Basicsin Arrangitrg

ParisRutherford

Fall 1999

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NonrHTpxns
 BASICSIN ARRANGING
O 1998ParisRutherford

CHAPTER I . SIMPLE ARRANGEMENTS

STEP ONE: GETTING STARTED
Tu n eSelection . . . . . . .. . 1
. Sh e e tMusicand FakeB ooks . . . . . . . . . . . . . . .z. . . . .
T o Work
Sta r ti ng .......4
STEPTwO: MELODY - I
SimpleAnalysis 5
M elo d icDevelopment .............. . . . .10
The
Ad a p ti ng Melody . . . . . . . . . . . . .16
.. .
Tun eWriting ............. ................18
STEPTHREE: HARMONY. 1
An a lyzingThe Changes .........2 . .3.
B ass
Fu n d a mental . . . . . . . . . . . . . . .2..4. . .
Ch o r dS ubstitutes ...............2 . ..7. .
STEPFOUR: HORNS- I
TypicaCombinations
l . . . . . . . . . . . .3. .3. .
Transpositions
STEP FIVE: RHYTHM . 1

FunctionOf Rhythm
CompositeRhythmPart 37
STEP SIX: WRITING FORMATS

Two-line Sketch 38
Part Extraction 41

CHAPTER II - THE SMALL GROUP

STEP ONE: SIMPLE FORMS
So n gForms ............. . . . . . . . . . . . . .43
.. .
ABAB . . . . . . . . . . . . . . . .4..3. .
AABA . . . . . . . . . . . . . . . . .. . . 4 4
Ou terForm . . . . . . . . . . .. 4 6
STEP TWO: MELODIC DEVELOPMENT
Ad d in gNotes(NonHarmonics)
..... . . . . . . . . . . . .4. 9
Em be llishing
A Melody . . . . . . . . . . .5..0
Compositional ...........51
STEP THREE: HARMONIZATION
Ha r m o nicColor . . . . . . .5 5
Reharmonization ....55
TargetChords .........58
Ad d in gT o The Changes . . . . . . . . . . .6. .0
STEP FOUR: HORNS AND HARMONIC DENSITY

HornCombinations 63
HarmonicDensitY 64
STEP FIVE: RHYTHM SECTION
Fun cti ons ...........7. .1.
...........
R ein for cement ...............73
RhythmP arts.........
ln d ivid ual .....74

STEP SIX: MEDIUM FORMATS

Fu llSketches . . . . . ' . .7 5
The Full S core ' . ' . ' . . '8 0
APPEN D IX (beginson page . . . . . . ' . . ' . . . . . . .8..' .t .

App. 1 Tunes,bYsongform.
Standard
App.2 ScalesandModes
App. 3.1 JazzNomenclature
App. 3.2 JazzChord
App. 3.3 Add Chord
Ranges
App.4.1 Instrument
Levels
Agp.4.2 DensitY
App.4.3 VoiceLeading
App. 5 grooves.
RhythmSectionlnstruments,
App. 6 Laying Out A Chart (p/us business)
App. 7 Transcriptions:
7.1 Dolphin Dance 99
'l.Z Black Orpheus 100
7.3 Down In The Depths 101
7.4 Stella By Starlight r02
7.5 Night Dreamer 103
'1.6 Reunion 104
'1.7 Black Nile 105
7.8 ContentsUnder Pressure 106
7.9 Au Lait (Metheny) 107
7.10 In CaseYou MissedIt 108
7.ll King Cobra 110
7.12 Devil'sIsland lll
7.13 You Don't Know What Love Is t12
7.14 Day In Vienna tt4
7.15 Cathay l16
7.16 Postcards tt7
7.11 Skylark ll8
7.18 Wildflower 119
7.19 Intrigue r20
7.20 Indigo 122
7.21 Anthem r23
7.22 StolenMoments t24
7 .23 Sho 'Nuff Did t25
Ind ex 126
CHAPTERONE:
SIMPLEARRANGEMENTS
STEPONE: GETTINGSTARTED 1A: TUNE SELECTION (thispage)
1B: SHEET MUSIC (seepage2)
lC: STARTING TO WORK (seepage4)

To arranging music is to adapt it to a specificstyle, or to prepare it for performanceby a

specificensemble.Adjustments may be needed in the melody or the harmony; the
original key may be unsuitable; tempo may need to be determined, to fit the rhythm
patterns of a chosenstyle. A chart for small or large band will certainiy involve
voicings for the horns. The list goes on: these are some of the decisionsthat must be
made by an arranger.

Basic arranging should avoid adjustments,though, that actually alter a tune in the
process!The successfularrangement enhancesthe original without treading on the
composition itself. Obviously, arranging can become quite subjective.

1A: TUNE SELECTION

The first step in arranging is selecting the right tune, or becoming thoroughly
acquaintedwith one that might be pre-selectedfor you. If the choice is yours:

1. Selectyour tune from "standard repertoire". (Standardshave been proven

effective, through hundreds of arrangementsfor great recordings and live
performances.)Pick one that you know well. Appendix L containslists of
a few older standards, any of which might fit your need. They are grouped
according to their song forms.

2. Selecta tune in which there is room for expressingsome ideas of your own.
A tune written with lyrics may have fewer actual notes; removal of the lyrics
may increasethe room you have for expressing yourself.

3. Avoid extremes in tempo, rhythmic/harmonic complexities, etc., when

first using any technique or concept.You can stretch out later.

Working materials Good tunes come in many different formats, each with its own
inherent problems. The next few pages show some common ways that tunes are
printed, copied, or in other ways made available to the writer.
 Procedures-
I

18: SHEETMUSIC

Sheet music is the retail printed version of published music. Sheetmusic, whether
sold singly or in a collection,appearsin a 3-line format. Melody, chord symbols and
lyric appear on the top line, a simple piano arrangement on the bottom two lines.
O^ly the original sheet music version of a song is reliable to furnish the entire song as
intended by the composer.

Three-line versions (sheetmusic) show the harmonization of a tune two ways: chord
symbols (above the melody) and the written piano arrangement.In the sheet music of
many older tunes, the chord symbols frequently disagreewith the piano arrangement.
If the chord symbol doe.snot show a change of bass,then when the lead line is
separatedfrom the rest of the print, the changeswill be wrong. (A problem with older
fakebooks)

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pg2
t Embraceable You, corrected.
Procedures-l

Chord symbols correctly reflect the changesfound

I in the original piano chart. Compare the two.

versions; note the changed-bassnomenclature.

