Jazz Arranging Techniques (From Quartet To Big Band) [PDF]

Zitiervorschau

Jazz Arranging T echniques from

Quartet to Big Band

Gary Lindsay University ofMiami

Staff Art Publishing

Copyright © 2005 by Staff Art Publishing. Printed in the United States of America. All rights reserved. No part ofthis book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by an information storage and retrieval system-except by a reviewer who may quote brief passages in a review to be printed in a magazine, newspaper, or on the Web-without permission in writing from the publisher. For information, please contact Staff Art Publishing, P.O. Box 56-6532, Miami, FL 33256-6532.

Although the author and publisher have made every effort to ensure the accuracy and completeness of information contained in this book, we assume no responsibility for errors, inaccuracies, omissions, or any inconsistency herein.

Any slights of people, places, or

organizations are unintentional.

First Printing 2005 ISBN 0-9760273-0-5

For ordering information and additional materials Iog on@ www.lindsayjazz.cmn

Acknowledgments Early in my writing career, I was privileged to study theory and arranging with jazz trombonist Hal Crook, whose compositions and performances were a great inspiration. As a music student at the University of Rhode Island, I was fortunate to work closely with the jazzband director, Dennis DiSano, who provided me with the freedom to write whatever I wanted for the band. Thank you Dennis for an invaluable experience. While a student at the University of Miami, I studied with jazz composer/educator Ron Miller who offered me a profound technical and spiritual view of ~omposing. I had the privilege of playing in the University of Miami Concert Jazz Band under the direction of Whit Sidener (Chairman of the Jazz Department). I couldn't begin to acknowledge all I have learned from Whit, as a student teaching assistant and as a colleague. He is a master teacher whether in front of a band or a classroom. Whit is a visionary in jazz education and, with help from a talented, dedicated faculty and adrninistration, is responsible for the success of the award-winning Jazz Departrnent. My appreciation to Williarn Hipp, Dean of the Frost School of Music, for continua} support throughout my teaching career at the University of Miarni. Thanks to Peter Graves for the rnany opportunities to write and perform with theAtlantean Driftwood Band, and to all the band rnernbers who spent rnany hours rehearsing rny rnusic. My thanks to colleague Gary Keller Gazz saxophone) who enriched my life when he invited me to join the Mi ami Saxophone Quartet. His knowledge of the saxophone has helped me enormously. Playing and writing for this group, which ineludes the talent and dedication of Mike Brignola and Ed Calle, is one of my rnost treasured experiences in rnusic. My heartfelt thanks to Rudy and Betsy Perez and the crew at BullsEye Productions. Rudy, one of the rnost arnazing talents with whorn I have had the pleasure to work, thanks for sorne arnazing sessions. Thanks for your input, Jeff Kievit, a great friend and wonderful trumpet virtuoso. I rnust also mention rny extended farnilies, the Kellers, the Pals, the Bakers and the Sideners for their love and support. I love you all. It is a surprise to me that in twenty-five years, I haven't grown tired of teaching jazz arranging at the Universíty of Mi ami. I fe el the excitement my students' feel when they experience hearing their charts for the first time. I arn also very thankful for the amazing rnusicians who dedicate time each semester to play and record the arranging projects.

Other people to thank for their direct help with this project include former doctoral student in jazz composition, Scott Cowan, who transcribed two sernesters of -my arranging lectures in preparation for this book. Don Nolan, with whom I have had many "chats" about arranging and teaching, I really appreciate the input. A sincere thank you to long time farnily friend, Louis Kaplan, who volunteered her grarnrnatical expertise. My appreciation to graduate student Mark Denis who assisted in entering time consurning edits so I could enjoy sorne farnily time. Great appreciation for théir last minute edits: rny long-time time friend Rosann Sidener (the other master teacher/adrninistrator in her farnily) for clarity and consistency and graduate student Ryan Cullen's "eyes of a hawk" in locating typos and rnusic edits. This book would not have been written if it weren't for rny wife, Paula, who periodically rerninded me "you really should write an arranging book!" She was right. It was an enlightening experience to organize a year' s worth of lectures into what I modestly believe is a book that

offers a unique approach to leaming jazz arranging. Paula worked tirelessly editing this book. She is the one that wouldn't allow, "it's good enough" to creep into the process. Thank you, Paula, I love you. Josh, thank you for your patience when Dad was too busy to play. I love you. As the song goes, "I did it my way." I decided early in the process of writing this book that I wanted to self-publish it. The text was prepared entirely in Microsoft Word and all music examples and scores in Sibelius. My graduate students and I recorded, mixed, and mastered the CD that accompanies this text. The performers (listed just after the CD tracks) consists of students, fprmer students, and faculty, thank you. With more help I created a Web site that includes a section devoted to this book and jazz arranging. The site allows me to continue to update and expand the materials offered in Jazz Arranging Techniques. Partial cost of recording the enclosed CD was financed through a grant from the University of Mi ami. I find the experience of writing music amazing! It is my wish that this book leads the reader to a joy of writing.

Gary Lindsay

This Book is Dedicated to My Parents Milton and Irene Lindsay My Brothers Stafford, David and Paul And to My Most Cherished ~

Wife, Paula and Son, Joshua

-

/

Table ofContents 1

Chapter One

Elements of an Arrangement Listening Assignment

1

4

5

Chapter Two

Calligraphy, Rhythm Notation Assignment # 1: Rhythm N otation ........................................ .. Writing Swing Rhythms ..................................................... . Assignment #2: Swing Rhythms ......................................... . Assignment #3: Transcription

Chapter Three

5

8 9

12 13

14

Notation- Piano .................................................................... .................................................................... Notation Guitar N otation - Bass Creating Bass Lines ................................................................... . ............................ .. Assignment #4: Creating Bass Lines Notation - Drumset ....................................................................

14 17 19 20 24

25

28

Chapter Four

Chord Symbol Nomenclature Intros and Endings ..................................................................... Listening ................................................................................. Seore and Parts Layout ... .. ... ........ .... ....... .... ... ..... ... ..... .. ....... Seore Shortcuts ... .... ... ... ..... .... .. .. ... ..... ..... ..... ... .. .... .. ..... .. .. ..... Rhythm Section Scoring Example ... .... .. .. .. .. .. .... .. .. .... .. .... .. .. ... .. ............................... Assignment #5: Rhythm Section Score

28 29 30 31 32 33 37

38

Chapter Five BP Trumpet

...................................................................... 39

BD F1ugelhom

······································································ 40 ...................................... ....................... ......... 41

Tenor Trombone

Bass Trombone ······································································ 42 BD Soprano Saxophone ························································· 43 ED Alto Saxophone ········ ·········· ··· ····. .. .. ... ... ....... .. ..... .. ... .... ... ... .. ... 44 BD Tenor Saxophone ······················································· 45 ED Baritone Saxophone .......................... ............................ .. BD eiarinet ..................................................................... BD Bass eiarinet .................................................................... . e F1ute e Piccolo Assignment #6: Transposition

Blending Brass and Reeds ........................................................ Relative Intensity .................................................................... . Track List - "Smooth Sailing" ........................................... . "Smooth Sailing"- Unison Score .......................................... .. Saxohone Section (Relative Intensity) .............................. . ....................................................... . Balance. and Dynamics Jazz Articulations and Effects .......................................... ..

Chapter Seven

51

53 54 55 56

58 59

60

.......................................................... 64 .......................................................... 65

66 Project #1: Unison Project

.................................................. 66

68 Study Seore: Project # 1 -

Chapter Ten

49 50

64 ereative eonsiderations Listening Assignment

Chapter Nine

48

53

Chapter Six

Chapter Eight

46 47

"Night Lights"

........ ... ............ ........ . 68

83 4 Way elose, 4 Way elose Double Lead .. ..... ..... ... ... .... ....... .. Available Tension ehart .......................... ........................... .. . ............................... Assignment # 7: 4 Way eiose Voicings

83 85 87

Chapter Eleven

88

Drop 2, Drop 2 Double Lead ....................... ................. ... .. 88 Drop 3, Drop 2 + 4 ......................................................... 89 Assignment #8: Drop Voicings ............................................. 90

Chapter Twelve

91

b 9 Interval Chart ······································································ Low Interval Limits ......................................................... Low Interval Limits Chart Adjacent 2nds Rule .. ... .... ... ...... .. .... ....... ... ....... .. ..... ... ... .... .. .. .... ... . ...................................................................... Line vs. V oicing Assignment #9: Voicing Melody # 1 ................................ Assignment # 10: Voicing Melody #2 ... ... ... ..... ..... .. ........

Chapter Thirteen

99

Approach Techniques ... .. .. ........ ......... .. .... .... .... ........ ... ..... ... Chromatic Approach ......................................................... Parallel Approach ...................................................................... Dominant Approach .. ... ..... ... ... .. .. ....... ..... ... .. ......... .. .. ... .... Diatonic Approach ...................................................................... Diminished Approach ......................................................... Analyzing the Lead Line ....................................................... .. Defining Nonchord Tones ......................................................... Assignment # 11: Approach Practice # 1 .......................... ...... Assignment #12: Approach Practice #2 ................................ Assignment # 13: Voicing Melody #3 ................................

Chapter F ourteen

99 1O1 102 103 104 105 106 107 108 109 11 O

111

Feature, Form Mood, Objective

Chapter Fifteen

91 92 94 95 95 96 98

111 112

114

.. .. .... ... .... ..... ... ...... ... .... .. ... .... 114 Project #2: Five Hom Project Study Seore: Project #2 - "The Night We Met" ...... ..... ... ... .. . 116

Chapter Sixteen

135

Spread V oicing Techniques ....... ........................... ......... .. Creating Four Note Spread Voicings ................................ Assignn1ent # 14: 4 Way Spreads .... .... .. .. .. .. .... .. ...... .. .. .. .. .. ..... .. Creating Five N ote Spread V oicings .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. Assignment #15: 5 Way Spread ............................................. Assignment # 16: 5 Spread Pads and Kicks .. .. .. .... .. .. .. .. ..

Chapter Seventeen

148

Substitute Double Lead Technique .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. Listening ...................................................................... Assignment # 17: 5 Way Substitute Lead .. .. .... .. .. .. .. .. .. .. .. .. .. .. .. Assignment # 18: 5 Way Soli Style .. .. .... .. ...... .. .. .. .. .. ..... . .. .... .. .. .. .. .. .. .. .. .. .. .. .. .. Assignment # 19: 5 W ay Soli Style

Chapter Eighteen

158

160

Study Score: 5 Sax Section with Rhythm Section "Have You Met Her Sister?" .. .. .. .. .. .. .... ...... ...... .. .

Chapter Twenty

148 150 151 153 156

158

Project #3: 5 Saxophones with Rhythm Section

Chapter Nineteen

135 137 139 140 146 14 7

161

184

Scoring for Eight Brass: The Trombone Section .. .. .. .. .. .. .. .. .. .. ................................ Assignment #20: Trombone Section The Trumpet Section .... ... .. .... ... ... .. ... .... .. .. ... ........ ... .......... . ......... .... .... ..... .... ...... .... ... .... .. ... ... ... .... .. ...... ... . 4th V oicings .. .. .... .... .... .. ..... ... .. .... Ambi Chords, Upper Structure Triads ..... .. .. .... .. ... .. Chart of Common Upper Structure Triads Efffective Voicing Techniques for Eight Brass .................... Direct, Indirect and Variable Coupling .. .. .. .. ... ... .. .. .. .. ... .. .. .. . Detailed Analysis of Examples 20-7 through 20-11 .... ... .... .. ..... .. Assignment #21: Voicing Eight Brass # 1 ... .. ... .. .. .... .. . Assignment #22: Voicing Eight Brass #2 ...................

