Jazz Arranging tutorial

SAXOPHONES
The saxophone ranges below represent the lowest pitch available to the highest. Professional players can play comfortably throughout the entire range of the instrument. In addition to the ranges illustrated below, the professional is capable of the extreme high register or altissimo register, which, depending on the player, is sometimes a 5th or 6th above the highest note given below. The extended upper range should be limited to improvised solos and never used in a written part. It is also generally not a good idea to write in the extreme low range for soprano, alto, or tenor, as notes in this range have a tendency not to speak or sound forced. The baritone saxophone is much more comfortable and reliable in the low register. axophones are capable of playing the !a"" legato style very effectively. #nlike brass instruments, it is easier for saxophones to perform rapid passages and angular melodies. This would help explain some of its popularity as a !a"" instrument. There are usually five saxophones in a big band using the following instrumentation$ % altos, % tenors, and & baritone or & soprano, & alto, % tenors, and & baritone.

Transposition: Up a major second from concert pitc ! 'ecause the soprano saxophone is now a common instrument, both as a section member and a soloist, it is included on this page and not on the (oodwind )oubles page. The soprano can be heard on the melodic line of a saxophone section soli, playing improvised solos, blending nicely as an inner harmony part, or doubled with a trumpet on a melodic line. (hen used as the top line of a soli it is normally played by the &st *lto player. In other situations it can be played by any member of the saxophone section. The following tunes from the Alive XV +) use soprano saxophone, Isotope, Entropical Paradise, Oleo, North Rim, and Meaning of the Blues. -.T/, 0any sopranos now have a high 12 key.

Transposition: Up a major si"t from concert pitc ! #ritten in tre$le clef The alto is usually the lead instrument in the saxophone section. It is a common solo instrument and sounds well playing unison or octave melodic lines with any of the other saxophones or brass instruments. -.T/, -ot all altos have a high 12 key.

Transposition: Up a major nint %an octa&e ' a major second( from concert pitc ! #ritten in tre$le clef! The two tenors found in the big band saxophone section are important as players of inner harmony parts and as doublers of melodic lines. They can be heard in unison with trombones or in octaves with a trumpet, creating a 3small group3 sound. It is the most common solo instrument of the big band. -.T/, -ot all tenors have a high 12 key.

Transposition: Up a major t irteent %an octa&e ' a major si"t ( from concert pitc ! #ritten in tre$le clef!

The baritone saxophone is the bass instrument of the saxophone section. It is common to hear the baritone playing as part of the saxophone section or in concert with the other bass instruments 4 bass guitar and bass trombone. -.T/, -ot all baritones have a high 12 key or a low *.

#OO)#*N) )OU+,ES
-lute. Piccolo. /larinet. and +ass /larinet Professional saxophone players are expected to double on a number of other woodwind instruments. The more common of these instruments, flute, piccolo, clarinet and bass clarinet are listed below and can be heard on the Alive XV +). * woodwind specialist, besides playing all the saxophones, flutes, and clarinets, may also play oboe, /nglish horn, bassoon, alto flute, or recorder. 5now the strengths and weaknesses of the musicians for whom you are writing. )o not be too technical with your writing. * saxophone player playing clarinet or flute will probably not have the same technical abilities on those instruments as they would have on a saxophone. 6et the musicians7 assistance. (rite out your ideas and have someone play them back to you. I have found that most musicians are glad to help you avoid writing difficult or impossible passages for their instrument. *lways let the musicians know prior to a rehearsal or performance if there are any special doubling re8uirements. )o not write woodwind doubles unless there is someone in the section with the necessary skills to perform the part. If woodwind doubling is not a strength of the saxophone section being written for, then do not have them double. Parts should clearly indicate instrument changes. 6ive ample time for musicians to make these changes. 9see below:

Transposition: None. 0ritten as sounds! *ll professional and most college saxophone players will also play flute, but all will have varying skill levels on the instrument. Therefore, when writing flute parts for a saxophone player it is best to avoid extreme high or low ranges. ;imiting the upper

range to at least a fourth below its highest note 9indicated above: is preferred. <emember that the low range of the flute will never be heard without amplification and the upper register will be difficult to play in tune. 0ost flute parts are doubled by other flutes and woodwinds or other instruments 4 either in unison or in octaves 4 such as$ flugelhorn, trumpet with cup or harmon mute, trombone with cup mute, piano and guitar. .ccasionally you will encounter and excellent saxophonist who primarily plays another instrument such as flute or bassoon. Alive XV lead altoist, )ane *ndersen, is an outstanding classical flutist. The following charts from the Alive XV +) use flute, Meaning of the Blues, North Rim, Oleo, Hu tones, and Isotope.

