.
In contemporary
use,
"SKyLARK"
s
such
a
tune.
Enhancement
of
"SKYLARK"
nvolves chord
substitutes
(page
27) and pedal
point
(page
59)
SI(YLARK
Lttt&rmrbr
h*tltrgyCiSr-
Co? Ca?
W-t
FJ
r rlt
t
r l t ryH
-t
.
stt
skt
FE7
t
A,XT
l,l*rdt
E6 Fo? Go? AM7
D
alt?
bl .
6
Lrl
-
l-t
-
F'
ln
t
-.
t . i l
b
-t
t
ln
F-
r rr .
lt
lEr | |
hc h?- l r l . r
r .a rb L
j [ . r t ' l -
. .E t .b . tb rdL
D6 bd B? AtbT
Er'
lul. -
ln. . t t -
H lb
-.
-
brt E 15 AX,
b a 5.-- .d
-?-
Do?15
CE
lS Ct
t
E. a
DM'
A.. l b
F
b-
Fo?
1rtr--
w-.L-tu
- . .o
. ' t l
.d
f
ti '
GI '
a- r
A7
D7
d.h.
Gr?
c .t rh ,
Da F7
n-O.
Gd
C 7
t lyr-
E
d
f.a
t- oIL-
t7 D
--.
t - rbq
ri
b
rthn I r t . i .
E5 B? 19
E6
-
tr
rir.-
1. Beginning:
The
changes
are
outdated,
due
to a
combination
of the first
Maj.
6th
chord, and
the
stepwise
progression
n bars L
and 2.
(Great
une,
but
Players
nowadays
do
not
use
such
changesas
these )
The changes
need help
Solution:
The
Ab
change
(bar
4)
becamea
target
chord,
and was
approached
by borrowed ii-V progressionsbuilt over an appoggiatura. (Seeadd-chord
on
Page
60.)
New
changes or
bars
L and
2 were placed
over a Bb
pedal
point,
providing
a
better interval
relationship
between
melody
and bass.
Note also
the
interesting
sound from
bar 2 into
bar
3. See argets
on page
58.
2. The
bridge:
Original
changeswere
kept in
the
first 4 bars
of
the
bridge.
Note
the
several i-V
chord
movements
n the
bridge:
a gentle
and
consonant'
melody
at
slow tempo
requires
some activity
in
the
fundamental
bass.
pg
56
-
-
rL
-.-t
ril-l. r t Ut
rrt-
I ta-t fr
1
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"SKYLARK":
REHARMONIZED.
(See
also
Appendix
Z.1Z)
T-arget
chords
are
vital
to
good
reharmonization.
Two
targets
are
circled
Nrl"
the
stepwise
and
traditional
ii-v
movement
used
to
Xpprou.i-tt,"r"
Both
targets
are vital
to
the
successful
rehar*orrir"tior,.
Harmony-2
below.
targets.
llE lrl.rr.{.r V.EbAl
- lg7(lel
Fm
c tab
aFnl
*tab
6f7lfe)
llclctclrEaaE
cmrah4
aln"jz
Gm.J7
Em l
a?
Dg
GmaJT
o.7
6?
obg
alns
ahuab
EbmrJz
m7
eb
bma,z
pg
57
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Harmony-2
The
TARGET
CHORD is
a
chord
to which
other chords move. Target
chords
are
more important
to
the
changes han
the
chords
lead
to
them.
In
"SKYLARK- (Jazz
Messengers
hanges),
arget
#1
is the
Ab
major,
a
characteristicharmony
for
the
tune,
one
which
is not
replaced. The
result
is
substitute changes.
which move
to
the
same
target
as the
original changes
had moved. Successful
eharmonization
depends
upon
this technique
c ab
aFnr
A7 afmat Dt1 G?
The success
f substifute
changes
s measured
by
their
ability
to
progress
effectively to
a designated
target.
The
Color Shift
is
another
important
tool in
contemporary
harmonization.
Unexpected
movement
across a
bar line from
a
"flats"
key center
to
a
"sharps"
key
center
releases
significant
amount of musical
energy.
This is
called
color
shift.
The
progression
n
bars 2 and
3
(circled
above)
s
a
good example.
Movement
across
from
the
sound
of three flats
(Eb
and
Bb7) o the
sound
of
two
sharps
(Em7
and
A7)
is
exciting, and
attracts
mmediate attention.
Clever
use of the
color
shift enhancea
set
of
jazz
changesmore
quickly than
almost
any
other harmonic
technique
available
to
the
contemporary arranger.