184 187 189 189 190 193 194 196 197 203 204

Chapter Twenty One

205

Combining Saxophones with Brass .. . . . .. . . ... . . .. .. . . .. . . ... . . . . . Coupling techniques for the Saxophones . .. . . . .. . ... . .. . .. . . . .. . ... . . .. . Using Unison and Octaves ............................................ Effective Unison Combinations ... ..... .. ........ .. .... .... .. .. .... .. .... .. Detailed Analysis ofExamples 21-2 through 21-5 ................... Detailed Analysis of Example 21-8 ....................... ..... ... . listening .. . . ... .. . .. .. . .. . . .. . .. . . ... . .. . . .. .. .. . . .. .. . . . .. . . . .. . ... . . .. . . .. . .. . .. .. .. . .. . Assignment #23: Voicing the Big Band, Tutti Style Assignment #24: Voicing the Big Band, lndependent Style

Chapter Twenty Two

205 206 209 21 O 214 219 2 23 225 226

227

Study Scores, Big Band Scoring Excerpts lnvitation ........................................................ . 228 "Adventure," mvmt. 111, The Abruzzi Suite 231 "Fanfare," mvmt. 1, The Abruzzi Suite 234

Chapter Twenty Three

236

Project #4: Big Band

......................................................... 236

Audio Tracks Available on-line at: www.lindsavjazz.com (listed as "original CD files") Files also includes PDF homework assignments

-Track List

Track Number

unison: trumpet + alto

1

octaves: trumpet + tenor sax

2

unison: trumpet + tenor sax

3

unison: flugelhorn + alto sax

4

unison: flugelhorn + soprano sax

5

octaves: trombone + alto sax

6

unison: bass clarinet + tenor sax

7

unison: bass clarinet + clarinet

8

octaves: trombone (cup mute) + clarinet

9

unison: trumpet (cup mute) + clarinet

10

unison: trumpet (straight mute)+ clarinet

11

unison: trumpet (harmon) + clarinet + guitar

12

unison: trumpet (harmon) + flute + guitar 8vb

13

octaves: trumpet (bucket) + flute (above)

14

unison: trumpet (harmon) + clarinet + flute 8va

15

unison/ octave: bass dar /trbn (bucket) /tn sax + trpt (bucket)/fl

16

unison/ octave: trbn (bucket)/ tn sax + trpt (bucket)/ sop sax

17

solo trumpet in harmon mute

18

solo trumpet in straight mute

19

solo trumpet in bucket mute

20

solo trumpet in cup mute

21

Night Lights (pgs. 69-82), Balanced Mix

22

Night Lights, (pgs. 69-82), Horn Dominant Mix

23

Track List

Track Number

Night Lights, (pgs. 69-82), Rhythm Section Dominant Mix

24

Ex. 12-19 (pg. 97), Mixing Voicing Techniques

25

The Night We Met (pgs. 116-134), Balanced Mix

26

The Night We Met (pgs. 116-134), Horn Dominant Mix

27

The Night We Met (pgs. 116-134), Rhythm Section Mix

28

Ex. 16-3 (pg. 136), Reharmonization in Four Way Spread

29

Ex. 16-13 (pg. 138), Four Way Spread

30

Ex. 16-20 (pg. 143), Five Way Spread Technique

31

Ex. 16-21 (pg. 145), Four and Five Part Spread Techniques

32

Ex. 17-7 (pg. 152), Woodwind Soli (four clarinets, bass clarinet)

33

Ex. 17-8 (pg. 155), Black and Blues, 5 Way Sub Dble Lead (sop. Lead)

34

Ex. 17-9 (pg. 157), Five Saxophone Background/Soli Writing

35

Have You Met Her Sister? (pgs. 161-183), Balanced Mix

36

Have You Met Her Sister? (pgs. 161-183), Horn Dominant Mix

37

Have You Met Her Sister? (pgs. 161-183) Rhythm Section Dom. Mix

38

Ex. 20-1, (pg. 185), Trombone Section, Comp and Soli Style (open)

39

Ex. 20-1, Trombone Section, Comp and Soli Style (cup mutes)

40

Ex. 20-2, ( pg. 188), Stray, Four Trombones Bailad Style

41

Ex. 20-3, (pg. 189), 4th Voicings for Brass

42

Ex. 20-4 (pg. 190), Ambi Chords for Brass

43

Ex. 20-5 (pg. 196), Direct and Indirect Coupling

44

Ex. 20-6 (pg. 197), Variable Coupling

45

Ex. 20-7 (pg. 200) V oicing for Eight Brass

46

Ex. 20-8 (pg. 200) Voicing for Eight Brass

47

Ex. 20-9 (pg. 200) Voicing for Eight Brass

48

Track List

Track Number

Ex. 20-1 O (pg. 201) Voicing for Eight Brass

49

Ex. 20-11 (pg. 201) Voicing for Eight Brass

50

Ex. 20-12 (pg. 202) Eight Brass-Extended Example

51

Ex. 21-2 (pg. 212), Direct Coupling, saxophones with trumpets

52

Ex. 21-3 (pg. 212), Direct Coupling, saxophones with trombones

53

Ex. 21-4 (pg. 213), Variable Coupling, saxes 3verlapping

54

Ex. 21-5 (pg. 214), Variable Coupling, sax voicings

55

Ex. 21-6 (pg. 215), Voicing 8 Brass + 5 Saxophones (big band tutti)

56

Ex. 21-7 (pg. 21 7), Eight Brass and Five Saxes, Extended Example

57

Ex. 21-8 (pg. 219), New Waltz, Variety ofColors

58

Ex. 22-1 (pg. 228), Invitation Excerpt

59

Ex. 22-2 (pg. 231 ), The Abruzzi Suite, Mvmt. 3 "Adventure" Excerpt

60

Ex. 22-3 (pg. 234), The Abruzzi Suite, Mvmt. 1 "Fanfare" Excerpt

61

List of Musicians Gary Lindsay: Alto Saxophone, Clarinet, Tyler Kuebler: Alto Saxophone Gary Keller: Tenor Saxophone, Soprano Sax., Flute, Bass Clarinet Ed Calle: Tenor Saxophone, Soprano Sax. Mike Brignola: Baritone Saxophone, Bass Clarinet Jason Carder, Chris O'Farrill, Seth Merlin, Tim Weir: Trumpet and Flugelhom Greg Gisbert: Trumpet, Flugelhom Tim Pitchford, Dave Lambert, Jeremy Levy, Dante Luciani: Tbn. Joel Keene: B. Tbn Austin McMahon, David Hardman: Drums Chuck Bergeron, Jamie Osley: Bass Phil Strange: Piano Andrew Synowiec: Guitar

Fore-w-ord Research for this book began over twenty-five years ago when I stood in front of my first arranging class. As a teaching assistant, and later a professor, in the Jazz Department of the Phillip and Patricia Frost School of Music at the University of Miami, I needed to find a way to engage students in the subject of arranging. Never ~atisfied with any of the available texts on arranging I developed a workbook for my undergraduate, two-semester class, Advanced Modern Arranging I and II. This workbook was a departure point for lectures that included active discussions, scoring examples, detailed analysis, illustrations, and instrumental demonstrations. This organized compilation provides accessibility for individual, as well as, classroom usage. Although there are many good arranging and orchestrating books available, this book presents all the tools and techniques in an efficient and comprehensive format. Jazz theory and harmony, principies of jazz voice leading, voicing techniques, rules governing music calligraphy, chord symbol nomenclature, and jazz notation and articulation are presented in a very systematic (step by step) approach. Attention is given to the function of each instrument in the ensemble, including their range, register, transposition, dynamic capabilities, and idiomatic characteristics. Theories of balance and blend are provided with multiple recordings to assist in listening. The most unique feature in Jazz Arranging Techniques is the way in which the many techniques are examined and applied. This book provides examples of techniques used in small and large ensembles and further explains in detail how to create voicings, notate rhythm-section parts, articulate horn lines, adjust the balance and blend, etc., with an approach that builds on earlier knowledge. Gary Lindsay

ChapterOne Elements qf an Arrangement The experience of listening to an arrangement performed by a larger group of musicians can be somewhat overwhelming for the student arranger. By categorizing what one hears into basic elements of arranging, the experience will be less mystifying. Through analysis of the basic elements of arranging, an understanding of the writing process will develop. Most arrangements are comprised of a handful of musical building blocks, which will be referred to as elements. The elements will be defined and the process of combining them will be examined. As an arrangement progresses, sorne of the elements are altered by changes in orchestration. The first element, Melody, refers to the theme or melodic element being presented. It can be as short as a five-note motif or as long as thirty-two measures or more. The melody can also be an improvised solo, a spontaneous melody of the moment. It is easy to identifY this element because it is usually the most prominent. Listening to how arrangers present their themes is a worthy venture at this point in one's study. In a small jazz ensemble, melody is often presented as a single line in unison or octaves by one or more players. In a group that includes three or more horns the melody might be presented in two, three or four-part harmony in a tutti style or contrapunta! style.

Definition: Tutti style is a melodic line performed by three or more players executing the same rhythm, but with different pitches forming harmony.

Definition: Contrapunta! style is a melodic line and one or more independent counterlines performed together creating a musical dialogue between two or more players. Sorne incidental harmony will occur.

Scoring the Melody The following list includes sorne ways to score 1 the melody in both small and large jazz ensembles.

Examples ofPresentations ofthe Melody 111 111 111

111

1

trumpet with tenor saxophone one octave below trumpet and alto saxophone in unison alto and tenor saxophone in unison alto with tenor one octave below

Score is used as a general term to indicate how instruments are combined to form an arrangement.

Chapter 1: Elements of an Arrangement

1

11

11 111 1111

trumpet with trombone one octave below trumpet/ alto unison, trombone and baritone saxophone one octave four saxes tutti style (4 part harmony) four trumpets tutti style (4 part ham1ony) four part harmony with trumpet, alto, trombone and bari

An early influence in the study of arranging was "Composing For The Jazz Orchestra" by William Russo (University of Chicago Press, 1961 ), an arranger for the Stan Kenton band. In his book, he referred to harmonized melody as "thickened line," a melody with a "thick" texture created by the instrumental combination and the voicing technique used to harmonize the line. As evident by that description, harmonized melody is not that different from unison (or octaves); it just creates a different texture.

The second element, a Sustained or Rhyth1nic Pad:J is a harmonic accompaniment written in long, sustained note values or shorter, more percussive note values. Sustain pads provide a harmonic foundation for the melody or improvised solo. Rhythmic pads provide a harmonic foundation plus a rhythmic counterpoint to the melody or solo.

Scoring Sustained or Rhythmic Pads In a small ensemble, a pianist or guitarist playing sustained or rhythmic chords is providing the element of a Sustained or Rhythmic Pad. In a big band, "pads" are most often scored for the trombone or saxophone section ora mixture ofbrass and reeds. For added intensity, the pads are scored for trombones and saxophones together or even the entire brass section (trumpets and trombones). To increase the intensity, any two sections (or combinations of instruments) could play two different pads, one rhythmic and one sustained or both rhythmic. Increasing the number of elements occurring simultaneously in an arrangement will increase the intensity. Other techniques for increasing intensity will be examined in a later chapter. The third element, Counter1nelody:J provides a secondary melodic interest increasing the melodic and rhythmic activity. The countermelody adds to, but shouldn't overshadow, the original melody. Countermelody is a form of counterpoint, in simplified terms defined as line against line. See contrapunta! style defined on page one.

Scoring Countermelody In a small ensemble, the guitar or piano could provide a countermelody to the theme or an improvised solo. The bass, if playing a linear walking style, is providing a form of countermelody. In a larger ensen1ble, any number of instruments may provide a unison or harmonized countermelody. To maintain clarity in the arrangement, it is best for one or both ofthe melodies to be in unison (octaves).

2

Jazz Arranging Techniques

Important Note: Two opposing melodies harmonized can be overly thick and cluttered. More often, one melody is scored in unison or octaves.

The Rhythmic Pulse provided by the drummer and percussionist is the fourth element. Rhythmic pulse comes in many forms determined by the style of the music and the players. For maximum effect, all four limbs of the drummer can be active at the same time, producing a complex counterpoint of rhythms in the appropriate style. The combination of rhythms contributes to the overall intensity level and mood of the arrangement at that moment. In contrast, a percussionist playing a repetitive pattern on a triangle, cow bell or conga drum could provide a much more subtle rhythmic pulse. All instruments playing a rhythmic part contribute to the total rhythmic pulse.

Listening to All the Elements Listening with "arranger's ears," identify the different elements and how they are being scored (orchestrated). An arrangement is not static. It is moving along a timeline ata speed determined by the tempo of the arrangement (constant or otherwise). Therefore, the elements of an arrangement will constantly change. The melodic element may start in the piano, move to saxophones and then to the brass. With all the other elements shifting (not necessarily at the same time), there is an almost limitless number of ways to combine elements to create a unique arrangement. It is essential to experience live performances with this new-found perspective. Keep r;yes and ears open!

Examples of Scoring Elements in a Big Band Arrangement First Example Melody: trumpets in unison Rhythmic pad: saxophone section (additional rhythmic pad: piano comping) Countermelody: bass line Rhythmic pulse: drummer playing swing style: ride cymbal pattern; hi hat pedal on 2 and 4; snare accents; kick drum accents.

Second Example Melody: saxophone section in four-part harmony Rhythmic pads: kick figures 2 harmonized for four trumpets and four trombones and piano comp1ng. Countermelodies: guitar line answering the sax section and walking bass (two countermelodies) Rhythmic pulse: the drumset. If the bass is playing half notes (2 feel) or a pattern synonymous with Rock, Latin or Funk styles, then its function is not countermelody but more closely tied wi~h

2

Kick Figures are percussive, harmonized phrases often consisting of only one or two notes in a row that create a musical punctuation and often add intensity to the proceedings.

Chapter 1: Elements of an Arrangement

3

the drums and piano comp, whereas the bass is contributing to the rhythmic pulse of the drums and the harmonic function of the piano. N o te: It can be helpful to recognize the individual roles of the members of the rhythm section, but also consider the total rhythm section as one element in and of itself. This duality in analyzing the rhythm section is necessary to understand the many ways the piano, guitar, bass and drums affect the arrangement.

Listening Assignment Listen to several arrangements for small jazz ensembles (three to seven players). While listening, plot a timeline of the musical events as they happen. The timeline could be divided into segments, so that each line represents eight measures of music. Allow ample room to indicate the elements that are represented in each eight-measure segment and how each element is scored (instrumental doublings on the melody, countermelody or backgrounds ). Pay el ose attention to the individual roles of ea~h member of the rhythm section and how they al so function as a unit.

