Rayburn Wright - Inside The Score [PDF]

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INSIDE THESCORE a d e t a i l e da n a l y s i sof 8 classic jazz e n s e m b l ec h a r t s b y S a m m yN e s t i c o ,Thad Jones, and B o b B r o o k m e y e r

by RayburnWright Kendor Music, Inc. Main & Grove Sts. P . O .B o x 2 7 8 Delevan,New York 14042

PR|CE$30.00

SUPPLEIIEI{TARY CASSETTE RICOROII A V A I L A E L-E S E EP A G E2

INSIDE THESCORE a detailedanalysis of g ctassic iazz ensembtecharts

by Rayburn Wright

SammyNestico

Thad Jones

Bob Brookmeyer

C O P Y R I GO H TI 9 8 2 B Y K E N D OM RU S t Ct i,l c . , D E L E V A i l , YoRK I r+0r+2 t{El{ ALL RIGHTR S E S E R V .E DP R I N T E iDl u . s . A . - r { 0 P A R0TF THI S BOOK MAYBE R E P R O D U CI iEl DA i l Y F O R M t J I T H O UTTH E} / RI T T E NP E R M I S S I O i l

O FT H EP U B L I S H E R .

about the author ,{1,,1)li

q

? A Y w RI G H Th a s b e e n t e a c hi n g a r r a n g e r s of al I levels s ince he fi rst started the Arran; = ' s ' w o r k s h o p a t t h e E a s t m a nS c h o o l o f M u s i c i n t h e s u m m e ro f 1 9 5 9 . H e a d o f E a s t m a tns t)azz l : - : e s a n d c o n t e m p o r a r yM e d i a p r o g r a m , he was formerlychief arranger and --s c at co-director of R a d i o c i t y M u s i c H a lI a n d w a s c o m p o s e r of filrn scores for the p rize-winning TV . : - , - e n t a r y s e r i e s " S a g a0 f W e s t e r n Man,,, s s t u d e n t w r i t e r s a t E a s t m a nh a v e been frequent winners of student arrang i n g / c o m p o is_ c o nt e s t s h el d b y " D o w n B e a t " n a g a z i n e a n d t h e t { a t i o n aI A s s o c i a t i o n o f J a z z Educators ) . T h e ir w r i t i n g h a s o f t e n b e e n s i n g l e d o u t a s b e i n g a I e a di n g f a c t o r i n creat i ng the - c t i v e q u a li t y for whichWrightts pr ize_winning E a s t m a nJ a z z E n s e m b l ei s k n o w n .

THE PUBLI SHER

table of contents about the author

1

introduction

2

S A M M YN E S T I C O

5

"Basie -

Straight

Ahead"

6

"Hay Burner"

26

interview

42

T H A DJ O N E S

45

" T hr e e A n d 0ne"

46

"Kids Are Pretty Peopl e"

76

t'u

st

t

94

interview

108

BOB BROOKMEYER

111

" H e I 1 o A n d G o od b y e"

TL2

"Fi rst

148

Love Song"

"ABC B1ues"

158

interview

1?9

summ ary

182

glossary

184

most-used chord types

1BB

bibliography

191

introduction The studl-of full scores of jazz compositions provides a rlch opportunity for B.rriritJrr-s : r C , ia z z c o m p o s e r s t o l e a r n t h e t r a d e s e c r e t s o f t h e g r e a t w r i t e r s . Despite the rei:r-.: ."'ailabilitf'of such scores, manyof these secrets remain hidden. This gujded tour th:c:;:8 classic jazz ensemble scores is desi.gned to expose the secrets of these works and to realze lhe

insight

that

can be gained from their

study.

It j-s particularly interesting to compare the wrj-ting techniques of Thad Jones, Sa:.:iand Bob Brookmeyer. Each has simllar roots j.n the mainstream big band tradiri-,: \estico, ,particularly Basie's) and each is a writer of authentic-sounding jazz )-ines that make ba:.js And yet their writing is very dj.fferent. They are studied here in the orir: of increasing complexity: Nestico, Jones, and Brookmeyer. I do not, however, equate ('r'rplexity with quality -- the simpler scores are deceptively hard to write. But the:o:'= j . n :omplex writing wj.l1 be better understood if the scores are studied this order. s'tj.ng happily.

I have looked at the various elements that can make a chart sound great (in additio:. 'n oroer nlqrrinol ) -- voicings, orchestration, textures, melodic construction, position r-: -'limevoq ncqqi.o chords, substj.tute chords -- aI1 of which are clearly annotated wi.th rh. help of an understanding and indulgent publisher. In addition, an interview with each ririrer reveals his explanations and insight. The appendix i.ncludes a table of chord slmboI:;, :. This book assumesthat the reader has had prc'r'iou3:lossary of terms, and a bibliography. srudl- and has a good grasp of arranging. Much can be learned about arranging from the' ernlnnefinns sirron ip this text and in the glossary, but it is not possible to teach the wholt b

^

t

vrr

-

s u b je c t h e r e . Voicings have been generously recopied in concert pitch sketch-score form for ease in srudl'. In addltlon, the exact chord symbols of each passing, substitute, and extenderl c'hord rar-e been added on a special staff of the sketch score which is labeled "harmonic details."

R e m e m b et rh a t t h e r u l e s o f w r i t i n g w h i c h a r e n o t e d a r e n o t l i t e r a l r u l e s f o l l o w e d b 1 : h e w r i t e r s , b u t a r e s u m m a r i e so f t h e p r a c t i c e s t h a t t h e i r e a r s a n d e x p e r i e n c e s h a v e l e d : h e m t o f o l l o w . I n m a n yc a s e s t h e w r i t e r s ' n a y n o t t h i n k o f t h e i r w r i t i n g i n t h e s e t e r m s , b u t a n y o n ew a n t i n g t o l e a r n t h e s e c r e t s o f f i n e w r i t i n g s h o u l d s t u d y t h e i r c o n s i s t e n t m e t h r.lr nqrofrrllrr

COnCentrate On relating

the

SOUnd Of these

SCoreS tO the

analyses

O b v i o u s l y e a c h r e a d e r w i l l d i g o u t a n s w e r st o s a t i s f y h i s / h e r o w n c u r i o u s l t y , d using this book: . u i d e l l n e s a r e s t r o n g l y r e c o m m e n d ei n

giyel.

but these

1. Listen to the recordings of these arrangements. Hearing them makes a crucial difference. A11 8 of the charts studied here are included on an Inside The Score cassette recording which is available from Kendor. Each of the charts was also recorded on an earlier album:

" B A S I E- S T R A I G H T AHEAD( C o u n tB a s i e & H i s O r c h e s t r a - D o t D L p - 2 5 9 0 2 ) i n c l u d e s " B a s i e - S t r a i g h t A h e a d "a n d " H a y B u r n e r " 'cot{suMMAT | oil ' (ThadJones/Mel Lewis Orchestra -- Blue Note #9113116) i n c lu d e s " U s " ' ' M O N D ANY IGHT" (ThadJones/l.lel Lewis Orchestra -- Sol id State #lgOltg) includes"Kids Are Pretty people" ' T H E J A Z ZO R C H E S T R A ( T h a dJ o n e s / M e lL e w i s O r c h e s t r a - S o l i d S t a t e # 1 g 0 0 g ) i n c I u d e s " T h r e e A n d O n e " a n d " A B CB l u e s " "BOBEROOKMEYER - CO}.IPOSER & ARRANGER" ( l . l e l L e w i s J a z z O r c h e s t r a - - G r y p h o nG 9 1 2 ) -,'First i n c l u d e s " H e lI o & G o o d b y e ,a' n d Love Song"

