SAL RY e BERKLEE PRESS MUTT FURR HAAN GAGE GTNDena Edited by Michael Gold 800-749-4428 fe mail: snidermusic@swidermusic.com Berklee Media Derklee Press Associate Vice President: Dave Kusek Senior Writer/Editor: Jonathan Feist Director of Content: Debbie Cavalier Writer/Editor: Susan Gedutis Marketing Manager: Jennifer Rassler Production Manager: Shawn Girsberger Senior Graphic Designer: David Ehlers Product Marketing Manager: David Goldberg ISBN 0-b34-03b5b-4 Pz herklee Pann Va 140 Boysen Soot HAL+LEONARD® Boston, MA022"5:9600 USA Sonnomarion Vis Sakae Poss Onine st wuw.berkloepress.com No part of hie pubeaton may be rproducedin any for or by any means without he por writen permission fhe Publisher Proton te Unites Sats of Amara by Vets Lithagraphic an Prining Comaraton 10-09 08 07 06 05 s4a2Contents Introduction What this Book Covers How to Use this Book and CD A Note on Range Recommendations Acknowledgments About the Authors: 1 Basic Information 1-1, Transposition of Instruments 1-2 Instrument Ranges and Sound Characteristics 1-3. Comparison of tnstruments’ Ranges 1-4 Low-Interval Limits 1-5 Special Effects for Wind Instruments (CD Track 1) 16 — Reharmonizing Approach Notes 1-7 Chord Scales Tonal Context In Tonic Major Sn Tonic Minor Modal Interchange Used in Major Chord Scales for the V7 Chord (Primary Dominant Seventh) Secondary Dominant Seventh Chord Seales Substitute Dominant Seventh Chord Scales Special Function Dominant Seventh Chord Scales, Diminished Seventh Chord Scales Modal Chord Scales 1-8 Preparing a Score 1-9 Overview of an Arrangement Elements of Form: Intros, Interludes, and Endings Modulation and Reharmonization Graphing an Arrangement 1-10 Exercise 2 Unison and Octave Writing 2-1 Procedure 2-2 ‘Orchestration and Timbral Effects 2-3 High-Timbre Unison (CD Tracks 2-5} 24 Medium-Timbre Unison (CD Tracks 6-7) 2-5 Low-Timbre Unison (CD Tracks 8-10) 2-6 Octave Doubling (CD Tracks 11-15) 27 Melodic Subdivision (CD Tracks 16-18) Abrupt Fragments Smooth Flow vi vi vii vil viii viii Bree wees 7 18 19 20 20 21 23 24 25 28 29 30 30 31 35 36 36 37 38 38 39Short Subdivisions, Two Groups Longer Subdivisions, Three Groups Longest Subdivisions, Two Groups 2-8 Contrapuntal Application (CD Track 19) 2-9 Exercises Concerted Writing with Mechanical Voicings 3-1 Procedure 3-2. Coupling the Saxes to the Brass 3-3. Recommended Ranges for Lead Instruments 3-4 4&4 Concerted Writing With Constant Coupling (CD Tracks 20-21) With Variable Coupling (CD Track 22-23) With Full Doubling (CD Track 24) 3-5 Concerted Writing for 5&5, 7&5, and 8&5 5&5 with Constant Coupling (CD Track 25) 7&5 with Variable Coupling (CD Track 26) 8&5 with Constant and Variable Coupling (CD Track 27) 3-6 Avoiding Repeated Notes Editing to Eliminate Repeated Notes Crossing of Voices Reharmonizing Approach Notes 3-7 Exercises Spread Voicings 4-1 Procedure 4-2 Spreads for 4&4 and 5&5, Five-Part Spread for 4&4 Under Unison Melody (CD Track 28) Concerted Melody for 5&5 with Five-Part Spread (CD Track 29) 4-3. Tutti Writing Using Spreads Five-Part Spread for 5&5 (CD Track 30) Eight-Part Spread for 7&5 Coupling Baritone Mixed-Timbre Spread for 8&5 (CD Track 32) Beyond Standard Orchestration 44 Exercises Brass Voicings in Fourths 5-1 Procedure for Voicings in Fourths For 4&4 For 5&5 For 7&5 For 8&5 5-2 Sample Passages Voiced in Fourths 4&4 Concerted Writing Using Fourths (CD Track 33) 585 Tutti Using Fourths (CD Track 34) 7&5 Concerted Melody Using Fourths (CD Track 35) 885 Subdivided and Concerted Melody Using Fourths (CD Track 36) 53 Exercises 40 41 42 43 45, 49 49 50 50 31 51 53 35 355 55 56 56 37 37 59 61 63 63 67 67 67 68 68 69 70 70 n 73 73 74 15 15 16 7 1 8 79 80 816 Upper Structure Triad Voicings 6-1 Procedure For 4&4 For 5&5 For 7&5. For 8&5 6-2 4&4 Upper Structure Triad Voicings (CD Track 37) 6-3 S&S Concerted with Supporting Spreads (CD Track 38) 6-4 7&5 Reharmonized Melody (CD Track 39) 6-5 8&5 Dominant Seventh Reharmonization (CD Track 40) 6-6 Exercise ings in Clusters (Seconds) Procedure For 4&4 For 5&5 For 7&5 For 8&5 7-2 4&4 Using Clusters in Brass Counterpoint (CD Track 41) 7-3. S&S Saxophone and Brass Counterpoint (CD Track 42) 7-4 7&5 Concerted Melody in Clusters (CD Track 43) 75 8&5 Sustained Texture and Counterpoint (CD Track 44) 7-6 Exercise 8 Line Writing 8-1 Procedure 8-2 Five-Part Saxophone Soli (CD Track 45) 83 Line Writing in a 5&5 Concerted Passage (CD Track 46) 84 Building from the Bottom for Contrary Motion (CD Track 47) Five-Part Line Writing, Botiom First. Five-Part Line Writing in 7&5 Ensemble 8&5 Cascade Effect (CD Track 48) 86 Exercise 9 Woodwind Doubling and Muted Brass 9-1 Woodwind Doubling 9-2 Muted Brass Characteristics and Ranges for Five Mutes Practical Considerations for All Mutes 9-3 Applications of Woodwinds and Muted Brass Unison and Octave Combinations (CD Tracks 49-52) Voiced Woodwinds (CD Tracks 53-54) Large Ensemble, Various Woodwinds and Muted Brass Effects (CD Track 55) 9-4 Exercise 83 83 83 85 86 87 88 89 91 93 95 95 96 96 97 97 98 99 100 101 108 105 105 107 109 ut mm ut 14 15 7 47 119 119 122 123 123 124 126 12910 I 12 13 14, Soli Writing 10-1 Procedure Suggested Lead Ranges for Soli Writing Creating the Lead Line 10-2 Saxophone Solis Four-Way Close, Double Lead (CD Track 56) Line Writing (CD Track 57) 10-3 Brass Solis For Four Trumpets, Three Trombones (CD Track 58) For Four Trumpets (CD Track 59) For Three Trombones (CD Track 60) 10-4 Exercise Background Writing 11-1 Riff Background (CD Track 61) 11-2 Backgrounds Based on Guide Tone 11-3 Compositional Approach 11-4 Exercises Shout Choruses 12-1 Characteristics 12-2 Recommended Listening 12-3. Analysis of Shout Chorus (CD Track 62) Inventing the Shout Melody ‘The Big Picture 12-4 Exercises Style (Five Versions of The Birthday Song) 13-1 Early Jazz Style (CD Track 63) Arrangement by Bill Scism 13-2 Count Basie’s Style (CD Track 64) Arrangement by Scott Free 13-3. Duke Ellington’s Style (CD Track 65) Arrangement by Jeff Friedman 13-4 Bill Holman’s Style (CD Track 66) Arrangement by Ted Pease 13-5 Gil Evans’ Style (CD Track 67) Arrangement by Greg Hopkins Analysis of a Complete Arrangement 14-1. Schematic of the Arrangement 14-2 Lead Sheet 14-3. The Score and Commentary (CD Track 68) 131 131 131 132 133 133 133 135 135 136 136 137 139 139 143 144 147 149 149 150 151 151 154 185 157 157 161 167 71 177 184, 184 185 186Introduction What this Book Covers The large jazz ensemble, or big band, has a prominent place in the history of of the most dynamic personalities of jazz—Duke Ellington, Count Basie, Woody Herman, Buddy Rich, Stan Kenton, Maynard Ferguson, Gil Evans, and Thad Jones— were leaders of large jazz ensembles. Their bands were instantly recognizable by the unique musical personalities of the arrangers and composers who wrote for them. Today, Bob Brookmeyer, Bill Holman, Maria Schneider, Jim McNeely, Rob McConnell, and many other great writers and band leaders keep that tradition alive, continuing the big band as an important outlet and creative challenge. This book is your guide to creating jazz arrangements for such large ensembles. It covers the following subjects. Basics: We quickly review fundamental concepts that all arrangers need to have under their belts Voicing ‘Techniques: Starting with simple unison- and octave-writing strategies, we then spend many chapters exploring the use of mechanical voicings, spreads, voicings in fourths, upper structure triad voicings, and clusters. We also examine such specialized techniques as line writing and the use of woodwind doubling in combination with muted brass. Soli, Background, and Shout Choruses: Separate chapters analyze and present procedures for creating each of these trademark elements of big band arrangements. Style: This discussion examines the question of what defines an arranger’s style by comparing different versions of “Happy Birthday,” done in the parodied styles of Duke Ellington, Count Basie, Gil Evans, and others, Analysis of a Complete Arrangement: The final chapter presents an annotated score of a full-length arrangement that demonstrates many of the principles presented in preceding chapters. As with most of the musical examples, the reader has at his or her disposal not only written music but also a recorded performance of this complete arrangement