SOS SHES SSSSS SETS STSSSET TSE GEETEEEGEESESUIIEESE Chapter Ten Harmonization Techniques: 4 Way Clos Awol subsequent chapters. For the purposes of this book, the author describes the root, ing knowledge of chord symbols is essential to understand the material covered in this and 7th, Sth anc 3rd of a chord as “note categories” from which a wide variety of substitute voicings will be derived. 4 Way Close A fundamental yet effective four-part harmonization technique that produces a tight mobile sound and works well with fast or slow passages. 4 Way Close can be utilized when writing for any combination of saxophones, woodwinds, trumpets and trombones. This technique and its governing rules are the basis for many of the techniques that will follow. Definition: = Lead plus three harmony notes below. * ~All four voices within an octave. "Four different pitches. = One note from each category (root, 7th, 5th, 3rd) or its available substitute. = Adjacent intervals include 2nds, 3rds and sometimes 4ths. 4 Way Close Double Lead Essentially the same technique as 4 Way Close with the addition of a duplicate of the lead voice placed an octave lower, This 5-part technique is common when writing for saxophane section (A, A, T. T, B). The recording group “Super Sax” used this technique extensively. The double lead voice is the lowest and 5th voice in this technique. Guidelines for Effective 4 Way Close Writing = Avoid the interval of a major 2nd adjacent to the lead voice on note values longer than a quarter note. ‘This harmonic rub partially obscures the lead line. The rub becomes more apparent the higher it’s written * Never write the interval ofa minor 2nd against the lead, Tt obscures the lead Line Chapter 10: 4 Way Close 83© Avoid cluster voicings (voicings containing two or more groups of adjacen means of harmonizing in 4 Way Glose style. = Solution for the above problems is to use Available Substitutions as listed on the ‘Available Tension Chart, (pg. 85, discussed next) and/or Drop 2 technique (described in Chapter Eleven, pg. 88) “The 4 Way Glose Rectangle” This diagram helps visualize the stacked voicing of 4 Way Cllose. Use this diagram applying the three steps below. nique Root 7th Sth 3rd Root) (7th) ete. A Three Step Approach to Creating 4 Way Close Voicings 1. Determine the category of the lead (melody) voice as ane of the primary “note categories.” root, 7th, 5th, 3rd or an available substitution (see Available Tension Chart) (Ex. 10-laand 10-1b]. StH SUBSTITUTE CATEGORIES Ex, 10-14 Ex. 10-1g cr o —— StH CATEGORY ‘oo one wore Feom || QTH/ ROOT CATEGORY son ove vere ezcu nearing eure] Zio —— = TED Vee 2. After determining the category of the melody or lead note, fill in the other three categories below using primary notes or substitutions per guidelines below [Ex. 10-2, 10- 3, 10-4, 10-5] 84. Jazz Arranging TechniquesSSSFFEETIGTETSETIEG ESOS ETETETTIETETETEEETIIEEe 3, [correct, the voicing will be less than an octave from the highest to the lowest note and contain all four “category notes” or available substitutions with no duplication, Ex 10-4 Ex. 10-5 Fa? ours a Zz = 5 = Vie os wal i ) - AVAILAB Jategory With Listed Substitutions Chord Type f Root 7th 5th 3rd | v | mas 9 6 fil = |i? 9 - u - | mizh5 9 _ 11 w/5 (no rt) - = 9,69, 49 - 11, 13,513 (sus 4) Examples: ‘The substitution for the Sth of a mi7th chord is the 1th. A substitution for the root of 2. dom7th chord is any of the following: 9, b9 or #9, depending on the chord function and the presence of other tensions, Chapter 10: 4 Way Close 85Guidelines for Effective Voicings ‘The characteristic sound of a voicing is directly a result of the intervalic relationship between all the pitches in the voicing. There are four intervalic groups. 1, Minor 2nd intervals and major 7da intervals produce the most tense, rich sound. 