Creative Jazz Writing

Ted Pease
Arranging For The Classic Jazz Sextet

mentioned in the October/November

1996 issue of Jazz Player that there
are a number of contemporary jazz
groups that have returned to the sounds
and textures of acoustic jazz. In the
process, a re-examination of the role of
the classic jazz quintets and sextets of
the 1950s and 1960s has taken place,
and we hear echoes of groups led by Art
Blakey, Art Farmer,
Miles Davis, and
many others, in the
music of todays
traditionalists such
as Wynton Marsalis,
Donald Brown, Bill
Pierce, Joe Lovano,
and Phil Woods, to
name a few.
In this article, I
will explore some
arranging techniques that are used
for the classic jazz
sextet. The classic
jazz sextet (1950s
and 1960s vintage)
consists of trumpet,
saxophone (alto or
tenor), trombone (or
perhaps another
saxophone), piano,
bass and drums.
It is interesting to

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note that this instrumentation is not very different from the traditional New Orleans jazz bands of the 1920s. As small marching
bands, their instrumentation usually consisted of trumpet, clarinet,
trombone, banjo, tuba, and drums. Styles change, but the more
things change, the more they seem to stay the same, or at least
similar) Well, anyway...
Lets start with the three horns. We will assume that we are
writing for trumpet, alto sax, and trombone. The trickiest part about
writing for three horns is, what should I leave out. If the harmonic
content of the piece involves seventh chords (four part density), or
seventh chords and tensions (five-or more- part density), what does
one do when there are only three horns?
Fortunately, there is always the choice of using unison or octaves.
If you go back and listen to the classic jazz sextets, you will hear
lots of unison and octaves. So that problem is solved, or at least
addressed!
But since textural contrast is desirable, and since we know that
arrangers have always contrasted unison passages with harmonized
passages, lets examine some three part harmonic writing tech-

1997 by Ted Pease, used by permission

August/September 1997

niques.
Observe EXAMPLE 1. Here we have a
basic lead line with chord changes.
Now, observe E XAMPLE 2. Based upon
studies of scores written by jazz
masters over the years, one concludes that harmonic writing techniques for three horns dictate that the
interval between the top and bottom
voice be less than an octave. This
supplies the necessary bite in the
sound of the horn trio. Specifically,
the outside interval (between the
trumpet and trombone) is usually a
sixth or a seventh. (If the melody line
is low, the outside interval might be a
fourth or fifth.) The note chosen for
the trombone is customarily an
important guide tone such as the
third or seventh
of the chord.
That leaves the
alto free to play
another important guide tone
that will further
define the chord
sound.
It helps to
remember that
the root and fifth
of the chord are
generally taken
care of by the
bass player. This
means that the
root and fifth of
the chord do not
necessarily have
to appear in the
horn parts. The
horns can
concentrate on
the third, seventh, ninth,
eleventh, and
thirteenth, and
approach notes,
depending upon
melodic and
harmonic analysis.
Some writers
like to think of
this technique as
four -way-close
with one voice
omitted. That
may help in the
initial stages, but
Jazz Player

I like to think that three part

writing has its own special flavor.
Thinking of it as four part writing
with one voice removed somehow
compromises its importance.
The foregoing is especially true
when one examines more sophisticated writing techniques for three
horns. In EXAMPLE 3, the horns are
voiced with upper structure
triads, supported by the bass and
by complementary voicings at the
piano. This produces a contemporary jazz sound. It also reinforces the important role of the
rhythm section in small group
writing.
Now its your turn. Study the
given examples. Then select a

tune and begin. At first, just try

eight measures of music. Experiment with the techniques suggested here. If possible, play the
voicings on the piano to make
sure they sound good. Even
better, get three horn players
together, write the parts out and
hear what you have written. In
the meantime, do some selective
listening to Art Blakey (try Caravan on the Riverside label), Art
Farmer (any recordings by his
Jazztet), and Miles Davis (Kind of
Blue, or Milestones). Good luck!

1997 by Ted Pease, used by permission

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