on the CD. ‘The large jazz ensembles discussed in this book are described variously as 4&4s, 585s, 785s, and 8&5s, A 4&4 has four brass (usually three trumpets and one trombone) and four saxophones (usually one alto, two tenors, and one baritone). A 5&5 has five brass (usually three trumpets and two trombones) and five saxes (usually two altos, two tenors, and one baritone). A 7&5 has seven brass (usually four trumpets and three trombones) and five saxes (ustially two altos, two tenors, and one baritone). An 8&5 has, eight brass (usually four trumpets and four trombones, including a hass trombone) and five saxophones (usually two altos, two tenors, and one baritone). The rhythm section for such large ensembles consists of piano, bass, drums, and, very often, guitar, ‘Throughout this book, we primarily focus on what to write for the horns, since they traditionally dominate most big bands. It is important to remember, however, that a successful arrangement also needs detailed and clear parts for the rhythm section players. A good arranger will facilitate their supportive “comping” role and occasionally make use of their orchestral potential, both in the doubling of horn lines and as 4 separate unit to contrast the horn section,INTRODUCTION How to Use this Book and CD If you are new to arranging, we suggest you start with the review of basic nuts-and-bolts information provided in Chapter 1. Even seasoned arrangers may want to refresh their knowledge of these key concepts. And as they progress through the rest of the book, most readers will probably find it wseful to dip back into Chapter 1 for reminders about such things as the ranges of specific instruments, appropriate choices for chord scales, or the positioning of rehearsal letters on a score, For a more thorough discussion of the basics, we recommend Modern Jazz Voicings by Ted Pease and Ken Pullig (Berklee Press, 2001). Beginner and intermediate arrangers will want to study its explanations of mechanical and nonmechanical voicing techniques for small ensembles. A working knowledge of these techniques is a prerequisite for grasping the arranging methods for large ensembles that are covered in this book. ‘As you move into the meat of the book in Chapter 2 and beyond, we suggest that you learn the material in the following way: 1. Read through the procedure or description for each arranging strategy, making sure you grasp the theoretical basis as well as the step-by-step “recipe.” 2, Study the written examples to see how the strategy should be applied in a specific ‘musical situation, Examples range in length from a few measures to entire pieces. 3. Listen repeatedly to the corresponding recorded demonstration in order to actually ‘hear—and eventually internalize the sound of —the musical effect. The # CD symbol tells you which of the more than 60 tracks to listen to. 4, Practice the technique by comptesing the exercises that appear at the end of most, chapters, A Note on Range Recommendations The range guidelines we recommend throughout the book focus on the practical range within which the average player will be comfortable. They are intended to encourage the best ensemble balance and blend. Going beyond these boundaries will put players into extreme high and low registers where it is more difficult to control intonation and tone. When writing for professional-level players, these limitations can be extended. This is why our range charts sometimes include notes beyond the practical range. For instance, a professional lead trumpet player will be able to play a high concert fabove high c, well beyond our suggested practical limit of high a-flat, one ledger Jine above the staff. But the lead player in the average high school, college, or amateur band will be unable to play that high f consistently—or, perhaps, at all! When you do not know the abilities of the musicians in a band, play it safe by remaining within the practical range, vilARRANGING FOR LARGE ENSEMBLE Acknowledgments Many thanks to our colleagues in the jazz composition department at Berklee College of Music for their ideas, suggestions, and musical contributions: Ted