Recomm.ended Artists: Osear Peterson, Bill Evans, Keith Jarrett, Herbie Hancock, Gerry

Mulligan/Bob Brookmeyer, Lester Young, Horace Silver, Charles Mingus,John Coltrane, Miles Davis, McCoy Tyner, Freddie Hubbard, Wayne Shorter, Weather Report, Cannonball Adderley, Wes Montgomery, Art Blakey, Charlie Parker/Dizzy Gillesspie, Frank Rosolino,JJ. Johnson, Modern Jazz Quartet, Dave Brubeck Quartet, Mahavishnu Orchestra, Chick Corea (Return to Forever), Tony Williams, Joe Henderson, Sonny Rollins, Marcus Roberts, Nicholas Payton, J oshua Redman, Christian McBride, Wynton Marsalis, Pat Metheny and many more ...

4

Jazz Arranging Techniques

ChapterTwo Calligraphy Writing music has changed considerably for many musicians with the advent of computers and music software programs, such as Sibelius and Finale, which can streamline the task of writing music and copying parts. The software has now evolved sufficiently where, with practice, it is a faster process for many arrangers than working by hand. Music students have already adapted to notation software. In the Media Music industry it is increasingly common. All music examples, homework and scores in this book and the accompanying CD were created using Sibelius. Hand written notation requires a standard that is similar to printed music and follows the rules of music calligraphy and music publishing. Sibelius and sorne other programs have these rules embedded in their code, enabling the software to make many of the music layout decisions. Without the benefit of a notation program, it is essential to have printed music available for viewing as one works. Details regarding parts and score layout are in Chapter Four.

Basic Procedures l. Use a pencil that will produce a dark image. 2. Use standard parts paper (approximately "9xl2") with 10 or 12 staves per page. This will assure the proper staff size. 3. Use standard score paper large enough to accommodate the writing assignment. 4. Use a straight edge (ruler) to produce the stems, beams and hairline crescendos and decrescendos and any other symbol that will benefit from a straight edge (ruler). It also makes a great bottom edge when printing text. 5. Write note heads in bold. When occupying a space, fill the space. When occupying a line, overlap half the space above and below the line. Model the work after published ffiUSIC.

Rhythm N otation Problem: In common time (4/4), there are many ways of notating the same rhythm. Standardizing rhythmic notation limits the number of ways to notate rhythms, giving the performer a finite number of rhythm cells to learn. The result is a better performance due to easier sight-reading. Solution: Standardization of rhythmic notation is based on the following rules. l. Divide 4/4 measures in half with an "imaginary bar line" between beats two and three. This "bar line" will be a guide to writing standardized rhythms. It is necessary for the

Chapter 2: Calligraphy 5

beginning of the third beat to be visible as a note value that is complete or part of a tied rhythm [Ex. 2-1]. 2. Rhythms occurring entirely in the first half of a measure (including all ofbeats 1 and 2) or entirely in the second half of a measure (beats 3 and 4), as divided by the "imaginary bar line," must be notated in the simplest visual form (least number of notes) for ease of reading [Ex. 2-1]. 3. In Example 2-1, excessive tied notes are reduced to one or two notes tied that equal the same note value. The reduction of notes must not obscure the beginning of the third beat, except in the case of very basic rhythms such as quarter-half-quarter, which is acceptable [Ex. 2-2, 2-3].

E". 2-1 iEOUCIN~

UNNECESSAflY fiEO NOTES 3

lll§)

1 1

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Jazz Arranging Techniques

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Beaming Rules 1. Groups of two eighth notes must be beamecl together whenever the first eighth note occurs on a clown beat (beats 1, 2, 3, or 4). Only single eighth notes are notatecl with a flag [Ex. 2-3, 2-5, 2-6]. 2. Groups of four eighth notes shoulcl be beamecl together whenever the first eighth note occurs on a clown beat ancl all four eighths occupy beats 1 ancl 2 or beats 3 ancl 4. Avoicl beaming across beat 3 [Ex. 2-4, 2-5, 2-6]. 3. Groups of three eighth notes can be connectecl by a beam if they occur in the first or seconcl half of a measure [Ex. 2-6].

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Chapter 2: Calligraphy 7

Rhythm N otation Assignment #1 l. Use 8 1/2 by 11 inch manuscript paper (or the equivalent on a computer). Do not exceed four measures of music per line. 2. Objective: to write single measure rhythm examples that follow all the rules ofproper rhythm notation. 3. Note: In this assignment the Arabic number "1" is equal to the rhythmic value of a single "eighth note." Therefore, the number "3" would be equal to the combined values of three eighth notes. The rhythmic notation for a combined value of "3" eighth notes can be more simply expressed as a quarter note tied to an eighth note or a dotted quarter (the rules of · notation dictate which is best). 4. Combine all the letters in column one with all the letters in column two to create rhythm cells. For example A+a, A+b, A+c, etc. 5. Create rhythms equal to each Arabic number using single note values or a combination of tied notes (according to the third beat rule) [Ex. 2-7 and 2-8]. 6. Notate utilizing the rules ofproper rhythmic notation and beaming discussed in this chapter. If done properly each rhythmic cell should be equal to one measure in 4/4 time.

Column One A=3 B=l+2 C=2+1 D=l+l+l

Column Two a=5 b=l+4 c=4+1 d=l+2+2

e=2+2+1 f=2+1+2 g=3+2 h=3+1+1

i=l + 1+3 j=2+1+1+1 k=l+2+1+1 1=1 + 1+ 1

Ex. 2-7 A+a (3+5)

Tied notes reduced to the

(remember 3rd Beat Rule)

1

1

11

8

Jazz Arranging Techniques

Writing Swing Rhythms The melodies found in most fake books are written in very simple, straight rhythms. As an arranger, one of the first steps in developing an effective arrangement is to alter the rhythms of the melody to create a more syncopated line. Characteristics of effective swing rhythms include a feeling of forward motion and a rhythmic balance based on variety and repetition of rhythmic phrases. The goal of the next assignment is to modi:fY the rhythms of each melody line to create a version rhythmically effective in the swing style.

Six Steps to Effective Swing Rhythms 1. In order to achieve a feeling of swing, an "on the beat" note may be anticipated or delayed by half a beat (an eighth note). To anticípate a note occurring on beat "one," it would be moved to the up beat (+) of beat four in the previous measure. That same note delayed by half a beat would occur on the "up beat (+) of beat one. This principie is applicable to all meter signatures having a quarter note as the denominator, 2/4, 3/4, 4/4, 5/4 etc [Ex.2-9, 2-10, 2-11].

E". 2-9

~IQINAI.

2. In 414, the swing feeling is most effectively achieved by anticipating sorne of the strong beats (1 and 3) ofa measure [Ex. 2-10]. Weak beats (2 and 4) can also be anticipated.

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ANTICIPATIONS SY AN EIQHTH NOTE

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11

3. The anticipations and delays by an eighth note are rhythmically effective as short notes followed by rests or eighth notes tied into longer note values. Both achieve the same syncopated effect with a slightly different sound, providing sorne variety [Ex. 2-11, 2-12].

Chapter 2: Calligraphy 9

E~.

2-11

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4. The best swing feel is achieved by a combination of "on the beat" and "off the beat" rhythms. Too many downbeats in a row will tend to sound stiff. Too many upbeats in a row will sound awkward and unsettling. Balancing the variety of rhythms is the key to creating effective rhythmic phrases. The anticipation is more effective than the delay and should occur much more frequently. 5. The goal of the arranger is to enhance the rhythm of the melody, without distorting it beyond recognition. Distortion of the rhythms occurs when notes are anticipated or delayed by more than an eighth note from the original rhythm. [Ex. 2-13] The one exception is to move a note that occurs on beat one back to beat four of the previous measure, creating an anticipation by a quarter note (an effective rhythmic surprise, not to be overdone) [Ex. 2-14].

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6. Anticipating the first beat of a measure may create a hannonic anticipation. The note in question must be harmonized (voiced) using the chord that occurs in the next measure.

Dejinition: Any note that occurs rhythmically on the and of beat 4 must be treated as a hannonic anticipation if (a) a new chord occurs on beat 1 and (b) the note is followed by a rest on beat 1 ofthe next measure; or (e) the note is tied, anticipating the note beginning on 1 ofthe next measure. A note anticipating the third beat that also fulfills the above criteria must also be treated as a harmonic anticipation.

1O

Jazz Arranging Techniques

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Swing Rhythm: Assignment #2 (page 12) Objective: to write swing style versions of the musical examples enhancing them with sorne rhythmic anticipations and delays and to use proper rhythm notation. Denote all "harmonic anticipations" with arrows pointing to the appropriate chord symbol. Note: Play or sing the new versions to check for rhythmic balance.

PDF files of all assignments are included on theJazz Arranging Techniques CD and can be enlarged and printed from a Mac or PC computer.

Chapter 2: Calligraphy

11

SWIN~ ~HYTHM ASSIQNMENf #2

NAME _ _ _ _ _ __

Undemeath each example write a swing version utilizing anticipations and delays. Stri ve for rhythmic balance while maintaining the identity ofthe original melody. Sing or play your swing versions to determine effectiveness. Remember to anticipate or delay by an eighth note only and notate with the third beat rule and beaming principies in effect. Use an arrow to indicate harmonic anticipations. Brain on maximum power1

--

11

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• 1"' (not- or + ). AH altered tensions appear in parentheses. The first column below is my recommendation for clear, accurate chord symbols.

Chord syrnbols

e Cma7 Cma9 C6 C6g

C7 C9 Cl3 C7(#11) C7(P9) CI3(1>9) C7(#9,1>t3) Cmi Cmi7 Cmi9 Cmi6 Cmi71>5 C+ C+7 C 0 or Cdim

Co7

28

description major triad, no 7th maj. triad with maj. 7th same plus maj. 9th maj. triad with 6th same plus maj. 9th maj. triad with D7th maj. triad, P7th, maj. 9th same with maj. 13th maj. triad, 1>7, 9, # 11 maj. triad, 1>7, 1>9, maj. triad, 1>7, 1>9, 13 maj. triad, 1>7, #9, 1> 13 minor triad (lowered 3rd) min. triad, 1>7 min. triad, 1> 7, maj. 9 min. triad, maj. 6 min. triad, 1>5, 1>7 aug. triad (#5) aug. triad, 1>7 (whole tone) diminished triad dim. Triad, 1>1>7

Jazz Arranging Techniques

notreconanaended CM, C major, C maj. CM7, CA7, C-7 CM9, CA9 CM6, Cmaj.6

C7913 C7+11 C7-9 C7alt. C-, Cm C-7, Cm7 C-9, Cm9 C-6, Cm6 C-71>5, e~

C7+

Intros The introduction in an arrangement can serve many functions. First, the intro is designed to create a harmonic pathway to the first statement of the melody or theme. The harmonic pathway can be based on the progression accompanying the theme or can be more generic. In either case, the progression is designed to lead to the first chord of the melody. The last two measures of the introduction are often referred toas a "turnaround," because the progression returns by way of its root movement to the beginning of the progression and entrance of the melody [Ex. 4-1].

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In a simplified version, the progression may consist of just the Ilmi 7, V7, or even just the V7 chord (V7sus, V7) [Ex. 4-2].

E". 4-2 INTiO fi;IMPLEJ

Experienced arrangers will often base intros on progressions already present in the composition, creating a more organic structure. The final two measures of a 32 measure progression (A, A, B, A form) are often designed to lead back to the beginning ofthe progression (another turnaround) and would work as part of a natural, organic intro consisting of the last eight measures of the last A section. The bridge (B) leads effectively to the last (A) section in the form and could also be the basis for an intro. For contrast, an arranger might decide to avoid the main theme's progression to escape oversaturating the listener with a progression that will be repeated many times throughout the arrangement. Using common chord types taken from the body of the composition, without duplicating any part of the chord progression can be significant enough to establish a relationship between the intro and the composition. The second function of the intro is to establish the tempo and style that will serve the melody. A simple intro on an up-tempo arrangement could start with a solo drummer playing swing time in anticipation of the harmonic and melodic elements entering at the head. Walking bass and comping piano could be added without any melodic content and still serve as the introduction. Melodic content appropriate to the harmonic progression could be added for a more complete statement. The melodic content could be a quote from the main theme, a developed motif found elsewhere in the arrangement or new material composed by the arranger. It is un usual for the

Chapter 4: Chord Symbols, Intro/Ending, Score/Parts Layout

29

style (Swing. Latin, Funk, etc.) to cliffer between the intro and the first melody. statement. The third function, closely related to the second, is to establish the mood of the arrangement. Here the arranger can be very dramatic or very subtle, utilizing harmonic, rhythmic or meloclic elements of the body of the arrangement singularly or in combination. In order to relate the intro with the body of the arrangement, many arrangers will compose the intro last. This technique, called "foreshadowing," contributes to creating an organic arrangement developed from a few ideas into a complete musical statement. Overall, strive for an intro that has a purpose and directs the listener in sorne way to anticípate the arrival of the initial statement of the theme. Intros and enclings can provide space for the arranger to be imaginative and creative.

Endings The "ending" is the last two, four, eight or more measures the listener experiences in an arrangement. The arranger decides how to leave the listener, with a wide range of possibilities from loud and explosive to soft and subtle, from an extended final chord to a short and percussive final note. It is important for the encling to complete the musical journey as a natural extension of the arrangement. The forn1 is extended beyond the recapitulation of the theme with various techniques described below.