The complete set of parts 2. Play the voicings of them. 3. Go slowly --

for

each chart

is

also available

from Kendor.

at the piano many times to absorb the sound and appearance

digest one bite

at a timel

Rayburn llright

SammyNestico

SAMMN Y E S T I C 0 ,c o m p o s e ra n d a r r a n g e r f o r s o m e o f t h e m o s t s i g n i f i c a n t Count Basie al3ums. is probably one of the most gifted writers ever to hit the jazz bandscene. After g ' a d u a t i n g f r o m D u q u e s n eU n i v e r s i t y i n h i s h o m e t o w n p i t t s b u r g h (pA), he served for l2 of years as arranger for the Air Force "Airmen 0f l{ote" band. Leaving that position, Sammy t h e n b e c a m ec h i e f a r r a n g e r f o r t h e u . S . M a r i n e B a n d ( o f t e n cal led The presidentrs Own) in l Y a s h i n g t o n ' I n a d d i t i o n t o h i s e x p e r i e n c ew i t h t h e s e o u t s t a n d i n g mil itary groups, he has o l a y e d t r o m b o n e w i t h t h e C h a r l i e B a r n e t , T o m m yD o r s e y , w o o d y H e r m a n , a n d GeneKrupa bands. H e n o w I i v e s o n t h e W e s t c o a s t a n d i s i n c o n s t a n t d e m a n da s a w r i t e r f o r schools, radio, television, films, and recordings.

T H E P U B ILS H E R

"Basie StraightAhead" by SammyNestico r e c o r d e d o n t h e I ] { S I D ET H ES C O RcEa s s e t t e a n d o n " B A S I E- S T R A I G HATH E A D(nC o u n t B a s i e t H i s 0 r c h e s t r a - D o t O L p * Z S S O Z )

It is easy to take for granted the very natural grooves generated by Nestico's si.mple writing, but a careful examination of his scores reveals how much there learned from them.

artfulllis to be

MELODY B o s i e - S t r a i g h t A h e a d i s c o n s t r u c t e d o n a 3 2 - b a r A A B As e t o f c h o r d c h a n g e s " B u t l i k e many other Nestj,co compositj.ons, it is not simply a head, choruses, and head. The beginning In the lead sheet which follows. statement. melody is ncver brought back after its first Many tunes fall apart for lack of such note the detail-s of strong melodic construction. st rong construction. in the bridge Note the contour of the melody. It starts relaxed and quiet, intensifying v i a the II":-, o f C k e y t h e unril bar 31 where it peaks as it begi-ns to modulate back to T he melodic and then eases back to the relaxed quality of the beginning (see Example 1)' use of chord 9ths, 1lths, and 13ths gives the melody a refreshing sound against the unexrended supporting harmony, while mai.ntaining a very simple overall quality. second, and fourth 8-bar phrases start with loosely related versions of the The fj.rst, ( A , At, Az), but the last half of each phrase is j.dentical, pulling the form tosamemelody gether. Each of these phrases starts on the IV chord and ends on the tonic, but the bridge modulates to the subdominant (F) through a IIprrT-V7 progression, then to G and back to C. but the feeling of tonaldifferent, The bridge chords for the solo chorus (F) are slightly irl'

is the same.

j,s sequenced four bars four bars of the bridge set up a J. permutation, which The first r h y t h mic cel1s are pointed Other sequences of larer but rhythmj.cally displaced by on" .l|. are val-uable means of keeping the writing inout in Exanple 7. These rhythmic variations teresting but simple.

6

|

,,-, ,

RI{YTHMIc'

SEOUENCE

V , wt b

Ew,7

r- *"o

(rtrr)

G- , .

(r*)

Dfo

. (' t_t t h . r 3R,OCEj \' -'.. V 3-tJ " }

F+f-

Gr-,f Ar,t D7

/L

r 1 7

\-

F

( e x v r x r . lt c P S R M U T A T T o N o F J . ' s

-/

6*11

C7-

Ab'

A- '7 Q'-

DISPLACTO Dru 17

€eo,r:# F*,b

Lprr'

r N Z n d PH'IASE

BY ONE

Dv'7

c#o

=#

G13

rrJt?

f(.1';frhf,tig.,

FORM OF THE ARRANGEMENT The overall form includes four choruses plus the intro and an extended ending. In the f o l l o w i n g c h a r t o f d y n a m i c c o n t o u r s o f B o si e - S t r a i g h t A h e a d , note the contrasts, the seq u e n c e so f t e n s i o n a n d r e l e a s e , a n d t h e b u i l d f r o m @ t o the end. After each shorter building section, note that the dynamicdrops back sllgnttv to give room to build again. There are two moduLations. The first, utEldirectly after the relaxed first chorus, k i c k s t h e e x c i t e m e n t u p a n o t c h a s t h e e n s e m b l es h o u t s f o r 9 b a r s i n t o t h e tenor solc. The s e c o n dm o d u l a t i o n b r e a k s u p t h e r e g u l a r l t y o f t h e 3 2 - b a r f o r m b y m o d u l a t i n g u p a full srep on the second 8-bar phrase of the last chorus. This is especial.ly effective since j.t follows a soft ensemble tr which swells into the new key and shouts for B bars before the suddenly softer piano solo. Note the effectiveness of the two spots where the rhythm section breaks up the straight a h e a d4 - b e a t f e e l : the first bridge |T] and its recap (bar 145) as one of the .one mol. tlme'tags. L i s t e n t o a r e c o r d i n g o f t h e p i e c e a s y o u f o 1 l o w t h i s d y n a m i cc o n t o u r c h a r t .

EXA\IPLE 2

I tsl

cItoRUs

IDGE

I 2ND CHORUS

@ uil|s.

Ers. ( "8AStC CHORATE' v0tctxci

ALTOS/TEIIORS

RHfiHH SECTIOII

ultI s. EXS. ALTOS/TEIORS ('FPART CLOSED)

+ TRP. LIIE TR8S, Cot{P

syr/vc I,v 4 KEY OF C BLUES CflelvcEs

TRP. L III E TRBS. COHP

8 BROKEN REYTEIT_

swrvc

l

l

I

4_,

cIlr/YGES OF THE ruNE ------t

KEY OF Eb

' 3RD CrloRU.s

I LAST CI'ORU'S

BROKEN REYTHII

BRIDCE

J ( ts6)

( 145)

saxgs ult s.-

HoDULAT t0il & BUILD

Exs.

.

UNIS. TR8.I

SPREADTRP. Ets. TRB. sAxEs l( FRor{c c0tP

4

COMP

l

t

r

uiIs. SAXES TR8.

corP

l

4

1

uftts. ERASS Ers.

sax PAD

4

sEorJENcE f sr,lnr ENDTNG I oF 4-BAR rURIV,{ROU/YDSBTCGEST CLIIIAX 93% OF WAY THROUGH

8

R E - U S EO F M A T E R I A LT O U N I F YT H E A R R A N G E M E N T uanl-re-uses of material are noted in the score. The rhythnlic permutations from bars l3-3{ are re-used in bars 59-60 and in bar 2 0 . A f e e l i n g o f f i n a l i t y i s a c c o m p l i s h e da t -:'=::rcing by extending the form, evading t h e n o r m a l c a d e n c ea n d g o i n g i n t o a s e r i e s o f :--"= :ags built on this progression: rrrlrT v7 rrrur 7 vrl. Eachone brings back a mo- - - ' - : i r o m e a r l i e r i n t h e a r r a n g e m e n ta n d t h e l a s t one brings back the powerful final shout -^=-:: from bar 121' Theselimited re-uses of e a r l i e r m a t e r i a l u n i f y t h e a r r a n g e m e n tw i t h - - : : ; ' . ' e r d o i n gt h e p r o c e s s t o t h e p o i n t o f p r e d i c t a b i l i t y .