Fake Books - volumes containing a wide selectionof tunes, usually in the form of
lead sheetsor lead lines, extractedfrom the sheet music. Older fakebooksare illegal (no
royalties paid the copyright owners), and the changesneed scrutiny. \ewe1 "legal"
fakebooki are somewhat less of a problem, and are good for the publisher. But, due to
the overall choice of tunes, most legal fakebooksare less appealing to the iazz crowd.

The Real Book - fakebooksdesigned to appeal more to the jazz community. Most of
the leadsheetscontained in these editions have changesthat follow well-known
recordings. The logic is great: if you like the changes,fine - if you don't, talk to the
artist who recorded them! Real Books have long been the staple f.or jazz musicians.

Transcriptions - the best answer of all! By quickly transcribing a tune that you want to
arrange,from a performance you enjoy hearing, you improve your ears,you hory
where the rhythms and changescame from, and you give your ear/hand/eye combo
some good workouts.

pg3
 hocedures-l

lC: STARTING TO WORK

e The lead sheet Provide yourself with a clean lead sheet of the tune you are about
to arrange. (Seepp. 20 and 53.) The best lead sheetis one that you copy yourself
onto full size, 1O-linepaper. This will give you room to write some of your earlier
ideas as they occur to you. Full size paper (9x12")is available in most music
stores that sell printed music, particularly the bookstoresthat service college and
university music programs. It is available in single sheets(pads of 40 or 50) and
in double folds (sold most economicallyby the quarter or half ream.

. Learning at the piano Even if you are not a pianist, keyboard is the very best
instrument on which to develop your tune. Pianos and synthesizersgive you
accessto the entire range of octaves.Writers who are not primarily keyboardists
can soon develop reasonable"piano chops" for use in writing. This is called
"arranger'spiano" - the ability to play the changeswith interesting alterations,
to find horn voicings easily, and to keep reasonabletime while using simple
voicings.)

While learning the tune, experiment with melody and changesseparately.

This is called "working the tune". (Step Chapter II, Step 1.)

. Sketching and materials Sketchingmeans that you write down some of the
interesting ideas from early stagesof experimentation. Write down the ideas that
appeal to you, as they occur. Use 2-line systems(even if you are working only the
melody), to make room for harmonic ideas that occur to you later. Keep your first
sketchesin a folder, together with the lead sheet.

Sketching should generatemore material than you need. Save only the best: as
you become more fluent you will automatically pick up speed in the creative
process.This is also true for musicians who write computers or at a keyboard
with an inboard sequencer.

The aalue in sketchingfirst, then writing or computing,is one of efficiency.

I
rx
'6

You cannot use eaery good idea you haue. It is good to work out some of the early
stagesof deuelopingan idea beforedeciding whether to continue with it. The
sketchingprocesswill help you saae time and energy.
I
Awareness of fonn Every standard will have a good musical form. If you are
I
composing your own tune, it should be written to a recognizablesongform as
well. Working with simple song forms will enable you to make best use of your
time.You may also gain further insight by playing (or listening to) songs with the
same song form as the tune you are writing.

pg4
STEPTWO: MELODY
2A SMPLE ANALYSIS (thispage)
28 ADAPTINGA MELODY (page 16)
2C BASICTUNE WRITING (paget8)

Melody is the ingredient which establishesthe identity of music. Melody is most

responsiblefor the memorability and successof a tune. This is not to discount the
importance of harmony and orchestration. Successin writing music, though, can be'
no greater than the writer's ability to handle melody.

The art of writing and arranging melody begins with the analysisof great tunes.

2A SIMPLE ANALYSIS

Analysis of music is the study of its various elements.Musicians analyze music for
the purpose of learning from the successes(and failures) of those that preceded
them. Analysis in this area is kept simple, and limited to melody.

Simple melodic analysismay be divided into three broad areas:

ANALYSIS OF STRUCTURE(2A-1, page 5)

Most music is constructedwith phlsss that end with cadences.Melody is
made coherent and memorable through the use of devices developers. and
all hanes toeetherin a musical form.

ANALYSIS OF IMPLIED HARMONY (2A-2, page 12)

A melody, while in motion, will expressa senseof harmony. This implied
harmony may or may not be the same as the harmonization written by the
composer as an accompaniment.

ANALYSIS OF CHARACTER (2A-3, page'J,4)

All melody is either active (vertical) or passive (horizontal). Good tunes profit
from a deliberatecombination of both characteristics,carefully placed to give
the desired emotional effect.
 Melody-l

2A-"1..STRUCTURE describesthe way a piece of music is held together.The most

basic strucfural devices are phrases,cadences,developers.musical form.

PHRASES: A phrase is the shortest section of melody that feels complete. The most
common phrase length is four bars. Four bar phrasescombine into eight bar sections
which are called double phrasesor periods. A phrase normally ends with a longer
note, or a more pronounced rest, before the melody proceeds.This break in motion
(cadence)allows the music to "breathe".

Periods(or double phrases)are the primary eight-bar building blocks for a standard
length 32-bartune. Formally, these periods are identified by letter names according
to the simple song forms: AABA, ABAB, etc.

8 BARS

The pause (or breath) at the end .... than the pause (or breath) at
of an 8-bar section will be more the end of its first 4-bar phrase.
pronounced...

. If breathing is slighted (or inadequate),music will feel forced or busy.

. If pausesare too long or pronounced, though, melodic flow is damaged.

(The letters above appear for demonstration of form and are not those found in the
individual parts of performance-readycharts, called "rehearsal letters" - for
communication and location during rehearsal,and having little to do with the
actual form of the tune being played.)

pg6
 Melody-l

CADENCESare combinations of notes, chords, and rests that slow the movement of
music, thus causi.g u senseof pause. Some cadencesare shorter, some longer,
dependingon size or complexity of the music being sectioned.Cadencesoccur in
harmony, melody, rhythm and texture.

In Step2, we deal only with harmonic and melodic cadences.

HARMONIC CADENCES are chord progressionsthat slow or stop the feeling of

forward movement in harmony. Cadencesoccur at the ends of phrasesand periods.
We use four harmonic cadences:half. full. modal and deceotive.

The half cadenceuses a ii-V or tV-V progression.With the half cadence,the music
pauses(and breathes)but moves on. Music following a half cadencewill feel like a
continuation of what went before.

. Half cadence
lf
-\-

The full cadenceuses a V-I or vii-I progression.Movement stops when a full

cadenceis used. Material that follows a full cadencewill feel like the beginning of a
new section.