Transposition: )o0n an octa&e from concert pitc 1 sounds one octa&e ig er t an 0ritten! The piccolo is used rarely in big bands. 0ost saxophone players will not own or play a piccolo. (rite for the instrument with discretion. The following charts from the Alive XV +) use piccolo, North Rim and Oleo.

Transposition: Up a major second from concert pitc ! .nce a favorite big band instrument, the clarinet is used infre8uently in contemporary writing. 'ecause of this, the interest and skill level of young saxophonists to double on the instrument has diminished. 0ost contemporary writers, writing for professional bands, continue to use the clarinet as well as other woodwind instruments to create special tonal colors when desired. The following charts from the Alive XV +) use clarinet, Oleo.

Transposition: Up a major nint %octa&e ' a major second( from concert pitc and 0ritten in tre$le clef! The bass clarinet is sometimes used in big band charts and is usually played by the baritone saxophone player. It provides a light feel as a bass instrument, and an interesting texture when doubled on a melodic line. The following charts from the Alive XV +) use bass clarinet, Oleo and Hu tones.

+2ASS
Trumpet. Trom$one. and +ass Trom$one

'rass sections in big bands come in various si"es from the = trumpets and & trombone in the 6<P *ll4 tar 'ig 'and to five trumpets and five trombones of the tan 5enton and the #niversity of -orth Texas bands. The most common instrumentation today is > trumpets and > trombones 9= tenors and & bass:. There are two very speciali"ed parts in the brass section, &st Trumpet 9lead: and >th Trombone 9bass:. It is important that the arranger know the comfortable ranges of these instruments as they will vary from player to player and could, if not written correctly, have a negative impact on the success of an arrangement. *ngular, be4bop types of lines will not work well for brass instruments, especially when harmoni"ed. It is best to double these types of lines with a woodwind instrument which will be better able to play awkward lines in a !a"" legato style 9see .<+?/ T<*TI.-4).#';I-6:. -.T/, The trumpet and trombone are cylindrical bore instruments$ flugelhorn, 1rench horn, euphonium, and tuba have conical bores. *nd thus, cylindrical bore instruments have a more direct, piercing sound and conical bore instruments have a warmer, softer sound. 'elow are the general ranges for brass instruments, lead part writing is covered on another page.

Transposition: Up a major second from concert pitc ! Trumpets are known for a powerful and brilliant sound. They do their best work in musical situations which re8uire aggressiveness. In other situations, such as ballads, where a less aggressive sound is needed a section of flugelhorns will work nicely. 'ut, not all amatuer trumpet players will have access to a flugelhorn. @erify this with the trumpet section before writing flugelhorn parts. 'e aware that flugelhorns have a tendency to create intonation problems, especially in the upper register and when played by younger trumpeters.

Sounds as 0ritten! Trombones have the abillity to play with an attractive and sonorous sound or with a direct, pointed sound. The trombone section is normally the harmonic foundation of the big band, often playing sustained chords or syncopated punches. It is important that writers know the basics of trombone slide positions and techni8ues. ome lines are not able to be played well on trombone. *sk an accomplished trombonist to play your trombone parts and ask 8uestions.

Sounds as 0ritten! The bass trombone can function very easily as the fourth part of a tenor trombone section or with the other bass instruments in the big band. It will often double the bass guitar or baritone saxophone for added volume and punch to bass figures. The extreme low range is best reserved for syncopated tutti rhythms and sustain pitches, not eighth4note lines. -.T/, -ot all trombones with an added valve 9or trigger: are bass trombones. 6enerally, bass trombones will have two valves and a bore si"e that is larger than the tenor trombone. The larger bore si"e makes playing in the low register easier and the

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

2H3TH4
Piano. +ass. 5uitar. and )rums In writing rhythm parts 3simple is best3 is a good general rule. ;et each rhythm section player play$ they can probably improvise a better part than you could ever write. Too much writing will confuse even the best players. ince many young writers do not understand how to write for the various rhythm section instruments, a few samples are included below. The basic rhythm section consists of piano, bass, and drums. ome bands will replace the piano with guitar and some will have both. .n rare occasions you will see a band with piano, guitar, bass, drums, and percussion, the instrumentation of most bands at the #niversity of -orth Texas.