Check the color shift in the following example from "Canto Triste"
(Brazil
66)
as
the
Gm7
-
C7
(bar
8) moves
suddenly to
F#m7
(bar
9).
This
tune
set trends in
the
cross-overworld
of
the
early 70's.
6m/A
4
7(f r)
, ;7rhlY
,
6674
4
7()e)
Color
shifts
should not be
overused.
Em?
bnb Efrthr
Eo?
u?rn.,
I
pg
58
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Harmony-2
PEDAL POINT
is a
held
or repeated
note
piaced
below
a
series
of
moving
chords.
Moving
chords
that
make
little
sense
ogether, on
their
own, can be
made
to sound
logical when
placed
over
(or
under) the
right pedal
point.
(Abbreviation:
PP)
The Bb pedal in bars
one
and
two
of
"SKYLARK"
(Jazz
Messenger
hanges)
auses
the moving harmonies above t to
sound
logical to the melody,
and at
the
same
time to form change-bass hords.
Together, he pedal point
and
the
moving
chords
produce a rich harmonic
environment in
which the
sudden color
shift
to
E
min.
is not disruptive, but
exciting.
c nb
ahr
ebtab 6l7thr
Em?
Pedalpoint is most useful
to
jazz
and popular music
three
ways:
1) As an approach
to
a
major
cadence, o
signal the closing
of
a
section.
The
pedal in
this case
s
usually
the
IV or
the V,
if the cadence
s normal.
Such
a
pedal point
justifies
progressions
hat under
other circumstances
would
not sound
appropriate
so
close
o
a cadencearea.
At the beginning
of
a section of music, pedal point can
hold unusual
changes ogether, and also help to punctuate progression
of
the
fcrm
itself.
Example:
From
"SKYLARK" (UNT
Singers changes
The
A
pedal
supports
the
chanees
esponsible modal
reharmonization.
-
2l
pg
59
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Harmony-2
ADDING
CHORDS TO
THE CHANGES
(,Add
Chord,,)
Even the
best
changes
may
not
h1rt"
9n9ugh
harmonic
motion
to
satisfy
special
needs n
an
arrangement.
When this
is
thJcase,
additional
chords
may'be'added
without
changing
the message
or flow
of
the
changes.
The
process
s
called
add
chord.
The
selection
of notes
and
chords
is
made
from
non-harmonic shaPesadded to the fundamentalbass. Providing theseadded bass
note(s)
aPPear
n
non-harmonic
shapes,
the
chords
built
on"r
tliu*
will
enhance,
not
alter, the
sound
of the
changes.
Exlmple:
This
bass
ine
cannot
support
harmonies
on
each
note
in
the
melody
withou.t
repeating
the
same
chord
over
and
over.
Dm7
en7
A+7bs
Dm7
vl
.
t) A
a
a)
a
/ 'L I l
It
Fundamental
Bass
But
a note
or two
added
to the
fundamental
bass
can
provide
the
foundation
for
additional
chords.
These
new
note(s)
should
be
aided
via
non-harmonic
llupu-t,
g.B.-passing
r
leading
tones,-auxiliaries,
ppoggiatura
or escape
note.
Chords
built
over
non-harmonic
additions
need
"ot
66
in
the
originll
changes
n
order
to
sound
right
in
the
context
of the
arrangementl
I
Dm7Am7Ab9 en7 Bbg"us+ +7be
@ ISQV Dm7
You
can
effectively
use
add
chord:
1) When
a
cadence
needs
more
motion.
2)
I4/hen
the
changes
go
by too
slowly
to
balance
a
colorful
melody
pg
60
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Harmony-2
1) When a
cadence
needs
more
motion:
Increase
he harmonic motion
by adding
additional
ii-V
movement.
This
addition
can occur
while
the melody is still moving....
original
with the
additions
.......
OR,
when the melody itself
cadences.
(Example:
"BLACK
ORPHEUS")
DbmajT
667
\- 16
passingtoneshanes{
2)
When
the changes
go by too slowly to balance
a colorful melody:
Add chords to a new non-harmonic bass ine. The new non-harmonic bass
line will enable some
great
chordal
sounds;
therefore, t should
not depart
unnecessarily rom the original
key
center.
By using
a variety
of chord
types,
the
new
changes
do
not
becomepredicable.
the original
When there is
reasonal empo
fewer add-chords
areneeded.
In a slower
tempo, he
need
for add-chord
is greater.
ahnorbmajzbmajz
Cwq Fql"
Bbq
,/r
6,2
Eb7,
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Horns-2
STEP
FOUR: HORNSAND
HARMONIC
DENSITY
if fi3N3SH,BlffiiT,:
20
30
Most
jazz
perform.rnces
eature
brass
and woodwind
instruments
in
front line*
or
backing instrumentation. (Trumpets, saxesand trombones are the most common.)