vofctNcs \ e s t i c o ' s e n s e m b l eu o i c i n g s s e e m s y n o n y m o u sw i t h the Basie sound. Their consistent ---"-:l-r'and solidity result from the careful g o od registers for individual instruu s e o f -:::s and from writing each section to sound harmonically complete if heard alone. I n t h e e n s e m b l ev o i - c i n g s , t h e t r u m p e t s a r e i n v a r i a b l y in close position (no morethan ::'. :tar-e betweentop and bottom trumpets). T h e s a x e s a n d t r o m b o n e sa r e e i t h e r i n c l o s e d : p e n r - o i c i n g s . T h e c o n c e r t e d e n s e m b l e sf a l l i n t o three types: 1 ' C L A S S T CB A S r E 4 - P A R T V O I C r N G - - u t E ( E x a n p l e 3a below) wherethe four trumpets (in closed block voicing) are duplicated b y t h e t r o m b o n e sa n d s a x e s one octave lower, and the baritone sax plays the Lead line two octaves lower. T h e s e f o u r n o t e s n e e d n o t i n c l u d e t h e r o o t , b u t a L m o s ta l w a y s include the 3rd a n d ? t h ( o r 6 t h ) . T h i s i s o n e o f t h e t h i c k e n e d .l t n e voicings where a1l voices m o v ep a r a l l e l t o t h e l e a d v o i c e . r t s p o w e r c a n f o o l us into thinking it is m o r e c o m p l - e xt h a n i t i s , a n d i t i s u s e d a l m o s t e x c l u s i v e l y in big band sltuations like this one.

EXAMPLE3a

EXAMPLE3b

?RPrs.

I

TRgs.

BASI € 1- PART

EXAMPLE3c

SAXES

8A3Ic. ENSEIVBLE

I

COMBTNATION

2.

BASIC ENSEMBLE/eRSfC CHORALEVOICING (ExanpIe 3b above) -- the tro:.ir,:= and sax voicings are opened up and are constructed from the bottom up :c l:-The ir:=:clude the root (usually), the 3rd, and the ?th (the basic tones). j , s usually larger than the o:i.j:s val between the bass voice and the next voice (a 5th or ?th). The voi-ces do not automatically moveparallel to rhe Ltai, :s in thickened line voicings, but move independently to balance the sor.et^:.:s conflicting r e q u i r e m e n t s o f g o o d v o i c e 1 - e a d i n ga n d g o o d s o n o r i t y ( s e e b a r 1 2 1 in three parts with the lead voice doubled al.,t:The trumpets are typically p a r t s closed as seen in ExanpLe 3c. tave lower, or four

3 . A c o m b i . n a t i o no f t h e a b o v e t w o ( E x a n p t e 3 c a b o v e ) - - t h e b r a s s a r e i n - l - F : : ' : closed voicing while baritone sax plays the chord bass and the other sa\es::'-l s p r e a d i n b a s i c e n s e m b l et y p e v o i c i n g s . As for sax voicl-ngs, the sax soli (bar 80) is j-n {-part, drop-2 voicing with the r.ei-i" doubted at the octave. This is constructed by taking a close {-part voicing, droppittg::.= second voice from the top by an octave, and adding the octave doubling of the melcdl' ,s:-l One of the most attractive aspects of this voicing is the richness of the ba:'1Exanple 4).

EXAMPLE4

CLOSE 4-PART BLOCK

4-PART DROP-2

FnqtT

4.PART DROP-2 W I T H8 V B MELODY

tone sax playing

the interval of a 10th or 9th with the lead alto. The saxes go int,l r. Supersax-style voicing (4-part block with an octave-doubled lead) in bar 91 when thc t'zrn:. of the lead voice goes into the lower register. The short soli in bars 139-140 incluti.-w h i c h a r e open basic chorale type voicings, more often found in supporting pads than in soit passages (ExanpIe 5).

EXAMPLE5 4-PART, DROP-zT{ITH MELODY DOUBLED 8VB

r

10

BASIC CHORALE

5-PART DROP2&4

o

BASIC CHORALE

I I I I I I I I

I

I I I

bass doubling I n r - o i c i n g t h e h o r n s i n b a s i c e n s e m b l es t . v l e . N e s t i c o a v o i d s d o u b l i n e t h e b a s s v o i c e : : s i d e t h e h a r m o n yi n t h e n e x t o c t a v e a b o v e t h e n o r m a l b a s s r a n g e ( E x a n p l e 6 ) . I n t h e 4 :::e thickened lLne voicing, however, bass doubling is used on occasion, no matter how low ::e bottomvoLce goes.

EXAMPLE6

Ab-r?

C:m,7

AVOIOED

NORMAL SASS C,AN6E

r{txT ocrAvt

HARMONY T h e B a s j . e s t y l e c a l l s f o r t r a d i t i o n a l j a z z h a r m o n i e sa n d t h i s t r a n s l a t e s i n t o p r e d o m i :.:::11- 4-part harmonyin the horns (used over 2/3 of the time, the rest being S-or-more part -:-,::is), whether in block or spread voicing. This contrasts with Thad Jones' more extended : . : : : o n ) ' w h e r e t h e r e a r e f e w 4 - p a r t h a r m o n i e s t o b e f o u n d i n t h e e n s e m b L e sa n d o n l y l / 3 o f : :,; : i ne in the sax sol i s. \linor 2nd dissonant gri.nds within the harmonies are not a commonfeature of the Nesticoi : s : : s t 1 ' l e a s t h e y a r e i n J o n e s ' a n d B r o o k m e y e rs' w r i t i n g . T h e y o c c u r i n B o si e - S t r a i g h t l . - . e ; . ,o- in l y o n t h e o c c a s i o n s w h e n a m a j o r ? t h i - n t e r v a l b e t w e e n t h e l e a d a n d f o u r t h v o i c e s : : : - : e s a m i n o r 2 n d w h e nt h e l e a d i s d o u b l e d a t t h e o c t a v e ( E x a n p l e 7 ) .

EXATIPLE7

F-%)

I '/

(r*"4 ')

bt \

ut ?nd

tylt ?nd

r L -

11

p a s s i n gc h o r d s P o s s i n g c h o r d s a r e c h o r d s u s e d t o h a r m o n i z ea l t e r n a t e n o t e s o f s c a l e w i s e m e l o d l . l i n e s g to ive motion to the supporting parts. They are not used in these Nestico scores as freq u e n t l y a s i n t h e J o n e s a n d B r o o k m e y e rs c o r e s . I n s o m ec a s e s w h e n t h e l e a d v o i c e m o \ - e s .a c h a n g eo f c h o r d i n v e r s i o n p r o v i d e s n o t e c h a n g e si n t h e s u p p o r t i n g p a r t s ( s e e b a r s + 8 - + g ) a n d no passing chords are used. The ornamental (passing) chords most used by Nestico are :he h a l f - s t e p p l a n i n g c h o r d s , w h e r e a l l h a r m o n yn o t e s p L a n e b y a h a l f - s t e p i n t o t h e a r r r v a . c h o r d w h e nt h e m e l o d y m o v e sb y h a l f - s t e p ( b a r 3 5 ) . I n o t h e r p l a c e s o f s c a l e - w i s e m e l o d i : m o v e m e n tN, e s t i c o l e a v e s r e p e a t e d n o t e s i n s o m ev o i c e s ( b a r 4 5 ) , g i v i n g h i g h e r p r i o r i t l ' : o keeping the basic chord sounding than to providing motion in the supporting parts.

substitutechords S u b st i t u t e c h o r d s ( a l t e r a t i , o n s i n t h e b a s i c c h o r d c h a n g e s ) a r e u s e d s p a r i n g l y b u t w i t h good effect. Note the different harmonyused to give a fresh sound in each of the fir-e turnaround tags starting at bar 13?.

