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Arranging for the

Small Jazz Ensemble
A Step-By-Step Guide with Practical
Exercises and Recorded Examples
Robert Larson
Arranging for the Small Jazz Ensemble
Arranging for the Small Jazz Ensemble presents an innovative approach to the
challenging subject of jazz arranging. The author, Robert Larson, has nar-
rowed down the choices of instrumentation and texture in such a way that
anyone from a novice jazz enthusiast to a seasoned professional can learn how
to arrange jazz standards and originals in a relatively short period of time.
Four original jazz tunes are used throughout the book to demonstrate texture,
instrumentation, introductions, endings, interludes, solo backgrounds, solis,
and shout choruses. Each chapter contains exercises that give the reader a
chance to practice the techniques learned in that chapter. By the end of the
study, the reader will be equipped to create a complete jazz arrangement.
With everything you need here in one book, why aren't you Arranging for the
Small Jazz Ensemble?
ROBERT LARSON is the director of jazz Studies at Shenandoah University in Winchester,

Virginia where he has taught jazz arranging for over twenty years. He has conducted
extensive research into jazz style, and has published articles on teaching improvisation
and on the early piano style of Bill Evans.
ISBN 978-0-9795051-4-0
90000
WWW.SMALL)AZZENSEMBLE.COM
9 780979 505140
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Arranging For The
Small Jazz Ensemble
Arranging For The
Small Jazz Ensem le
A Step-by-Step Guide with Practical
Exercises and Recorded Examples
Robert Larson
©Robert Larson 2010
All rights reserved. No part of this book may be used or re-

produced by any means, graphic, electronic, or mechanical,
including photocopying, recording, taping or by any informa-
tion storage or retrieval system without the written permis-
sion of the publisher.
Published by Armfield Academic Press
Editorial Consultants: Bryan Kidd, Graham Breedlove, Steve

Fidyk, Craig Fraedrich, Joseph Henson, Matt Niess, Kenny
Rittenhouse, Jim Roberts, Regan Brough, Tony Nalker
ISBN: 978-0-9795051-4-0
Library of Congress Control Number: 2010907907

To my many musician friends, whose advice and great
playing continue to inspire me ...
To my students, who have allowed me the opportunity
to develop the materials that fill these pages . ..
And to Karen, Rachel, and Sarah, who tolerated the
long hours of writing, composing, and editing...
I give my heartfelt thanks
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Contents
PREFACE xi
How TO UsE THIS BooK xiii
Part I: Form & Texture 1
1 CoMMON SoNG FoRMs 5

A Closer Look At Song Forms 5
Chapter Summary . . . . 7
2 THE ExAMPLE TuNES 11

Swing Example Tune: "Why Not Now" 12
Latin Example Tune: asabrosa" . . . . . 15
Ballad Example Piece: "December Serenade" 20
Chapter Summary . . . . . . . . . . 23
3 BASIC ARRANGING STRUCTURES 27

Instrumental Textures . . . 28
Basic Arranging Structures . 29
Chapter Summary . . . . . 33
Part II: The Instruments of the Small Group 39
4 BRASS AND SAXOPHONES 43

Writing For Wind Instruments 43
The Trumpet . 45
The Trombone .. 47
The Saxophone . . 49
Chapter Summary 52
vii
viii ARRANGING FOR THE SMALL JAZZ ENSEMBLE
5 THE RHYTHM SECTION 57

Role in the Ensemble . . . . 57
Notating Rhythm Section Parts . . . . . 58
The Instruments of the Rhythm Section 60
Drum Notation . . . . . . . . . . . . . 62
Reinforcement and Integration . . . . . 63
Don't Be Intimidated by the Rhythm Section! 64
Chapter Summary . . . . . . . . . . . . . . . 64
Part III: Jazz Harmony & Voicings 71
6 TERTIAN HARMONY 75
Close and Open Voicings 76
Inversions and Positions . . . . . . . . . . . . .. ' .... 79
The Value of the Piano for Arranging Students 81
Circle of Fifths Progressions 103
Choosing a Chord Position 107
Open Voicings . . 115
Chapter Summary . . . 117
7 QuARTAL HARMONY 125

Quartal Harmony= Drop-2/4 126
Transposing Quartal Voicings 127
Quartal Voicings as Four-Note Structures 127
Quartal Voicings as Dominants . 128
((So Whatn Voicings . . . . . . . . . . . . 129
Transposing ((So What" Voicings . . . . . 130
((So What" and Quartal Voicings in Context 130
Chapter Summary . . . . . . . . . . . . . 131
8 SLASH CHORDS 137

Uses of Slash Chords 138
Chord Over Chord ..... 139
Voicing Summary .. 142
Chapter Summary 142
9 NoNHARMONIC ToNES 147

What is a Nonharmonic Tone in a Jazz Context? . 148
Texture . . . . . . . . . . . . . . 149
Approach Techniques . . . . . . . 149
Approach Techniques in Context . 154
Chapter Summary . . . . . . . . 159
CoNTENTS ix
Part IV: Writing An Arrangement 183
10 PLANNING AN/ ARRANGEMENT 187

Preliminary Steps: Listening and Analysis . 187
Brainstorming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Transferring Words Into Notation: Three Steps from Sketch to Finished Score 191
Chapter Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
11 Two-PART WRITING 197

Instrumentation . . . . . . . . . . . . . . . . . . . . 198
Two-Horn Writing . . . . . . . . . . . . . . . . . . . 202
Characteristics of Specific Intervals in Harmony Parts . 204
Example Tunes Harmonized in Two Voices 219
Conclusion . . . . 245
Chapte,r Summary . . . . 245
12 FouR-PART WRITING 249

Example Pieces Harmonized in Four Voices 251
Chapter Summary . . . . 278
13 THREE-PART WRITING 281

Three-Part Voicing Structures 281
Example Tunes Voiced in Three Parts 284
Chapter Summary 286
14 INTRODUCTIONS 289
Common Introduction Types . . 290
Improvised Introductions 291
Last Section of Melody 292
Vamp . . . . . . . . 295 ·
Melodic Fragment 298
Unrelated Material 299
Chapter Summary 303
15 ENDINGS 307
Stock Endings . . . . . . . 308
Common Ending Types . 309
Tags . . . . . . . . . 309
Vamp . . . . . . . . . . . 315
Melodic Fragment . . . 317
Unrelated Material: Vamp 318
Unrelated Material: Newly Composed Section . . 320
Chapter Summary . . . . . . . . . . . . . . . 322
X ARRANGING FOR THE SMALL JAZZ ENSEMBLE
16 CoMMON PROBLEMS & SoLUTIONS 325

Parallel Harmonies . . . . 329
Awkward Lines . . . . . . 333
Awkward Repeated Notes 335
Overwriting . . . . . . . . 337
Lack of Integration with the Rhythm Section 339
The a correct" Version 341
Chapter Summary .. ., ....... 343
17 THE CoMPLETE ARRANGEMENT 345

Creating the Score and Parts 346
((Why Not Now" ... . .... 348
''Sabrosa" ........ 366
"December Serenade" 385
"Finding the Groove" . . 392
Chapter Summary 402
18 CoNCLUSION 405
Appendices 407
A TuNES FOR ExERCISES 409

ABAC Swing Exercise Tune . 410
AABA Latin Exercise Tune . 412
AABA Ballad Exercise Tune 414
B SAMPLE PART 417
c STAFF PAPER 421

Plain staff paper for general use . . . . . . . . . 423
Three-staff sketch paper (portrait orientation) .. 425
Three-staff sketch paper (landscape orientation) . 427
Score paper for two horns and rhythm . 429
Score paper for three horns and rhythm 431
Score paper for four horns and rhythm. 433
INDEX 435
Preface
In order to survive in today's music world, one must wear many hats-that of player,
teacher, businessman, and a host of others. But for the jazz musician, the importance
of having good arranging skills cannot be overstated. Improvisation, composition, and
arranging are at times so intertwined that they become almost indistinguishable from
one another. Therefore, every student of jazz needs to have at least some arranging
chops.
Like many musicians, I was a player before I was an arranger. While I enjoyed writ-
ing music early in my career, I was unsure of how best to express my intentions to other
musicians. I recall feeling comfortable writing for rhythm section instruments (since I
am a pianist) but intimidated when I needed to add horns into the mix. Through trial
and error, I found that transferring my knowledge of elements such as voicings, style,
and form from the piano keyboard to the small group or big band score was not as dif-
ficult as I had feared. Studying with successful arrangers further confirmed that I was
on the right track. Thus began my journey of organizing in my own mind a step-by-step
method which enabled me make the leap from player to arranger.
The materials presented in this book are the product not only of my experiences as
an arranger, but from over twenty years of teaching jazz arranging courses at the college
level. I have used this method to help many students write successful arrangements, and
I sincerely hope that you will find it useful as well. Regardless of where your musical
career takes you, any time you spend studying arranging will offer a valuable return on
your investment.
Robert Larson
Xl
How to Use This Book
This book may be used as the textbook for the first unit of a jazz arranging sequence at
a college or university or by a self-taught individual for personal study. It was designed
with several built-in features to make it well-organized, user-friendly, and above all,
educational. The following tips have been provided to help you obtain the maximum
benefit from the book.
Use the Website

Supporting materials for this book are located at www.SmallJazzEnsemble.com, which
is the book's website. All of the audio examples, the assignments in PDF format, trans-
posed scores, staff and score paper, and short instructional videos pertaining to various
jazz arranging topics are located here.
Before You Get Started

If you are reading this right now, you are probably already a jazz lover. But in addition to
a love of jazz, you should also have some background in jazz theory. Aspiring arrangers
should have (in addition to a good sense of jazz style) a basic familiarity with chords,
scales, and lead sheets.
Example Tunes
I composed three example tunes especially for this book. These tunes appear through-
out the book in various incarnations-they are first introduced in chapter 2, then used
throughout the book to demonstrate various techniques and concepts, and finally pre-
sented as complete small group arrangements in chapter 17. An additional tune is used
to illustrate common arranging errors.
Audio Recordings
There are audio recordings of many of the musical examples in this book. All of these
recordings are offered free of charge at www.SmallJazzEnsemble.com. Be on the lookout
for this symbol:
llllf>)) 2.4
xiii
xiv ARRANGING FOR THE SMALL JAZZ ENSEMBLE
Whenever you see that symbol next to a musical example, be sure to listen to the record-
ing with the corresponding track number.
Assignments
Throughout the book you will find various assignments that parallel the exercises that
I give my own arranging students. At first, these assignments are very specific and
detailed, covering such topics as instrumentation, voicings, countermelodies, etc. Later
in the book, however, the assign1nents build upon the fundamental skills learned earlier
as the student begins to create actual arrangements. I have composed three original
tunes, found in appendix A, that will be used as the basis for the arrangements assigned
to the reader.
Some of you will be using this book for personal study, while others will be using
it as the textbook for an arranging class. Therefore, I have provided several options for
completing the assignments. Choose the method that is most appropriate for you.
Download an assignment in PDF format from the book's website. Print it out.
Write on that page. Turn it in to your teacher (if required).
Photocopy an assignment from the book. Write on the photocopy. Turn it in to
your teacher (if required).
Carefully tear out an assignment from this book. Write on that page. Turn it in to
your teacher if required. The reverse page of each assignment has been left blank.
Free Staff Paper

In the back of the book (in appendix C) I have provided several useful varieties of staff
paper that you may photocopy freely. There are blank staff paper templates for gen-
eral use, sketching, and scoring for small group. These staff paper templates are also
provided as PDF documents on the website for your convenience.
Get Your Music Played

The goal of this book is to teach you how to write for a small jazz ensemble. For a bud-
ding arranger, however, the most educational experience you can have does not come
from a book but rather from actual playing situations. Hearing your music played by
real musicians is the most valuable learning laboratory there is because the players will
give you valuable feedback on what you have written. After all the hard work of plan-
ning, sketching, and writing the chart, don't neglect to have your charts played by a
real band. The first time you hear your own music performed is sure to be a thrilling
experience.
Part I
Form & Texture
1
What goes into the creation of a great jazz arrangement? Are there arrangers who
just start writing and it comes out swingin'? Undoubtedly there are those who have the
gift to hear in their ,minds how an arrangement should go and they then just write it
out. If Mozart were Ia jazz musician, I'm sure he'd be one of these lucky few. For the rest
of us, however, it's a different story. Most successful jazz arrangements are constructed
through plenty of hard work and careful deliberation. Theynormally don't just happen
by chance.
Before a chef prepares a meal, he or she must first understand how each ingredient
tastes and how they blend together. Likewise, a musician must also grasp the parts in
order to create the whole. A chef uses his or her taste buds to evaluate and learn about
the characteristics of each ingredient and the craft of cooking; musicians use their ears
by practicing careful listening.
In each of the first three chapters of this book, the reader is encouraged to listen
and to become aware of the flow and direction of jazz tunes. Song form is explored in
chapter 1. Chapter 2 introduces the tunes used throughout this book for study. Chapter
3 begins the exploration of texture and jazz arranging form.
3
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Common Song Forms
An important early step to becoming a jazz arranger is to gain an understanding of the
different types of song forms that are common in the jazz tradition. In music, form
involves the organization of elements such as time, melody, and harmony into relation-
ships. There are actually only a few forrns that dominate the jazz repertoire. Under-
standing these simple forms (and they are indeed simple compared to their classical
counterparts) can help a novice arranger organize the melodic and harmonic materials
in ways that work consistently.
The four tunes composed especially for this book follow these basic forms. Also,
these tunes represent the most common styles found in jazz: swing and Latin. The tern-
pos vary from ballad tempo to medium-up. In this book the term tune is synonymous
with the classical term piece. Piece is just too formal a word for a book about jazz!
A Closer Look At Song Forms

As I mentioned a moment ago, jazz standards tend to follow one of several common
song forms. The most common forms for a jazz standard are AABA, ABAC and the
5
6 ARRANGING FOR THE SMALL JAZZ ENSEMBLE
The Originsofj~z Standards

Many oftoday'shest-kno'Nnjazz standardswerene\fer intended to become the
enduring, iconic compositions we know today~ A large number of these songs
startedout as $howtunes(i.e.,·part of some kindof~tagemusical), manyfrom
Tin Pan Alley. In the days before the widespread popularity of recorded. music,
a greatnumber of musicpublishers had offices in the .Tin Pan Alley districtof
Manhattan. Aspiring composers would flocktothesepublishing houses·hoping
to sell their songs and make a quick puck. Other times, staff writers W01Jid
supply new songs for these publishers. These companies would then make a
profitby selling the songs in the form of sheet music, arranged for piano and
voice. When a publishing house f?und asongthat it liked, it would push toget
the songusedinan upcomingBroadwayshow. The exposurefromthese shows
would then cirive sheetmusic sales for the publisher; Sometimes acorn poser's
song would appear in a musical revue with the songs of other cornposers,and
othertirnesthe ehtire score for a Broadway show would be written by one
composer. All of the composers of today'sgreatjazz standards (suchaslrving
Berlin, Cole Porter, George Gershwin, jerome Kern an~ Richard Rodgers) wrote
tunes for Broadway musicals and Hollywood movies.
blues. Since it is so crucial for an arranger to have a thorough understanding of song

forms, let's take a moment to examine each of these three song forms individually.
AABAForm
The AABA form is perhaps the most common song form in jazz music. The main theme
(usually eight measures long) is stated twice and is followed by a contrasting bridge also
eight measures in length. The form concludes with a final restatement of the A section.
Some well-known tunes that have an AABA form are uTake the A Train/' ''Have You Met
Miss Jones/' ((What Is This Thing Called Love/' and "Honeysuckle Rose."
Typical arrangements present the entire melodic form (known as the head) once be-
fore the improvised solos or before any newly composed material such as a shout chorus.
At the end of the piece, the entire melody of the song is usually restated. Sometimes,
instead of finishing the tune by playing the entire melody, the arrangement returns to
the bridge and then concludes with just the bridge and last A section of the tune.
ABAC Form
Another extremely common song form is ABAC form. Although each section is normally
eight measures in length, it is useful to think of this form as two sixteen measure sec-
tions. In the first half, the main theme (A) leads to an eight measure contrasting section
(B). The second sixteen measure section also begins with A, but concludes with a section
(C) that provides a contrast with B. Some well-known tunes that have an ABAC form are
{(In A Mellow Tone," ((On Green Dolphin Street/' '(I Could Write A Book," ((I Left My
Heart in San Francisco," and "Just Friends."
CHAPTER 1: CoMMON SoNG FoRMs 7
Similar to the AABA form, a typical arrangement of an ABAC tune will state the
entire head once before the improvised solos or other material. At the end of the piece,
the entire melody of the song is usually restated. Sometimes instead of finishing the
tune by playing the/entire melody, the arrangement will return to the second A section
and finish by stating only the last A and C sections.
The Twelve-Bar Blues

The twelve-bar blues (usually just called the blues) is perhaps the most important song
form in jazz and popular music. The origin of the blues is rooted in the ''call and re-
sponse" traditions of African-American folk music. Contemporary treatments of a blues
often retain this ((call and response" relationship. The blues is probably also the form
most familiar to the novice jazz listener. ((C Jam Blues," ((Tenor Madness," and "Now's
the Time" are examples of well-known blues tunes.
In the next chapter we will study these song forms further as we examine the exam-
ple tunes.
Chapter Summary
1. The most important forms in jazz music are AABA, ABAC and the blues.
2. Arrangers must develop a thorough understanding of these common song forms.
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CHAPTER 1: CoMMON SoNG FoRMs 9
------Assignment 1.1
Song Form Analysis
1. Analyze the form of several tunes from a fake book. Determine whether each
tune is MBA, ABAC, blues, or some other form.
2. Listen to several jazz recordings. Without looking at a lead sheet, analyze and
identify the form of each tune.
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I
The Example Tunes
The purpose of this chapter is to familiarize you with the compositions written espe-
cially for this book. Each tune has an accompanying recording which is indicated by the
special audio icon at the beginning of each tune. After each lead sheet, a harmonic anal-
ysis of the tune is given to stimulate further study. In each harmonic analysis, the chords
are rendered only in root position. Of course, these root position chords are unsuitable
for actual arranging; they are presented here only for the sake of study and analysis.
Because of the harmonic complexity of some example tunes (such as "Sabrosa" and
"December Serenade") several of the chords included in the analysis contain upper ex-
tensions. While working through the text, refer back to these analyses so that you keep
the harmonic context in mind as you explore the various arranging techniques. The
more familiar you are with the example tunes, the more you will get out of the exam-
ples and illustrations found in later chapters.
While there are four tunes composed for this book, only three are presented in this
chapter. The fourth, a blues, can be found in chapter 16 in which we explore common
arranging mistakes.
11
12 ARRANGING FOR THE SMALL }AZZ ENSEMBLE
Swing Example Tune: "Why Not Now"

{(Why Not Now/' our first example tune, is an up-tempo swing tune with an AABA
forn1. It employs a modified {(I Got Rhythm" chord progression (the chord progression of
George Gershwin's famous song /(I Got Rhythm" often called simply {(rhythm changes").
This piece is a challenge to arrange because of the speed and motion of the melody.
Choosing the appropriate instrument to play the melody will be particularly important.
CHAPTER 2: THE EXAMPLE TUNES 13
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Analysis of "Why Not Now"

"Why Not Now," while similar to the ur Got Rhythm" chord progression in some ways,
also contains a unique series of ii-V movements beginning in measure 4. Also, notice
the text boxes which identify chord substitutions. The key centers of the bridge move in
minor thirds: Gb-A-C.
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CHAPTER 2: THE ExAMPLE TuNES 15
Latin Example Tune: "Sabrosa"

((Sabrosa/' our Latin/ example tune, is a sixty-four bar AABA composition. Each section
is sixteen bars long :{twice as long as what you would find in most jazz standards). The
bridge offers an interesting opportunity for the arranger as it travels to a rather distant
key.
16 ARRANGING FOR THE SMALL ]AZZ ENSEMBLE
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33J J I J J :l J IJ J :J. tl)__j. tlJ 3JJJ I

Analysis of "Sabrosa"
As you will see refl~cted in the analysis on the following page, "Sabrosa" is a complicated
tune. But the har~ony is functional, and while there is some modal interchange (i.e.,
borrowed chords)'occurring (see measure 4, the III+ ofF minor), there are also simple
progressions as well. As a result, the voice leading will be relatively smooth.
AMA\.'ift\ft 0~ "ftA&tOftA•
@(ID@~Mi7 g7(~~) d~~~
4~.,
F: ii
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v
~7
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,., Ia
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iii f: III+
V/V/iii V/iii
or a: V/V v IScale choice =A~ lyd/aug I
~Mi7 ~7 &i(t~~ ~Mi11 £Mi7 Ai~
4~ i I ~~-·
v
h~~ ldl I iH
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Isub for F7, orVN/iii as in bar 21
QMi7 ~1~ ~fMi7(~&) ~Mi7 ~IS SpMA7 ~/A Apo7
4• 0 !, I~ ,~ l~j PI lj ~~i
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b
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ii iii v
@ QpMA7 dtl\) ~Mi7 Sp1~
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v /iii
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iii
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TTS = tritone substitution

PC = passing chord
BC = borrowed chord
£pMi7 Api~ 0pMA7
$~ dl I~~9 I~Pf[ Zfg

ii v I
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~~ ~~t::· IPtO I~~~ 1~1

V/IV vi V/V
A~: ii v
Iii - V sequence starts here I
ApMi7 Op7 AMi7 07
$~ pPto IPtO IH IfH I

G~: ii v G: ii v
Ballad Example Piece: "December Serenade"

"December Serenade," our ballad example tune, has a modified ABAC form in which
the final section is only four measures long. The most attractive feature of this tune is
its harmonic color. The opening descending melody includes long tones on rich domi-
nant Hll chords. Later, we will discover that measures 2 and 4 are logical places for a
countermelody.
111111>~) 2.3
r----1-__, Sp7(#it) £pMA7

F F ~J Io 1r
£MA7(~&) ~ ~it1 ~pMA7(~&)
J p] I J ~~ jllg lg
£p7i~4
IJ
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pr
J J1]jjJ r pJ lo
r-- s---, Sp7(#1t) £pMA7

'v· '
F F ~J Io 1r
c.~i11 SMA7
~ ~J 'c rw t r~r rrtf
@A,(tl\\ c7lt9) ~!,{~9) ~ ,(tl\\ &MA7{P&)
~W ~ f 'D ij~ 'r ~t:LJ. p~J ~£S-1c~· II

Analysis of "December Serenade"

((December Serenade" is comprised primarily of sequential falling fifth movements that
shift the key center every two measures. It also features modal interchange in which the
1
V of III (the E7 in measure 12) resolves to the III ofF minor. The tun.e concludes with
a bluesy-sounding line that is supported by a dominant chord cycle culminating on a
tritone substitution (the Bma7(b5)) of the tonic chord (F).
AMA\.'i''' OF ..CEQEWSEt 'EtEMACE..

Spi(~t) £pMAi Ap;(#11)
IPJ I,1
F: I Ep: V I
1
Op: V
'tl
sequential descending fifth pattern
QpMAi £MAi(p&) ~Mi11 ~pMW(p6)
4~ ~~H I
IPffl
dp: III F:
II
ii
I,~1
TIS
(]) (!.iiUi4 QiiUi4 £pit.Ui4 d~~

4i? v
I!'
PC
IPt~
PC
lj·i
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ApMAi(#6) ~pMAi{p&)
r~
~Mi11
~HH li II 1 ,~u
f: III+ VI F: ii TIS
~~~t
Sp;{#it) £pMAi Ap;(#11)
~~~ I ,1 1
Ptl
I EP:v I Op: v
QpMAi (!,Mii1 SMAi SpiiUft4

~& ~PH ~~~ IJf~ I,Pg«,
u
I f: v TIS iv
@ A?(tl\) c;{#9) ~i~{p9) ~?~~~~ SMA;{p6)
~i f$ ~~~· I P., I
V/vi V/ii
Idominant cycle I
V/V v errs
Isub for Fma71
TTS = tritone substitution
PC = passing chord
CHAPTER 2: THE ExAMPLE TuNEs 23
Chapter Summary
1. Much of this book revolves around the example tunes.
I
2. The example t1unes will be used to teach the nuts and bolts of arranging.
3. Study the example tunes carefully so you benefit fully from what comes later.
4. As you work through the book you will need to refer back to the lead sheets and
analyses of the example tunes.
~ I
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CHAPTER 2: THE ExAMPLE TuNEs 25
The Example Tunes
Familiarize yourself thoroughly with the example tunes given in this chapter.
Listen to the recording of each tune until you can sing the head from memory.
Also study the lead sheet of each tune, playing the chords on the piano if possible.
r I
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Basic Arranging Structures
Creating an arrangement is similar to building any complex structure. The jazz arranger
brings together disparate elements in order to create what is hopefully a unified whole.
Since music exists in time, the order of events is critical for· an arrangement to make
sense to the listener.
Musical form is created by rhythm, melody, harmony, instrumentation, and texture.
We have already seen the first three of these elements in the discussion of song forms in
chapter 1, as well as in the analyses of the example tunes in chapter 2. Song forms such
as AABA, ABAC, and blues may be created using only these three elements; when we add
the last two elements (instrumentation and texture) more complex musical creations
may result. In chapters 4 and 5 we will discuss issues of instrumentation in detail.
Texture, the fifth element, provides one more way in which to build the structure of an
arrangement.
27
Instrumental Textures
The word texture is often used to describe how something feels to the touch-the rough-
ness of sandpaper or how ice cream melts in your mouth. Musical texture obviously
refers to how something sounds. There can be light musical textures (e.g., flute and
harp) or heavy textures (e.g., bass trombone, euphonium, and tuba). What we're talk-
ing about here is how instruments are combined and how those combinations affect the
structure of the arrangement.
There are only a few ways to combine instruments. In its simplest form, the writing
process for two or more horns can be organized into four possible textures:
1. Unisons (or octaves)

2. Homophony
3. Polyphony
4. A combination of two or more of the above
Let's take a moment to examine each of these important textures in a bit more depth.
Unison
Sometimes, when one of my students turns in an arranging project, he or she says smne-
thing like this: "I couldn't think of anything else to do, so I just wrote unison horn parts."
My response: "Bravo!" Simple does not mean inferior. Combining two or more horns
in unison or octaves achieves one very important goal: A new instrumental timbre is
formed from the combination of two or more instruments. Blending instruments will
be discussed in chapter 11. For now, just keep in mind that simply having the horns
play the same pitches, either in unison or at the octave, is an effective way to combine
instruments.
Homophony
By the late fifteenth century, two textures had come to dominate Western music: ho-
mophony and polyphony. Homophony occurs when a melody dominates other voices,
and these accompanying voices generally follow the rhythm and contour of the melody.
The melody is normally the top voice in this texture. This is a very common texture in
all kinds of music-from the saxophone soli to gospel piano playing to the barbershop
quartet.
Polyphony
In polyphonic music, the individual parts are independent of one another. The best
example of polyphony is the music of J.S. Bach. If you listen to a fugue from The Well-
Tempered Clavier you will instantly understand what this texture sounds like. To write
polyphonically is to view music in a horizontal fashion. A primary difference from
homophony is in the realm of rhythm. The individual voices in a polyphonic texture
do not normally follow the rhythm of a predominant melody as in homophony.
CHAPTER 3: BASIC ARRANGING STRUCTURES 29
Greek··· Roots
I
The words h~mophony and polyphony are based on Greek root words. The
word homodhony comes from two Greek roots: homos and phone (FO-nay).
The word homos means"same" and the word phone means~' sound" or nvoice."
Solit~raHy.the word homophony means"same.sound"or··"same yoice." .The
word polyphony also comes from Greek roots: polloi ancJ phoQe. The Greek
word polloi means "many." s() literally, ·the word polyphony means "many
or
sounds" 11manyvoices." . . .
A Combination of the Above

Although it is perfectly acceptable to write an arrangement that is dominated by any
of the textures described above, arrangers often use a combination of these textures.
For example, a homophonic A section could lead to a polyphonic repeated A section
which could then lead to a unison or solo bridge. The goal is to make these textures flow
logically from one to another. This concept will be discussed at length throughout the
remainder of the book.
A Further Simplification
The four textures discussed above may be reduced even further. In fact, the sample
charts discussed in this book are arranged for two and four horns using the following
two simplified textures:
1. Unison, octave, and/ or homophonic texture (hereafter referred to as "homophonic/

unison texture")
2. A blend of polyphonic writing with elements of unison, octaves, and homophony
(hereafter referred to as {(combination texture")
In my experience, these two simplified textures work extremely well, and I have
found it useful to consolidate my approach to arranging in this manner. As you listen
to the example tunes scored in these two textures, you may have a hard time deciding
which version works best. There is no one "correct" way to arrange a tune; our goal is to
create an arrangement that has a logical and natural flow.
Basic Arranging Strudures

There are many ways to structure an arrangement for small group, but there are certain
a stock" road maps that have developed over the years. As a student of jazz arranging,
you should strive to become intimately familiar with these very common road maps in
the same manner that a student of classical music studies classical forms. As you gain
more confidence in your skills, you will probably want to venture away from these stock
arrangements. But in the meantime, they will prove very useful for students because
these can be relied upon to work every time.
The diagrams presented on the next few pages illustrate these stock arrangements.
Diagrams are given for AABA, ABAC, and blues song forms. As you study them, pay
particular attention to the flow and direction represented by the arrows. Notice that
in each case the arrangement develops as the result of changes in instrumental texture.
However, there is also a certain amount of unity within each individual diagram. For
example, in the AABA 32-measure song form illustrated below, the unison scoring sug-
gested for the first A section is thickened in the second A section by harmony or by the
presence of a countermelody. However, scoring the last A section in the same fashion as
the second A section serves to unify the arrangement. Each type of stock arrangement
illustrated in these diagrams demonstrates a balance of continuity and development.
- - - - - - AABA 32-Measure Song Form ------c

(Medium or Up..Tempo)
Bridge
Contrasting treat-
Second A Section ment (for example, Last A Section
First A Section Thickened with if you used a
Horns in unison harmony or countermelody
cou ntermelody on the second A,
use a homophonic
approach here)
Solos
Try background
figures on the Melody
Soli or Shout
second and third
A sections, or only Make the first two A Horns play bridge
on bridge; they can sections into a horn and last A as before,
soli or shout chorus or entire form
be played behind
various solos,
particularly the last
Other Possible Sections:

• lntro
• Interlude before solos
• Interlude between solos
• Ending (could reuse material from the intro)
1
----- ABAC 32-Measure Song Form-----
(Medium or Up-Tempo)
Second A &
C Sections
A & B Sections
Thickened with
Horns in unison harmony or
cou ntermelody
Solos
Try background
Soli or Shout Last A & C
figures on the AB, Sections
AC, or B & C only; Make the first A & B
sections into a horn Melody as played
they can be played soli or shout chorus above or entire form
on var:ious solos,
particularly the last
Other Possible Sections:

• lntro
• Interlude before solos
• Interlude between solos
• Ending (could reuse material from the intro)
- - - - - AABA 32-Measure Song Form-----

(Ballad Tempo)
Bridge Last A Section

Second A Section
First A Section Same as second A
Add second Contrasting with
section; perhaps
One horn horn in harmony different horn or
end with four-
or countermelody . four-part harmony part harmony
Melody
Same as above
but with ending
- - - - - - ABAC 32-Measure Song Form------..