P*ANO -.T/, The range of the piano, because of the various si"es, acoustic and electronic varieties, is not included. Transposition: None. piano is 0ritten in concert pitc ! (hen writing for piano primarily use only chord symbols and slashes. .ccasionally you will need to integrate the piano with the horn rhythms. Isotope

.ccasionally the piano will need to play an exact voicing. In this case it will need to be written out. Piano in combination with horns, like in the example below, can help add a more full texture, not unlike the overdubbing of vocal parts in the recording studio. North Rim

-.T/, ometimes it is best for the piano not to play at all. /specially in shout sections when the horns are providing the main harmonic support, and the harmonic rhythm 9pace at which chords change: is very fast.

Transposition: Sounds an octa&e lo0er t an 0ritten! The two notes above in parenthesis 9+ and ': are notes associated with 54string electric basses, and acoustic basses 9low + only: that have a special extension on the / string. It is best to be conservative in this extended range, taking into account that the next band that wishes to play the chart may not have a bass player with an instrument capable of playing it in the register it was written. 'ass parts almost always contain written notes and rhythms that correspond to horn parts. This integration of the horns and rhythm section leaves nothing to chance. +hord symbols imply the part is to be played ad li , notate without the chord symbols. The Cheese That Time Forgot %as 0ritten in $ass part(

.ccasionally one will see bass parts that include the techni8ue of producing harmonics and double stops, sometimes triple or 8uadruple stops. 6o to +.0P. ITI.-*; T/+?-IA#/ 4 P;*-I-6 to see and hear the use of double stops in Entropical Paradise. +onsult bass players to learn more.

Transposition: Sounds one octa&e lo0er t an 0ritten! If writing for a band that has a piano and guitar it is sometimes advisable to have the two instruments alternate playing. Two comping instruments playing at the same time can be a problem, especially among inexperienced players. This can be done by simply including the changes in both parts and writing 3Piano .nly3 or 36uitar .nly3 at the points one instrument should play and the other should tacet 9not play:. Thus, if you only have one comping instrument all of the chord changes will be in both parts. ?aving the piano comp for the trumpet solo and then the guitar for the tenor solo can be a simple, yet effective contrast. 6uitar parts are written in the same manner as piano parts, but in treble clef only. 0ost guitar players do not read bass clef. *lso, most guitarists love to see written lines in their parts. ince two comping instruments constantly playing are not needed, the guitar can double a melodic line from the horns. This will be greatly appreciated by the guitarist.

)2U4S )rum parts should be written as simple and uncluttered as possible. )rum parts are traditionally written in bass clef but the percussion clef 9see below: is also acceptable. (ritten instructions are best when describing styles$ medium swing, bossa, funk, two4 feel, etc. )o not try to write the style out note for note. If more information is needed in the style description write it$ medium swing a la 'asie, straight eighth feel a la Pat 0etheny 6roup, etc. It is not uncommon to see on a drum part the phrase 3Play &6 'ars3. This tells the drummer to play time and is usually used when there are no horn parts being played, such as during a solo section. It is important to write horn cues on the top of the staff, as this will help the drummer keep his place in the music and provide guidance on how the part is to be played. It is easy for drummers to become lost without ade8uate cues. +ues will often include the name of what section or instrument is playing so that

the drummer knows what to listen for. They can also help the drummer properly set4 up horn figures. *lthough much of a drum part needs no written notation at all, there are many occasions in big band music where the drummer absolutely needs to know what is being played by the horns. In the example below, listen to what (illie .7'urke plays and compare it to what he sees on the page. -otice the horns cues are written on top of the staff and the rhythmic notation in the middle of the staff are parts that are to be played with the rest of the band 4 big hitsB. The drum fill is indicated with the word 3fill3 and he plays other fills called 3set4ups3 that are not written. This is a very precise bit of writing but is essentially only a guide. North Rim

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

5nowing the correct way to write for the lead instruments is very important. /very chord is voiced down from the lead part and it is essential that parts are written in a realistic range. It is also important to know that this will vary from player to player and from band to band. ,ead Trumpet ;ead trumpet playing is extremely demanding. 0ost lead players will not play unison lines with the other trumpets or play improvised solos. ome will not even double on flugelhorn. There is usually no point in writing four trumpet parts in unison when three will suffice. ;et the lead player rest or at least indicate in the part that it is a unison line so he or she can rest if needed. In addition, do not write improvised solos in the lead trumpet part. 0ature, experienced lead trumpet players can easily handle the two examples below. There are several things to take note of,