Since
much of
the
tradition in
jazz
is
linked
to the idiom of
these
horns,
a writer
interested
n
jazz
should first concentrate
his/her listening and writing on
combinations
of
these instruments.)
HORN COMBINATIONS
Project II involves
three
horns
with
rhythm. The
horns
should
be
chosen rom
between rumpet,
trombone, alto and tenor
sax. Access o these
horns is usually
good, and
thesehorns blend
together
well in most
combinations.
They
are also
most easily found in good jazz recordings,your best source of model and perspective
while learning the
idiom of
jazz.
Common
groupings of
horns.
(Easiest
accessor
research istening)
1) Trumpet*
2) Trumpet*
Alto Sax
Alto
Sax
Trombone
Tenor
Sax
(3-a
Rhythm)
(3-a
Rhythm)
3)
Trumpet*
4) Alto Sax
Tenor Sax
Tenor Sax
Trombone
Trombone
(3-a
Rhythm)
(3-4
Rhythm)
*
The Fluegelhornmay be substituted for trumpet if the style of your chart
is
"pretty"
(versus
aggressive), .8.,
BossaNova or
laid
back
"straight
eight"
arrangements. Or,
if the tempo
is
slow,
and
the cutting
quality of
trumpet
would overload
the texture you
want to
achieve.
(Ranges
and
characteristics
of the
Fluegelhorn are
found in
Appendix 4.1.)
Front line refers o the lead instruments in a small group
(2
or 3 horns
and rhythm),
or
in a
"front
line band"
(4
to 5
horns and
full rhythm). The
name comes rom
positioning
horns
across he front of a performance
area,standing
in
front of the
rhythm players.
Nowadays, guitars
and
synths
can
play
the
leads in
any
style
equally
well as horns, None-
the-less,
front
line"
refers to
wind
instruments.
pg
63
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Horns-2
48: HARMONIC DENSITY
when more
than
one instrument
plays on
the
same
line,
or
with
the
same
rhythms,
the weight
of the sound
increases. The
effect is
measured in terms of
harmonic densiw.
The level
of harmonic
density
("density"
for
short)
describes
he
number
of different
notes n the chords. ncluding the melody (or lead). Density doesnot describe he
number of different
horns
playing
on
the
same notes.
DENSITY
LEVELS
--
1o
Unisons
and
octaves
The
level
of
harmonic
density
in
unisons and octaves
s
"one"
regardless
of how many
homs
or other instruments
may
be
involved
at the same
time.
--
2" Two different notes
that
move
together
with
the
same
or
similar rhythms have
a density
level
of
two.
(Ten
horns may
be
written
on
these
notes, and the
density level
is still two )
.
Densitl-2 may involve
a
variety
of
intervals,
but
only two notes at a time;
--
3o Three notes
moving
together
have
a
density
level
of three.
Most
Density-3
s
in
close position,
and
clustering is
common.
Note
Both octaves
nd unisons
have
a densityT:evel
f
one.
//
Doublingat he
o-ctave
oes
not
add
"ne'w
otes"
(This
s
still density-2)
o
a
Density describes
only those
notes that move together
on the
same
ine.
Density writing
does
not include
music
where two
or more
lines
move individually.
That is
Counterpoint.
(Listen
to
the Fluegelhorn
improvisation during the head
of
"DE
SAMBA".)
ps64
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Horns-2
WHEN
TO
WRITE HORNS
IN DENSITY,
AND AT
WHAT
LEVEL:
Best
decisions
on the
use
of density
are
made
on the
basis
of the character
of the
lead
lines
themselves.
Character
of the
melody
o when the melody line is less active. chords are more appropriate.
This
means
a higher
level
of density.
You Don't
Know
what
Love
Is
(bars
r-4
- seealso
Appendix
z.)
When
lead.sare
more
active
(quickly
moving
a
wide
range),
chords
are
less
appropriate. This means
a lower level
of density.
(Unisons
and
8ves)
"Take The'A Train" (SeealsoAppendix 7.)
Note:
In instrumental
music,
frequent
changes
n density
tend
to damage
he
coherency
of
the
music.
However,
where
density-L
is
in
use, it
is not
unirsual
for
the density
level
to increase
or
cadences,
where
the velocity
of the music
is
at
its
lowest.
pg
65
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Horns-2
DENSITY OF
ONE
(Unisons
and
octaves)
Unisons and octaves
have
a
density
of one
(density-l)
regardless
of
how
many
instruments may
be playing.