. Full cadence

The modal cadenceis a IV-I progression.The music pauses,but with a sound that is
modal and somewhat "bluesy"

. Modal
cadence -fi-.+
f

The deceptive cadencemoves not from V to I, but from V to vi. (In jazz application,
a deceptivecadencemay also move from [V to iii, and on.) Harmonic motion feels
as if it should "tun:r around"- deceptiaedescribesthe effect well, Thesecadencescan
be used to briefly postpone the use of a full cadence.

o Deceptive
cadence

pE7
 Melody-l

On page 9, cadencesin "StellaBy Starlight" are identified and labelled. Plav this
example at the piano! Listen to how the cadenceswork.
-
o fu bars 1.-2,and 17-1.8,the ii-V progressionsare not cadential.but provide good
forward motion.

The full cadencein bar 6 and 7 proceedsto a minor IV chord (bar 8) which
Progressesacrossthe double bar to a I chord. The effect is reminiscent of the
modal cadence,contributing to the special qualities of "Stella."

The first L6 bars ends with a half cadence.The bridge begins with another ii-V
progression;since it is the beginning of a section and not a phrase end, the effect
is that of generating additional motion.

The ii-V half cadencein bar 28 is borrowed from a different key. The feeling of
half cadenceis strong, and the harmonic interest is enhancedby this increasein
harmonic color.

WHY ARE THESE THINGS IMPORTANT? Thesecadencesprovide the great sense

of motion felt in this old standard. CadencesL" and 3o act normally, and do not
"give away" the unusual progressionsto unpredictable key centers.In this way,
thesenormal ii-V cadenceshelp keep the energy level high. The cadenceat mid
tune is predictable,thus lowering the energy appropriately.

Enerw levels
-
in the typical
AABA tune.

This is a good energy graph for a 32-bar tune. \A/henarranging, be careful not to
damagethe energy flow.

pg8
 Melody-l

Primary cadencesin "Stella By Starlight"

B+ 6r..l Axt

toward the
The melodic cadence is a break in the forward movement of the melod-y
ns&barphrases.(Longernotevalue,orrests.).Notel|atyh:r'Ithe
moniccadencesoicur separately,the music breathesbut keeps
bothcadencesoccur at the same time, the music stoPs'

cadenceskeep music from moving ahead. Too few cadences

$ s- Choice and placem ent of cadencesis influences the
 Melody-l

Developersare the,qriryry devicesusedto de.velop

a fragmentof melody first into
a coherentphrase,later thesephrasesinto a fuil tune.

The most common developersare repeat, sequence,answer, and mirror.

' *."p":t isjust that: the reuse of a figure, using most of the same notes.
("The Girl From Ipanema" develops inis way.f

Note: when a fragment of melody repeats (bars '1,-z,g-4),the chords change.

The sequenceis a repeatof the previousphraseor fragment,transposedup

or down, usuallyby only a step. check olt the ru.or,jp"riod of "fio*
Insensitive"as it sequences
the first period,a steplower.

when a-fragment or phrase sequencesup, the energy level escalatesa

bit.
the tranposition.is largei than a siep (eithertirection), the energy
Ih:l
level jumps significantly! (Seebar 9, below)'

ps 10
 Melodv-l

The answer is a section of melody completing the thought from a previous

phraseor period. The answer may be as short as a fragment, or as l,ongas a
full eight-bar period, all depending on the material being answered.

The senseof movement, and the resulting rise in contour, are both stronger
from an answer than from a repeat. In the following example from "Stella"
make note of the different ways tension/releaseoccurs,and its causes.

answer (consequent)

The mirror is a reuse of melodic material in which intervals are either

inverted (mirrored) or reversed (retrograde). The mirror produces more
tension than a simple repeat.

amzds) ezsusfis;

Melodic motion from bar 1 into bar 2 is inverted for bar 3 into bar 4.
The use of different rhythms adds interest, and doesn't damage the mirror.

Augmentationand dirninution are opposites.A melody is augmented

when resuedwith doublednote values. Diminution occursin reuse
when note valuesare reduced(usually by 50Vo). Augmentationand
diminution are valuabletools, but are not part of simple arranging.

p g l1
 Melody-1
t
LA-L.IMPLIED HARMONY (and Musical Tension)
t
Every melodv suggestsa senseof harmony as it moves.....

I
I
... and all music has a level of tension. (excitement and/or expectation)
Higher tension results from unexpectedor opposing ideas. The composer/arranger
I
builds and releasestension to createan interesting product.

Harmony implied by a melody may or may not be the same harmony found in
I
the chord progressionsthat come with the song. Implied harmony is expressedfour
ways, as demonstratedon page 12. I
o When the implied harmony agreeswith the chord changes,tension is low. The
effect is calm and consonant.(Goodfor beginnings and cadenceareasin jazz and I
pop music, and for music needing a simple, childlike quality.)

. When the implied harmony differs from the changes,tension increases. The I
energy level and interest go up. (Good for contemporary jazz, even for
developing the phrase structures in music requiring lower tension levels.)
I
Implied hannony agrees with Implied harmony difreEgfrom the I
the changes. Lowest tension.
I
\*
I
I
I
In the above example, the implied harmony of the melody agreeswith the changes
in bars 1 and 2; the resulting tension level is low. They begin to differ in bars 3 and
t
4, resulting in a rise in tension.
I
pg 12
I
t
 MelodY-l

Implied harmony is expressedthrough . . .

Stepwise movement beginning on or approaching a strong beat.

(Identify the scale- it becomesthe implied harmony for that area of melody.)

uCrya-ior L Er n r r - t- A atn-- J a
-
no+g2?tL

A broken chord or arpeggio. (Analysis is made accordingto any position of the

chord: root or inversion.)

tl s :16

('"oi Cn-1lr ')"."g4.r.

D t i . c- 9b na)or
n4j ol tlt'.rc/

Appoggiaturas and escapenotes (The outer two of three notes will suggesta chord)

Any of the above,when out of sequenceor obscurredby too many notes. (Too many
stepwisenotes obscuresthe analysis. Find repetitions or a single leap; analyze
accordingly.

G "r,aaior )*rcj.>r

Application: In iazz, agreementbetween implied harmony and the actual changesis

usually not a good idea. Tension levels are too low. Use subs to move the bassline
around a bit.

pg 13
 Melody_l

2A-3 CHARACTER. A melody line is said to be either active

or static.
Active describes *,"d.: up. of skips and./or sudden changesof register.
";i.]"1t
o An active melody moves betteiin uniions (or 8ves) than whe"nchorded.
Example: "In Caseyou Missed It" - SeeAppendix Z.