There is sufficient rest before the demanding part is to be played. The parts are not technically difficult. They occur at the climax of each arrangement with the entire band playing. You Don't Know What Love Is

Meaning of the B ues

,EA) T2O4+ONE ;ead trombone parts are generally written above middle +. There are two reasons for this, &: (hen harmoni"ing trombones the lead part must be high enough to accommodate the other voices in a register that will not be too low and produce a 3muddy3 sound, and %: the lead player can play with more 3bite3 in the register above middle +. !ntropi"a #ara$ise

,EA) A,TO The line below, written by 'rian (illiams, is a good example of lead alto writing. This counter melody, with its angular shape and legato articulation, would have only worked for saxophone. -otice how the lines in the upper register cuts through the band. The line is in unison with the tenors, pushing them to the top of their range. !ar % &pring %as 0ritten for alto(

'elow, the &st *lto is the lead voice of the section. ;ines such as this one are indigenous to saxophone playing. Yes I Do %as 0ritten for alto(

SAXOPHONE SE/T*ON
'ecause of the large range of the saxophone section, from the alto 9or soprano: down to the baritone, the saxophone section sounds well in all styles of voicings. The example below demonstrates root position voicings. -otice that extended notes 4 Cths, &&ths, and &=ths 4 are generally kept in the treble clef range and that =rds and Dths are voiced imediately above the chord roots. There Is No 'reater Love

In this example various types of voicings are used. -otice that at the end of the example the baritone leaves the saxophone section and becomes part of the bass section !oining the bass guitar and bass trombone. Isotope

The saxophone soli below is not one of your average harmoni"ations. 0ichael *bene uses various types of voicings within these C measures. It is almost entirely five4part density written in a linear style. 'ill )obbins book, !a"" Arranging and #omposing$ A %inear Approach, is very useful in learning this style of writing. (hile most saxophone section writing is in a four4part, block or drop4% diatonic parallel style, *bene makes use of 8uartal harmony and contrary motion. ( eo %concert pitc (

/ommon &oicings used in t e sa"op one soli!

(riters will usually not use the same type of voicing throughout a saxophone soli, although block writing was very successful with the group upersax. Thad Eones would move from four to five4voice harmony very fre8uently. ?e would also move in and out of the drop %, drop %4>, and root position voicings, sometimes within the same measure. -.T/, ee the first example above for sample root position voicings.

+loc6 4 ;ead line is doubled an octave lower by the baritone saxophone. This is a voicing containing four different pitches. )rop 7 4 (rite a block voicing and move what would normally be the second alto part down an octave 4 baritone part. This results in the melody being doubled an octave lower in the second tenor part. To create a five4voice, drop % harmoni"ation, revoice the inner parts as not to double any other pitches 4 see Isotope example above. )rop 718 4 ame concept as the drop %, but also drop the fourth note below the lead line down one octave. This is not a common voicing. The saxophone section needs to be in a somewhat high register for this voicing to be effective. 9uartal &oicing 4 *ny harmoni"ation based on the interval of a fourth or its inversion 4 a fifth.

T2U4PET SE/T*ON
Trumpet voicings are generally restricted to a close or semi4open voicing. If the voicing is spread too far apart the power of the section can be diminished. -otes written toward the low range of the instrument will not balance well with the upper parts.

(hen voiced with trombones, trumpets ususally contain 3color3 notes, such as altered tones and extended harmonies. You Don't Know What Love Is

Thad Eones fre8uently used triads when voicing trumpets above trombones and saxophones. The triads were created from the extended harmonies of the chord. In the example below 0att ?arris uses this concept on the last two chords. The chord symbols below the staff represent the notation using polychord symbols. There Is No 'reater Love

The only trumpet soli found on the Alive XV +) is this one from Hu tones. It alternates from unison to block voicing.

T2O4+ONE SE/T*ON
;ike the saxophone section, the trombone section sounds e8ually well in close or open position voicings. The trombone voicing is the harmonic foundation for the brass section and will almost always contain the third and seventh of the chord.