2. Major and minor Srds and Gths and perfect Sths are the least tense, the most mellow sounding. 3, b7ths, major 2nds and augmented 4ths (b5uh) exhibit a level of tension between the first two groups. 4. The perfect 4th interval produces a unique sound that exhibits properties of tension and mellowness with a strong resonating character. When striving for the most tense voicing possible, select substitutions or chord tones that will produce either minor 2nds or major 7th intervals within the voicing. [Ex. 10-6 to 10-11] Ex. 10-6 Ex. 10-7 Ex. 10-8 Ex, 10-9 Ex, 10-40 Ey. 10-44 es Ou? Fu? ut ards Fan sa aT =] 7 3 . or bo (a) ary mn mi M20 iE a i es =| 5 exception voloing'| [th lead subs for 95 but bd is, necessary to distinguish the b5 sound - root catagory is_ omitted (voiced in Drop 2 to avoid the high major 2nd ruby Available Tensions on Diminished Chords On diminished chords, any note a whole step above a chord one is an available tension. By combining two diminished chords one built a whole step higher), an auxiliary diminished scale is created,, Tt is also known as the “whole/hall” scale, because the intervals in the scale are w/h/w/h ete). Tensions are most effective as lead notes on diminished chords, [Ex. 10-12, 10- 13, 10-14] By, 0-2 usin alten Ex. 10-43 Ex. 10-14 ¢ TENSIONS ae eS Fto7 aT bie 8 =f Fea i — = = ' 86, Jazz Arranging TechniquesChapter Eleven Harmonization Techniques: Drop 2, 3, 2 and 4 Drop 2 Technique ‘This technique is derived from 4 Way Close. Drop 2 Technique produces a si voicing with a fuller sound. This technique can be slightly less mobile thar depending upon the range of the lead voice and the corresponding instrumental Tawwer is sloier! Definition: 1. Lead plus 3 harmony notes below 2. Four different pitches 3. One note from each category: Rt. 7, 5, 3. 4. Drop 2is derived from 4 Way Close by lowering the 2nd voice from the top, one octave | fEx. 1-1] [ 5. Note spacing is more open with adjacent intervals of Qnds, 3rds, 4ths and Sths (Ex. 11-2 through | Ne Veer DAOHPED OnE SOTA Drop 2 Double Lead * Lead voice (melody) is doubled one octave lower, resulting in a 5 note voicing, = In Drop 2, the doubled melody is the 4th voice from the top. The 2nd voice is dropped one octave to form the Drop 2 technique and becomes the Sth’and lowest voice [Ex. 11-6, 11-7] 88 Jazz Arranging TechniquesBUTT TTF T OOO SE ETEIIIIIIIISIISIIIISSSIIIITS BX {1-6 oe0r 2 OL (Couns Lem) EX. f1-7 one 2.0L [Nore EACH EXAMPLE THE OL CREATED A Wi IND €UB IN THE VOTCING| Variations on Drop 2 Drop 3 is similar to Drop 2, except the 3rd voice is lowered one octave instead of the 2nd. This technique produces a semi-open voicing similar to Drop 2 that can be effective with certain combinations of chord symbol and lead note (Ex. 11-8, | 1-9] Ex. 11-8 Drop 3 Ex. 11-9 Ogor 3 Gu? oe re Drop 2 and 4 is similar to Drop 2, except the 2nd and 4th voice are both lowered one octave. This technique produces a very open voicing that is fuller and less mobile than Drop 2 or Drop 3, When including double lead, it is well suited for 5 saxophones playing pads ar slaw moving melodies [Ex. 11-10]. In Drop 2 and 4 double lead, the doubled lead voice is placed 3rd voice from the top. Ex. 14-10 Deo? 2/4 OL Gu? a Evils andi Note: By remembering numerical equivalents [rt b5 re b7 3] of the voicing formulas the voicings can be easily transposed to any key. ibstitutions to Assignment #8 provides voicing practice in all the drop techniques. Use enhance the voicings. Chapter 11: Drop 2, 3,2and4 89SSSSS SS SSSSSSSSSSSESSSSESSESSECSCETCTECCESCSESCSCSCSCECCEOSS Chapter Twelve The 69 Rule, Low Interval Limits, Adjacent 2nds Separated Rule Problems with the 9 Interval Chapter 11 presented intervals and how they ailéct the sound of voicings, In semi-open and open