Creating Endings Through Extension 1111

1111

111 111

111

Repeat last phrase of theme (once or twice) with a change in orchestration and/ or dynamic. Repeat last phrase or theme in augmentation (doubling the note values). Repeat intro exactly or in variation from the original. Feature a soloist improvising over a short progression based on the body of the arrangement (or the solo section) leacling to a final phrase, chord or percussive note. Feature a drum solo punctuated by ensemble "kick figures."

LISTENING It is essential to engage in active listening to jazz groups of all sizes from trio to big band. Listen to examples of intros and enclings on numerous CDs. Determine what the relationship is between the entire arrangement and the introductions and enclings. Find examples of intros and enclings that demonstrate methods outlined in this chapter. Take note of favorites.

30

Jazz Arranging Techniques

Score and Parts Layout Materials, Procedures and Shortcuts Scores may be produced by hand or with software. Sorne of the shortcuts covered in this section will not apply to scores realized with software. The shortcuts would not be necessary, since "cut and paste" procedures supersede the need for shortcuts.

Scores realized by hand should meet the following requirements: 11 11 11 11 1111

11

1111

1111

scores and parts written with dark pencil, producing a dark image legibility (neatness) is essential a straight-edge (ruler) will greatly enhance legibility ofbeams, stems and lettering use paper specifically designed as score paper individual parts should be written on "parts paper," which is approximately 9 by 12 and is heavier (60-90 lb) than computer or homework paper. Tape pages together "accordion style" parts are normally laid out in segments of 4 measures per line except when writing rests, where a single line can include an 8 measure rest (see next requirement) multi-measure rests (more than 1 measure) are indicated up to a maximum of 8 measures to facilita te the use of rehearsalletters/numbers every 8 measures an exception to the 4 measure layout is 1st endings which often add a measure or two toa line.

Scores realized on a computer should meet the following requirements: 111 1111

1111

scores and parts may be initially produced with a printer on 8 1/2 by 11 paper score- photo copy and enlarge onto 9 by 12 or even 11 by 17 paper, depending on the size of the ensemble parts- photo copy to "parts paper," enlarging as described above. This procedure will only work with "single sided" parts paper using the blank si de. If parts paper is not available, use 60-90 lb paper for enhanced stability.

Score Layout Instruments are positioned in a score in the following order: 111 11

111 1111

saxophones: alto 1,2, tenor 1,2, baritone trumpets: 1,2,3,4 (5) trombones: tenor 1,2,3 and bass trombone guitar, piano (grand stafi), bass, drums

Chapter 4: Chord Symbols, Intro/Ending, Score/Parts Layout

31

Other Score and Parts Suggestions: 111 111

111

1111

111

On the score, alllines of every page must include the clef, key and time signatures. On the parts, it is traditional to place clef, key and tin1e signatures only on the top line of each page (not possible with sorne computer notation programs). A boxed rehearsalletter or number is inserted at approximately 8 measure intervals throughout, based on the form of the composition. All parts include a dynamic coinciding with the first entrance. After the initial dynamic, only indicate changed dynamics. Articulations must appear on both score and parts and are traditionally placed above the staff in jazz notation regardless of stem direction.

Score Shortcuts 1111

111

1111

111

"Col" is a term used on handwritten scores to indicate duplication between two or more instruments, alleviating the need to recopy a line or set of chord symbols. Writing "col piano" on the guitar staff will instruct the copiest to duplicate the piano line in that section when copying the guitar part. Note in the rhythm section scoring example (pages 33-36) a wavy line is drawn along the middle of the guitar staff to indicate how long the duplication continues and when it ends. The efficiency of duplicating lines using computer notation software supersedes the need for "col." Single and double measure repeats are sometimes used in handwritten scores. Avoid their use for drumset parts. It is more useful to use slashes in each measure of a drum part, so that other notations can readily be added. Whenever possible, lay out the parts so that repeat signs begin at the start of a new line and end at the end of a line. Wings added to repeat signs help make them more visible. Refer to the rhythm section scoring example. Copy Back is a way to indicate duplication of a measure or a section of an arrangement without recopying it in the score. On the top line of a score page, a measure number is notated (i.e., m32) to indicate that this measure is a duplicate of the original measure 32. A line is drawn clown the score to indicate which instruments are duplicated at this location. Refer to the rhythm section scoring example.

Study the Rhythm Section Scoring Example on the following pages to review score setup and notation for guitar, piano, bass and drums. Take special note of the annotated text (boxed).

32

Jazz Arranging Techniques

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Chapter 4: Chord Symbols, Intro/Ending, Score/Parts Layout

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Chapter 4: Chord Symbols, Intro/Ending, Score/Parts Layout

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Rhythm Section Score Assignment #5

Objective: to practice Scoring and Notation Techniques for guitar, piano, bass and drums as outlined in Chapters Three and Four and demonstrated in the previous example. Select any 12 bar blues tune (or compose a new one) and create a score for guitar, piano (grand stafi), bass and drums. Feature the piano or guitar or a combination of the two playing the melody. Any ofthe members ofthe quartet may be featured in the solo section. Follow the form as outlined below.

Fonn and Rehearsal Letters Intro

4-8 measures

no rehearsalletter

12 bar blues (melody)

12 measures

letter A

12 bar blues (solo)

12 measures

letter B

D.S. (Dal segno) toA for recapitulation ofthe melody. Then indicate with a sign where to skip to the coda. Coda

2-8 measures

no rehearsalletter

Note: Create parts, rehearse and record the project. Study and evaluate the score.

Chapter 4: Chord Symbols, Intro/Ending, Score/Parts Layout

37

Cha

• 1ve

Transposition, Range, Register and Intensiry qfBrass and Woodwinds A broad-based knowledge of the performance characteristics of instruments provides the arranger, composer and orchestrator with the tools to produce well-balanced, blended, idiomatic writing. This chapter provides concise illustrations of the transposition, range, and register of all the woodwinds and brass common to a jazz ensemble. Changes in instrumental intensity are represented graphically followed by a list of guidelines pertinent to dynamics, technique, balance and blending.

38

Jazz Arranging Techniques

fiANSPOSifiON1 iANQE1 iEQISTEi ANO INTENSITY

IBP Trumpetl f~ANSPOSITION: UP A MA'3'0~ 2NO F~OM CONCE~f PITCH

f~ANSPOSEO fANQE ANO fEQISTE~:

--

_.,.

~EA~ ------------------- ME~OOY ------------------- ~EAO ------------------------------INTENG/TY QfAPH

HIQH

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

MOCE~ATE·

LOW

••••••••••

,

¡ •••••••••••••••••••

¡ ••••••••••••••••••••••••••••••••••••••••••••••

••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

OiHE~ ~ITINQ CONSICE~ATIONS

• LOW INTENSITY ANO SOFí CYNAMIC (JP-MP) P~OCUCE A CA~Il ANO MELLOW TIMS~E • HIQH INTENSITY ANO LOUC CYNAMIC (MF-FF) P~OCUCE A S~IQHT ANO PIE~CINQ TIMS~E • CYNAMIC~ INTENSITY ANO TIMS~E CAN SE AL TE~EC WITH MUTES: CUP~ PLUNQE~~ Si~AIQHT ~ HA~MON ANO SUCilET • ENC~ANCE AN IMPO~i ANi CONSICE~ATION~ S~ASS iEQUI~E ACEQUATE ~EST SEFO~E INTENSE O~ E~TENCEC PASSAQES • SCALA~ PASSAQES AiE vE~Y PLAYASLE • INiE~MITiENT LEAPS (!NTEivALS WICE~ THAN A 2NC) AiE Oll~ SUCCESSivE LEAPS CAN SE vEiY CIFFICULT • SLENC WELL WITH WOOCWINCS WHEN MUTEC • EFFECTIVE IN UNISON Oi HAiMONY • CIFFICULT TO PLAY SOFT CYNAMICS IN INTENSE iEQISiE~

Chapter 5: Transposition, Range, Register and Intensity

39

ffZANSPOSITION~ eANOtE~ eEO,ISTEfl

ANO INTENSITY

IBb Flugelhorn

1

fiANSPOSITION: UP A MA:I'Oi 2NO FiOM CONCEif PITCH

WEAIC ----------------- MELOOY --------------------- IMPiACTICAL -------------

INTENG/TY QfAPH

HIOtH •••••••••••••••••••••••••••••••••••••••••••••••••• MOOEiAfE • • • • • • • • • • • • • • • • . , •••••••••••••••••••••••••••••••••••••• LOW :-: ••.•.••••.••.•..••••.•••.•.••.•.••.•.••..•.•••••.••.•.•.•.• !d

••••••••

OfHEi WilfiNO, CONSIOEiAfiONS • • • •

• • • • •

40

LOW INfENSifY ANO SOFf OYNAMIC {!P-MP) P200UCE A OA21( ANO MELLOW fiMS2E HIQ¡H INfENSifY ANO LOUO DYNAMIC (MF-FF) P20DUCE A SLIQ¡HfLY S210¡HfEi fiMS2E MUTES A2E NOT UTILIZEO ON FLUQ¡ELH02N ENOU2ANCE AN IMPOifANf CONSIDE2AfiON. S2ASS iEQUiiE ACEGUATE 2EST SEF02E INTENSE 02 E~TENOED PASSAQ¡ES SCALA2 PASSAQ¡ES A2E vEiY PLAYASLE 1NfE2MiffENf LEAPS (!NTE2vALS WIOE2 THAN A 2ND) A2E Ol(. SUCCESSivE LEAPS CAN SE vE2Y CIFFICULT SLENOS WELL WITH WOOOWINOS. SA~ES ANO f20MSONES EFFECflvE IN UNISON 02 HA2MONY DIFFICUL f TO PLAY SOFT OYNAMICS IN INTENSE iEQ¡ISTE2

Jazz Arranging Techniques

f~ANSPOSITION~ iANQE~ iEQISTE~

ANO INTENSITY ITenor Trombonel f~ANSPOSITION: ~lffEN IN CONCE~f PITCH

~- ~- ~::¡;:: ~'P'- ~· ~ ---=

11

PEOAt. -------------------*fllOT AI/Ait.ASt.E -- AW~WA~O ------- P~ACTICAt. ------- t.EAO ------------

/NTE/+16/TY 4fAPH HI~H

MOOE~AfE • • • • • • • • • • • • • • • ·.;,.·..;,. ·.- ·- - - -

• • • • • • • • • • • • • • • • • • • • • • • • • • • •••

LOW

OTHE~ ~ITINQ CONSIOE~ATIONS

• LOW INTENSITY ANO SOFT OYNAMIC (!P-MP) P~OOUCE A OA~I{ ANO MELLOW fiMSiE • HI~H INTENSITY ANO LOUC OYNAMIC (MF-FF) P~OOUCE A S~I~Hf ANO MO~E PIE~CIN~ TIMS~E • OYNAMIC~ INTENSITY ANO TIMS~E CAN SE AL TE~EO WITH MUTES: CUP~ PLUN~E~~ ST~AI~Hf ANO SUCI{Ef • ENO~ANCE AN IMPO~fANT CONSIOE~ATION~ S~ASS ~EQUI~E AOEQUATE ~EST SEFO~E INTENSE O~ E~TENOEO PASSA~ES

• • • • • •

SCALA~ PASSA~ES A~E PLAYASLE~ OON'f UNOE~ESTIMATE THE A~ILITY OF THE f~OMSONE

INTE~MITTENT LEAPS (!NTE~VALS WIOE~ THAN A 2NO) A~E Ol{~ SUCCESSIVE LEAPS CAN SE vE~Y OIFFICULT SLENO WELL WITH ALL INST~UMENTS~ SETTE~ MUTEO WHEN WITH WOOOWINOS EFFECTIVE IN UNISON O~ HA~MONY MOOE~ATE SLIOE MOvEMENT (1ST TO ÓTH POS. FO~ E~AMPLE) CAN HINOE~ SMOOTHNESS OF LINES ASLE TO PLAY ALL OYNAMICS OVE~ ENTI~E ~AN~E~ THE~EFO~E CAN BALANCE WITH ANY INST~UMENT

• *LOW

S TH~OU~H E~ ~ELOW THE STAFF) CANNOT SE P~OOUCEO ON A TENO~ f~S. (WITHOUT f~I~~E~)

Chapter 5: Transposition, Range, Register and Intensity

41

ffZANSPOSITION~ ~AN~E~ ~E~ISTEfZ

ANO INTENSITY IBass Trombone 1 Í~ANSPOSITION: ~lffEN IN CONCE~f PITCH

PEDAL ------------- Sf~ON~ SASS ------------------------------- Sf~ON~ ENSEMBLE --------

INrENGITY 4fAPH

HIO¡H

e

•

•

•

•

•

e

e

•

•

•

•

e

e

•

•

'