Trombones are often used in a rhythm section role, such as the 3punches3 illustrated below. These simulate the left hand comping of a !a"" piano player. -otice that most of the harmoni"ations are rootless and that the third and seventh are present in each chord. *lso, take into consideration the placement of extended harmonies within each voicing. They are all located above the bass clef staff. The Cheese That Time Forgot

'elow is an example of root position voicings using five trombone parts. -otice that the third and seventh of each chord is present and that chord extensions are written above the bass clef staff. Auartal harmony is used on beat four of the second measure. Isotope

The only harmoni"ed trombone soli found on the +) is from &es I 'o. There are five trombone parts in this example. The top four parts play primarily rootless voicings and the bass trombone plays chord roots.

4*XE) SE/T*ON
The mixed section soli is voiced similiar to the saxophone soli. There is a great amount of flexibility of numbers of instruments and types of instruments that can be used. They provide colorful changes in texture and a 3small group3 feel within a big band setting. The problem with a mixed soli is found in balancing brass and woodwind instruments. This should be taken into account when writing them. ee the two examples below.

North Rim %concert pitc ( Instrumentation, Trumpet, *lto axophone, Tenor axophone, Trombone, 'aritone axophone, 6uitar 9octave below trumpet:

Isotope %concert pitc ( Instrumentation, Trumpet 9harmon mute:, oprano axophone, *lto axophone, Trombone 9cup mute:, Tenor axophone

-.T/, 'ecause the trombone is in a high register and could overpower the mix, +hris 0er" has the trombone using a cup mute

P,AN*N5
Planing, also called 3parallelism3, is a techni8ue in which harmonic interval relationships between notes are kept the same in relation to the melodic line. This is a

very common techni8ue in today7s !a"" writing 4 listen to 0aria chneider7s work. Planing has its origins in the impressionistic styles of )ebussy and <avel. T ere are t0o t:pes of planing; diatonic and c romatic!

The example below demonstrates c romatic planing. The harmonic intervals are exact from one voicing to the next. If we analy"e the interval structure of the right hand piano part we see exact intervals maintained 4 a P> 914+: and a 0% 9+4'b: moving to a P> 964): and a 0% 9)4+: and so forth. The left hand and bass are planing P5 intervals. !ntropi"a #ara$ise

This example uses diatonic planing. The harmonic intervals are not chromatically exact from one voicing to the next but diatonically exact. *ll of the notes used to harmoni"e the melody are diatonic to the chord. North Rim

+E,, TONES

'ell tones are exactly what you would expect them to be 4 a series of tones generally emulating the sound of a bell$ a hard attack followed by immediate decay in sound. 'rass instruments usually work best and trombones will sound better at it than trumpets$ a common techni8ue used in trombone choir music. The goal is to outline a harmony, usually ascending, with varying entrances, but usually consistent entrances. The words 3'ell Tone3 should be written on each part in the appropriate place and with an accent placed above the note.

)u*tones

*4*TAT*ON
Imitation occurs when a musical idea is copied, either exactly, altered, or transposed, in another voice.

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

The five notes were then manipulated to create an interesting statement within the introduction to the composition. The second line is imitating the first line 4 see below. North Rim %concert pitc (

/OUNTE2PO*NT
It should be strongly noted that anyone interested in composition should study &Fth century counterpoint, as the ability to write good counter melodies is very important.

The example below is written in the style of a fugue. The sub!ect is an eight measure long melodic line that is then repeated a >th higher in the saxophones. The answer is a P> higher in the saxophones, but it7s entrance is only four measures after the trombones have started. This techni8ue of beginning the answer before the sub!ect has finished is called stretto. The trumpets then enter a P> higher than the saxophones. )uring 'ach7s era the third entrance would have been in the tonic 4 the same starting pitch as the sub!ect. This style of writing is not common to big band arrangements, but this writer has heard it used on several occasions. North Rim

The type of counterpoint below is very common to big band writing. The counter melody, in the tenor saxophones, is most active when the melody has a sustained note and visa versa. It is common for a blues melody to be stated twice and during the second playing a counterline is added to create variety. The Cheese That Time Forgot

PE)A, PO*NT

The primary function of the pedal point is to create tension and harmonic interest. * common pitch 4 usually in the bass 4 is maintained while the harmony changes.