NOTE: Rhythmic complexityalone doesnot classifua

melody as,'actiue,,.
Leaps,abript changes'o7reiister, etc., must alsooccur.

static i"sthe opposite of active. A static tune (or a portion

of the tune) is one in
which the movement is mostry stepwise, and/or J.,rtuir,"d.
' voicings feel "more at home" on static than on one with more activity.
Example: "You Don't Know rA/hatLove Tg.lodlIs', - see Appendix 7.13

However, a static tune can also sound good with unisons,

when played by a color
unison, preferably in the lower ranges.
Example: "Black Orpheus" - SeeAlpendix 2.02

Uxtrsot) lleiNs

pg 14
 in-class
anatlYsis;
Dotphin Metody_i

Frr! ds"*o Dance

Herbje
Hancock
G7

r
i
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pg 15
 Melodv-l

28: ADAPTING A MELODY

Adapting a melody is the simplest form of arranging, and involves only four steps:

1) Determine the style in which the tune should be played.

2) Selectthe best key for the circumstances.
3) Makg simple adjustments to the melodic rhythm (if needed) to put it into
the desired sfyle.
4) CoPy (or print) the material accuratelyfor the performers. (Transposed,if
transposing instruments are to be involved. See Step 6, this chapter.)

When adapting is all that the arranger needs to do, it may be accomplishedin a
matter of minutes. The tune need not be altered at all, and will only be played once.
When the project calls for a chart that is more involved, the arranger should still
begin with these same three steps.

SELECTINGTHE BESTKEY (28-2)

Placethe range of the tune (distancefrom top to bottom notes) within the average
playing range of your top or lead horn. For averageplaying ranges,seeAppenaix a.

oFt'mrss
lorucs( /
--
)lL

If there is room within the span. locate the tune closer to the bottom
of the averageplaying range if the lead is a higher horn (trumpet, alto sax,
etc.).Locatethe span closerto the top of the averageplaying range if the
lead is a lower horn (tenor sax, trombone, etc.). Then choosethe key that
makes this possible.

Fine tuning the selection of "best key"

Brassand Sax players are most experiencedplaying in keys ranging from one sharp
to five flats (concert).Therefore,when choice of concert key is between, say, Bb
Major and B Major, the ensembleis most likely to play its best in Bb Major.

pg 16
 Melody-l

ADIUSTING THE MELODIC RHYTHM (2B-3)

If your style will be jazz (swing), analyze the melody for rhythmic placement.If too
many strong notes fall "on the beat", move some of them off the beat, thus
providing a looser relationship between melody and accompaniment (bassline).
The processof moving notes to unaccentedbeats is called "syncopation".

Syncopation is a key element in the melodic style of jazz artd jazz-related music. The
decision of how much to syncopate a melody is influenced by the amount of motion
in the accompaniment.
r When music is felt in "2" fewer syncopationsare needed than when felt in "4".
o When music is felt in "4", syncopation should keep the melody from hitting the
strong beats in the accompanimenttoo often.
When properly adjusted to swing, a melody will not line-up perfectly against the
background, and stay there. There must be a few soulful surprises.

Useful routine for adiusting melodic rhythm, to swing:

1) Locate a phrase containing too many

quarter notes or downbeats.Move its
last note ahead '1./2beat.(The process
of moving notes from strong beats to
weak beatsis called syncopation.)

2) Treat additional bars the same way

until you have done eight bars.

3) Adjust the melodic rhythms in 4-bar segmentsso there is a good flow.

Listen to recordings of uncomplicated small jazz ensemblemusic: when the
arranger syncopatesat the wrong time, the style changes. This is not good.

4) Watch for symmetry (equal motion to the left and right) that damagesthe good
unpredictability of your melody. Adjust the syncopation to relieve some of the
unwanted symmetry.

pg r7
 't

Melody-1
I
2C. BASIC TUNE WRITING
I
Most top jazz performers write at least some of their own material. Yet, the ability to
write a good tune is elusive to many capablemusicians. Their primary difficulty is
in waiting too long for inspiration, rather than being willing to start with an idea
l
that can be developed.

Where to start: Most writers begin either with a fragment of melody or an appealing
I
chord progression.There is no set rule, and it may change for you from one day to
the next. Try the following routine: I
When beginning to write an original tune

either: begin with an interesting chord progression(3-4 bars at most),

I
Develop it according to guidelines found on the next few pages,
but don't go far before you put melody to what you have. I
--- or: write a fragment of melodE that appealsto your ear (two bars at most).
Begin to develop it using one or more of the of the simple devices found I
on page 16. (Developers) Don't go too far before you begin to harmonize!

then: write music! Let the techniquescovered so far help you make decisions. I
(The best selectionof a song form is made after you have developed your
first material for 8 or 16 bars, not before. At that time, you can refine
and rewrite. This processis normal to song writing.)
I
. The beginning of a good
chord progression may
t
be as short as this:

. And, a beginning fragment of

I
melodv can look like this:
I
Combined, they form a very brief beginning to a tune. (The fragment is
short enough that it should be reused immediately.) I
I
The first four bar phrase has two positives working for it: 1) the short fragment has
t
a leap, and is reused immediately, and 2) the intervals between primary melody
notes and bass notes are interesting and aggressive. Note, though, that the tune I
itself is not aggressive.

pg l8
I
I
 MelodY-l

Starting with a melodic fragment is usually easier.The fragment should be short

and simple, but should have a quality that calls for immediate reuse of some kind.
As you harmonize the first fragment, start with a chord whose bass will provide an
interesting interval relationship to the melody. (7th, 9th, 4th, etc.) But, don't be too
dissonant!

Reuse the material. The key to a well written melody is reuse. When melodic
material is imitated, then contrasted,it is time to repeat or in some way reuse. The
number of options is large: analysis of great tunes will help you locate a model tune,
to imitate. this is good business,at first, and unnecessaryonce you get rolling.

The demo fragment may be developed through the devices shown on PP. 16 EE17.

The fragment has a good A repeat can call for a changeof

interval relationship to its harmony. Stay close to the key at
harmony (3rd, 7th, 9th, etc.) first, but borrow from other keys
as you develop the melody.

The secondfour bars will answer the first four. Since the fragments
have leaps, the contrasting answer is more step-wise. The contrast between
leaps and the stepwise movement sets up the need for a cadenceand a reuse.

In the 2nd eight bars, a repeat The contrasting answer may now
in the melody should be more proceed to a different key center.
aggressive,calling for more (The first material has been used
color in the harmony. and reused adequatelyby now.)

r auxiliargs

n t__ ?