(Ballad Tempo)
B Section C Section
First A Section Add second horn Second A Section
One horn in harmony or Same as·first A
countermelody
Melody
Same as above
but with ending
----------The Blues----------
Melody
Melody (Second Time)
(First Time) Melody thickened
Horns in unison with harmony or
a countermelody
Solos Melody
With background Either once or
figures last cho- Solis or Shout twice. If once, use
rus of some of One chorus only second time version
above: if twice, use
the solos,. par- the same format
ticularly the last as at the beginning
The diagrams on the previous pages are obviously not the only way to expand these
song forms into full arrangements. I urge you to try them, however, so that your first
arrangements havt:f an excellent chance of succeeding in terms of form.
We will revisit the discussion of texture as we proceed through the book. A slight
detour is needed at this point as we explore the instruments of the small jazz ensemble.
Chapter Summary
1. Musical form is created by rhythm, melody, harmony, instrumentation, and tex-
ture.
2. A homophonic texture occurs when a melody dominates the other voices, and they
all move together.
3. A polyphonic texture occurs when individual parts are independent of one an-
other.
4. Textures can be simplified into the following:
(a) Homophonic/unison
(b) Combination of unison, homophonic, and polyphonic
5. There are stock arrangements of the basic forms of AABA, ABAC, and blues that
arrangers have developed.
----Assignment 3.1
Schematic Diagrams
Locate several recordings of two-horn, three-horn, or four-horn arrangements.

On a separate sheet of paper, make schematic diagrams of them. Choose tunes
that represent the various song forms (i.e., MBA, ABAC, blues). Below is a list
of suggested artists whose small group recordings would be well-suited for this
assignment.
Horace Silver
Art Blakey
Benny Golson
Tom Harrell
Woody Shaw
joe Henderson
Lee Morgan
Clifford Brown/Max Roach
In your schematic diagram, indicate the following elements:
General information about the tune

Instrumentation (e.g., tutti, in which all the horns are scored together; solo,
in which one horn is featured; duet, for two horns, etc.)
Rhythmic feel (e.g., in two, in four, rubato)
General comments about instrumental texture
Role of the rhythm section (level of integration with horn parts)
Other items of interest
To help you complete this assignment, examine the example on the next page.
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Horace Silver's "Hawkin" - - - - - - - - -

I
From th~ album The Hardbop Grandpop (GRP B000003N8J)
Medium swing. "I Got Rhythm" changes with descending ii-Vs by whole step in bridge.
AA
• Tpt, bari melody in B
octaves and tenths • Tpt, tenor melody A (last time to coda)
• Ten, tbn accomp. • Bari, tbn on de-
with rhythm section scending guide tones
• Time feel is in 2 • Time feel is in 4
• Stop time at end of phrase
AA
• Tpt/tenor new melody, B
melodically stagnant
• Bari solo
• Bari, tbn 6th be-
low on long tone
Choruses 3 & 4
• Bari solo
• Tpt, tbn, tenor background line in octaves on A sections
• Last A up an octave
Choruses 5 & 6
• Tenor solo
• New background line: tpt, bari, tbn
Choruses 7 & 8
• Piano solo
Bridge
• Tutti shout • Walking bass solo
chorus in octaves
Chorus 10 (then D.C. al coda)

• Walking bass solo
Coda
• Descending sequential
melody through circle
progression beginning on "iv
• Fermata on
tonic ma7 chord
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I
Part II
The Instruments of the Small

Group
39
Small instrumental jazz ensembles are typically comprised of several horn players
plus a rhythm section. Part II will explore the instruments typically found in small jazz
groups.
It is important to understand the construction and sonic characteristics of the in-
struments you are writing for. Also, understanding how each instrument functions and
behaves in various parts of the range is a must for arrangers. In chapter 4, we will
explore the characteristics of the trumpet, the trombone and the saxophone focusing
on their range, timbre, and transposition. These wind instruments are by far the most
frequently used in jazz.
Chapter 5 is devoted to the rhythm section. This special section is one of the impor-
tant ways that jazz ensembles differ from other musical organizations. The presence of
a section whose primary function is to supply the rhythmic and harmonic frmnework is
reminiscent of music written hundreds of years ago during the Baroque period, when
harpsichordists and cellists fulfilled the roles now held by pianists, bassists, guitarists,
and drummers.
The more you know about the instruments for which you are writing the better-so
try to learn as much as you can about them. It is useful for arrangers and composers to
have at least some experience actually playing these instruments even if at a very basic
level.
41
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Brass and Saxophones
Since I am. a pianist, writing for wind instruments was at first somewhat intimidating
to me. But my comfort level increased considerably once I understood how each of the
wind instruments functions. Listening was also a crucial learning tool-as I listened
to many recordings and performances which featured wind instruments, I began to de-
velop an understanding of the way these instruments are used in jazz. I also had many
conversations with other musicians I knew who played these instruments and they gave
me invaluable advice about writing for their instruments.
The information in this chapter will help you understand the characteristics of the
trumpet, the trombone, and the/saxophone family. In addition to reading about these
instruments, you should also do plenty of listening-and don't forget to ask for advice
from those who play these instruments.
Writing For Wind Instruments

When writing for wind instruments, the arranger must keep in mind several important
issues: the range of the instrument, the tessitura the instrument will be playing in, how
43
that instrument will perform when combined with other instruments, and the articula-
tions you want for each note played.
Memorize the Ranges

It is critical that the arranger memorize the ranges of all the instruments. Obviously,
you must not write notes in your arrangements that your musicians won't be able to
play. This is annoying to musicians and makes you look incompetent as an arranger.
Range and Region Considerations

Some notes speak better than others on the various instruments. If you write in the
transposed staff (especially in the top half of it) all of the instruments will function
beautifully. When you start to use ledger lines, be careful! Perhaps another instrument
would be more comfortable playing what you have in mind. There will be times when
placing an instrument in an uncharacteristic situation (a baritone saxophone in the up-
per register, for instance) will result in a beautiful and unexpected timbre. As you gain
more experience, you may want to experiment in this manner-but for now, be conser-
vative with your range choices.
Instrument Combinations and Blend

The tone quality of any given instrument depends on several factors. First, the material
that the instrument is made of will have a big influence over how it sounds. Also, the
shape of the bore (e.g., conical, cylindricaL or a mix of both) will affect the brightness or
mellowness of the tone. Overtones are important-the presence or absence of overtones
in a sound give a certain tone much of its uniqueness. And finally, the method of tone
production (e.g., the buzzing of the lips, the plucking of a string, the vibrations of a cane
reed) gives a tone much of its distinct sound. These factors are used to divide musical
instruments into families such as the woodwind family, brass family, string family, and
percussion family.
As you think about combining instruments, be aware that you are creating a new
sound by blending the tone qualities of each individual instrument. Scoring within an
instrument family will create the most homogeneous sound. Combining instruments
from different families but with a similar timbre and range (e.g., trombone and tenor
sax) blend well but result in a more diverse tone color than two instruments from the
same family. Combining instruments from different families with different timbre and
range (e.g., flute and trombone) can create very unique and exotic sounds.
By this time in the history of jazz, just about every instrument combination has been
tried, but there are some that work better than others. For instance,~ if you choose a very
standard instrumentation (e.g., trumpet, alto sax, tenor sax, and :trombone) it is sure
to work. This advice is not intended to stifle your creativity as yoUL begin to write your
own arrangements, but to encourage you to build upon the experiments of the great jazz
composers and arrangers who have come before you. As you gain more experience, you
might want to write for more unique combinations of instruments. For now, however,
enjoy the success you are sure to have by using a tried-and-true instrument combination.
CHAPTER 4: BRASS AND SAXOPHONES 45
Articulation Markings
Although experienced jazz musicians are well-trained as jazz stylists, the arranger must
include articulatio;h markings on notes that could be interpreted in several ways. While
I
all of the aspects of jazz style are beyond the scope of this book, you should be aware of
the following articulation markings, and use them to convey exactly what you want to
hear from the horn players and also the rhythm section players. Here are the four most
commonly used articulation markings used in jazz notation:
II
Example 4.1
The first symbol, which indicates a short note, is called a staccato. The second mark-
ing, which indicates that a note should be held for its full value, is called a long mark.
The classical term for this mark is tenuto. The third symbol is called an accent. It means
that the note associated with it should be given extra emphasis. This marking is some-
times referred to as a regular accent or perhaps even a sideways accent to distinguish it
from the fourth symbol, which points upward. This symbol, called a rooftop accent, in-
dicates that the note associated with it should be short, yet accented. The classical term
for this mark is marcato.
The Trumpet
Trumpet players were among the earliest major innovators in jazz. Buddy Bolden, King
Oliver, Louis Armstrong, and Bix Beiderbecke were crucial contributors in the devel-
opment of jazz as either trumpet or cornet players. The trumpet's importance as a jazz
instrument continues to the present day. The lead trumpet player in a big band is largely
responsible for setting the style of the entire ensemble. Also, because of the trumpet's
power and bright tone, it is a natural choice for the melody in small group writing. The
arrangements in this book feature the trumpet prominently, scored as both the primary
melodic instrument and in countermelodies.
The trumpet sound is produced by buzzing the lips on a mouthpiece, which causes
the air column within the instrument to vibrate. By tightening or loosening the lips, the
player can play the various partials of the overtone series. Furthermore, pressing the
valves reroutes the air through longer or shorter lengths of tubing, changing the length
of the instrument. Therefore, changes in pitch are a result of either moving to a different
partial, changing the length of the tubing, or both.
Arrangers must fully understand these physical characteristics of the trumpet be-
cause they greatly affect the types of musical lines that are feasible for the player. For
instance, arrangers should avoid writing uncomfortable leaps in trumpet parts-a wide
leap might require the player to change from one partial to another in an awkward man-
ner.
The most important considerations to keep in mind when writing for trumpet are
range and endurance. It is important to keep the music in a range that is comfortable
for the player. Also, trumpet players must have opportunities to rest their chops, partie-
ularly when playing in the upper register. A common error made by student arrangers
is to overwrite the trumpet part, so be sure to avoid writing parts that are too high, too
busy, or too difficult.
The trumpet's bright tone comes from the shape of its bore, which is primarily cylin-
drical. The cornet and flugelhorn, on the other hand, get their more mellow-sounding
tones from their primarily conical bore. That's why a trumpet player will sometimes
pull out a flugelhorn when called upon to play something lyrical such as a ballad. Thus
the contour of the bore affects the tone quality of brass instruments-the same is true
with woodwinds.
Trumpet Notation
Music for the trumpet is written in the treble clef. Since the trumpet is pitched in the
key of Bb, music written for trumpet must be transposed up a whole step from concert
pitch as shown in the following example:
4 o
Concert Pitch
! ..
Transposed
IJ w J •u:
Concert Pitch
w J r
Transposed
Example 4.2
Of course, key signatures for the Bb trumpet must also be transposed up one whole
step by adding sharps or subtracting flats as shown here.
Concert Key Transposed Concert Key Transposed
Example 4.3
Trumpet Range
Arranging students need to memorize instrumental ranges. Understanding how the

instrument behaves within its range is also criticaC but the arrang¢r must never write
1
notes beyond the range of the instrument.

The following example shows the range of the trumpet. The arrow indicates that the
upper range depends upon the player-this will vary, of course, from player to player. It
is appropriate, however, to write below the written high Din small group writing. The
highest register is typically reserved for a big band setting.
ClOMa£~1'
P11'a~ I
u /
.a.
b
'f'UM,P0,£0
I
~
Example 4.4
The Registers of the Trumpet

The low range of the trumpet, including notes below the staff, is difficult to control. In-
tonation can be inconsistent, and the tone is quite muddy. Avoid writing leaps into this
area. As the trumpet range moves into the staff, projection, endurance, and agility all
improve significantly. The dynamic range is also increased. The tone becomes brighter
and clearer as the trumpet range moves to the top of the staff, but it also becomes more
difficult to play softly in this area. The range above the staff is a powerful part of the
trumpet range. Remember that endurance can be a real challenge in this register-even
accomplished players need occasional rests if they are asked to play in this range for
extended periods.
Trumpet Mutes
Although only two brass instruments are explored in this book (trumpet and trombone)
they can both be fitted with mutes that generate unique and distinct tone qualities. The
insertion of a mute needs to be indicated in both the score and parts at the end of the
phrase prior to their use. Remember to give the player plenty of time to make any mute
change by writing rests into the part. The three most common trumpet mutes are the
Harmon mute, the cup mute, and the straight mute.
The Harmon mute has an adjustable stem which is usually removed in a jazz setting.
This mute alters the trumpet tone into a much more focused, buzzy sound. The best
example of the Harmon mute can be heard in many of Miles Davis' recordings. This
mute requires an abundance of breath support since the mute blocks all the air from
the bell of the horn, forcing it through the mute. The cup mute, on the other hand,
provides a rounder, more mellow sound than the Harmon mute. For a good example of
cup mute playing, listen to Miles Davis' 1954 recording of "Solar" on the album Walkin'.
The straight mute produces a brighter, more nasal sound and is associated with a more
dated repertoire such as Glenn Miller's uString of Pearls."
The Trombone
As with the trumpet, the arranger must understand the physical properties of the trom-
bone in order to write for it successfully. The trombonist, like his trumpet-playing coun-
terpart, manipulates his or her embouchure in order to sound the various partials of the
overtone series. On a trumpet, the length of the tubing is changed by opening up extra
segments of the instrument by pressing a valve. But on a trombone, the player changes
the length of the instrument's tubing in a much more direct fashion-by moving the
slide in or out with the hand. The trombone, like the trumpet, gets its bright sound
from the primarily cylindrical bore, although because of it's lower range and larger size,
it is also capable of producing warm and romantic lines. The trombone is sometim.es
referred to as a big, low-sounding trumpet because they share the same bore properties.
Slide Positions and Technical Facility

It is important to be aware of the pitches associated with each slide position. Some
lines that look simple to play on paper might be extremely awkward on the trotnbone.
For instance, moving between seventh position (slide fully extended) and first position
(slide fully retracted) is obviously going to be problematic for the player. On the other
hand, in the high tessitura of the trombone, all the notes can be played with only the
first three positions. As a result, playing in this region is technically easier because the
movements of the slide cover less distance.
The chart seen below shows the slide positions of each note on the trombone. The
first three notes are known as pedal tones. After the pedal tones, the trombone moves
through the slide positions beginning on a low E and continues up to the F above the
staff. Notes above the F have been omitted because they are played with short slide
positions that are easily negotiated by the player.
---Trombone Slide Positions----

3 2 7 6 5 4 3 2 7 6 5 4 3 2
po ~(J
o= I
e 0 Jo 0 fo jU Po 0 n fo 0
$A
~e ~e ~-u
4 3
~! ~~
5 2 4 3 2
fo pa a e fe .D..
.D..
o= Jo i~ 0
Trombone Range
Jazz trombone music is almost exclusively written in bass clef. Since the trombone is a
nontransposing instrument, it is unnecessary to indicate a transposed range.
Example 4.5
The Registers of the Trombone

The lower notes of; the trombone range are more difficult to control, as we saw with the
trumpet. As the r1hnge moves into the middle and upper parts of the staff, the instru-
ment's tone becomes more centered, and it will blend easily with other instruments. The
dynamic range is wide in this part of the range. The notes above the staff result in a clear
tone, and since the positions are closer together, they can be played more rapidly. One of
the most common instrumentation errors I see is the writing of trombone parts that are
too low. Writing on the top of the bass clef staff, and just above, works very well in small
groups. Again, as with the trumpet, writing at the top of the range requires rest time for
the player, as this is physically demanding. Playing soft passages is also difficult in the
upper register.
Trombone Mutes
Trombone mutes can provide new tone colors for the jazz ensemble. The three most
common mutes used by the trombone are the straight mute, the cup mute, and the
bucket mute. The straight mute and cup mute both produce a nasal tone (the straight
mute more so than the cup mute) while the bucket mute mellows the sound consider-
ably.
As with the trumpet, the insertion of a trombone mute needs to be indicated in both
score and parts at the end of the phrase prior to their use. Remember to give the player
plenty of time to make any mute change by writing rests into the part.
The Saxophone
The most commonly used saxophones are the alto, tenor and baritone saxes, although
the soprano saxophone is also an important jazz instrument. Since every member of the
saxophone family uses exactly the same fingerings, saxophone players often play more
than one variety of saxophone. However, most players have a favorite type of saxophone
on which they feel the most comfortable. The saxophone is an ideal instrument for
melodies and countermelodies, and also background sustained parts.
Saxophone Transposition
Saxophones are built as either Eb or Bb instruments. The alto and baritone saxophones
are Eb instruments while the tenor and soprano saxophones are Bb instruments. Saxo-
phone music is notated in the treble clef, although some textbooks (including this one)
often display the concert pitch of tenor and baritone saxophone parts in bass clef to
avoid ledger lines. Music written for the alto saxophone must be transposed up a major
sixth from concert pitch. Transposing the key signature is accomplished by adding three
sharps or subtracting three flats from the written key signature.
The example below shows the transposition of pitches and keys necessary when writ-
ing for the alto saxophone.
Music written for the tenor saxophone must be transposed up a 1najor ninth from
concert pitch. Transposing the key signature is accomplished by adding two sharps or
subtracting two flats frmn the written key signature as seen below.
I. I
Music written for the baritone saxophone must be transposed up a major thirteenth
(an octave and a sixth) from concert pitch. Transposing the key signature is accom-
plished by adding three sharps or subtracting three flats from the written key signature
in the same way as is done for the alto saxophone.
Baritone Saxophone
Example 4.8
Although the baritone sax is a wonderful horn to include in small group writing,
the suggested instrumentation for this text does not include this particular instrument.
However, in a four-v;oice texture, it could certainly take the place of the trombone.
Saxophone Ranges
The next example illustrates the practical ranges of the alto, tenor and baritone saxo-
phones. Keep in mind that not all saxophones are created equal as far as range is con-
cerned. Although every saxophone uses the same fingerings, not all instruments have
the same keys to press. Many (but not all) baritone saxophones are equipped with a low
A key which extends the range of the instrument downward by a half step. And most
saxophones made today have a high F~ key that many older saxophones do not have.
Here is a chart that shows the range of the saxophones.
Concert Pitch
e- {~-e-)
Transposed f.a (~.a)
- -
AI.'I'O -·
• • I
I
.._
.,_ "'I
II
111"1
\LW
l pu
- -
#.a (~.a)
-·
• • I
I
'
-I
I. ...
pu
#.a (~.a)
-·
•
I
I
1•
'
'I
1\
_\LW
(-e- )Pu l
~
("e) pu
Example 4.9
The Registers of the Saxophone

The lowest notes of the saxophone (below a low transposed C~) can be quite difficult
to control, especially by a less experienced player. In the staff, the saxophone's tone is
rich and full, making this range a very often-used area for arrangers seeking to write
sustained chords. The tone of the saxophone becomes more strident as it ascends to the
top of the staff and above the staff, giving the saxophone tone a bit more projection in
this tessitura. Above the staff, the tone of the saxophone can become very bright and
loud-and also difficult to control. These notes of the saxophone, especially above a
high C, can also go sharp, making intonation a challenge for players of all levels.
As mentioned previously, the top note of the normal saxophone range is the written
F~, or written F if the instrument does not have a high F~ key. The advanced saxophon-
ist, however, is not limited to this range. With specialized fingerings and alterations
to the airstream, the saxophonist may play upward into the altissimo register (the ex-
tremely high notes above the normal range of the saxophone). Because a player must be
quite advanced to have adequate control over the altissimo register, even experienced
arrangers never write in this range of the saxophone.
Chapter Summary
1. An instrument's tone quality is the product of factors such as the material from
which it is constructed, the shape of its bore, the presence or absence of overtones,
and its method of tone production.
2. Arrangers must memorize the ranges of the instruments.
3. Combining instruments within the same family, or with a similar timbre or range
creates a homogeneous sound.
4. Combining instruments from different families with a different timbre or range
creates a contrasting sound.
5. The power and bright tone of the trumpet make it a natural1nelodic instrument.
6. Endurance and range are the two most important considerations when writing for
trumpet.
7. The trombone can produce a bright sound similar to the trumpet, but also can
sound warm and mellow.
8. The slide positions of the trombone affect the facility of the instrument; changing
positions quickly works best with slide positions that are adjacent to one another.
9. Trombone and trumpet mutes create new instrumental colors.
10. The saxophone works well as a melodic instrument, but also in background sus-
tained parts.
11. All the members of the saxophone family use the same fingerings.
-----Assignment 4.1
Transposition
In the staff provided on the next page, transpose the given melody for trumpet,
alto sax, tenor sax, baritone sax, and trombone. Notate the trombone and
baritone sax parts one octave down from concert pitch. Do not change the
octave of the trumpet, alto sax, or tenor sax.
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
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1
1
1
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1
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1
1
1
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1
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1=1=1=1= 1=1=1=
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The Rhythm Section
The instruments of the rhythm section are piano, guitar, bass, and dtums. Arrangers
who play wind instruments often struggle with these instruments both in terms of no-
tation and understanding their individual roles within the ensemble. Rhythm section
players employ much more improvisation than other members of the ensemble. For this
reason, this part of the ensemble demands a flexible and unique method of notation and
also a certain level of detachment from the arranger. For instance, the pianist, guitarist,
and bassist are usually only reading chord symbols, and the drummer may have long
sections of just timekeeping with virtually no notation.
Role in the Ensemble

Including the word "rhythm" in the name of the "rhythm section" emphasizes the el-
ement of time-keeping. This section, however, also provides the harmonic framework.
Melodies can also be performed by pianists, guitarists, and even bassists. While these
three elements can be specifically notated by the arranger, the section usually impro-
vises and (( comps" their parts.
57
The Basso Continuo

Thepracticeofusingagroup of rnusicianstosupply the rhythmic and harmonic
foundationfor a larger ensemble. is not new.DuringtheBaroque period, the
"rhythm section" was calledthebasso continuo. The1written mu~ic for the basso
c:ontinuo consisted of anotatedbass line with special nufT1bers belowthebass
notes.. The numbers.ineachmeasurewere special.chordsymbolscalledfi?l1red
bass thatan1usician playing a chordal . instrument would use to improvise (or
realize, to use the ~ppropriate term) a chordal accompaniment. These.chords
would be played by a. harpsichord, lute, or some other instrument. The bass
line itself wouldbe played by a bass instrument such as a bassoon or viola da
gamba. The usage offigured bass allowed <musicians to improvise a chordal
accompaniment within specific parameters. The jazz rhythm ?ection of. today
provides the bass line and chords muchinthesame way asthe·bassocontinuo
of the Baroque era.
The word camping is short for ((accompaniment." When camping, the rhythm sec-
tion players exercise a large degree of freedom over what they play. The voicings in the
piano and guitar, the bass lines, and drum timekeeping are all improvised, but within
the organization of the arrangement. Often the players require only chord symbols with
slashes representing the duration of each chord. When rhythm section players are re-
quired to add something specific, appropriate notation is blended into the part. The
arranger must not overnotate rhythm section parts. Young arrangers must realize that
the players themselves may be able to provide better solutions to specific voicings and
styles than the arranger could.
As tnentioned above, simple slashes are used to indicate camping. As long as the
style and tempo are indicated, most players should be able to provide an appropriate
accompaniment. Also, experienced rhythm section members play differently during the
melody than during solo sections. In a swing tune, when playing the head, the rhythm
section may want to play with a utwo" feel-that's when the drummer and bassist em-
phasize the first and third beats of a 4/4 measure with the bassist playing mainly roots
and fifths. After the head the rhythm section will normally play in u four" and the bassist
will begin to play a quarter note bass line. Rhythm section performance practice is be-
yond the focus of this text, but simply knowing the difference between a utwo" feel and
a u four" feel will be enough for most beginning arrangers. The arranger can indicate
which feel is appropriate for the rhythm section, but often the players themselves will
make the decision if nothing is indicated.
Notating Rhythm Section Parts

I've observed that while rhythm section musicians transition quite well to writing for
horn players, wind players often struggle with the notation of rhythm section parts. In
reality, these parts are actually very simple to write. Two important notation methods
are described below.
CHAPTER 5: THE RHYTHM SECTION 59
Com ping
Below is an exampl~ of a score which indicates camping for piano, bass, and drums
accompanying the q).elody of "Why Not Now." Notice that each member of the rhythm
section has only the following in his or her part: the time-feel (where it says ((in two"),
slashes, and chord symbols-the rest is left up to the player.
. ,...
b L I~
I .. I
II
• 7/JI ... ... -.. • 17• - -

s~~ (!.Mi7 ~7 SpMA7 Q~Mi7 ~~7 ~Mi7 S~7
b L •
I ..
IN 1'11)0
. s~~ (lMi7 ~7 S~MA7 0 ~~d7 ~~7 ~Mi7 S~7
•
IN 1'11)0 ..
Example 5.1
Rhythmic Notation
To notate a specific rhythm for the entire rhythm section, use large note heads with no
identifiable pitch. This type of notation is called rhythmic notation. If you want the
pianist to voice the chord with a specific note on the top, simply write the desired note
on the staff with the chord symbol and include the instruction {{Voice with note on top."
If you have something precise in mind for any of the instruments, provide the exact
notation. It is very common to blend actual notes with slash notation and rhythmic
notation. Keep in mind, however, that the players themselves might have a better idea
of what to play in that particular spot than you do.
The next example illustrates a score using the same instruments accompanying the
identical section of "Why Not Now" as shown in example 5.1. Slashes, rhythmic no-
tation, and exact notation are blended together. This uncharacteristic example is for
educational purposes only since most charts will not include this much variety of nota-
tion in such a short span.
b
.,.
I.
* I
.
• .,, * - . -- • v•
.... 1""'1--1-1
..,... v• -,JJ~ct*.,_,*
~ J.
Sp6 C,Mii ~i SpMAi QpMii ~pi ~Mii Spi £pMii Api
PIAl-tO
1 - I I I II j (VO\aE 11)\f~ HOfE OH fOP) pt:: ., pvl· p,.
. Sp6 C,Mii ~i SpMA7
. I CpMii ~pi ~Mii Sp7 £pMii Api
* I I I II ....
. Pl.Aif 1'11-t£
I II
*
I rhythmic notation
I
iJ
I
\ slashes indicate "time"; exact notation in bass and piano I
pianist must place specific
notes on top of voicings
Example 5.2
The Instruments of the Rhythm Section

The arranger must understand the dramatic differences among the instruments of the
rhythm section. In the trumpet section, everybody is holding a trumpet. In the trom-
bone section, everyone (hopefully) is holding a trombone. But in the rhythm section,
there are four completely different instruments playing together. The following pages
serve only as an introduction to the instruments of the rhythm section. Consult instrument-
specific method books for more detailed information or ask for input from rhythm sec-
tion musicians.
Piano
The pianist plays a crucial role in the small group. Duties such as voicing the various
chords, comping behind soloists, and integrating with the bass and drums all fall to
the pianist. The pianist should be able to choose an appropriate tessitura in which to
play his or her chord voicings and should also be aware of the amount of rhythmic
complexity injected into the fabric of the arrangement. A good adage for pianists in
comping situations is ((less is more."
Also, the pianist is responsible for dictating much of the style of the piece. The
pianist could play heavy ((McCoy Tyner" voicings that use a lot of fourths or perhaps
use a more sparse "Count Basie" approach to comping. This helps to set the tone of the
entire arrangement.
Piano parts are often notated on one staff rather than on the more space-consuming
grand staff, particularly when only chord changes are indicated. However, sometimes
both one and two staves are necessary in different sections of the arrangement. Fortu-
nately, computer notation programs are able to score the piano part both ways, thereby
saving valuable space. Using only one staff when possible will prevent you from hand-
ing your pianist a part that is ten pages long!
Guitar
While the guitar is not included in the musical examples in this text, it is frequently
used in jazz rhyth~ sections. The following tips will help you write successfully for
guitar:
1. The guitar sounds an octave lower than written.

2. The guitar serves as a wonderful companion timbre to wind instrumentsj it is often
scored in unison (or octave) lines doubling other 1nembers of the ensemble.
3. Don't assume that something that works on piano will also work on the guitar.
These two instruments function very differently.
The pianist and guitarist should not comp chords at the same time. Chord sym-
bols can be interpreted in a variety of ways, and the pianist and guitarist need to avoid
playing conflicting voicings and rhythms. Experienced pianists and guitarists pay close
attention to if and how they are blending-and without written or verbal instructions
they will decide among themselves which player will comp chords while the other rests.
For instance, during a horn solo, the pianist and guitarist will often take turns camping
chords behind the soloist.
Bass
The bass sounds an octave lower than written. The bass range illustrated below is for a
four-string instrument (some electric basses have a fifth string). The strings are tuned to
E, A, D, and G. Typically, the acoustic upright bass is found in more traditional jazz set-
tings with other acoustic instruments. The electric bass is most effective in the jazz/rock
fusion idiom, paired with other electric instruments, such as electric piano and/or gui-
tar.
concert range written range

D..
Example 5.3
The bass player should be viewed as both the timekeeper and provider of the under-
lying style and harmonic foundation. In a small group setting, the bassist sometimes
reinforces the pianist's left hand during ostinato passages. During normal timekeeping
sections, however, the pianist should not interfere with the bassist's camping pattern.
Drum Set
The drummer's most important responsibility is timekeeping. Much of the success of
your arrangement depends upon how it feels to the listener, and the drummer is respon-
sible for this important aspect of small group playing. In fact, the manner in which the
members of the rhythm section interact with one another is critical to all jazz perfor-
mances.
Drum Notation
Notating drum parts for small jazz ensembles should fiot be overly complicated. Your
job as arranger is to notate the parts as clearly as possible, creating an appropriate bal-
ance of both structure and freedom for the players. All of the players in small jazz
groups need to listen intently to one another, and an elaborate drum part can distract
the drummer from his or her primary goal-interacting with the band.
Fortunately, there are simple ways to notate drum parts:
1. Slash notation
2. Background figures
3. Rhythmic notation
Slash Notation
Slash notation (seen below) refers to diagonal slashes placed in the middle of the staff.
This notation obviously gives the player the most freedom to interact with the other
musicians and to provide his or her own interpretation.
B ll I I ,
Example 5.4
There is a lot of information contained in example 5.4. The tempo/style marking

indicates that this will be a fast swing tune and the drummer should begin the chart
rather aggressively because of the forte marking. He or she should also play the part
with sticks rather than with brushes or mallets. There is also a two-bar repeat. This is a
space-saving device that says to the player, ((repeat the previous two bars."
Background Figures
The drummer is often asked to support parts being played by the horns while simulta-
neously keeping the time moving. These background figures are indicated with small
note heads, with stems pointing up, placed above the staff containing slash notation.
These rhythms are then played on either drums or cymbals at the drummer's discre-
tion. It is often helpful to provide written instructions identifying the instruments to be
supported along with articulations. This type of notation is illustrated on the following
page.
A A A A
M£0-UP il»lfll~
Dl
--,.
-t. ,.-t. ,.
~-
i
!
!i
t
],
1/ , i
I
i
I
i
I; ~ ~~ ~; 1/ I
i ; 'f
,
i
],
I
Wl~ (11)11'" 'I'P'I'i)
(~»11~ ftfla"'J
A ,.. ,.. ~
~. ], "f ~- j J J J--
0,.i
,-t. I
-t. ,.-t. 1/ I
i
I
-t. ,.-t. 1/ ,.
i
I
i
t -t. li II
Example 5.5
Rhythmic Notation
Often the drummer is asked to reinforce the entire ensemble with kicks. Rhythmic
notation is indicated by simply notating the rhythm on the middle line of the staff with
large note heads. This type of notation is illustrated below. Along with the figures,
the drummer would also provide the time, blending the kicks with the basic feel of the
tune. This type of notation was also seen above in example 5.2, because all rhythm
section members read this type of notation.
~Aftf il»lfll~
,. ,.
" "
o-
ff
r· 0
1¥
r· r r r
Example 5.6
Reinforcement and Integration
Reinforcement of the horns is a role shared to varying degrees by all the members of the
rhythm section, and balancing timekeeping with support of the horns is an important
decision for arrangers. Too much integration (particularly during background sections
of solos) can make the chart lose momentum. Conversely, if the rhythm section offers no
support of the horns, the band will not be working together as a unit.
You may want to take a moment and examine a few sections of the complete ar-
rangements in chapter 17 focusing on the rhythm section. Observe how slash notation
is blended with actual notation in the piano, bass, and drum parts.
Don't Be Intimidated by the Rhythm Section!