voicings, the one interval to be cautious of is the b9th. The b9 interval is effective when created by combining a low root with a b9th tension above, as in a dominant 7(b9) chord [G7(b9}]. However, there are many other ways of forming this interval that create voicings uncommon to traditional non-modal jazz harmony. Voicings containing the b9 interval (exception noted\) are enerally not as practical for harmonizing melodies in this harmonic style because they are ble and tend to obscure the function of the harmony, Interval Chart Read examples [top note/bottom note] displaced by an octave. Avoid b9 Interval L.ma7 root/ma7 Ex. 12-1] 2, ma7(F11) 5th/41 [Fix. 12-2] 3. mil (or 6/9) 63/9 [Ex. 12-3] 4.dom7 b7/13 [Ex 12-4] 5. dom7(#11) a/H Ex. 12-5] 6. dom7(49} avto (Fx. 12-6] 7. mi7(>5) b3/1l 8. mi7(95) [Ex. 12-8] Common use of the b9 interval: 9. dom7(b' bo/rt [Ex. 12-9] Chapter 12: Rules and Limits 9Ex, {2-1 er/ua? Ex, 12-2 s/t Ex. 12-5 hy? Ex. 12-5 st tat’ oaths oo Ex 12-6 5/8 Ex, 12-7 Ht Ex, 12-8. 4/9 Ex 12-9 47 _pido Qutb Fut - etéh =g>—— =e ps4 z junstable unstable | stable |-o- J iplaced by an ociave to rad Technique Chapter 16 ow Interval Limits As voicings descend iv register, theit sound becomes increasingly dark and at a point, muddy an unusable except for special effects, The science behind this descent into mudville is the Overto Series, More information on the Overtone Series is available in books on the theory of 2cot ‘The most compelling factor within this phenomenon is the interval created by the voicing’s Towest note and the root of the chord. There are two different scenarios lo consider: Scenario #1 Tf the lowest note uf the voicing ig the root, then determine the interval from that root to the next note higher in the voicing and check that interval against the Low Interval Limits Chart {page 94). ‘This chart is guide, only. Intervals gradually darken in sound, thus their application slightly below the chart may be appropriate. Also, consider the length of the notes in question Don't necessarily abandon good voice-leading because of a low 3rd that is only present for a sixteenth or eighth note value, Experience will lead to better judgment (Ex. 12-10, 12-11). Ey. 12-10 Ex. 12-41 ce [eet on THe ar Oe acre — 92 Jazz Arranging TechniquesSSS SS SSSSSSSSSSSSSSSSSESSSSECSESSIECSEsSsETSECeseTCsesCsees Notice on the Low Interval Limits Chart (page 94) that the unison and octave have an unlimited range and that the perfect Sth interval contains the lowest limited range. The actual intervals that occur above the fundamental ia the overtone series are the basis for this guide. Scenario #2 If the lowest note is not the root, then superimpose an “imaginary root” below the lowest note i the voicing and determine that resulting interval. Check the interval against the Low Interval Limits Chart. Ex. 12-42 Ew. 12-43 wa oma IMAGINAGY 200T IMAGINA@Y gocT The Low Interval Limits Chart is a guide to determine how low a voicing can be played before its sound is too dark and indistinguishable. Remember, the chart compares intervals fi unison to major 10th trom the root of a chord to the next nore in the voicing. Playing voicings « a piano and transposing them downward by half steps can begin to give insight into phenomenon, One additional tactor to consider is dynamics, When instruments increase in volume they produce mote and louder overtones, changing the timbre and increasing the complexity of the sound. At soft dynamics instruments project less of the overtones, so we mostly heal fundamental pitch. At softer dynamics, voicings can be written lower byfore the mud begins io rise Chapter 12: Rules and Limits 93—————————- SS Low INTEevaL LIMITS CHAGT Maroe 280 Mayor #40 Maso 300 Pesce ATH Tn vemicopen voicings, some voicing positions include small interval (minor 2nd} surrounded by larger intervals (perfect Sth or larger) above rand below the minor 2nd, This voicing can be llffenlt to blend and balance with bors asa result ofthe spacing [Bx 12-14, 12-15). Tormally stated, the rule is “intervals above and pelow a minor 2nd should not be any larger than an augmented 4th.” The exception is when the interval below an adjacent 2nd vere the root, ‘The interval to the root can be as large as @ 10th, Adjacent 2nds Separated (A.S.S. wi) voicing: are improved when the inside inrerval is @ major nd, although the spacing is still rut MWvantageous to a well balanced sound (Bx. 12-10], 94 Jazz Arranging TechniquesSESS SSSSTSSSSSSTTESSSSSSESSEESTCSTCSCSETTEECTCESIETCTECSECSCTCESESSE Solutions: * Use a substitution for one of the notes of the minor 2nd to eliminate that interval in the voicing, + Change the voicing from semi-open (Drop 2 or 3) 10 4 Way Close, which clitninaves the large intervals on either side of the minor 2ad [Ex, 12-17, 12-18}. Ex 12-14 Ex, 12-45 Ex. 12-16 Ex. 12-17 Ex. 12-48 Fra? uid Fs? Fai? Gut se 2 tty Important Notes: Don’t avoid minor 2nds in your voicings in order to eliminate the threat of the Adjacent 2nds Separated violation. Remember that minor 2nd and major 7th intervals add richness to voicings, Also, as with all voicing guidelines, the length of the notes in question are an important consideration, The next vital concept helps clarily Major Concept Line vs. Voicing m is When voicing passages of eighths, triplets or sixteenth notes, the most important consider the Fine each note creates from one voicing to the next. ‘he notes are moving too fast to focus totally on the individual voicings. Creating the best possible line in each voice might make it necessary to sacrifice the integrity of the voicing for a few notes by writing incomplete voicings or violating Low Interval Limits and/or Adjacent 2nds Separated. When voicing quarters, halves and longer note values, the voicing is more important and the voicing rules should be adhered to as much as possible. Keep asking whether the line or voicing is more important at the moment Don’t sweat what can’t be heart. Assignment #9 and #10 In Chapters Eleven and Twelve four-part and five-part voicing techniques and numerous rules and concepts were covered. With the next two assignments Voicing Melody 1 and Voicing Melody 2 the voicing procedures will be applied to melodies in preparation for project #2 Chapter 12: Rules and Limits 95se SOS OS SSS OSS OSSSSGSSSSSSSESESSSSVssesssIssessessTIas In preparation for assigns: 0, Voicing Melody 2, note the following additional guidlines Guidelines for Combining Voicing Techniques 1. Lead lines (melodies) below middle G often work bestin unison/octave (not voiced 2. Unison in any register provides a contrasting texture to voiced passages. 3. Lead lines from middle Cand above work well voiced in 4 Way Close (Drop 2 is often an option) 4. Using Drop 2 on lower notes can result ina Lew Interval Limits violation. 5. Lead lines an octave above middle C work well in Drop 2 or Drop 3. 4 Way Close may also be an option. 6. ‘Be sure all instruments from the lead to the lowest harmony line remain within their ranges, 7. If the melody leaps up and down abrupily, the techniques can change accordingly, even from unison to voicing [Ex. 12-19] 8. When the melody leaps up, change to Drop 2 if the preceding note is voiced in 4 Way ~ Chose [Ex. 12-19]. 9. When the melody leaps down, change to 4 We Drop-2 (Ex. 12-19]. “lose if the preceding note is voiced in Play and study Ex. 12-19, Mixed Voicing Techniques, at the piano and then listen to Jazz Arranging CD Track #25, performed by four saxophones. Ex, 12-49 Mining VoIING TECHNIAUES CO Teack 425 fh qrbhe ple case 3) wan ot [exer 2] [Laus/ecr Ey Chapter 12: Rules and Limits 97