RESULT: Two similar "A" periods, the secondof which has a higher energy level.
pg 19
 MelodY-l

Two repeating sectionsof music call for a contrastingarea:the bridge. The AABA
form, with its bridge, is right for this tune. (The decision to repeat "A" with a I
similar 8-bar period calls for the contrast of a bridge, thus the AABA form.)
To find the right sounds for an effective "8" bridge, use these measurements:
I
I
. If the A sectionshave an active character,the bridge should be less active.
If they were not, then the bridge should be more active.
o If they were both in the same key center (and this is normal),
then the bridge should go elsewhere.
o If they stayed in.a mid-range area,the bridge should go higher. i 1

. If the A sectionswere rhythmic, the bridge may be less so.

t I

This demo bridge will provide needed contrastthrough the use of leaps and a
higher range. The style is tuneful, though, and stays away from heavy sounds: a
good policy for first and secondexperiencesat tune writing. I
tl
6gy(no 3) ehz Agtus{
I
The return to " A" should begin the same as either of the previous "A" sections.
II
(Usually the second "A", since the higher contour is needed after a bridge.)

The same beginning fragment can be developed many ways. Here are iust two:
Dm7 Sbz I
1 ) Answer flrst, tnen reuse.
(sulr aPProPrrare ror a rlrst
period in a simple song)
I
I
L) ftl tDw t wlLlf. cl DEguEr r LE.
Dm7

-t
eb/D Em7
I
\ule sequertce uP
suggestyou're in A1.)
wrrr

Ablc ob^z GbmT Bm7 E7sus4 t

I
pg 20
I
I
 Melody-l

Final version of the demo tune, in AABA form

Developers Pui R|r(brtiotd

t abz GmZ /c c9 abz

Eabr"iz

pg2r
 Melody-l

Opening fragment, developed into a longer idea, for different song form.

When generating material for an ABAB song form, the initial idea should be
longer. Two similar 4-bar phrasescall for a contrasting answer, thus forming the 16-
bar " AB" section of an ABAB. 'When things become difficult, imitate the structure
of a model tune you'like.

MODEL:"I REMEMBERAPRIL"

FmaJT

g7(iet

Original fragment, developed into a 15 bar section,

following the logic from "I Remember April"

.+EQIIEIfiCE

I
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I
I
I
 Harmony-l

STEPTHREE:HARMONY-I

3A: ANALYZING THE CHANGES (thispage)

3B: REHARMONZATION AND
CHORDSUBSTITUION(seepage27.)

Jazz and popular tunes are written with chord progressionscalled "the changes."
It is the arranger's choice whether to use what is given, or to make adjustments as
needed.Rarely will an arranger leave the originai progressionsentirely unchanged.

Before reharmonization comes analysis - for familiarization, and for measuring the
amount of harmonic color already present between the tune and its changes. In the
next example,changesrepresentedby the chord symbols suggesta wrong bassline.

"Someone To Watch Over Me"

E I?

Thcre's I some- bod - y I'm long-in3 to rcc. I hope thet he Turnsout to b€

Chord slmbols in older songs may not show the correct bass morr"m"ti. . *
The changes in bars 2-3 should read: Eb/G - F#'? | Bb?/F - Eo7

The fundamental bass of the changesrepresented by the generic piano arrangement

contains a descending bass. The chords above are rather plain. If that is okay, there
is no need to adjust. When the level of harmonic color does not fulfill the need,
though, reharmonization takes place, involving chords that are more colorful (see
page24),and/or chord substitutes,which effectively alter the bassline. (Seepage 27.)

Nomenclature is the system of symbols that identify the chord sounds that are used.
Letter names and numbers are used to expressroot, mode, and other important
characteristics. SeeAppendix 3 "Nomenclature".

page23
 Harmony-l

FUNDAMENTAL BASS

Fundamental bass is a seriesof notes written to show the bottom notes from a set of
changes. One note is sustainedfor each chord, no matter how long it may last.
(Fundamentalbassis not intended for performanceby the bassplayer, bui is an
analytical tool for the arranger.)

"HaveYouMet Miss Jones"

fundam.entalbass

Fundamental basssimplifies the analysis of two-part structure.

Two Part Structure

Music with melody and harmony will always have at least two parts moving.
Melody is thought of as Part 1 and harmony (in this casethe fundamental bals) as
Part 2. Thesetwo lines have a contrapuntal relationship to each other. That is, they
moJe together but are not allowed to become "tied" to each other. (Exceptat
cadencepoints, where forward movement is supposed to slow down.)

The intervals between fundamental bass and melody are strategically important.
2nds, 9ths, 7ths, are more aggressivethan 3rds and Sths,6ths, and createi highet
interest level. Sths and 8ves are less energetic,and are most useful at beginnings
and cadenceareas. In more aggressivetunes, they are avoided.

' In the examplebelow, the chords in bar two createdSths between the
parts. Chord subs change the Sths to 3ids, for a different sound.

(Miss Jones)
A
FU

Substitute to change 5th (top-bottom) to 3rd * Passing tone chord for interest

page24
 Harmon.v"-l

The level of harmonic color in jazz is higher than in other popular styles. For most
PurPoses,major and minor triads, major 6th chords, and straight dominant seventh
chords are too plain. Shown below are common devices used to colorize harmony,
including extensions,suspensions,alterations and changesof bass note.

COMMON COLORING DEVICES

PI,AIN E)(IENDED
1. Extensions are the notes one
adds to chords or hamonies from
the scale most representative of the
chord. A triad is built by stacking
3rds. The triad or 7th is extended
by then adding additional Srds.

DOMINANT
C7sus4 BbmaiTlC

2. Suspensiorls, or "sus-chords",
are the result of putting the 4th into
a dominant chord and removing the
3rd. Suspensions are described by
chord symbols that read *sus-4'.

DOMINAIVT AI..|TERED
3. Alterations are chromatic c7(il11)c7(be) c+7(ile)
changesmade to chords. The most
common alterations involve the 5th
9th scale degrees. While even a triad
may be altered this way,alterations
usually take over after the chord has
already been extended.