If you are a wind player and are able to perform with a fine rhythm section, use the op-
portunity to observe what each player is doing. Also, seek the advice of rhythm section
members. Finally, study scores that provide a balance between the arranger's wishes
and the freedom of the rhythm section members to /add their own interpretation. If
successful, the result will be a spontaneous and creative final product.
Chapter Summary
1. The rhythm section provides the harmonic and rhythmic foundation of the ensem-
ble.
2. Rhythm section notation is quite different from wind instrument notation.
3. Slash notation, which indicates timekeeping, is the most common notational de-
vice.
4. Arrangements should provide a balance of improvised rhythm section parts and
specific notation.
Rhythm Section Parts
On the next two pages there is an incomplete score for a small group chart. Only
the melody is given in the top staff. Your assignment is to notate appropriate
piano, bass, and drum parts to accompany the melody. In the parts you create,
include the following elements:
PIANo: Notate slashes in measures 1-6 and in measure 9; rhythmic notation

based on the rhythm of the melody in measures 7-8 and 10-11. Notate the
chord symbols. Write the same notation in both clefs, but put the chord
symbols above the treble clef staff.
BASs: Same as piano, but write the roots of the chords where rhythmic
notation occurs. Remember to notate the chord symbols.
DRuMs: Notate slashes in the measures 1-9. Use background figure nota-
tion in measures 8-9. Use rhythmic notation in measures 1 0.·--11 based on
the rhythm of the melody.
Don't forget to include time signatures for all parts and key signatures for piano
and bass. Indicate "medium swing" as the tempo/style.
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Part Ill
Jazz Harmony & Voicings
71
Successful jazz musicians are usually excellent music theorists. While improvisers
and arrangers may have different approaches and labels for various concepts, most of
them have an understanding of jazz harmony and chord voicings. Also, since not every
melodic note is a chord member, an understanding of nonharmonic tone treatment is
vital for jazz musicians. We will find in part III that these concepts are interwoven, and
therefore the various voicing types and nonharmonic tone treatments will be presented
as a unit.
The term voicing refers to the distribution of chord tones. A chord can be voiced with
as few as two notes (e.g the third and seventh) or can contain all of the possible chord
tones including the upper extensions.
Part III is divided into the following four chapters:
Chapter 6: Tertian harmony

Chapter 7: Quartal harmony
Chapter 8: Slash chords
Chapter 9: Nonharmonic Tones
Whether you are arranging for two horns or for the thirteen horns of the typical big
band, keeping these three types of voicings in mind as well as the approach techniques
covered in chapter 9 will help to organize your thinking about jazz harmony.
73
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Tertian Harmony
Tertian (pronounced TURR-shin) harmony will be familiar to anyone who has studied
harmony in a basic music theory course. Tertian harmony is built by stacking notes
in thirds. The simplest tertian structure is the triad. The word triad comes from the
Greek word that means ((three." The three notes in a triad are the root, the third and the
fifth of the chord. If you continue to stack notes in thirds beyond the triad, the chord
becomes more complex and additional information is needed to indicate the quality of
that chord. The number next to the chord symbol identifies the top note. Observe what
happens when we stack a chord higher and higher in thirds:
c. C!,MA7 C,MA9 C!,MAll C!,MA1'
~ l l I I I
Example 6.1
75
The tones above the seventh are called the upper extensions. Keep in mind that you
may not extend a chord beyond the thirteenth. If you continued to stack notes in thirds
above the thirteenth, the chord tones would begin to repeat themselves.
Most jazz chords are labeled as some kind of seventh chord (e.g., Cma7). The tones
of a seventh chord are the root, third, fifth, and seventh. Here are a few examples of
typical seventh chords:
0.MA7 £p7 ~Mi7
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Example 6.2
Close and Open Voicings

As we distribute chord tones (or "voice" them) we can either stack them consecutively,
as is illustrated above, or we can create gaps between some of the chord tones. Chords
that are stacked consecutively within the range of one octave are said to be in a close
voicing. If the chord has four different tones, it is commonly referred to as four-way close.
Chords that are not consecutively stacked and exceed the interval of one octave are said
to be in open voicing. Tackling close voicings first will make the open voicing section of
the chapter much simpler to understand.
Four-Way Close Voicings

As mentioned above, a chord containing four separate notes that reside within the range
of an octave is called four-way close. This voicing is the most common structure used by
jazz arrangers and pianists because it works well in harmonizing fast-moving lines but
can also provide the harmonic foundation for lush ballads.
Chord Tone Substitutions

Most chords in the jazz idiom are expressed simply by indicating three things: the root,
the quality of the chord, and the number seven. A seasoned jazz performer can embellish
that basic chord symbol by adding and/ or changing chord tones to express a richer,
more colorful sound. These musicians understand that the seventh chord designation is
merely a point of departure and that upper extensions, as well as the fourth and sixth,
play a vital role in jazz harmony. Simple root position seventh chords that have only
the fundamental tones (i.e., the root, third, fifth, and seventh) are ~ctually the exception
rather than the rule. ,
The richness of jazz harmony involves a hierarchy of substitution possibilities for
these four tones. For this reason, it is best to think of each of these chord tones not
as required tones, as you may be led to believe from the chord symbol, but rather as
chord tones that are almost always replaced, or substituted, according to rather specific
CHAPTER 6: TERTIAN HARMONY 77
rules. Let's first pair each of these fundamental chord tones with possible substitutions,
illustrated below:
The root can ;be replaced by the ninth.

The third can be replaced by the fourth.
The fifth can be replaced by the thirteenth or eleventh.
The seventh can be replaced by the sixth.
I mentioned above that there are rules regarding these substitution possibilities, and
these rules are dependent upon three important considerations: the chord quality, the
key that you're in, and the tone color you want. We'll discuss how keys affect the sub-
stitution rules in a moment. First let's explore chord tone substitutions in the context of
chord quality and tone color.
The upper extensions, along with the fourth and sixth, are all major intervals above
the root (in the case of the ninth, sixth, and thirteenth) or perfect intervals (in the case
of the fourth and eleventh). However, the chord symbol can indicate alterations of these
tones (i.e., ~11 ). Ninths can be lowered or raised, elevenths can be raised, but not low-
ered (a flatted eleventh is the equivalent of a major third), and thirteenths can be low-
ered but not raised (a raised thirteenth is the equivalent of a minor seventh). Also, the
thirteenth and sixth are the same note an octave apart, as are the eleventh and fourth.
With this background knowledge, examine the chart on the next page listing chord tone
substitutions for ma7, dom7, mi7, mi7(b5), and diminished 7 chords. You'll notice that
even though the ninth, eleventh, and thirteenth are considered upper extensions (i.e.,
above the seventh) they are notated in the same octave as the fundamental chord tones.
9Type 13/6 Type 11/4 Type

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The chart seen above lists three possible substitution types:

1. ninths
2. thirteenths/ sixths
3. elevenths/fourths
By reading the chart from left to right, the following points can be summarized:
Ninths can replace the root in all chord qualities.
Raised and lowered ninths can replace the root only in a dom7.
Thirteenths can replace the fifth in a ma7 and a dom7.
Flatted thirteenths can replace the fifth only in a dom7.
Sixths can replace the seventh in a ma7 and a min7.
Elevenths can replace the fifth only in a mi7.
Raised elevenths can replace the fifth in a ma7 and a dom7 and are sometimes
labeled as flatted fifths, e.g., Cma7(b5).
The suspended fourth can replace the third only in a dom7.
Dim 7ths are unique, since they are symmetrical; a note placed a whole step above
any of the chord tones functions as a ninth.
All of this begs the question: Why use these particular substitutions? When should I
use a thirteenth? Should I use it in conjunction with a ninth? An altered ninth? As was
mentioned above, chord tone substitutions provide a richer, more colorful sound. They
also provide more dissonance, and dissonant chords tend to drive the music forward toward
a resolution. For exafllple, the dominant seventh chord, when functioning as a V chord
(which is its usual r6le) requires-yes that's a strong word-substitute chord tones, be-
cause the chord needs a degree of instability as it leads to a resolution. The thirteenth
provides that dissonance, as it clashes (in a good way) with the seventh, because the
thirteenth and seventh are only a half step from one another. Later in this chapter we'll
be revisiting chord tone substitution when jazz chord positions are discussed, and we'll
see how these various substitutions are combined. For now, however, we need to briefly
discuss how keys and functional harmony affect substitution choices.
An Important Consideration: What I(ey Are You In?

The substitution chart above is quite concise in summarizing the substitution options.
However, it does contain one unavoidable flaw-the tonality of both the overall key or
the ((key of the moment" (involving secondary function) is not taken into consideration.
For example, the thirteenth of a V chord (with a chord root of G) in the key of C minor
will be a flat thirteenth (an Eb) to match the key. So the tonality will govern what you
utilize as substitutes. This, however, actually makes things easier. The key provides a
structure that guides the arranger toward particular decisions. This will become clear
as you read and study the section on the ii-V-I progression below.
----------------Important!----------------
Keep in mind that in a jazz standard, chord symbols are merely points of
departure-while a symbol may call for only a seventh, the arranger has
the freedom to choose appropriate substitutions. This is, in fact, a big part
of the arranger's job description.
Inversions and Positions

We learn in music theory classes that chords may be inverted so that a note other than
the root serves as the lowest tone. Therefore a triad may be arranged with any of its three
notes as the lowest note for a total of three possible positions. Since a seventh chord has
four notes, it may be arranged with any of its four notes as the lowest note, for a total of
four possible positions, as demonstrated on the following page:
Example 6.4
Notice what's happening here: the chord is simply rearranged or inverted, but the
order of the chord tones always stays the same. The bottom note is simply shifted to the
top of the chord as the positions move from left to right. The chart below illustrates yet
another way to view this phenomenon:
Seventh Chord Positions

Position Chord Tones, Listed From Bottom to Top
Root Position Root, 3, 5, 7
First Inversion 3, 5, 7, Root
Second Inversion 5, 7, Root, 3
Third Inversion 7, Root, 3, 5
One good way to familiarize yourself with chord positions is to play them on the
piano. As you play these chords you will be able to see, hear and feel them all at once.
Jazz Chord Positions

Our next step toward understanding voicing techniques is to make the connection be-
tween chord position and possible chord tone substitutions. Jazz theorists apply letter
name labels to denote positions (unfortunately with a certain degree of inconsistency
and ambiguity). As mentioned above, there are four positions of a four-note chord.
Many jazz piano method books refer to only two positions: the aX' position (in which
the third is the bottom note) and the "B" position (in which the seventh is the bottom
note). Why do these method books identify only two rather than four possibilities?
These positions place the most active tones (the third and seventh) on the bottom of the
chord structure leading to very smooth movement of chord tones from one chord to the
next, otherwise known as voice leading. There are two other possible positions, however,
and I have chosen to label them "C" and "D" as seen in the chart on the following page.
Notice that I've included some of the substitution possibilities discussed earlier, namely
the ninth and thirteenth.
A Position B Position C Position D Position

C,MAi C,Mii C,i w/o 13th C,MAi C,Mii C,i C,MAi C,Mii C,i
Igo~~~~;<> ~go Ip.; ~~p.; ~Pp.; I OS vPofJ P~"ii

9 9 9 5 5 13 5 7 7 7 3 3 3
7 7 7 3 3 3 3 5 5 5 9 root 9
5 5 13 9 9 9 9 3 3 3 7 7 7
3 3 3 7 7 7 7 9 9 9 5 5 5
Example 6.5
The chart seen above reveals small differences among the chord positions. Recall
that the thirteenth may replace the fifth in dominant seventh chords in order to increase
the dissonance of this ilnportant chord. This is seen in the A and B positions. The
dissonance between the thirteenth and seventh is very characteristic of jazz harmony.
However, the B position offers the option of using the thirteenth or the fifth because
there is enough dissonance between the third and ninth (theE and D) in the middle of
the chord to give it a jazz flavor. Finally, notice the use of the root instead of the ninth
in the D position of the minor seventh. The ninth would create a half step interval with
the minor third (a D with an Eb) on top of the chord, which is something to avoid under
normal circumstances.
There are two important points that I would like to reemphasize:
1. Do not place a minor second immediately below the melody note as this will ob-
scure it. A major second will work (see the major and dominant chords in the D
position), but it still results in a dissonance next to the melody. Use with care.
2. Inner-chord clusters are desirable in certain circumstances, especially on chords
with a dominant function. However, avoid two groups of clusters. For this rea-
son, the fifth is used rather than the thirteenth in the D position of the dominant
seventh in example 6.5.
The Value of the Piano for Arranging Students

Most jazz arrangers spend time at the piano keyboard trying out voicings and exploring
the ways in which tones move in and out of the prevailing harmony. While viewing
music notation on the staff has certain advantages over playing the same notation on
the keyboard (for example, a Gb and F~ look the same on a keyboard but are separate
notes on the staff), the keyboard allows us to see and hear voicings, scales, melodies, and
voice-leading with a level of clarity not possible by looking merely at music notation.
Shell Vo.icings
Shell voicings are three-note structures that contain the third, seventh, and one addi-
tional tone, usually the fifth or ninth. If you've not played piano voicings before taking
up this book, these simple structures are a good place to start. Example 6.6 illustrates
major, minor, and dominant chords voiced in A and B positions. :Play them in your
right hand with the chord roots in your left and practice them in all keys. Use the circle
of fifths to move through every chord (i.e., C-F-Bb-Eb-Ab-Db-Gb-B-E-A-D-G). Play
one chord quality and position at a time-for example, all major sevenths in A position
around the circle.
(!,Mi9 (!,7
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A Position B Position
Example 6.6
After you feel comfortable with these shell voicings, try playing them in four-way
close by adding the missing tone. For example, the A position Cma7 above is missing
the fifth. Refer to the voicings illustrated in example 6.5 to guide you. Again, play one
chord quality at a time (i.e., all major sevenths in A position, etc.).
,.-----Assignment 6.1
Four-Way Close Voicings
In the staves provided on the next two pages, notate the chords with four-way
close voicings. The top note is given; you must add the lower three tones.
Though these chords are not actually in a key, use chord tone substitutions at
your discretion. The first one is completed for you.
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,-----Assignment 6.2 _.______

Four-Way Close Voicings II
In the staves on the following pages, notate each chord with four-way close
voicings under the given melody note; then distribute the notes on the grand staff
using SATB format. "SATB" refers to voices and the stem directions differentiating
each voice. From top down on the treble clef staff: soprano, stems up; alto, stems
down. From top down on the bass clef staff: tenor, stems up; bass, stems down.
Though these chords are not actually in a key, use chord tone substitutions at
your discretion. The first voicing is done for you.
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------Assignment 6.3 ~--------.

Four-Way Close Voicings Ill
Voice the following chords with four-way close voicings. Use the ir1dicated key
for each chord as you determine which chord tone substitutions to use. Some
substitutions are suggested by the chord symbol. Notate them in SATB format on
the condensed score grand staff. The top note is given. Transfer the voicing from
the 11 Condensed voicing" grand staff to the instruments below. Write a transposed
score. The first one is completed for you.
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Circle of Fifths Progressions

The A and B positim;ts are the most commonly used inversions when voicing chords for
camping. These parficular positions work especially well in circle of fifths progressions
because the active tones (the third and seventh) are on the bottom of the harmony. The
two positions alternate as the progression moves around the circle, thereby creating the
smoothest possible voice leading.
Example 6.7 contains another keyboard exercise and also serves as a useful visual
illustration of circle of fifths motion. The example shows major seventh shell voicings
moving between the A and B positions, illustrating smooth voice leading. While only
the first four chords of the circle of fifths are notated, play them all the way around the
circle. Note how the voices move: thirds and sevenths move in the same voice and al-
ternate with one another. The fifths and ninths also alternate with one another. Practice
minor seventh and dominant seventh chords in the same manner.
I - - Ll" .....
•
A Position B Position A Position B Position
b ~ n ..... .......
.•
B Position A Position B Position A Position
Example 6.7
As in the previous keyboard exercise, try these in four-way close position. Example
6.8 illustrates this motion. The chord tone motion described above holds true here as
well-thirds and sevenths alternate, as do fifths and ninths. Note that these are all
notated as ma7 chords; recall that the ninth is a substitute for the root and is often not
indicated in the symbol.
104 ARRANGING FOR THE SMALL JAzz ENsEMBLE
(!.MAi ~MAi SpMAi £pMAi
$
Position: A
I ir'
B
9
A
~se
B
Example 6.8
The ii-V-I Progression

The extremely common ii-V-I progression provides an excellent opportunity to study
the various voice leading procedures used by the jazz arranger and how tonality can
affect chord tone substitutions. As we saw demonstrated in the example above, the
positions of the chords alternate between A and B because the ii-V-I is a circle of fifths
progression.
The example below contains the ii-V-I progression in both C major (first two mea-
sures) and C minor (last two measures). As you listen to the audio track of this example,
notice the smoothness of the voice leading (the audio track has a bass line which is not
notated in the example).
Iliff>)) 6.9
QMii ~i C, MA7 QMi7 ~7 C, MAi

I no;;) ~ ,(:~~ ~~~~ C,Mi~9
u
A B A B A B A B A B A
Example 6.9
ii-V-I Voice Leading

The chart on the following page expands upon example 6.9 by illustrating the move-
ment of each chord tone in a ii-V-I chord progression using alternating A and B chord
positions.
root(9) --·~ 5(13)

-------.._ root(9)
7~3------+
---...... 7(6)
5 - - - - + root(9) ~
5
3 - - - + 7 ----------.3
Example 6.1 0
Notice that the sevenths and thirds move in the same voice and alternate with one
another, as was described above in the circle of fifths discussion. Roots (or ninths) and
fifths (or thirteenths) also alternate with each other. So it's actually rather simple. The
motion in each voice is identical if the progression were to begin with a B position ii
chord. Also, the chart works for both major and minor keys, but there are some specific
details about minor discussed below.
Minor Chord Progressions
While the voices in the minor progression move in a similar fashion to the major version,
there are some complicating factors to consider. If you have studied traditional music
theory and practiced minor scales on your instrument, you know that there are three
minor scales: natural, harmonic, and melodic. Furthermore, there are modes derived
from the ascending melodic minor scale that play an important role in jazz harmony.
This provides a myriad of chord tone choices for jazz performers and arrangers when
working in minor keys, and these choices are revealed in the ii¢-V~i progression in
example 6.9. For example, the tonic minor is often harmonized with a sixth rather than
a seventh. The sixth is derived from the melodic minor scale since it's a major sixth above
the bass (e.g., in a Cmi6/9, the sixth is an A natural, even if you're in a key signature of
C minor, which includes an Ab ).
The ii and V chords in minor progressions are associated with particular modes of
melodic minor. The ii¢ can include a Inajor ninth above the bass note (theE voiced in
the middle of the D¢ in the B position of example 6.9) which is a tone that is taken from
Locrian ~2-the sixth mode of melodic minor. The V chord contains tones that are part
of the super Locrian mode-the seventh mode of melodic minor (e.g., the raised ninth
and flatted thirteenth). Performing and arranging in minor keys can be confusing-
but because this material is so important, arranging students must strive to thoroughly
understand minor harmony and the modes of the melodic minor scale. I recall that after
presenting these modes to a piano student, he stated, ((That's what jazz sounds like."
More About the Sixth

As mentioned previously in the discussionofchord tone substitutions, the sixth
is acommonsubstitutionforthe seventh.. Thishappens quitefrequentlyatthe
end ofmanyjazzstandards in whichthefinal. chord calls fora major seventh
yet the root of the chord is the melody note. Sinck the major seventh is only
a half step below the melody, using a major seventh in that case would be too
dissonant, particularly fort he. conclusion of atune. ··The sixth •is also used in
conjunction with the ninth in the 6/9 quartal construction of major and minor
chords(rnoreaboutthis in the next chapter). Finally, the sixthisalwaysa111ajor
Sixth above the root regardless of the keysignature.
Piano Exercises for the ii-V-I Progression

Learning to play the ii-V-I progression on the piano in major and minor keys will help
you both see and hear the voice leading. As you play them, notice how thirds alternate
with sevenths, and fifths (or the substituted thirteenths) alternate with roots (or the
substituted ninths). Understanding this motion is critical for arrangers. Play them in
the same manner that you practiced the individual voicings above: right hand plays the
chords, left hand plays the roots. The progression is notated with shell voicings in both
major and minor in the example shown below. Practice them in all keys.
b I I I I
.g iY
l "d
. I I I I
A B A B A B
~ 7(p9)
~ I I I I
..,. r- .g -d "-
e-
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A B A B A B
Example 6.11
Like the previous piano exercises, try these progressions in four-way close voicings.
Think about the chart presented in example 6.10 as you observe how the tones move in
each voice. These form the basis of the voice motion for much of what we'll be discussing
as we move along.
The ii-V-I progression is the final keyboard exercise presented in this text. Obvi-
ously, these exercises only scratch the surface of jazz keyboard skills. The more facility
you have as a pianist (even if it's not your primary instrument) the better you will under-
stand the voice leading principles outlined throughout the text. Use the piano keyboard
as much as possible as you examine the examples in subsequent chapters; it is a won-
derful tool for arrangers.
Choosing a Chord Position

Choosing a four-way close chord position (either A, B, C, or D) to use at any particular
point in an arrangement depends upon two factors: range and context. A simple rule of
thumb regarding range is this: On the piano keyboard, close position chords sound best
if notated between the D below middle C and the G above middle C, as shown below:
Example 6.12
Since chord tones often move in stepwise fashion (in circle progressions), each chord
position will be determined by the previous one until range becomes a problem. The
following example illustrates tertian voicings in one of the example pieces, ((Why Not
Now." Chord positions are labeled throughout. The tonic chord is a Bb6, rather than the
more familiar Bbma7. The sixth, G, is present to prevent an unwanted dissonance with
the first melody note (the Bb) especially for a tune with standard chord changes.
Position: D
.
6 replaces 7 because of root in melody;
same notes as G mi7
Example 6.13
Notice the flow of the voicing positions in example 6.13. When the chords move
by step, the position stays the same, as between the Gb7 and Fmi7. When the chords
move in a circle of fifths progression, as in the Cmi7 to F7 to Bbma7, the positions alter-
nate. The chord movement of a third, between Bbma7 and Dbmi7, involves a change of
position, although when moving in thirds either position causes virtually the same in-
tervallic leap for all voices. In these cases, range is the most important factor in deciding
on a position.
This next example, taken from the bridge of uSabrosa/' illustrates similar tendencies
in chord movement. Notice that the melody dives down into the chord voicing in the
fourth measure. This was done to keep the voicing in a satisfactory range.
b
. l I
tl
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tl
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I Position: 8 B A B A B A
pp~ 'pr«~ ~~~ ~ pfi L~=. ~~t;
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Example 6.14
Once again the chords alternate positions when moving around the circle and remain
in the same position when moving by step.
-----Assignment 6 . 4 - - - -
The ii-V-1 Progression
In the staves provided on the next two pages, notate the ii-V-1 progression in
major and minor for the requested keys. Use the A and B positions of four-
way close voicings. The keys of F major and F minor are demonstrated first.
Notice that the chord symbols are complete (i.e., every substitution is accounted
for by the chord symbol); this is not always the case in "real" music. For this
assignment, make the chord symbol reflect all chord tone substitutions present
in the voicing.
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Open Voicings
The term open, wh~n referring to a voicing, simply means that the voicing spans an
interval greater thq:n an octave. Open voicings are identified as drop-2, drop-3 and
drop-2/4.
Drop-2
A drop-2 voicing is created by simply dropping the second highest voice of a four-way
close tertian structure down an octave to the bottom of the chord. It is by far the most
frequently used open position. This type of voicing allows the listener to hear the indi-
vidual voices move much 1nore clearly than in a close voicing. It also is used when the
melody is pitched relatively high because it supplies the lower instruments with more
comfortable notes to play. When harmonizing a melody with substantial leaps, it is a
good idea to alternate between open and close voicings.
This next example illustrates the simple process of converting a four way close voic-
ing into drop-2:
Example 6.15
Notice that the outer voices form a tenth. Because the outer voices are so prevalent
in an open voicing, they should form a consonant interval. This can affect chord tone
substitution choices, as is seen in the next example.
close close
.•
Example 6.16
In the first measure, a ninth has been substituted for the root, and it is the second
voice from the top. When that voice is dropped, a ninth interval is formed between
the outer voices, which sounds awkward. The second measure corrects the problem
by using the root of the chord, thereby creating a tenth in the outer voices when it is
dropped down the octave. Play this example on the piano to hear the difference.
When moving from chord to chord with drop-2 voicings, the voices move as they
would in four-way close. The only difference is that the individual voices are in different
places. Example 6.17 below illustrates the ii-V-I progression in both major and minor
keys using drop-2 voicings. The notes are identical to those used in example 6.9, where
four-way close ii-V-Is are presented. Notice that you can hear the individual lines more
clearly when the progression is in drop-2. Unlike with tonic chords, the outer voices
may form dissonant intervals, as unstable chords move from one to another. The ninth
interval (D and C) between the outer voices in the D half-diminished chord resolves
nicely to an augmented second in the G7, which sounds like a major third (Eb to B). Play
these on the piano and transpose them to all keys as you did with the four-way close
progressions.
~ J.
I - ~ u s " -9-"u e:
. -8- 0 0 -8- .n .....
Example 6.17
The following example offers an interesting contrast to example 6.14 in which the
bridge chords of "Sabrosa" are rendered using four-way close voicings. In the following
example, the same chords are voiced in drop-2 with the same melody notes (minus the
passing tones) on top of each chord. Listen to the audio tracks for each example and you
should notice now much more easily you hear the lines move. The examples are played
on piano and bass; it would be even clearer with individual horns playing these parts.
llf>)) 6.18
~ .l
I " I"
p# VLJP I -8- "-9-
. ~~ .n ~~ L I.
Example 6.18
Drop-3 and Drop-2/4

Drop-3 voicings are also possible. Although used less frequently than drop-2, they can
be useful because/they also spread out a tertian structure. As the name implies, the
third note from tb.e top is dropped an octave. Drop-2/ 4 involves dropping the second
and fourth voices down an octave. In the next two chapters we will see that it makes
more sense to think of drop- 2/4 voicings as quartal and slash chords.
For most arrangers, and especially for those just learning the craft, four-way close
and drop-2 will make up the bulk of your voicings. However, there are other methods
that can provide colorful alternatives to your arrangements. These are described in the
next two chapters.
Chapter Summary
1. In a four-way close voicing, the four chord tones do not exceed the interval of an
octave.
2. In an open position voicing, the chord spans an interval greater than an octave.
3. The root, third, fifth, and seventh can be replaced by chord tones that provide
additional tonal colors. These substitutions are dependent upon the chord quality,
the key of the moment, and the level of dissonance or consonance desired.
4. A and B chord positions provide the best voice leading and alternate in circle pro-
gressions.
5. Only the seventh resolves in major ii-V movement.
6. To convert a close position voicing to a drop-2 voicing, move the second-highest
note down to the bottom of the chord.
7. Open voicings also include drop-3 and drop- 2/4.
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----Assignment 6.5-----
Drop-2 Voicings
Using four-way close voicings, add the three lower notes to the melody line
found on the next page according to each chord symbol and chord function.
Next, convert the voicing to drop-2 in the grand staff. Use SATB stem directions
so that each voice may be easily distinguished. The first chord of each example
is provided.
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ctuartal Harmony
Tertian harmony, as we saw in the preceding chapter, refers to building chords by stack-
ing in thirds. While this is the most common method of building chords, it is not the
only way. Arrangers, composers, and theorists have conceived of other systems such
as secunda! harmony (based upon seconds), quartal harmony (built upon fourths), and
quintal harmony (based upon fifths). The use of fourths in jazz became prevalent dur-
ing the 1960s in the music of artists such as McCoy Tyner, Miles Davis, Joe Henderson
and many others. You'll find that if you apply quartal harmony properly, your music
will take on a more spacious, hip sound. As we explore quartal harmony in this chapter,
we'll build on the concepts introduced in the previous chapter-especially the concept
of open voicing structures.
Quartal voicings are constructed with perfect fourths, except in the case of the dom-
inant seventh in which the bottom interval is a tritone. A pianist will usually play this
structure with five notes, but in the case of a four-horn ensemble either the top or bottom
notes can be eliminated to form a four-note voicing. There are a couple of interesting
points about quartal harmony which we will discuss shortly:
1. Quartal voicings can be thought of as drop-2/ 4 open voicings derived from a ter-
125
tian structure.
2. Depending on what the root is, the same stack of fourths can form several different
chords.
ctuartal Harmony = Drop-2/ 4
As mentioned above, drop-2/ 4 voicings can be viewed as quartal voicings. This way of
thinking about a drop-2/ 4 voicing is actually simpler than thinking about lowering the
second and fourth notes from the top of a chord. This conversion from close position to
drop-2/ 4 is shown in the example below.
The first chord in example 7.1 is a five-note C major chord structure that contains
the root, sixth, fifth, third, and ninth. It is in close position (i.e., it does not exceed an
interval of an octave). The second chord has the same notes as the first but is voiced with
a drop-2/ 4 voicing. The second and fourth notes from the top (the A and the E) have
been dropped an octave resulting in a chord built entirely of stacked perfect fourths.
Example 7.1
Latin Roots
Many.of theterms related to ·musical··i[ltervals .come . fromLatin .. root words.
Let's take them in order: the word unison comesJrom two latin roots. Uni-
is·a prefix that· means·.·."one,u and sonus mea~s "sound." .·So literally, unison
means "one sound/' The word secunda! comes from the Latin word secundus
whichmeans''second"{as in first,secorid, third)~ So secunda/means '1second-
oriented. '' The word tertian comes froni the Latin word tertius which means
"third." So tertian means "third--oriented." The Word quartalcomes from the
Latin word quartus which .means 11fourth.'' ·soquartalmeans''foutth-oriented."
And lastly, the word quintal comes from the Latiri wdrd>quintus which means
"fifth." .So quintal means "fifth-oriented/'
CHAPTER 7: QuARTAL HARMONY 127
Transposing (luartal Voicings

The same quartal vqicing can be used to express several different chords, as is demon-
strated in the next e,xample. The chord labeled as a C6/9 contains the root, fifth, ninth,
sixth, and third of the chord. These same notes can form several other chords, such as
an Fma13 and an Amill. Since these are five-note structures, the substitution chart dis-
cussed in the previous chapter doesn't apply quite the same way. With five-note chords,
is it possible to have thirteenths with fifths, elevenths with fifths, and roots with ninths
in the same chord. Understanding what chord tone you want for the top of the voicing
(especially when voicing the melody) is critical here. As shown below in example 7.2,
the top chord tone of the voicing when interpreted as a C6/9 is the root; the top note is
the fifth of the Fma13; it is the third of the Amin11. In each case the notes are identical.
The chord tones are listed in the boxes to the right of each chord. Quartal voicings are
very versatile and flexible, adding another dimension to your voicing choices.
Example 7.2
The arrangements used in this text are scored for four horns, and you'll see that
quartal voicings are used for scoring the four parts in various places. As we will see be-
low, adapting these five-note quartal voicings to work as four-note structures is a simple
process.
(luartal Voicings as Four-Note Structures