.
Density-l
lg
a
good
choicefor
lines that
have
a high level
of
activity.
Example:
"IN
CASE
YOU
MISSED IT"
(See
Appendix
7.10)
Density-I is
also
good
or less active
lines
in
low
ranges,
where
the
higher
densities
would
sound
strange or
forced.
Blample:
"BLACK ORPHEUS"
(See
Appendix
7.02)
.
Density.l
is
also
good
or slower and
quieter
tunes
with
rich
changes,
Example:
"DOLPHIN DAI.ICE"
(See
Appendix
7.01)
.
Density-l
is
extremely
powerful
used in
both
the top
and
bottom
of
a
chart, when
both top and bottom
are active
melodies
Example: "JOY
RYDER"
(See
Appendix7.24)
Uxtrsatr,l
llzlNs
pg
66
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Horns-2
DENSITY
OF TWO
Two-note
harmonieswritten
on
the same
ine
have
a
density of
two.
(Density-2)
Density-2
doesnot refer to
octaves,or
to
counterpoint.
.
3RDSAND
4THS
are the
most conunon
intervals used for density-2. Th"y
may be mixed, and are
easily invertible. In the
following example, ake
note also of the additional movement in bars 13-1,5, hich (usedsparingly)
adds interest without
compromising
the
harmonic
density.
Example:
DEVIL'S
ISLAND"
(See
Appendix 7.12)
3--r^oA
.
Density-2
can also be used
effectively
with
three
horns.
Briefly doubling the
lead
one octave
ower introduces
a
changeof sound
in
3-horn
writing, away
from
the
normal
concentration
on 3-density
and
unisons. Such changes n
texture
(brief
and used
sparingly)
enhance
the interest level
of
the music.
6tt67
g[be{$tt)
Example:
IN
CASE YOU MISSED T"
(See
Appendix
7.10)
F7sus4 F Fil
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Horns-2
DENSITY OF
THREE
Chords
with
three
different
notes
have
a
density
level
of
three.
(Density-3)
A fourth instrument doubling the
lead
at
the
octave
does
not
increase
he level of
density.
Density-3 is typically found in
close
position,
and
in
low to
mid
ranges;
density-3 written
in
the higher ranges is
more aggressive and
harder
to
handle.
MOSTCOMMON DENSITY-3 OICINGS
Dm? Dm?
clo
Alo rrcbabrcrrc
D
/F I
1. Close
position
chords
and their
inversions
are
most
effective
when used
in unusual harmonies,
and with
change-bass
chords.
,....
ut
are
best used n change$ass voicings
where
harmonic clarity is
mostimportant,
2. Close
position
chords
containing
major +
minor
2nds
for
color
and
power.
Whole steps
are
common
at both
top and
bottom.
Half-stepsare better at
the
bottom
than at
top.
3.
Quartal
chords
are most
effective
when
the
tempo is
slow, or
when the
rhythm section reinforces
the voicing.
Open
voicings
encourage
nner
movement.
4. Open position chords
Built by stacking fourths,
quartals
provide a modal
'quality
to the
chart.
Th"y
can easily
be
overused;
quartals
combine
well
with tertian voicings
(triadic
chords)
Triads
canbe
plain
and straightahead,
Voicings
with
2nds are the mostcommon choice n highenergy
jazz,
Densitjes
uilt in 4ths
iuartal
)
best uggestmodalharmc:y
,
'
Some are difficuit o describe
with
svmbol
Open
pcition
densities are bestused whetr
the mwamentis dow.
pg
68
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Exceqpts
below
demonstrate
the four
typical
density-3
voicings listed
to the
left.
Note that
in
each
example,
more
than
one voicing type
is used. This
is
good.
(Each
is found
also
in
Appendix
7, and
may be
heard
on
the listening
tape.)
Also: close
position
and faster
movement
go
together.
Wider
and slower
do, too.
Example
1a) from "KING COBRA"
(Triadic
voicings,
close
position
best use: on melody lines whose mplied harmonies are
vague or obviously
apart from
the changes.
Example
2a) from
"DAY
IN VIENNA"
(Close
position
voicines
that contain
2nds.
Tlpical use: with
a
melody whose
implied
hannony is
very
close to the changes)
Example
3a) from TOU DONT KNOW WHAT
LO\m IS"
(Quartal
voicings)
Best use is where
he
implied
harmony s
close o the
changes
but you don't want densitywith 2nds. (Don'toveruse )
Example
4a)
from
"KING
COBRA"
(Open
position
voicings:
slow movement)
Best use is with climaxing and reinforced chords (don't
overuse ),
or
slower lines where
you
want inner
movement.
q
4
{
(
7 Db
.A?