In the complete score which fo1lows, the points outlined previousLy are highlighted. Manyportions of the score are reduced and copied in concert pitch to help in analS.sis. Follow the score as you listen to a recording.

T2

BASIE- STRAICHTAHEAD .=

ZOO (4 bor5

:

5 seconds)

lnrm

-'fl[5

F-e

\ uniton, not for lighter

/ octquet, etlect

lra U.{lto

Lg Try I : 5

lfr Drric

B.!s

Ilrns C,-l|r

\

/

fsr

ta :s

Til

iTr f,rt-.

lsl -'

! i"l

tronbones conp in closed potition -1 5

^fflllfi+lg.l:fl,3'J^iFi.ililh.l.E3"gl, 3,.1-il3,i3l,

13

BRlDGE - ? 9

lal >-

) z t

>

lst Alto bd

lst Tcnor brc td

Tcnor Baritone

T.p,.

r f

9*"r

Gba(FqtF91

cZe

voicing changes lron 'conbinot ion' to 'bqtic ensenble'

Dr'

7r

chord

sub.titutions:

IrMrT v?(t9) IMrT*

fi^flrorl( DEfAIL

L4

blri

I

LAST I lul

lst

rd H rti

Dm
V'

Cnr'6b-,7D'E3!,

im

1ff lE?D

rF

H it

. A ^ ] . b + . ' :

>

A

3-

I

A

A

Abq(^oo4t

145

lst

Soprano

2nd

Soprono

lst Tenor

vret 2nd Tenor Baritone

lst

r.Pd

?nd 3rd /trh 5rh

lst

Trb s 2nd 3rd 4th

Bass

\

/ ?99

(so.o)

:d Bt Oarinet E? Bass Oarinet

Itpt s

lSs

# tox subt, plaA pp

tonic

snticipotion

hf

,"^,,(f":) 6wal NEI (b5, Eb*

D+7

/6

./Cfr c-'o

Tt

L,r'itlv*'2*trr.s',/N Ab'n-,'b]["

154

iM

l*i

J

!t

P

l+-

-trG

-a..lF

-a:m

Gu,'lGbrSFu,r 8b+f t t t t

connecting notioe uted Ioter in bor 43 E exponded in bars 38-41

'ERYsorttY 3Z

3

, @)

nf

1 -

t :+:-

155

?

nt

lst Bt Clarinet

Bt BassClarinet

TY pts

E

lLAsr aae &

AArol

ICAAENZ^ CGD IN AU I ' rry rtnpo. (44/ \ prers.

(G"t"

1)

1n.*r

lst BrClarinet 3nd Bt -s"Gl

Clarinet

3rd Bt clarlnet BD Bass Clarinet

Trpts I

F=-r

=-__-:::-:::::::::::::::::::-

Trb s

;-----,a

.

lt-l =1=.F==1n --i

v

(A5 rt-cuEo

:

t

rN aN3)

nitleading frguetouord second phrase v e r s i o n i n G b e fo r e r e t u r n i n g r a ' : r n i phrose repetitiont in Eb

t

J

-{ 5d :.d $h

lad

{rb

Bais

Dnns fditrr Piu

"ABCBlues" by Bob Brookmeyer cassette r e c o r d e d o n t h e I I { S I D ET H ES C 0 R E " T H E ( T h a d L J A Z Z0 R C H E S T R A " J o n e s / t l e l e r i s J a z z O r c h e s t r a ) and on

with ABCB|ues, in contrast with HeLLo And Goodbye and l-irst l'oue Song, does not start w i t ' h atr I t b c g i n s d e v e l o p m e n t . a simple, singable diatonic tune foll-owed by rich complex h ear u s g r a d u a l l y m a k e s atonal texture and obvious atonal- melody in a typical pointj,lllstic this atonal melody as being part of the blues vocabulary. The tone set is of

11 tones (one F is repeated):

EXAMPLE1

bo

j-ntil listic appearanc{' The last three tones (in brackets) are not used after the ori.ginal po j r s t m e l o dy. ten notes become the bl-ues until the final recap of the opening. The f

In keeping with the aj,mof t h e a t o n a l i s t s t o n e g a t e a n y f e e l i n g o f t o n a l i t y a n d t o a v o i r l t e r t i a n s t r u c t u r e s , B r o o k m e y e rs t r e s s e s o u t s i d e l n t e r v a . l s : m i n o r 9 t h , m i n o r 2 n d , a n d m a .oj r give it a seri.al ?th. These interval-s not onlY set up the angular disjunctive lines tlrat EXAMPLE 2

t e x t u r e , b u t t h e y a r e s o m eo f B r o o k m e y e r ' sf a v o r i t e b l t i n g i n t e r v a l s a s s h o w ni n t h e p r e v i o u s t w o s c o r e s , and t h e y s e t u p l o g i c a l l y t h e v e r t i c a l d i s s o n a nt s t r u c t u r e s i - n b a r s 5 8 a.nd 82.

158

:: ar^r ce I I of four tones is the one hea,rd in the motive in bars 26-27 played 3:C and 4th trombones, and piano (see Exanple 3). This motive turns out

EXAMPLE3 I{ALF STTP

FULL STIP

HAL F STgP

-;:-rclpal shout f1sur1 utEland is harmonized a s a b a c k g r o u n df i g u r e i n b a r s 5 g -: r-re clcsel'v related to the original tone-set than is at flrst obvious. The l--:: rctes of a set are the ones most easily remembered. rf we put the first three --rourth tone or G (the onty pitch missing i n t h e o v r r i g ianl l 4al l a 5 : :al :k: e: : t"w ] :o. Ti ^n 3t e0r v a l s o?f a :' n minor 2nd separatedby a major 2nd, we h a v e t h e trans: ' > - , ' no f t h e m o t i v e f r o m b a r s 2 6 _ 2 7 :

EXAMPLE4

ToNe *l

-

1 -t-

?z-J t-

=radual transformation of the original - alculated sequence:

Y7

10-tone atonal line

into a blues line fo1-

przzrcato bass and drum duet __ this jazz version of a percussive, pointillistic : e_\lureleads into: a n o u t - o f - t e m p op o i n t i l r i s t i c p r e s e n t a t i o n o f t h e t o n e - s e t t,heme in muted brass, ' t o o d w i n d s ,p i a n o ( m o r e " o r c h e s t r a l - , , colors) : r e e d r u m c o m m e n t s ,t h e n f r e e b a s s c o m m e n t s leading into walking time wlth atonal L : r t , c h e sf o r 8 b a r s :nison tone-set themein muted colors and with irregular rhythms which take on a ; azz neantng. :ree piano solo into four bars of time u t E l t h e e n s e m b l ep l a y s t h e a t o n a l t h e n e h a r m o n i z e di n d i s s o n a n t b u t j u s t i f i a b l e clusters in mellow, into-the_stand col-ors --in bars 40-41, the low open_spaced :hromatic motion gives more j azz fl,avor and leads into the flugel solo in straieht_ aheadtime at@