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

Yes I Do

OST*NATO
#sually in the bass voice, the ostinato is a pattern of notes that are repeated over and over. travinsky used this techni8ue to great effect layering ostinato on top of ostinato 4 listen to the Rite of (pring. It is a popular techni8ue of contemporary !a"" writers but care must be taken not to overuse it. ( eo

Chroma+one

*NT2O)U/T*ONS
Introductions are not always written for big band charts, but most will have one. *long with interludes and endings, introductions create unity within an arrangement. 0any writers write the introduction after a substantial amount of the chart has been completed. It is necessary to know what is to be introduced and sometimes this re8uires writing the head of the arrangement first to get some ideas on what material will or will not be used in the introduction. 0ost introductions use melodic, harmonic or rhythmic material from the tune and some have very little or no relationship to the tune at all. (hen starting a new chart and the introduction does not come to you right away, skip it and start writing the head. Ideas for the introduction will come later.

EN)*N5S
In many instances endings will repeat portions of or all of some part of the chart, most often the introduction or an interlude. .ther ending examples will include the use of harmonic andGor melodic material of the tune. ;ess often endings are newly composed material with no relation to the rest of the chart.

*NTE2,U)ES
Interludes are usually related to introductory material, endings, or both. This is a very effective way to create unity and variety in an arrangement. .ccasionally interludes will introduce brand new material to a composition.

EXTENS*ON O- PH2ASE
0usic is normally written in phrases of four or eight bars. ongs of =% bars length will usually be comprised of eight four4bar phrases or four eight4bar phrases. /xtended, and sometimes truncated phrases, are not uncommon in !a"" writing. This is one of many ways to bring variety and interest to your writing. The following examples make good use of this techni8ue.

SHOUT /HO2US
In a traditional sense, the shout chorus is the pinnacle of the big band chart. imilar to the development section in onata *llegro form. This is where the writer can exhibit his skills, creating something new and different within the arrangement. This is the most exciting part of the chart. In much of today7s contemporary !a"" writing the shout chorus is no longer a tutti section, where everyone plays the same rhythm. It has become more subdued and sophisticated 4 less stereotypical of the big band era. ;isten to the music of 0aria chneider and Eim 0c-eely. 0ost of the examples below represent the traditional approach.

4UTE) +2ASS
0any textural colors and shades can be created using muted brass. 0any different types of mutes were created and used during the swing era. till in common use today are the following, cup, straight, plunger, harmon, bucket, and sometimes the hat. 1or the latter two 9bucket and hat:, you are more likely to see written into the part 3play into stand3, as a more convenient replacement. ?ave a musician friend demonstrate each of the various types of mutes and ask what to avoid when writing for them. There are certain circumstances where mutes are essential. To help ad!ust balance problems, to blend better with flutes and clarinets, and to create special harmonic textures. (hen writing muted parts, give the player ample time to take a mute out or put it in 4 especially trombonists. 0ute changes should be clearly indicated in the parts 4 see example below. #se the term 30ute .ut3 not 3.pen3, because open could have a different meaning, such as a solo section in which the repeats are open ended.

)OU+,*N5
There are many different instrumental combinations that can be utili"ed by the !a"" arranger. 'elow are several examples found on the +).

Trom$ones and 5uitar in unison North Rim %as 0ritten(

Tenor Sa"op one and 5uitar in unison Chroma+one %as 0ritten(

Trumpets and Alto Sa"op ones in unison The Cheese That Time Forgot %as 0ritten(

Tenor Sa"op one. Trom$one. and +aritone Sa"op one in unison Meaning of the B ues %concert pitc (

Tenor Sa"op one and Trom$one 0eaning of the 'lues

Piccolo. /larinet. Tenor Sa"op one. Trumpet and 5uitar in octa&es

( eo %concert pitc (

+ass Trom$one. +aritone Sa"op one < +ass Isotope

#OO)#*N)S
(oodwinds can be used in clever ways in big band charts. In most cases woodwind parts are not essential to the success of the arrangement, but instead, can add a change of texture that one could not get in any other manner.

In the example below, the addition of the soprano sax and flutes provides a lighter feel and an interesting texture. Meaning of the B ues %concert pitc (

-,U5E,HO2NS
These are usually used in ballads or when a softer sound is needed, such as when doubling flutes or clarinets. (hen in the upper register, the flugelhorn can produce an edgy sound somewhat like a trumpet. (riting in the upper register can defeat the purpose of using the instrument. It sounds excellent in unison or in harmony as an

extension of the trombone section. In some situations it can produce a 8uasi41rench horn sound.