As we observed in example 7.1, quartal voicings are considered ((open" because they ex-
ceed the distance of an octave. By omitting either the top or bottom note, the remaining
stack of fourths still exceeds an octave; there is just one less fourth interval than was
illustrated in the examples 7.1 and 7.2. The next example (7.3) revisits the second mea-
sure of the open voicing ii-V-I 'seen in example 6.17, but in this case the tonic chord
(i.e., the I) is voiced as a quartal voicing. You will see and hear that these structures can
be used effectively in a four-voice context.
The arrows in example 7.3 illustrate the additional voice motion resulting from the
quartal tonic chord (the C6/9). The B (the third of the G7) moves down to the A (the
sixth of the C6/9) in the second measure, however in the first measure of the example,
the B of the G7 remains as the seventh of the Cma7. Inner voice motion helps define the
progression and leads the listener's ear through the chords. As you hear the audio track
(which also includes chord roots not pictured here) observe the difference between the
warmth of the Cma7 in the first measure and the more spacious sound of the C6/9.
lllf>)) 7.3
Drop-2 Tertian Voicings Drop-2 Tertian with Quartal Tonic
0Mi7 ~7 a~-tA7 OMi7 ~7 a~fg
~
I ~ u it ~ iY- ~
Icommon tone I IaddiHooal voice moHoo I .~
.
16th replaces 7th,
forming quartal structure
Example 7.3
Q..uartal Voicings as Dominants

So far we have only discussed major and minor quartal voicings. It is possible to use
quartal voicings for dominant chords as well, but in order to do so the bottom interval of
the voicing must be altered. By changing the bottom interval into a tritone (diminished
fifth or augmented fourth) the chord becomes a bright-sounding dominant seventh.
The following example illustrates the conversion of major quartal structures into
dominant quartal structures.
Example 7.4
We have seen in example 7.2 that a single quartal voicing can support a variety of
roots. In example 7.4 the first and third chords contain the same tones above two differ-
ent roots, forming a C6/9 and an Fmal3. Converting the C6/9 chord into a C9 chord is
accomplished by raising the sixth (the A) to a Bb-the seventh of the dominant chord.
Converting the Fmal3 chord into a dominant quality chord-an Fl3-is accomplished
by lowering the seventh (the E) to an Eb, which is the seventh of the dominant chord.
Seeing and hearing these specialized voicings in context reveals the hip, open sound
that they provide £or an arrangement. Let's take a look at a chord progression that uses
quartal harmony. J
-- >)) 7.5
Example 7.5
Notice how this example demonstrates several chord structures: a major thirteenth
with the fifth as the top note of the voicing (the Cma13), two major 6/9s with the root
as the top note of the voicing (the F6/9 and C6/9), and a dominant quartal chord (the
G9). Quartal voicings offer additional options for arrangers beyond tertian harmony,
providing a different way to use open voicing structures.
11
So What" Voicings
This voicing, named for Miles Davis' famous modal composition, is similar to the quartal
voicings discussed above, but this structure is brightened by the presence of a major
third interval on top of the chord. This voicing has the same properties as the quartal
chords-it is a drop-2/ 4 voicing and is transposable.
This next example illustrates the conversion from close to drop- 2/4 open position. It
is the same process illustrated in example 7.1, but in this case the first chord is a Cma13
rather than a C6/9. The first chord is a five-note chord structure that contains the sev-
enth, the thirteenth, the fifth, the third, and the ninth. Notice that in this chord, the
seventh, thirteenth, and fifth are adjacent to one another, forming a colorful, dissonant
cluster. This chord, unlike the C6/9 shown in example 7.1, has a major seventh. There-
fore, when you drop the thirteenth (the A) down an octave, that leaves the G and Bas a
bright-sounding major third on top of the voicing. Also, as we saw with quartal chords,
this same group of notes could also form other chords if you simply changed the bass
note.
Example 7.6
Transposing "So What" Voicings

"So What" voicings have two important characteristics: they have a bright, modern
sound, and they are easily transposable. As is the case with quartal voicings, aso What"
voicings can also have several possible roots, creating different major and minor chords.
The most common uses of this structure are to create major thirteenth chords and minor
eleventh chords, but composers also use them for major ~11 and suspended chords as
well.
The next example contains a single aso What" structure notated four times, each
with a different bass note.
Example 7.7
"So What" and Q..uartal Voicings in Context

· Quartal and ((So What" structures provide new color choices for the arranger. On the
following page is a progression in which these voicings are combined:
-4>)) 7.8
sw Q sw Q Q
ISW = So What; Q = Quartal I

Example 7.8
Notice the smooth voicing leading between chords in the above example. Although
these hip, edgy voicings may be just what you are looking for in some situations, they
should probably not be your primary choice. Tertian harmony is still the ((meat and
potatoes" of the arranger's voicing choices.
Chapter Summary
1. Quartal chords are built entirely of fourths.
2. Quartal chords can be viewed as drop- 2/4 tertian voicings.
3. Quartal chords are transposable.
4. Dominants can be formed by changing the bottom interval of a quartal chord to a
tritone.
5. "So What" chords are quartal chords brightened by a major third on top.
6. "So What" chords are transposable.
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,.------Assignment 7.1
(tuartal Chords
In the staff provided on the next page, notate the five-note quartal voicings under
the given notes. The voicing type is listed for each chord. Put three notes in the
treble clef staff and two notes in the bass clef staff. The first chord is provided.
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~MA1! £p~ £MA1! S1! ~pMAi!
' ...
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rJ LJ1
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quartal quartal "So What11 quartal 11
So What11 tr.l
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quartal quartal 11
So What 11 11
So What11 quartal
1-"
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Slash Chords
A slash chord is a symbol that indicates a bass note other than the normal root of the
chord. For instance, in the example shown below, the Cma7 chord should be played over
aD bass note. This chord symbol would be pronounced "C major seven over D."
.,-
,,
""
l.6
-
'!loCO.
'!loCO.
.. ,
~·
A
I
. --
Example 8.1
137
If you page through a fake book, you'll see plenty of examples of slash chord nota-
tion. Gaining an understanding of how the notation functions adds a useful tool to your
collection of voicing possibilities.
Uses of Slash Chords

There are three primary reasons why jazz musicians use slash chords: to improve bass
lines, to notate an exact sound, and to simplify complex structures.
Smoothing Out Bass Lines

Bass players are trained to play roots of chords when reading a lead sheet, along with
the various passing tones heard in walking bass lines. As a result of playing chord roots,
a bass line can include rather wide leaps. Slash chord symbols smooth out a bass line by
indicating chord inversions. For instance, the example shown below is a C triad in first
inversion.
(l/£
,,.,
I
" 16
i
-
'!Mi.
~
-·
~
I
.I
• c.
Example 8.2
With this simple method at the writer's disposal, it's easy to smooth out the bass line
as chords progress from one to the next.
The last eight bars of the famous Duke Ellington standard ((In A Mellow Tone" will
serve to illustrate this point. It starts on the Dbma7 which functions as the IV chord.
OpMAi
4i~~~ ~ , , ,
A t t ,t
ooi
1/ , t ,I
#
I
Ap/£p
1/ I
t
I
I
I
I
~;
1/ I
A ,
t t
if
Example 8.3
In this progression, the Ab chord was given an Eb as the bass note (second inversion)
to create a smooth line for the bass player to play. Notice how the bass line moves up in
a stepwise fashion from Db to D to Eb and then to F.
CHAPTER 8: SLASH CHORDS 139
Notating An Exact Sound

Another reason why slash chords are so useful for composers and arrangers is that they
communicate a high degree of specificity. By using slash chords, composers and ar-
rangers can dictat~ to the rhythm section an exact chord sound that includes certain
notes while omitting others. Let's say, for instance, that you want the rhythm section
to play a Cma7(~5) chord but without playing the ninth. Many pianists would consider
playing the ninth of the chord since it's such a common substitution. But with a slash
chord, E/C (pronounced "E over C"), you could quickly and easily show exactly what
notes you want played. When the rhythm section members react to that chord symbol,
they would play C in the bass, and E, G~ and B-the notes of an E triad-above it. This
leaves out the unwanted D.
Simplifying Complex Structures

One of the most important reasons for using slash chords is that they can express com-
plex chord structures in a simplified manner. Suspended chords offer a useful and com-
mon example. While this chord is often indicated with the "sus" designation, as in
C7sus, slash chord notation is often used instead, as in Bb/C. The Bb triad includes a
Bb, D, and F. With a C bass note, these tones form the seventh (the Bb), 9th (the D), and
the suspended 4th (the F) of a C7sus. Therefore, colorful tones (especially the ninth)
are added to the chord and the arranger need only think of the notes of a Bb triad. The
following illustrates this extremely common chord with the chord tones indicated in the
boxes.
Example 8.4
Chord Over Chord

Most of the time when you see a slash chord it indicates a chord over a bass note like
the ones shown above. But sometimes the part of the chord below the slash is not just a
bass note, but a full chord. This u chord over chord" type of symbol is called a polychord.
When a slash chord indicates a polychord, the part of the symbol below the slash will
have a chord quality written next to it such as ((triad," u7," or "ma7."
Having the ability to notate one chord stacked on top of another chord can be a
very useful tool for an arranger to have in his or her toolbox. This is especially true
when dealing with dominant chords. Dominant seventh chords can be quite elaborate,
but utilizing a slash chord symbol can make it much easier to notate a complex chord.
When using this type of chord notation, the bottom symbol will normally indicate a
letter followed by the numeral "7." This serves as the foundation of the chord. The
upper symbol is a triad that provides interesting and useful chord tone substitutions.
Providing harmonic color for dominant seventh chord structures is a very important
part of jazz theory. As with the suspended chords we examined above, it is helpful to
have a simple way to express a complex structure.
----------------Important!--------------~
In a "chord over bass note" slash chord, the bottom letter will not have a
chord quality next to it- it will just be a letter. But if the letter below the
slash has a chord quality written next to it, you can be sure that the chord
symbol is a "chord over chord" or polychord.
For example, a C7(~9)(b13) chord looks like a complicated symbol, and it is. Fortu-
nately, that same chord can also be notated as an Ab/C7. Not only will the proper notes
be played, it will also be properly voiced as well. Other common examples are A/C7
which is a slash chord version of C13(b9) and D/C7 which is a C13(~11). The following
example demonstrates these chord constructions.
_b
a1 ~\' l*tiTJ
;~3 (ll.,~~9m aJI,J.i(ffl)liJ13
.., ,p i I
Ai7 A;a7 C;a7

b.
I
IIIII
I
'
fill
Example 8.5
The example above shows the slash chord symbol between the staves and the more
complicated single symbol above the treble staff. The chord tones supplied by the upper
triad symbol are listed in the boxes to the right of the chord sympol. Like the quartal
and "So What" voicings, the Ab/C7 and D/C7 slash chords are five-note structures (not
including the root). The A/C7 is a four-note chord also (not including the root). Notice
that the enharmonic spelling is flexible when using these voicings. In the Ab/C7, the
Eb in the treble staff appears to be a minor third, but since there is a major third in
the chord (in the bass clef), it is an enharmonically misspelled raised ninth (D~). The
reason for the Eb rather than aD~ is that the upper triad is an Ab chord, which of course
contains an Eb. It would look pretty odd with a D~, and it would not serve the purpose
of simplifying the 1chord.
Notice also that the upper triad is in second inversion. By using this particular in-
version, the resulting structure is in drop-2/ 4 for the Ab/C7 and D/C7 and in drop-2 for
the A/C7. The next example illustrates this with the sa1ne process as seen with quartal
and uso What" voicings.
O;e,;
b I j ..... .L..
I '~,~,-
close drop-2/4 close ~ d:p-2 close ~ drop-2/4
'bo ·~o ~g:
•
Example 8.6
The close position voicing in example 8.6 is notated correctly as far as note names
are concerned. The slash chord version, in open position, contains the u incorrect" but
more easily read enharmonic alterations.
We will discuss slash chords in context in subsequent chapters when we examine the
example tunes. Before we get to those later chapters, let's look at a short example from
one of the example tunes.
b I
., "So What"
I
Slash chord: C/8~7 "So What"

I
I
.
Slash chord: B~/AP
b
.,
. .a.- ~~ -e J.-6-
Example 8.7
The major seventh chords are voiced with "So What" voicings in which the seventh
is in the melody. The dominant thirteenth chords are bright ~11 slash chords. It is
interesting to see how smoothly the voice leading works. The upper part of the "So
What" chords are all common to the subsequent upper part of the slash chord.
We'll be revisiting slash chords in chapter 13, ((Three-Part Writing." In that chapter
we'll see that the upper triad can be voiced by a three-horn section (as was done, for
example, by Art Blakey and the Jazz Messengers). The upper triad of a slash chord can
also be scored for a single section in a big band or by a pianist who often will play the
top chord in the right hand and the bottom one in the left hand.
Voicing Summary
This unit contains information about tertian, quartal, ((So What/' and slash chord voic-
ings. You should base most of your thinking on tertian harmony because building chords
in thirds is the foundation of our harmonic system. Furthermore, we found that the
more specialized voicings presented above (i.e., quartaL "So What" and slash chords)
may all be viewed as tertian drop- 2 and drop-2/4 voicings.
Although we've discussed several voicing techniques, arrangers normally use the
same voicing type throughout a phrase or section so that the voices move smoothly.
This is particularly true when harmonizing a stepwise melody. However, moving from
one technique to another is very common and effective-particularly when the range
of the melody changes or unwanted repeated notes are found in the lower voices. Re-
member that you are writing individual melodies for each horn or voice as the harmony
progresses.
Thus far we have discussed the harmonization of chord tones. Not every tone is
a chord tone, of course. Learning how these non-chord tones are harmonized is an
important part of the journey toward becoming a successful jazz arranger. This process
is explained in the next chapter.
Chapter Summary
1. Slash chords are used in jazz standards to notate inversions that create smoother
bass lines.
2. Slash chords allow you to notate an exact chord sound.
3. Slash chords allow you to simplify complex chord symbols.
4. If the bottom chord does not have a quality next to it, it means chord over bass
note.
5. If the bottom chord has a quality next to it, it means chord over chord.
-----Assignment 8.1
Slash Chords
On the next page, notate slash chords according to the directions listed below.
The first chord has been completed for you.
If the chord is a dominant 7(~9)(b13), put the upper triad in second inversion
and add the seventh and third in the bass clef (seventh on top).
If the chord is a dominant 13(~11 ), put the upper triad in second inversion,
and add the third and seventh in the bass clef (third on top).
If the chord is a dominant 13(b9), put the upper triad in second inversion
and the seventh in the bass clef.
If the chord is a dominant 7sus, put the upper triad in root position and the
root of the chord name in the bass clef.
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CJ"'o
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Non harmonic Tones
Traditional music theory books invariably contain a chapter devoted to tones that fall
between the harmonic cracks-the "nonharmonic" tones. These important notes often
provide the color and spice that make a piece of music unique. Fortunately, these tones
are not difficult to understand. In this chapter we will be focusing on the following:
Passing tones: Tones that pass by step between two different chord tones.
Neighboring tones: Tones that move away from and back to the same pitch in a step-
wise fashion.
Double Neighboring Tones: Two tones that move as their name implies, surrounding
a harmonic tone, either diatonically or chromatically. Often the upper neighbor-
ing tone is diatonic and the lower is chromatic. This is a very common melodic
technique used by jazz composers and improvisers. Double neighboring tones are
also referred to as enclosures.
147
The Bach-like example below illustrates these three nonharmonic tones.
Ipassing tone ~double neighboring tones I

b r---, ) I I R I I I
I r I ( I I T I r
neighboring tone I
I I J J I I
•
I
i i r- i r I
IV N IV IV V7
Example 9.1
In the example shown above, the soprano voice contains three nonharmonic tones.
The B is a passing tone moving between C and A. The G is a neighboring tone moving
from the A and then back up to the same A. The D and B sixteenth notes are double
neighboring tones surrounding the subsequent C.
There are other types of nonharmonic tones, but in this book we will be focusing
mainly on passing tones and neighboring tones. However, to gain a more thorough
understanding of nonharmonic tones, I would suggest that you consult a traditional
music theory book on this subject.
What is a Non harmonic Tone in a Jazz Context?

Before we begin our discussion of nonharmonic tones, we must ask an important ques-
tion: How can you identify which notes are chord tones and which are not, particularly
in the rich harmonic environment of jazz?
In the jazz idiom, many tones can be considered chord tones. For example, an F can
be the root of an F chord but also the thirteenth of an Ab chord and the flat fifth of a
B chord. So under what circumstances will that same F be considered a nonharmonic
tone? The answer lies in the harmonic context of the music at that particular time. As
long as you know how each chord is functioning, and if you understand the available
substitutions for the various chord tones (see example 6.3) you will be able to identify a
tone as either a chord tone or as a nonharmonic tone. Often they are the second, fourth,
or sixth above a chord root; in other words, the notes in between the fundamental tones
of root, third, fifth, and seventh. But harmonic context is the gov~rning factor most of
the time.
CHAPTER 9: NoNHARMONic ToNEs 149
Texture
The discussion that follows will involve working in a homophonic texture (i.e., a texture
in which the melqdy is on top and the accompanying parts move in the same direction
and with the same rhythm as the melody). As the lines that are scored under a melody
follow its contour, the nonharmonic tones in the melody must be treated in some way if
the texture is to remain homophonic. When hannonizing any melody the arranger must
take into account multiple considerations. The arranger must think in a horizontal fash-
ion in order to make the lower parts natural-sounding and easy to play. Simultaneously,
the arranger must think in a vertical fashion, taking into account the harmonic context.
Approach Techniques
The term approach is often used to describe how the individual parts lead toward a
harmonic goal. There are four types of approaches described below:
1. Diatonic
2. Diminished
3. Dominant and secondary dominant (with or without the related ii chord)
4. Parallel (both chromatic and nonchromatic)
The following examples illustrate these techniques in detail. Most of the examples
involve a stepwise melody. In each case, the melody must be analyzed to see which
tones are harmonic and which are nonharmonic. Observe (and play if you want) the
lower voices and how they move; they are easy to follow because the stem directions,
written in SATB format, help to identify each line. The goal is to write lower parts that
have a musical flow. In these examples, each approach technique is labeled. Accidentals
carry through the entirety of each example.
Diatonic Approach
The melody in the following example is simply a C major scale, and the chord used
to harmonize this passage is, naturally, a C major chord. So the chord tones are C, E,
and G. When using the diatonic approach technique labeled with a D) the nonharmonic
tones are scored using the notes of the governing key. This is also referred to as diatonic
planing as each voice moves in parallel motion with the melody.
~
c.• C!,MAi C!,MA9 C!,MAi c.•
...
I
r r i r i r r f
'
I
I J
D
~ J
D
J J
D
~ J
D
I
I
Example 9.2
Notice that each voice simply moves up and down the scale and the chord tones
take turns being the root, third, and fifth of the fundamental C chord. When the root is
the melody tone, the chord is a C6; when the third is the melody, the chord contains a
seventh; and when the fifth is the melodic tone, the chord contains a ninth. These chord
tones come about because of the lines created by the inner voices.
Diminished Seventh Approach
The diminished seventh approach technique (abbreviated ((Dim") tonicizes different

harmonic tones. These tones are temporarily heard as brief ((tonics" as the unstable
diminished seventh chords resolve. In this example, the voice leading of each line cre-
ates a C6 for each harmonic tone. Also note that the diminished chords are constructed
with the same four notes-B, D, F, and Ab (or G~ depending on the direction of the line).
b
c.• c.• C!.6 C!.• C!.6
I
f r r i r i r r
l •
•
I
I IL I
Dim
J ,LJ
Dim
J i..L
Dim
L1 J ~J
Dim
' I
I
Example 9.3
The next example illustrates the same diminished seventh approach technique, but
this time in a minor key. The diminished chord used for the nonharmonic tones is the
same. The C chord is the same too, except that it has a minor third.
lllf>)) 9.4
(!.Mi~ (!.Mi~ (!.Mi~ (!.Mi~ (lMi~
b
•
L\. J.L
I f r rr i rr i rr r f
~ J ~.L
-· I
I J
11
I
I""'
J J
I""'
LLJ ~ J
I
I
Dim Dim Dim Dim
Example 9.4
------Diminished Seventh Chords------

Diminished seventh chords are symmetrical chords built entirely with minor thirds.
Therefore, a C diminished seventh chord, Eb diminished seventh chord, F~ diminished
seventh chord, and A diminished seventh chord are all formed using these same four
notes. The same thing is true for C~, E, G, and Bb, and also forD, F, Ab, and B. Therefore,
there are really only three unique diminished seventh chords.
Dominant and Secondary Dominant Approach (with Preceding ii)

Secondary dominants with or without a preceding ii chord can also be used with nonhar-
monic tones. In this method, secondary dominants are constructed under nonharmonic
tones prior to chord tones in the melody. This is somewhat similar to the diminished sev-
enth approach method discussed above. The example on the following page illustrates
this method.
As you listen to the audio recording of the above example) you may notice a particu-
larly disjunct line. The alto part has two awkward intervals: the minor third between the
Bb and Db) and the augmented second between the F and G~. Therefore this technique
may not be the best solution for this particular melody.
Composers) arrangers) and jazz performers frequently utilize double neighboring
tone motion to surround "target)) notes. Using the dominant of the key as well as sec-
ondary dominant approaches (often including the related ii chord as seen in the previ-
ous example) can provide a good solution when harmonizing double neighboring tones.
Our next example illustrates this process in two locations.
IIIII >1) 9 .&
(!MA7 ~~ /1 Targets~~ ~Mi~

~ I I I I
I r I I I I 'I
I vr r
.• .!. 4 ~ i
C: ii
-
v
i ~pJ
f: ii
~~
v
LJ
(0Mi7 ~ 7(~9)) (~Mi7(~&) (!.7(~9))

Example 9.6
The melody in example 9.6 is in C major) but it includes two double neighboring
motions: the D and B surround the target note C) and the G and E surround the target
note F) harmonized with an Fmin6 chord. Both sets of double neighboring tones are
harmonized with ii-V motion and these chord symbols are indicated below the staff
in parentheses. This works well because the melodic line and inner voices are driven
forward by the harmonic motion provided by the ii-Vs.
Parallel Approaches
The previous examples illustrate techniques that utilize harmonic context. Parallel ap-
proach techniques, however, are essentially nonfunctional.
The first type of parallel approach we will examine is the chromatic parallel ap-
proach. Chromatic melodies are relatively simple to harmonize. After determining
which tones of a melody are the harmonic tones, harmonize these first. The lower parts
supporting these target tones are then simply approached chromatically in the same di-
rection as the melody. This is also known as chromatic planing. The abbreviation for this
technique is CP.
CP CP CP
Example 9.7
Another type of parallel approach is the nonchromatic parallel approach. This is

another nonfunctional technique in which the lower tones move parallel to the melody,
as in the chromatic approach. Each voice moves the same exact distance as the melody,
as well as in the same direction. The abbreviation is NCP as in unonchromatic parallel."
(li~ (li~ (!.1~

~ I I I I. I I
I I I I I ! I
~t LJ_ ~ ~ ~
NCP NCP
Example 9.8
These techniques look relatively simple when harmonizing basic melodies. By ex-
amining excerpts from the example tunes, however, we can view these techniques in
more realistic situations. The examples will illustrate that choosing one technique over
another is an important decision, especially when trying to write lower parts that are
natural-sounding. One of the most common problems that arrangers face is the writing
of awkward repeated notes in accompanying voices. While this is sometimes unavoid-
able, arrangers should do their best to limit them, especially in eighth or sixteenth note
lines.
Approach Techniques in Context

Now that we have covered the basics, let's see how these concepts work in the context
of actual arrange1nents. The examples below are scored with four-note chords in the
traditional SATB format using four-way close voicings. The principles outlined here are
equally valid when scoring with open voicings.
Additionally, these solutions may or may not be seen again in the specifically ar-
ranged versions of the example tunes in upcoming chapters. These arrangements will
be presented in a variety of ways that include unison writing, countermelodies, and har-
monized sections. Because we are currently exploring the scoring of nonharmonic tones,
homophonic textures predominate in these examples.
"Why Not Now"

The bridge of the example tune ((Why Not Now" offers us a good opportunity to view
various techniques because of its stepwise nature, its simple harmonic function, and the
variety of half step and whole step motion. The example shown below contains the final
four measures of the melody with the nonharmonic tones labeled. The abbreviation PT
stands for ((passing tone" and NT stands for ((neighboring tone."
Q'-ii7 ~7 e, ....; C,Mii Fi

~~p 3 J. ~~ J J J fJ I:J ~J ~ J~J J iJ J I,:J ~J. Jl
Type: PT
f
PT PT PT NT PT PT ' PT
Example 9.9
The next example illustrates both diatonic and chromatic parallel approaches. No-
tice that the half step motion in the melody is harmonized with a chromatically parallel
solution in the lower voices. This version works well, but it is very consonant or ((inside"
harmonically. The abbreviation D stands for u diatonic" and CP stands for {(chromatic
parallel."
llllf>)) 9.10
Type: PT PT PT PT NT PT PT PT
Method: D D CP D CP CP CP CP
Example 9.10
The next example adds the diminished seventh chord approach technique to the
same excerpt but retains some of the chromatic approaches. Here the diminished chords
serve to tonicize the chord tones, giving the line more emphasis as it moves forward. The
abbreviation Dim stands for ((diminished."
·>~) 9.11
,.,.
Type: PT PT NT PT PT PT
Method: Dim Dim Dim CP CP CP
Example 9.11
The version illustrated in the above example would work just fine except for the
repeated notes (C and A) in the bottom voices in the last two notes of the first measure.
It would therefore be best to use the chromatic parallel harmonization in that location as
shown in exmnple 9.10. However, as you listen to the example, notice that the resolution
of the diminished sevenths seems to drive the melody forward with a sense of urgency.
This next example demonstrates dominant ii-V function. This version begins with
smooth diatonic motion in the first measure in which the Dmi7 (the ii) and G7 (the V)
occur, and includes another ii-V in the key of C harmonized under the second and third
melodic tones in the second measure.
M>J) 9.12
Type:
Method:
PT
D
PT
D
PT
CP
G PT
: ii - V
NT
CP
PT
CP
PT
CP
PT
CP
Irepeated notes I
Example 9.12
The excerpt in the example shown above would certainly work, but once again there
are repeated notes (F)-this time only in the bottom voice. The arranger should find
another solution in order to avoid the uncomfortable repeated notes.
"Sabrosa"
In the next few examples we will discuss various approach techniques using a fragment
of the bridge from "Sabrosa." This short fragment contains only two nonharmonic tones:
the passing tone G and the neighboring tone E.
~Mi7 Sp7
$'' r· Type:
p) ¥ l
PT
¥ J I J.
NT
J
Example 9.13
In the example shown below, diminished sevenths are used to harn1onize both of the
nonharmonic tones. Notice it's the same diminished chord for both tones.
illlf>)) 9.14
/1 whole step I
Type: PT NT
Method: Dim Dim
Example 9.14
The E on beat one of the second bar may be better hannonized with a chromatic
approach because the tenor line (the Bb to C) is a whole step while all the other voices
move by half step.
In the next example, the E in the second bar is hannonized with a chromatic ap-
proach instead of the diminished seventh approach shown in the last example. The
difference is slight, but it is smoother because all the voices are moving chromatically.
) chromatic j
Type: PT NT
Method: Dim CP
Example 9.15
"December Serenade"
The opening melody in "December Serenade" offers the opportunity to employ several
techniques. The line includes passing tones that move through the melody both by
whole and half step. The melody is sequential, so it makes sense to duplicate the tech-
nique as each two-measure motive is restated down in whole steps.
~MAi Spii(.tt) £pMAi Ap1i(.t1) QpMAi £MA;(p&) ~Miit

r--;--., .--s--,
t' rFPJ I Ir Fr•J 1.. Ir· ~ pJ J ~JJ) pJ. ) I

Type: PT PT
o
PT PT PT PT PT -- 6
Example 9.16
There is a simple way to handle this excerpt. The first passing tone in each sequential
statement (i.e., measures 1, 3, and 5) is best harmonized diatonically using the "key of
the moment" which is F major in measure 1, Eb major in measure 3, and Db major in
measure 5. The other passing tone moves chromatically, so chromatic approaches are
used for each sequence. In measure 5, there is a whole step motion (the F to Eb) leading
to the Ema7(b5). A parallel approach is used here (the nonchromatic variety) and the
voicing is reduced to three notes from here to the end because of the low range of the
melody. The final nonharmonic tone (in the last measure) moves chromatically, from
Db to C, so a chromatic parallel approach is used. Listen for the dffference among the
diatonic and parallel approaches, both chromatic and nonchromatic. Let's see how that
would look:
CHAPTER 9: NoNHARMONIC ToNEs 159
-4>)) 9.17
b I I I I I I I
I - I I
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- Type: PT PT PT PT
Method: D CP D CP
PT PT PT
D NCP CP
Example 9.17
Chapter Summary
1. Passing tones, neighboring tones, and double neighboring tones are the most com-
mon nonharmonic tones.
2. You can identify nonharmonic tones by examining the harmonic context of the
passage.
3. Approach techniques:
(a) Diatonic
(b) Diminished seventh
(c) Dominant and secondary dominants (with related ii chord)
(d) Parallel (both chromatic and nonchromatic)
4. These are used in a homophonic texture in which every note of a melody is har-
monized.
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Approach Methods
Complete the approach exercises located on the next several pages. Use the
appropriate approach technique indicated for each exercise. Non harmonic tones
are indicated with an "X" note head. Use SATB stem directions in four-way close
or drop-2 positions as suggested. Read the instructions carefully. Each exercise
is started for you.
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Diatonic Approach
Use four-way close throughout. Hint: there should be no accidentals in this solution until the Bb7(b9).
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Diminished Seventh Approach
In this exercise, which of the three diminished sevenths will you choose? Use the one that contains
the non harmonic tone that you are voicing. Use four-way close for measures 1, 3, and 4, and drop-2
in measure 2.
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The first two notes are given to illustrate that the Ab neighboring tone is harmonized with notes of a
C7 (the V of Fmi7). Take note of the b13 (the melodic tone Ab) and the b9 (the Db). These are tones
that belong to the "key of the moment" which is F minor. Think about this as you complete the rest n
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Chromatic Parallel Approach
Use four-way close and drop-2 at your discretion, but consider alternating voicing types as the melody
leaps. Hint: Voice the target note first, then move backwards and voice the approaching non harmonic
tone.
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------Assignment 9 . 2 - - - -
Voicing and Approach Summary Project
Arrange the melody on the next page for four voices in a homophonic texture.
Pay careful attention to the instructions underneath the grand staff-these in-
structions identify the voicing methods and approach methods that you must
use as you complete the assignment. The instructions given correspond to the
symbol key given below:
Symbol Key
Abbreviation Meaning of Abbreviation
FWC Four Way Close
02 Drop-2
Dim Diminished Seventh Approach
D Diatonic Approach
CP Chromatic Parallel Approach
ii-V ii-V Approach
YO You Decide!
As you work, be careful of the following issues:
Use SATB stem directions so that each voice may be easily identified.
Anticipations: When you see a tied melodic tone on the "and" of four, use
the harmony of the chord in the following measure.
Chord symbols: Some contain the alterations needed while others do not.
Consider using sixths rather than sevenths on the i and iv chords.
Enharmonic spelling: For example, a Bb melody note may be the raised

ninth of a G7 chord.
Harmonize every note of the melody.
And finally, be sure to listen to the audio track of the music in this assignment:
Iff>)) 9.18
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CHAPTER 9: NoNHARMONic ToNES 173
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CHAPTER 9: NoNHARMONIC ToNES 181
::::::
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Part IV
Writing An Arrangement
183
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Thus far we have discussed important aspects of form-from the simple song forms
that dominate the jazz idiom to common ways in which arrangers manipulate these
song forms to crea,te cmnplete arrangements. We have also explored instrumentation
and voicing techniques. Now it's time to put that knowledge to use as you begin writing
your own arrangements.
Your first task will be to sketch out your first arrangement using a format similar
to the schematic diagram assignment in chapter 3. For this arrangement you can use
the exercise tunes supplied in appendix A, jazz standards, or an original composition.
Initially, we'll only be scoring the melody for two and four horns plus rhythm section.
Once you are comfortable with writing the melody portion (also known as the head)
of your arrangement, we'll move forward into the additional sections that make an ar-
rangement your own creation. We will explore introductions, endings, solis, shout cho-
ruses, interludes, and solo sections with backgrounds. We will then add them to our
arrangement. There is a special chapter devoted to problems and potential solutions. If
you're having a problem, you may find the solution there.
185
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Planning An Arrangement
When traveling to an unfamiliar destination, you would probably not drive off in your
car without a map or at least some idea of where you were going. Likewise, most ar-
rangers shouldn't write an arrangement from beginning to end without first having some
concept of the direction and focus of the chart. Previously I have used the term road map,
a word that implies that a route and final destination were planned from the very begin-
ning. That's what we'll be doing in this chapter-determining where our arrangement
will go and the route it will take.
Preliminary Steps: Listening and Analysis
Before any actual writing begins, you will need a foundation upon which to build the
plan of the arrangement. It is crucial to understand the tune from every angle and to
have a familiarity with other arrangers' work on the same tune. Therefore, analysis and
listening are important tasks to undertake when starting an arrangement.
187
Analyze the Tune