I

159

the 4-tone motive shownin 7. after three choruses of b1ues, the band shouts at@on this alI-out i azz peak -- the Exanple 4, the first time the whole band has reached kicking in the tenor solo last four bars peak in the biggest climax of the chart, unifvins the score atEl-- a poi.ntillistic texture of pyramid accents utElkeeps in this atonal vein, come \{al' g. as the alto solo starts utEI the drums almost disappear and the dynamics d o w nb e f o r e g r a d u a l l y b u i l d i n g a g a i n ' trombone soLo at[Tl-- at[]tne 9. on the D.S., another shout and climax bring in the but the bass drops out texture changes dramatically behind the trombone as everyone and again graduallY builds ' gradually enter for a multi1 0 . a s t h e t r o m b o n es o l o e n d s , t h e o t h e r s o l o i n s t r u m e n t s texture --- this ple improvisation which is one more j azz version of atonal free thins out and quiets to lead to the bass cadenza' leads into a final vampwith a 1 1 . o n e m o r e r e c a p o f t h e u n i s o n a n d h a r m o n i z e dt h e m e . D u k e - i s h , , m u t e dt r u m p e t s / s a x e sv o i c i n g t h a t s w e l - 1 su p t o a s m a l l e r b u t e f f e c t i t ' e final clinax before quieting to the last held chord' jazz elements is that' after a one of the traps in pieces which combine non-jazz and' ..serious,,introduction and a transition into jazz feel, charts often Iet down and soutid BLuesdoes not faLI lnto that ordinary going into straight-ahead jazz. The fact that ABC out transformation just anal]'zed' trap is no accident. rn addition to the carefully worked players to pick up the serial stl'Ie B r o o k m e y e rc o u n t e d o n h i s s o l o i s t s a n d r h y t h m s e c t | o n that' the use of minor chorcis and carry it into their solos and background comping' Beyond version of the theme casts an with major ?ths ln bars 40-43 at the end of the harmonized prevents them from fall-ing into a normal blue's u n u s u a l c o l o r o n t h e b l u e s c h a n g e sw h i c h texture behind the solos help tc s o u n d . A 1 s o , t h e s u b s e q u e n tc h a n g e s i n r h y t h m s e c t i o n sustai-n the fantasy quality of the chart' like T h e f o r m o f t h e a r r a n g e m e n ta n d i t s d y n a m i c c o n t o u r l o o k

this:

EXAilIPLE5

P0|ltTILLISTlC EilS. BASS/ DRUI,IS DUET

DRUM

s0L0

A-

BASS

s0L0

ultts. AToltAL THEI.IE- I.IUTED & I{T{ BRASS

BASST II,IE ADD DRUilS

r-1 I

160

l1{

PtAfio s0L0 T tl.rE

6

\y +"|nrtr I zEDErs.

- T-M^L

THE}C

o ENS. I TEI{OR ATOIIAL YRAI,IID

f "o'

@ il!:'+hL,P'' EASS/ DRUilS

,II DUET

AIA - ' -

@I@ B A S ST I I I E ADDDRUH

BASS

UXIS. THEI,IE MUTEDBRASS

MUTED CHORD

lVAMP l I

s0L0 f B x ' s DRUH I s0L0 |

tll

I t r

ilt

ftl

t t l

161

ABC BLUES -

) . c- 60 8 A s 5* D R U M s Ab LI8 DUE1 (crie.1 ).

by Bob Brookmeyer

Rubato

SAsS SoLo A T e m p o

O R U M 50Lo

lst opt, ad opt, Flute lst

E;sl

2nd opt. Bass Clar

Baritone

:-

:IJ

Z-s-€ lst

Tlpts j

2nd 3rd 4th

A

nl

/rces,\ lcuP I

>

TMUTES/

Trbs

arers\ /soro rriioer \ cuEo fN af4 TA"f. t Solo Flugel opt. ) tolo

nP (ore

ao Lr8

__ - : ' : e r e a c t u a l l y i s a p h y s i c a l m o u e m e n t , L i k e t h e , ' J r t Ja n d 4 t h t n t h e A L , . * r , * ; , e , r , 1 . 1 , , 1 'HeILo -'-: -'. A n d G o o d b y e ' ) s e e m t o m a h ea n g l e s . I f I t h t n k a b o u t i t I ' L l , s e es h r r 1 . , r : , s - . .',--., qctual geonetric f eelings of pressure, of butLrling. - :-"'''"' i't's good whenpeopLe start experinenting, Looktrtg urountl the pianct to reoLize --':: :-'ete are p u l l s a r L dp u s h e s , L i k e o p h y s i c a L p r e s e n c e . I J ' y o u L e o r n t c t L o o k l'or : ' : ' -z I I g i u e y o u a n o t h e r d i m e n s i o n i n s e l e c t i n g h a r n o n i c m a t e , r i q . - . s .

"'' : 'tfle person playing alone is different than one person plcying J'rtr r:ne sth.er per -" - | n d o n e p e r s o n o l a y i n g u n o c c o m p a n i e da n o n g 7 7 p e r s o n s i s d i f J e r e n t than one pe'rsotr : ' : " .: n g f o r 3 , 0 0 0 p e o p l e . The dynanic changes all. the t ine. i ' T u u n r t t h o t w L L e nM eL ' s - r ' . - : . 1 ' - r . r ' sr n y a r r a n g e n e n t of 'Skyl.ark' (the f irst writing I'd rlone for a whiLe), there - : ' : i ' t L t l l t - i n f o u r - m e a s u r e r e s t a t t h e e n d u h e n t h e a u . t l i e n c en e u e r c l i r l a r t y t h i r t g . It -:: conpletely stiIL. S o I h a d c o n t r o l o f t h e n f o r f o u r b r z r s . S a n t ew i t h t h e s i n p l e : - - . : . c a l l e d ' S o d S o n g . ' I t c o n p l e t e L y L a t t e n s o u t t h e V a n g u a r c la u d i e n c e . There's f It seems to haue a powerful effect on people. -"':: no enotion left. Wehaue to play 'HeLIo ' -'.ething Lrke And Goodbye' af terward to cheer up the aud.ience.

1?9

RW: That must really be gratifying,

t o h a v e s u c h c o m m u n i c a t i o nw i t h t h e a u d i e n c e .

B B : Y e s , a n c l i t ' s i n t e r e s t i n g a n d c h q l l e n g i n g , a s y o u r e a l i z e y o u h a u e s o m ep o u e r o u e r t h e a t n o s p h e r e , a n d m o o d ,a n d .e n o t i o n s i n t h e r o o m . T h a t ' s a d i n e n s i o n o f w r i t i n g t h a t d.oesn't get talked about too much. Most of the young writers I hear just seen to go nI'LI do a big thing here and some s t r a i g h t a h e a , Ja n d g e t m a t e r i a l o u t , a n c lf i g u r e , "not realizing that they control not only the nusic but s n a l | t h i n g s a n d s o m es o l o s , the feelings of the guys in the band and the people uho hear it. R\{: Howdid the form of

' H e ll o A n d G o o d b y e ' e v o L v e ?

uant B B : I w a n t e d .t h e b a n d t o s t a r t p l a y i n g a s i f t h e y w e r e j u s t n a k i n g i t u p ' I d i d n ' t Line j u s t L o n g Lihe a t h e n e l o c l yt o b e i n p o r t a n t . I w a n t e d t h e w h o l e t h i n g t o s t a r t d l a w n o n p a p e r , j u s t t o g e t e u e r y b o d yh u n n i n g t o g e t h e r a n d g e t t i n g a g e n e r a l f e e l " i n g ' B' RW: In the dense dissonance which is piled up in bar 90 at the end of the soprano sax m a k e -up t h e y o u d e c i d e f i r s t d i d section through stretto entrances of that one motive, of the arrival chord or did the motives tead you into that chord? The nusic usually leads ne

I haueuery littl"e

BB:

T h e y L e dn e .