Pease, Greg Hopkins, Scott Free, Jeff Friedman, Bil! Scism, Bob Pilkington, and Jackson Schultz, About the Authors Dick Lowell, Associate Professor in the Jazz. Composition Department, has taught at Berklee College of Music for thirty years. An active composer and arranger, he has written the majority of original compositions and arrangements for three CDs released by the New York-based Dave Stahl Big Band, Trombonist Rick Stepton was featured on his arrangement of “My Buddy,” written for the Buddy Rich Big Band. His arrangements can be heard on CDs by the Ken Hadley Big Band backing vocal great Rebecca Paris. He is also under contract with Heavy Hitters, a production company specializing in prerecorded music for television. Segments of his music are being used on daytime television. An active trumpeter, he has performed with a variety of entertainers including Tony Bennett, Sammy Davis Jr., Jack Jones, Shirley Bassey, Carol Channing, Ray Bolger, Jerry Lewis, and Mel Tormé. He has also played in the Harry James and Artie Shaw big bands. Ken Pullig joined the faculty of Berklee College of Music in 1975 and was named Chair of the jazz composition department in 1985. He was awarded a Massachusetts Courtcit of the Arts Fellowship in 1979 for his extended jazz composition, “Suite No. 2 for Small Jazz Ensemble.” For many years he led his ten-piece jazz ensemble Decahedron in performances throughout New England. A freelance trumpeter, he is regularly featured with the Cambridge Symphonic Brass Ensemble. He has performed with Mel Tormé, Ray Charles, Johnny Mathis, Rita Moreno, Dionne Warwick, and many others. In recent years, Pullig has presented clinics on jazz. composition and arranging in France, Finland, Germany, and Argentina. In 1997, he was guest conductor/composer with the Jazz Company in Vigevano, Italy.CYTE asic Information Transposing from concert pitch to an instrument's written part. i 2 Range limits and sound characteristics for big band instruments. Comparison of instruments’ ranges. 4 Limits on lower intervals to avoid muddy voicings. 5 Special effects for wind instruments. 6 fleharmonizing approach notes. 7 Chord scales: which scales work with which chords. 8 Preparing a score. 9 Overview of an arrangement. 1-10 Brercise Transposition of Instruments Use the table below to transpose parts for instruments commonly included in large jazz ensembles. For example, in order to have an E> alto saxophone play a concert b-flat pitch, you write the note g on the alto’s part a major sixth above what would be written in the concert score. Instrument Concert Pitch Written Note ‘Transposition from Concert PitehARRANGING FOR LARGE JAZZ ENSEMBLE Instrument Concert Piteh Written Note ‘Transposition from Concert Pitch ° ° ———_—$—$————— Bb Bass Trombone Non-ransposing Tusa SS tomtransposing Gute Uupan octave Boss 2S tpancrteCHAPTER |_| BASIC INFORMATION 2 Instrument Ranges and Sound Characteristics: For each instrument commonly used in large jazz ensembles, the following charts, describe the available range as well as the timbral characteristics and the useable dynamic levels within certain registers. The limits of the practical range, within which the average player will be comfortable, are shown by vertical arrows pointing to darkened note heads. The theoretical extremes are shown by open note heads; arrows pointing upward to question marks are meant to suggest that for brass instruments, the upper limit is set only by the technical skills of the individual. _ Range and Sound Characteristics Chart In all examples that follow, ¢ = practical range. Eb Ato Sox 2 ta) 5 1 = wtten ate i —¥ ‘Some altos have Fé key 8 >. is) = Harsh sound, ict conto ‘ch —» thier Bight to brgher Becoming thinner shit ‘oie oar TP ff mf Bh Tenor Sax : 2 (ta) wm = bee ‘Some tenors have Ft key - A 4 4 soning BE SS é = Notas hard as ato, =F Fc in, very but i tate cond Rich Bocoringless ich _blandale Ecolab Thin ficult o contol f Pf wit pe - Sf PAF Bb Raion Sax : a te) writen . s w= Some brs have F Key venue ae he i) sounding SE ae eo becoming less ut “in but very biteatto Ful ch andioundatonike Rich, andable “expresswe” con tonation