Chapter Ten Harmonization Techniques: 4 Way Close A working knowledge of chord symbols is essential to understand the material covered in this and ibsequent chapters. For the purposes of this book, the author describes the root, 7th, 5th and of a chord as “note categories” from which a wide variety of substitute voicings will be ived. y Cl fundamental yet effective four-part harmonization technique that produces a tight mobile and works well with fast or slow passages. 4 Way Close can be utilized when writing for combination of saxophones, woodwinds, trumpets and trombones. This technique and its jing rules are the basis for many of the techniques that will follow. Lead plus three harmony notes below. All four voices within an octave. Four different pitches. One note from each category (root, 7th, 5th, 3rd) or its available substitute. Adjacent intervals include 2nds, 3rds and sometimes 4ths. lose Double Lead the same technique as 4 Way Close with the addition of a duplicate of the lead voice we lower. This 5-part technique is common when writing for saxophone section (A, The recording group “Super Sax” used this technique extensively. The double lead est and 5th voice in this technique. for Effective 4 Way Close Writing id the interval of a major 2nd adjacent to the lead voice on note values longer than er note. This harmonic rub partially obscures the lead line. ‘The rub becomes apparent the higher it’s written. ‘r write the interval of a minor 2nd against the lead. It obscure the lead line. Chanter 10: 4d Wav Claca 82AAvord: Cluster voicings \voicings containing (wo or more groups of adjacet means of harmonizing in 4 Way Close style. * Solution for the above problems is to use Available Substitutions as list Available Tension Chart, (pg. 85, discussed next) and/or Drop 2 (described in Chapter Eleven, pg. 88). “The 4 Way Close Rectangle” ‘This diagram helps visualize the stacked voicing ted of 4 Way Close. Use this diagram applying the three steps below A Three Step Approach to Creating 4 Way Close Voicings 1. Determine the category of the lead (melody) vo categories:” root, 7th, 5 as one of the primary “note th, 3rd or an available substitution (sce Available Tension STH SUBSTITUTE nore. STH CATEGOeY —_—_f00 ove nore From Or CATEGORY BELOW — “ENO Voice StH/eooT CATEGORY (Es0 VOICE 2. Afler determining the category of the melody or lead note, fill in the other three categories below using primary notes or substitutions per guidelines below [Ex. 10-2, 10- 3, 10-4, 10-5] 84. Jazz Arranging Techniques3. Ifcorrect, the voicing will be less than an octave from the highest to the lowest note contain all four “category notes” or available substitutions with no duplication. AVAILABLE TENSION CHART Category With Listed Substitutions u 9 = 11 wh5 (no rt) 9, b9, #9 - #11, 13,b13 11 (sus ples: ‘The substitution for the 5th of a mi7th chord is the 11th. A substitution for the m7th chord is any of the following: 9, b9 or #9, depending on the chord function and ce of other tensions.Guidelines for Effective Voicings The characteristic sound of a voicing is directly a result of the intervalic relationship between all the pitches in the voicing. There are four intervalic groups. 1. Minor 2nd intervals and major 7th intervals produce the most tense, rich sound. 2. Major and minor 3rds and 6ths and perfect Sths are the least tense, the most mellow sounding. 3. biths, major 2nds and augmented 4ths (b5ths) exhibit a level of tension between the first two groups 4. ‘The perfect 4th interval produces a unique sound that exhibits properties of tension and mellowness with a strong resonating character. When striving for the most tense voicing possible, select substitutions or chord tones that will produce either minor 2nds or major 7th intervals within the voicing. [Ex. 10-6 to 10-11] Ex. 10-6 Ex, 10-7 Ex, 10-8 Ex, 10-9 Ex. 10-10 Ex. 40-44 ce Du? Fu? ait 7d» pth 1305) mod et) a 2x0 ?9 (9) on () a2 exception voicing: to distinguish the Available Tensions on Diminished Chords On diminished chords, any note a whole step above a chord tone is an available tension. By combining two diminished chords (one built a whole step higher), an auxiliary diminished scale is created., It is also known as the “whole/half” scale, because the intervals in the scale are w/h/w/h etc.). Tensions are most effective as lead notes on diminished chords. [Ex. 10-12, 10- 13, 10-14] Ex. 10-12 fapaty ont cca) Ex, 10-13 Ex. 10-14 e p07 so7 TENSIONS MA 567USE cH029 TONES AND SUBSTITUTIONS ‘TO COMPLETE THE VOICINGS. INCLUDE NUMEGIC EQUWALENTS FOR EACH VOICING OL = Douste LEA CMa 4 Way CLose ASSIGNMENT 47 3 Oui?Chapter Eleven Harmonization Techniques: Drop 2, 3, 2 and 4 Drop 2 Technique ‘This technique is derived from 4 Way Close. Drop 2 Technique produces a slightly more open voicing with a fuller sound. This technique can be slightly less mobile than 4 Way Close depending upon the range of the lead voice and the corresponding instrumental registers. Lower is slower! Definition: Lead plus 3 harmony notes below, Four different pitches. One note from each category: Rt. 7, 5, 3. Drop 2 is derived from 4 Way Close by lowering the 2nd voice from the top, one octave (Ex. 11-1]. PEN 5. Note spacing is more open with adjacent intervals of 2nds, 3rds, 4ths and Sths (Ex. 11-2 through 11-5] 7 oe Ex, di-4 Ex. 11-2 Ex. 11-3 Ex. t1-4 Ex. 11-5 7 Fo ry Los oe onor 2 Cu? e [ERO VICE CROPPED ONE SOT Drop 2 Double Lead Lead voice (melody) is doubled one octave lower, resulting in a 5 note voicing. In Drop 2, the doubled melody is the 4th voice from the top. ‘The 2nd voice is dropped one octave to form the Drop 2 technique and becomes the 5th and lowest voice [Ex. 11-6, 11-7].Ex. 11-6 ogop 2 OL (oouste iea0) Ex. 11-7 ogop 2 OL rds Gui? oP [NOTE EACH ENAMPLE THE OL CREATED A INO @UB THE VONG Variations on Drop 2 Drop 3 is similar to Drop 2, except the 3rd voice is lowered one octave instead of the 2nd. This technique produces a semi-open voicing similar to Drop 2 that can be effective with certain combinations of chord symbol and lead note [Ex. 11-8, 11-9]. Ex. 11-8 Deop 3 Ex. 11-9 Ovop 3 Gui? C769 59 (rt) 3) = = Drop 2 and 4 is similar to Drop 2, except the 2nd and 4th voice are both lowered one octave. This technique produces a very open voicing that is fuller and less mobile than Drop 2 or Drop 3, When including double lead, it is well suited for 5 saxophones playing pads or slow moving lodies [Ex. 11-10]. In Drop 2 and 4 double lead, the doubled lead voice is placed 3rd voice ym the top. Ex, 41-10 Oeop 2/4 Ob oe ce : By remembering numerical equivalents [rt b5 rt b7 3] of the voicing formulas the voicings bbe easily transposed to any key, ent #8 provides voicing practice in all the drop techniques. Use substitutions to Chanter 11: Dean? 2 Qandd 2OUse c4oro roves wo svssriurens OOP TECHNIQUES ‘TO COMPLETE THE VOICINGS. INCLUDE NUMERIC EBUWALENTS FOR EACH VOICING ASSIGNMENT #8 NAME, (OL = ooune Leto) cme OD Tees Aeranaines Tachninuec.