MARCH 1008 PRO SESSION Writing For Three Horns Plus Rhythm Section by David N. Baker Benny Golson, art Farmer and Curtis Fuller Ihroughout jazz's brief history, groups composed of a rhythm section plus three frontline or melody instre ments have enjoyed varying degrees of popularity Daring the swing era such groups included the John Kirby Sextet (rumpet, clarinet and alto saxophione) and the Kansas City Seven (trumpet, tenor saxo- hone and trombone). In the 1950s and 1960s the trumpetsaxophone-rombone forinat was much in evidence ia sroups such as the various JJ. Johnson sextets of 1959, 1956 and 1960, the Benny Golson/Art Farmer/Curtis Fuller Jaztet, ‘rt Blakey's Jazz Messengers ofthe early 1960s, the George Russell Sextet, Horace Silver's “Nutville” sextet, John Coltrane's “Blue Train" sextet and the Miles Davis 1953-54 sextet. ‘While techniques and approaches vary from era to era, many post-1960 writers employed different versions of a simple but Crucial technique based on the consistent use of controlled dis sonance. The following are some general guidelines for this approach, + There must be dissonance between two of the voices or between al three voices. Dissonance in this instance means 4 major second or a minor second.) The dissonance may ‘occur as a contextual dissonance, that is, one of the three notes may be a major or minor second above the root of the ‘given or implied chord Arvid the use of triads except when one or more ofthe three notes provides the contextual dissonance. Generally, al three voices should be within an octave Avoid the use ofthe periee fourth above the root of the given chord except asa passing, resolving or embelishing tone. ‘The use of perfec fourths can provide variety and color. In ‘general, al fourths in a given chord should be a pat ofthe Scale appropriate to or implied by that chord. An exception: ‘You may use a pair of fourths containing the raised fourth af the major scale to which the given chord belongs. Ifthe melody is static, the bottom two voices may move in parallel thirds, fourths or seconds, or in free contrapuntal fashion As with any musical situation, the esthetic choices should be informed by common sense, individual taste and above all by our ears ‘The following: harmonizations of the frst four measures of John Coltrane's composition “Giant Steps" exemplify the forego ing guidelines. 2 powusest “Giant Steps” by John Coltrane (1st 4 measures) ps Suggested Listening * Miles Davis: Miles Davis, Vol. 1—Biue Note 81501 Miles Davis, Vol. 2—Blue Note 81502 Jazz At The Plaza—Columbia (out of print) “Milestones—Columbia 40837 Kind Of Blue—Columbia 40579 + Hy. Johnson: The Eminent JJ. Johnson, Vol, Blue Note 81505, The Eminent JJ. Johnson, Vol. 2—Blue Note 81506 Really Lioin’—Columbia (out of print) He Incrtrated—Cobabia (oa of in) + Curtis Fuller: Slidin’ Fasy—United Artists (out of print) Gettin’ It Together—TCB (oat of print) Soul Trombone—Impuise! (out of print) (Crankin'—Mainstream (out of print) © The Jazztet Meet The Jazztet—Chess Records (out of print) ‘The George Russell Sextet: ‘The George Russell Sectet At The Five Spor—Decea (out of print) ‘The George Russell Sextet In Kansas City—Decea (out of print) Ezzthetics—Fantasy/OJC 070 ‘Stratusphunt—Fantasy/OIC 232 + Art Blakey: Free For All—Blue Note 84170