RW:

What comment do you have about my concept of the difference sity?

BB:

luck teadingmusLc'

between density

and inten-

density can' deI a g r e e , b e c a u s e t h e n i n o r 2 n c Jc a n b e t h e m o s t i n t e n s e t h i n g o r t h e I Like what you say about not using fornula uoicings' that pending on the situation. So 1 used as many or as few euerything was picked to keep within a consisterut tension. I wqnted to keep the n o t e s a s I n e e c l e ctlo s o u n d r i g h t t o m e t o h e e p t h e t e n s i o n g o i n g ' Rauel'like triad situasituatlon aggrauated. until the Last four bars (bar 61) in that tLon.

us up with R14l: Are there any points you want to add to my comments about your shaking taneous natural and sharP 9ths? BB:

simul-

nethod writing, w o u l d e n c o u r a g ep e o p l e t o t a k e c h a n c e s . I h e a r s o n u c h s u c c e s s f u l i s geared around Most of the writing especiaLty in those rock-and-rolt jazz writers. orchestral texthat, and they're acleptat writing single-note chords instea'd of fi"nding in the Lower Becausethe rock-and-roll rhythn allows nothing delicate to happen tures. I'n trying to encourage then to get aruclinner uoices, euerything is uery prinatiue. not to write rock-and-roll away fron situations Lihe thit so thiy can hear euery uoice ' and shading' But if you ba1lacts becauseit kills euery premise of Lines and deLicacy and bass, you can heep the nusic c o m p o s ew t t h o u t r h y t h n s e c t i o n o r w i t h j u s t p e r c u s s i o n they won't Learn anything' Becauseif they keep writing for situations, sense ol tt. w r iting what you haue to and k e e p you uriting'They'LI heep writing as in ,L*^"rria| i/ they don't put thenselues in the situati'on alroyi dictates Less than you can do. So they won't Learn how to do things. They won't find positions to write experinentally, nake' I don't hear nany mistahes choices, they won't make nistakes which they haue to It's uery discouraging! in the writing of young people today!

I

uritten, It,s funny, but reacling your analysis of uhat I'Lte about euertthing I'ue done, if I had tine'

RW: Why? I wasn't anaLYzing faults.

180

I'd

go back and change

r u l t s , n i s t a k e s i n o r c h e s t r a t i o n , h a r m o n i cs t r u c t u r e , b u t a L I t h a t i s w o r k so I'n just trying to nake the next piece better. . d r CG o o d b y e , ' b a r 2 3 2 , t h e s i m u l , t a n e o u sn a t u r a l a n d s h a r p S t h s i n t h e m a j o r :ade me hear inverted augmentedmajor ?th chords. How do you think of them? tten to get the thrilling so u n d.

:f:

texture of the double minor 2nds. It giues a uery

T - : s : L o v e S o n g ,' i s t h e r e a n y k i n d o f g u i d i n g p r i n c i p l e :,:::-:-",- : hat you could give?

on choosing substitute

r'.''

.'-er)thing worhedon a plane. Things either seem to press down or want to moue -; I t:ted to listen to where things wanted to go. Again, the idea of auoiding for:'-'--tLng was true in 'First Loue Song' too. ,{ofes were picked fron a chord name to --''= 'z:tatn effects happen, The same chord uould appear two or three tines and haue -''.-.-.nt notes in it or be positioned in different uays to sound differentLy.

'-{3C B l u e s , ' w h a t m e a n i n gd o t h e d i s s o n a n t i n t e r v a l s

in the theme have to you?

t':'.

I lear o major 7th, it sounds lihe if's pressing down and a minor 9th seens to be, 'r::::lirs, so they haue shapes for me and I heep the shapes I like. f uortterl it to - - : r ) - e r L a i b e c a u s eI l i h e s e r i a l t h i n g s . A n d t h o s e a r e t h e n o t e s t h a t s o u n t l e d b e s t

r---:- :inal advice can you give a writer who has been motivated enough to study this - -:.: and your writing? - : ' . ' - ' ' b 'i t u o u l d b e u e r y n i c e i f p e o p l e w o u l d s p e n d a l o t o f t i n e p l a y i n g o t t h e p i a n o - : - : - : . l e n i n g t o u h a t i t r e a l l y s o u n d s L i h e , r a t h e r t h a n j u s t g e t t t n g t h r o t L g hs i t u a t i o n s .: -'ier to finish a piece. I think the tine spent reflecting is the tine thot cotutts -

- , l 1 n f t

-:-.e'.ber that BilL Finnegan told ne a story about Debussysitting for days pLoyirtpltt -",': untiL he understood a l l of the things about that chord that he wonted tct heor orttl '- -.e:anted to orchestrate it. Until it beconesa part of you. !'-ke listening to Charlie Parher on a record and Learning a solo, whtr:h coulrl taht: -:', i -'rnIe of weehs for a dunny like ne when I uas a ki(). Or seeing it in o ltook ond "Aha, -' -::, there it is,' / 'I L play it through. " A n c ly o u l e a r n n o t h i n g . Bttt t I you ::.:---t-enceit, it becones part of your Language. The kids need to know thot.

78l

summarY After studying the eight scores of these fine writers, certain points about the crafl of arranging can be made. The three writers differ in certaj-n clear waysbut, in common w i t h m a n y f i n e w r i t e r s , t h e y s h a r e a n a m a z i n gn u m b e ro f q u a l i t i e s : 1. Each writer a middle,

gives each chart and an end.

a focus, a character,

a story

which has a begi.nning,

2. Each has a consistency of harmonic and voicing procedures, whether accomplished consciously or subconsciously. most of al1 on good, idiomatic tunefulness before taking into count the addltional elements of harmony, co1or, texture, and form.

3. Each score relies

4. Rhythmic lnvention 5.

is of primary

ac-

importance.

Re-use of the materj.al is constantly seen. It is, of course, working, but beyond that it provides a classy kind of unity.

6. Harmony, whether simple or complex, is

an efficl-ent

wa1'of

used to serve the needs of the chart.

7. In a]L cases, the balance in the use of the variable elements is control]ed so that some elements remain constant while the focus of attention is directed to other elements. For example, in Basie - Straight Ahead, Nestico keeps the form, voicings, color, and harmony constant and predictable to highlight the groove, but he uses subtle variations

of

rhythm, melody, dynamics and key modulation.

In'[hree And One, Thad holds the form, the basic chord changes, and tona]ity confull ensemble stant while highlightine color and texture changes between the trio, and sax soli. by using subtitute chords and rhythmic variations. In HeIIo AruJGooclbye, Brookmeyer uses a simple tune, unchanging voicings, only one key change, and simple basic chords while the form, color, and texture change from dense to transparent textures to surprise us. 8. Harmonies are justlfled 1s never foreotten.

and voice-leading

(as an important aspect of tunefulness)

9. Good registers and idiomatic writing for the instruments have been pointed out conof making each section sound harmonically good when tinually, as has the principle heard by itself. The dj.fferences

amongthe three

writers

seem small in comparison with their

similarities:

1 . T h e r e a r e d j , f f e r e n c e s i n h a r m o n j . cr i c h n e s s , b o t h v e r t i c a l l y a n d i n t h e u s e o f p a s s ing and substitute chords. The scopeof such differences goes from the deliberateLl"seasoned simple 4-part, non-dissonant structures of Nestico to the rich, complex w i t h d i s s o n a n t g r j . n d s " w r i - t i n g o f T h a d t o t h e p o i n t e d d i s s o n a n c e su s e d b y B r o o k m e J ' e r as he alternates betweentension and release.