As you make a thorough study of the tune, strive to understand the form, melody, har-
mony, and the basic rhythmic feel. Play the tune on your instrument and camp the
chords on the piano. When I'm familiarizing myself with a tune that I want to arrange,
I like to play it on the piano in other keys-this generates ideas that may not have oc-
curred to me in the original key.
Listen to Recordings
Another way to get ideas for your arrangement is to listen to recordings of the tune you
wish to arrange. There may be a famous, classic recording of the tune. If this is the
case, you at least should be familiar with this recording even if you don't particularly
like it. On the other hand, there may be some new version that inspires you. Either
way, listening to the ways that other writers have treated the tune will give you some
good ideas. While you cannot copy an arrangement note for note, you can emulate the
general characteristics. Throughout the history of jazz, composers and arrangers have
constantly influenced one another and borrowed each other's material. In this way the
genre has been able to develop and move forward. Of course, the advice given above
assumes that you are arranging an already-existing jazz standard and not your own
original composition.
Brainstorming
Now that you've analyzed the tune thoroughly and listened to other versions, you should
begin brainstorming by writing verbal descriptions in the two formats detailed below.
Annotate the Lead Sheet

Indicating ideas on the lead sheet is a great way to get started. Just a few words regarding
instrumentation, texture, or voicing types can help get the ideas to germinate. As an
example, look at the lead sheet in example 10.1 and observe the simple written notes
that I've provided. This tune has a medium swing tempo with an AABA form. The
written notes deal mostly with the treatment of the melody, but you'll see that I do have
an idea about the overall structure of the chart below the lead sheet.
CHAPTER 10: PLANNING AN ARRANGEMENT 189
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fr?elody returnS at 13
Example 10.1
Create A Schematic Diagram

This is the fun part-where you actually start to create your own arrangement by ex-
panding your thoughts initially developed on the lead sheet. Using your knowledge of
song forms, textures, and schematic diagrams (see chapter 3), start the creative process
by building a schematic diagram. At this point anything is possible, so let your creative
juices flow and enjoy this process. Compromise, which can be frustrating, will come
later. Make every effort to get away from your instrument, your computer, and your
MP3 player and just hear the arrangement unfold in your mind. Let me reiterate: You
should be writing words, not notes, at this stage. In your schematic diagram indicate
the form, ideas for orchestration and texture, and the overall scope and contour of the
chart. Just brainstorm with pencil in hand, imagining in your mind how the chart will
sound and feel.
Example 10.2 contains a schematic diagram of the lead sheet seen above. Notice
that the notes from the lead sheet have been transferred to the diagram but with more
detail. Also, the entire form is sketched out, again by referring to and expanding upon
the preliminary notes from the lead sheet.
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Example 10.2
In the diagram shown above, I have decided to begin with a thin texture of only bass
and piano. Also, I intend to reuse the introductory material as an interlude. I'll score
the melody for the brass players, with the saxes providing a countermelody during the
second A section. At the bridge, I would like for the horns to play in a homophonic
manner, and I have even written down the type of chord voicings. The melody concludes
with a new countermelody played by the saxes. Furthermore, I have indicated the feel
(in four, or in two), and I have also made a note about how I want the chart to integrate
the interlude with the solo section. I also intend to include a shout chorus for the first
half of the form (the AA sectionpart) with the melody returning for the bridge an octave
higher. I am also planning on a tag for the ending. In short, I have made a fairly complete
verbal description of the arrangement.
This schematic diagram will not only help me envision the whole arrangement, but
it will also serve as a guide as I begin the actual writing. Keep in mind that a schematic
diagram is not set in stone. It's just a part of the process that takes place before the ar-
ranger starts to make tough decisions concerning instrumentation, tempo, style, blend,
etc. Right now as you sketch things out in a general way, there are no limits on what you
can do. But later you might hear yourself saying something like this: "Well, that melody
note won't work for alto sax like I had planned-I'll give it to the tenor sax instead."
Altering your sketch does not mean that your original idea was a: bad one; it simply
means that you needed to compromise in some way. Regardless of what happens during
the actual writing process, having a schematic diagram is still very helpful because it
provides the arranger with an overall picture of the entire arrangement.
Transferring Words Into Notation: Three Steps from Sketch

to Finished Score
In this section of the chapter, we will explore a three-step process for writing a small
group arrangement. We will discuss writing at various levels of detail such as sketching
basic ideas, developing your ideas, and creating a full score for a small jazz ensemble.
Of course, you could do all of your music notation on a computer, but there are
several creative advantages to using old-fashioned pencil and paper. First of all, it can
be difficult to see the arrangement unfold when viewing only a small portion of the ar-
rangement on your computer screen. Also, if you are entering notes on a computer using
a piano keyboard, you may be limited by your piano technique. It is important to get
away from the keyboard (or any musical instrument) and hear your ideas internally-
especially at the beginning stages of the arrangement. Therefore, I strongly urge you to
write the old-fashioned way-with pencil and paper. Later, finish the arrangement on
the computer.
Let's examine each of three steps that will take us from sketch to finished score.
Step 1: Basic Sketch/Spontaneous Idea Stage

This type of sketching occurs in the earliest stages of writing, although ideas that come
along later in the process can be notated quickly in this way as well. Exercise as much
spontaneity as you can at this point. You may want to write in an abbreviated manner-
the goal is to capture any ideas that come to mind so that they are preserved for possible
use later. Basic sketching can be done on a simple piece of staff paper or with whatever
kind of paper is nearby when inspiration hits-even a restaurant napkin!
Here is an example of what a handwritten sketch might look like:
Example 10.3
Notice that I did not write a complete score-just raw ideas with labels written next
to them. It's a very abbreviated style of getting the ideas on paper. It also includes
elements that I first conceived while creating the schematic diagram.
Step 2: Developmental Sketching

Developmental sketching is the next level, where instruments are specified and voicing
types are labeled and perhaps scored. Use three-staff sketch paper at this point (avail-
able in appendix C), in which the horns are placed in the upper two staves and the
rhythm section is consolidated on the bottom staff. You should begin the actual process
of voicing the horns and assigning instruments to the various melodies, backgrounds,
etc. You may want to write only lead lines (the top voices) with verbal instructions
regarding voicing choices (e.g., drop-2, four-way close).
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Step 3: The Finished Score

This next example contains the final score (in concert pitch, with 11rb articulations or dy-
namics) resulting from the two steps described above. Notice that everything suggested
in the developmental sketch (shown above) is included in the score: the brass melody,
the sax countermelody, the voicings in measures 5 and 7, and the rhythm section parts.
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Example 10.5
Now that we have examined a method for sketching and developing an arrangement,
it's time to begin to put pen to paper and begin writing. You'll be arranging several
versions of the exercise tunes found in appendix A. These assignments will parallel the
study of the example tunes.
Chapter Summary
1. Thoroughly analyze the tune you wish to arrange and listen to other versions of it.
2. Take notes on the lead sheet as you brainstorm.
3. Create a schematic diagram of your arrangement.
4. Refer to the annotated lead sheet and schematic diagram as you:
(a) Sketch your ideas on staff paper.
(b) Transfer those ideas to three-staff sketch paper.
(c) Transfer the three-staff ideas to the finished transposed score.
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-----Assignment 10.1
Annotated Lead Sheets
Create an annotated lead sheet for each of the three exercise tunes located in
appendix A. Concentrate on the treatment of the melody- although if you have
ideas about an introduction, ending, solo section, etc., include them as well.
We'll be learning about those sections in the chapters to come.
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Two-Part Writing
In the jazz idiom there is much more collaboration between performer and arranger
than in other musical genres. As a result, the jazz performer is crucial to the success
of an arrangement. This is especially true for the rhythm section players who are given
a certain amount of latitude in interpreting their parts. Horn players, while charged
with the duty of blending with one another, understand that jazz interpretation is also
an important part of their jobs. Improvised solo sections present perhaps the clearest
example of the important role played by the jazz performer. While the arranger provides
the chord changes, the rhythmic feel, and possible background parts, the performer is
in charge during a solo. So what does a jazz arranger control? It boils down to the
following:
Instrumentation (including ensemble size and choice of instruments)

Register
Dynamics
Articulations
Tempo
197
Texture
Form
With this chapter, we begin deciding how these seven items will be handled. The first
step is to choose the wind instruments for the arrangement. You will be learning how
to write for two horns and a rhythm section of piano, bass, and drums. Before moving
further, let's explore that particular instrumentation in the context of other possibilities.
Instrumentation
This book is called Arranging for the Small Jazz Ensemble. What exactly is a small jazz
ensemble? The word ensemble actually is a French word that means (as a noun) "set"
or "group." Or, as an adverb, it means "together." So one would have to assume that
the title refers to a musical setting with more than one player. A duo of piano and bass
is certainly an ensemble as is two flutes. Another obvious conclusion is that a small
jazz ensemble is certainly smaller than a big band. Typically we think of a small jazz
ensemble as a rhythm section of piano (and perhaps guitar), bass, drums, or a rhythm
section with one or more horn players-but not quite the size of a big band. By horn
players I am not referring to French horn players; the term horn in a jazz setting is
synonymous with wind instru1nents.
The number of horns used in small groups has varied throughout jazz history. New
Orleans "Dixieland" bands normally used three wind instruments-cornet, clarinet, and
trombone. The classic bebop ensemble used two horns-often trumpet and alto saxo-
phone (think Dizzy Gillespie and Charlie Parker). Hard bop groups of the 1950s and
1960s such as Art Blakey and the Jazz Messengers normally used three horns. Four or
more horns, although seen less frequently, are used with great success on albums such
as Horace Silver's album Hardbop Grand pop. Miles Davis' Birth of the Cool band had nine
horns, while Rob McConnell's Tentet used seven horns. Several of these ensemble types
are discussed below-all with a rhythm section of piano, bass, and drums .
. The Quartet: One Horn and Rhythm Section

The simplest ensemble for beginning jazz arrangers to tackle is one horn plus rhythm
section. This instrumentation provides the musicians with the most freedom of expres-
sion because the single horn player has no other wind players to blend with. However,
even this limited instrumentation calls for decisions to be made. First, what wind in-
strument will be chosen to join the rhythm section? The type of melodic line (whether
rapidi slow moving, wide-ranging, etc.) will affect your choice. This type of writing also
requires more decisions about form, rhythm section integration, introductions, endings,
how much improvisation, substitute chord changes, etc. In other words, writing for one
horn is 1nore complicated than you may have thought.
CHAPTER 11: Two-PART WRITING 199
----Assignment 11.1
Writing For One Horn & Rhythm
Arrange one of the exercise tunes located in appendix A for one horn and rhythm
section. Write for the horn of your choice (e.g., trumpet, saxophone, or tram~
bone) with piano, bass, and drums as your rhythm section. Your arrangement
should consist of only one statement of the melody. Write a transposed score
and include rehearsal letters. Refer to the musical suggestions and layout sug-
gestions found at the beginning of chapter 17. Use the score paper provided,
your own paper, or notation software.
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The Quintet: Two Horns and Rhythm
Writing for two hqrns demands even more decisions from the arranger~mostly regard-
ing instrumentati6n (what instrument to add) and texture (how to add it).
In chapter 4 we learned that instrumental timbre and family are the prime consider-
ations in choosing horns-deciding whether you want the instruments to contrast with
one another or to blend in a homogeneous manner. To help you make this critical deci-
sion, the following list of two-horn combinations includes audio examples of the ABAC
swing exercise tune located in appendix A. Listen carefully to the blend or contrast
created by the various combinations. Instrument combinations that blend well are as
follows:
1. Trumpet/ soprano sax
2. Trumpet/alto sax
3. Trumpet/tenor sax (separated by an octave) -4>)) 111.3
4. Trumpet/trombone (separated by an octave)
5. Trombone/tenor sax
6. Alto sax/tenor sax (separated by an octave) -4>)) 111.6

I
Contrasting instrumental choices are as follows:
1. Alto sax/trombone (separated by an octave)
2. Trumpet/bari sax (separated by an octave)
Two-horn ensembles still provide opportunities to interpret lines with a great deal
of flexibility, especially in a polyphonic texture. In fact, when the two instruments are
playing independent lines, it is appropriate for the players to perform their parts in
a very individual, almost improvised manner-something that is not possible in large
groups.
The Sextet: Three Horns and Rhythm

Three-horn writing is complicated by the fact that one note of a four-note chord struc-
ture cannot be played (the pianist can play it, but one note of the chord would need to
be left out of the horn voicings ). Deciding which chord tone to omit is tricky-this prob-
lem is explored further in chapter 13. Three-horn gro:ups certainly can offer the wind
players opportunities for individual interpretation of their lines (picture a New Orleans
traditional jazz band in which the horns are improvising at the same time). But in more
contemporary styles, the increase in horn parts from two to three typically diminishes
that freedom. As ensembles increase in size, the importance of the arranger grows as
well.
The Septet: Four Horns and Rhythm

Writing for four horns is relatively simple because you can use every note of a four-note
chord structure. All the notes of four-way close and drop-2 voicings will be complete
with nothing doubled or eliminated. Of course, the accompanying lines should still be
scored so that they are tuneful and easy to play. But the reason why this text emphasizes
two-horn and four-horn combinations throughout is because these two combinations are
the easiest to grasp. In fact, there is a big band arranging technique in which overlapping
four-way close voicings are used for the saxophone, trumpet, and trombone sections.
Because the saxophone section typically has five saxes, the bari sax part usually doubles
the melody an octave below. With this in mind, you can see why understanding four-
way close voicing is so important. We will discuss four-horn writing in the next chapter;
for now, let's get back to the topic of two-horn arranging.
Two-Horn Writing
As explained in chapter 3, the number of possible textures can be reduced to only two
when writing for more than one voice (or horn):
1. Homophonic/Unison
2. Combination
The following melody over a simple ii-V-I progression is scored in unison for two
horns (trumpet and alto sax) using the first texture listed above. The melody is on top,
with the stems going up. The accompanying voice is scored with the stems going down.
In the following example, the melody is scored in unison.
-4>)) 11.9
(l7 ~MA7
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Example 11.9
The example shown above simply changes the color of the instruments by combining
them. I had only one decision to make: which instruments to use. In the next example,
the melody is harmonized in a homophonic texture.
-4>)) 11.10
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Example 11.10
Notice that in the example shown above the melody is harmonized by the alto sax
using the first available chord tone below the melody (a third below) until the last two
notes where the harmonization lies a sixth below. Employing thirds throughout would
have worked fine, but I decided to use a more stepwise melody for the harmony part as
you can see from the last three notes of the alto line: G-F-E.
Writing a Countermelody
Texture two, as described above, indicates that polyphonic writing can be combined
with homophony. As a result, sometimes the parts are relatively independent from one
another. This means that you will need to develop an important skill: the ability to write
an effective countermelody. Composing tuneful countermelodies is among the most
challenging skills for beginning;arrangers. The countermelody line must complement
but not overwhelm the melody, and must also correspond to the harmony of the tune.
Keep the following suggestions in mind as you write countermelodies:
1. When the melody is active, write longer accompanying tones or include rests in
the countermelody.
2. When the melody is less active, use more rhythmically active lines (write uin the
holes").
3. Bring the melody and countermelody together at phrase endings in either unison
(or octaves) or in harmony.
4. Search for guide tones (tones that clearly lead the ear through the harmony, such
as thirds and sevenths) and incorporate them into your countermelody.
5. Write with simplicity.
6. Contrary motion works well to distinguish the voices.
7. Blues-flavored melodies often work well.
Of the list above, I think that the first three are the most valuable. Writing more
active lines in the areas where a melody is less active works very well. As the exam-
ples unfold you'll see that my arrangements take advantage of this simple technique in
numerous places. Phrase endings are important structural points-bringing the parts
together there is very effective.
This next example demonstrates a countermelody accompanying the same simple
melody seen in examples 11.9 and 11.1 0. Notice that when the melodic rhythm slows
(the dotted quarter notes), the countermelody moves in eighth notes. Conversely, when
the melody moves in eighth notes, the countermelody pauses or rests. The lines converge
at the end of the phrase providing a sense of conclusion to the passage. Finally, notice
that the countermelody emphasizes guide tones, such as the third and seventh of the
Gini7 chord in the first measure and the sevenths of the C7 and Fma7 in the second and
third measures.
If>)) 11.11
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Example 11.11
Characteristics of Specific Intervals in Harmony Parts

The study of counterpoint is centered on the relationship between two or more voices.
Among the rules of counterpoint are the definitions of consonant and dissonant inter-
vals. While these rules evolved over time, generally speaking, th~ unison, octave, and
fifth are considered perfect consonances. Imperfect consonances i~clude major and mi-
nor thirds and sixths. Dissonances include major and minor seconds and sevenths, the
perfect fourth, and the tritone.
The following examples illustrate the aural qualities of particular intervals. The
perfect consonance of the unison has already been illustrated (see example 11.9). The
fifth is another perfect interval. Jazz arrangers, like their classical counterparts, usually
CHAPTER 11: Two- PART WRITING 205
avoid writing in parallel fifths, although the part-writing rules are less strict in this re-
gard. The examples below, however, focus on imperfect consonances (thirds and sixths)
and on the dissona,nt intervals (i.e., the perfect fourth, second, and seventh).
These examples are meant to provide insight into how these intervals can be used.
However, the intervals chosen for a harmonization normally follow the governing chord
progression. You cannot decide arbitrarily to use a certain interval unless you are specif-
ically looking for a particular effect. The harmonization should support and make clear
the voice leading of the melody and chords. Also, note that the harmonization is most
often placed below the melody.
The following examples illustrate different intervallic harmonizations for a simpli-
fied version of the melody used in chapter 3. Listen carefully to the audio tracks as you
view the examples.
Thirds and Sixths

Harmonizing in thirds and sixths will provide the most consonant solution. The two
intervals often alternate, particularly if a melody rises and falls.
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Parallel Fourths
Harmonizing in parallel fourths conveys a more strident effect that works well in more
contemporary jazz styles. Since this melody is rather traditional in nature and the chord
progression follows harmonic function, the parallel fourths are blended with thirds in
certain places.
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Example 11.13
Notice the resolution of the sevenths in the Fmi7 and Emi7(b5) as they move to their
respective dominant chords. In the latter resolution (Emi7b5 to A7 in measure 5), the
third and seventh form a tritone on the A7, making the chord movement very clear to
the listener.
Sevenths and Seconds

Dissonant intervals, if handled carefully, can assist the listener's ear in following the
chord progression. Recall that chord tones that clearly outline the harmony are known
as guide tones. Usually, guide tones are either thirds or sevenths-but as the next exam-
ple illustrates, other more dissonant chord tones can be guide tones, too. Notice that
this accompanying line is the most independent of the three examples.
lllllf >)) 11.14

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----Assignment 11.2----
Writing a Countermelody I
Analyze the melody found on the next page which is scored over a ii-V-1-V/ii
chord progression in the key of F major. Two countermelody rhythms have
been composed in the lower staff with a few notes filled in. Fill in the note heads
corresponding to each stem, connecting the given notes. Think about the key and
harmonic function- but most of all, compose a line that is tuneful and melodic.
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----Assignment 11.3----
Writing a Countermelody II
On the next page, compose a countermelody that complements the given melody
using the suggested rhythms provided on the one-line staff. Provide a harmony
part below the melody where the voices match rhythmically. Be sure to listen to
the audio recording of the melody.
Hint: The harmony of the example is quite simple-it begins in Eb major, moves
to the relative minor through a ii-V-i in C minor, and then modulates to Ab major
again through a ii-V-1 progression.
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------Assignment 11.4----
Writing a Countermelody Ill
On the next page, compose a countermelody that complements the given melody
using the suggested rhythms provided on the one-line staff. Provide a harmony
part below the melody where the voices match rhythmically. Be sure to listen to
the audio recording of the melody.
Hint: The chord progression moves from two statements of a ii-V of D to a ii-V
of G in measure 5, then to a ii-V-1 in C. It concludes with an F7(~11) chord
implying the Lydian b7 mode.
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Example Tunes Harmonized in Two Voices

In keeping with the/discussions of previous chapters, ((Why Not Now," uSabrosa," and
((December Serenad;~" will be arranged in the following two textures:
1. Homophonic/ unison
2. Combination
Each example is notated in concert pitch and is accompanied with notes of expla-
nation. Articulations and dynamic markings have not been included, but they will be
inserted into the final versions in chapter 17. You should probably reacquaint your-
self with the lead sheet and analysis of each tune (and the audio recordings) located in
chapter 2.
The instruments chosen for these two-horn arrangements vary among the three tunes.
I have selected from among the following horns: trumpet, alto sax, and tenor sax. The
rhythm section consists of piano, bass and drums. In order to save space, the examples
in this chapter do not contain full rhythm section parts; those are notated in the final
version of the example tunes in chapter 17.
"Why Not Now" (Homophonic/Unison Texture)

Recall that in chapter 10, ((Planning An Arrangement," I suggested a four-step process:
1. Making notes on a lead sheet

2. Creating a schematic diagram of the flow of the entire chart
3. Developmental sketching
4. Final arrangement
As we begin looking at the example tunes, let's examine an annotated lead sheet for
a homophonic version of {{Why Not Now."
un/.Son
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Example 11.17
At this point, I would normally create a schematic diagram of the overall arrange-
ment based on the annotated lead sheet. I would then begin scoring the melody. Since
we're only exami:J;:ting the treatment of the melody in this chapter, we won't need to see
a diagram of the ,entire chart. You will see that there are written notes in the score that
match the suggestions from the annotated lead sheet.
It was suggested in chapter 2 that "Why Not Now" presents a challenge because
of the speed and motion of the melody. For this reason, I have chosen trumpet and alto
sax-instruments that can easily negotiate this active melody. Since this is a homophonic
texture, the two parts will be in unison or harmony throughout with no independence
in the alto line.
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Example 11.18
This bebop-style melody works well in a classic trumpet/alto sax duet. The A, B,
and D sections are all treated in a very simple manner. The melody is scored in unison
for letter A and harmonized in thirds and sixths for sections B and D. The horns revert
back to unison beginning with the arpeggio of the Dbmi7 in measure 12, but harmony
returns at the cadence (measure 16).
The harmony part of the bridge provides a good ~example of a guide tone line. In
the first four measures (17-20) there are two ii-V-I progressions-one in Gb major and
the other in A major. In measure 17, the seventh of the Abmi7 (the Gb) resolves to the
third of the Db7 (the F) on the third beat. In measure 19, the seventh of the Bmi7 (the
A) resolves to the third of the E7 (the G~) which in turn remains as the seventh of the
Ama7, although the resolution is delayed by the appearance of the F~ on the {(and" of
three. Each progression concludes in unison when the tonic chord appears-the Db in
measure 18 (anticipated from the previous bar on the "and" of four), and the line in
measure 20 (beginning on the ({and" of one with the C~). As in the Band D sections, the
harmony is primarily in thirds and sixths.
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The bridge concludes with the parts again harmonized in thirds in measures 21-23.
In the annotated lead sheet, I've included the suggestion ((add scale figure." This Bb
major scale leads nicely to the main theme, tying the bridge to the D section.
As you listen to the recording, notice that this arrangement works very well because
of its simplicity. Harmonizing in consonant intervals like thirds and sixths is perhaps
the most common approach to take when writing for two horns. The next example is
more complex because there is a countermelody scored for the trumpet.
"Why Not Now" (Combination Texture)

The combination texture of "Why Not Now" for two horns offers the horn players more
flexibility in their interpretation as the audio track makes clear. The alto sax is the
primary melody Instrument-the trumpet does not enter until letter B so that the ar-
rangement builds momentum as it progresses. Notice that there are substitute chords in
the Band D sections that correspond to the accompanying trumpet line. These changes
will be discussed below.
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CHAPTER 11: Two-PART WRITING
227
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Example 11.20
The alto sax plays the melody in this version which includes a countermelody played
by a muted trumpet. The trumpet line guides the listener's ear through the substi-
tuted harmony mentioned earlier. Arrangers and performers often use a I-ii-~ii 0 -iii
progression for the first two measures of the A section in tunes based on "I Got Rhythmn
changes.
Notice that the subsequent trumpet lines in the B section merely fill in the gaps in
the alto melody, thus keeping clear of the melodic statement. The lines do converge in
unison in measure 16, ending the first half of the melody.
In the bridge (letter C), the instruments switch roles. This is a very common device
used by arrangers at major structural points in a piece. As the trumpet takes the melody,
the alto assumes the accompaniment role. The bridge contains a variety of textures: the
horns complement each other contrapuntally in the first phrase (measures 17-18), end
the second phrase in unison (measure 20), and finally are voiced homophonically for
the last phrase (measures 21-23) where the alto is a third below. The final section (D) is
identical to letter B, as was the case in the homophonic version.
"Sabrosa" (Homophonic/Unison Texture)

Like (/Why Not Now/' "Sabrosan is in AABA song form-but each section is sixteen bars
instead of eight. The homophonic arrangement in the example shown below features
the alto saxophone, although the trumpet does take the lead when the instruments are
in harmony. Notice the blend of rhythmic notation and slash notation in the condensed
rhythm section part.
IIIII >)) 11.21
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Example 11.21
CHAPTER 11: Two- PART WRITING
233
uSabrosa" is arranged with the same instrumentation as ((Why Not Now'' beginning
with the alto sax alone on the melody, like the combination texture version of ((Why Not
Now." The trump~t joins the alto sax in unison on the second statement of the melody,
but as they brea:W into harmony beginning in measure 25, the alto sax is used as the
harmonizing instrument.
In this next example, we see that the alto line is constructed of a stepwise descent
from the Fin measure 25 to the Bb four bars later with one leap up to Fin measure 27.
Are these guide tones? Do they reveal the harmony in combination with the melody? Try
playing this example on the piano and I think you'll hear the harmony unfold, and even
more so if you play the bass notes along with the two-horn lines. This is an excellent
example of smooth voice leading.
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Example 11.22
The bridge (letter C) again features the alto sax on the melody, so in this arrangement
the instruments don't switch roles as they did for the bridge of ((Why Not Now." The
trumpet joins the alto sax in unison in measure 41, breaking into harmony (with the
trumpet on top) two bars later. Letter D, which is the last statement of the primary
melody, is harmonized in thirds. Notice that the eighth note line in measures 48 and 52
is in unison, giving much more clarity to the rapid line.
"Sabrosa'' (Combination Texture)

The combination texture of uSabrosa" in the next example is scored with the same in-
struments. It shares a few things in common with the homophonic version such as the
descending line illustrated in the previous example.
1111 >)) 11.23
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Example 11.23
This version features the trumpet on the melody with a rhythmically contrasting alto
sax countermelody entering at letter B.
The countermelody, illustrated in example 11.24 below, begins on beat 2 of measure
17 where there is a rhythmic gap in the trumpet melody. The line concludes with an
A minor scale passage followed by an ascending augmented fifth interval in measure
20. The color tones of the chord changes are emphasized, primarily the eleventh of the
Groin chord (the C) and theE from the C/ Ab chord. Once again the countermelody fills
in the gap of the melody in tneasure 21 where the seventh of the Gmi7 (the F) resolves
to the E, the third of the C7.
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Example 11 .24
The horns come together in harmony in the sixth bar of B leading to the bridge.
Letter Cis scored with the trumpet on the melody with the alto entering on a sweeping
ascending line in measure 39. This is another good illustration of writing ((in the holes"
of the melody. Also notice the simplicity of this line-merely a Db major scale rising
in quarter notes. As the parts converge, the horns are harmonized as they were in the
homophonic version until letter D where the horns are voiced in unison rather than
harmonically.
b
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b I
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Example 11.25
"December Serenade" (Homophonic/Unison Texture)

The final tune discussed in this chapter is the ballad ((December Serenade.n The piece
is in modified ABA<;: form in which the final section is only four bars long. In arrang-
ing a ballad for a small ensemble, it is appropriate to score the melody as a featured
solo for one horn in order to individualize the interpretation of the melodic line, par-
ticularly during the initial melodic statement. This melody would lend itself to many
instrumental possibilitiesj I have chosen trumpet for this version. Note also the choice
of the darker timbre of the tenor sax instead of the alto. Example 11.26 contains the
homophonic/ unison version.
-1>>) 11.26
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Example 11.26
The homophonic version above excludes the accompanying horn until the repeat of
the melody at letter C. At that point, the tenor sax harmonizes the melody in thirds
and sixths. Since the melody is sequential, the harmonization is identical in measures
17-18 and 19-20; it just moves down a step. Notice that the colorful ~11 is included
in the tenor part for the Bb and Ab dominant sevenths. The blues line that concludes
the melody is scored in octaves. A chromatic descending guide tone line would also
have been effective. The choice of tenor sax for the accompanying voice was one I really
pondered. I knew there would be sections of this arrangement that would be in the
upper register of the horn, but that's what I wanted-the strident sound of the tenor sax
high register. You can really hear it on the concert Bb in measure 22. It adds a poignant
quality to the passage.
"December Serenade" (Combination Texture)