....... •

•

•

•

•

•

•

e

•

•

MOOEfZAiE • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • LOW

OiHEfl W1lli1NQ CONSIOEfZAiiONS • • • •

• • • • • • •

LOW INiENSiiY ANO SOFí OYNAMIC {!P-MP) PfZOOUCE A DAfll! ANO MELLOW iiMSfZE HIO¡H INiENSiiY ANO LOUO DYNAMIC (MF-FF) PfZODUCE A SfZIO¡HiEfl iiMSfZE WliH MOfZE EDO¡E iO iHE AiiACl! OYNAMICt INiENSiiY ANO iiMSfZE CAN SE ALiEfZED WliH MUTES: CUP1 PLUNO¡Eflt SifZAIO¡Hi ANO SUCl!Ei ENOUfZANCE AN IMPOfliANi CONSIOEfZAiiONt SfZASS fZEQUifZE ADEQUAiE fZESf SEFOfZE INiENSE Ofl E~fENDED PASSAO¡ES SCALAfl PASSAO¡ES AfZE PLAYASLEt LOW fZEO¡ISiEfl CAN SE LESS AO¡ILE DEPENDINO¡ ON PEfZFOfZMANCE LEv'EL INfEfZMiffENi LEAPS (!NiEflv'ALS WIDEfl fHAN A 2ND) AfZE Ol!; SUCCESSiv'E LEAPS CAN SE v'EfZY DIFFICULf SLENOS WELL WlfH ALL INSifZUMENfSt CAN SE OPEN 02 MUTEO WHEN WlfH WOOOWINDS EFFECilv'E IN UNISON WlfH SAfllfONE SA~t SASS CLAfZINEi Ofl SASS LOW fZEO¡ISfEfl PASSAO¡ES AfZE EASIEfl fHAN ON iENOfl ifZS DUE fO QffZIO¡O¡EfZQ WHICH PfZOv'IDES AL fEfZNAfE POSiiiONS ASLE fO PLAY ALL DYNAMICS Ov'Efl ENflfZE fZANO¡E fHEfZEFOfZEt CAN SALANCE WlfH ANY INSffZUMENf LONO¡ PASSAO¡ES AfZE NOf PLAYASLE SECAUSE OF iHE E~PENDifUfZE OF Alflt PLAYEfl Wll.l. AD'J'USf

42 Jazz Arranging Techniques

ffZANSPOSITION~ iANQE~ iEQISTEfZ

ANO INTENSITY

IBb Soprano saxl f~ANSPOSITION: UP A MA'3'0~ 2NO F~OM CONCE~T PITCH

f~ANSPOSEO iANQE ANO iEGISTE~:

•. " 11

.-

V._,

--

-----

.a..-

_, 11111 11111 11111

ST~ONQ ---------------- MELOOY/LEAO ------------- THINNE~ SOUNO -------------INfENSirY QfAPH ~------········

HIQH MOCE~ATE

••••••• • • • • •

LOW

0THE~ ~lfiNQ, CONSICE~AfiONS

• • • • • • • • •

LOW INTENSITY ANO SOFT CYNAMIC (JP-MP) P~OCUCE A CA~~ ANO MELLOW fiMS~E HIQH INTENSITY ANO LOUC CYNAMIC (MF-FF) P~OCUCE A S~IQHT MO~E PIE~CINQ TUAS~E SA"OPHONES CAN PLAY INTENSE O~ E"TENCEC PASSAQES WlfH LlffLE O~ NO ENC~ANCE P~OSLEMS SCALA~ PASSAQES A~E EASY ANO CAN SE E"ECUTEC QUIC~L Y INfE~MiffENf LEAPS (WICE~ fHAN A 2NC) FINE: SUCCESSivE LEAPS A~E MO~E CIFFICULf SUT POSSISLE SLENCS WELL WlfH f~UMPETS1 f~OMSONES ANO ESPECIALL Y FLUQELHO~NS EFFECflvE IN UNISON O~ HA~MONY CIFFICULf TO PLAY SOFT CYNAMIC ON LOWEST NOTES (UNLESS SUSTONEC) LIMif ~lffEN MUSIC TO ~ANQE INCICATEC; ALTISSIMO ~EQISTE~ IS USEC Af THE SOLOISf'S CISC~ETION

Chapter 5: Transposition, Range, Register and Intensity

43

ffZANSPOSITION~ eANO,E~ eEO,ISTEfZ

ANO INTENSITY 1Eb Alto Sax 1 T~ANSPOSifiON: UP A MA10~ 6TH F~OM CONCE~f PlfCH

TfMNSPOSEO ~ANQE ANO ~EQISfE~

---- ..a..---Sf~ONQ ----------- MELOOY/LEAO ----- fHINNE~/fENSE ------------------------ OPfiONAL I!EY

INTENS/TY 4fAPH HI~H

••••••••••••••••••••••••••••••••••••••••••••••••••••

• ••

MODEfZATE

~. • • • • • •

LOW

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • ••

•••••••••••••••••••••••••••••••••

0THE~ ~ITINQ CONSIDEfZATIONS:

• • • • • • • • •

LOW INTENSITY ANO SOFT DYNAMIC {!P-MP) PfZODUCE A DAil( ANO MELLOW fiMSiE HI~H INTENSITY ANO LOUD DYNAMIC (MF-FF) PiODUCE A Sii~Hf MOiE PIEiCIN~ fiMSiE SA"OPHONES CAN PLAY INTENSE Oi E"TENDED PASSA~ES WITH LlffLE 02 NO ENDUiANCE PiOSLEMS SCALA2 PASSA~ES A~E EASY ANO CAN SE E"ECUTED QUICI(L Y INTE2MITTENT LEAPS (WIDE2 THAN A 2ND) FINE; SUCCESSIVE LEAPS A2E M02E DIFFICUL f SUT POSSISLE SLENDS WELL WITH f2UMPETS1 T20MSONES ANO ESPECIALL Y FLU~ELH02NS EFFECTIVE IN UNISON 02 HA~MONY DIFFICUL f TO PLAY SOFT DYNAMIC ON LOWEST NOTES (UNLESS SUSTONED) LIMIT ~lffEN MUSIC TO 2AN~E INDICATEC; AL TISSIMO 2E~ISTE~ IS USED AT THE SOLOISf'S DISC2ETION

44 Jazz Arranging Techniques

f~ANSPOSITION~ iAN~E~ iE~ISTE~

ANO INTENSITY 1Bb Tenor

Sax 1

ffANSPOSifiON: UP A MAtOf 2NO PLUS AN OCTAVE (MAtOf 9TH) FfOM CONCEff PlfCH CONCEff ~ANQE:

ffANSPOSEO ~ANQE ANO ~EQISfEf:

SffONQ SASS ------------- MELOOY -------------------------------------- COMMON

INTENGITY QfAPH

HIQH MOOE~AfE·

L.OW

•••••••••••••

•••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

OfHE~ WilfiNQ CONSIOE~AfiONS

• • • • • • • • •

L.OW INfENSifY ANO SOFf OYNAMIC (pP-MP) P~OOUCE A OA~~ ANO MEL.L.OW fiMS~E HIQH INfENSifY ANO L.OUO OYNAMIC (MF-FFJ P~OOUCE A S~IQHf MO~E PIE~CINQ fiM~E SA"OPHONES CAN PLAY INfENSE O~ E"fENOEO PASSAQES WlfH L.lffL.E O~ NO ENO~ANCE P~OSL.EMS SCAL.A~ PASSAQES A~E EASY ANO CAN SE E"ECUfEO vE~Y FASf INfE~MiffENf L.EAPS (WIOE~ fHAN A 2NOJ FINE; SUCCESSIVE L.EAPS A~E MO~E OIFFICUL.f SUf POSSISL.E SL.ENO WEL.L. WlfH f~UMPEfS1 f~OMSONES ANO ESPECIAL.L. Y FL.UQEL.HO~NS EFFECflvE IN UNISON O~ HA~MONY OIFFICUL. f fO PL.AY SOFf OYNAMIC ON L.OWESf NOTES (UNL.ESS SUSfONEO) L.IMif WilffEN MUSIC fO ~ANQE INOICAfEO; AL. fiSSIMO ~EQISfE~ IS USEO Af fHE SOL.OISf'S OISC~EfiON

Chapter 5: Transposition, Range, Register and Intensity

45

feANSPOSITION~ eAN~E~ ~E~ISTEe

ANO INTENSITY

IEb Baritone

saxl

ffZANSPOSITION: UP A MA'3'0fZ 6TH PLUS AN OCTAvE FfZOM CONCEfZT PITCH CoNCEfZT iANGE:

_,

-

STfZON~ SASS ------------------ MELOOY ------------------- vEfZY INTENSE ---------INTENGITY QfAPH HI~H MOOE~Af.E•••••••••••••••••

I.OW

·--

•••••••••••••••••••••••••••••••

••••••••••••••••••••••••••••••••••••••••••••••••••••••••

OfHEfl WfllfiNQ CONSIOEflATIONS

• • • • • • • • •

I.OW INTENSITY ANO SOFT OYNAMIC (pP-MP) PflOOUCE A OA~I! ANO MEI.I.OW TIMSflE HI~H INTENSITY ANO I.OUO OYNAMIC (MF-FF) PflOOUCE A Sfli~Hf MOflE PIEflCIN~ TIMSflE SAfll CAN PLAY INTENSE Ofl E"TENOEO PASSA~ES WITH SUFFICIEANT SPACE FOfl SflEATHIN~ SCAI.Afl PASSA~ES AflE EASY ANO CAN SE E"ECUTEO vEflY FAST INTEflMITTENT I.EAPS (wiOEfl THAN A 2ND) FINE; SUCCESSIVE I.EAPS AflE MOflE OIFFICUI.f SUT POSSISI.E AOCS WEI~HT ANO INTENSITY TO THE SASS ANO SASS TflOMSONE PAflTS EFFECTIVE IN UNISON Ofl HAflMONY DIFFICUI.T TO PLAY SOFT DYNAMIC ON I.OWEST NOTES (UNI.ESS SUSTONEO) LIMIT WfliTTEN MUSIC TO flAN~E INDICATEO; Al.TISSIMO flE~ISTEfl IS USED AT THE SOI.OIST'S DISCflETION

46 Jazz Arranging Techniques

feANSPOSITION1 ~ANO,E1 ~EO,ISTEe ANO INTENSITY

lsb Clarinetl f~ANSPOSITION: UP A MAl'O~ 2NO F~OM CONCE~T PITCH

_..,.

f~ANSPOSEO ~AN(AE ANO ~EQISTE~:

"'"

OA~I( -------------- WEAI( -------------------- MELOOY/L Y~ICAL ---- PIE~CIN~ -------------------

INTENGITY 4fAPH

HIO¡H MOOEiAfE • ·-· • • • • • • • • • • • • • • • • • • • • • • • • • • • • / ' • • • • • • • • • • • • • • • ••••••••••• LOW ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••

OfHEi WilfiNQ CONSIOEiAfiONS LOW INfENSifY ANO SOFf OYNAMIC {!P-MP) PiOOUCE A OAil( ANO MELLOW fiMSiE HIO¡H 1ZEQISfE1Z ANO LOUO OYNAMIC (.MF-FF) PiOOUCE A SiiO¡Hf M01ZE PIEiCINQ fiMSiE CLA1ZINEf CAN PLAY INfENSE 01Z E"fENOEO PASSAQES WlfH NO ENOU1ZANCE PiOSLEMS SCALAi PASSAO¡ES AiE EASY ANO CAN SE E"ECUfEO VE1ZY FASf INfEiMiffENf LEAPS (.WIOEi fHAN A 2NO) FINE; SUCCESSIVE LEAPS AiE MOiE OIFFICULf SUf POSSISL.E E"ECUfiNO¡ FASf MOVEMENf AC1ZOSS fHE S1ZEAI( CAN SE PiOSL.EMAfiC F01Z WW OOUSL.EiS EFFECfiVE IN UNISON Oi HAiMONY MOSf vEiSAfiL.E INSfiUMENf FOi SALANCINQ ANO SLENOINO¡ SUf HAS LIMifEO VOLUME Af MIO-iEQISfEi ANO SELOW. fHEiEFOiE ONE CLAiiNEf CANNOf COMPETE WlfH A uMF-Fu SA"OPHONE~ fiUMPEf Oi fiOMSONE • LIMif WilffEN MUSIC fO iANQE INOICAfEO; ALfiSSIMO iEQISfEi IS USEO Af fHE SOLOISf'S OISCiEfiON

• • • • • • • •

Chapter 5: Transposition, Range, Register and Intensity

47

fflANSPOSITION~ ~ANC.\E~ ~E(\ISTEfl

ANO INTENSITY 1Bb Bass

Clarinet 1

Í~ANSPOSITION: UP A MA:TO~ 2NO PI..US AN OCTAvE F~OM CONCEff PITCH CONCE~T ~ANQE:

WITH E"TENSION

_..,

-

i~ANSPOSEO ~ANQE ANO ~EQISTE~:

Sf~ON~/OA~k' -------------- WEAk'E~ -------------------- l.Y~ICAI.. (OIFFICUI..f) --------- PIE~CIN~ -------INfENGifY QfAPH HI~H

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

MOOE~AiE •••••••••••••

LOW

-:-:: . .-:r•.• ...•••••......•.•••.••....••

~,:.,.:...&..--~.:-:-.