PI,AIN & E)MENDED CHANGE OF BASS

4. Change-bass describes the Ebg BbmajT Dm obrcbeb lo orcb
chord whose bass note is not its own
root. Change-bass runs the garnut
from the common inversion to the
hybrid chord (whose bass note is
outside the chord's own key center)

SeeAppendix 3 for a detailed coverageof jazz chords.

page25
 I
Determining when to use more colorful chords
Harmony-l

When a tune is relatively diatonic (even an aggressivejazz tune), especially if its

II
tempo is high, then the quality of chords used in the changescan remain simple.
9ths, 13th, sus chords, etc. are adequate.This is true in most of "Black Nile" -----
BT ACK NILF Wh..rnegtuttr I
Ebr3 abrs Ehng alg'.'. Fmg E9
I
a b r:
I
I
I
Ebs a llsl
I
I
When a iazz tune needs to tell a more modal story, has a slower tempo, or contains
a greater number of accidentals,then the quality of chords should be more colorful.
Alterations and change-bassare added to the extensionsand sus chords in Wayne's
I
"Stella By Starlight" - see also this tune in the Appendix.
I
DomT
altered I
Minor
I
sus-4 and
DomT (b5)- - I
I
DomT
altered
I
Change
bass and
> I
sus-4's

page26
I
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 Harmony-l

38: REHARMONIZATION AND CHORD SUBSTITUTION

Reharmonization is the processof conforming u set of changesto the requirements

of an arrangement. The processoccurs every time an arrangement is written for a
jazz group. Normally, two items receive the closestscrutiny: level of harmonic
color, and the 2-part relationships (bassagainst melody). Adjustment of color level
mvolves the extensions,alterations, etc.; adjustments in the 2-part structure
involves chord substitution.

The substitute is a chord which provides the same kind of harmony as (or function
as) the chord which it replaces.

Chord substitutes are used for one of two reasons:

L) The fundamental bass malr cause an unwanted interval against the melody.
The use of a "primary chord substitute" will change the fundamental bass,
thereby altering the two-part structure of the tune. Basic harmony remains.
SKYIIRK
LtEl',EntbE
rr*t)bttCrttrrl

GE7 C!7

h.L F r-|li 5 rta W-i F{ r rbr rt

H. -. .El .l t .tr ry bt c, I
-
F' L? (lrbt Fo? }7

b* o t ?- b.|E r E.arh rbt c--'| rd.t L Ht

jc-rt.t- c.G tL-..ard -
-

El5 Eo7 El? AdbT BE7

.lb--d.d ht- Al b F b-i lll._ br-dtF bJt-..h

2) The arranger may just want a different sound. The original may be too
too bland, or it may even be too aggressiveand need taming somewhat.
The arranger may want for a particular modal sound to prevail.

(nPm>cr*g^e/
Dearlv Beloved J Music bv JeromeKern
Med.Swing Lvric bv fohnny Mercer

0^,7 G1 Du,7 G7
 Harmony-l

Common Substitutes (primary and secondary)are built over bassnotes a third or

fifth above or below or below the original note.

1) A primary substitute is based 2 The secondary substitute has only one

a third away from the original note in common with the original, and
chord; they have two notes in is based a fifth awdf , up or down. The
common. energy level of a secondaryis higher than
that of a primary.

Locating the "subs"

Major chords:
Locate the new bassnote and
CmajTCmajT/F
selectthe right chord over it.
The number of common tones
between sub and original will
influence the energy level in
the music.
keep the sanre riad,
Minor chords: changethebassnote
Locate the new bassnote and
selectthe right chord over it. Cm? Cm1lF
The number of common tones
between sub and original will
influence the energy level in
the music. There are more
minor scales (than major),
so there are more choicesof keep the same triad,
subs for minor chords. change the bassnote

Dominant chords:
Locatethe tritone (#4,b5).
Build another dominant
(or a diminished 7th chord)
containing the same tritone.
The "tritone sub" is based
keep the same tritsne (3rd + ?th)
an aug.4th or dim.Sth away move bassup or dqwn #4 or b5
and contains the same tritone
as the original.

page28
 Harmonv-1

Other substitutes include the inversions and the change-basschords.

Thesesubstitutestend to be those chosen for choice#2 of "Whv Use Subs?"

Suspensions:
-
A "suspension" is the sus-4,
cg cgs|t. c2 C gga Fma;?
the dominant whose 3rd is
replaced by the 4th. This +
chord updates the sound of tl
the harmonic progiession, L. t-
while leaving bass movement
unchanges. fuplacethe 3rd wit}r the 4th.
Thechordstill sorrrdsdominant

Inversions:
For major and minor chords,
build the voicing over the 3rd
or 5th of the chord. (The only
differencebetween a Lst-sub
and a first inversion is one
note in mid-voicing.) Keepthe chord and ....tochange a melody$ass relationship
move to ib inver:ion...... without changing the harmony

Changgbasschords: ct Eal orcgtE E+7le E+le c+f

Change-basschords, in general,
are available for substitution, so
far as their bass notes OR their t- ln [o-

chord functions meet the needs

of the ananger. Dorninant ....bassup a 3rd .....sr a riifferent dsmnant
neeriso mairesmversron chord builtbetvreen the
ctrange.... or the halfdim. sarte outer notes(C + E)

SeeAppendix3: JazzChordsandAdd-Chords

page29
 Harmony-l

DEMONSTRATION OF THE REHARMONIZATION PROCESS.

"AUTUMN LEAVES," (Original changes)

The original changes

are good. The few
adjustmentsare
numbered and
explained
below.

6maj7 CmajT

Em/D Ar6/C

^I-
B? I
a

PROBLEMS (with the original)
(1) Long triads on strong beats
(2) Too many straight dominants
(3) Bar 17: octavesin 2-Part.
(4) Bars 19 + 20 are boring.
(5) Bar 21: octavesin 2-Part.
(5) Last 4 bars: cadencetoo long.
page30
I
I
SOLUTIONS (applied on next Page)
(1) Extend or add to the longer triads.
(2) Sub to sus-4'sand tritone subs.
I
(3) Sub down to change-bass:min' sus4
(4) Extend the Em to createnew line.
I
(5) Sub down to C6/9, tritone the next bar.
(6) Sub 29, delay the Cbass,extend 87. I
I
 Harmonv-l

"AUTUMN LEAVES'' --- FOLLOWING REHARMOMZATION.

Q! (Extend the trrads)

@ Suspendpart of the domnant

($ create sus4 from ong, @; s"U ciownto keeppedat @ extena to create"rnterest hne"
-Enr7/B -sm/C
,-y7 te 67tiet Bbo? D9'c5(Abt(is)

1i;___g;

w EC

The C9 is a tritone substituteto the Flf07, thus

making the appoggiaturaeven more coherentyet!

page3l
 Harmony-l I
Final Balance

Finally, it is important for the arrangermust see to if that the 2-part scheme(melody I
Irl
and bass/changes)are well balanced. That is, the harmonization can be as crafty as
one is able, but the changesmust remain subordinate to the melody.