Arranging ((December Serenade" in a combination texture was relatively simple-the
whole notes in the melody were the perfect places to write countermelodies.
-4>)) 11.27
SAI.I.AC
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Example 11.27
Both the combination version and homophonic version begin with the trumpet stat-
ing the melody alone with the tenor sax entering at letter C. In the combination texture
above, the tenor sax answers the trumpet with an ascending countermelody in quarter
note triplets. Notice that the triplets give the line an improvisatory, free flavor.
The next example illustrates the relationship between the parts. The tenor line be-
gins an octave below the trumpet's whole note (G) and it begins rhyth1nically on the
second quarter note of a quarter note triplet adding to the answering effect. The rela-
tionship is repeated as the 1nelody moves down sequentially in m~asures 19 and 20.
~
r
J
@ r--~-.
I
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Example 11.28
The parts converge at the Cmill as the melody nears its end, using the same harmo-
nization as the homophonic version.
Conclusion
Writing for two horns and rhythm section is a great way to start learning the craft of
jazz arranging. The issues dealt with in this section of the book (primarily textures,
composing tuneful countermelodies, and instrumental blend) are relevant regardless
of the size of the group you are writing for. The next chapter is devoted to four-horn
writing. There, you'll see that the arrangements in this chapter are simply expanded to
accommodate the larger ensemble resulting in new instrumental colors.
Chapter Summary
1. Write either homophonically (which includes unison and octaves) or with coun-
termelodies combined with homophonic sections.
2. The harmonization should support the voice leading of the melody and chords.
3. When writing a countermelody, compose lines that compliment the melody but do
not conflict with it. When the melody is active, write longer accompanying tones
or include rests in the countermelody. When the melody is less active, use more
rhythmically active lines.
4. When writing contrapuntally, the parts often converge at phrase endings.
5. Reverse the roles of the instruments for the bridge section.
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1,
------Assignment 11.5----
Two-Horn Arranging
Select one of the exercise tunes located in appendix A. Create two two-horn
arrangements of this tune: one using the homophonic/unison texture and the
other using the combination texture. Use staff paper with three staves. Put the
horns on the top two staves and the rhythm section on the bottom staff. Refer
to the annotated lead sheet you completed in assignment 10.1. Helpful hints for
each tune are included in appendix A.
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1,
Four-Part Writing
With this chapter, our band has grown by two players. You'll notice two things about the
examples in this chapter: First, the instrumentation is always trumpet, alto sax, tenor
sax, trombone, piano, bass, and drums. Second, the arrangements are basically the same
as they were in the last chapter, but thickened with two additional horns.
We learned in the last chapter that writing for four horns is relatively simple because
four-part chords are always complete (no chord tones need to be eliminated) and no
chord tones have to be doubled. So writing with four-way close and the related drop-2
voicings involves merely notating the voicings in the proper ranges fot each instrument.
However, it is also important to realize that the more advanced voicing techniques (e.g.,
quartat "So What," and slash chords) are available as well with a larger group of horns.
As we work with our expanded group there will be a variety of voicing and approach
options. Therefore, this might be a good time for you to review the chapters in the book
that deal with those subjects. Pay close attention to chapter 9 in particular as you review
the various approach techniques. Having the voicings and approach methods fresh in
your mind will benefit you greatly as we make our way through this chapter.
Some of the same material introduced in the last chapter will be revisited here. Ex-
249
ample 12.1 contains the same simple melody over an F major ii-V-I progression that
was used previously to illustrate textures. Here it is thickened with additional voices
in a four-horn instrumentation. It is written in SATB format so you can easily see the
motion of each voice. In the previous chapter, the melody of this tune was scored in
unison. Here, however, it is scored in octaves with the trumpet and alto sax in unison
and the trombone and tenor sax in unison an octave below.
llf>)) 12.1
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1'P1
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1'EIIl0i
1'SIIl
Example 12.1
In the next example, this same 1nelody is scored homophonically (i.e., every tone
of the melody is harmonized). For this reason, we must be careful as we choose and
apply the right approach techniques, even in an example as simple as this one. As you
view and listen to the example, notice the smooth voice leading. Pay close attention to
the shift from four-way close voicings to open position chords occurring in the second
measure under the melody notes Bb and D.
llf>)) 12.2
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.
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Example 12.2
While the discussion at the moment is focused on texture, we can analyze the voicing
and approach types, too. In the first measure the melody is scored with four-way close
voicings. For the C~, since the melody is chromatic at this point, the approach type is
CHAPTER 12: FouR-PART WRITING 251
chromatic parallel. For the scale passage, the approach type is diatonic. Notice that
after the Cij melody note, there are no accidentals in any voice-this indicates that this
passage is diatonic a;nd all in the key ofF major.
The second mea~ure continues the same voicings and diatonic approach technique,
but as the melody leaps to the Don the ((and" of four the voicing type changes to drop-2.
At this same location in chapter 11, the two horns switched from harmonizing in thirds
to sixths to improve the voice leading of the accompanying line (see example 11.2). In
example 12.2, the whole note is scored with a quartal voicing. Notice that the chord
symbol indicates Fma7. The voicing, however, forms an F6/9. Remember that the sixth
is a possible substitution choice for the seventh-and if you use the sixth and ninth it
forms a quartal chord. If you need to review this, refer to the chord tone substitution
chart in chapter 6.
The next example resembles example 11.3 in which there is a combination of a coun-
termelody (or polyphony) and homophony at the end of the phrase. The difference here
is that the melody and countermelody are thickened with an additional horn on each
line, and the end of the phrase is scored with four-part chords, identical to example
12.2.
-t>)) 12.3
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Example 12.3
As these examples demonstrate, writing for four or more voices is often simply an
expansion of the two-voice process. Often the primary ideas develop with two voices
in mind. The addition of more voices is achieved by applying the appropriate voic-
ings (e.g., tertian, drop-2, quartal, etc.) and approach methods. Naturally, with more
voices may come new and different compositional ideas. The example tunes illustrated
in this chapter, however, primarily involve an expansion of the two-voice versions seen
in chapter 11.
Example Pieces Harmonized in Four Voices
The melodies of the example tunes are presented below in condensed scores in the same
two textures as in chapter 11: homophonic/unison and combination. The instrumen-
tation for all the versions consists of a horn section of trumpet, alto sax, tenor sax, and
trombone. For most of the examples, the trumpet and alto sax share the top horn staff,
and the tenor sax and trombone share the bottom staff. SATB stem directions are used,
so that each horn part can be followed easily. The rhyth1n section parts are again con-
densed into one staff.
"Why Not Now" (Homophonic/Unison Texture)

You'll immediately hear and see some similarities with the two-horn homophonic track
since the featured instruments are trumpet and alto sax. Unison and harmony in thirds
and sixths predominate. As you listen, notice the change in texture as the lower horns
enter on the bridge (letter C).
lllllf>)) 12.4
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Example 12.4
Like its two-horn counterpart, the melody in this example is scored in unison dur-
ing the first melodic statement and is harmonized a third below beginning at letter B.
However, the rapid ~ighth note line in measures 12-15 is scored in unison and the con-
eluding line (measu!re 16) is harmonized, again exactly like the two-horn version. The
lower horns enter at letter C, as the ensemble is scored in four-part harmony, mostly
with drop-2 voicings. Example 12.5 illustrates the passage as it moves from drop-2 to
four-way close on the uand" of four in measure 17. The most common reason for switch-
ing between open and close positions is the presence of a leap in the melody. Also notice
the b9 over the Db7 chord, the chromatic approaches in measure 19, and the diatonic
approaches in measure 20.
If you have some basic keyboard ability, you should play this passage slowly, observ-
ing how each voice moves. This short passage reveals how much thought must go into
every musical decision.
----------------Important!----------------
The most common reason for switching between open and close voicings
is the presence of a leap in the melody.
17 1& 19
Example 12.5
The bridge ends with the rapid line in measures 21-22 written in unison as it sits
in a good range for all instruments. Four-part harmony is used for the half cadence in
measure 23. The D.S. sends the form back to B (labeled D) like the two-horn version.
Remember that as you progress through this chapter you'll begin to see that much
of the creative process can be thought of in just two parts. The arrangements in this
chapter simply expand upon the decisions made when thinking of a two-part texture.
"Why Not Now" (Combination Texture)

In order to help you see the independent lines in this version of ((Why Not Now," I have
provided a more complete score (the rhythm section parts are still condensed). There is
also a horn reduction provided for the last phrase of the bridge in order to examine a
variety of approach techniques. You'll see that for this arrange1nent, I've separated the
brass and saxes into two distinct ((sections" of the band. The sax ((section" performs the
melody at letters A, B, and D; the brass ((section" takes the bridge melody.
111111 >)) 12.6
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non-harmonic tone treatment: diminished 7ths on diatonic passing tones;
chromatic approaches on chromatic tones
0.6. AL. F/Nt
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Example 12.6
Notice that the countermelodies are identical to those written for the two-horn com-
bination arrangement. However, there are some interesting areas in the bridge (letter C)
to examine where the versions diverge. First, notice in example 12.6 that when the brass
instruments take over the melody from the saxes in measure 17, they are in two-part
harmony. This was written for a single instrument in the two-horn version. The final
phrase of the bridge (measures 21-23) is scored in parallel thirds in the two-horn ver-
sion. In the four-horn version above, it is scored in four-part harmony. Refer to the horn
reduction staff on the third page of example 12.6. The passing tones are harmonized
with diminished and chromatic approaches. This same passage was used in chapter
9, "Nonharmonic Tones," to demonstrate various approach methods. Compare the ver-
sion in the example shown above with those in chapter 9 (examples 9.1 0, 9.11, and 9.12).
You'll see that they are all slightly different, but I think that the solution demonstrated
above works best.
((Sabrosa" (Homophonic/Unison Texture)

As we examine the four-horn version of "Sabrosa" we will see the same process as
before-the two-horn versions have merely been thickened with the additional two
voices. In this version, you'll see that changes in instrumentation provide momentum
as unison horns shift into two-part harmony and culminate in four-part scoring. Listen
for those texture changes as you examine the arrangement.
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CHAPTER 12: FouR-PART WRITING
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Example 12.7
The version in the previous example features the two upper instruments on the ini-
tial melody in unison. At letter B, the other horns enter a third below, similar to letter
D of the two-voice version. In example 12.8 below there is a comparison between the
two-horn and four-horn versions of measures 25-28. You will notice that both are in
two parts, but the harmony part begins a sixth below the melody rather than a third in
the four-horn version. Both versions utilize primarily guide tones (thirds and sevenths),
but the example illustrates that there is more than one solution available.
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Example 12.8
As the piece approaches the bridge, the variety of instrumental textures helps to
propel the arrangement. In measure 28, the horns divide into four-way close voicings
leading to the bridge (letter C), scored only for alto sax. The final eight bars of the bridge
areharmonized first in two parts, then thickened to four. Letter D, the return of the pri-
mary theme, is orchestrated with even more rapid changes in texture. The melody is
first harmonized in four-way close (measures 49-56), then in two parts using the orig-
inal melody instruments (measures 57-60), and finally in four-way close voicings to
conclude the melody.
"Sabrosa" (Combination Texture)

The four-horn combination texture version is similar to the two-horn version and also
has sections in common with the four-horn homophonic version just described.
The instruments are utilized much as they are in the homophonic version, with trum-
pet and alto sax taking the melody at letters A and B. When the lower instruments enter
at B, however, they perform the same countermelody as seen in the two-horn combina-
tion version.
267
llllf>)) 12.9
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Example 12.9
The version presented above provides another excellent example of using instru-
mentation to build intensity. The countermelody introduced at letter B (measure 17)
merges with the melody in measure 22, remaining in two parts in order to strengthen
the melody.
As in the homophonic version, a four-part section follows in measure 28 leading to
the bridge which is written for the alto sax. The identical countermelody that was used
in the two-voice combination version (example 11.23) is also scored here, this time for
tenor sax and trombone. The simplicity of the line (a Db major scale in quarter notes)
provides an appealing rhythmic contrast to the syncopated melody. The example ends
in the smne manner as the homophonic version with the textural contrast of letter D.
"December Serenade" (Homophonic/Unison Texture)

When performing jazz ballads, solo horn players typically interpret their melodic lines
in an individual fashion. Therefore, you may find that the ballad example, "December
Serenade," works best in either of the two-part textures demonstrated in the previous
chapter. As an ensemble increases in size, the role of the horn players expands. They
must still play with the appropriate style, but must compromise their individual con-
cepts of how the line should be played for the sake of blending with the players around
them-playing lines in a personal manner is no longer possible. However, on the posi-
tive side, voicing the rich harmony of this piece in four parts provides more harmonic
possibilities expressed by the horns-voicings that were not available with only two
horns. Listen for the expanded harmonic role played by the horns in the following four-
horn versions.
IIIII >)) 12.1 o
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I originally conceived of this version of "December Serenade" as a trumpet feature.

The trumpet solo expands into four-part writing in the ninth measure. In the exam-
ple below, examine the chromatic harmonization of the descending line in measure 11.
The approach method used here is slightly different from the normal procedure when
harmonizing a chromatic line in which a target tone is identified and approached chro-
matically in all parts. In this case, the chromatic lines in each part a,re derived from the
initial chord rather than the target chord (the Eb7sus4) so that the richness of consecu-
tive suspended chord harmony results.
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The alto sax thickens the texture as it joins the trumpet in the restatement of the
melody at letter C. The example concludes with four-part harmony leading to octaves
on the blues line which ends the melody.
"December Serenade" (Combination Texture)

The combination texture version of {(December Serenade" is very similar to the homo-
phonic version. The countermelody used in the two-part version is added to letter C
and is scored for the two lower instruments.
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Example 12.12
This more interesting contrapuntal version begins identically to the homophonic

version. However, it includes the beautiful countermelody seen earlier in the two-horn
combination version (example 11.27) beginning at letter C scored for the lower instru-
ments. The trumpet and alto sax play the melody in octaves at this point rather than
in two-part harmony as in the homophonic example. After the countermelody is intro-
duced, this version concludes in the same manner as the; previous four-horn homophonic
version.
Conclusion
Writing for four horns and rhythm section is a great way to explore the possibilities
of voicings and approach techniques. Even though these examples simply expand the
two-horn versions in most cases, they contain correct voicing and approaches that take
careful thought and planning. Even one misplaced note can ruin an arrangement. Often,
this is the result of an incorrect voicing, an awkward approach technique, or misuse of
open or close voicing options. Next we'll examine the challenge of three-horn writing.
Although we once again will use the basic structure of the two-horn versions, the chapter
will focus on adapting the four-horn arrangements into three horns.
Chapter Summary
1. Four-part writing is often just the expansion of a two-part concept.
2. You should clearly understand voicing and approach procedures in order to write
for four horns.
3. Writing with more voices means less freedom for the players, but it does offer more
possibilities for the arranger in terms of texture and timbre.
-----Assignment 12.1
Four-Horn Arranging
Expand one of your two-horn arrangements into a four-horn version. Use trum-
pet, alto sax, tenor sax, trombone, and a rhythm section of piano, bass, and
drums.
1
1
1
1
1
1
1
1
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1
1
1
1
1
1
1
1
1
1
1
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Three-Part Writing
While I was writing this book, I thought it was important to include detailed chapters
on two-part writing (in which the arranger thinks in terms of interweaving dual lines)
and four-part writing (in which complete chords can be scored). However, three-horn
jazz ensembles are very common, and arrangers must be ready to deal with the unique
challenge of three-part writing. Writing for three voices is more difficult than writing
for either two or four voices. In a style in which four-part chords ate the norm (root,
third, fifth, and seventh, along with their possible substitutions) one chord tone must be
omitted when writing for three horns. There are several considerations to keep in mind
when writing for three voices: which chord tone will be eliminated, the type of chord
structure, and most importantly, the flow of each individual line.
Three-Part Voicing Structures

There are three structures that I use when writing for three horns: shell voicings, simple
triads, and quartal voicings. Like any voicing, these can be inverted. An inverted quar-
tal voicing in particular produces interesting whole step clusters that will be discussed
281
below. So while writing in three parts can feel a little constricting (as you decide which
tone to omit), these voicings offer simple solutions to the arranging challenges you'll
face. Remember that the flow of each line is the most critical element, especially since
the effect will be more transparent than in a four-voice texture.
Shell Voicings
Shell voicings were introduced in chapter 6 through a series of keyboard exercises.
·rhere we learned that the third and seventh are fundamental tones, and that one ex-
tra ''color tone" -often the fifth or ninth-is included. Obviously, when compared with
a four-way close voicing, there is a note missing-so these work well when writing in
three parts. The root is the most expendable chord tone since the bass supplies it.
Example 13.1
Triads
While a simple triad is somewhat unusual in a jazz setting, it is sometimes the best
choice if you are looking for a clean and simple sonority. Obviously, a C triad will
perfectly express a C chord but will add no additional color or tension. Three-note
chords can also be opened up by using drop-2, as we observed in our discussion of four-
voice structures.
Close Voicing Drop-2 Voicing
Example 13.2
Triad structures are often utilized as the top three notes of a slash chord, supplying
the tones of the upper symbol. For example, a Bb13(b9) chord can be voiced as a G/Bb7
slash chord. The three horns would play the G triad while the rhytl}m section plays the
entire chord. There are 1nore of these structures illustrated in chapter 8, ((Slash Chords."
CHAPTER 13: THREE-PART WRITING 283
G/Bp7
Example 13.3
Quartal Voicings and Clusters

Often, two fourths are stacked one on top of the other, thereby forming a quartal struc-
ture. These chords can be inverted just like any other chord. Doing so creates interesting
whole steps, either on top of the chord (x) or on the bottom (y). The inverted structures
(x and y) can be thought of as "cluster" voicings because of the close proximity of two
of the voices.
X y
Example 13.4
Three-voice dominant seventh chords are often scored with a perfect fourth over a
triton e. This is a very common left hand piano shell voicing (and another good voicing
to practice on a keyboard).
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Example 13.5
Example Tunes Voiced in Three Parts
I have chosen a couple of interesting locations in uwhy Not Now" and "December Ser-
enade" to illustrate how to arrange using three voices. I've chosen places in those tunes
that were scored in four voices in the previous chapter, so you'll be referred back to
chapter 12 from time to time.
"Why Not Now"

In reviewing the four-voice versions of ((Why Not Now," you'll recall that there are parts
that are simply thickened versions of the two-horn examples-places where the two
lines are doubled. These sections are easy to convert to a three-horn arrangement be-
cause one horn can be removed from the accompanying line. Let's assume that our
instrumentation is trumpet, alto sax, tenor sax, and rhythm section. With this instru-
mentation, letter B of the combination texture would like this:
{]) alto and tenor in unison; tpt plays countermelody

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If you compare this example with example 12.6 (from the chapter on four-voice writ-
ing), you'll see that the trombone part which was doubling the trumpet line is elimi-
nated. The melod1y, being the most important line, is still voiced with two instruments.
The next exatnple provides a three-note variation of letter C from example 12.6,
which is the bridge of "Why Not Now." Again, a review of 12.6 shows that this section
begins in three parts-the brass are in harmony and the saxes are in unison. By shifting
parts around, the music remains basically unchanged. The trombone part from the
four-part version has been moved to the alto. There are drop- 2 tertian voicings in the
third and fourth measures of the example. The third measure in particular illustrates
an effective flow in each of the lower two parts.
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Example 13.7
"December Serenade"
The three-horn example of "December Serenade" illustrates a combination of tertian
and quartal approaches. The horns in the first and third measures of example 13.8
below are scored with second inversion triads. Note that the first voicing (the Fma7)
is voiced with a C major triad in the horns-E,C, G, from the top down. The voices
move diatonically parallel toward a dominant quartal voicing in measures 2 and 4 of
the example (and approached chromatically on the last quarter note of the preceding
quarter note triplet). The second phrase (measures 5-8) begins with cluster voicings,
moves to quartal, then to octaves, and finally to a tertian structure. These voicings are
indicated in the example.
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There will be additional three-voice examples in chapter 17 in which the background

parts of "Sabrosa" are scored for three horns while supporting an alto solo.
Conclusion
We have now explored the treatment of the melody in two-horn, three-horn, and four-
horn combinations. The next step is to explore the other sections that constitute a com-
plete arrangement. This.means that we will be adding the sections that require some ac-
tual composition on your part (i.e., introductions, endings, interludes, solo sections, solo
backgrounds, and shout/soli sections). Fortunately there are standard ways of dealing
with these important components. In the next chapter we will use the example pieces to
study the art of the introduction.
Chapter Summary
1. Three-part writing is more difficult than either two-horn or four-horn writing.
2. There are three considerations when writing for three parts: which chord tone to
omit from a four-part voicing, the structure (shell voicing, triad, or quartal voic-
ingt and the flow of each line.
..-------Assignment 13.1
Three-Horn Arranging
Alter the four-horn versions of the exercise tunes by eliminating either the alto
sax, tenor sax, or trombone part. Continue to write a condensed rhythm section
part.
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1I
Introductions
It takes creativity to arrange an existing melody because you must determine voicing
types, approach methods, and countermelodies. But the introduction and ending in-
volve an even higher level of creativity because these two often related sections are
usually comprised of material that is newly composed. For this reason, these next two
chapters of the book were perhaps the most enjoyable for me to write because they really
tapped into my creative side. As you go through the material, you'll see that I have taken
three of the example tunes and composed a variety of introductions and endings. It was
fun to see how many ways I could begin and end the same three tunes. I also remember
the smiles on the musicians' faces as they recorded these particular examples-perhaps
predicting what intro or ending technique would be coming next.
The introduction is vital to an arrangement; obviously it is the first musical event
that occurs. The introduction needs to match the style, tempo, rhythmic feeL and over-
all essence of the tune to which it is attached. Not only does the introduction begin the
piece, it is also likely that the material you choose for the intro will come back some-
where else in the arrangement. Often, the arranger can construct endings, introductions,
and interludes from the same material. Not all pieces require a formal introduction-
sometimes an improvised section leading to the melody will do the job. The introduc-
289
tion is frequently the last section composed because it can be constructed with material
from the arrangement. You'll see examples of this technique in some of the upcoming
examples.
Common Introduction Types

Introductions can be categorized and labeled. Each technique will be explained through-
out this chapter. Common introduction types are:
Improvised introductions
Last section of the melody (often the last four bars)
Vamp (a repeating series of a few chords)
Melodic fragment used to construct introduction
Unrelated material (a completely new section)
Style Considerations
The five introduction types listed above can be further categorized by the style of the
tune. The following chart combines introductions and styles/tempos in order to help
narrow the choice of introduction. Obviously this list does not contain every possibility,
but it does provide some initial ideas about how to begin an arrangement.
Common Introductions
Style Types of Introduction Common to That Style
Up-Tempo Swing Improvised introduction
Melodic fragment
Unrelated material
Medium Swing Last section of melody

Melodic fragment
Unrelated material
Ballad Last section of melody

Vamp
Improvised introduction (piano or guitar, rubato)
Latin Vamp (by far the most common)

Last section of melody
Melodic fragment
Unrelated material
CHAPTER 14: INTRODUCTIONS
291
Improvised Introductions
Beginning with an il;nprovised solo is an effective way to make the listener comfortable
with the feel and g~oove of the piece. The soloist will usually play the entire form of
the tune, sometimes even playing several choruses. It is very common in tunes with
authentic or modified ((I Got Rhythm" changes such as ((Why Not Now," and it is also
common at fast tempos.
Improvised Solo by a Horn, Piano, or Guitar

Using a rhythm section instrument such as piano or guitar often works best to provide
a contrast with the melody if that melody is scored for the horns, although a horn could
also fulfill this role. In this particular example, the pianist introduces the song by play-
ing one entire chorus as a solo.
-4>)) 14.1 (No notation shown)
Drum Solo
Drum solo introductions can either be in time or out of time. Those played in time
are often performed only on the hi-hat, especially on fast swing tunes. It also sets up
the tempo and feel for the listener while revealing nothing else about the piece. As a
result, it provides the most anticipation for the listeners as they wait for the melody to
appear. Is it in major or minor? Is the melody lyrical or angular? An introduction by the
drummer cannot provide any of this information. As you listen to this next example,
imagine that you're hearing "Why Not Now" for the first time.
-4>)) 14.2 (No notation shown)
Rubato Piano/Guitar Solo

The next example could actually fit into two categories. It is an improvised solo intro-
duction but it is derived from the last section of the tune. In this example, you'll hear
the last portion of the first half of the ballad {(December Serenade" played as a rubato
piano solo. Refer to the lead sheet to get your bearings; this is section B where the sus-
pended chords ascend. Often the pianist or guitarist plays the entire tune in a rubato
manner, but just as often he or she will only play a specific section of the tune. This
part of the tune works well for a rubato introduction because of the richness of the sus-
pended chord harmony. The pianist is instructed to set up the time as the introduction
concludes-listen to the way he interprets those instructions.
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Last Section of Melody

This approach, in which the last four or eight bars of the piece are played as an intro-
duction, is extremely common. This method sets the mood of the piece without giving
away the opening melody. On a ((club date" job (a setting in which the performers are
essentially background to a larger event) it is almost always played by the pianist alone.
In an arrangement, this approach provides more opportunities to involve the other in-
struments.
The previous example illustrates two introduction techniques: it is an improvised
solo, but also is constructed of material from the melody. There, the pianist introduced
the tune by playing the entire B section of the tune as a rubato solo-but ((December
Serenade" has yet another useful segment that can be used as introductory material:
this time, it's the actual last line of the tune where the blues scale occurs. The next
example demonstrates this technique but this time with the pianist playing in tempo.
293
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Example 14.4
The next two examples illustrate how effective a simplified version of the last four
measures can work. First, here are the last four measures of ((Why Not Now" concluding
with a half cadence (the F7 chord).
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Example 14.5
In using this material for the introduction, I decided to eliminate the fast-moving
eighth note lines (I didn't want to give that away to the listener so eatly in the arrange-
ment) and instead used the harmony voiced for the entire horn section.
The example shown below illustrates this technique. Notice the guide tone line in
the melody (sevenths resolving to thirds). As you listen to the audio track, observe how
dynamic and exciting it is to begin with the entire band playing stop-time (that's when
the entire group plays identical rhythms and the drummer and bassist cease their nor-
mal time-keeping roles). If this were an actual arrangement (instead of just an exampleL
I would want to use this introductory material again later-perhaps as an interlude or
an ending.
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Example 14.6
Another good technique to use when extracting an introduction from the last section
of the melody is instrument layering. In the next example, the introduction of ((Sabrosa"
begins with piano, and the other instruments of the rhythm section enter in layers. Since
it has a sixty-four bar form, the introduction shown below is constructed of the last eight
bars of the form rather than the last four. Listen as the drums and bass enter on beat 4
of the measure-this adds rhythmic interest to the introduction.
295
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Vamp
A vamp is a repeating series of a few chords often utilizing the harmony that begins the
piece. It is commonly found in Latin styles such as bossa novas and sambas. It sets the
stage for the feel of the tune and hints at the tonality without revealing the melody. The
most common examples of this technique, again heard often in u club date" settings, are
either a repeating sequence of I-bii7 chords with each chord lasting one measure, or a
ii-V repeating pattern, again with each chord lasting one measure.
I-bii7 Vamp
The bii7 chord, as you should recall from your jazz theory study, functions as a tritone
substitution for the V7 chord. As a result, a I-bii7 vamp is essentially a I-V7 repeating
pattern but with smoother motion in the bass. In this next example, the I-bii7 pro-
gression scored for piano and bass serves an introduction for the tune uSabrosa." It is
effective to have the drums enter with the horns as the melody arrives, solidifying the
time and feel.
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ii-VVamp
The term ii- V vamp refers to the ii and V chords of the home key. This common vamp
can actually be thought of in two ways, either diatonically or modally. For example,
a repeating Dmi7-G7 pattern establishes the key of C because both chords are part of
the C major diatonic tonality. However, some jazz theorists prefer to think of D as the
home tonality-in other words, if you were going to play Dmi7-G7 on the piano, you'll
probably hearD as the tonic because the progression never resolves to C. In that case,
a i-IV progression results, establishing the D Dorian mode as the home tonality. Both
analyses are valid. I'll be using the ii-V vamp label as I describe the next example.
In example 14.9, a ii-V vamp serves as the introduction to asabrosa." Layering is
used here, similar to example 14.8 in which the rest of the rhythm section joins the
pianist halfway through the introduction.
CHAPTER 14: INTRODUCTIONS 297
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Example 14.9
This exciting introduction is yet another example of introductory material that could
. be reused somewhere else in the arrangement.
You may find other sections of the piece that provide harmonic material for a vamp.
The chord sequence that concludes the first half of "December Serenade" is a colorful
alternative to the more conventional I-bii and ii-V sequences described above.
In this next example, the introduction is made up of a vamp using the last two chords
of the first half of the tune. It also layers the entrance of the rhythm section instruments
seen in several earlier examples.
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Melodic Fragment
Thus far we have observed introduction examples in which a specific element is em-
phasized. For example, the ({last section" technique provides a hint of the melody but
disguises how the tune begins. The ((vamp" technique offers a small glimpse of the har-
monic flavor of the piece but without revealing the melody. Improvising over the chord
changes provides the harmony, form, and style of the tune, but again omits the melody.
Another option is to use the beginning of the melody as an introductory device. This
technique takes more thought and creativity, but it can be an effective way to introduce
more than just the harmony and feel of the piece. Look for distinctive elements in the
melody and take advantage of those elements as you construct the introduction.
This type of introduction is demonstrated in the next example using the piece ((Why
Not Now.'' In this case, a melodic fragment from the melody is scored for the entire
ense1nble in octaves and four-part harmony.
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The example shown above is reminiscent of example 14.6, the only other example
in which the entire band enters at the beginning of the introduction. Both examples are
the most exciting and dynamic of all the introductions shown thus far.
Unrelated Material
Composing an entirely new section for your introduction is always a possibility for any
type or style of tune. This is obviously the most challenging option for the arranger but
it has an added advantage: you can use that same material later in the chart, perhaps
as an interlude or ending. You may want to emphasize an original chord progression
rather than compose a new melody, but you can also add a new melody as well.
Harmony/Rhythm
This example illustrates a vamp that is not derived from the opening chord changes-
this is new material. The harmony consists of an F pedal tone under suspended and
altered dominants.
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Harmony/Rhythm + New Melody

The next example includes a melody over the harmonic/rhythmic foundation shown in
the example seen immediately above. Notice that the melody en1ters the second time
through, building intensity as the introduction is layered. ·
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~7sllf!4 ~1S(~9) ~7Silfl4
~ I
;
I t~JJ j j ~J ~ ~ ~ -jiiP--jiiP-
.. .. . ..
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.. •J.,.ol .,.1,...1 ., 1,..0 -., .l,...l
etc.
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. - ..
~
. :
l - I ..,}7
* ... I''"'
~1s(~9) Sp~ ~~o~i7 (!,~o~i7 ~7 Splo1A7 Qp~o~i7 ~pi

l L
:
l ~J ~ ~
. ~
:
Example 14.13
The next example is the most ambitious introduction seen thus far. The Latin tune
uSabrosa" is the vehicle used for this interesting and exciting unrelated material. Here,
((So What" voicings move through the keys of D minor and Eb minor and the introduc-
tion concludes with a half cadence in G minor. Since ((Sabrosa" begins with the ii ofF
major (Gmi7L this sets up the tune perfectly.
lllf >)) 14. 14
1 ~ ~=
v ••
I
r ...--=rY
_..
..
I
fY I
"-
I I
...... ~"?._::::
L ,~ . ..--r-. L,4!-~ .,r-1--e- L

-
,. - fl*..__.:P If
~~· ~,4Pt-,a. ~t· ~-~ .. ~-.g. f.:' ~-
()(,',
b
I .....
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-
yJ.__;..:• r ' :;t__: y [ji: 1*-=: -y
~
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a'
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...... 17* *' 17*' ........ 17* 17*' p7'** II' I &....I
~ L. ,._ ~. • ~,.j~ ,.. ~MI7 a'

II'- ,. I
- I I
Example 14.14
An arrangement is in some ways comparable to a novel. The beginning of a novel

may introduce the setting, tone, and characters of the story-and if done well, it will
entice the reader to turn the page to see what happens next. A similar process occurs
in 1nusic. If you write an introduction (and remember, not every arrangement needs
· one) the goal is to attract the listener's interest, compelling him or her to keep listening.
Hopefully, as the arrangement unfolds, your work will cause the listener to think, uoh,
now I see how it all fits together."
Conclusion
The next chapter de~ls with the opposite end of the arrangement: the ending. Since
the ending of an arr(jingement often uses material from the introduction, we will revisit
many of the techniques from this chapter.
Chapter Summary
Common introduction types are:
1. Improvised introductions
2. Last section of the melody (often the last four bars)
3. Vamp (a repeating series of a few chords)
4. Melodic fragment used to construct introduction
5. Unrelated material (a completely new section)
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----Assignment 14.1 - - - - -
Introductions
Add an introduction to one of your already-existing four-horn arrangements.