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

OiHE~ ~ITIN(it CONSIOE~ATIONS

• LOW INTENSITY ANO SOFí OYNAMIC {JP-MP) P~OOUCE A OAfll( ANO MELLOW TIMSflE • HI~H flE~ISTE~ ANO LOUO OYNAMIC (MF-FF) P~OOUCE A Sfli~HT MOflE PIEflCIN~ TIMSflE • S. CLAfliNET CAN PLAY INTENSE Ofl E"TENOEO PASSA~ES WITH LliiLE Ofl NO ENOUflANCE PflOSLEMS • SCALA~ PASSA~ES A~E EASY ANO CAN SE E"ECUTEO vE~Y FASr • INrE~MiriENr LEAPS (WIOE~ iHAN A 2NO) FINE; SUCCESSivE LEAPS A~E MO~E OIFFICULr sur POSSISLE • AOOS WEI~Hr ANO INTENSirY ro iHE SASS ANO SASS r~OMSONE PAflrS • EFFECrlvE IN UNISON O~ HA~MONY • vE~Y vE~SAriLE INSrflUMENr FOfl SALANCIN~ ANO SLENOIN~ • LIMir ~liTEN MUSIC ro flAN~E INOICArEO; AL rtSSIMO flE~ISrEfl IS USEO Ar rHE SOLOISi'S OISCflEriON • WHEN ~lriN~ FOfl LESS E"PEfliENCEO OOUSLEflS LIMir flAN~E ro NOTES SELOW rHE SflEAl! • "SflEAl!" IS LESS OF A iECHNIQUE FACrOfl SECAUSE l!EY PAOS ~EPLACE FIN~Efl HOLES OF rHE CLAfliNEr

48

Jazz Arranging Techniques

f~ANSPOSITION1 iANO,E1 iEO,ISTE~

ANO INTENSITY

le Flutel fiANSPOSITION: WiiTTEN IN CONCEff PITCH

.a..C

WEAk! --------------- MEL.OOY ---------------------- PIEiCINO, -- TECHNICAL.L. Y MOiE OIFFICUL.T ----INTENGITY 4fAPH HI~H

••••••••••••••••••••••••••••

~

•••••••••••••••••••••••

MOOE12ATE· • • • • • • • • • • • • • • • • • • • ~ • • • • • • • • • • • • • • • • • • • • • • • • •••••••• LOW , ••••••••••••••••••••••••••••••••••••••••••••••••••••••••

0THE12 W121TINQ CONSIOE12ATIONS • FLUTE OOUSLE12S P1200UCE MUCH LESS INTENSITY OF SOUNO IN LOW 12E~ISTE12 COMPA12EO TO P120 FLUTISTS • LOW S NOT AVAILASLE ON SOME FLUfES • HI~HEST 5TH INTENSE ENOU~H TO P120'3'ECT ASOVE 8 S12ASS • SCALA12 PASSA~ES A12E EASY ANO CAN SE E"ECUTEO QUICk'L Y • LEAPS A12E COMMON WHILE A LlffLE M012E OIFFICULf THAN SCALA12 PASSA~ES • OFTEN COUPLEO WITH MUTEO f12PTS (HA12MON ANO CUP MUTES MOST COMMON) ANO FLU~ELH012NS • EFFECflvE IN UNISON 012 HA12MONY • OIFFICULf TO PLAY l.OUO OYNAMIC ON LOWEST NOTES • ONE FLUTE IN THE HI~HEST OCTAvE CAN AOO PENET12ATIN~ EO~E TO LEAO LINE • A MINIMUM OF 3 FLUTES IS NECESSA12Y TO SALANCE WITH ONE SA"OPHONE1 f12UMPET 012 f120MSONE (WITHOUT MUTES)

Chapter 5: Transposition, Range, Register and Intensity

49

fflANSPOSITION~ flAN~E~ flE~ISTEfl

ANO INTENSITY

le Piccolol fflANSPOSiiiON: SOUNOS ONE OCiAvE HI~HEfl iHAN WflliiEN

8\'A--- 1

~ANQE ANO ~EQISiEfl: (.soUNOS ONE OCTAVE HI~HEfl iHAN WflliiEN)

WEA~/iHIN ------------------------- vEflY PIEflCIN~ ----------------------------INTENGJTY 4fAPH HI~H

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

MOOEflATE· • • • • • • • • • • • LOW

OTHEfl WfliTINQ CoNSIOEflATIONS • • • • • • •

50

PIC. OOUSLEflS PflOOUCE LESS INTENSITY OF SOUNO IN LOW flE~ISfEfl COMPAflEO TO PflO FLUfiSTS HIO,HEST 5TH INTENSE ENOUO,H TO Pfl01ECT ASOvE A MAflCHINO, SANO! SCALAfl PASSAO,ES AflE EASY ANO CAN SE E~ECUTEO QUICk'L Y LEAPS AflE COMMON WHILE A LITTLE MOflE OIFFICULT THAN SCALAfl PASSAO,ES PITCH IS A PflOSLEM IN UPPEfl flEO,ISTEfl FOfl UNISON PICCOLOS IMPOSSISLE TO PLAY LOUO OYNAMIC ON LOWEST NOTES ONE PICCOLO IN THE HIO,HEST OCTAvE CAN AOO A VEflY PENETflATINO, EOO,E TO A LEAO LINE

Jazz Arranging Techniques

TiANSPOSITION ASSIQNMENT fiAAISPOSE THE ~EY ~ NOTES ANO CHOiOS OF THE FOL.LOWIN~ E"AMPL.E FOi EACH INSTfUMENT

i6 NAME-------

CONCEfT E"AMPL.E~ HI~H ANO L.OW OCTAVES

ALTO SA" Ó.OW OCTAVE E"AMPL.E)

Chapter 5: Transposition, Range, Register and Intensity

51

NAME _ _ _ _ __

fENO~ T~OMSONE (L.ow OCTAVE E~AMP~E)

BA~I SA~ (9NE OCTAVE SELOW l.OW OCT. E~.)

1

1 1

1 1

'" J

1

1

1

1

11

1

11

11

1

F~UTE (9NE OCTAVE ASOVE HIOtH OCT. E~.J

1

ni

1 1 1

1 1 1

11111

1

1

1 1 1

1

1

11

11

11 11 _U

J BASS CLA~INET (9NE OCTAVE SELOW LOW OCT. E~.J

1 ,

ni

1

1

1

1 1

1

Wlf/ll

1 1

11

_u

11

1

11

1 1

11 11

l SoP~ANO SA~ (HIOtH OCTAVE E~AMPLE)

1 1

1

'" 1 PICCOLO

52

1

{Jwo

OCTAVES ASOVE HIOtH OCT. E~.J

Jazz Arranging Techniques

1 1 1 1

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Chapter Six Blending Brass and Woodwinds, Dynamics and Jazz Articulations The timbre of an instrument is most affected by the instrument's attack (how the sound is initially produced- reed, mouthpiece, blowhole, etc.) and by the balance ofharmonics in the instrument's overtone series. The attack provides sound characteristics that enable identification of instruments. After the initial attack, the characteristic timbre of a sustained note is a result of the balance of harmonics present in the soun d. The balance of harmonics is affected by the design of the instrument (shape, dimensions, material, etc.), by the intensity of the attack being produced (causing additional timbre changes) and by characteristics ofthe individual player. For example, a soft trumpet tends toward a mellow sound while a loud trumpet is bright. The velocity of the air affects the balance ofharmonics, resulting in a change in timbre. Instrumental ensembles Gazz band, symphony orchestra, symphonic band) exhibit an almost limitless pallet of timbres as a result of the many families of instruments, the registers being employed, their dynamic properties, the uniquenesss of individual players, and the resulting timbre when combining two or more instruments.

Blending lnstruments in Unison and Octaves When two or more instruments play in unison, two things can occur: (1) the instruments will blend so that the resulting sound is unique and disguises the two or more individual instruments; (2) the instruments will not blend and thus retain their individual characteristics. No two players sound alike; so individual sound characteristics will also influence how well the chosen instruments blend. The following observations are only a guide. Don't mistake this guide as examples of right and wrong; they are all right. Its purpose is to give insight .into the types of timbre created when blending instruments. Blending only "same" or "similar" instruments would eliminate sorne of the richest sounds available in a jazz ensemble. Below is an abbreviated list of unison examples categorizing blend ability from most to least. l. Two or more ofthe same instrument in unison:

2 to 4 trumpets 2 to 4 trombones 2 alto saxophones 2 to 4 flugelhorns 2 to 4 flutes

2. Two or more similar instruments, same family:

trumpets/ trombones altos/ tenors sax. tenors/baritone sax. clarinets/bass clarinet

Chapter 6: Blending, Dynamics and Articulations

53

3. Instruments with similar timbre, different families: flugelhorns/sop. sax. alto sax./trombones alto sax./trumpets flutes/trumpets flutes/ flugelhoms 4. Instruments with somewhat different timbre trombones/bari sax. trumpets/ tenor sax. flutes/ clarinets

5. Instruments with very different timbres:

harmon trpt/ anything flute/bari sax guitar1any brass or woodwind

Relative lntensity and Balance The intensity of a line is determined by the register it encompasses on a particular instrument and by the dynamic. To illustrate the effect of register on intensity turn to page 56, The Saxophone Section. A melody is written in a range playable by soprano, alto, tenor and baritone saxophones without changing octaves. Comparing the concert version and the transposed versions, observe how drastically different this melody "lies" on the four saxophones. The larger the saxophone, the higher this melody occurs in their register. With saxophones, higher register = more intensity. Therefore, this melody will sound the most intense if assigned to the baritone and least intense if assigned to the soprano. It is essential to understand where a melody occurs in an instrument's range (i.e., low, middle, high) and to compare it with the intensity graph for each instrument (illustrated in Chapter Five). The experienced arranger can hear the intensity factor when assigning an instrument to a line and will not be taken by surprise at the first reading. In addition to providing the arranger with a guide to the intensity of a line, the graph is also helpful in determining how effectively two instruments will balance. For example, a melody scored for flute and open trumpet in unison, with a range of an octave above middle "C" up to "A" above, would be a difficult balance, because the line is in the mid-register for flute and beginning the high register for trumpet. The flute has not yet approached its intense register, while the trumpet is into its intense register. Marking the trumpet a half dynamic levellower than the flute would help (mf to mp ). The use of a mute (very common) would work even more effectively in balancing this combination and might not require an adjustment in dynamics. Balancing instruments is not as complicated as the above example might seem. Trumpets, trombones and saxophones will have little or no balance problems, especially in typical "melody"

54

Jazz Arranging Techniques

register. Combined with muted brass, most woodwinds will easily balance. The following combinations provide an abbreviated list of effective balances at the unison or octave. trumpet/ soprano trumpet/ alto trumpet/ tenor trumpet/ bari trumpet/ trombone trombone/ alto trombone/ tenor trombone/bari alto/ tenor /bari sop. 1alto/ tenor /bari 3 flutes/2 trpts (harmon) 2 clarinets/ 1 tbn (cup)

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unison or octaves octaves octaves unison or octaves unison or octaves unison or octaves umson two or more octaves unison or octaves umson

Each of the combinations above provides the arranger with a different sound. Sorne differences are subtle, sorne are dramatic. An arranger's ears must be trained to hear the differences. The more these sounds are "inside the head" the more intelligent the utilization of the available pallet of colors. These examples represent only a beginning. The condensed score, Smooth Sailing, is on pages 54 and 55. This score illustrates combinations of instruments playing a melody line in unison and octaves accompanied by rhythm section. The enclosed CD provides audio tracks of many possible combinations. Additional audio examples are available at www.lindsayjazz.com. The final four tracks in this series provide solo recordings of a trumpet with various mutes. The recordings are listed in track order. l. 3. 5. 7. 9. 11. 13. 15. 16. 17. 18. 19. 20. 21.

unison: trumpet + alto sax 2. octaves: trumpet + tenor sax unison: trumpet +tenor sax 4. unison: flugelhorn + alto sax unison: flugelhorn + soprano sax 6. octaves: trombone +alto sax unison: bass clarinet + tenor sax 8. unison: bass clarinet + clarinet 10. unison: trumpet (cup mute)+ clarinet octaves: trombone (cup mute)+ clarinet 12. unison: trumpet (harmon) +dar.+ gtr. unison: trumpet (straight mute) + clarinet 14. octaves: trpt. (bucket) + flute (above) unison: trpt. (harmon) + flute + gtr. 8vb unison: trpt. (harmon) + dar. + flute 8va unison/ octave: bass clar./trb. (bucket) + trpt. (bucket)/flute unison/ octave: trb. (bucket)/tenor sax + trpt. (bucket)/ soprano sax solo trumpet in harmon mute solo trumpet in straight mute solo trumpet in bucket mute solo trumpet in cup mute

While listening to other jazz recórdings strive to be able to recognize individual instruments, combinations ofinstruments and ways they are combined, i.e., unison, octaves, or harmonized. Chapter 6: Blending, Dynamics and Articulations

55

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More on Balance and Dynamics The range of dynamics possible on most instruments allows experienced players to adjust balance within the ensemble. For example, soprano saxophone (depending on the player) can be overshadowed by the intensity of the other saxophones in voiced passages. With slight dynamic adjustments by the other players, the section will be balanced, alleviating the need to make changes in the written dynamics. Scoring in octaves (rather than unison) provides a feasible balance and is often necessary to stay within the comfortable ranges of all instruments being combined.

