Creative Jazz Writing

Ted Pease
Arranging For The Classic Jazz Sextet

note that this instrumentation is not very different from the tradi-
tional 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
I mentioned in the October/November
1996 issue of Jazz Player that there
are a number of contemporary jazz
seventh chords and tensions (five-or more- part density), what does
one do when there are only three horns?
groups that have returned to the sounds 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
and textures of acoustic jazz. In the
lots of unison and octaves. So that problem is solved, or at least
process, a re-examination of the role of
the classic jazz quintets and sextets of addressed!
the 1950s and 1960s has taken place, But since textural contrast is desirable, and since we know that
and we hear echoes of groups led by Art arrangers have always contrasted unison passages with harmonized
passages, lets examine some three part harmonic writing tech-
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 tech-
niques 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 1997 by Ted Pease, used by permission

12 August/September 1997
niques. I like to think that three part tune and begin. At first, just try
Observe EXAMPLE 1. Here we have a writing has its own special flavor. eight measures of music. Experi-
basic lead line with chord changes. Thinking of it as four part writing ment with the techniques sug-
Now, observe E XAMPLE 2. Based upon with one voice removed somehow gested here. If possible, play the
studies of scores written by jazz compromises its importance. voicings on the piano to make
masters over the years, one con- The foregoing is especially true sure they sound good. Even
cludes that harmonic writing tech- when one examines more sophisti- better, get three horn players
niques for three horns dictate that the cated writing techniques for three together, write the parts out and
interval between the top and bottom horns. In EXAMPLE 3, the horns are hear what you have written. In
voice be less than an octave. This voiced with upper structure the meantime, do some selective
supplies the necessary bite in the triads, supported by the bass and listening to Art Blakey (try Cara-
sound of the horn trio. Specifically, by complementary voicings at the van on the Riverside label), Art
the outside interval (between the piano. This produces a contem- Farmer (any recordings by his
trumpet and trombone) is usually a porary jazz sound. It also rein- Jazztet), and Miles Davis (Kind of
sixth or a seventh. (If the melody line forces the important role of the Blue, or Milestones). Good luck!
is low, the outside interval might be a rhythm section in small group
fourth or fifth.) The note chosen for writing.
the trombone is customarily an Now its your turn. Study the
important guide tone such as the given examples. Then select a
third or seventh
of the chord.
That leaves the
alto free to play
another impor-
tant 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, sev-
enth, ninth,
eleventh, and
thirteenth, and
approach notes,
depending upon
melodic and
harmonic analy-
sis.
Some writers
like to think of
this technique as
four -way-close
with one voice
omitted. That
may help in the
initial stages, but 1997 by Ted Pease, used by permission

Jazz Player 13