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Horns-2
PARTICULARLY
GOOD
USE
OF DENSITIES
IN THESE
APPENDIX TUNES:
7.7
"DOLPHIN
DANCE"
Density-1 is
used throughout. The
changes are
diverse
and
colorful,
tempo
is
slow,
and rangesare
never high.
7.5
"NIGHT
DREAMER"
Density-L
is
constant throughout
the head. To keep
density-l
from
losing
energy,
enough activity
and ornamentation was built
compositionally nto the tune itself. (Bars7,1'J.,1.4, 6,L9 of the lead sheet)
7.6
"REUNION"'
Various
3-densities
are used
throughout
the
entire head. For
two reasons he unrelenting
use
of
density-3 does
not
"get
old":
1) The variation
in the
types of density-3
(see
page 94); and,
....
2)
The melodic idiom
(guitar/vibes)
is
enhancedby consistency.
7.9
"AU
LAIT" Density-1
throughout is
good
when
the
time feel
and harmonic
outline
changes as
continuously as
on
this
tune. Higher densities
would
be
unhelpful; therefore, they
would clutter
the
texture.
7.10 "IN CASEYOU MISSED T" Density shifts from 1o o 3o at the bridge. This
change
in
density
to
provide
the
contrast
needed for
the sake
of
form
is
very good.
Since his tune
is
basically a
high energy density-l
sound,
the
bridge returns to
density-L
(octaves)
as
soon as the
contrast
is set by higher
densities.
Final
cadence s
a
higher density:
this is normal.
7.13
"YOU
DON"T KNOW
WHAT LOVE IS"
Classic
use
of
varying densities.
The quartals at first give way
in
bar 9 to
octaves,as the melody becomes
more active. All possible
closeposition densities
are used by the bridge;
therefore, he
solo
texfure
provides the ideal relief
for
the
AABA
form,
where the bridge
calls for a contrast. Note the
return
to
A:
compositional,
very active, to avoid overusing the diversity choiceof densities n the A's.
7.1.5
"CATHAY"
Interesting
combination of category 2 and category 4 Density-3
voicings,
all change-bass nd
doubled at the
octave.
The
contemporary and
modal
effect
is due also
in part to the
combining of
sax
and synthesis.
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e Densities
ile
voicings
do exiqt
containing
six
and seven
d.ifferent
notes,
densities
of
-4 and
-5
are
thought
of as
.t:p""^1:::',1:
:::::l"la:
"
J1q:,:l'","bi:
consistf
.more
t" fir"
ti;y"*
fuLyins
ifferent
so densities
arger
than
-5 are
usually
a
result
of
combining
smaller
aeniit6s.
-4
Four
different notes,generally
rom
chords
hat
would
default to
stacked
hirds.
,sition
bottom
note
s root
or
bass
of the
Slow
moving,
with
a pyramid,shapi
Invers.ion
ange
(bottom
note
s 3rd
or
7th of
chord)
Usually
open voiced,
with
an
hourglass
hape.
i7
Am{T/C$
Dg:trs4
AmqiT
resuit
of adding
an extension
r
alterations
o the
4o
voicing.
I nve
ned
position (
hourglas
A13
AmaiT
A
i7lc$
osi,sr
A13
Ama17
Am47lcf
D9sr64
CmgT
rity'4.
voicings
may accommodate
ive
instruments,
y
doubling
he
ead
one
octave
ower.
position
(pvramid)
Invened
position
lhoirglassl
Am7
A13
Ama17
AmajT/C$
Dgssa
CmajT
A13
A mdT
AmaiT/Cfi
D9:trs4
voicings
esemble
he 4o voicings,
are
more
colorful,
he
position
pyramid)
Am7
A13
A
maj
A m4
7/Ci
Dgs'rs4
C
maj
7
Block oicings
are
density-4
lose
position
with
the
ead
doubled
one
octave
ower.
They
give
a solid
and easilyplayed
sound
or saxes.
Block
oicings
are
bestusedwhere
here s
movement,
nd
n
a medium
ange.
ExtensiJe
usewiiioate
the music.
Cmal7
Em7
Amg
Cmaig
Dgsr64
Ags&
c
oDO
G6
Bot
Em7
Pm7
Bbmaj9
3gf'
oicings
9J9p
tt"
2nd voice
one
octave, ushing
he sound
nto
open
position.
