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,