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Endings
Of all the elements required for a successful jazz arrangement, continuity is perhaps the
most vital. Instead of just sewing together unrelated musical parts, arrangers should
incorporate elements into their arrangements that create a sense of unity and connect-
edness. Endings and introductions play a role in this since they are often similar and
constructed with the same material. In this chapter, some of the endings will resemble
introductions from the last chapter and some won't. But they all share the same goal
and purpose: to provide a natural-sounding way to conclude the chart. Introductions
are important, obviously, because they are heard first by the listener. But endings are
equally important-after all, you don't want a successful arrangement spoiled by an
ending that does not fit the flavor and style of the work you've created. In planning the
ending of your arrangement, you first need to decide whether or not a specific ending is
even necessary. Often the piece can conclude with an ending as simple as a short note
played by the entire group or perhaps a long held note with a fermata.
Jazz musicians have developed a repertoire of stock endings that have served the
needs of performers for decades. Musicians learn these ({tricks of the trade" by simply
performing with a variety of other players. These stock endings can also be used by
307
arrangers.
Stock Endings
A stock ending is a well-known ending that has, over a long period of time, become
a common means by which to end a tune. These antiquated but effective endings are
often performed on club date jobs. A thorough discussion of stock endings is beyond
the scope of this book. However, four generalizations will help guide the discussion that
follows:
1. On a swing tune, a band will often play a short concluding melody at the end of
the tune. The two most common of these are:
(a) The original ending of the Billy Strayhorn standard, ((Take the A Train."
(b) The so-called ({Basie" ending which, although usually played by the pianist,
may also be voiced for horns.
These two endings are provided in the example below.
-4>)) 15.1
11
Take the A Train 11 ending C,MA7
~
~B~w id J J J
r II
u *J
' C,MA7
~
II
' r
Example 15.1
2. On Latin tunes, the vamp placed at the end is usually the same material that was
used for the introduction. A sustained tonic chord concludes the tune.
3. On a ballad, the tune will often end with a cadenza played by the primary melodic
instrument. This cadenza is usually played over a sustained V chord leading to a
sustained tonic chord.
4. Often the last four bars of a tune are repeated to form a tag epding.
Usually no discussion or planning is required to play these stotk endings-jazz mu-

sicians know from experience when and how to use them. Arrangers also use these end-
ings since they are such an integral part of the sound of jazz. So while jazz performers
are able to fake these endings, arrangers can notate them in interesting and innovative
ways. Therefore, we will integrate stock endings in our upcoming discussion.
CHAPTER 15: ENDINGS 309
Of course, there are many ways to end a chart that are more interesting and useful
than a well-worn stock ending. The list below outlines some of the most common and
useful endings used by arrangers. This is not meant to be a comprehensive list-instead,
it is a resource to Help you end your chart in a logical, musical way.
Common Ending Types

Endings can be categorized as follows:
Tag
Vamp borrowed from introduction
Melodic fragment borrowed from introduction
Unrelated material borrowed from introduction
This list reveals that the relationship between the introduction and the ending is a
very close one indeed.
Style Considerations
Sometimes a given ending will work better in one style of tune than in another. The
following chart indicates which endings are useful in each of the most common jazz
styles. These are not hard and fast rules-just suggestions and observations of the way
jazz musicians tend to do things.
Common Endings
Style Types of Endings Common to That Style
Up-Tempo Swing Tag ending

Melodic fragment
Unrelated material
Medium Swing Tag ending

Melodic fragment
Unrelated material
Ballad Tag
Ritard to fermata (no specific ending inserted)
Cadenza by the primary melody instrument
Latin Vamp
Tag ending
Melodic fragment
Unrelated material
Tags
The material that is repeated in a tag ending can vary according to the harmonic rhythm
of the chord progression. In songs like "Take the A Train," ((Satin Doll/' and a All of Me,"
the last four bars would be a simple ii-V-I progression, like this:
.310 ARRANGING FOR THE SMALL ]AZZ ENSEMBLE
Last four measures of typical jazz tune
~'7
o;:l7 , , 1/ ,
i
I
:; i
/
II
Example 15.2
Tunes with a harmonic rhythm of one chord per measure could be ((tagged" as fol-
lows:
IIIII >)) 15.3

V/ii turns around the progression
Last four measures played three times to allow repeat
$~1
~'7 (!,~A'7 A"'
/ / It 1/ ,
i
I
i
I
i
1/ I
i
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i
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i
(!,~'7
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~'7
~
/ ,
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t
1/ I
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,
i ,i
1B ---J J fJ 112 J~ ~
r II
Example 15.3
This simple formula requires a secondary dominant, the A7, to ((turn around" the
progression (thus the name turnaround). The four-bar unit is played three times in this
example. While three times is the norm, it sometimes is played only twice. Often a iii
chord (an Emi7 in this case) substitutes for the I in the second statement of the progres-
sion. Also, the A7 usually contains chord tone substitutions such as a flatted ninth and
flatted thirteenth, since it is functioning as the dominant of D minor (review the section
on tninor key progressions in chapter 6 if necessary). This tag can be used as a final im-
provised section and therefore repeated many times. An excellent e;Xample of this type
of ending is Miles Davis' recording of ((All of You" on the album 'Ro~nd About Midnight.
Notice also that I used the ((Take the A Train" line depicted in example 15.1 to drive
toward the fermata, though the uBasie" ending described above would have worked just
as well.
A similar process occurs when the harmonic rhythm is twice as fast, as in tunes like
((Have You Met Miss Jones" and ((Like Someone in Love.n Here is what the last four bars
of those tunes would look like:
$~MI1 I
t
AMi,
," It
,, CMi,
I "
~,
I
t I "
(lMA,
~
I;;>
¢ [<> II
Example 15.4
The third and fourth measures from the end are used for the tag in this case with the
more rapid harmonic rhythm, and is illustrated below. The example concludes with the
''Basien ending.
llllf>)) 15.5
3 C!,MA,
4
;Mi1 I
CMi,
1/
~,
1- i I tfi If £, r II
~
'
I " I I. I " I " I I.
Example 15.5
Now that we have explored the manner in which jazz performers end tunes, it's
time to discuss how arrangers go about the same process. While you should borrow
some of the techniques from the ''stock" ending library, you can also expand upon those
approaches. Since you have the luxury of time and reflection, you can put more thought
into it, tailoring those stock endings to fit what you have in mind.
In the following example, ((Why Not Now" concludes with a tag ending. Instead of
ending on a sustained tonic chord like the stock examples above, it ends on a short note.
This example, in which the first two bars of the final four-bar section are used for the
tag, is similar to example 15.5.
b L I r T I -
.,. .
... I
V' D' OJ I I r LJ I
D D. vr_ I 1 J l 1 I I
b I.
• u .
I r If V' V'CJ I
Sp' Q.Mii Cl#oi CMii QpMii ~pi

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[t'rr- VD' o~~ur ctftr- VD o)~u~r
b L
.,. Ibrass omitted during first two statements of figure I

~Mii Spi £pMii Api ~Mii Spi £pMii Api
b L
Example 15.6
In order to appreciate examples 15.6, 15.7, and 15.8, first listen to example 12.6
which is the four-horn combination version. Now, as you listen to example 15.6, you'll
hear the brass countermelody drop out as the tag is repeated. The countermelody re-
turns for the final statement. I felt that I could add some variety to the structure of the
ending by layering the instruments.
The next two ~xamples display a common ending technique involving modulation.
In example 15.7, the first of the two, the middle statement of the tag is placed up a half
step and the brass countermelody is again removed.
~ I I
.....
- I
i .. I
~ D p' I f r LJ I
D D vi I .1 J l J I I
~ I. •
I
. v
r ,r . ~ ~CJ I
s~~ C,Mii C,fo7 0Mi7 C~Mtl ~~;

! I
...
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up half step here
brass re-inserted
Example 15.7
Notice how much the tag is brightened by the brief modulation. Example 15.8 illus-
trates a tag in which the middle statement is moved up a minor third from the home
key, taking the harmony even farther away.
IIIII>)) 1s.s
~ I. I
. r T I I
I I
~ D p' I r r lJ I D. D vi 1 J J L l I I
~ I.
I u
r 1r ~ ~CJ I
~ I.
s~• C,Mi'7 C.fo'7 CMi'7 C~Mi'7 ~~'7
ft I.
.n up minor third here J
,..
I
[t'rr- VD p'~trr lI 1f I ~ 'illvr
~ L
I Ibrass omitted during first two statements of figure I

FMi'7 S~'7 £~Mi'7 A~'7 A~Mi'7 C~'7 F#Mi'7 S'7
~ I.
Example 15.8
These examples demonstrate just how effective a tag ending can be. As the listener
hears the characteristic repeat of the last section of the tune, there will be no doubt in
his or her mind that the ending is on its way. For that reason, adding variety either
through texture change (by omitting the brass) or harmonic variation (by putting the
middle statement in another key) helps make this time-tested technique work even more
effectively.
Vamp
As mentioned above, Latin tunes played on a club date gig often end with the same vamp
that started the tune. This technique also works well for arrangers, as the following
example of uSabrosa" illustrates. This ii-V vamp was used as an introduction in chapter
14 (example 14.9). Take the tiine to revisit that example. For the ending, I added a
melodic line to the vamp played by the horns, shown in the next example.
~ I I I
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Example 15.9
Melodic Fragment
In chapter 14 (example 14.11) a fragment of the opening melody, scored for the en-
tire band, was used as an introduction. This is an example of an exciting introduction
that immediately grabs the listener's attention. Like the previous example in which an
opening vamp was used for the ending, this melodic fragment also serves to unify the
arrangement as an ending. This technique is illustrated below in the next example.
Ifill>)) 15.10
~ ,....,
. ,....
I. I
1 - ~ ,~
~ I. ,....,
AI..'I'O
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-
*'*. v• ..,, ~.., *---* P*~~ _, •v•- J - .. , ....
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~ ...17 sh £~~o~i7 Ah c~~-~,., ~h C,~o~i7 ~7 S~w

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'j
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f!:r- -e. ~ f!:t-r ~~ ~~.A
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ft% t~9~
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ft% I
ft'%
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·"
ft%
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Example 15.10
Unrelated Material: Vamp

In chapter 14 (example 14.13) an introduction is provided for ({Why Not Now" which
utilizes a vamp. It is comprised of dominant suspended and altered chords and is paired
with an unrelated melodic line played by the horns. This introductory 1naterial works
well in other parts of the arrangement as a unifying element, and it is particularly effec-
tive for an ending. This is illustrated in the example shown below.
-4>)) 15.11
b L
1
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b L
Al.10
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. "" "" "" "" ""

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Example 15.11
Unrelated Material: Newly Composed Section

Using material composed especially for the introduction works well as an ending, as was
illustrated in the vamp example above. Chapter 14 includes a rather elaborate introduc-
tion for "Sabrosa" in example 14.14. The following example revisits the first segment of
that material-this time as an ending.
llf>)) 15.12
~ li
.
I
1'Pf
. :
Al.fO
I I I vr ~r ~~ r· o-- r: Pp i- r r r r ~r r
.J- -..J I .J J: ~J J
:
o~o~i7 ~1~ C!#~o~i7{~5) (!~o~i7 ~IS Sp~-~Ai ~/A APO 7 ~~o~i7 A~o~i7
~
.
!
l I I II I II I II I II I l7 I
.
o~o~ii ~i~ C!#l-li7{b&) (!lolii ~IS Spi-IAi ~/A Apo 7 ~~o~i7 A~o~ii
fl :
fl
I I II I II I II I II I II I
~ f""1 If. I I ~ I ~
.
I I I I .I I Ito.
1'91'
. .
Al.fO
l I j I 1-J I yv r =
v I I v I
~
r-
. J .J J ~d~/2 ;. Jr- -.J ~~: ~;- J ff: k~,~ ~_i: LJ---a~
SploiAi ~/Op o~o~ill

~ ~
. .. v .._ II. I I ~ I Ito.
.,;.• r7__: y l-Y --1-"" v .,.

l I L.:f 11
•--.:::: ~ft
... 1.~ f-._ t,.. ,lr...- r-..., ~.I.-
:
-,
I II I --,
v---
SploiA7 ~/Op Q~o~ill
.. k-~
fl : - I
I
,
. k.-"' .
I LJ
Example 15.12
Remember that not all arrangements require a specific ending. Use discretion as you
decide on this important part of your project; it is the last thing the listener hears. But
the point of an ending is to tie up the musical statement you've made. It's very important
that the ending flows naturally and logically from the rest of the arrangement.
Chapter Summary
Ending Types:
1. Tag
2. Vamp borrowed from introduction
3. Melodic fragment borrowed from introduction
4. Unrelated material borrowed from introduction
Endings
Add an ending to one of your already-existing four-horn arrangements.

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Common Problems a
Solutions
Jazz improvisers make mistakes. A solo may be satisfying to the listener but disappoint-
ing to the performer, or vice versa. Either way, a jazz musician performing live music
cannot go back and repair whatever mistakes were made. The discipline of jazz impro-
visation is so demanding that the perfect solo is elusive if not impossible to achieve. Jazz
arranging is equally demanding, but with one big difference: the arranger has time on
his or her side. After all, reflection and deliberation are part of the process. That being
said, in a task as challenging as jazz arranging, mistakes still do occur. Avoiding them
is the purpose of this chapter.
While some errors are the result of sloppy work or incorrect application of jazz the-
ory concepts, other problems arise out of good intentions. Often the arranger attempts
certain effects that simply don't work. In this chapter, we will discuss some of the most
common mistakes that arranging students make while at the same time offering sug-
gestions on how to avoid these mistakes in the first place. The discussion below does
not include obvious typographical errors such as missing accidentals, incorrect repeat
325
signs, or transposition mistakes. The problems demonstrated below are harder to pin-
point and are not so obvious. We will deal here with common mistakes that may look
good on paper (or even sound good on a computer) but don't work when played by real
musicians. This is a very important chapter because while the improviser performing
live puts his mistake behind him immediately, the arranger's 1nistakes never go away.
Here are the most common mistakes I have seen throughout many years of teaching
jazz arranging:
Incorrect parallel harmonies

Awkward lines, especially countermelodies
Awkward repeated notes
Overwriting
Horns out of sync with the rhythm section
The following examples contain all of these common errors. By studying these exam-
ples, you can train yourself to avoid duplicating these mistakes in your own work. Hope-
fully, through experience, score study, and extensive listening, your arranging skills will
mature and you will outgrow these types of errors.
In this chapter we will use the blues tune {(Finding the Groove" as a vehicle for
demonstrating these subtle yet important arranging mistakes. Example 16.1 contains
the lead sheet for {(Finding the Groove/' and the harmonic analysis is in example 16.2.
It would be useful to compare this blues tune to other blues tunes you may know. ((Find-
ing the Groove" has a very simple melody and is accompanied by resolving suspended
chords. There are interesting rhythmic kicks in the last phrase that integrate melody
and harmony with a series of substitute chords.
CHAPTER 16: CoMMON PRoBLEMs AND SoLUTioNs 327
-4>)) 16.1 ~\MC\N~ 1ME ~iOOVE
~
II
-
II
I - ....... I
""-' I #'r
C,7ius4 C,7 C,7iUi.4 C,7

II
,.
-
I II ~
~'
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I '-' ...___
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--- ~7
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Example 16.1
(l7~t~u;4 (l7 c_7,u;4 Q.7
~l Pgo
e- l't IPrp
e- I'l
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~7iu;4 ~7 £~!~ 0~MA7 c_7 A7(#9)
~ ~~2! I~~~ I~t~ p~o I~

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,
(sub for I)
Ah~ O~i~ ~h~ ~ 7(#9) (li~ A7 0Mi7 ~7
~ ·~· P~O I~~t, ~~~, I~~

TIS TTS TTS v
d
V/ii
10
ii v
for ii forV for I
ITTS = tritone substitution I

Example 16.2
CHAPTER 16: CoMMON PROBLEMS AND SoLUTIONs 329
In our previous discussion of form, I mentioned that blues melodies are usually
played twice before the arrangement moves forward, usually into a solo section. Often
the melody is played by a single horn (or unison horns) the first time with a thickened
texture applied fdr the repetition of the melody. This is the case here; the melody is per-
formed first by the trumpet and is joined by one or more horns as the melody is repeated.
Only the second time through the melody is illustrated in the following examples. Most
examples are written for trumpet, alto sax, and rhythm section. There is one example
written for three horns (in which a trombone is added to the ensemble) and the final
u correct" version is scored for four horns. Get ready to experience some bad writing!
Parallel Harmonies
Arranging students often write parallel harmony parts without any regard for their
function. Ignoring the harmonic structure by simply adding a lower part that follows
the melodic contour almost always leads to problems.
Parallel Thirds
Harmonizing the melody of uFinding the Groove" in thirds seems like it would be ef-
fective, but in the next example we see a serious problem: the harmonizing note is too
unstable. Examine the two-horn version in example 16.3 and listen to the audio record-
ing.
-f>)) 16.3
Iunsupported 13th I
J ... \
I .. ..... ...... *'r .._
Al.fO
~ J -
I .. - "il.' * •.._.
b ..
C,71iU1i4 e,7 C,71iU1i4 c.7
I .. II
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b ~71i\lli4 ~7 £p1i QpMA7 C.7 A7(#9) Api'
I& II I II I II
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Example 16.3
CHAPTER 16: CoMMON PRoBLEMs AND SoLUTIONs 331
In the initial six measures, the melody is harmonized a minor third below. Choosing
a minor third as the harmonizing interval below the melody provides notes available in
the key of c which would perhaps be a tempting choice for the arranger.
Problem: Unstable Harmonization

The whole notes in measures 1, 3 and 5 sound odd. Why? The harmonizing note (the A
in measures 1 and 3 and the D in measure 5) is the thirteenth of each dominant chord.
On dominant chords like these, the thirteenth needs to be supported by 1nore funda-
mental chord tones under it. Try playing the horn parts on the piano while holding
down the roots in your left hand. You'll find that the horn parts make the chord roots
sound incorrect. Also, measure 6 contains a wrong note-theE natural is a major sev-
enth above an F, and would therefore conflict with the seventh of the F7 chord. Although
the harmonization in minor thirds provides very rich harmonic choices in the last four
measures, they may be too colorful for the context of this tune. The lower note is the
raised eleventh of each of the dominant chords as the progression moves around the
circle of fifths. Try playing this on the piano, too-l think you'll hear that the raised
elevenths also give the impression of instability.
Solution: Try Unison Instead

If there were more voices (i.e., horns), the chords could be scored in either four-way
close or drop-2, which would give more support to the melody. Since there are only two
horns in this example, however, that option is not available. Therefore, in a two-horn
arrangement, the solution may be to elhninate harmony notes altogether. Recall that all
of the examples in this chapter are based on the second statement of the melody. If you
simply add the alto sax in unison with the trumpet, you'll be thickening the texture.
Incidentally, there is one positive aspect to this example that I will expand upon in
the next chapter: the alto sax is integrated with the rhythm section in measure 7. This
works well here, and we will see this again in each of the upcoming examples.
Parallel Fourths
The next example illustrates a harmonization in parallel fourths. Arranging students
often use these more strident harmonic choices in the belief they will make their ar-
rangements sound more modern and hip.
IIIII >)) 1&.4
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Example 16.4
CHAPTER 16: CoMMON PRoBLEMS AND SoLUTioNs
333
Problem: Harmony In Fourths Too Strident

Parallel fourths in ~his setting are too ((edgy" for the flavor of this piece as the recording
makes very clear. 1Quartal harmony should be used with caution. As I pointed out in
chapter 6, ((Tertian Harmony," most of what we do is based on tertian harmonic princi-
ples. Using parallel fourths is more of an effect rather than a voicing method.
Solution: Try Unison or Guide Tone Harmony Instead

The solution suggested above is valid here as well. Unison would be the better choice.
However, adding guide tones (thirds and/or sevenths) at certain locations helps to sta-
bilize the harmony. For example, using an A in measure 6-perhaps resolving from a
suspended tone Bb-would provide a harmonic foundation in the middle of the melody.
Awkward Lines
Writing melodic and tuneful harmony parts (and countermelodies) is one of our most
daunting challenges as jazz arrangers, and example 16.5 illustrates a particularly awk-
ward accompanying line in the alto sax.
llllf>)) 16.5
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Example 16.5
CHAPTER 16: CoMMON PROBLEMS AND SoLUTIONS 335
Problem: Awkward Lines In The Pick-Up Measure

In the example shown above, the attempt to emphasize the suspended tones of the C
and F chords is a gqbd idea and will be used in the "correct" version in example 16 .11.
But the opening accompaniment line G-Bb-F is too disjunct. As the figure is repeated,
the problem is compounded. Take the time to play it on the piano or on your own
instrument. The leap of the descending fourth feels and sounds odd. In addition to
the full ensemble version shown above, I have also provided a recording that omits the
trumpet part in order to expose the awkward alto sax line. Listen to them both carefully.
Iliff>)) 16.6 (See example 16.5)
The Solution: Integrate the Alto Line with the Rhythm Section
Since the alto sax has the same rhythm as the rhythm section in measure 7, this concept
could be expanded for the entire melody. The alto line could simply play the suspended
tones (the F in the C7sus4 and the Bb in the F7sus4) and resolve them, which is what the
piano part calls for. You could also try a G-Gb-F line in the pick-up notes in measure
2, and a C-B-Bb line in measure 4. This solution provides a better countermelody while
still emphasizing the suspended fourths. Notice the last phrase is in unison-this works
well here.
Awkward Repeated Notes

Repeated notes can be a problem if they are uncomfortable to play. This occurs most
often in note values of eighth notes or shorter. "Upbeat to downbeat" repeated notes are
normally not a problem to play comfortably, but "downbeat to upbeat" repeated notes
are almost always awkward as we will see in the next example.
lllllf>)) 16.7
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I
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Iinteresting dissonan~ between parts- major 2nd I
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Example 16.7
CHAPTER 16: CoMMON PROBLEMS AND SoLUTIONs
337
The Problem: Repeated Notes

In "Finding the Groove," the C7sus4 and F7sus4 chords are sounded on the "and" of
four in the first six/measures. It might be tempting to harmonize the melody by putting
the alto sax on the seventh of the chord, creating a major second dissonance with the
melody note. Doing so, however, creates awkward repeated notes (two B flats in a row
in the pickup measure and in measure 2, and two E flats in a row in measures 4 and 6).
These repeated note figures would be difficult to swing and would feel unnatural to the
performer. In addition to the full ensemble version shown above, I have also provided a
recording that omits the trumpet part (see below).
(See example 16.7)
Solution: Unison Trumpet and Alto

In chapter 11, ((Two-Part Writing," example 11.14 demonstrates harmonizing with un-
usual intervals such as sevenths and seconds. While it worked very well in that case,
it would be difficult to avoid the repeated notes in example 16.7 above. Also, harmo-
nizing whole notes with dissonant intervals (as is the case here) tends to obscure the
melody. Major seconds can be very effective with shorter note values, adding a ((pop"
to an important note at just the right time. The fact that this choice results in awkward
repeated notes would suggest that you should avoid this option altogether and write the
two horns in unison. Remember that writing in unison is not a "cop-out"-it's a won-
derful way to create a whole new timbre by combining instruments. Also, harmonizing
the root of a chord is inherently difficult with only two horns. This is why unison has
been suggested several times throughout this chapter.
Overwriting
This next example highlights a very common problem for beginning arrangers: writing
lines that are too busy or active.
llllf>)) 16.9
~ Ill.
I . ........ ..........
conflict wth melody
~ I ~
AI.'I'O
I .. - 11 I
" , 11 11 I
C,7iUi4 C,7 C,7illi4

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b
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I
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~
#7 v I v I v v v v v
Example 16.9
CHAPTER 16: CoMMON PRoBLEMs AND SoLUTIONs 339
Problem: Too Much Complexity

Both perforn1er and listener want the music to sound good-and feel good, too. Excessive
complexity in any rpusical element (e.g., melody, harmony, rhythm, instrumentation)
can detract from the enjoyment of the music. In the example seen above, the alto line
is busy from the start and gets even more complicated as it progresses. It also covers
up the melody in measure 2, violating the simple rule of ((writing in the holes" of the
melody. I have heard students justify this type of writing to me by saying, ((It sounded
good on the computer." While that may be true (from the student's perspective anyway),
this line is too complex for this simple blues tune. This is one of the dangers of writing
directly onto the computer rather than with pencil and paper. It would take quite an
effort to write out this alto line by hand, yet on the computer it would take relatively
little time. Writing with pencil and paper can contribute to silnpler arrangements.
The Solution: Write "In The Holes" Of The Melody

The melody is all-important; obscuring it is almost never a good idea. Write your coun-
termelody when the primary melody pauses. Composers have been doing that for cen-
turies in all forms of music. The countermelody seen above, however, is too busy even
when the melody pauses. Remember: strive to write with simplicity.
Lack of Integration with the Rhythm Section

This next example comes closer to an effective solution but still has a serious problem.
This three-horn version contains a problem that is more common than you may think.
~ ...
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.
-
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~
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I
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17 ll I ll I ll ll ll ll ll
Example 16.10
CHAPTER 16: CoMMON PROBLEMs AND SoLUTIONs
341
Problem: Horns Not In Sync With Rhythm Section

In example 16.10, the alto sax and trombone add simple chord tones to the C and F
suspended chords/ with the trombone resolving the suspensions (F toE in measures 1
and 3 and Bb to A in measure 5). Notice that the accompanying horns are integrated with
the rhythm section in measures 7 and 8. These are all positive qualities of this example.
The problem in this version occurs in the final three measures where the rhythmic kicks
for the accompanying horns are not synchronized with the rhythm section. As you listen
to this recording, you may be surprised that students actually make an error this glaring.
Neglecting to integrate horns with the rhythm section actually occurs quite frequently.
Solution: Sync Horns with Rhythm Section

The alto sax and trombone parts must be written on the "and" of beat 4 in measure 8 and
on the ''and" of beats 2 and 4 in measures 9-1 0; in this example the horns are written
incorrectly on beats 1 and 3.
The "Correct" Version

Finally, example 16.11 illustrates a version that works well. Notice that the alto sax
doubles the trumpet melody in the first seven measures as was suggested in several of
the solutions above. Also, observe that although the accompanying line in the lower
horns is very simple, it highlights the resolution of the suspended tone in the C and
F chords. The horns are correctly integrated with the rhythm section in measures 7
and 8, and the example ends with the sequential melody supported by four-way close
harmonization with all four horns aligned properly with the rhythm section.
lllf>)) 16.11
Itpt and alto in unison I
~
i .
"""'"
..... *'"
.._
"""'
~
I .... Ilower horns in unison I

..... *', ._
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. r.·:K ~~ f:.t:f:.F i1i,- ~ ~ .I,.- j-....,.
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lower horns with rhythm section

Ifour-way close voicings on sequence figure I
'
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i/ v I v I li li li li li
Example 16.11
CHAPTER 16: CoMMON PRoBLEMs AND SoLUTioNs 343
Chapter Summary
1. Parallel harmo:pizations: accompanying parts must match the harmonic structure.
2. Awkward line~: use the rules outlined for writing effective countermelodies.
3. Repeated notes: avoid repeated eighth notes in most cases, particularly'' downbeat
to upbeat" eighth notes.
4. Overwriting: writing with simplicity is almost always preferable to complexity.
5. Lack of integration of horns and rhythm section: align the melodic element with
the harmonic element, especially on anticipated figures like the "and" of four.
The Complete Arrangement
Throughout this book I have used the tunes {(Why Not Now/' l(Sabrosa/' and ((December
Serenade" to demonstrate various melodic treatments, introductions; and endings. An
arranger could consider each of these tunes complete and ready to perform by simply
choosing one of the texture options presented thus far, adding an introduction, an end-
ing, and notating the chord changes in the horn parts for solos. However, much of the
enjoyment of writing an arrangement comes from composing new sections which can
really make a project your own unique creation. Also, learning how to add new mate-
rial to the basic form of a tune is excellent training for any big band writing you may do
in the future. This is a wonderful chance to gain experience doing some real composing.
This chapter will focus on the following sections:
Solo backgrounds
Soli section
Interlude
Shout chorus
Send-off
345
In order to examine these additional sections, full transposed scores of "Why Not
Now," "Sabrosa," "December Serenade," and ((Finding the Groove" are presented in
their entirety in this chapter. Each is written for trumpet, alto sax, tenor sax, trombone,
piano, bass, and drums. These scores contain various labels and annotations that point
out the arranging techniques being employed at a given spot. Also, the text that follows
each example will further analyze the examples with a special emphasis given to the
most recent additions.
You'll recognize many of the melodic treatments in these arrangements because they
are derived from the methods described in chapter 12. There will also be introductions
and endings that you've heard before. You may recall that all of the melodic treatments,
. introductions, and endings seemed to work quite well. For these final arrangements
however, I chose the versions that I felt worked the best. But keep in mind that there is
an infinite number of ways to arrange these tunes-that's what makes jazz arranging so
enjoyable.
In chapter 3, I provided some schematic diagrams in order to demonstrate the vari-
ous ways in which tunes in different forms can flow. As I arranged these example tunes, I
used these diagrams to help provide a structure. As was pointed out in chapter 10, hav-
ing a plan from the beginning will allow you to write with more continuity and unity.
Therefore I have provided a formal sketch for each tune with much more detail than
was included in the schematic diagrams in chapter 3.
Creating the Score and Parts

When producing the score and parts for a performance of your music, set the highest
standards for yourself and give yourself ample time to meet those standards. There is
nothing more frustrating as an arranger than hearing mistakes made by the musicians
that are the result of sloppy work on your part. Think of it this way: when a band plays
your chart, it should sound just the way you intended it to sound-with or without your
presence. In order to help you avoid notation errors, I have listed some tried-and-true
suggestions below. This list is not exhaustive, but if you follow this advice it will take
you a long way toward removing obstacles--and letting your music speak for itself.
Notation Suggestions
Try to avoid odd spellings (e.g., Ert, Brt) unless there is a really good reason to use
them, such as a chromatic passage.
Don't be afraid to use enharmonic spellings that don't match the prevailing key if
using them makes the music easier to read.
Use courtesy accidentals when appropriate (and you may need them more often
than you think).
Don't beam three eighth notes together if they are not a triplet.
Don't beam eighth notes over rests.
Don't beam notes across the middle of a measure.
Articulations are meant to convey your stylistic intent exactly. This is particularly
important in groups with more than one horn, as they must match stylistically.
Pay close attention to quarter notes, as they are usually (but not always) played
CHAP1ER 17: THE CoMPLETE ARRANGEMENT 347
short. If the chart is notated correctly, no discussion should be necessary among

the players.
Place articulat~ons above the staff, not below.
Tempo and stfle must be in both the score and the parts.
Don't write an entire measure for pick-up notes.
Indicate instrument changes (e.g., mute changes for brass or doubles for wood-
winds) at the end of the phrase before the change occurs) and allow sufficient time
to make the change.
Layout Suggestions
Score and staff must be identical. A sample part of '(Finding the Groove" is located
in appendix B.
Rehearsal letters normally occur every eight bars, or every twelve bars in a blues.
Put double bars at each rehearsal letter and at the beginning of each first ending.
Staff spacing, measure spacing, and note spacing should be consistent.
Parts usually have four measures per line, although there are exceptions to this
rule. First and second endings sometimes change this.
Multimeasure rests are normally no more than eight measures to facilitate place-
ment of rehearsal letters.
Tape your parts accordion-style using masking tape.
If you're writing by hand, use a ruler for all bar lines and stems.
Begin each part with a dynamic marking.
Play through every part on your own instrument-this may not reveal exactly what
it will feel like for the specific instrument the part is written for, but it is a great
way to find awkward lines, repeated notes, etc.
Use standard written signs to communicate the road map to the band (e.g., repeat
signs, the D.S., the D.C., the coda sign). Taking the time to give verbal road map
directions to the band can eat up precious rehearsal time. However, if these signs
result in a confusing road map, it may be wise to write out the repeated music.
Eliminate unneeded staves: optimize staff systems (e.g., the bass clef staff of a
piano part).
Be aware of page turns in the parts. Put rests on the bottom of the page for this
purpose.
Finish your parts at least a day before distributing them so that you can thoroughly
proofread them.
''Why Not Now"