if i Lf et PtARRANGING FOR LARGE JAZZ ENSEMBLE vo Tange 4 wer fa © _ = oe 4 be ——*ha ———"P& sentra Fi 2 cher eh, er Persia penetra onli’ Clear, ght iad ant ange) mt tif ef Pig, > ‘ {ee wmen fi Saxe I= SS te ——_ > ba counts FE = Ss Very rich, mellow Becoming thinner and constrained, ae somron (on gay OM Pom nf -f o as wien BE & =e v5 25) 1 __ sounding FEE z 20 bs——— 7 a rch neo Bit Penang ony oa vtum panne Sere oa tf mf f Pf Pf ef mies I ween = os — Sin a be by ae ‘Low, daric Centered, Clear, melodically Pearce Temronevvnmanie Sting Setar mm mae a aang pomf vwrthout F attachment PS Pe ff pif if SfCHAPTER I | BASIC INFORMATION Tue 5 L 4 beg waiton & PE = =a 3 = 7 ‘Focused, “Foundation” Clear, eonorous, Becomes thinner and penetrating, Ful spreas sound ound very blondabla ‘teu to tend et PP Sf PS Pf Fite 1 wit & cms — o = Votay sof Gradulycoarer Clear frght an ent PPP ef mp mf otf - Bb Clarinet ! “The aie Aone geting: aid pecsoges neces en ewes hsercaareapobem| baa ———# sourcing “Ondueau regio. dak, Tost ones, weak Clear, ght Pein, si th becoing minor “lao rageter wef pomp wif Lf bass Clie “The rei 1 rn 1 Sine lon above bf wetton = ie = SS om) Some bass danas have th low Eb key . ek sounding BE — bey ae 2 Ful re, dar bocoming tn, Thon sht pf pont otARRANGING FOR LARGE JAZZ ENSEMBLE Bb Soprano Sax {oe te) weten ie Same spans rave Fa vey oes) sounding o == ie id Clearer sound, Harsh ound, sitieutYo canal more bende 8 expresso Bright, projecting Thin f Pf mp Sf of St cua wring) A D G B £ witon & a v= = 5 _—— — pi ve counsng EE S—- St = J Darter. Less dar, vory blondie “Thinner, gradualy more plerng- For a eter understanding of he git’ capably ply and Woe chords, conse The Jace Se of Tal Farlow by Steve Roti. "he sdhuncng Gait by Mick Goaish Everything Abt Guar Chords by Wilbur Sve: ase Fou pen 2 strings) E A D G a wenn EE = = = a= ome basses have he iow C atachment a sounding = @—— > ren wam eh butting Coto, her ‘co: hoavy, oars, dak Pez: dark, sonorous Pano wetona. Po ia Y : _ SS z— wae) < ark, eh Brighor, butblendable Very bright ight Dark, percussive, heavyCHAPTER | | BASIC INFORMATION be et cmt lit: ay ti By comparing the ranges of big band instruments in concert pitch, this chart shows at a glance where the instruments overlap. This is important to know as you plan your orchestration of voicings (see Chapters 3 through 7) and lines that are to be scored in unison and/or octaves (see Chapter 2). oie) - ont Trumpet AtoARRANGING FOA LARGE JAZZ ENSEMBLE To ensure that your voicings create a clea mn and that the intervals they contain will be heard distinctly, do not include intervals below the limits shown in the chart below. There are always exceptional cases in which these limits may be adjusted downward. But if you follow them strictly, your voicings will never sound muddy. unison (unlimited) minor 2nd major 2nd ‘minor 3rd major 3rd perfect ut ‘augmented 4th diminished Sth. perfect Sth minor 6th major 6th bo diminished 7h minor 7th major 7th ‘octave (unlimited) ‘minor 9th major 9th minor ¥0th, major 10th =. be Whenever the bottom note of a voicing is not the root, “assume” there is a root and then. check that the voicing follows the low-interval guidelines. In the example shown below, the C7 voicing conforms to the guidelines. But in the A-7 voicing, after we assume the root, the resulting minor third interval falls below recommended low-interval limits (LIL). cr Aq (Problem) minor 3d is LIL violation t of) (assumed r000)CHAPTER | | BASIC INFORMATION Pre ec OU tty ry : Arrangers for large jazz. ensemble often use special effects for the wind instruments. You may use them in passages that involve the entire band, individual featured sections, or smaller mixed groups within the ensemble. The lead player dictates exactly how these effects will be performed and the rest of the band follows. © Shake. Brass players rapidly oscillate upward to the next highest note in the overtone series, or sometimes to a wider interval for a more dramatic effect. Saxophone and woodwind players trill to the next highest diatonic or chromatic note. © Fall (or Falloff or Spill). A fall is a downward drop from a