The arranger controls four factors that contribute to balance: l. orchestration (choice of instruments) 2. instrumental register (intensity) 3. instrumental weight (number of players) 4. dynamics Earlier it was noted how matching instruments in registers with similar intensity characteristics can produce a balanced sound. Maintaining relative numbers of players for the purpose of balancing (or over-balancing ifnecessary) is math-based and makes common sense. For example, if three players are performing a line in unison, a balanced line one octave higher or lower should be scored for 2, 3 or 4 players. For want of a better term, the + 1/-1 principie is applied. If intensity mismatching is necessary or if the arranger is short on players to balance a line, dynamics can help. Dynamic mismatching to compensate is more the exception than the rule. In jazz writing, groups of instruments serving the same function (ex. melody) usually all have the same dynamic markings. In addition to balancing one instrument against another, the arranger must also calculate the balance between foreground, midground and background. During the solo section of an arrangement, the soloist is the foreground; any instrumental accompaniment is the midground; and the rhythm section is the background. Dynamics, orchestration, register and all other factors discussed in this chapter are essential in balancing these elements. Keeping the foreground, midground and background in balance will enable the audience to focus their attention on what is most important in the arrangement at the moment. While in the process of writing, "step back" and imagine how the audience will perceive the music. Generally speaking, in pop music the vocalist is the foreground, while the rhythm section is midground and horns or strings are backgound. While writing, the arranger should scrutinize the music through an imaginary microscope and telescope, looking closely at the detail of every note, voicing, rest, accidental, etc. and then stepping back to view the arrangement from an audience's perspective as a complete artistic statement from beginning to end.

Chapter 6: Blending, Dynamics and Articulations

59

Dynamic Shading Dynan1ics help balance instrun1ents and elements and are also essential for dynamic shading 1• U sing crescendos and decrescendos (hairpins) can add or subtract energy to long note valu es (whole notes). When used with n1elodically active phrases, dynamic shadings can bring into focus the directional intent of a line. Great examples of the effects of dynamic shading abound in music written for strings or vocal choir.

Seven Reasons to Use Dynamics l. 2. 3. 4. 5. 6. 7.

Compensate for fewer players on a line. Compensate for misaligned intensities. Adjust foreground, midground and background balance. Increase the energy in stagnant lines (long note values). Enhance the momentum of an active line. Decrease the energy of a line. Clarify direction over the long form (complete composition/ arrangement).

Notation Note: Dynamics and dynamic shadings are always placed below the music.

Common azz Articulations an In jazz notation, articulations are written above the staff regardless of stem direction. Exception: slurs and ties, which always connect noteheads.

l. staccato- Note is played short (halfits value) and light, not accented. Used on note valu es of one beat (quarter note) or less and on dynamics ranging from pp to mf [Ex. 6-1].

2. tenuto- Note is played to its full value. For example, a quarter note on the 1st beat is held to the 2nd beat [Ex. 6-1]. 3. side accent- Note is played percussively at all dynamic levels with a quick decay extending almost to its full written value. This accent can be used on any note value and is also called a decaying accent [Ex. 6-1].

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Dynamic shading is changing dynamics quickly over time using crescendos, decrescendos and markings su eh as fp and sfz.

60

Jazz Arranging Techniques

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4. tent accent - N ote is played short and percussive at a moderate to loud dynamic level (mftoff). Most commonly used on note values of one beat (sometimes eighth notes), never on notes longer than one beat. Also called a "cap accent" [Ex. 6-2]. 5. marcato accent- Note is played percussively ata moderate to loud dynamic, (mfto JI) extending to its full written value with little or no decay. Most commonly used on note values of one beat or more, but meaningful on any value [Ex. 6-2]. 6. slur - Not a jazz articulation but an indication of limited articulation. Only the first note of a slur is tongued (articulated), all remaining notes under the slur are played smoothly with an uninterrupted air stream. Trombones must simulate the slur to avoid a glissando when moving the slide from one note to the next. Their technique is to stop the air stream briefly between slide movements and maintain a smooth legato line through very light articulation [Ex. 6-2]. 7. shake - Also called a lip trill, brass players shake a note by alternating rapidly between the pitch indicated and the next higher pitch in the overtone series by changes in their embouchure. This technique, without the use of valves or slides, can produce a pitch from a 2nd to a 5th or more above the indicated pitch. W oodwinds simulated this effect by trilling up a minor 3rd from the given pitch. Not effective on shorter note values, common on halfnotes or longer [Ex. 6-2]. 8. turn - Written between two notes usually of the same pitch. It is played as three grace notes between the written ·pitches. A standard turn starts on the written pitch, moves up one scale degree above the written pitch, retums to the first pitch, proceeds a step lower, returns to the first pitch and then finally continues on to the second written pitch, without altering the rhythmic placement ofthe two notes [Ex. 6-2].

Chapter 6: Blending, Dynamics and Articulations

61

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9. doit - A glissando that extends upward for an interval of approximately a 5th. The notes fade (decrescendo) as they rise. Trumpet players will use a 1/2 valve technique in combination with a tightening of the embouchure to produce a simulation of a slide trombone glissando. Trombones combine the slide glissando with the decrescendo. Saxophones and woodwinds simulate with a fingered glissando. Performed correctly, a doit sounds like its name [Ex. 6-3]. 10. long gliss(ando)- Long slide into a note from below by an interval of a fifth or more [Ex. 6-3]. 11. short gliss. - Short slide into a note from below by an interval of a third or less [Ex. 6-3]. 12. long fall - Glissando downward (while decrescendoing) from a starting pitch to an indeterminate pitch approximately one octave below [Ex. 6-3]. 13. short fall - Glissando downward from a starting pitch to an indeterminate pitch approximately a 4th below [Ex. 6-3].

14. plop - A quick slide (gliss.) into a short, percussive note from approximately a 5th above [Ex. 6-4]. 15. ghosted note- An implied pitch (swallowed note) oflittle or no volume, a reverse accent [Ex. 6-4]. 16. close/open (+/o)- Indicates closed and opened bell on brass instruments. The bell is closed by placing a plunger mute or the players hand in front ofthe bell [Ex. 6-4].

17. bend note - N ote is played on pitch, flat and then back to pitch [Ex. 6-4]. 18. rip - A rapid gliss. up to a short, accented note. The length of a rip can vary from a 5th to an octave [Ex. 6-4J.

62

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Available Tensions on Diminished Chords On diminished chords, any note a whole step above a chord tone is an available tension. By combining two diminished chords (one built a whole step higher), an auxiliary diminished scale is created., It is also known as the "whole/half' scale, because the intervals in the scale are w/h/w/h etc.). Tensions are most effective as lead notes on diminished chords. [Ex. 10-12, 1013, 10-14]

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Low lnterval Limits As voicings descend in register, their sound becomes increasingly dark and ata point, muddy and unusable except for special effects. The science behind this descent into mudville is the Overtone Series. More information on the Overtone Series is available in books on the theory of acoustics. The most compelling factor within this phenomenon is the interval created by the voicing's lowest note and the root of the chord. There are two different scenarios to consider:

Scenario #1 If the lowest note of the voicing !§ the root, then determine the interval from that root to the next note higher in the voicing and check that interval against the Low Interval Limits Chart (page 94). This chart is a guide, only. Intervals gradually darken in sound, thus their application slightly below the chart may be appropriate. Also, consider the length of the notes in question. Don't necessarily abandon good voice-leading because of a low 3rd that is only present for a sixteenth or eighth note valu e. Experience willlead to better judgment [Ex. 12-1 O, 12-11].

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Chapter Sixteen Spread Voicing Technique Dejinition: Spread voicings contain four or five notes in a semi-open or open style comparable to Drop 2, Drop 3 and Drop 2+4 techniques. However, all spread voicings (by this author's definition) contain the root of the chord as the lowest note of the voicing. The root most often occurs in the octave beginning one octave below middle "C" and extending for an octave or more below, depending on the instrument assigned to that pitch (bass trombone, baritone saxophone, etc.).

Usage ofSpread Voicing Technique This technique is appropriate for long note values such as chordal pads or melodies at slow tempos. This technique is also valuable on single kick figures or cadence points where the impact of spreads will be most evident. It is common to mix this technique with other voicing techniques. In general, spread voicings are more dramatic than other voicings as a result of the low root and clearly defined harmony. Four-note Spreads are very common in writing for a trombone section, creating sustained or rhythmic pads (not too busy) [Ex. 16-1]. Five-note Spreads are orchestrated with the saxophone section or with a combination of trumpets or flugelhorns and trombones, also, on sustained or rhythmic pads [Ex.16-2].

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Chapter 16: Spread Voicing Technique

135

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Intervalic Considerations The most common interva1s between the 1owest two voices in a spread voicing are: 1Oth - root to major or minor 3rd displaced by an octave 7th- root to major or minor 7th · Perfect 5th - root to perfect 5th, diminished and augmented 5ths are not comn1on low in the voicing (See Low lnterval Limits Chart, pg. 94) 3rd - root to major or minor 3rd [Ex. 16-5 through 16-8]

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Range of Lead in Spread V oicings The spread technique always includes a low root; so there is a limit to how high the lead can effectively be written. Typically, the lead can extend to approximately "D" a ninth above middle "C." Above that lead range, either the root would be too high to produce the desired sound or the voicing would be too spread with intervals wider than a 6th between adjacent voices (except the lowest interval, which can extend as wide as a 10th).

136

Jazz Arranging Techniques

Creating F our N o te Spread V oicings Four Note Spreads are formed following the formula below (top to bottom) l. Lead note - any available tension, 5th, 3rd or 7th. Avoid placing a root in the lead which will result in a triadic structure. 2. 2nd note- 3rd or 7th 3. 3rd note - 3rd, 5th or 7th 4. 4th note - root This formula is most effective if the 3rd and 7th occur as second and third notes (order depends on the lead note). Therefore, the best lead notes are tensions and 5ths.

Com.mon 4 Way Spread Formulas (read top to bottom)

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Chapter 16: Spread Voicing Technique

139

Creating Five Note Spread Voicings: There are three methods for forming Five N ote Spreads.

Method #1 - Based on the Four Note Spread methodology l. Lead note - any available tension, 5th, 3rd or 7th. Avoid placing a root in the lead which will result in a triadic structure. 2. 2nd note- any available tension, 5th, 3rd or 7th. (no root) 3. 3rd note - 3rd or 7th 4. 4th note - 3rd, 5th or 7th 5. 5th note - root

Important Note: This formula is most effective when the 3rd and 7th occur as the 3rd and 4th voices (order depends on lead note). Therefore, it is best to limit the lead and 2nd voice to tensions and 5ths when voicing in five way spread [Ex 16-14, 16-15].

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The 2nd method requires a review ofthe Drop 2 Voicing Technique from Chapter 12.

Drop 2 Technique l. Lead plus 3 harmony notes below 2. Four different pitches 3. One note from each category: Rt. 7th, 5th, 3rd derived from 4 Way Close by lowering the 2nd voice from the top, one octave 4. Spacing is more open with most common intervals including adjacent notes of 2nds, 3rds, 4ths and 5ths

140

Jazz Arranging Techniques

Method #2 - Based on the Drop 2 Technique l. Form a Drop 2 voicing from the lead note based on the chord of the moment. 2. Substitute an appropriate tension (9, D9, #9, based on the chord symbol) for the root category. 3. This Method will not work if the actual chord root is the lead, which forms a 4 part spread. 4. Add the actual root (in the bass register) below the lowest note in the Drop 2 voicing. 5. If correct, the voicing contains two notes from the root category, a substitute 9 (or D9 or #9) plus the actual root on the bottom ofthe voicing [Ex.l6-16, 16-17].

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Chapter 16: Spread Voicing Technique

141

Method #3 Quasi Spread (an alternative) Quasi spread is used as a substitute when the lead note is too low to allow room below for a Drop 2 Spread or traditional 5 Way Spread voicing.

Creating Quasi Spread

l. Form a 4 way close voicing from the lead note based on the chord of the moment. 2. Substitute a 9th (natural, P9 or #9) for the root in the four note structure. 3. Quasi Spread will not work ifthe actual chord root is the lead voice. 4. Add the actual root (in the bass register) below the lowest note in the 4 way close voicing. 5. If correct, the voicing contains two notes from the root category: a substitute 9 (or P9 or #9) plus the actual root at the bottom of the voicing [Ex. 16-18, 16-19].

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Chapter 20: Scoring Techniques for Eight Brass

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Ambi Chords - are 3 or 4 note voicings effective for a less traditional trumpet section sound. The name is derived from the fact that the voicings are harmonically ambiguous, often containing a 3rd or 7th but not both. Ambi Chords are most often used in combination with trombones and/ or saxophones. The harmonic intent of the voicing is defined by the trombone and saxophone voicings. Ambi Chords are the "chameleon" of voicings because any one Ambi Chord can take on the characteristics of a number of different chords depending on the voicing structures placed below in the trombones or saxophones. Study example 20-4 and listen to CD Track #43.

A single ambi chord in the trumpets becomes many different voicings depending on the trombone voicing undemeath.

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190

Jazz Arranging Techniques

Upper Structure Triad V oicings chord symbol/ chord scale/ available triad(s)

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Jazz Arranging Techniques

Chapter Twenty One Writing for Big Band, combining Brass and Reeds A standard big band is comprised of 4 or 5 trumpets, 4 trombones (3 tenor trombones and a bass trombone) and 5 saxophones (2 altos, 2 tenors anda baritone). This chapter covers procedures for combining the reed section (saxes or woodwinds) with the brass section of a Big Band. Tutti Style, Independent Section Style, Cross Section Techniques and Combining Mixed W oodwinds with Brass will be examined.