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

UN*SONS = O/TA>ES
In general, unison and octave lines are used when there is harmonic support. uch as a saxophone soli in octaves with trombones playing punches, or a trumpet unison melody with saxophones playing a sustained harmony. The examples below show various ways in which unisons and octaves are used on the +).

This first example is from the chart Hu tones. ;isten to the trombones in unison with harmony being supplied by the rhythm section. In this section from Isotope the saxes play in octaves while the rhythm, and then the trombones, supply the harmony. Trumpets in unison can add a great deal of power and intensity when written in the mid to upper registers. This example from &ou 'on)t *no+ ,hat %ove Is demonstrates this ability. The trumpets have no problems being heard as nine other wind instruments 9saxophones and trombones: provide sustained harmony. /nsemble tutti passages in octaves are somewhat common in big band charts. This example from -here Is No .reater %ove occurs at the beginning of the shout section. 'eginning in a density of one leaves room for greater harmonic density later in the chorus.

T#O1PA2T
In much of tonal music, two4part density is written in parallel thirds and sixths. This tends to be too commercial sounding for most !a"" writers and is usually avoided. It can still be used to good effect in the correct situation.

The example below, written by /ric <ichards, is a perfect example of how to use =rds and 6ths. It fits the ;atin style very well and could have easily dominated the chart. In the interest of variety the composer does not let this happen. It is but a brief four measures long 4 out of a total of %D% measures. !ntropi"a #ara$ise %concert pitc ( Instrumentation, oprano axophone, *lto axophone, % Tenor axophones, 'aritone axophone, and 6uitar

The example below is of two4part density using parallel fourths, also called 8uartal harmony 9see ?*<0.-H 4 A#*<T*;:. It is also an example of planing 9see +.0P. ITI.-*; T/+?-IA#/ 4 P;*-I-6:. Cheese That Time Forgot %concert pitc (

'elow, 0ichael *bene has written an interesting mix between unison and two4part density, and between parallel and contrary motion. *nother interesting item in this example is the doubling of trumpets and soprano saxophones. The trumpets definitely dominate but the added soprano saxophone gives it a smoother, less piercing, and relaxed sound 8uality. (riting unison trumpets and soprano saxophones can cause serious intonation problems if not written in a comfortable register and played by experienced musicians. -otice the planing of P> intervals in the last two measures. ( eo %concert Pitc (

TH2EE1PA2T
/xamples of three4part density were difficult to find on this +). In general, !a"" writers like to use at least > or 5 notes when harmoni"ing a melodic line. Three4part harmony can give a big band a lighter, 3smaller band3 feel.

In the example below, /ric <ichards makes use of planing and 8uartal harmony 4 restack the first chord in this order, +, 1, 'b. This melody has an impressive amount of power and energy behind it. (riting in comfortable registers is a sure way to get volume from a limited number of instruments. !ntropi"a #ara$ise %concert pitc (

-OU21PA2T
1our4part density is mainly associated with section writing 4 see /+TI.@.I+I-6 4 *I.P?.-/. 0ost harmonies of this type are 3rootless3 voicings, meaning the root of the chord is not included in the horn voicing. The example below uses six instruments to play four parts. 'ecause more edge was desired on the upper parts, the top two alto parts were doubled with trombones. Trombones in this register can create an extreme amount of edge to their sound. *sterisks mark chords that are used as neighboring or passing chords. The second four bars are a transposition of the first four 9up a P>:. *n emphasis on rhythm, rather than harmony was desired in this section. The bass instruments are used like a bass drum to set4up the syncopations in the upper parts. This concept is also used in the first four bars of the intro to .leo. North Rim %concert pitc (

-*>E1PA2T

1ive4part density is generally associated with the saxophone soli, the mixed instrument soli, and full ensemble passages. *nything larger than five4part density should be reserved for notes lasting a second or longer. This will give the listener more time to hear, and appreciate, a complicated harmony.