If needed, refer back to the lead sheet and analysis in chapter 2 (although by now you've
heard so many versions of this tune that the melody, harmony, and form should be very
familiar). Before you examine the score and listen to the audio track, look over the
diagram below. Notice that there is an introduction that also serves as both ending and
interlude. The interlude is also used for the solo section, providing the soloists different
material on which to improvise. This melodic treatment is identical to the combination
texture described in chapter 12 (see example 12.6). Also, the introduction/ending is the
"unrelated material: vamp" variety discussed in chapters 14 and 15.
"Why Not Now" Form Breakdown

Measure Section of Form Description
Introduction First 8 bars; rhythm section on V pedal
9 Second 8 bars; add octave horn line
17 A Unison saxes
25 A' Add brass countermelody in octaves
33 B (Bridge) Brass harmonized melody; saxes answering lines
41 A' Same as previous A' (to coda last time)
49 Interlude (same as intro) Solos: tenor, trumpet, piano

57 Unison horn line from intro Unison horn line on tenor solo only, first chorus only
65 A Solo continues
73 A' Solo continues
81 B (Bridge) Backgrounds last chorus of trumpet solo
89 A' Solo continues
97 Interlude Soli for all horns
105 A Soli continues

113 A' Soli continues
121 B (Bridge) piano plays bridge melody
D.S. to 41 A'
49 Interlude To Coda after measure 56
Coda Unison horn line End on Bma7(b5)
CHAPTER 17: THE CoMPLETE ARRANGEMENT 349
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CHAPTER 17: THE CoMPLETE ARRANGEMENT
357
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Example 17.1
Score Layout
Before we discuss the details of the actual music, look carefully at the layout of the
score. While it is beyond the scope of this book to discuss every aspect of notation and
score layout, it will be beneficial to point out a few specifics. The score order is trumpet,
alto sax, tenor sax, trombone, piano, bass, and drums. The horns are grouped together;
notice that the bar lines pass through them and there is a bracket on the left side. The
score is minimized occasionally to save space, most often by eliminating the bass clef
of the piano part. Notice the score directions especially as they guide the musicians
through the solo section. When inserting instructions in your score, it is important to be
concise, yet clear and accurate. There is a lot to know about score and part layout-take
the time to study this important subject along with the topic of arranging.
The Arrangement
In this treatment of "Why Not Now," a recurring interlude brings unity to the arrange-
ment. This same interlude serves as the introduction, ending, and background figures.
Juxtaposing dissonant harmonies in a traditional bebop setting can be very effective-
both enjoyable to listen to and especially fun to improvise over.
As mentioned above, I chose the combination texture for the melody. I added the
simple ascending scale figure in measures 40 and 128, first seen in the two-horn ver-
sions in chapter 11. This line serves as connective tissue between sections. The intro-
duction/ending is the ({unrelated vamp" type. While you will recognize some of this
arrangement from previous examples, there are five sections that will be discussed be-
low in more detail:
Solo backgrounds
Interlude
Soli
Ending
Send off
As you read the following you will need to refer back to the full score, especially to
the horn reductions that are included at various points.
Solo Backgrounds
Adding background lines to the solo section gives the soloist a more exciting and intense
setting in which to improvise. An arranger must take care to write these accompanying
lines in a manner that adds to the excitement of the solo section but does not interfere
with the soloists. Simple ((guide tone" lines work well, as well as blues scale melodies
that add to the intensity of the solo section. Take care when choosing the rhythms for
your background figures-keep them simple! Half notes and wHole notes (along with
an occasional syncopated figure) keep the lines where they belong-in the background.
Example 17.2 illustrates background lines for ((Why Not Now," placed in the bridge of
the form. They are extremely simple for two reasons. First, they are in unison. This
makes the1n very flexible in case you want to have an open section for improvised solos.
The unison background parts, which are in every part, are played on cue. Second, they
follow the sequential pattern of the harmony. Each statement begins on the third of the
ii chord in each progression, culminating in an extended version in the third statement.
Example 17.2
Interlude
An interlude is a section of new or related material added to the form of the piece that
serves to bridge sections together. It can connect the first complete melodic statement
with the solo section-the place where the soloist can begin to improvise. The simplest
method of creating an interlude is to recycle the introduction as the interlude. This
unifies the arrangement. ((Why Not Now" utilizes the introduction as an interlude to
begin the solo (measure 49) and soli sections (measure 97), as well as for the ending.
Soli
A soli is a written group solo. It normally is scored in either unison or in a homophonic
texture, but it can also contain several overlapping lines. It is often located after the solo
section and frequently follows a rhythm section soloist. This gives the horn players the
rest needed to play what may be a technically demanding passage. It is often the length
of only one or two sections of the form, or it could be composed over the entire form.
Its melodic material often comes from a transcribed solo. Some of the best examples of
this type of writing are from the group Supersax, whose repertoire included transcribed
Charlie Parker solos arranged for five saxophones.
The AABA model (described in chapter 3) suggests that soli or a shout" sections often
last for only the first two A sections. This is the technique used here. The soli in ((Why
Not Now" follows the piano solo. It begins with the interlude at measure 97 using
syncopated suspended chords voiced with the root on top. Two A sections make up the
remainder of the soli. The next example offers a com paris on between the original A
section melody and the melody written for the soli. Pay close attention to the rhythm of
the lines; they are most similar at the end of each eight-bar phrase. An effective way to
provide continuity is to tie sections together using similar rhythmic shapes.
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My conception of the soli in ((Why Not Now" involves rhythmic intensity in the
interlude. This is then followed by more lyrical melodic lines (in the ,A sections) that are
rhythmically related to the original melody. I have treated the A s~ctions with a blend
of unison, octave, and homophonic writing.
CHAPTER 17: THE COMPLETE ARRANGEMENT
363
Interlude Within the Soli (Measures 97-1 04)

The horn reduction from the score is reprinted below with more detail in example 17.4.
Note the stark voi~ing of the suspended chord in measures 97-98. It is constructed of
(from the top-down) the root, fifth, fourth, and root. Suspended chords often include the
ninth and sometimes the thirteenth-but these tones are omitted here, providing more
power to the voicing. Measures 99-100 include a good example of a slash chord (Dover
F7) resulting in an Fl3(b9) chord. A more colorful suspended chord voicing is placed
in measures 101-102, which works to decrease the tension as the soli drives toward
the more harmonically traditional A sections. Finally, notice the secondary dominant
approach to the F7(~9)(b13) in measure 103 .
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Example 17.4
First A Section Within the Soli (Measures 105-112)

The first four bars of this section are in four-part harmony. The melody is constructed of
a two-note sequence that becomes progressively more rhythmically syncopated. The
voicings are in four-way close with diatonic approaches used in measure 108. The
second four bars, written in unison, are reminiscent of the melody, especially the last
phrase.
Second A Section Within the Soli (Measures 113-120)

I recall writing this section backward, first thinking about how it would end. This is
generally a good idea because it encourages continuity in your writing. A novelist should
probably know how a book will end in order for the plot to lead there-the same can
be said for composers and arrangers. Therefore, to provide stability to the arrangement,
the soli ends with the same material as the concluding scale passage found in the "Why
Not Now" melody. This section begins in measure 113 with a rhythmic figure supported
by the drummer.
While solis are much more common in big band writing, they can be a wonderful
addition to small group arrangements. Composing a soli provides the opportunity for
you to actually compose rather than just arrange.
The bridge follows the soli and is scored only for the rhythm section with the pianist
playing the melody. This instrumentation choice cools down the arrangement and gives
the horns a needed break before playing the last A section of the form leading to the
ending in the coda.
Ending
After the bridge is stated by the pianist, there is a D.S. to the last A section of the melody
in measure 41. After a jump to the coda, the arrangement ends with an abbreviated
version of the introduction/interlude concluding with a sustained Bmaj7(b5) chord. The
arrangement, therefore, adheres to the form suggested for AABA tunes in chapter 3.
Ending with just the BA part of the form is very effective, rather than restating the entire
form as the arrangement concludes.
Send-Off
A send-off is a brief musical thought placed at the beginning of the solo section which is
voiced in all horns except the soloing instrument. I didn't use one in the final completed
version of {(Why Not Now" because I preferred the intensity of a solo section that begins
with the interlude. Therefore, an additional example has been provided demonstrating
this technique. Send-offs often last for four measures, after which the soloist begins
to improvise. Send-offs usually have an infectious rhythm. They can also be repeated
at the beginning of the next formal section, as is the case in example 17.5 below. The
example is notated in concert pitch.
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Example 1 7.5
''Sabrosa"
The next piece we will examine as a full arrangement is the Latin tune uSabrosa." Again,
there are sections you've heard before. There are two important sections we will be
looking at: the three-horn background parts during the alto sax solo, and also the shout
chorus. The formal diagram below illustrates the flow qf the arrangement.
"Sabrosa" Form Breakdown

Introduction Piano solo, 8 bars; add bass and drums, 10 bars
19 A Trumpet and alto in unison

35 A' Add lower horns on countermelody; end section in
4 part harmony
51 B (Bridge) Alto on bridge melody; section ends in 4 part har-
mony
67 A' 4 part harmony with contrasting 2 voice section.
Conclude in 4 parts
83 Interlude Same as intro; 8 bars of rhythm section, add horns

voiced in 4 parts
101 A Alto sax solo with slightly altered chord changes

117 A' Alto solo continues; backgrounds in other horns
133 B (Bridge) Alto solo continues
149 A' Backgrounds return; leads to shout chorus
165 Repeating circle progression Shout chorus; strong cadence in D minor

19 M'BA' head
Coda Abbreviated intro material Four bars; end on Absus
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CHAPTER 17: THE COMPLETE ARRANGEMENT 379
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Example 17.6
Score Layout
"Sabrosa" has a sixty-four bar form which presented a challenge for me as far as score
layout is concerned. Fortunately, I was able to reduce the score in several locations.
Notice that the arrangement begins with only a piano part in grand staff. Bass and
drums are added for the second system and then the two melody instruments. Because
this score was produced in Finale with optimized staff systems, all the parts are not
displayed until the second page. The directions for the solo section are simple since
the alto sax is specified as the only soloist. Also, the solo only lasts for one chorus, so
the solo backgrounds are played as written (no need to write in the indication "play
backgrounds on cue").
The Arrangement
This version of "Sabrosa" is similar to ((Why Not Now" in the use of the interlude, as
it is constructed of borrowed material from the introduction. However, the interlude is
not used as a solo device in this piece. Also, while "Why Not Now" concludes with only
the second half of the melody following the soli, uSabrosa" states the melody (and the
introduction) in its entirety. You'll also notice that this is an alto sax feature. The bridge
is played by only the alto sax, and the only solo is for the alto player. The combination
texture is used, as was illustrated in chapter 12 (example 12. 9).
The solo section contains an interesting alteration from the original tune: it fea-
tures a chord progression simplified from those found in the A sections of the melody.
By replacing an unusual chord progression with something more conventional (in this
case, simple ii-V progressions moving chromatically) you add something new to the ar-
rangement while also providing a better solo vehicle for the musicians. There are two
additional aspects of this chart that will be discussed in detail:
Solo backgrounds are in three-part harmony

Shout chorus
Solo Backgrounds
The backgrounds composed for the alto sax solo are a little more complicated and plen-
tiful than what was scored in ((Why Not Now," although the soloist still has plenty of
room to play with only the rhythm section. They enter at measure 117, and offer a good
example of writing for three rather than four horns.
Example 17.7
The challenge of writing for three horns is evident in this passage. These back-
grounds highlight the compromise required as four-part chords are scored for three
horns. The first chord in example 17.7 is voiced with the ninth on top, and the fifth
is omitted from the structure. Each line moves naturally to the C7 chord tones: A mov-
ing to G and F moving to E. The following chord, the B13(b5), includes richer chord
tones (the b9, 13, and 3) which lead to a quartal stack over the E7(~9)(b13) (from the top
down, C, G, and D). There is no third in this chord, but the strong voice leading from the
previous structure leads the ear through the progression. The last two bars of example
17.7 include a more conventional treatment of three-voice writing where the third and
seventh are included in each chord. The last two chords in particular omit the ninth
from the harmony, which works well, but results in a less colorful voicing.
The most active lines occur as we get closer to the bridge and shout choruses. Exam-
ple 17.8 illustrates the background lines that lead to the bridge.
Example 17.8
The background parts are in unison as we approach the bridge,but the passage ends
in three-part harmony. The contrary motion leading to the Dbma7 (the first chord of the
bridge and the last measure of the example) works well in the outer voices. Contrast
this material that drives toward the bridge with similar material leading to the shout
chorus, illustrated below in example 17. 9. Both sections begin in unison. The material
in example 17.9 moves into harmony sooner, however, and offers an excellent exa1nple
of open voicings beginning with the Emi7. Recall that one of the primary reasons to
use open voicings is range. As the melody line (played by the trumpet) ascends, the
trombone part is scor~d with the dropped second voice, making it much more playable.
Example 17.9
Three-part writing takes more time and deliberation, as was emphasized in chapter
13. Listen to (and transcribe, if possible) some recordings of Art Blakey and the Jazz
Messengers. These recordings are great examples of three-horn writing.
Shout Chorus
A shout chorus is the high point of an arrangement. It normally occurs after the solos
have been played and before the return of the melody, normally about two thirds of the
way through the arrangement. It can be constructed of new material, but is probably
more often based on the melody. The shout chorus is an exciting event with horns usu-
ally voiced in harmony and with the drummer really driving the band. The shout chorus
from "Sabrosa," based on a melodic fragment, is voiced initially in drop-2. This contin-
ues the voicing types used in the last background figure illustrated in example 17.9.
Notice the difference in the effect created by the shout chorus in "Sabrosa" depicted
below in exam-ple 17.10 as compared with the soli section in "Why Not Now" seen in
example 17.3. This shout section is more aggressive and exciting-the horns are scored
higher, and it features the drummer more prominently. From a harmonic standpoint it
is based on a simple cadence figure in D minor which is stated four times.
Example 17.10
The voicings in example 17.10 provide a good example of the movement from open
to close voicings as the melody descends on beat 3 to the ''and" of 4 in the second mea-
sure of the example. Notice also the "So What" voicing in the second measure of the
example. Recall that this is normally a five-voice structure, and there would normally
be a Bb on the bottom of this chord. The listener does not miss this note, however,
because it is the root and is present in the bass part.
"December Serenade"
The ballad examplt1, "December Serenade," is by far the simplest arrangement. It gen-
erally follows the fq>rm diagram for ballads in ABAC form laid out in chapter 3.
"December Serenade" Form Breakdown

Introduction Rubato piano solo, then pianist sets up time
9 A Trumpet melody
17 B Four part harmony
25 A' Trumpet and alto on unison melody;
tenor and trombone on unison countermelody
33 c Brief blues line in octaves
49 ABA'C Solos
9 ABA'C Melody as before; end on held last note

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Example 17.11
Score Layout
The primary differenqe between this score and the other example tunes is that this chart
has a separate section with just the solo changes. Since there are no other sections added
to this piece (except the introduction), there is no need for a solo section integrated
into the score. An alternative would be to notate the chord symbols for all the parts
throughout the arrangement. I chose not to do that because I didn't want to clutter the
score.
The Arrangement
{(December Serenade" is the simplest of the four arrangements. For this complete ver-
sion I chose the combination texture as depicted in chapter 12 (example 12.12). There
have been no additional parts added because the melody, along with the improvisations
over the rich harmonies, provides all the momentum that is needed for a successful
performance. You should strive to avoid overwriting a piece like this.
"Finding the Groove"

In chapter 16 I used the blues tune "Finding the Groove" to illustrate problems and
solutions. Therefore, we haven't seen various options of textures, introductions, and
endings. As with the other example tunes, I chose a combination texture for the treat-
ment of the melody. Integration of the horns and rhythm section occurs at two locations:
in the introduction and in the second statement of the blues melody. I like to combine
horns with the rhythm section; it adds an interesting color to the traditional rhythm
section instruments.
"Finding the Groove" Form Breakdown

Introduction Rhythm section vamp
5 Add horns to vamp
13 Melody Trumpet and alto

25 Melody Add tenor and trombone countermelody
37 Blues changes Solos: backgrounds last chorus of each solo

49 Bass solo
61 Dissonant-sounding backgrounds in horns
73 Shout chorus; end with tagged version of

last melodic phrase around cycle of fifths
89 Introductory material Rhythm section vamp
93 Add horns to vamp; end on C7(rt11)

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Example 17.12
Score Layout
This arrangement is very easy to follow because it reads down from start to finish with
no D.S., D.C., or coda signs to worry about. There is a repeat sign for the solo section.
The solo section also includes the direction uopen for solosj BG (backgrounds) on cue."
Unlike uDecember Serenade,'' I decided to notate the chord symbols for the entire horn
section during the solo section since it is such a short form-only twelve bars. Notice
also that the background parts are written for everyone so that any group of horns can
play them at any time. This is why writing backgrounds in unison or octaves can make
a performance very flexible.
The Arrangement
The arrangement of ({Finding the Groove" is simple in just about every possible way. A
basic vamp serves as the introduction and ending, and the melody is voiced in unison
for the trumpet and alto sax. The lower horns add a simple and understated counter-
melody at letter B. Note that this countermelody adheres to the suggestions made earlier
in the text. It does not overwhelm the main theme-instead it ({fills in the holes" in the
melody and it joins the melody at the end of the phrase. This countermelody, scored
for the tenor sax and trombone, includes an additional feature mentioned above-it is
integrated with the rhyth1n section. Beginning in measure 31 these lower horns join the
rhythm section's syncopated figures. Often, jazz ensembles present the appearance of
two separate groups of musicians-wind players and rhythm section players. Combin-
ing horns with the rhythm section in various locations helps to unify the ensemble.
The arrangement of ({Finding the Groove" includes two interesting sections that will
be emphasized below:
Background parts
Shout chorus
Solo Backgrounds
The background lines are in unison and can be played by any horn cmnbination at any
time. It is a simple blues question and answer figure with a quote from the melody in
the last four bars.
C. 7 Iblues scale I
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Example 17.13
Following the horn solos, a bass solo is scored as a contrasting two-chorus section.
The horns enter in the second chorus with a dissonant version of the melody. The inner
voice motion is highlighted in the horn reduction (measures 61-66). Notice that as the
shout chorus approaches the harmonization becomes less dissonant.
Shout Chorus
The shout chorus of ((Finding the Groove/' illustrated in example 17.14, is the type of
shout chorus that is based on the melody. This exciting moment of the chart is scored
with the fifth of the C7 as the top note (the original chord is suspended quality; the
C7 is a stronger harmonic choice). The reason for the choice of the G in the trumpet
rather than simply rewriting the actual melody an octave higher has to do with the
ensemble we're writing for here. A high concert C would work well in a big band setting,
but in a small group setting it would be too high. In the example below, compare the
original melody with the shout melody, particularly the rhythms. In the fifth measure
of the example the pickup figure begins on beat 3, which is a refreshing and exciting
change from the syncopated melody. Take note also of the voicing types utilized and the
nonharmonic approaches.
chromatic planing, except for

resolution to C chord;
trombone repeats F to form
suspended chord
suspension resolves
Example 1 7.14
Finally, because of the theme-based shout chorus, the arrangement does not restate
the actual melody with a D.S. Instead, the arrangement concludes with a tagged ending,
repeating the last phrase three times. Notice, however, that the pianist plays the middle
statement as a solo (measures 82-83), and the harmony moves around the circle of fifths.
The horne key is reestablished when the horns return (measure 84-86).
The ending, as with ({Why Not Now" and "Sabrosa," is a restatement of the intro-
duction, tying the arrangement together.
Chapter Summary
These four arrangements include all of the elements that form successful jazz arrange-
ments: melodies that are presented clearly, accompanying lines that cmnplirnent but
do not overwhelm, background figures that energize the soloists, a variety of ensern-
ble sections, and introductions and endings that unify the arrangement. It is my hope
that these arrangements provide a musical summary of the concepts we have studied
throughout the book.
,-----Assignment 17.1
The Complete Arrangement
Complete a full arrangement for three or four horns and rhythm section. Arrange
either a tune of your choice or one of the exercise tunes. In your arrangement,
include the following elements:
Introduction
Melody
Solo section, with backgrounds
Soli or shout section
A complete restatement of the melody or perhaps only half the form
Ending
Also could include an interlude or send-off before solo section
Conclusion
At various points along the way, I have made comparisons between jazz performers and
arrangers. I did that because many of us are players first and arrangers second. While
this is not true for everyone, most of us have attempted to master an instrument to some
degree and we understand the triumphs and frustrations of that endeavor. The journey
toward becoming a successful arranger or composer is much the same. You may remem-
ber a time when you were playing effortlessly-when the music was literally flowing
out of you. Those treasured moments can also happen to arrangers. But for both per-
formers and arrangers, these moments can only happen when the fundamentals are in
place. Playing a great solo over a chord progression in the key of Eb will be difficult
if an Eb scale, as well as a vocabulary of jazz patterns, is not second nature. Similarly,
the construction of voicings and approaches, the acoustic properties of instrument fam-
ilies, the understanding of form and function-these uarrowsn must be in the arranger's
quiver before creativity can flow. Working through this book and the exercises has hope-
fully added to your working knowledge of the arranging process so that you can start
developing your own voice as an arranger.
But this textbook is just the beginning. You must not neglect to listen continuously
to jazz arrangements of all kinds. As you listen, pay close attention to what you're
405
hearing, and to what works and what does not. Take that knowledge to your sketchpad
and borrow from the great minds that have formed this inspired music.
Jazz music is a big tent-there are many styles and trends within the jazz idiom.
Fortunately what you've learned here can be applied to all types of music. In fact, you
may one day find yourself using the techniques in this book to write in other genres such
as pop, funk, or even country. If that is the case, remember this famous saying about
musical style: "There are only two kinds of music: good and bad."
Be aware that your first attempts at writing may not be as successful as you would
like. This is inevitable. The only way to improve is to keep writing. Success follows hard
work. The most difficult aspect of this process is writing arrangements that are unified
works and not individual sections that lack relationships. This takes a great amount of
trial and error. But remember that the arranger has time to think things through, unlike
the improviser who is creating music in the moment. While having the luxury of time
is certainly helpful, it can also lead to ((paralysis by analysis." Use your knowledge, but
don't forget to be creative and natural.
In the competitive world of the music business, the all-around musician is the one
who will succeed. Talent is important and wonderful to have in abundance-but the
hard worker who can perform, compose, arrange, and is comfortable with technology
will be the most prepared for a career in jazz. Having some business sense does not hurt
either.
I hope you're able to use what you have learned here for your own ensembles (or in
the case of educators, for your students). There is nothing more gratifying than hearing
your own music performed by others and realizing that you've contributed a great chart
to the jazz repertoire. Good luck as you explore this exciting field.
Appendices
407
Exercise Tunes
I composed three tunes especially for this book that are intended to be used as exercises.
They are typical of most jazz standards. The three most common feels are represented
here: swing, Latin, and ballad. Two forms are represented: AABA and ABAC.
409
ABAC Swing Exercise Tune

This medium swing tune in F minor is enjoyable to play (and to arrange) because of
the contrasting rhythms among the sections. The A and C section melody is simple
and would work well harmonized with diminished seventh approaches as the melody
ascends in the first three measures. The tune moves between two keys in the A and C
sections: F minor and Db major. There is also ample room for a countermelody to be
inserted during melodic long tones. The B section consists of chromatically descending
ii-Vs with a very active melody. Try not to overwrite a section like this. Section D is
similar to section B, but has a slower harmonic rhythm.
This tune was used in chapter 11 to demonstrate instrumental blend and contrast.
Please refer to those audio tracks to hear a recording of this tune.
APPENDIX A: EXERCISE TUNES 411
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AABA Latin Exercise Tune

This Latin tune is in a bossa nova feel and begins in G minor. The melody has a blues fla-
vor, especially the pick-up notes. The A, B, and D sections contain long held tones where
a countermelody could fit nicely. There are some prominent raised eleventh chords that
provide a brightness to the tune. The bridge (letter C on the lead sheet) consists of a
"call and response" pattern between the rhythm section (the suspended chords) and the
melody, which moves sequentially. Incorporating one or more horns into the rhythm
section could be effective here.
APPENDIX A: ExERCISE TuNEs 413
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AABA Ballad Exercise Tune

This pretty tune represents the jazz ballad repertoire with a sequential A section melody
and a faster-paced bridge. The A section of this tune explores the keys of Eb and G minor.
The bridge is comprised of ii-V-I progressions in F major, Gb 1najor, Bb major, and Eb
major. Again, take advantage of the long tones in the melody as opportunities to insert
1nelodic motion in other voices.
APPENDIX A: EXERCISE TUNES 415
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1.
Sample Part
Creating clear, concise, and accurate parts for your musicians to read is critical to the
success of your arrangements. Examine the sample part from ((Finding the Groove" on
the following page. This is the first page of the trumpet part. Take note of the com1nents
regarding the tempo marking, solo section, articulations, rehearsal letters, and double
bars. Naturally, this part matches the score exactly.
417
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articulation markings on top of staff
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when section is 11 open for solos,'' blend chord symbols and background part
Staff Paper
Several varieties of staff paper may be downloaded from the website that accompanies
this book, www.SmallJazzEnsemble.com. However, for your convenience, the same staff
paper has been provided here. Feel free to make copies of the staff paper provided
below. The staff paper has been positioned slightly to the right of center, away from the
spine of the book, to make it easier to make copies of these pages. The following kinds
of staff paper are provided:
Plain staff paper for general use

Three-staff sketch paper (portrait orientation)
Three-staff sketch paper (landscape orientation)
Score paper for two horns and rhythm
Score paper for three horns and rhythm
Score paper for four horns and rhythm
421
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Index
AABA form, 6, 30, 31 drop- 2 voicing, 115, 116

ABAC form, 6, 31, 32 drop- 2/4 voicing, 117
altissimo register, 51 drop-3 voicing, 117
alto saxophone, 49 drum notation, 62
approach, 149 drum set, 61
articulation markings, 45
awkward lines, 333 enclosures, 147
awkward repeated notes, 335 endings, 307
background figures, 62 four-way close, 76

ballad,20,31,32 guidetones,204,206
bartlonesaxophone,50 guitar, 61
bass, 61
blend, 44, 201 Harmon mute, 47
blues, 7, 32 homophony, 28
bucket mute, 49
ii-V va1np, 296
chord over chord, 139 ii-V-I progression, 104, 116
chord positions, 79 interlude, 361
chord tone substitutions, 78 introduction, 289
chromatic parallel approach, 153, 155, 156 inversions, 79
chro1natic planing, 153
circle of fifths, 82, 103 lack of integration with rhythm section,
close voicing, 76 339
cluster voicing, 283, 285 last section of melody as introduction, 292
camping, 58, 59 layout suggestions, 347
countermelody, 203 melodic fragment as ending, 317
counterpoint, 204 1nelodic fragment as introduction, 298
cup mute, 47, 49 modal interchange, 17, 21
mute, 47,49
diatonic approach, 149, 155
diatonic planing, 149 neighboring tones, 147, 152
diminished seventh approach, 149, 150, nonchromatic parallel approach, 153
155,157 nonharmonic tones, 147
dominant approach, 149, 151, 156 notation suggestions, 346
dominant quartal structures, 128
double neighboring tones, 147, 152 open voicing, 7 6, 115
435
overwriting, 337 trumpet, 45
trumpet range, 46
parallel approach, 149, 153, 158 turnaround, 31 0
parallel fourths, 331 two-bar repeat, 62
parallel harmonies, 329 two-part writing, 202
parallel thirds, 329
passing tones, 147 unison, 28
pedal tones, 48 upper extensions, 7 6
piano, 60
polychord, 139 vamp,295,315,318
polyphony, 28 voice leading, 80
voicing, 73
quartal harmony, 125, 283, 285
quartal voicing, 126, 127
quartet, 198
quintet, 201
rhythm changes, 12
rhythm section, 57
rhythmic notation, 59, 62, 63
saxophone, 49
saxophone ranges, 51
send-off, 364
septet, 202
sextet, 202
shell voicing, 81, 282
shoutchorus,383,401
slash chord, 137, 138, 282
slash notation, 58, 59, 62
"So What" voicing, 129
soli,361
solo backgrounds, 360, 381, 400
song forms, 5
stock arrangements, 29
stock ending, 308
stop time, 293
straight mute, 47, 49
suspended chords, 139
tag ending, 308, 309

tenor saxophone, 50
tertian harmony, 75
texture, 28
three-part writing, 281
triad, 75, 282
tritone substitution, 21
trombone, 47
trombone slide positions, 48

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Arranging for the

ROBERT LARSON is the director of jazz Studies at Shenandoah University in Winchester,

All rights reserved. No part of this book may be used or re-

Published by Armfield Academic Press

Editorial Consultants: Bryan Kidd, Graham Breedlove, Steve

Library of Congress Control Number: 2010907907

How TO UsE THIS BooK xiii

Part I: Form & Texture 1

1 CoMMON SoNG FoRMs 5

2 THE ExAMPLE TuNES 11

3 BASIC ARRANGING STRUCTURES 27

Part II: The Instruments of the Small Group 39

4 BRASS AND SAXOPHONES 43

5 THE RHYTHM SECTION 57

Part III: Jazz Harmony & Voicings 71

7 QuARTAL HARMONY 125

8 SLASH CHORDS 137

9 NoNHARMONIC ToNES 147

Part IV: Writing An Arrangement 183

10 PLANNING AN/ ARRANGEMENT 187

11 Two-PART WRITING 197

12 FouR-PART WRITING 249

13 THREE-PART WRITING 281

16 CoMMON PROBLEMS & SoLUTIONS 325

17 THE CoMPLETE ARRANGEMENT 345

A TuNES FOR ExERCISES 409

B SAMPLE PART 417

c STAFF PAPER 421

Use the Website

Before You Get Started

Free Staff Paper

Get Your Music Played

Form & Texture

A Closer Look At Song Forms

The Originsofj~z Standards

blues. Since it is so crucial for an arranger to have a thorough understanding of song

The Twelve-Bar Blues

Swing Example Tune: "Why Not Now"

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Analysis of "Why Not Now"

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Latin Example Tune: "Sabrosa"

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