The following should be true.

rl
1) The changesmust flow well. There can be no sudden changesor surprises,
regardlessof how clever the chord(s) responsible. Unless, of course,the
sudden surprise is also present in the original comPoser-changes.

2) The changesmust sripport the melod|, and not compete. That is, the amount
of color or alteration in the changesshould never be greater than the amount
of coior or interval energy in the melody itself.
I
3) The changesmust flow with the same schemeas the song form. That is, the I
rise in interest levels causedby substitutions etc. should progress with the form,
and not contrarv to the form scheme.
I
Guidelines for using substitute chords: I
1) Play and analyze the tune. Identify cadencesor changes thlt
should not be altered, e.g.,those that are characteristicof the
tune itself. Example: the first four bars of "My Funny Valentine"
I
have a characteriitic descendingline in the harmony (either in
the bassor above).Be careful of changing this characteristic! I
2) Analyze the original changes against the 2-part structure of the
tune. Locate inaccurateor awkward chords from this standpoint. I
3) Choose substitutions to correct the problems in #2.

4) Choosesubstitutions also to adjust the level of harmonic color

I
(up or down), as needed

5) Start with lstlevel subs when the tune has a diatonic or gentle
I
quality to if move to 2nd-level or change-basssubs to provide more
liarmonic interest, or to keep the changesfrom being predictable. I
6) Don't oversubstitute!
I
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I
page32
I
t'
 Horns-I

STEP4: HORNSIN THE SMALL GROUP(COMBO)

if: TffiSSo3ff"'il^'IoNS
Instrumentation for a small group is usually 2 to 3 horns with rhythm section.
When there are three or more horns, they are usually mixed. That is, there will be a
mix of brassand woodwinds.

Mixed horns provide more color, depth, and varief of sound than two or three of
the same kind of horn. When only two horns are present, the mix may be in terms
of instrument type. (Brass,woodwind, etc.) Or it may be in terms of instrument
register. (High and low homs). In any event, the best mix is that which provides
you the greatestversatility.
. The first simple arrangement should be written for two horns with rhythm.
The emphasisis placed entirely on good melodic writing.
. Thesefour combinations of two horns are effective with rhvthm section.

(1) Trumpet and Alto Sax (3) Trumpet and Trombone

(2) Trumpet and Tenor Sax (4) Trombone and Tenor Sax

Front Line The homs that play in a small group, or five to six horn band are called
the "front line". When trumpet is part of a front line, it should be placed on the
lead. That is, when the horns are harmonized, trumpet should play the top part.
Guitar, while not a wind instrument, is valuable as a doubling member of the front
line. Doubling, in that guitar adds excellentcolor to unisons. Guitar can also comp,
of course,increasing the versatility of that instrument.

Basic Ranges The basic rangesof any instrument are those into which most of
their music tends to fall. For the first several charts, the wise arranger will keep
closeto thesebasic ranges. The best playing always takes place in the ranges where
people have the most experienceplaying. SeeAppendix 4 for ranges and other
information.

IN GENERAT...... Average
Lower Playing Upper Extended
registers Ranges Registers Ranges

Seldomused Almostall of what is heard in Seldomused Do not write in

in writing small group musicfalls within in writing this rangefor
small group this range. Usefulalso for small group small group
arrangements. selectingbest keys.(page 16) mu s ic . arrangements

pg 33
 Horns-l

I
48. TRANSPOSITIONS

A transposing instrument is one whose "C" is a different pitch than on the piano.
All transposing instruments used in jazz music sound a lower pitch than written, so
must be "transposedup".

o Trumpet and Tenor Sax are Bb transposing instruments. !

o When writing a transposed part for a Bb horn, write everything a whole step
higher than the concertpitches. This will also require adding two sharps to
the concert key signature. For example, C Major for piano becomesD major
!
for the Bb part, and F Major concert is written one step higher, in G Major.

For trumpet, transposeup one whole step.

Irl
I
I
For tenor sax,transposeup a whole step plus one octave.
Note: The most common transposition errors in jazz occur in the
tenor sax. Don't forget the extra octave!
I I

I I

I l

I
The same written line, played both by trumpet and tenor sax,
t
will sound in octaves. t
I
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I
pg34
I
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 Horns-I

Alto and baritone saxesare Eb transposing instruments.

When writing a transposed part for a Eb hom, write everything a major 6th
above the concert pitches. This will also require adding three sharps to
the concert key signature. For example,C Major on piano becomesA Major
when transposedfor an Eb instrument and F Major is written in D Major.

For alto sax,transposeup a major 5th from the concert (written) music.

4zaut?art

For baritone sax,transposeup a major 6th plus one octave.

7u.

The same written line, played both by alto and baritone saxes,
t will sound in octaves.
t-

w Jg-ls
 Rhythm-l

STEPFTVE: THE RHYTHM SECTION

54: MAKEUP OF THE RHYTHM SECTIONlthispage)
58: TIIE COMPOSITERHYTHM PART(see
pg58)

The instruments keeping time and moving the changes in a jazz or pop chart is
called the rhythm section. (Rhythm sectionis frequently shortened to Rhythm.)

Rhythm function together as a unit, and are responsiblefor keeping a solid feeling
of rhythmic time ("g3oove")alive in the playing of an arrangement. Even when
horns play background figures, the rhythm section is responsible for the quality of
the groove. They must play responsively to each other; thus, their part(s) must be
kept as simple as possible.

MAKEUP OF THE RHYTHM SECTION

The basic rhythm section

found in a small jazz group
(or "combo") consistsof:
PIANO (or KEYBOARD) can mean either the
acousticpiano or a synthesizer. The piano
plays stylistic rhythm patterns on the changes.
. PIANO The changes may also be played in this style
(and/or GUITAR) by GUITAR, or by both piano and guitar.

BASSmay be upright, electric,or in somegroups

even a keyboard. ln a simple.urangements, the
. BASS
demands are very non-specific, so the choice of
bassinstrument should be made by the player, or
by the leader of the group, but not the writer.

DRUMS indicates a standard drum kit. PERCUSSIONmay

. DRUMS be present as well. For a simple arrangement,both the
drummer and the percussionist read from composite parts
(seenext page) and decide which instrument(s) to play.