Drop-two
is
used
) when
he
ead
s at
the
or
above
he
staff
(concert),
anilor
2) for
a
less-aggres*sive
ound.
(Ope'n
voiced
chords
c6nform
to
fewerchord
,y*L"fil
Am9
Dgsq
Am9
Bbmajg
Bei
Emz
E*'#e
Dm/E
Bbma;s
Erg
D1r3
Drg
*
10E
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voicing
moving
ine
or
saxes.requires
he
use f
compatible
hords
here
he.
ine
s
n stepwisc
ovemenr
ompatible
horls
are
hose
u'r
f;;;;;;r
i"
;.
,-*i'.;p;;:H,';:"J1,
*.
chord
hange.-(See
)
t'rrsr,
orce
he
opening
hord.
hen
";i;i:l;ii
fi, in
voice
;il;il;"
compatibles.
Ebg",,"r
The mostconvenient lace o move rom blcck to drop_2s at a
leap.
ebs.,*
Drop-2
voicings
Gm7
and
its
compatible
hords
drawn
rom thererated care)
Gm7
ebg
altos
tenors
bari
,l-
Compatible
Chords
Three
i.ne
ketchfor
saxes;
middre
rine
uses
ctave
cref
transposed
for
aattb
sares
7ob
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Rhythm-2
STEP
FIVE:
THE
RHYTHM
SECTION
5A. FUNCTIONS
58.
SLASHRHYTHMS
sffi=ff8T*,,
The rhythm
section
lays
down
the primary groove for a chart. For this to occur at its
best,
hythm
players must
play responsively
o each
other.
The arrangementshould
give sufficient information,
but leave
as much freedom as possible. Always
However,
specific
music
should be written for the
rhythm section
when
the chart
becomes
unpredictable,
and
when
horns and rhythm are integrated.
(5C)
In any
chart where
either of
these
conditions
exist, each
member
of the rhythm section
must receive
an
individual
part
Detailed information
on each
of
the rhvthm
section
instruments is located in
Appendix
5.
Also in Appendix
5 are style
sheets
or various Latin and
Contemporarygrooves.
5A. FUNCTIONS OF THE RHYTHM
SECTION
The rhythm
section
performs four
basic functions within any
ensemble.
Two
were
discussed n Chapter I,
Step5:
1,)Keeping time in the proper
style.
(As
mentioned above)
2)
Comping
and
establishing he
changes.
In
addition to these, he rhythm section also
3) Plays he form of the
chart.
4) Integrates he band.
58 SLASH RHYTHMS VERSUS
SPECIFICNOTES
Slash
rhythms with
chord changes and style information tell the rhythm
sectionmost
of
what they need to know. In
places where
the rhythm
section
should play
specific
rhythms together,
the
below
style
is
effective.
In a
three-line sketch, rhythm
section
may be written
on
the bottom line
of
eachsystem,
with specifit bassnotes appearing
onlv
where needed.
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Rhythm-2
PLAYING THE
FORM
(5A-3)
The
rhythm
section
itself
is responsible
for
varying
the
motion
or
rhythmic style
to
portray
the
songform of the
tune,
and also
to punctuate the
overall form
of
the
arrangement tself.
Examples:
e
In the arrangement
of
an AABA
tune, the bridge
should somehow contrast
the
feeling of the
"A"
sections.
In a chart on
"Autumn
Leaves),
he rhythm
section
may change he rhythmic sfyle at
the
bridge.
The resulting contrast
satisfies the
need, thus reducing the need for the horns to change.
Example:
"AUTUMN
LEAVES"
(not
present in
the
Appendix)
The break
in
rhythm
and
the change
from"2
FEEL"
to"WALK IN 4"
are the arranger's
responsibility.
When
moving
from the head
to
the next
area
of a chart,
the
rh5rthrn
section may lay out for a few beatspreceding the next double bar. Ttris
short
break helps
to
punctuate
the oqfline of the fom of the ehart.
In
the
following
slnmple, there
is a brief break in the rhythm before
he
first
improvisation.
Ohis
is
also an example
of
integration,
which
follows.)
Example:
TOU
DON1I KNOW
WI{AII
LO\IE
IS"
(See
Appendix 7.13
)
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INTEGRATING
THE
BAND
(sA-4)
Rhvthm-2
During
the
first
three
functions
(time,
changes
and
form),
rhythm
and
horns
occupy
ifferent
space'
At
times,-the
rhythm
sectiJn
and
horns
join
together
rhythmically,
producing
an
integrated
effect
of
one_ness.
1) Partial ntegration nvolvespiano,
guitar (if
present)
nd
the
bass.