specific note to an indefinite ending pitch. Brass players glide down through the overtone series, smoothing the shape using half valves on trumpet or the slide on trombone. Saxophone and woodwind players lightly finger a descending chromatic scale. Falls may be short or long as indicated by the length of the curved line off the note. © Doit. Like a fall but moving in the opposite direction, this effect starts on a note and slides upward to an indefinite ending pitch. Connecting Gliss. A connecting gliss is a rapid scalewise run or slide between two definite pitches separated by a leap. It may go either up or down, © Flip (or Turn). Played when going from a higher pitch to a lower one, a flip combines an upward gliss to a neighboring tone or indefinite pitch with a downward Bliss to the target note. © Smear (or Bend). Players slide or bend into pitch, starting flat and moving upward to the correct pitch. A short smear sounds like a quick “scoop” into pitch; a long smear is a more extended approach. @ Plop. This effect is used to approach a middle-register or low-register note preceded by a rest, From a higher, indefinite starting pitch, a player moves rapidly down through a scale or overtone series to end on the target note. To make the rapid descent, trumpeters use half valves, trombonists use the slide, and saxophonists and woodwind players finger a diatonic or chromatic scale. Rip. Like a plop but moving in the opposite direction, a rip approaches a middle- or high-register note from an indefinite pitch below.ARBANGING FOR LARGE JAZZ ENSEMBLE This example shows all these effects, identified in the score by number. Listen to the CD # to hear how they sound, Slow Swing J = 88 AT ANG @ DIE Fo ED ®@ AT SSS Sa ae Lapeer ebiS go | ® ten2] Be pa 6769513) maj? B79) Cmaj7CHAPTER | | BASIC INFORMATION 1-6 Reharmoni 1g Approach Notes When harmonizing a melody, an arranger needs to distinguish between target notes and approach notes. Target notes are long or emphasized chord tones and tensions. They are harmonized using chord sound. Approach notes, short notes that lead stepwise to targets, are reharmonized to keep their “undervoices” lines compatible with the melody’s movement. The chords arising from this reharmonization do not disturb the primary harmony of the passage because they resolve back quickly to the harmony of the target notes. ‘The standard reharmonization techniques reviewed below are chromatic, diatonic, parallel, and dominant. Because the reharmonization of approach notes plays such a critical role in arranging, we will regularly draw the reader’s attention to instances of it as we look at examples of voicing and orchestration strategies throughout this book. Reharmonizing Specific Approach Note Patterns 1. Chromatic Approach (ch): When an approach note moves by a half step to a chord tone or tension target note, it is known as a chromatic approach: chromatic approach notes are usually nondiatonic. 6 5 6 Chromatic Reharmonization: Each voice moves a half step into the corresponding note of the target voicing, in the same direction as the melody, as shown below. ee 1 Chromatic Scale Approach (S2, S4, $6, etc.): When an approach note moves by a diatonic whole or half step to a chord tone or tension target note, it is known as a scale approach. (The “S” labeling relates to the chord of the target note.) ro AT(b9) ba or 6 1 (82) 3 (sh6) 67 (oy Tho 5 @) bs Tia 54 uARRANGING FOR LARGE JAZZ ENSEMBLE The voicings in the following example were created using all the standard techniques for reharmonizing approach notes. In addition to chromatic reharmonization, these are: + Dominant Reharmonization: The approach note is voiced with a dominant seventh chord, either pure or altered, serving as the V7 of the target chord. The approach note must be a chord tone of that V7 or one of its tensions. + Parallel Reharmonization: This method matches the precise motion of the lead to that of each voice below it. In other words, each undervoice moves the same number of semi- tones into its note in the target voicing. This technique may be used to voice any kind of approach note—including chromatic approaches, as discussed above. + Diatonic Reharmonization: Each voice moves one diatonic step into the corresponding note in the target voicing. This works best when both melody and harmony are diatonic to the key or to the current harmonic situation as outlined by the chord progression. 