In a simple anangement, consisting only of a good plan, good changes,an

intro, an ending, and instructions regarding style/tempo

The arranger may write one composite part for the entire rhythm section,
to be photocopied to each rhythm player. This composite rhythm
part is discussed on page 50, and is entirely appropriate whenever rhythm
players require only good changes and information on the layout of the
chart. If more is required, a compositepart is inappropriate.

pg 36
 Rhythm-l

THE COMPOSITE RHYTHM PART

In a simple arrangement, all rhythm players may play from a photocopy of a

common rhythm part. This composite part gives the changes and any stop times
that may occur. Instructions may be written to tell the drummer where to play
something other than straight time (in whatever style)

Srru,n

l'frrv€ rxt Z

When a composite rhythm part contains specifically notated rhythms, it is

understood that everyone in the rhythm section will play these rhythms.

When requirements of a chart cause a composite rhythm part to look as busy as the
next example, the compositeis no longer the correct format. Too many different
sounds are called for. Each player should receive an individual part instead. (See
ChapterII Step5.)

. Not a good compositerhythm parh it looks too busy.

pg37
STEPSIX: SMALL FORMATS
Format-l
I
64. TrWO-LINESKETCH(below)
68 INDTVIDUAL PARTS(pg 48)
I
The best format for the final version of any arrangement depends upon two factors. I
1) Size of performing group. The larger the group, the larger the format needed for
a final version. I
2) Application. The best format is the least complicated format that will serve
without compromising the chart. I
Rule of thumb ..... Simplify as much as possible. When music becomesdifficult
to follow easily, or looks cluttered, it is time to move to the next larger (or more I
comprehensivl) format.
I
6A. TWO.LINE SKETCHES

The two-line sketch is the smallestcompleteformat. It is written in treble/bass clefs,

I
always in concert key. A sketch may contain a fair amount of information,
including written instructions on style, number of rhythm to play, roadmap, etc. I
2-line sketchesare best
r When a simple chart has unison horns and a straight-ahead rhythm groove, via I
the composite rhythm part, use the two-line sketch. (For a chart more complex
than this, move up to the three-line sketch.)
I
AggressrveLatinf1H=144
$rDt-Alto)
I
I
I
When there is a lyric and only a simple rhythm background will be used. (If
horns are used in addition to the vocal, then a 3-line format is better.) I
I
I
Cdrtinuc latin 6

pg 38
I
I
 Format-l

Cautions: the following are common errors made in jazz charts. Be careful to check
your work against this list before having the music played!

1. The sketch is always written in the concert key, without octave transpositions.
Where homs will play in octaves,one line may be written with the indication
"8ves" above or below the melody.

Z. Material for the composite rhythm part apPears on the bottom line, and is
written in bassclef'

3. Bar numbers should appear throughout, placed at the bottom left of each bar.
Computer notation progtams may place-barnumbers above the line. These
are "iefault settingsi an-dcan be chinged on most Programs. If not, the
program is inadequatefor serious notating.

4. Clefs and key signatures appear at the beginning of every line in published
music. In abbreiiated manuscript, they may aPPearonly once Per Page,at the
beginning of line one, or when ihe key g$lq".t. (Note: any clef lacking a key
signature automatically signals a key of C Major or A minor.)

5. Time signaturesappear only once. unless there has been a change of meter.

6. When possible, title and authorship appear on line one of a Page of sketch; the
music begins on line two.

7. Changes should be written clearly, and with chord symbols choLen that are
not hf.ely to be misinterpreted. (The style of nomenclature in Chapter One,
Step 3, is highlY recommended.)

8. Lyrics, when preSent,should be "all caPs",and written over a straight edge

for the sake of aPPearance'

pg39
 Format-l

{
Two Line Sketch of "Yesterdays"

Top line = Tenor solo, untransposed. Bottom line = same music exactlyas to be
copied for a composite rhythm part.
I :

I
Yesterdays
I
I
I
I
a
Amin FIA
e

'rT16 AminT
'-\
*ril rfimz1b
sy sus D9
I
I
I
I
I

F2 ctE clD Am/C A najT/B 813

I
' ll'
I
Dn/E E7b9 r13 C ID D9 B/G F/G
I
t3

Fm7(f,5)

pg40
 Format- I

5B. EXTRACTING THE INDIVIDUAL PARTS

Individual parts representyou as your music is performed. Material, appearance,

and layout will introduce you before one note is played. This becomesmore and
more important every year!

In manuscriph

' Paper: Use professionallOline paper. (12-linepaper will look crowded.) You
will find good papers at Penders; also at the University Store. Be sure that the
1O-lineis at least 80 lb. weight - 100 lb. weight is preferred. Also, though good
PaPer is available in off-white or buff, white is preferred, especially for pencil.
o Pencils: Use a soft lead pencil for individual parts. (Ex: the Berol Electronic
Scorer, sharpened frequently to keep stems and bar lines thin.)

o Eraser: Use the non-abrasivevariety, which lifts a pencil's image without

damaging the surfaceof the paper. (Example:the StaedtlerMars Plastic Eraser,
available from art supply stores,and most University Book Stores)

. Rulers: Use a triangular, transparent "straight-edge"for bar lines, and to

underline titles, credits, etc. (Available at most book storesand art supply
stores. Also, when you purchase a straight-edge, be sure that it has a beveled
edge,so that soft leads and ink pens will not smear.)

For computer generatedparts:

. Print: Laser printing is so commonly available now that other platforms (ink
jet, dot matrix) are used now only for personal "trial runs."

. Paper: Printers use an extremely light weight paper. Once you are sure that
your music plays the way you want, photocopy your printed parts onto 80 lb.
white ledger paper. This will give your music the right feel.

. Appearance: All notation programs use good fonts - Petrucci,Sonata,etc. In

addition, several "jazz fonts" are readily available, causing your music more and
more to resembleprofessional hand-copied manuscript.

o Formatting: The best format for individual parts, though, is not necessarilythat
which is built into the default file of your software. The best format is one that
you construct through the editing process. Turn to page 48. Seealso Appendix 5.

pg4l
FORMATTING INDIVIDUAL PARTS
Format-1
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Whether in manuscript or computer generated,follow these guidelines: I
. Place the instrument name at the left (on line one, or where line one would be.)
. Placethe title in the middle of the page where line two would be. I
. Music begins on line three.
o Group four bars to the line except where the music would appear cluttered I
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(lyrics, too many 15th notes, etc.)
Number each bar, with the number appearing at the bottom left of the bar.
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a Begin page two on line one; page number should appear at bottom center.
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Tenor
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Yesterdays
JeromeKern,
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arr. ParisRutherford

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Solo ad lib
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l0

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