2)
Full
integration
nvolves
he
entire
rhythm
section.
PARTIaL
II\nEGRATIoN
occurs
when
all
but
the
drums-
play
on
the
horn
line
or
the
orn
rhythms'
ll'he
dnrmmer
may
catch
some
ofthe
"rrythms,
but
will
continue
o
eep
he
feeling
of
time
ana
nus
Joing
throulho;
thi.
effect.
'
Partid
integratigo
i
good
or
slower
but.rhythmic
ensemble
deas
hat
eed
o
be ntense
but
lelvingroom
rot
r
ai-L
of
the
contoui.
bartially
integrated
sgo^ri3g_need
ot U6 ou4:ust i"t"_*
ssarnpte:posfcARDS" see
d;
6;;"-iil.
z.ro.i
tu
lartialintegration
always
eads
o
full
integration,
even
f
the
full
integration
s
a
beat
or
tw6.
lt
is
a
matte"
orinticip"tio'and
climax.
f,lample:
"Al{fHEMo (See
also
6;;dili;;;"'"'
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Rhythm-2
Full
Integration
occurs
when
the entire
rhythm section
plays on
the
horn
rhythms.
Fully
integrated
scoring
is used to bring
an entire chart
to its climax. In
the
caseof
the
following
example,
the
introduction
itself
begins
with
partial integration,
for
power, which
then
culminate
in a
fully
integrated
texture.
'
Example:
Beginning
of
"INTRIGUE"
Partial
integration
leads
to
full
integration at the 1/2-note triplet section and following. (SeeAppendix7.24)
QUums
f i l l ino
l {
EndsetuD
tA
I3r
I
The
amount of music
needing
to be fully
integrated
depends
on
the intensity
of the
music leading up to that point:
o
Music with
slower
tempo
or
with
lower levels
of
intensity will
require
only a few beats
of full integration
for the
effect
to feel
complete.
'
Music with
faster
tempo
or
higher
intensity
(ranges,
rhythmic
complexity,
etc.)
will
require
more
full integration.
This
music
will
also requirb
a
longer area
of partial integration
leading
up
to the
fully integratld
sound.
5D.
INDIVIDUAL
RHYTHM
PARTS
When
the rhythm
section
players
are
given
individual
parts, these
parts
must
conform
to individual
horn
parts, in
every
respect.
(Format,
bar numbers,
etc.)
Whether
to write individual
parts,
or a
composite rhythm
part
(to
be
photocopied
for
each ndividual)
is a very important
discovery that
must be made
with
every
chart
that
one
writes.
Material
expectations
on
the
part
of both player
and
leader are
very
important
to the
success f an arrangement
RhUthm
t_3-
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Formats-2
STEP
SIX:
MEDIUM
FORMATS
6A.
FULL
3-LINE
SKETCHES
33
ffffi. .i"Xt?,
In a full 3-line
sketch
for small
band
charts,horn and
lead lines are
completely
notated. But they fit on one or two lines,and not on separate ines for eachhom.
Music for the rhythm
section ncludes
the changes,
occasional
bass
notes
(as
needed),
style instructions,
and some information
for
drums
and
percussion
relating to
style.
(The
primary aim at
this point is
still to provide music where
interaction between the
rhythm
players is as important
as that which is written.)
\
t/hily
P+
.
Sketches should
be written entirely
in the concertkev
NOTATION
SOFTWARE.
Computer
generated
sketches
should
conform to the
same
guidelines.
Good
notation
programs provide
completecontrol of your layout. If
your software is inflexible,
you
should change o different software,
or
handcopy
your final
sketch.
Afut
7 i'u,? .--z
7
".?x
atLY-
11
?
T,
a
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Formats-2
THE FULL
3-LINE
SKETCH
(See
also
Appendix 6.L)
Three-line sketches
are
good
for
final versions
of
charts with:
.
Two to four horns
with
rhythm
in styles
that
are not intricate,
o
Vocal
solo
with
rhythm and occasionalhorn fills.
(Appendix
6.1)
.
Vocal group
with
a rhythm section that
will
read
from
composite.
THE
3-LINE
SKETCH
COMBINESA SINGLELINE
WTTH
A
TWO-LINE
GROUPING.
Horns or
other
leads may appear
(B)
on a
single ine at top.
The two
linesbelow show
rhythm section.
section.
@est
when
he
chan
has
simple horn
lines and he
rhythm exceeds
a composite)
Hornsmay
occupy
wo ines, n
which
case
the rhythmsection ppears n thebottom ine..
(If
during his
part
of
thechart
your
rhythm
notation ecomes
oobusy,
hen
you
should
be
usinga 4-line ormat.)