'elow is a mixed ensemble, 8uartal voicing utili"ing five different pitches. It is also an example of planing 9see .<+?/ T<*; T/+?-IA#/ 4 P;*-I-6:. *lthough there are six instruments listed, the guitar does not add density because it is merely doubling the trumpet part an octave lower. North Rim %concert pitc (

*s in *bene7s two4part example, this five4part saxophone soli 9below: contains many interesting 8ualities. everal factors make this passage sound very fresh and contemporary. These include linear writing, contrary motion, and 8uartal voicings 4 see 'ill )obbins book !a"" Arranging and #omposing$ A %inear Approach. /ach part is an independent line, there is no ma!or effort to voice specific harmonies. ( eo %concert pitc (

SU+ST*TUT*ONS
/xperienced arrangers generally do not repeat the same chord progression from chorus to chorus. ubtle changes can make a substantial difference in the writing 8uality.

'oth of the examples below were taken from the bridge of -here Is No .reater %ove arranged by 0att ?arris. ee the <eal 'ook version of this tune and compare to what is displayed below. In !a"" writing there are several common types of substitutions,

Su$stituting a c ord a t ird a0a: 9mediant relationships:, /mi D or * mi D substitutes for + 0a! D 4 not illustrated below. 2eplacing a ii1>? progression 0it just t e >? c ord. In the first bar below, )D replaces *mi D 9b5: 4 )D. Tri1tone su$stitution 4 marked below with asterisks, instead of approaching a chord from its dominant, the chord is approached from above by a half4step. This new chord will be a tri4tone away from the dominant chord. /xample, o @D of + is 6D o the substitute for 6D will be a tri4tone away 4 )bD o )bD is a half4step above +

EXTENS*ONS = PO,3/HO2)S
+hord extensions refer to adding to, or extending, a triad. This includes Dths, Cths, &&ths, &=ths and their alterations. 5nowing how to voice extended chords is crucial to !a"" ensemble writing. ?ere are a few general rules to follow, &. #se ma!or seventh intervals, or its inversion, minor seconds. harp nines 92C: should be voiced above ma!or thirds and thirteenths 9&=: above sevenths 9D:. %. *void minor ninths. This is created when not following the above rule. =. )o not write the extended notes too low, generally above 1 below middle +. >. ometimes thinking of extended chords as polychords is helpful. ee North Rim examples below.

You Don't Know What Love Is

-otice on + Dalt, 2C 9/b or )2: is above =rd 9/:. *bene7s voicings below are very dense. The first, third, and seventh bars use six4part density$ the fifth bar is seven4part density. -otice the use of the 0Dth intervals. ( eo

ometimes chords can not be easily understood using traditional chord symbol notation. In this case polychord symbols should be used. Polychords are written using a hori"ontal line to separate the two chords, indicating both chords are to be played together. This is different from inverted chords which use a diagonal line to indicate a bass note other than the root. The chord symbol notation below is the best way to write a 'b 0a!D, 2C, 2&& chord. North Rim

North Rim

*N>E2S*ONS
The use of inversions is a long4established techni8ue. 6enerally, inversions are used to provide smooth bass lines and complimentary motion between the melody and bass. +omplicated !a"" harmonies increase the number of inversions possible and add to the number of chord choices from which the !a"" writer may draw. /xperiment with chord voicings using different bass notes. (rite a melody note and a bass note and see how many possible chords can be spelled which contain those two notes. +hallenge a friend to do the same. Inverted chords are written with a diagonal slash between the chord and the bass note 4 +G'b J + triad with 'b in the bass. In the example below, the 6 bass note is the 5th of the +D chord and the Dth of the *D chord. Isotope

?ere, the 'b is the Cth of the *b sus chord and the ) is the 5th of the 6 sus chord.

Isotope

'elow, the 1 is the 0a!or Dth of the 6b 2&& chord. North Rim

9UA2TA, HA24ON3
Auartal harmony refers to chords stacked in intervals of a fourth or its inversion, a 5th, sometimes called 8uintal harmony. It is still a very contemporary sound in !a"" writing and occurs fre8uently on the Alive XV +). This tutorial will demonstrate other musical examples that use 8uartal harmony. The examples below clearly demonstrate this techni8ue.

Cheese That Time Forgot %concert pitc (

Cheese That Time Forgot %concert pitc (

North Rim %concert pitc (

-.T/, Transpose the top bass clef part 9beginning on middle +: down one octave and observe how the notes now stack in fourths.

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

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

The most common uses of +/ ? are below, &. 1ound in many tunes including /eelings and M0 /unn0 Valentine. %. !ames Bond -heme

1rom the +), 6ailey uses +/ ? which is similiar to the well known !ames Bond -heme but with a clever twist at the end.

4eaning of t e +lues