182

; = : : - : ; f o r m , t h e degree of departure from normal 32-bar song and head-and-varia-. :,::s for the overall chart is different for each writer. But none of them ^ - : k : d i n t o a n y r i g i d f o r m u l a f o r e i t h e r t h e s o n g f o r m o r t h e a r r a n g e m e n tf o r m .

. . . : _ s ! : c r , a s p i r l n g w r i t e r s s h o u l dn o t e that the elements of focus, balance, and . - : - - : - ^ : e s s a r e p r e d o m i n a n t e n o u g hi n a l l t h r e e w r l t e r s t o i n d i c a t e t h a t t h e r e i s :::::-a::.9 than voicings! Notice one thing -- as you list,en to these charts over and - : : r t : h e i r s e c r e t s , y o u d i s c o v e r h o w m u c hm o r e t h e r e i s i . n e a c h o n e t o l e a r n a n d t o :i:. l h a t ' s g o o dw r i t i n g !

183

glossary tlt.:

- a d o m i n a n t ? t h t y p e c h o r d w h i c h includes sharp and altered; C7 ALT- 97 ALTERED f l a t 5 t h s a n d 9 t h s ; a C a l t e r e d s c a l e i n c l u d e s t h e n o t e s o f t h e C 7 AL T c h o r d .

c 7 ALT

atonal:

T

C ALTE!?ED scALs

a n a b s e n c eo f t o n a l c e n t e r s .

b a s i c c h o r a l e u o i c i n g ( o r t r u e - b o s s o r b a s i c e n s e m b Lueo i c i n g ) : t h e v o i c i n g i n w h i c h t h e i n d j , v i d u a l p a r t s m o v e i n d e p e n d e n t l y o f t h e l e a d l i n e , b a l - a n c i n gt h e s o m e t i r n e sc o n f l i c t requirements of good voice leading and good vertical sonority. No strict rules of the s p a c i n g b e t w e e np a r t s a p p l y , b u t t h e l o w e r l n t e r v a l s a r e g e n e r a l l y l a r g e r a n d t h e u p p e r ones smaller (see Basie - Straisht Aheadanalysis on page 10). bLock uoicing:

bLuenotes:

a thickened-line

of close positioned

voicing

4-part

harmony.

the lowered3rds, 5ths and Tths of major scales.

b o r r o w e d c h o r d : a c h o r d b o r r o w e d f r o m a p a r a l l e l m o d et o g i v e a c h o r d q u a l i t y ( m a j o r , m i n o r , half-diminished, etc.) different from the normal chord buiLt on that scaletone. For e x a m p l e , D C 7 i n t h e k e y o f C m a j o r l s b o r r o w e d f r o m t h e p a r a 1 l e l m o d eo f C m i n o r , w h e r e the II7 chord is a half-dimini-shed chord. ceLI:

a short, intervallically

close uoicing: and 4ths.

constant motive.

n o n - s p r e a dv e r t i c a l

structures, usually stacked 3rds with occasional 2nds

gto 6b-t'C'sus

cLosE

clusters.' comp:

vertical

au(^Ill'

votctN6S

structures mostly of stacked 2nds.

tto accompany," such accompaniment consisti.ng an abbreviated jazz term meaning rhythmic chords usually played by piano or guitar. ticulated

concerted ensenble: thms.

of ar-

a p a s s a g e i n w h i c h t h e h o r n s p l a y a h a r m o n i z e dm e l o d y i n i d e n t i c a l r h l

184

s o u n d t h l c k n e s s p r o d u c e db y t h e q u a n t i t y o f d i f f e r e n t t o n e s w i t h i n t . :

^ - : : ]:S

--i-

::

dj.atonic (scalar) parallelism (planing) occurs in concerted harmony " - o i c e s m o v e s t e p w i s e i n t h e a p p r o p r i a t e s c a l e i n t h e s a m ed i r e c t i o n > stepwise motion. This differs from true planing (exact parallelism) d o n o t m o v e i d e n t i c a L i n t e r v a l s b e c a u s ea L l s c a t a r i n t e r v a l s a r e n o t

s l o : e s 1 ' m b o lf o r ' o c t a v a b a s s a " ( o c t a v e l o w e r ) ; n o t p r o p e r l y u s e d i n p a r t s .

:,::-l

a texture in which all horns participate,

;

mostly in concerted rhythmic

: p l a n i n g ; e a c h u n d e r v o i c e m o v i n g e x a c t l y t h e s a m ei n t e r v a l a s t h e l e a d ::-: 'jpper chord tones beyond the seventh. '--:::ns.'

the thickened-1ine harmonizationof a melody in which the four parts - : : : : a n o c t a v e . T h i s i s t h e b a s i s f o r 4 - p a r t e n s e m b l e si n w h i c h t h e s e b a s i c : : : . s a r e d i s t r i b u t e d i n c l o s e d o r o p e n v o i c i n g t o o t h e r j . n s t r u m e n t si n a n . yo c : = = [ E f l n B o si e - S t r a i g h t A h e a d ) . -::'.' -::

d i s s o n a n c e sb e t w e e nt w o v o i c e s , u s u a l , l y m i n o r 2 n d s o r m i n o r g t h s .

u p o n w h l c h a n a r r a n g e m e n ti s b u i l t .

*:nd instruments. ' ; , : a 1 i t 1 'o f p s y c h o - a c o u s t i c a l s t r e n g t h a s c o n t r a s t e d w i t h d e n s i t y , the quality :.-.:>5.

lllferent

vertical

orderings of a chord's tones without changing voicing.

c5 tNvtRStoNs :ief :

melodic figure or fragment of a theme.

r'ert ical structures spread to a voicing Lncluding typically of a 4th or larger.

F b/q

T OP€N

c

g

+ vot ct NGs

185

two or more in-

outside: tant paralleL

jazz terminoJ-ogy for tones distant from the basic chord, or for from a tonality or from given chord changes. when aI1 voices move the samedirection

notion:

chords more dis-

as the lead line.

than the predominant passing chord: a chord harmonj-zing a stepwise melody tone differently surrounding harmony (see Three AndOne analysis on page 54). The rhythm section parts do not include symbols for passing chords unless they sound for one beat or J,onger. pedal (pedal poirut): chord changes.

a continuing bass (usually tonic or dominant pitch) through several

exact parallelisnr; pLaning: the lead line.

pointilListic: different

each voice moves the exact interval

in the samedirection

as

p e r t a i n i n g t o a t e x t u r e i n w h i c h e a c h s u c c e e d j . n gt o n e i s a r t i c u l a t e d b y a instrumental- color.

pyrantd: a pite-up of individual the tone.

tones, one enterj.ng after the other and each sustaining

recop.' recapitulation; repetition. seconrlary IIU|T or 1167: the minor ?th or f?th whose root is a perfect 4th below the secondary V7 to which it resol,ves.

c1

Ana r

S ECON OA R,Y

q: If Mr 7 (bs)

s e c o n r l a r yV / :

S TCON OA RY

gr

F

TRAN S I TNT

(

Inar

F , 1 I I f- ,

g'

I

a V 7 c h o r d w h o s er o o t i s a p e r f e c t 4 t h b e l o w a n y t r a n s i e n t t o n i c .

s e r i a l n u s i c : m u s i c c o n s t r u c t e d f r o m p r e - o r d e r e d s e q u e n c e so f p i t c h e s ( t o n e r o w s o r t o n e sets), rhythms, or other parameters. s h o u t . . a c o n c e r t e d e n s e m b l ep a s s a g e w r i t t e n t o a c h i e v e a c l i m a c t i c , stretto:

shouting result.

s u c c e s s i v ee n t r a n c e s o f a m o t i v e b e f o r e t h e p r e c e d i n g o n e s h a v e b e e n c o m p l e t e d .

s u b s fi t u t e c h o r d s . . c h o r d s w h i c h r e h a r m o n i z e a m e l o d y o r a g i v e n s e t o f c h o r d c h a n g e s i n a more complete way than do passing chords, which only connect two surrounding chords. The rhythm parts need these chord symbolsto avoid a harmonic clash. s oI i . '

a h a r m o n zi e d s e c t i o n a l f e a t u r e .