6 ANb9) D7 or os 1 (S93 (She)_b7 (oy Tho 5_ 9 4a 119 54 G79) G79) G#769) 1 | | | Dominant Parallel Chromatic Diatonic 12CHAPTER | | BASIC INFORMATION 3. Double Chromatic Approach When two notes of short and equal duration approach a chord tone or tension target note by consecutive half steps in the same direction, they form a double chromatic approach pattern. (em) To voice double chromatic approach notes, use chromatic reharmonization with voices following the same direction as the melody. 1 t Double Chromatic, 4, Indirect Resolution (SS), (ch ch), (S ch), or (ch S) When two notes of short and equal duration approach a chord tone or tension target rote by stepwise motion from opposite directions, they form an indirect resolution pattern, Sn) 13ARRANGING FOR LARGE JAZZ ENSEMBLE When handling indirect approach notes, reharmonize each approach note independently. The two notes may be reharmonized using different methods, as in this example. G7 (som) 1 t Diatonic Chromatic (G7) Wor) *(G7is the target note chord) rane Independent Lead ‘The independent lead technique is an alternative to reharmonizing approach notes. In this method, the voices below the approach note simply maintain the prevailing harmony, or in some cases, the lower voices may rest. Independent lead works well where a less driving feel is acceptable, and for pickups, aq Ga Fmaj7 “CHAPTER | | BASIC INFORMATION er rd A chord scale is a set of stepwise pitches related ¢0 a chord symbol that provides a supply of notes compatible with that chord’s sound and its tonal or modal function. Chord scales are an arranger’s raw material for writing voicings and lines that are consistent with a given harmonic and melodic context. In the chord scales shown on the following pages, chord symbols and Roman numeral functions relate to middle ¢ as the principal pitch axis unless otherwise indicated, Chord tones and tensions are notated with open noteheads (@). Arabic numbers describe their interval distances from the root of the chord. Tensions are numbered as upper structure extensions (9, 11, 13) of the chord and preceded with “T.” Avoid notes are notated with closed noteheads (e). Arabic numbers describe the interval distances from the root, in the lower structure (| through 7). Avoid notes are preceded with an “S” to indicate the “scale approach” function For a thorough discussion of tensions, avoid nates, and chord scale theory, see Modern Jazz Voicings by Ted Pease and Ken Pullig (Berklee Press, 2001). 15ARRANGING FOR LARGE JAZZ ENSEMBLE Tonal Chord Scales CHORD SCALES IN TONIC MAJOR c torian sca (major scale) & —= —— ve o ° yi 0 a s 5 119 ” 1 rc lonian sale (maior seal) 16 . 1. 3 se 5 6 v7 1 maj? Ionian scale (major sate) Imai Y 19 2 st 5 9 7 1 D7 Dotan scale (lave maor 22) 7 x = = * = 1 1° so ut 5 so w 1 Ba Phin sale (late major 9) m7 ’ sia 8 m1 5 she ” 1 Fina? Lycian scale (elatve major 44) 1Vmaj7 = = = = = a 1 1% 3 HH 5 1a 7 1 a oly sale (relative major 55) vw 1 3 s 5 119 ” 1 aT Aeolian sale (ative major 6-6) via 1 19 “8 mH 5 she ra 1 Bes Lorian scale (elatve mor 7-7) ‘VIL-TbS 7 she be om bs Tes wv 1 16CHAPTER I | BASIC INFORMATION CHORD SCALES IN TONIC MINOR ‘These chord scales are based on three minor parent scales: natural minor (Aeolian), jazz minor (ascending melodic minor), and harmonic minor. maj? Harmonie minor 1, bimaj7 i = a 7 1% “0 mm 5 ste 7 1 ce Mo minor ascending) 1,146, Emaj) 1 1 3 mH 5 6 ” 1 o Natural minor hw 1 10 3 m1 5 she 7 1 D5 Loon scale (Natural minor, 22) 5 1 sie 3 * ts 3 7 1 Ebmaj? lonian scat (Natural ioe, 68-68) billmaj? 1 % 3 3 5 19 7 1 Eb+maj7 Lytian Augmented scale (Melode minor 8-3) buntsmaj7 1 0 3 nH © ss 7 1 F7 Dorian scale (Natal minor 44) wa 1 0 3 1H 5 86 7 1 610513) Mirolyian 513 scale (Melee miner, 5-5) VT913) 6. 1 19 2 sa 5 th 7 1 6769.13) Mixlyian bs, 13 sale Harmonic minor, 55) 769.513) 1 a 3 s 5 is w 1 ‘Abmaj? Lyetan scale (Natal minor 66-36) ' bVlenaj? 