Vocal solo appear on the top
line, with rhythm sectionand
occasionalhorn backgrounds
on the
two
line frame
below.
Vocal
group
occupies he op two lines,
and
the rhythm section s
written
to
a one-line
compositeat the bottom.
(The
rhythm must
be uncomplicated or this format
to
work.)
FF7
B td{
(q)
Conllnue atin
Ebr(t t t
here'sthat'arn-y
'l
AlA 89
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formats
-2
3.LINE SKETCH OF
"HERE'S
TI{AT RAII{Y DAY
..
3 HORNS
AI{D RHNHM.
The chart
calls
for
specific
horns,
but may
be
copied
o any
size
hythm
section.
A COMPLETE ORMATncludes
lef,
keyand
time
signature,
nd brackets o
show
he
divisionof spacewithina systemof staves.
Unison
nd
medium
o high
melody s
notatedon
the top statf, eaving
wo
staves or the rhythmsection.
r )
\
uhils
v+3
?Vu-o1is
-
\\-/
T1t
frr
BARNUMBEFIShould ppear t he
bottom eft of
each
bar.
They may
be
placed
abovedoublebars,
enclosedn a box.
Lowerhorn linesmove o the
middlestatf;
he rhythm hen
occupieson the
bottom
staff.
Arrows show
changes
n location
RHYTHMSECTIONs notated
on the
bottom
staff
(composite)
when
the
horns
or
leads
occupy
a two 2-staff
group.
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Formats-2
A NEW
FORMAT
S
REQUIRED
t the beginning
f each
page.
(except
ime
signature,
of course.) Professional
opyists
nd notation
oftwarewill
begin
each ine
with
hi s
information.
n
pencil
sketches
ormats
are
optional
fter
he
page
op.
ARROWS
may
be used
o indicate
he
new ocation
f an instrument.
i;-
6*/el
NOTE:
lefs hatare
minus
a
key signature
mply
C Major.
M
lr\|c
3b
n7
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Formats-2
The
4-Line
Sketch
The
four-line
format
is
useful
for
situations in
your
chart
where
both
horns
and
rhythm
section
equire
double staff
systems.
Each
set
of
stavesshould
be
bracketed
wherever
ormats are
established
or restated. Each 4-line group is
called a
"scheme".
Typical 4-line
sketch
pageswill have
three
schemes.
See
Appendix
6.1: f you
are
notating
your music via
computer software,
you will want
for your music
to
be
layedout properly. You should not assume hat the softwarewill read your mind.
Somenotation templatesare
very
good, some are not
STOLN{
MOMET{TS
THE FULL
SCOREFOR THE ABOVE
SKETCH
(next
page)
-l+
When
your music is too
complex
to
fit
easily
into a
sketch
ormat,
the final version
should be a FULL
SCORE. Each ndividual instrument
receivesa
separate
ine.
(Keyboards
are written
on either one or two
staves,depending
upon the
complexity
of
their
music.)
PLEASE
NOTE
THESE
CONYENTIONS:
o
Instrument names
(or
their abbreviations)
are placed n the left margin
on
page one. Bracketsshould continue on subsequentpages; nstrument names
or
abbreviations
may
or
may not
continue,
depending how normal
or
unusual
your score ormat
is
to
the
situation
in which the scorewill
be read.
.
Clef signs
and key
signaturesare recommended
or
the
start of eachpage......
they are required when
changes
of
key have
occurred within a previous page.
.
Eachbar should be numbered. When
possible,place the
numbers at
the bottom
left
of the bar
being
numbered.
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Formats-2
THE FULL
SCORE
REPRESENTED
ON
THIS
PAGE
CONTAINS
THE
MUSIC FOUND
IN THE
4-LINE
SKETCH
ON
THE
PREVIOUS
PAGE.
BRACKETS
are
required
at the
beginning
of
each
page
of
full
score
o
identify
and
group families
or types
of
instruments. When it is feasible,
bar
lines
should
be
broken to
group
the
staves
dentically as
the
bracketed
format.
.
"CoIl"
(or "colla")
means
o
copy exactly.
CoIl
is
used
to
create
unisons only within
instruments using
the
same
transpositions.
o
Proper alignment
of
notes
and rests
to
their
respective
beats
s important
to
the readability and
professionalism
representedby your full score.
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Pleasenote:
.
Clef
signs
and key signatures
are required at the start of
each
page of sketch,score,
and individual part.
Th"y are also required
at the beginning
of
a line after
there
has been a change
of
key mid-page
(with
boss)