S u p e r s a xu o i c i n g :

4-part block harmonization with Svb-doubledl-ead.

186

' . , r r ' : j a n u n r e s o l v e d d i s s o n a n c e( t r a d i t l o n a l l y h e l d o v e r f r o m a p r e c e d i n g c h o r d ) ; i n ''-2. erclusively a 4th in a chord in which no 3rd is oresent. Hence, a minor ?th with . i:: is not a suspension, but is an l1th.

Cr' z(lr)

. : ' . . , ' L q r n o n y : h a r m o n y t h a t i s n o t i d e n t i f i a b l e a s a n i d i o m a Li c j a z z c h o r d , b u L w h i c h --s-^:s from strong voj-ce leading. In rhythm section oarts. this shoulC be notated in :-:::es rather than a given chord symbol.

Dr'r,z(tr;

?

F-frrrt'(n) g

.-.': .tne: - - - - ': * i t h

harmonized line the lead line.

a pre-ordered

in which al 1 of the parts

sequence of

tones, usually

move in preriominantl.yparallel

tess than 12.

the process of designating any chord (except a diminlshed 7th) anywhere in as a transient tonic toward whi-ch substitute chorrls mav cadence (see thc anaThree And One on page 55). Q a A

+ ^ n t n t ; n l t a n

:'.tLttion: the V7 type chord whose root is a tritone away from the normaL V7 in -I resolution.. Hence, a fffT chord, which is referred to as an uppcr chromatic: :hord in this book (see Three And One analysis on page 5?). L'

seriaI

music which pre-orders

i2 different

pitche-'s.

: - :- :r c s u b stfiittuuttee..'' a V 7 o r m a ij o r ? t h t y p e c h o r d w h l c h r r - - s o l v e s f r o m a h a l f - s t e p 'l'ltr : -- t h e f o l l o w i n g t o n i c o r t r a n s i e n t t o n i c ; a l t t l o r I f I r q a Tc h o r r l ( s c e r e e: ,IrtL! ' -^' .'..;s-ssiii ss o nn p o aageeeee 5 ? )) .D

' r e p e rp e d a l p o i n t ) : a t o n e , u s u a l l y o f t o n i c o r d o m i n a n tq u a l i . r y , w h i c h m a l ' rn an upper voice through several chord changes. :.' r'oice motion in which a harmonypart m o v e s s t e p w i s e o r r e s o l r , ' e s a c t i v e c h o r d :- normal directions (?ths downto 3rds in cycles of fifths, leading tones up^':es notes downward). .-.ia1's used here to mean the vertical -::l orchcstrational mixes of colors.

spacing of

187

tones.

In other contexts. it

most-usedchord types In these examples, the basic chord for each type is shown first, followed by versions of the R e m e m b et rh a t i n c h o r d s y m b o l s i n chord type as enriched with extensions and alterations. t h i s c o n t e x t t h e s o u n d o f t h e c h o r d , n o t i t s s p e l l i n g , d e t e r m i n e s i t s s y m b o l . H e n c ee n h a r monic spellings do not alter the chord spellings.

1. MAJOR

c?q crura'c,waqc(noo 9) c-atl(f

ttl cb/q(*1) q -ora(*rr) o

+

MORE coMwroN SPACING

1a. TRIAD SUSPENS/ON

l b . M A J O RT R I A D , F L A T F I F T H

TRIAD, MAJORSEVENTH 1c. AUGTIENTED

6 *

(r'u t)C

*

(r"l I e)

188

(ce *o t \

RAISE D

,nr'*t)

ir

-- - :

E-,

E.r,5

Erqf/q

/eeao, r M r N o R g r \ (RA,see I l, MAJ Oe Z)

E^er7

ErqrQ

ll

Epr,

trq r 13

fr

--I YI \ I-i.ryfD -:-tt C\'?H

g- , z(bs) Em ,e(bs) E r"rr rr(bs) Er_rr rs (bs)

fr

(neno:

g MtNoR 9, rtAT

Erw,'(Bl)Emr" (gg)

s)

, f--\:-'-- ._.fif\fH

D7

p z(re) p ra(#tr)

pa

D"(bq)

pz(bs)

o

qil th ALwAys orvrtTrdo, sth orrcrv\ OM rTT€O urr DoMIN ANT r3 +h

g e (bs)

D'(f3)

ge (*rt)

b+

grt(bt) o

189

D'.(fl)

)

pz(*e)

5, AUGMENTED

F+

F+7

F+a

,* r(*e)

p-* z (be)

F+a(ft) Fz

qt

;

(cero,

lceao, \

F 7

ALrt R E D

6, DIMINISHEDSEVENTH

r

;id Eo(ve,)Eof"';0f EorcrAo

EO

=iJ

go (sus e) e

F'gAO:

E DrhlrNls Heo,

aoo r*

of ;

S i n c e E o o l r e a d y n e a n sd i n i n t s h e d 7 t h , i t i s c u n b e r s o n e t o s y n b o l i z e a dininished triad. Fortunately it is used extremeLyrarely.

NOTATING SUSP''NSTO,ryS

C T srs

Gra..77 ,/C

C Q s r s oR

oR

al l

t-

CIIORDSWITH FOREIGNBASS

POLYCHORDS

D

Eb

D*-,

C

6+a

Er-rl

7ev %au f,a

t90

bibliography for furtherstudy ffi{,f.,f--\:

-itEI

Iry-rlrurrl: ]::::-. I I O D E R \ H A R M O N I CT E C H N I Q U E - V O L U M E SI I':_:ra: f:T. l96J lrr!'r:1s tur"*:_i

I ---L}-.

r r i E c 0 \ T E M P 0 R A R YJ 4 z Z P I A N I S T .

: \ j E J A Z Z L A N G U A G E _S. t u d i o

p/R,

& IL

Gamt press,

Lebanon,

IN,

Kendor

Music,

Jamestown,

RI,

tg?g

19g0

q*-:{r.l\,

I '; - 1. -{RR.{iiGINA GN D C O M P O S I t l cF O R T H E S M A L L E N S E M B L E .D o w n b e a t W o r k ::-! P::iications, 19?0

1r"t::

l'-;r-:-:

l::'io:r.

IIODERN A R R A N G I NTGE C H N I Q U EK. e n d o r M u s i c , D e l - e v a n , N y , 1 9 6 5

Ir--- -: i'-=:=il. T H E C O N T E M P O R AARRYR A N G E R - C ! N I E q , qCEr&i t.e r i o n \=r ::,:k. \y, lgb4 '::

=

- : , : : i . . { R R A N G I NcG oNCEprs.Dick Grove publications, -:l:

:..::ir

Music Corp. ,

studio

city,

cA,

J o n . T H E C O N T E M P 0 R AARRYR A N G E RA.t f r e d p u b t i s h i n g co. , sherman oaks, _ _ 1

' *.:'=:\.T

I n - , j , y r C

K e n t . T H E T E C H N I Q U0EF O R C H E S T R A T I OPNr .e n t l c e H a 1 I , E n g l e w o o dC l i f f s , lqit

19I