5-Horn Writing

5-horn writing
With the process of 3-horn writing, we would have to make decisions on
which chord tones to omit.

With 5-horn writing, we are now faced with the decision as to which tones
to add.

Methods of creation in relation to the basic four-part block voicing

techniques we discussed when writing sax-solis.

1.Double the top note of a 4 note voicing 8vb (supersax technique)


2.Addition of a chord root below a rootless voicing


3.Addition of a Hifth note to a four-note voicing. (5-part block)


4.Chorale Technique
Method 1: Top note (melody) doubled, 8vb

This is the simplest method:

The doubling adds body to the chord and brings out the melody. This method is
very effective for fast moving lines. It is a good choice for situations where the
melody is the only/main focus.

The disadvantage of this technique is it adds density to a voicing, but no further

colour.

This voicing is not limited to saxophone writing; it works with mixed instruments
equally as well.
Method 2: Adding a root to a rootless voicing

Adding a root to a close-position voicing provides stability and Hirmness in a

progression. This method is most effective in ballads or pieces with slow
harmonic rhythm.
It is also effectively used for pads and cadential progressions, but do not
overuse it as it tends to sound heavy and plodding due to the constant
skipping of the bottom voice from root-to-root in the low register.
Method 3: Adding a Cifth note

Since there are generally 7 tones that Hit on every chord (R-13th) you can
choose to add another colour tone. This method requires the most
consideration as you can put the tone anywhere within your voicing.

Things to consider:
•Including too many basic tones (R, 5) can result in lack of colour
•Including tones a semitone apart can result in unintended dissonances, and
if voicings are opened to accommodate ranges, m2s - m9s
•It’s always best to reHlect the colour of the chord (or it’s substitute) but
including the guide tones.
•If writing in a super-sax style with 5-note voicings, you still need to follow
all the rules (contrary motion, avoid clusters, no m2 between top two
voices.)
Drop Voicings

We can use drop voicings for a variety of reasons:

•to accommodate the ranges of the instruments being written for
•to distance the melody from the closest harmony note
•to lessen the effect of the melody doubled (in supersax writing.)
•the wider spacing alleviates the harshness of semitones
•clusters can be de-clustered by dropping one of the voices
•to reduce the density of the sound
In Jazz, we are most used to hearing ‘Drop 2’ and ‘Drop 2 + 4’ voicings

Fun pseudoFact:
Drop 2 + 4 has a tendency to create quartal voicings which are pleasingly
modern to the ear (even though this voicing has been in common use
since the turn of the 20th century).
5-Part Block

Writing the 5-part block is very similar in approach to 4-part block, except that
it uses Hive different notes instead of four. Because of the extra density caused
by the Hive notes, it is almost always used in open position (drop 2, 2+4, rarely
drop 3). Closed 5-part block (cluster) is usually too muddy for general use,
though when writing we will start with closed block and open up from there as
we see Hit.

Some general guidelines:


•Melody is always the top note

•Five different pitches (no doubling of any note at unison or octave)
•Changing between 4-part and 5-part can be effective
•Complete chord is reHlected in the voicing (it should sound like the chord it’s
played over
•All voices follow the approximate contour of the melody whenever possible.
•No m2 between the melody and second voice. Semitones between other
voices are permissible, but be aware m9ths in drop voicings are not.
•Clusters are permissible, but only if they become unclustered in a drop
voicing
•You will have one of each chord tone (1,3,5,7) but you may also repeat a
function (ie, a 7th and a 6th together)
Chorale Style Voicing in 5 parts (c/o Chris Smith)

The term chorale voicing is perhaps a misnomer. All it means is that each
individual part voice-leads independently more or less according to its
resolution tendency.

It is applicable to legato melodies with long note values and also punchy
rhythmic melodies with a “shout”-like character.

It works best on chord progressions that change relatively quickly, with

melodies that move relatively slowly (few or no eighth notes), like many
songbook standards.
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5th note added

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5th note added

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 14. Articulating some or all of the lower voices differently from the
melody, like a “comping” rhythm. Keep this simple, not to obstruct the
melody.
15. Adding substitute chords even when it is not absolutely required. This
is most useful when the melody is very busy and the chord progression
is static. Tonicisation is the most useful technique, though diatonic
passing chords can work too.




Variants of Chorale Style Voicings (for different numbers of voices

If you only have four instruments, either:

a. Omit the bass note. This will give you a rootless 4-note chorale voicing.
b. Omit the Hifth note selected. This gives a slightly thinner root-position
chorale voicing.
If you have only three instruments, either:
a. Omit both the bass note and the Hifth note (last added note, non chord
tone). This gives you a basic shell voicing (melody+3rd and 7th)
b. Keep the bass note, but choose either the 3rd or 7th for the middle voice,
whichever makes the chord progression sound more convincing.
Rootless 5-note Chorale Voicings

The bass note is note present in the voicing in the horns, though the bass in the
rhythm section is still providing the bass function. Rootless voicings are
possible when the melody is not too low, not to have lower voices exceed the
lower limits. In general, the guide tones (3rd and 7th) should be low in the
voicing.

The basic method is to add your 3rd and 7th below the melody, then add 2 other
notes to Hill out the chord. A bit of a spread (averaging a 4th not to exceed a 6th
or so) between voices gives you some room to maneuver the voice-leading,
which can get more complicated than root-voicings because of all the extensions
present. Close intervals are permitted, if you can work them in and your taste
permits them.
Form and Development

Interlude
Send-off
Solo Section
Soli
Shout Chorus
Key change
Vamps