Voicing the Saxophone Section in Combination with Brass All the voicing techniques covered in Chapters Sixteen and Seventeen in our discussion on writing for the saxophone section work well when combining the saxes with brass. Spread Voicings, Five Note Soli Voicings, 4th Voicings, Cluster Voicings and traditional 4 Way Close, Drop 2 and Spread Voicing Techniques are all effective techniques for saxophones when combining with brass.

The Role ofthe Saxophone Section in Tutti Passages Proper use of the saxophone section in a tutti passage with eight brass can greatly enhance the sound of the ensemble. Many writers (myself included) voice the brass in a tutti passage first, and then add the saxophones to support and enhance what the brass is playing. Consider the following points when adding saxophones to a brass tutti. 111

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Always strive for a "complete sounding voicing" in the saxophones, even when utilizing them to "fill-in" a brass voicing. "Complete" voicings include the 3rd and 7th (or 6th). Saxophones can add cohesion to a widely spaced brass voicing by filling the intervalic gap between the lowest trumpet and highest trombone. Place the 1st Alto on a note between the trumpets and trombones and complete the saxophone voicing below. Saxophones add intensity to lower register trumpet melodies with direct coupling. To highlight tensions not present in the brass voicing, place them in the 1st Alto for max:tmum exposure. To highlight a specific voicing style in the brass, continue that style in the saxophones, . 4th VOICing. .. I.e., To add support for a brass voicing without changing the sound, assign notes from the brass voicing to the saxophones in exactly the same octave, usually a combination of notes from the trumpets and trombones. T o thicken a texture, voice the saxophones in elose position or cluster style. Higher register clusters brighten the tutti sound while lower register clusters darken it.

Chapter 21: Writing for Big Band

205

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To complement Upper Structure Triad style (UST) in the trumpets, duplicate the UST in an appropriate inversion with the top 3 saxophones and complete the chord in the remaining saxes (often the grd and 71h).

Coupling the Saxophones with the Brass Coupling techniques in Chapter Twenty will serve us well here. Review the concepts in that section if needed. U se Direct, Indirect and Variable Coupling with the saxophones by comparing them to the trumpet and/ or trombone voicings. Direct Coupling with the trumpets doubles all of their notes in the saxophones. The point to begin the coupling depends on the 1st trumpet's register. The "2nd trumpet rule," discussed in our examination of trombone coupling, applies to the saxophones, i.e., "avoid coupling at the 2nd trumpet which can tend to overshadow the 1st trumpet line." Since we have 5 saxophones and usually only 4 trumpets we need to account for the additional voice. We can voice the saxophones in either double lead or 5 Way. In 5 Way more tension is often created by adding a pitch to the saxophone voicing that is not present in the trumpets [Ex. 21-1 a].

Two options exist when direct coupling the saxophones with the trombones. 1st trombone OptionA Coupling: 1st alto

2nd trombone grd trombone bass trombone 2nd alto 1st tenor 2nd tenor bari note below

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In Option A, the saxophone coupling begins with the 1st trombone and 1st alto and makes available the baritone on a pitch below the bass trombone. This works well when the trombones are voiced in 4 Way Close or Drop 2 providing the option of the baritone playing a low root or 5th [Ex. 21-1 b]. In Option B, the coupling has been shifted over by one instrument so that the 2nd alto couples with the 1st trombone leaving the 1st alto to be placed on an additional pitch above the trombones. This works for any of the voicing techniques in the trombones (4 Way Close, Drop 2, Spread or 4ths). When the 1st alto is playing a pitch not present in the trombones then this technique is labeled indirect coupling [Ex. 21-1 e].

206

Jazz Arranging Techniques

Advantages and Disadvantages of Direct Coupling the Saxophone Section Advantages l. Direct Coupling at the 1st trumpet brightens and strengthens the trumpet section and is most effective when the lead trumpet register is between middle C and F an 11th above. The saxophones can add considerable intensity to the trumpets in this register. In the higher register the trumpets are adequately intense so it is appropriate to couple the saxophones lower in the voicing or even an octave below the 1st trumpet. By coupling lower, possible intonation problems can be avoided. 2. Direct Coupling with trombones strengthens them and adds power to the middle and low register. Doubling low roots with both the baritone and bass trombone can create dramatic results if not overdone. 3. Direct Coupling is a quick approach to adding saxophones to an existing brass tutti. Disadvantages l. Saxophone lines lack individuality. 2. No contrary motion of saxophones lines against brass lines unless present in trombones. 3. Notas dramatic or rich sounding as variable coupling and 5 part densities in the saxophones. 4. N ot as flexible when choosing the best lead notes for the 1st alto and the most effective voicings within the saxophone section.

The most common Direct Coupling is placing the saxophones in a position that overlaps the trumpets and trombones. This often occurs when coupling the 1st alto with the 3rd or 4th trumpet [Ex. 21-1 d]. In this example the best possible saxophone voicings were created without regard to duplicating the trombone or trumpet voicings and included additional tensions.

lmportant Note #1: The voicings in the saxophones are always derived from the same chord scales as the brass. lmportant Note #2: Excellent results can be obtained combining saxes with brass without using a specific coupling technique. The most important considerations are (1) lead alto register (avoid overshadowing the 1st trumpet melody), (2) stay true to the chord symbol (chord scale) of the moment and (3) strive for sorne independence of line in the saxophones.

Chapter 21: Writing for Big Band

207

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208

Jazz Arranging Techniques

Com.mon Ways ofCombining Saxophones with Brass in Tutti Style Trumpets l. 4 Way Clase 2. 3. 4. 5. 6. 7.

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Using Unison and Octaves One of the most effective techniques when writing for big band is the use of unison and octaves. Chapter Six includes an extensive discussion of blending small numbers of instruments in unison and octaves with numerous examples on the Jazz Arranging CD and more at www.lindsayjazz.com. In a big band setting there are a number of common unison and octave combinations that offer a welcome alternative to voiced passages. The timbre of each combination is a result of each individual performer's sound, which is in turn influenced by the dynamics, register, and articulations of the musical passage. Louder dynamics brighten the sound by increasing the presence of overtones. Softer dynamics accentuate fewer overtones, producing a more fundamental, darker sound. Most instruments produce a brighter sound in the upper register and darker in the lower register. Accented articulations also increase brightness while legato playing tends more toward the darker timbres of the soft dynamics. Mixing registers, dynamics and articulations in various ways results in an almost endless sound palette of unison/ octave colors for the arranger. This blending of individual sounds is one reason why the Count Basie Orchestra, Duke Ellington Orchestra and the ThadJones-Mel Lewis Orchestra all have a different sound.

Chapter 21: Writing for Big Band

209

Effective Unison Combinations for Four or More Instruments in a Big Band Setting (abbreviated list) 11

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The saxophone section in unison (2 Altos, 2 Tenors anda Bari), although limited in range, produce a rich sound with a varied palette of timbres from mellow to intense, shaped by dynamics, range and articulations. The saxophone section in unison minus the baritone facilitates a more extended range that can reach an intensity capable of competing dynamically with the entire brass section. This is the strongest available presentation of a line by saxophones. For added penetration, double the line with guitar in unison or an octave below the saxophones. Three or four open trumpets in unison present a beautiful sound with a varied palette of timbres from mellow in the lower register to brilliant in the upper register. Trumpets in octaves (2 and 2 or 1 and 3, high to low) round out the sound and reduce the brilliance. Three open tenor trombones in unison is a beautiful sound that varies from dark to somewhat bright. Adding the bass trombone limits the upper range but contributes more power and a darker timbre. Trombones in octaves (2 and 2 or 3 and 1, high to low) are even more powerful and can take advantage in a 3 to 1 split of the bass trombone's extended low register and low register flexibility. Trumpets and trombones in octaves is a classic power unison used effectively by many arrangers. Rob McConnell, the leader and composer1arranger of the Boss Brass, has numerous examples of unison brass and many of the other techniques listed here on his many fine CDs. Tenor saxophones and tenor trombones compliment one another well in unison passages, with an interesting range of timbres at various dynamics and registers (an example of a cross-section blend because the combined instruments are from two or more sections or families of instruments). Alto saxophones and trumpets produce a unique, bright sound that adds penetration, even in the trumpet's lower range. This cross section blend is used effectively by Bob Mintzer in his Big Band writing. The sound of flugelhorns in unison is a beautiful color. The mellow, fluid quality of unison flugelhorns creates a sound reminiscent of unison French horns. Flugelhorns playing melodies and counterlines provide a nice contrast to trumpets and saxophones. In cross-section writing, the flugelhorns blend most naturally with flutes, soprano, and alto saxophones, but also work well with clarinet, bass clarinet, tenor and baritone saxophones, and trombones.

Note: The timbre characteristics of like instruments is more clearly defined by the unison, i.e., the mellow, fluid sound of a flugelhorn is even more mellow and fluid sounding when combined with two or more flugelhorns.

21 O

Jazz Arranging Techniques

Detailed Analysis of Examples 21-2 through 21-5 Combining Saxophones and Brass Study at the piano and listen to CD Tracks 52 through 55.

Ex. 21-2: In the first three measures the saxophones are voiced 4 Way Close double lead and coupled in unison with each of the four trumpets. This technique provides a way of adding intensity to the trumpets when in a medium to low register. The 1st alto is in a very effective register and, along with the rest of the saxes, will dominate the trumpets. As the 1st trumpet register ascends, the coupling in the saxophones changes. At the highest point in the trumpet melody, the 1st alto is coupled an octave below the 1st trumpet. In the last few measures, coupling changes to unison with the grd trumpet. On the very last note of this example the 1st alto is coupled in unison with the 2nd trumpet. Coupling the 1st alto with the trumpet might overshadow the 1st trumpet playing melody. This is mostly a problem when the 2nd trumpet is an interval of a second or third below the 1st trumpet. Here the intervalic distance is a perfect fourth, wide enough to ensure a good balance regardless of the coupling. Ex. 21-3: The four saxophones (minus the 1st alto) are coupled directly with the trombones, the 2nd alto playing the same notes as the 1st Trombone. To add richness to the sound of the saxophones, the 1st alto is often playing notes not found in the trombone voicings or other saxes, thus, creating 5-part voicings in the saxophones. There are even a few instances where sorne 1st alto notes are not present in the trumpet voicings. The 5-part structures in the saxophones include: Close Position, Drop 2, Drop 2 and 4 and sorne Spread voicings encompassing the last three measures. Ex. 21-4: In this example, the saxophones are voiced in the mid-register and utilize Variable Coupling. They add support to both the trumpets and trombones without duplicating either section exactly. Sorne additional pitches not found in the brass are played by the 1st alto. When using the Variable Coupling Technique, avoid feeling restricted by the brass voicings. Strive for sorne contrary motion in the saxes so they can wield their independence. The goal is to create interesting lead lines in the 1st alto that allow for rich voicings in the saxophone section without overshadowing the brass lead. Ex. 21-5: This final example features the brass voiced in 4ths with the saxophones again using Variable Coupling. The 1st alto and 1st trumpet begin in octaves but by the end of the measure are moving in opposite directions. By using Variable Coupling, (or not thinking in terms of a specific coupling technique), two related but independent lines were combined. The melodic integrity of the 1st alto line is what gives this passage added interest. In the last three measures the baritone and bass trombone double the low roots to provide a strong and dramatic cadence.

Chapter 21: Writing for Big Band

211

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Chapter 22: Big Band Scoring Excerpts

235

Chapter Twenty Three Project #4 Big Band This final major project provides the opportunity to apply all the techniques covered in Jazz Arranging Techniques and expand on the experiences ofthe first three projects. One approach to this project is to use another arrangement as a model. From that model one can copy all or sorne of the following elements: form, orchestration, solo features, background writing style and ensemble feature. A more adventurous approach would be to study all of those elements in a number of recordings and mix influences from many sources. Select a standard tune in a Swing or Latín style to arrange for rhythm section, five saxophones, four trombones and four trumpets. Do not select a hallad, as this requires other considerations. An originial composition is also not recommended for the first Big Band project.

The minimum form: Rehearsal Letters Intro Head (melody) A

A B A Improvised Solo feature (same changes as head) A

A B (backgrounds behind soloist) A (more backgrounds) Ensemble feature (changes related to head) (A) . (A)

+ 8 measures

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8 8 8 8

A A9 Al7 A25

8 8 8 8

B9 Bl7 B25

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e C9

D.S. to rehearsalletter Al7 (recapitulation) and continue through A25 with an indication where to jump to the Coda.

CODA

236

Jazz Arranging Techniques

+ 8 measures

D

Se ore F onnat As in the previous project, create a sketch score within the master score by including a grand staff labeled "Saxophones" and another labeled "Brass." The four line sketch will depict the horn voicings and approach techniques used in this project. This formatting is recommended so that the voicings may be worked out in sketch form first and then transferred to the individuallines of the transposed score. Even though the sketch is in concert pitch, it is advisable to write a transposed score on this more advanced project. The score will now reflect the exact ranges and registers played by each instrument.

Final Step: Create individual parts for all players, rehearse and record the project. Study the score and recording. Consider performance level and playability in evaluating the merits of your project. Determine what may be done differently next time, and then enjoy doing it again and again ....

Jazz Arranging Techniques presents a concrete musical language for jazz writers. From the tireless efforts of talented arrangers and composers the language will continue to develop and expand through new techniques, new timbres, new forms and other new ideas unimaginable.

Enjoy the]oumey!

Gary Lindsay

Chapter 23: Final Big Band Project

237