1 co 3 va 5 113 7 1 Bb7 Mzlyian scale (Natural miner 47-57) bvun7 T 19 3 sa 5 119 w 1 W7ARRANGING FOR LARGE JAZZ ENSEMBLE MODAL INTERCHANGE CHORDS USED IN MAJOR, Modal interchange chords and their chord scales are “borrowed” from a parallel tonality (one having the same pitch axis) for use in the primary tonality. ca Devan sate 1 Dbingi? Lian see suimait SSS ae = on a 1 ” a nH s 18 7 1 Ebmaj? Lyin sale bitimaj? ey ee Fe SS 1 ° 3 vais 5 119 7 1 Ebsmaj7 {tan arene slo bits? 1 0 3 mas 6 7 1 Fai ronan scale 1V6,1Viaz7__p Fh (en going to IV. or preceded ty Vail) V6 eT Doron sale ws => ——— SS 6 = 1 +. ts om 5 6 a 1 on Dotan sale — — 0 va =e = =- — 6 = 1 10 v0 m 5 86 Ww 1 Abinaj7 bvinai7 = == : 1 1° 3 te 5 18 7 : Actes Locian 9 sale viobs = = ee = 1 ° ve mm ts yew : Bhai? Lycian sale sttai7 : 3 mai 5 119 7 : BbT Lycian b7 sale we SSS SS * 3 vais 5 113 ” 1CHAPTER I | BASIC INFORMATION CHORD SCALES FOR THE V7 CHORD (PRIMARY DOMINANT SEVENTH) ‘There are many different chord scales available for the V7, the “primary” dominant seventh chord (for instance, G7 in the key of C). The appropriate choice is determined by tensions listed in the chord symbol, melody notes, musical context, and personal taste. or Maclydian vr 1 m a st 5 13 w 1 G7sus4 Mooiyaian Visusd 1 8 89 suse 5 m3 7 1 61(69,413) or G7(#9,413) Moclysin (68, 49) 709,413) VI7(49,413) 1 no tye a se 5 119 w 1 679613) Moclysian 13 V719,613) 1 m a sa 5 Tis. ‘7 1 61(69,b13) or G7(H9,b13) _ Mxolyian (69, 613) oF Miolysian (49, 613) V7(69,b13) V1(89,513) 1 mo TH 3 se 5 This w 1 G7 (altered) or G7(65,b9) ‘Atored dominant VIKA) VT(bS.b9) 1 whe 49 3 bs Ti ” 1 Grit) ysian b7 vai) 1 m 3 TH 5 113 ‘7 1 a Whole tone vi7 1 9 3 m1 4 7 1 (G7 ($9,811,613) oF G7(89,811,4 13) Symmotic Diminished (Symmetric Dominant 709,811,413) 749,411,413) 1 To Tho 3 Tet 5 13 w 1 19ARRANGING FOR LARGE JAZZ ENSEMBLE SECONDARY DOMINANT SEVENTH CHORD SCALES A “secondary” dominant seventh chord moves directly to a diatonic chord other than the Tchord (ie., V7/I, V7/I1, V7/V, V7/V, V7/VD. When the target chord contains a major 3rd, the secondary dominant seventh chord generally takes Mixolydian as a chord scale. When the target chord contains a minor 3rd, the secondary dominant seventh chord takes a chord scale containing T»13. The following secondary dominant seventh chord situations all relate to C major as “home.” ar Mixon $19 4 vim 3 —= = o te ° . 9 3 se 5 his w 1 87 Mixoydan 68,613, via 1 ye 3 st 5 mo 1 © Mactan YUN Ge o: 2 ve ° ° 1 1° 8 sa 5 1a w 1 b? Moxeyian vw ET Mivoyeian 93619 ———_——————— = Sa J 1 te tho 3 st 5 we 1 SUBSTITUTE DOMINANT SEVENTH CHORD SCALES. All SubV7s, those dominant seventh chords resolving down half a step to a diatonic target, take Lydian 67 as a chord scale. (Remember, C major is “home.”) er vysonb7 oovm = = S i a "7 tons? subV7/IKL 1 9 8 me 5 113 Ww 1 26CHAPTER 1 | BASIC INFORMATION br Lydian 47 b , bo ———ha wovny Ss 1 19 3 te 5 113 w 1 Ab7 Lycian 57 g. al b be subV7V Gx a 2 1 1 a TH 5 m3 uv 1 Bb7 yan 57 subV7/VL SS SS = 1 19 3 mH 5 19 Ww 1 SPECIAL FUNCTION DOMINANT SEVENTH CHORD SCALES These nonresolving dominant sevenths do not go down a half step or perfect fifth to a target. They are “color chords” uswally found in a blues context and often move directly, or as part of a pattern, to the I chord. co ayn ro & = ws = a 3 7 8 3 st 5 mow : C79) “Blues Scale” 1789) = — = ve - 4 = : 9 3 ts 5 1 ” 1 b CUH9,4 13) ‘Symmetric Diminished 7g9.13) 5 oe 20 4 % e oe i ter , we om 8st pri) syn 67 » — = 8 som 5 nm OW 1 aARRANGING FOR LARGE JAZZ ENSEMBLE EbWEII) Lydian 67 buy = ar jo oe — a Do mw os wm « mw ow 4 # veins w Fa St , ml fp yan i7 w € ————— we — 1. wos wm 6 wm Rw 4 Gb7 tydian 67 ste bo-——bo. ovr es eS SS ovin ” yan 7 w €= = Ss Se ; ® 3 oth 8 5 Bb7 Lydian 67 svur & — = ° % 2 ows mow 1 87 tytan v7 vw =o — a ooo te to" +e : 3mm 8 1 2CHAPTER | | BASIC INFORMATION DIMINISHED SEVENTH CHORD SCALES Passing Diminished cye7 #7 1 be bs ses bs T 7 1 1 . Dee7 #°7 1 she ba sea bs Tr 7 T 1 FHe7 a1ve7 1 she 3 T 5 T o T 1 ave7 ‘ sie ha sv Is T 7 1 1 Chromatic Diminished Eb°7 buie7 1 T bs ses bs T 7 1 1 Auxiliary Diminished or rT or ver 23